texlive[65926] Master/texmf-dist: pmx 300
commits+karl at tug.org
commits+karl at tug.org
Sun Feb 19 18:57:06 CET 2023
Revision: 65926
http://tug.org/svn/texlive?view=revision&revision=65926
Author: karl
Date: 2023-02-19 18:57:06 +0100 (Sun, 19 Feb 2023)
Log Message:
-----------
pmx 300
Modified Paths:
--------------
trunk/Master/texmf-dist/doc/generic/pmx/ChangeLog
trunk/Master/texmf-dist/doc/generic/pmx/README
trunk/Master/texmf-dist/doc/man/man1/pmxab.1
trunk/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf
trunk/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf
trunk/Master/texmf-dist/tex/generic/pmx/pmx.tex
Added Paths:
-----------
trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf
trunk/Master/texmf-dist/doc/generic/pmx/pmx300.tex
trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf
trunk/Master/texmf-dist/doc/generic/pmx/ref300.tex
Removed Paths:
-------------
trunk/Master/texmf-dist/doc/generic/pmx/pmx298.pdf
trunk/Master/texmf-dist/doc/generic/pmx/pmx298.tex
trunk/Master/texmf-dist/doc/generic/pmx/ref298.pdf
trunk/Master/texmf-dist/doc/generic/pmx/ref298.tex
Modified: trunk/Master/texmf-dist/doc/generic/pmx/ChangeLog
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/ChangeLog 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/ChangeLog 2023-02-19 17:57:06 UTC (rev 65926)
@@ -1,3 +1,7 @@
+3.00
+ Provides an option to remove the limit of 9 on forced
+ beams. A side benefit of selecting the option is that all
+ beams are vectorized and 2-digit figured bass are allowed.
2.98
Fix beaming in 6/2 time by setting mapfb(5) and (6) = 0 in make1bar(...)
2.97
Modified: trunk/Master/texmf-dist/doc/generic/pmx/README
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/README 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/README 2023-02-19 17:57:06 UTC (rev 65926)
@@ -1,4 +1,5 @@
-This is PMX, version 2.98a (2022-03-06). PMX provides a preprocessor for MusiXTeX.
+This is PMX, version 3.00 (2023-01-27). PMX provides a preprocessor
+for MusiXTeX.
pmxab builds a TeX input file based on a .pmx input file in
a much simpler language, making most of the layout decisions
Deleted: trunk/Master/texmf-dist/doc/generic/pmx/pmx298.pdf
===================================================================
(Binary files differ)
Deleted: trunk/Master/texmf-dist/doc/generic/pmx/pmx298.tex
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/pmx298.tex 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/pmx298.tex 2023-02-19 17:57:06 UTC (rev 65926)
@@ -1,2949 +0,0 @@
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-%
-% pmx298.tex 2/4/2022
-%
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\documentclass[11pt]{article}
-%
-\let\reft\ref
- \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref}
- \usepackage[dvips]{graphicx}
- \usepackage{multicol}
-%
-\def\MusiXTeX{MusiX\TeX}
-\def\bs{{\tt\char'134}}
-\newcommand\PMXX{\textbf{PMX}}
-\newcommand\PMX{\PMXX~}
-\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}}
-%
-% Use \bfx for program names only. Use \bf for single embedded letters
-%
-\font\bfx=cmb10 scaled\magstephalf
-\font\bfi=cmbxti10 scaled\magstephalf
-\font\specfig=cmrj
-\setcounter{secnumdepth}3
-\setcounter{tocdepth}3
-\def\Bslash{\tt\char'134}
-\def\|{{\tt\char'174}}
-\def\LBR{{\tt\char'173}}
-\def\RBR{{\tt\char'175}}
-\textheight= 9.5in \voffset-.8in%
-\textwidth= 6.5in \hoffset-1.0in
-\def\newfrom{2.59} % changed every now and then
-\def\NEW#1{\ifdim#1 pt<\newfrom pt\else%
-\marginpar{\fbox{#1}}\fi}
-
-\hoffset-54pt
-
-%\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\rulet{#1}{.05in}\fi}
-
-\begin{document}
-
-\raggedright
-\parindent24pt
-
-\title{
- \Huge\bf
- PMX~--~a Preprocessor for \MusiXTeX{}\\
- \null\vskip-15pt
- \Large\sl
- Version 2.98~--~4 February 2022\\
- \author{\Large\rm Don \sc Simons\\
- \large\sl
- Dr. Don's PC and Harpsichord Emporium\\
- \normalsize\sl
- Redondo Beach, California, USA.\\
-% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500,
-% (2) dvips -> gsview -> pdf.
-% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q
-% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit
-% (4) file.png -> GIMP (crop out blank space) -> save as .eps.
-%
- \includegraphics[scale=0.4]{file600.eps}}}
-
-\date{}
-
-\maketitle
-
-\section*{Preface}
-Compared to version 2.94, \PMX version 2.98 does not have any new functionality.
-As documented in the opening comments in the source code file pmx298.for,
-it does have several bug fixes, and changes in coding formalism to make it more
-broadly compatible with other FORTRAN compilers beyond GNU, and for translation from
-FORTRAN to C.
-
-\setcounter{page}1
-% Need extra line to push last line of TOC to next page
-
-~~
-
-~~
-
-\tableofcontents
-%\setcounter{secnumdepth}1
-\pagestyle{headings}
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\def\boxitsep{10pt}
-\let\hrt\hrule\def\hrule{\hrt height2pt}
-\let\vrt\vrule\def\vrule{\vrt width2pt}
-\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
-\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
-\font\ded=cmssdc10 scaled \magstep3
-\bigskip
-\setbox4=\vbox{
-% \hsize3in\noindent\strut
- \hsize4in\noindent\strut
- \centerline{\ded Dedication}
-\vskip 3pt
-The \MusiXTeX~community was stunned by the sudden death of Werner Icking on
-February 8, 2001. He had been a benevolent patriarch, touching many
-of us not only
-with his technical savvy and gentle guidance, but also his genuine kindness
-and generosity. His spirit runs deep through all of \PMX. His encouragement
-fueled its development from its very beginning. Many
-enhancements have been his proposals, including one he made on what
-turned out to be his last day. Werner, my friend, I dedicate this work to
-you and your memory.
-}
-\vfill
-$$\boxit{\box4}$$
-\let\hrule\hrt\let\vrule\vrt
-\vfill
-\eject
-
-\section{Introduction}
-%\setcounter{secnumdepth}1
-
- \PMX is a preprocessor for \MusiXTeX{}. Before using it you should
-have installed \MusiXTeX~Version 1.21 \NEW{2.71} or higher, and
-any available version of \TeX~that includes e-\TeX. The goal of \PMX is to
-facilitate the efficient typesetting of scores and parts
-that have an almost professional appearance. It can do {\it all} the work
-involved in setting up {\tt \bs notes-\bs enotes} groupings,
-selecting groups of
-notes to be beamed, defining beam heights and slopes, spreading the
-entire piece evenly over specified numbers of systems and pages, and inserting
-extra spaces where needed to make room for accidentals, flags, dots,
-and new clefs. The input language for \PMX is much simpler than
-\MusiXTeX. You can enter note values and rests from 64ths to double
-whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every
-voice in every bar must have exactly the correct number of beats in
-the current meter, but you may change the meter at the beginning of any
-measure, with or without printing the new time signature. Before making a
-\TeX{} file, \PMX checks these timings and other aspects of the input.
-\PMX has special features for dealing with baroque chamber music, including
-the ability
-to notate figured bass below the bottom staff in each system. If \PMX hasn't
-yet learned to do something you want to do, you can usually work around the
-problem by inserting literal \TeX\ strings in the \PMX input file.
-
- You can automatically create parts from a score using {\bfx scor2prt}.
-This auxiliary program generates a set of {\tt .pmx} input files, one for
-each part, from a single {\tt .pmx} file for the score.
-You can control the appearance of the
-parts with special commands in the main file, thereby making it
-possible to include within a single input file all the information
-that defines the score and the individual parts.
-
-The basic \PMX
-distribution as of this version of the manual is
-\href{http://icking-music-archive.org/software/pmx/pmx298.zip}
-{\underline{\tt pmx298.zip}}.\NEW{2.98} It
-contains the FORTRAN sources, binaries that will run in a DOS
-window on a PC with WINDOWS95 or higher, manuals for usage and for installation
-in DOS/Windows, and example typesetting files. Alternatively, the
-\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html}
-{\underline{software section}} of the Werner Icking Music Archive (WIMA) has instructions
-for acquiring and installing \MusiXTeX~and \PMX on various platforms
-(Windows, Mac-OSX, Unix-like systems) including using automated procedures from
-several external \TeX~distribution sites.
-The packages from those other sites will
-all eventually incorporate all the upgrades in {\tt pmx298.zip} but will take
-varying amounts of time to do so. If~\PMX~is upgraded, the most current version will
-be available directly from the ``News'' paragraph
-\href{http://www.icking-music-archive.org/software/htdocs/htdocs.html}{\underline{here}}.
-
-\subsection{Conventions for This Manual}
-
- Hey, this is boring stuff, but if you take a minute to understand
-the typographic conventions and a little jargon,
-it may avoid some confusion down the road.
-
- The typewriter typeface always indicates verbatim text as it would
-be input to a computer. This includes file names, \MusiXTeX{} tokens, and
-\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}.
-
- Bold is used for program names (e.g., {\bfx pmxab}), or when applied
-to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e}
-signifies a l{\bf e}ft shift'').
-
- When\NEW{2.5}~viewing the PDF version of this document on a computer
-screen, clickable internal hyperlinks are colored blue, and clickable external
-links are underlined and colored cyan.
-
- Italics may mean several different things depending on the context:
-simple emphasis, or the first appearance of {\it jargon}
-(buzz-words that need to be explicitly defined), or finally
-to represent input variables for which some verbatim text would need to be
-substituted. In the latter case the variable will be surrounded by
-square brackets, e.g., [{\it basename}], but the brackets are not to be
-included with the substituted text.
-
- Speaking of jargon, there are several special words that have very
-specific meanings here: A {\it staff} is one set of 5 lines (plural
-{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to
-one of the one or two
-simultaneous allowable sequences of notes in a staff. Note that this
-is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used
-interchangeably with staff.
-
-A \PMX {\it command} is a string of characters with no spaces between them.
-The first character determines the type of command. Any other characters
-are parameters that may be either required or optional. Sometimes we loosely
-use the word {\it command} to refer just to the initial character.
-
-\subsection{Setup}
-
- Here we briefly describe the setup for the Windows OS,
-assuming \TeX\ and \MusiXTeX\ have already been installed. After compiling the
-FORTRAN source code, users of other OS's
-may either adapt these instructions as needed or use one of the other setup
-methods referenced earlier.
-
-After decompressing the distribution file {\tt pmx276.zip},
-you should have these
-files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two
-Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample
-{\tt .pmx} files,
-{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary),
-{\tt pmx276.tex }(\TeX\ source for this file),
-PDF images of the latter two files, {\tt pmx25-276.html} showing
-changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.pdf} which gives more
-details about installing and running on different platforms.
-
-%If necessary, compile the FORTRAN programs.
-%I have tried to keep the source code as generic as possible, but minor
-%modifications may be needed for FORTRAN-to-C translation and/or other
-%compilers.
-
- Once you have assembled a full set of files, put the executables
-somewhere in the path or in your working directory, {\tt pmx.tex} into the
-texinput directory, the sample {\tt *.pmx} files in your working
-directory (the one from which you will run \PMXX), and the source code and
-document files wherevever you wish.
-
-\subsection{Basic Operation, by Example}
-
-Edit the 15th line of {\tt barsant.pmx} to contain the path to the
-directory where you want \PMX to write the {\tt .tex} file. For example,
-if you want this to be the same as the working directory, type {\tt .\bs}~for Windows,
-or {\tt ./} for UNIX.
-
-If you haven't done so, open a command window and navigate to the
-folder containing {\tt barsant.pmx}. Execute \PMX by typing
-{\tt pmxab barsant} . Alternatively, you may
-just type {\tt pmxab <return>} and you will be prompted
-for a jobname, which in this case is just {\tt barsant} .
-{\bfx pmxab} will always generate two files in the working
-directory: {\tt barsant.pml}
-is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if
-the run was successful, otherwise the line number in the {\tt .pmx} file of the
-fatal error (useful for batch processing). Also, on successful completion,
-{\tt barsant.tex} will be placed in the path specified in the setup.
-
-Now you are right where you would be after
-entering, debugging, and rough-editing the {\tt .tex} file manually. To see
-the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{}
-file, running all three passes, and view the {\tt .dvi} file, or go on and run
-{\bf dvips} to create a postscript file and view that with a postscript viewer
-such as {\bf GSview}. To make
-separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0}
-The program will create a new {\tt .pmx} file for each instrument, in this
-case {\tt barsant1.pmx} and {\tt barsant2.pmx}.
-You may then process these
-files like you did the original one to create separate parts.
-
-\section{Elements of PMX}
-\def\l at subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2
-%\setcounter{secnumdepth}2
-
-\subsection{Setup Data in the Input File} \label{setupdata}
-
- To see how the input file is put together, we'll look at
-{\tt barsant.pmx}. For reference, here are are the first few lines:
-\pagebreak
-\begin{verbatim}
-%----------------%
-%
-% barsant.pmx Revised 29 June 2002
-%
-%----------------%
-%
-% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig,
- 2 2 4 4 0 6 0 0
-%
-% npages,nsyst,musicsize,fracindent
- 1 7 20 0.07
-Basso
-Recorder
-bt
-./
-\end{verbatim}
-The lines
-with {\tt \%} in column 1 are comments.
-Some special handling of comment lines will be
-discussed in the section on creating parts from a score in
-section~\ref{scor2prt}.
-
-The rest of the lines in this example are the {\it setup data}.
-Starting in the first non-comment line above,
-
-{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of
-sta{\bf v}es per system. Each staff may contain either one or two voices,
-but the total number of voices at any one time may not exceed 24.
-
-{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each
-instrument has a unique name (see below), and any instrument
-with more than one staff will have its staves joined with a curly bracket.
-Usually there is only one staff per instrument and {\tt noinst=nv}. There
-are two ways to assign more than one staff to one or more instruments.
-If only the first (lowest) instrument has more than one staff, such as in
-a score for piano and a solo instrument, simply make
-{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom
-one in each system.
-\NEW{1.4} For a
-more general distribution of staves among instruments,
-put a minus sign in front of {\tt noinst},
-and follow {\tt noinst} with the number of staves in each instrument in
-succession, separated by spaces. These numbers must add up to {\tt nv} or your
-computer will explode. For a typical example of keyboard music, see
-{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two
-staves per system with a curly bracket at the left.
-
-The number of instruments can be changed as well after the start of the
-score, but only to a number less than the original one. See
-section~\ref{movbrk} to learn how to start with a smaller
-number of instruments and later increase it.
-
-{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of
-beats per measure; {\tt mtrdenl} the denominator. Please note the special
-considerations in the paragraph after the next. If {\tt mtrnuml} is
-divisible by 2 or 3, beam grouping will be automatic; otherwise you will
-have to force all beams using {\tt [}$\dots${\tt ]} as described in
-section~\ref{beams}.
-
-{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator.
-These determine the appearance of the meter in the printed output but
-have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it
-and {\tt mtrdnp} are printed literally as the numerator and denominator
-of the time signature. Please note the special considerations in the following
-paragraph. If
-{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the
-entire time signature will be printed with a vertical slash through
-it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter
-as follows:
-
-\medskip
-
-\begin{tabular}{ll}
-\tt 0 & No meter is printed ({\it blind} meter change)\\
-\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\
-\tt 5 & Cut time (alla breve)\\
-\tt 6 & Common time\\
-\tt 7 & Numeral 3 with a vertical slash\\
-\end{tabular}
-
-\medskip
-
-There are special considerations for n/16 and n/1 time signatures (where the
-latter "1" normally means a whole note). To get
-n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To
-remember this rule, recall that the printed denominator is taken literally,
-while the logical denominator can always be represented
-by the same single digit used for the corresponding time value when entering
-ordinary notes (see section~\ref{notes}). So
-for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}.
-
-If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is
-the number of beats in it; otherwise set it to 0. It need not be an
-integer. The first bar is the {\it only} bar that can have a different
-number of beats than the current value of {\tt mtrnuml} (Later we'll see how
-to change the meter).
-
-{\tt isig} is the key signature, positive integer for sharps, negative for
-flats.
-
-If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total
-number of systems in the entire piece. \PMX will spread the entire
-piece horizontally over this number of systems, and vertically over
-{\tt npages} pages. For proper vertical spacing there should be from
-about 9 to 16 staves per page. If you specify too many staves for the number
-of pages, one or more staves may spill over onto an extra sheet. If this
-happens it will only become obvious when you preview the {\tt .dvi} file.
-One solution is to use the global option {\tt Ae}
-(see section~\ref{AeDirective}); another is to increase {\tt npages} or
-decrease {\tt nsyst}.
-
-If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average
-number of measures per system. This is useful while building up a
-file a little at a time. \PMX will calculate how many systems to use, and
-spread them over an appropriate number of pages.
-
-{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with
-20 considered the default\NEW{2.6}.
-
-{\tt fracindent} is the indentation of the first system from the left
-margin, expressed as a decimal fraction of the total line width.
-
-Next come the names of the {\tt noinst} instruments as you want them to
-appear within the indentation in the first system, one per line,
-starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0
-and don't
-want instrument names to appear, you must still leave {\tt noinst}
-blank lines here. Next comes a single string of {\tt nv}
-letters or numbers for the clefs, again starting with the bottom staff:
-\label{ClefCodes}
-{\tt b,~r,~n,~a,~m,~s,~t,~f,~8} or digits 0-8 \NEW{2.71} respectively for {\bf b}ass,
-ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano,
-{\bf t}reble,\NEW{2.2} {\bf F}rench violin clef, or octave treble clef.
-The last line of setup data contains the path to the directory
-where you want the {\tt tex} file to go when \PMX creates it. The one
-in {\tt barsant.pmx}~,
-{\tt ./}~, represents the current directory in UNIX and some versions of DOS.
-The path must terminate with {\tt /} or {\tt \bs}~.
-
-\subsection{Structure of the Body of the Input File} \label{structure}
-
- The rest of the {\tt .pmx} file is the {\it body} of the input.
-The basic unit of input from here on is called an {\it input block} or
-just {\it block}, each one representing an integral number of bars. If there
-is a pickup bar defined by {\tt xmtrnum0} $>$ 0,
-it must be included in the first block {\it together with at least one full bar}.
-If you wish to put a pickup in a separate block, for example at the start
-of a new movement, set the initial logical
-meter to fit the pickup bar, then after the pickup bar do a blind meter change
-as described in section~\ref{MeterChange}).
-
-There will usually be
-4 to 8 bars in a block. 15 is the most allowed. It is good practice
-to separate the blocks with comment lines that state which bars are
-represented, as I've done in {\tt barsant.pmx}.
-It is also advisable, although not required, to separate the bars with
-the command {\tt |}. Its main functions
-are to provide visual separation in the input file, and to help isolate input
-errors: if you put one anywhere except
-at a bar-end, {\bfx pmxab} will stop and show you where it detected the
-timing error. Otherwise, with several minor exceptions,
-{\tt |} has no effect.
-
-At the start of each block there may be a few special commands
-(described starting in section~\ref{pmxcmds}).
-Next come the input data for the selected number
-of bars of the first (lowest in the system) voice in the first staff, followed by
-either {\tt /} to move to the next staff, or {\tt //} to move to the next voice
-on the same staff. Each new voice must start on a new line
-in the input file, i.e., there should be no further data on the same input line
-after {\tt /} or {\tt // }.
- Continue entering other voices, each with
-{\it exactly} the same number of bars as the first,
-terminated by {\tt /} or {\tt //}, until
- the last (topmost in the system) ends with a {\tt /} and the block is
-finished. Within
-a block every voice must have the same number of bars, but every block
-needn't have the same number of bars as other blocks. The number of
-voices in a staff can only be 1 or 2, and cannot change within a block, but
-may vary from block to block.
-
- The data for each voice in each staff are a sequence of commands
-containing one or more adjacent characters. Commands are separated from each
-other by spaces. The line-terminating commands {\tt /} and {\tt //} should also
-naturally be preceded by a space.
-
-\subsubsection{Notes} \label{notes}
-
- Commands for notes always start with a lower-case letter and, as
-with all commands, end at
-the first space. The first letter is the note name ({\tt a-g}). The
-rest of the characters can be in any order with only a few
-restrictions. The first digit defines the {\it basic time value} of the
-note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole,
-whole, half, quarter,
-eighth, sixteenth, thirty-second, and sixty-fourth notes. The second
-digit sets the octave (for reference, octave 4 runs from middle C to
-the B above). Certain letters may appear after the initial one: {\tt d}
-for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot;
-{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural,
-or {\bf s}harp (repeat the letter
-immediately for a double); {\tt u} or {\tt l}, which force the stem
-direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead
-l{\bf e}ft
-or {\bf r}ight by its own width; {\tt a} (for {\bf a}lone) which inhibits
-beaming for this note (or, if the first note of an xtuplet, for the
-entire xtuplet); and \NEW{2.80}{\tt T} to insert a single-note {\it tremolo}
-on the stem (not to be confused with a 2-note tremolo, discussed later in
-section~\ref{TwoNoteT}).
-The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3}
-to indicate the
-number of slashes in the tremolo symbol; {\tt 1} is the default if no digit
-is entered. \NEW{2.4}A single accidental may be immediately
-followed by {\tt c} to
-make it {\bf c}autionary, i.e., surround it with parentheses.
-Alternatively, it may also be followed by {\tt i} to
-suppress typesetting \NEW{2.3} but still have
-the M{\bf I}DI processor honor the accidental. Other characters allowed in note
-commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and
-several special characters following {\tt x}, all to be described below.
-Between the first letter and the end or {\tt x} if present,
-non-digits can be in any order with respect to each other and to the digits,
-with minor exceptions involving shifting dots and accidentals.
-
-To move
-a dot from its default location, simply follow the {\tt d}
-with one or two decimal numbers, each predeced by
-{\tt +} or {\tt -}.
-The first is the
-vertical shift in \bs{\tt internote}s, the second, the horizontal shift in
-notehead widths.
-
-\label{AccidentalPosition}
-Accidentals \NEW{1.4} can be shifted too. One way is to enter
-{\tt +} or {\tt -} right after the accidental character,
-then an integer
-for the vertical shift, then another {\tt +} or {\tt -} followed by the
-horizontal shift in notehead widths. If you use this method, you {\it must}
-enter both numbers. Or, to just shift horizontally, use
-{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting
-a sharp to avoid another sharp, a left shift of 0.85 is usually best. When
-shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested.
-In chords (see section~\ref{chords}), if all the notes are in the same \NEW{2.4}voice,
-\PMX will automatically shift accidentals if required. This will be disabled
-for the current chord
-if any user-defined accidental shifts are entered, unless {\tt A} is entered
-along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined
-shift will be added to the PMX-computed one.
-\NEW{2.4} Another option that affects accidental positioning in
-chords is {\tt Ao},
-entered in the main note command of a chord. It will force the accidentals
-in that chord will be posted in the order
-they come in the source file (starting with the main note), each one as far
-to the right as it will go without crashing into a notehead, stem, or
-another accidental.
-
-
- Dots and accidentals always have to be entered when and if a note
-calls for them. i.e., they are never carried over from previous notes.
-On the other hand, the octave only needs to be entered if the note is
-more than a fourth away from the most recent note in the same voice.
-This feature lets you go for long stretches in a voice before needing
-to enter the octave. An alternate way to jump more than a fourth but
-less than a twelfth is to type {\tt +} or {\tt -}. In other words, these
-mean to put the note an octave higher or lower than it
-otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves
-above what it otherwise would have been, and so forth.
-The basic time
-value is also carried over from the past if it is not re-entered,
-except for the first note or rest in each voice in an input block,
-for which it {\it must} be entered.
-Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is
-often more convenient than using a digit. This is because in order to
-use the digit, you must first enter the basic time value whether it
-changes or not.
-
- For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note
-scale starting on middle C, followed by an octave jump down to a
-whole note middle C.
-
- Explicit octave \NEW{2.1} numbers can be combined with one or
-more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was
-ignored if an octave number was specified. This is a slight backward
-incompatibility; \PMX prints a warning when it happens.
-
-\label{Stemlength}Stem length \NEW{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x}
-\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~.
-{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5
-for lengthening.
-The shortening can be made ``sticky'' by following the number {\it x} with
-{\tt :} . Then every note's stem in the voice will be shortened until
-one is encountered with the option {\tt S:} . By lengthening a stem enough
-to span to the next staff and connect with notes there, unflagged staff-spanning
-chords can be constructed. See section \ref{chords}~for further details
-about staff-spanning chords.
-
-The first note command in each voice in a block must
-contain at a minimum the note name or {\tt r} for a rest (see below),
-and a basic time value. For notes, it is good practice and can simplify
-editing
-if in addition an explicit octave is set here. However if it is not,
-\PMX will make some assumptions. At \NEW{2.4} the start of the first
-input block the pitch will be set as if the prior note were middle C.
-In later blocks \PMX will use the
-obvious inheritance rules from the end of the prior block.
-However, if the number of voices in a staff
-has changed from the prior block, it is safest to reset the octave at the
-start of a new block. Duration is never inherited and must be set at the
-start of each input block.
-
- Dots can be a little tricky, because even though they affect the
-actual time value, they don't affect the basic time value, and it is only the
-latter that is ``sticky". Therefore, if a note is to be dotted, you always have to
-enter a {\tt d} (or a period, see next paragraph) somewhere within the
-command, after
-the note name, even if the actual time value and octave are the same
-as the prior note. But the {\it basic} time value need not be re-entered if
-it hasn't changed (unless the note is more than a fourth from the
-prior note {\it and} you have for some strange reason elected to indicate the
-octave with a number rather than {\tt +} or {\tt -} ). So for example,
-consecutive dotted half notes, each within a fourth of the previous
-one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e}
-would represent a dotted half note followed by a plain half note
-(since the basic time value---as defined by the first digit---was a half
-note all along).
-
- There are two special shortcut rhythmic notations. For normal dotted
-rhythms (3:1 ratio), if you
-include a period ({\tt .}) in the note command, it will
-(a) assign a dot to the note just entered, (b) terminate that note,
-(c) prepare to
-receive the next note name {\it without any space}, and (d)~automatically
-assign a time value to the second note equal to one-third of the first one.
-No time value may be entered for the second note, but octave and accidental
-data may. Ornaments and slurs (see below) following this command will apply
-to the second member. If you need to follow the main note
-with some modifying
-\NEW{2.3}
-command, you can still use the shortcut ({\tt .}) after that command and a
-space.
-The main advantage of this shortcut comes if you want to
-follow one dotted pair with another of the same rhythm; then you
-needn't enter any explicit time value for {\it either} member of the second pair.
-This is possible because after using the shortcut,
-the basic (inheritable) duration is set to that of the
-{\it first} note in the pair, without the dot.
-
- For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma)
-behaves similarly to the {\tt .}~(period) for 3:1 rhythms.
-
- Xtuplets, or groups of notes with their stems connected,
-can have from 2 to 24 notes or\NEW{1.4} rests. Normally they
-all have the same duration, but there are several options---described
-below---to change this. The command for the first note of an xtuplet begins
-exactly like a
-note or rest command, with the name of the first note in the xtuplet, or
-{\tt r} if it starts with a {\bf r}est (see subsection below on rests),
-and an optional time value.
-However, the actual time value (including a dot if present and a basic
-duration that may have been inherited from the prior note) now represents the
-{\it total} duration of the xtuplet. Next (with no space, as usual) comes
-{\tt x} followed by either a one- or two-digit integer for the number of notes in
-the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further
-discussed below. The only options allowed immediately following the number are
-{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note
-of the xtuplet should have a dot and the second, and extra flag.
-{\tt n} controls the printing of the {\bf n}umber and bracket.
-If {\tt n} is followed by a blank, then no number will be
-printed. On the other hand,
-an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to
-be printed instead of the natural one.
-If one or two {\it signed} decimal numbers follow {\tt n}
-(each starting with {\tt +} or {\tt -}), the first
-is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
-in notehead widths. Another suboption to {\tt n} is {\tt f},
-to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final
-suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only
-to non-beamed xtuplets, for which it tweaks the slope of the bracket above or
-below the xtuplet. For non-beamed xtuplets, you can further change the
-appearance of the bracket and number as explain in section~\ref{ATDirective}.
-
-The second through last notes of the xtuplet are each then
-represented by a separate command containing a subset of the characters
-permitted for ordinary notes or rests: note name or {\tt r} (the only required
-character), accidental, and octave change character ({\tt +} or {\tt -}).
-\NEW{1.4} The octave may be given explicitly instead, and any integer will be
-interpreted as such, as no numerical time value is permitted.
-
-To double\NEW{2.3} the duration of any note in an xtuplet, add the
-character {\tt D} to the command for that note. This will decrease the expected
-number of notes in the xtuplet by one. To add a dot to the doubled note
-(as Bach sometimes did), use {\tt F} instead of {\tt D}.
-\NEW{2.4}To add a dot to one
-note and an extra flag to the next, include {\tt d} in the note command,
-{\it after} the {\tt x} if it's the first note of the xtuplet as noted above.
-
-As an example, an ascending quarter-note triplet scale would be
-notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots}
-
-\subsubsection{2-note tremolos}\label{TwoNoteT}
-
-A 2-note tremolo \NEW{2.80}is a special case of an xtuplet.
-It represent a rapid alternation between two notes.
-It is notated with a pair of
-notes, either beamed or unbeamed, with the possible addition of from one to three
-indented, disconnected beams between the two note stems.
-Like an ordinary
-xtuplet, it begins with a note name, optional duration and octave, then
-the character {\tt x}. The duration applies to the total time value of the
-two notes, is currently limited to either a half note ({\tt 2}),
-quarter ({\tt 4}), or eighth ({\tt 8}), and may be dotted by including~{\tt d}~after
-the duration digit.
-Next comes a {\tt T}. This is optionally followed by one or two
-integers from 0 to 3. The first indicates the number of ordinary beams
-connecting the two notes; the second, the number of indented beams.
-
-The only other option allowed on the first note is to move the dot. After
-the~{\tt d}~enter one or two signed integers, where the first
-is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
-in notehead widths. If the note has both a moved dot and a digit for an explicit octave,
-the~{\tt d} must follow the octave number
-
-No other options are allowed, and some options are prohibited, such as zero
-ordinary beams on anything except a quarter or dotted quarter tremolo. If no
-integers are entered after the~{\tt T}, defaults are assigned: (3,0) for a half,
-(0,3) for a quarter, and (1,2) for an eighth.
-
-After a space, the second note of the tremolo is entered. If the total duration
-is a half or dotted half, the
-noteheads will be open. For a whole note tremolo, two consecutive half note
-tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the
-notes will always be the
-correct value for notes with half the duration of the total. If the tremolo duration
-is dotted, a dot will appear by default on the second note, and no~{\tt d}~should
-be entered there unless the dot needs to be moved, in which case the syntax is as
-described above for the first note.
-
-Either\NEW{2.84} or both members of the tremolo may include chordal notes,
-using the normal {\tt z} notation described in section~\ref{chords}. If the
-duration is dotted, dots will appear by default on chord notes, and again
-no~{\tt d}~should be entered there unless the dot needs to be moved.
-If the tremolo is beamed, the height and angle of the beam may be adjusted
-after making it a forced beam as described in section~\ref{beams}.
-
-Some examples of 2-note tremolos are shown below. When two versions are shown
-for a given duration,
-the first is the default. The following \PMX code generates the example.
-
-~
-
-{\tt f24xT a fxT a | fxT20 a fxT20 a /}
-
-{\tt L2 fd24xT zefd-2+1 zcd-2+1 a r4 | f24xT a f2xT20 a /}
-
-{\tt L3 fd44xT a r8 f44xT a r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /}
-
-~
-
-\includegraphics[scale=1.0]{tremxmpl4.eps}
-
-\subsubsection{Rests}
-
- The command for a rest starts with {\tt r}.
-Then for a normal rest, in either order come a digit for the basic time value
-(using same codes as for notes, optional if unchanged from previous value),
-a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted.
-\NEW{2.0} The basic time value of a rest
-affects future notes and rests the same as if it had come from a note,
-i.e., it applies until another value is entered with a subsequent note
-or rest in the same voice. The command {\tt rp} represents a
-full-bar rest notated with a {\bfi p}{\it ause} character (whole rest)
-regardless of
-the time signature; in this case no other duration information is
-needed or allowed. {\tt rb}, followed if necessary by a duration
-specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time
-but is invisible. This is most often used when there are
-two voices in a staff and one drops out for some of the duration
-of the current input block. (See {\tt mwalmnd.pmx} for examples).
-\NEW{1.4} The
-option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If
-you don't exercise this option, then
-{\it all} full-bar rests will be horizontally centered between bar
-lines, including pauses ({\tt rp}) as well as normal rests that fill the bar.
-
- The default vertical position of a rest depends on whether there
-are one or two voices in the staff.
-For one voice it is just the \MusiXTeX{} default
-(approximately centered on the middle line). On the other hand, in
-the lower voice in
-a two-voice staff, the rest is lowered {\tt 4\bs internote}, while
-in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be
-manually overridden by appending {\tt +}~or~{\tt -} and an integer
-representing the offset from the {\it middle} line of the staff
-(not from the \PMX default if there are two voices in the staff!).
-So for example, in a single staff
-in 3/4 meter, two voices, each with a half note followed by its own
-quarter rest would be either
-\begin{verbatim}
-c24 r4 //
-c25 r4 /
-\end{verbatim}
-or equivalently
-\begin{verbatim}
-c24 r4-4 //
-c25 r4+2 /
-\end{verbatim}
-while
-\begin{verbatim}
-c24 r4+0 //
-c25 r4b /
-\end{verbatim}
-would produce two notes followed by a single, vertically centered rest.
-
-Another way to override the default vertical positioning of rests is useful in
-keyboard scores, or in fact any score containing two voices on a staff.
-The option {\tt K} (for {\bf K}eyboard) in the
-{\tt A} command generally causes rests to be
-aligned horizontally with notes in the voice in which they are entered. See
-section~\ref{Acommands} for a detailed description.
-
- \label{MultibarRest}The command {\tt rm} followed immediately by an
-unsigned integer will generate a {\bfi m}{\it ulti-bar}
-rest, a special combination of characters between two bar lines
-representing two or more bars of rest. The integer will always be printed,
-horizontally centered. The integer in the command \NEW{2.91}may optionally
-be followed by {\tt n} and then another integer, possibly negative, indicating a
-different vertical position for the number relative to the bottom staff line.
-The default is 9. To put the number
-below the staff use -5 or -6. Once the height is changed it will stay the same until
-changed again. The {\tt rm} command will generally only be used in separate parts
-that have been automatically generated by {\bfx scor2prt}. However, it
-\NEW{2.4}may be used in a multi-line score, provided it is entered for the same
-number of bars in every staff.
-
-\subsubsection{Chords}\label{chords}
-
- Chordal notes, which always share a stem and the same time value as the
-prior note, are symbolized with {\tt z} (for {\bf z}ero time) followed by a note name and
-optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e}
-or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width.
-No basic time value is allowed. If the main note
-is dotted, then the chordal note will appear with a dot regardless of whether
-a {\tt d} is entered. The only time a {\tt d} is required in a chordal note
-command is if the dot's position is to be adjusted; in this case the
-{\tt d} is required, followed by one or two decimal numbers, each preceded by
-{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s;
-the second, the horizontal shift in notehead widths.
-Any number of chordal notes can follow a
-single main note. The stem direction of a chord is controlled by the main
-note, but may be manually overridden with {\tt u} or {\tt l} in the main note
-command.
-
- When chordal notes are beamed together, the default height and angle of
-the beam will be determined by the main note on each stem (the one without
-{\tt z}). If a beam joining chordal notes looks bad, you can usually
-fix it either by changing which note acts as the main one,
-or by fine-tuning the beam parameters as described
-in section~\ref{beams}.
-
-\PMX uses a complex algorithm to automatically position accidentals in chords.
-If you are unhappy with the result, you can manually tweak the horizontal
-positions as described in section~\ref{AccidentalPosition}.
-
-Although there is no dedicated command for it, chords can be made to span from
-one staff to another using various techniques\NEW{2.73}. The approach will depend on
-whether
-the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed.
-If beamed, it will also depend on whether it is an xtuplet or not. Examples of all
-the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}.
-
-For unbeamed, unflagged staff-crossing chords,
-by lengthening the stem with the {\tt L} option on the main note, it can
-be made long enough to join with an unflagged single-stemmed note or chord in the
-next staff. Single-stemmed notes with one or more flags can be joined across staves
-with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or
-chord with
-the stem pointing away from the other staff. In the other staff, place the chord notes
-in a one-note forced beam that has been lowered or raised into the first staff
-(e.g. {\tt [-10 b14 ]}); that
-will stretch the stem to join the other notes, but with just one note (or chord) in the
-beam, the crossbar will have zero length and be invisible.
-
-Beamed chords may also span from one staff to another, using joined beams (see
-section~\ref{beams}). The general approach is to construct a set of chords
-(or single notes, if the other chord notes are in the other staff) in each of
-the two staves, enclose each set in a separate forced beam, and join the two
-beams with {\tt ]j}...{\tt [j}~. It is important to remember that the
-lower staff is processed first. So in most cases, the end of the segment in the lower
-staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}).
-It turns out that for non-xtuplet beamed chords, in all cases where the chord at the
-beginning of the beam has a note
-in the {\it lower} staff, this works fine provided that the forced beams are of equal
-duration and cover the same time span, and that positions in either staff with no note
-are represented with
-blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords
-that starts only in the
-lower staff and ends only in the upper could be represented by
-\begin{verbatim}
-[+28 g83 g g rb ]j /
-[jf rb g84 g g ] /
-\end{verbatim}
-This example highlights some other issues, viz., that the beam height or direction of one
-or both beam groups may need to be altered. Often this will require trial and error.
-
-Unfortunately this two-group procedure breaks down if the first chord in the beam has no
-notes in the lower staff. There are tricks to get around this; the user is referred to
-the file {\tt staffcrossall.pmx} for examples. However, there is a much more
-straightforward way to define
-staff-crossing beamed chords that begin in the upper staff: it simply requires defining
-the beamed group in each staff as an xtuplet within a forced beam. It turns out that
-the treatment of
-staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit
-more intuitive coding. So for example, the reverse of the above example, where
-the beam starts in the upper staff and ends in the lower, could be obtained with
-\begin{verbatim}
-[+28 rb2x4n g3 g g ]j /
-[jf g24x4 g g rb ] /
-\end{verbatim}
-\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to
-suppress printing the number. As you might expect, more general staff-crossing
-beamed chordal xtuplets follow the same concepts already described for non-xtuplets,
-but as noted, they are more robust and admit patterns that start in the upper staff
-and end in the lower one. {\tt staffcrossall.pmx} also contains examples this
-approach.
-
-\parindent=\psav
-
-\subsubsection{Grace notes}\label{graces}
-
- A grace note command starts with a {\tt G}. It is entered in its natural
-order, normally before the main note, but sometimes after. After {\tt G} and
-before the note name, comes any
-combination of the following options: an unsigned integer (which may have 2 digits)
-representing the number of
-notes in the grace (default is 1), {\tt m} and a digit for
-{\bfi m}{\it ultiplicity}
-(number of flags or beams, default is 1, 0 is allowed),
-{\tt s} for {\bf s}lur (joining all notes of the
-grace to the main note; no other {\bf s} is needed on the main note),
-{\tt x} for a slash (only for single graces),
-{\tt l} or {\tt u} to force the direction of the stem(s),
-{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x}
-notehead widths between a normal grace and its main note\NEW{2.6},
-{\tt A} (for
-{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate
-the grace note with the {\it prior} note. Next comes the only
-required character, the
-first note name. No time value can be entered, but if needed, the
-octave or an accidental can be given as in a normal note. Second and
-later notes must follow immediately in sequence, set apart by spaces, likewise
-without any time value, and without any intervening commands.
-
- Normal or after-graces will be placed {\it immediately} before or after
-the main note; way-after's, as far to right as possible before the next note
-or bar line. If either type of after-grace is slurred, the slur will start
-on the main note and end on the last one in the grace.
-
-
-\subsubsection{Ornaments}
-
- Commands for ornaments are entered {\it after} their associated
-note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent
-({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato
-({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before
-notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}),
-upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}),
-staccato ({\tt o.}), tenuto ({\tt o\_}), two different se{\bf g}nos
-({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71},
-arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}),
-arbitrary-length wavy-line
-trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}),
-%duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
-duncecap ({\tt o\verb|^|}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
-{\bf b}reath ({\tt ob}).
-All except the parentheses, staccato,
-tenuto, and down fermata will normally
-appear above the staff; the parentheses appear at the level of the note
-head, and staccato and tenuto just above or below depending on the
-stem direction. The only difference between staccato and
-pizzicato is the vertical positioning of the dot.
-
-Either type of trill may immediately include an unsigned decimal number
-to specify the length of the printed symbol in current \bs{\tt noteskip}s; the
-default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line.
-
-Once the ornament type has been specified, most of them can be raised
-or lowered from their default position by appending
-a signed integer to the command, representing the vertical offset
-in \bs{\tt internote}s. \NEW{2.4}. A second signed integer specifies a
-horizontal shift from default in notehead widths.
-
-The caesura and breath marks differ from the others in their default horizontal position,
-which is 0.5\bs{\tt noteskip} past the note.
-
-The {\tt og} segno has several special properties. It must be entered in the first (lowest)
-staff, but will appear above
-every staff. Its vertical position cannot be altered, but if appended by a number...unsigned
-if positive...all appearances will be shifted horizontally by that number of points. On the
-other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og},
-applies only to the note after which it is entered, and can be shifted just as a
-normal ornament.
-
- An ornament can be automatically repeated on a series of consecutive notes,
-provided the notes are all in the same voice and the same input block.
-To activate this feature, terminate
-the first ornament command with~{\tt:}~. Then every note in that voice will
-have the same ornament until a note is followed by the repeat terminator
-{\tt o:} .
-
-\subsubsection{Editorial accidentals}
-
- To place a small sharp, flat, natural, or question mark above the staff,
-after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}.
-\NEW{2.2} You may also put a question mark right after the accidental.
-
-\subsubsection{Slurs} \label{slurs}
-
- By default \PMX will use \MusiXTeX's built-in font-based slurs.
-But through user intervention it is possible to use either one of
-\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs,
-developed by Stanislav Kneifl, are directly supported by \PMX and will
-be the focus of any future \PMX enhancements.
-They are globally activated with {\tt Ap} and several global
-defaults set with other options to the {\tt A} command as described in
-section~\ref{ApDirective}. If these are used, so will an alternate
-set of hairpins (see section~\ref{dynamics}).
-The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs.
-These
-are not directly supported by \PMXX, but are intended to be fully
-compatible with the default font-based slurs. To use them, one would
-use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure
-{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different
-from font-based slurs.
-
-There are some advanced options available only
-with Type K postscript slurs, and a few obsolete ones only with font-based.
-At this point the main
-difference in functionality between the two is that with postscript, \PMX
-provides support for
-true ties, which are shaped and positioned slightly differently from
-slurs. Future enhancements
-will probably only work with Type K postscript slurs. Some users do still
-prefer
-font-based, possibly because Type K postscript slurs are not visible in some
-DVI viewers.
-New users should experiment with the various types of slurs and decide for
-themselves.
-
- The normal commands for slurs are {\tt (} placed with a space
-before a note, and {\tt )} placed after. The command {\tt s} is equivalent to
-{\it both} of them (!), except that it always follows the affected note.
-With font-based slurs, {\tt t} is equivalent to {\tt s} but
-with several minor differences to be explained later. With postscript slurs,
-{\tt t} signals to use a true tie.
-The commands {\tt s} and {\tt t} are {\it toggles}, turning
-a slur or tie off if it's already on and starting one otherwise.
-
-A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default
-ending height in this case will be the same as the starting height, and it
-may be tweaked as described below.
-
- The first character is optionally followed by
-a single-character ID code {\tt 0-9} or {\tt A-Z}, then by other
-options described below. ID codes are only needed if two or more slurs are
-open at the same time within one voice, such as when several chord
-notes are tied. Using ID codes in such cases tells \PMX which open slur to
-close. ID codes cannot be used with font-based {\tt t} slurs.
-
-The rules for finding the default direction and position of a slur
-are complex; many factors enter into defining visually pleasing values. But
-there's no need for gory details here; the result will usually satisfy, and if
-not, it can easily be tweaked. The default direction of curvature can be
-overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower),
-or equivalently {\tt d} ({\bf d}own).
-Starting or ending position can be shifted from its default by
-entering one or two explicitly signed numbers. The first, which must be
-an integer, represents the vertical shift in \bs{\tt internote}s; the second,
-which may be decimal, the horizontal offset in notehead widths. \NEW{2.71}Starting
-or ending
-position of a postscript slur or tie can be made to align with the end of the stem
-of an unbeamed note by using the option {\tt v}. No other options are permitted
-with {\tt sv}, but any desired position can be forced with the numeric options.
-
-The shape of the slur may be altered as well\NEW{2.1}. This paragraph
-deals with font-based slurs, for which the shapes may be less
-than fully satisfying due to fundamental limitations of \MusiXTeX.
-At the slur termination only, one or three
-more parameters may follow the ones just described. The first, a signed,
-nonzero
-integer, is a vertical adjustment to the mid-height of the slur in
-\bs{\tt internote}s. The next two, integers between 1 and 7 following a
-``{\tt :}", are alterations to the starting and ending slopes.
-These numbers are
-passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur}
-(if only
-one is given) or \bs{\tt curve} (if there are three).
-
-For \NEW{2.4}Type-K slurs,
-the shape may be changed locally by including {\tt f} in either the
-slur's starting or ending command to flatten it a bit, or {\tt h},
-{\tt H}, or {\tt HH} to
-increase its curvature and raise or lower its middle by increasing degrees.
-The default \NEW{2.5}curvature can be altered from normal
-with new suboptions
-to {\tt Ap} as described in section~\ref{ApDirective}. Local
-curvature tweaks will take precedence over the global default. A special
-option {\tt n} to the slur command can be used to locally restore the normal
-curvature if the default curvature has been globally changed.
-
-Another option peculiar to Type-K slurs and ties is to locally
-override the global
-setting for automatic height adjustment (to avoid tangencies with staff
-lines). The global defaults may be changed with the {\tt A} command as
-described in section~\ref{ApDirective}. To
-override the global setting for the current slur or tie only, use
-the option {\tt p} in the command that starts the slur or tie,
-followed by {\tt +} or {\tt -} (to turn adjustment
-on or off), followed by {\tt s} or {\tt t} (for slur or tie).
-
-A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for
-{\bf b}roken) in the command that starts the slur.
-
-Slurs involving grace notes are specified within the command for the grace
-(see section~\ref{graces}).
-
-For font-based slurs, the unique aspect of {\tt t} slurs is that if one
-starts or ends on the same
-note as an {\tt s} slur, the former will be moved away from the notehead to
-avoid a collision. {\it This only works if neither slur has an ID code.}
-This feature is only retained for backward compatibility.
-
-The available options should cover most circumstances, but if not,
-the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered
-as in-line \TeX\ commands (see section~\ref{LitTeX}).
-These commands have three arguments:
-slur number, vertical position (pitch, or offset from bottom staff line in
-\bs{\tt internote}s), and horizontal offset in
-notehead widths. When using these commands, you must choose an explicit
-slur number. Use one large enough to avoid
-conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4}
-0 upward.
-Also, remember that non-spacing in-line \TeX\ commands such as this one must
-come {\it before} the note they apply to, in contrast with the \PMX
-slur toggles which may come after.
-
-\subsubsection{Ties}
-
-With font-based slurs, in \PMX the only difference between ties and slurs
-is the default positioning.
-Ordinary slur ends are centered horizontally above or below the notehead,
-while tie ends are shifted inboard and closer to the midheight of the
-notehead. To specify a font-based tie in \PMXX, use a slur command and
-include the option {\tt t}
-in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} .
-
-\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or
-{\tt st}---will have similar differences
-in endpoint positions,
-but in addition will have a different shape (somewhat flatter) and will
-always end at the same height they start. There is also an option to the
-{\tt A} command that affects ties across line breaks
-(see section~\ref{ApDirective}). By default the
-second part of such ties will be drawn as a complete tie symbol. However,
-if you want them to be a {\it half tie}---a special shape that is horizontal
-at its left end---use the command {\tt Ap+h} at the start of the file.
-
-In addition to the notation options just mentioned, ties may also be
-%indicated with the character {\tt\{} before the starting note and {\tt\}} after
-indicated with the character {\tt$\{$} before the starting note and {\tt$\}$} after
-the ending note\NEW{2.6}.
-
-\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs}
-
-No special action is required if a slur or tie happens to cross a line break.
-However, some special, manual adjustments are available for Type K postscript
-slurs in these cases. The global option {\tt Apl} by itself adjusts several
-parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl}
-has been issued,
-then case-by-case adjustments for line-breaking Type K slurs and ties are
-available as suboptions to the
-slur commands. To tweak the horizontal and vertical positions of the end of
-the first segment, enter the suboption {\tt s} in the command that starts
-the line-breaking slur or tie, followed by two signed numbers representing
-respectively the vertical shift
-in \bs{\tt internote}s and the the horizontal shift in notehead widths. To
-tweak the position of the start of the second segment, follow the above by
-another {\tt s} and two more signed numbers. The usual curvature options
-{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in
-the starting command for a line-breaking slur, will apply only to the first
-segment, and if in the closing command, to the second segment. If the tweaked
-slur or tie does not happen to come at a linebreak,
-the special position tweaks (after {\tt s} ) will all be ignored, and the
-curvature tweaks on the closing note will take precedence as they normally
-would.
-
-\subsubsection{Dynamics} \label{dynamics}
-
-\NEW{2.3}
-After the affected note, enter {\tt D} followed by one of the
-following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz,
-"[{\it any text}]", >,}
-or {\tt <} . The last two are diminuendo and crescendo, and they are toggles,
-i.e., the first one of each starts the symbol and the next one ends it.
-The one surrounded by \NEW{2.76} double quotes is an arbitrary text string
-no longer than 64 characters, which may include embedded \TeX.
-By default a single note dynamic mark is horizontally centered below the note
-to which it is assigned, or below the staff, whichever is lower. Dim. or cresc.
-follow the obvious extension of that rule to the starting and ending note taken
-together. Examples of the default positions of dynamic marks are contained
-in the file {\tt dyntest.pmx}. However, with any dynamic mark you can also
-enter position shifts, vertical as a signed integer representing
-the number of {\tt \bs internote}s, then (if desired) horizontal as a signed
-number representing a
-number of notehead widths. There can only be one of the letter-groups on each
-note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be
-entered as separate {\tt D...} commands, and must come in the right order, e.g.,
-
-\medskip
-[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>}
-[{\it more notes}] {\tt D>}
-\medskip
-
-Hairpins \NEW{2.7} may span from one input block to the next.
-
-There are numerous context-sensistive automagic adjustments to the positions
-of all the dynamic symbols. If you don't like the result you can adjust the
-position as just described.
-
-Due to \MusiXTeX's limitations,
-there are some restrictions on hairpins when using font-based slurs.
-They cannot be longer than 68mm, they cannot wrap over a system break, and they
-must be horizontal. Finally,
-only certain specific lengths are available so some horizontal position
-tweaking may be needed, especially when letter-groups and
-hairpins are combined.
-These restrictions are all removed when using postscript slurs.
-
-\subsubsection{Beams} \label{beams}
-
- For the most part, \PMX automatically takes care of the details of
-defining beams: selecting which notes are beamed together, and setting
-the angle, direction, height, and {\it multiplicity} (the number of bars
-along the top or bottom). However, one may define a {\it forced}
-beam---which overrides \PMXX 's selection of which notes are beamed
-together---by
-surrounding the included notes with {\tt [} and {\tt ]}, being certain to
-separate these commands and their options from the included note commands with
-spaces. One may also wish to edit certain features of a beam even when
-\PMXX 's grouping decision
-would otherwise be acceptable; here again the beamed notes must be set
-apart with {\tt [} and {\tt ]}.
-
-The {\tt [} may optionally be followed
-immediately by several options.
-
-{\tt u} or {\tt l} will override
-\PMXX 's selection of the direction of the beam, while {\tt f} will
-{\bf f}lip it from whatever \PMX decided.
-
-{\tt j} {\bf j}oins the beam
-grouping to a prior one started in another system (see below).
-
-One, two, or three consecutive integers, each preceded with {\tt +}
-or {\tt -} , will affect the beam's appearance. The first integer is
-an adjustment to the starting level (in \bs{\tt internote}s) and may range
-from -30 to 30; the second is a slope adjustment with the same
-permissible range; the third is an alternate adjustment to the
-starting level (in beam thicknesses) and may only range from 1 to 3,
-always acting to increase the stem length. The latter may be used to
-align consecutive horizontal beams which have internal multiplicity
-changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two
-beams but the
-first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8}
-would align the tops of the beams with each other. Due to the
-complexity of \PMXX 's beam analysis procedures, these editing commands
-may sometimes produce unexpected results, and some iteration may be
-required to get exactly what you want. For example,
-{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}
-will not produce two aligned beams as desired, because
-when \PMX analyzes the first beam, it automatically raises the starting
-level a bit for another reason, namely, to avoid too short a stem on
-the 64th notes at the end of that beam. In this case,
-the user could counteract \PMXX 's internal adjustment by using
-{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}.
-
-The option {\tt h} forces the beam to be {\bf h}orizontal.
-
-The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity
-of the beam, the number of stem-joining bars.
-
- By default, xtuplets are set apart with their own beam. To beam
-an xtuplet together with other non-xtuplets, just include it with the
-other notes in a forced beam.
-
- Rests may also be included within forced beams, provided they are
-shorter than quarter rests, and of course that they come {\it between} the first
-and last notes under the beam.
-
-It's \NEW{2.5} now easy to define a repeating forced beam pattern.
-If the option {\tt :}~(colon) is included in the starting command {\tt [}~for
-a forced beam, then after you end the beam, more beams of the same duration
-will be forced in
-that voice, until stopped. They will be stopped at either the next regular
-forced beam, or the end of the input block for that voice, whichever comes
-first.
-
- Some users may wish to define beamed groupings with subgroups
-joined by a single beam. The command {\tt ][}, standing alone between two
-note commands in a forced beam, causes the multiplicity to decrease to
-unity and immediately increase to its natural value for the next note.
-For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed
-groups connected by a single beam.
-
-Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the
-same as described
-in the previous paragraph except that the beam disappears between segments.
-Segments should be separated by {\tt ]-[} standing alone between two notes
-inside the forced beam.
-
- If there are large jumps in pitch between notes in a beam within
-a single staff, as a matter of taste you may wish
-to start the beam for example as an upper one and end it as a
-lower. \PMX will never do this automatically, but you can accomplish
-it by forcing the beam with appropriately modified up/down-ness, starting level,
-and slope. If you use this technique, there are two details to note: (1)~if
-there are any intermediate multiplicity changes, they will only be handled
-properly if the initially specified up-down-ness is consistent with the
-vertical position
-of the intermediate notes involved, and (2)~for proper appearance in crowded
-scores you may wish
-to insert hardspace or shifts as described in
-section~\ref{hardspace}. Some examples are included in {\tt most.pmx}.
-
- Beams cannot normally jump staves. But if that is desired, start
-the beam normally in one staff, and terminate the part of the beam in that
-staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with
-{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note
-inside one or both of the members. Some adjustment of the beam height and
-slope may be required. Sometimes the ending section's up-downness must be
-overridden; you will know this is so if the ending is shifted horizontally
-from its proper position by one notehead width.
-Each voice must still have the right number
-of beats, so you will probably need to fill time with blank rests after the
-first member of the beam in one staff and before the second member in the other.
-There can still only be one staff-jumping beam open at a time.
-
- \label{Jumps}In most cases \NEW{2.91} it is possible within \PMX to set a staff-jumping
-beam that changes multiplicity right at the jump. The only cases where the author
-hasn't yet found a way are where multiplicity increases and the beam runs
-at a height between the notes in the two staves. In that case some inline \TeX\
-is needed. The example below covers all possible combinations of jump direction;
-whether the beam runs below all, between, or above all of the notes; and
-whether multiplicity stays the same, increases, or decreases at the jump.
-
-~
-\begin{verbatim}
-h4.4i
-w5.5i
-\\let\nbbut\nbbu\let\nbblt\nbbl\
-% Fixed mult, up jump
-[ g83 g ]j rb4 | [u g83 g ]j rb4 | [u+14 g83 g ]j rb4 /
-rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] /
-% down jump
-rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] /
-[ f84 f ]j rb4 | [l f84 f ]j rb4 | [l-14 f84 f ]j rb4 /
-L2
-% Bar 7 Incr mult, up jump
-[ g83 g ]j rb4 | [l+14 g83 g ]j rb4 /
-rb4 [j f14 f f8 ] | rb4 \def\nbbu#1{\nbbl{#1}\let\nbbu\nbbut}\ [ju f14 f f8 ] /
-[u+14 g83 g ]j rb4 /
-rb4 [jl f14 f f8 ] /
-% down jump
-rb4 [j g13 g g8 ] | rb4 \def\nbbl#1{\nbbu{#1}\let\nbbl\nbblt}\ [j g13 g g8 ] /
-[ f84 f ]j rb4 | [u-14 f84 f ]j rb4 /
-rb4 [ju g13 g g8 ] /
-[l-14 f84 f ]j rb4 /
-L3
-% Bar 13 Decrease mult, up jump
-[ g83 g1 g1 ]j rb4 | [u g83 g1 g1 ]j rb4 | [u+14 g83 g1 g1 ]j rb4 /
-rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] /
-% down jump
-rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] /
-[ f84 f1 f ]j rb4 | [l f84 f1 f ]j rb4 | [l-14 f84 f1 f ]j rb4 /
-\end{verbatim}
-
-\includegraphics[scale=1.0]{sjb291.eps}
-
-~
-
-\subsubsection{Clefs}
-
- A clef change is signaled by {\tt C} followed by a single lower-case
-letter or digit using the code specified in
-section~\ref{ClefCodes}. If clefs come out at the wrong
-vertical position, refer to the note in {\tt pmx.tex}.
-
-\subsubsection{Arpeggios}
-
-To set an arpeggio (a vertical wavy line), simply place the \bs {\tt ?}
-after the commands for both the first and last note. To shift the symbol to
-the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} .
-
-\subsubsection{Lyrics}\NEW{2.73}\label{lyrics}
-
-Lyrics rely on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk
-Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro
-package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX,
-you will need to
-ensure that {\tt musixlyr.tex} is installed somewhere in your system where your
-\TeX\ processor can find it.
-
-Lyrics can be inserted by enclosing them in double-quotes inside the music line
-just before the first note to which they apply, as in
-{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will
-ensure that {\tt musixflx.tex} is input into the \TeX~file.
-
-Lyrics for several notes can be defined in one go.
-The lyrics in each input string demand a specific number of notes, depending on
-the number of syllables, hyphens, and underscores. If there are not enough lyrics,
-question marks will appear; if too many, the excess syllables will not appear.
-
-The rules for aligning lyrics properly with notes are as follows. Words are
-separated by whitespace, with any number of spaces counting as one. Syllables
-within a word that require just one note each are separated by a single hyphen. There are
-two ways to extend a syllable over two or more notes. If it is the last syllable in
-a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra
-note, and finally a space. It will be printed with a continuous underscore.
-To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen
-(with no spaces) for each
-extra note, and it will be printed with some number of hyphens filling the proper
-space between syllables. Conversely, a tilde ({\tt \char126}) between two words
-(with no spaces) prints a space between them while assigning the last syllable of the
-first and the first syllable of the second to a single note\footnote{This is just an
-example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice
-with lyrics, every note must be associated with a syllable, its extension, or two
-syllables joined with a tilde.
-
-Although underscores within a word or consecutive hyphens at the end may not crash the
-code, they are not recommended for any foreseen useful purpose.
-
-Accented characters can be included in lyrics or elsewhere in several different ways. Here
-we provide examples for just one of those methods, one which uses special \TeX~commands.
-The following \PMX input contains most of the available accented characters and
-leads to the example pictured below.
-
-\begin{verbatim}
-"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4
-c44 d e f g a b c c- d e r /
-
-"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}"
-c44 d e f g a b c c- d e8 f g a /
-\end{verbatim}
-
-\includegraphics[scale=1.0]{accents.eps}
-
-By default, lyrics will be placed below the staff where they are entered, half way between that
-and the next lower staff. You may want to
-alter the vertical position of a lyrics line, especially if both voices in
-a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately
-following the closing quote of the
-lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for
-{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of
-\bs{\tt internote}s above or below the default height. This command is "sticky"; it
-will remain in force for later lyrics in the same voice until altered.
-
-It may also be necessary to allow extra vertical space where the lyrics are positioned.
-There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra
-vertical space above any instrument. For example, if the voice is in instrument \#2 and
-lyrics are below that staff,
-\bs\bs{\tt interinstrument=0\bs internote\bs setinterinstrument1\{8\bs internote\}}\bs~ will
-add \newline 8 \bs{\tt internote}s in the space for the lyrics.
-
-Present limitations allow lyrics at upper and lower voices on the bottom two
-staves of instruments 1 to 4. Elsewhere they are quietly ignored.
-
-Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which
-stops bar lines from crossing through the vertical space between instruments.
-
-The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\
-string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in
-section~\ref{LitTeX}~for
-Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\
-strings belonging to a particular note combined does not exceed 128, remember
-to account for the nine characters in {\tt\bs pmxlyr\{\}}.
-
-The sample files {\tt prad5.pmx} and {\tt netsoos.pmx} illustrate many aspects of
-this direct method for entering lyrics in pure \PMX.
-
-This way of entering lyrics is a convenient interface to a subset of the
-facilities offered by {\tt musixlyr}. If more advanced features than those supported by
-{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be manually
-entered as in-line \TeX\ directly into the .pmx file.
-
-If really advanced features are needed (such as having several verses of lyrics
-at once), most users would prefer the convenient interface to {\tt musixlyr} via
-the program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which produces
-a {\tt .pmx} file containing the proper in-line \TeX\ commands. Its input language
-is similar (but not identical) to \PMX and includes most \PMX functionality as a subset.
-
-\subsection{Commands That Affect All Voices} \label{pmxcmds}
-
- Most commands that affect all the voices can only appear in the first
-(lowest) voice in the first (lowest) staff. Most such commands will
-automatically be
-transferred from score to parts when separate parts are generated by
-{\bfx scor2prt} (see section~\ref{scor2prt}).
-
-\subsubsection{Repeats, double bars, forced single bars} \label{Repeats}
-
- Repeat signs, double bars, and other bar-ending options are signaled
-by {\tt R} followed by
-{\tt l, r, lr, d, D, dl, b} or {\tt z} for
-{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat,
-thin-thin {\bf d}ouble
-bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by
-{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}.
-Some of these have peculiarities.
-{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}),
-where otherwise by default there is a double bar. That can be useful for
-example if you
-change the number of instruments (via an option in the movement-break command)
-in the middle of a movement. {\tt Rz} will cause a blank barline at the end
-of the current system, not necessarily the current bar. It can be used
-together with blind meter changes if you want to split a bar across a
-system break.
-If {\tt Rlr} falls at a system break, \PMX will automatically split it in
-two. The command {\tt Rdl} will likewise be split at a system break, but if
-not at a system break, the {\tt d} will be ignored.
-
-These commands must be in the
-first voice. It is best only to place them before the first note in an
-input block or if necessary after the last one; otherwise {\bfx scor2prt}
-may behave erratically.
-Using two separate {\tt R} commands in succession will cause
-unpredictable results.
-
-
-\subsubsection{Voltas (first and second endings)}
-
- Beginnings and ends of first and second endings are signaled by
-{\tt V} (for {\bfi v}{\it olta}).
-If it's the {\it end} of the volta, add the option {\tt b} (for
-{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}.
-If it's the {\it start} of a volta, you can
-optionally enter any text at all that doesn't include a space and doesn't
-start with {\tt b} or {\tt x} (most
-commonly {\tt 1} or {\tt 2}). A period will automatically be
-appended to the text. If one volta ends and another starts right
-away, only a single {\tt V} is needed. Voltas must only be entered in the
-first voice. If separate parts are to be created from a score using
-{\bfx scor2prt}, then only a single volta is allowed in any given input
-block, and it must be at the beginning of the block.
-
-\subsubsection{Meter changes}\label{MeterChange}
-
- Meter can only be changed at the beginning of an input block.
-A {\bfi m}{\it eter change} command starts with the letter {\tt m}.
-There are two different ways to complete the command.
-
-{\bfx Method 1.} Enter 4 numbers
-with no intervening spaces. The four numbers are {\tt mtrnuml},
-{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata},
-with the following exceptions for this method only:
-You must use {\tt o} to represent
-the number 1; if you enter the digit {\tt 1} then \PMX will interpret that
-digit and the next as a 2-digit integer, between 10 and 19 inclusive.
-19 is the largest number that can be entered with this method. Note that
-{\tt mtrdenl=0} still represents a whole note.
-
-{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just
-listed, but separate them with slashes ({\it /}).
-
-\subsubsection{Bar numbers}
-
- By default \PMX will place a boxed bar number at the start of every system
-except the first, above the clef at the beginning of the top staff. Numbers start at
-1 unless the first bar is a pickup included in the first input block, in which case
-the pickup bar is numbered 0. There is no way to change any of this except with
-inline \TeX.
-
- There are several ways to modify specific aspects of bar numbering
-when blank gaps have been inserted (see section~\ref{Gaps}), or to continue
-numbering rather than resetting to zero at a movement break
-(see section~\ref{movbrk}).
-
- If you wish to mover the bar number box at the start of any system,
-enter the type 1 inline \TeX~ command {\tt\bs bnrs[i][j]} anywhere in the
-system before the linebreak, where {\tt [i]} is the vertical shift in
-{\tt \bs internotes} and {\tt [j]} is the horizontal shift in notehead
-widths.
-
-\subsubsection{Fundamentals of key changes and transposition}\label{transpose}
-
-As explained in section~\ref{setupdata}, the intial key signature, also called
-the concert key, is specified in the setup data. In order to change the key
-signature or to transpose (i.e. make the printed notes appear at a different
-level than where
-they were entered), use the {\tt K} command. The syntax is {\tt K}[{\it n}][{\it k}]
-where {\it n} and {\it k} are explicitly signed digits respectively giving the distance
-to transpose in \bs{\tt internotes}, and
-new key signature. When transposing, you should always use relative accidentals, activated by
-the separate command {\tt Ar} at the start of the first input block (see section~\ref{ArDirective}).
-For example, to transpose a piece in C major to E major you would enter
-{\tt Ar~K+2+4} at the beginning of the first block.
-
-To transpose by a half step to a key with the same
-letter name, use {\tt K-0}[{\it k}] where as before {\it k} is an explicitly signed integer giving
-the new signature.
-(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key
-change, see the next paragraph.)
-
-A simple key change can be signalled at the start of any input block. Use
-the command {\tt K} with {\it n}={\tt +0} as the first argument and the new key signature as the second.
-
-If the signature changes from sharps to flats
-or vice-versa, the default will be to include naturals in the first instance of the new
-signature. To suppress this behavior, use the \NEW{2.7}option {\tt n} right after {\tt K} .
-For example, to change from
-2 flats to 3 sharps and suppress the naturals, enter {\tt Kn+0+3} .
-
-The procedures described above will affect all instruments in the score. To change the key of or
-transpose just a single instrument, use Ki[{\it m}][{\it n}][{\it k}] when {\it m} is an unsigned integer
-representing the instrument number, and {\it n} and {\it k} are as just described.
-For more than one instrument, you may immediately repeat everything after {\tt K} (including {\tt i}).
-This may come either at start of score (right after setup) or at the beginning of any later input
-block. But if it's later, it must be preceded by a normal
-(full score) non-transposing key change command {\tt K+0}[{\it k}].
-For example, to change the keys of the second and third instruments to one sharp and two sharps
-respectively, use {\tt Ki2+0+1i3+0+2} .
-
-\subsubsection{More on transposition; ``transposing'' instruments and example files}
-
-In practice, two fundamentally different situations may arise: (1) (Full-score transposition) A
-score that has been entered in one key
-is to be completely transposed to a different key and pitch level, usually to force the range to fit
-different instruments than original; or (2) (``Transposing''
-instruments) some of the instruments require a part printed in a different key and at a different
-pitch level than it sounds.
-
-To transpose
-an entire score from the key specified in the setup data (Case TTA), simply use the
-{\tt K} command at the
-beginning of the first input block, as outlined in the previous section.
-
-It gets more complicated when some transposing instruments are involved,
-because there are three different possibilities:
-(Case~CTS)~The transposing instruments can be entered in concert key but printed
-transposed in the score and in separate parts created with {\bfx scor2prt} (see
-section~\ref{scor2prt});
-(Case~TTS)~They can be entered transposed and printed transposed in
-both the score and in parts;
-(Case~CCS)~They can be entered in concert key and printed in concert key in the score, but
-printed transposed in parts. Matters are further complicated if there is a later key
-change. Finally, if a MIDI file is to be produced, then in cases CTS and TTS an additional
-step involving the transpose option to the MIDI command {\tt I}
-(see section~\ref{MIDI}) must be taken.
-
-All of the required commands for all four of these cases are summarized in the table
-below. Following that, they are discussed a bit further and illustrated in
-four example files (named [Case]{\tt .pmx}) that are also included in the distribution.
-
-\font\smaller=cmr10
-{\smaller
-\begin{center}
- \begin{tabular}{cllcll}
- \hline
- Case & PMX entry & Printed score & MIDI pitch & Initial commands & Later key change \\
- \hline
- TTA & All B flat major, & All transposed up & transposed & {\tt K+2+2} & {\tt K+0-5} \\
- ~ & later key change & 2 steps to D & ~ & {\tt I} & ~ \\
- ~ & to B flat minor & major, later to D & ~ & ~ & ~ \\
- ~ & ~ & minor & ~ & ~ & ~ \\
- \hline
- CTS & All B flat major, & Trombone (1) & concert & {\tt Ki2+5+1i3+1+0} & {\tt K+0-5} \\
- ~ & later key change & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+5-2i3+1-3} \\
- ~ & to B flat minor & (2) transposed up & ~ & ~ & ~ \\
- ~ & ~ & 5 to G, later G & ~ & ~ & ~ \\
- ~ & ~ & minor; clarinet (3) & ~ & ~ & ~ \\
- ~ & ~ & transposed up 1 to & ~ & ~ & ~ \\
- ~ & ~ & C, later C minor. & ~ & ~ & ~ \\
- \hline
- TTS & Trombone (1) & Trombone (1) & concert & {\tt Ki2+0+1i3+0+0} & {\tt K+0-5} \\
- ~ & concert; alto sax & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+0-2i3+0-3} \\
- ~ & (2) transposed up & (2) transposed up & ~ & ~ & ~ \\
- ~ & 5 to G, later G & 5 to G, later G & ~ & ~ & ~ \\
- ~ & minor; clarinet (3) & minor; clarinet (3) & ~ & ~ & ~ \\
- ~ & transposed up 1 to & transposed up 1 to & ~ & ~ & ~ \\
- ~ & C, later C minor. & C, later C minor. & ~ & ~ & ~ \\
- \hline
- CCS & All B flat major, & All B flat major, & concert & {\tt \%2K+5+2} & {\tt K+0-5} \\
- ~ & later key change & later key change & ~ & {\tt \%3K+1+0} & ~ \\
- ~ & to B flat minor & to B flat minor; & ~ & ~ & ~ \\
- ~ & ~ & parts printed & ~ & ~ & ~ \\
- ~ & ~ & transposed & ~ & ~ & ~ \\
- \hline
- \end{tabular}
-\end{center}
-\medskip
-}
-
-{\bfx Case TTA: Full score transposition.}
-Here the entire score is to be transposed. In the setup data the signature is set to -2. Then
-the command {\tt K+2+2} says to transpose up 2 steps from the initial key of B flat to D, and put 2
-sharps in the key signature. No special attention is needed for the MIDI; it will come out in the
-transposed key. A later (full-score) key change requires another {\tt K} command, but now the
-transposition parameter is set to 0 and the new key is the concert key (I guarantee people will be
-confused by this). In the example the command for the signature change is {\tt K+0-5} , making the
-new concert key B flat minor with 5 flats, and, considering the initial transposition, causing the
-score and MIDI to come out in D minor with 2 flats.
-
-{\bfx Case CTS: Parts all entered in concert key, but some transposed in the printed score.}
-Here, to produce the
-printed score, parts are all entered in concert key, but instrument-wise transposition is used for
-the transposed instruments. In the example the alto sax part is entered in B flat but will be
-transposed up 5 steps in the printed score, to G major. This is brought about with {\tt Ki2+5+1} . Similar
-logic applies to the clarinet part, while the trombone part is not transposed. If a MIDI file is
-desired, it will come out in concert key, but only after using the transpose option in the MIDI
-command to undo the transpositions caused by the K command. In the example the command
-{\tt IT+0-5-1} does this, ``de''transposing each of the three instruments by the necessary number of
-steps. For a later key change, first the full-score {\tt K} command changes the concert key, then the
-instrument-wise {\tt Ki command}, with the same transpositions as the initial one, sets the new key
-signatures for the transposing instruments. Here the signatures to be entered are the transposed
-signatures, i.e., the ones that will be printed.
-
-{\bfx Case TTS: Parts entered in respective transposed keys, and printed in those keys in the score.}
-In this method of scoring transposing instruments, parts for transposing instruments
-are transposed ahead of time and
-entered exactly as they will appear in the score. So to produce the printed
-score this way, the pitch does not have to be changed, but the key signatures must be set
-separately for each transposing instrument using the {\tt Ki} command. In the example, the alto sax is
-entered in the key of G so the instrument-wise option for it is {\tt Ki2+0+1} . Note that {\tt +0} means no
-further transposition is needed before printing, because the part was transposed on entry. Once
-again, if a MIDI file is desired, it will come out in concert key, but just as in the previous case,
-you must use the transpose option in the MIDI command {\tt IT} to undo the transpositions caused
-by the {\tt K} command. For a later key change, the same full-score {\tt K} command as in the previous
-case is used to change the concert key. Then the instrument-wise {\tt Ki} command, now with {\tt +0} for
-the transpositions, sets the new key signatures for the transposing instruments, again using the
-transposed signatures.
-
-{\bfx Case CCS: Parts entered in concert key, printed in score in concert key, but transposed in
-separate printed parts.}
-This is the easiest case of all. Nothing special needs to be done for the score, but part-only,
-full-score transposition commands {\tt\%}[instrument number]{\tt K...} should be entered in the score. Then
-{\bfx scor2prt} will generate a transposed part. Of course if a MIDI is made from the score it will
-come out at concert pitch. For example, to transpose the alto sax part up 5 steps, initially to G
-major, near the top of the score file enter {\tt\%2K+5+1} . Later, where the concert key changes to B
-flat minor and the alto sax to G minor, enter simply {\tt K+0-5}, making the new concert key B flat
-minor with 5 flats. When {\bfx scor2prt} is invoked to make separate parts, this will be transferred
-verbatim into all parts, and then \PMX will internally adjust the signature for each transposed part
-as required.
-
-{\bfx Making separate parts.}
-In all of the cases discussed, if the patterns of commands in the table are followed, then
-separate parts can be made as usual using {\bfx scor2prt}. They will
-automatically come out transposed as desired.
-
-\medskip
-%\pagebreak
-{\bfx Texts of the transposition sample files:}
-% Note: when editing is done, figure out how to make scripts size work without page break.
-\begin{scriptsize}
-%\begin{tiny}
-\begin{multicols}{4}
-\begin{verbatim}
-%TTA.pmx
-3 2 4 4 4 4 0 -2
-1 1 20 .13
-Trombone II+III
-Trombone I
-bbb
-.\bs
-Tt
-TTA
-Apr
-I
-K+2+2
-b42 d f b t b t gf df b /
-b42 d f b t b t gf df b /
-b42 d f b t b t gf df b /
-K+0-5
-b42 c d e f gs as b /
-b42 c d e f gs as b /
-b42 c d e f gs as b /
-
-
-
-%CTS.pmx
-3 3 4 4 4 4 0 -2
-1 1 20 .1
-Trombone
-Alto Sax
-Clarinet
-btt
-.\
-Tt
-CTS
-Apr
-Ki2+5+1i3+1+0
-IT+0-5-1
-b42 d f b t b t gf df b /
-b43 d f b t b t gf df b /
-b44 d f b t b t gf df b /
-K+0-5
-Ki2+5-2i3+1-3
-b42 c d e f gs as b /
-b43 c d e f gs as b /
-b44 c d e f gs as b /
-
-%TTS.pmx
-3 3 4 4 4 4 0 -2
-1 1 20 .1
-Trombone
-Alto Sax
-Clarinet
-btt
-.\
-Tt
-TTS
-Apr
-Ki2+0+1i3+0+0
-IT+0-5-1
-b42 d f b t b t gf df b /
-g44 b d g t g t ef bf g /
-c45 e g c t c t af ef c /
-K+0-5
-Ki2+0-2i3+0-3
-b42 c d e f gs as b /
-g44 a b c d es fs g /
-c45 d e f g as bs c /
-
-%CCS.pmx
-3 3 4 4 4 4 0 -2
-1 1 20 .1
-Trombone
-Alto Sax
-Clarinet
-btt
-.\
-Tt
-CCS
-Apr
-%2K+5+1
-%3K+1+0
-I
-b42 d f b t b t gf df b /
-b43 d f b t b t gf df b /
-b44 d f b t b t gf df b /
-K+0-5
-b42 c d e f gs as b /
-b43 c d e f gs as b /
-b44 c d e f gs as b /
-\end{verbatim}
-\end{multicols}
-\end{scriptsize}
-%\end{tiny}
-
-\subsubsection{Text}
-
- The commands {\tt h} or {\tt l}, when placed in the first
-column of an input line and followed by a blank or, for {\tt h} only, by
-a signed integer,
-stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a
-text string
-above or below the {\it top} staff in the {\it first} bar of the block where
-they are entered. The text string must be on a line of its own,
-immediately following the command. The integer is a vertical shift in
-\bs{\tt internote}s.
-
- A {\it title block} with up to three elements can be defined at the
-beginning of the first input block. {\tt Tt} signals that the text
-{\it on the following line} is to be set as a {\bf t}itle for the whole piece,
-and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name,
-to be set below the title and right justified. {\tt Ti} likewise stands for
-an {\bf i}nstrument name, which will be set above the title, left-justified.
-The text for any of these commands can be split over two or more lines
-by including \bs\bs~at the location of the line break.
-
-{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates
-parts from a score.
-
-Extra vertical space can be added between the title
-block and the top system by appending to {\tt Tt} a one- or two-digit
-number representing the space in \bs{\tt internote}s. This only works if
-{\tt Tt} is the {\it final} title block element entered.
-
-The {\tt D} command can be used to enter arbitrary text as described in
-section~\ref{dynamics}.
-
-Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73}
-
-\subsubsection{Page numbering, centered header text}
-
- If you want pages to be numbered at the top left or right, place
-the command {\tt P} anywhere within the \PMX code that represents the first
-page to be numbered (usually the first or second page).
-{\tt P} can be followed optionally by the starting
-page number and/or by {\tt l} or {\tt r}, the latter overriding the default
-locations of odds on the right and evens on the left. \NEW{2.0}
-There is also a special option {\tt c} for {\bf c}entered header text.
-It must be the {\it last}
-option in the {\tt P} command. It will define text to be printed at the top of
-every page {\it after the first}. If a blank follows {\tt c}, the default
-header text will
-be the instrument name entered with the command {\tt Ti} . If any non-blank
-character except {\tt "} follows {\tt c}, the header text will start with that
-character and end at the next blank. If {\tt "} follows {\tt c}, the
-header text will be everything between that and the next {\tt "} (this
-permits headers containing spaces). The {\tt P} command and its options
-will be ignored when making parts from a score (since page numbering
-will usually be different in the score than in the parts), but page
-numbering (and centered headers) for parts can be still be initiated
-independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see
-section~\ref{scor2prt}).
-
-\subsubsection{Overriding certain defaults, or
-getting the most from \PMXX}\label{Acommands}
-
-Understanding this section is important if you want to get the most out
-of \PMXX. In many
-cases the switches described here represent subtle but significant
-improvements that have come along since \PMX was initially developed. Rather
-than changing the defaults, they are treated as optional in order not to
-upset the layout of older scores. For example, virtually every new score I
-create begins with at least {\tt Abple}.
-
-As you may have guessed, it is the command {\tt A} that can be used to
-override a grab-bag of default settings. The available options affect a
-wide range of \PMX features: sizes
-and interpretation of accidentals,
-dot positions, space before the first note of every bar, space between staves,
-slur package selection, vertical positioning of Type K postscript
-slurs, line-breaking Type-K slurs, curvature of Type-K slurs,
-naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6},
-brackets for non-beamed xtuplets, and inputting so-called
-{\it normal include} files.
-
-{\bf Size of Accidentals.}
-{\tt b} makes all accidentals
-{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used
-unless unaltered spacing doesn't provide enough space. Thus the default
-behavior may cause a mixture of big and small accidentals, and in fact is not
-recommended.
-
-{\bf Relative accidentals.}\label{ArDirective}
-If transposing, then the {\bf r}elative accidental convention must be used,
-indicated by {\tt r}. This changes the way you enter accidentals. With
-relative accidentals, the note options {\tt s}, {\tt f}, {\tt n} take on
-unconventional meanings, now respectively signaling that a note should be raised
-a half step, lowered a half step, or left alone {\it relative to the pitch
-it would have according to the key signature}. So for example, with {\tt Ar},
-in the key of B flat major the note command {\tt bs} would cause a B natural
-to be printed. By contrast, the default is
-the normal, absolute convention, where the indicated pitch alteration is
-relative to what the pitch would be if there were no key signature.
-
-{\bf Vertical position of dots.}
-If there are staves with two voices, {\tt d} causes dots in the
-lower one to appear on or {\it below} center, in contrast with the default.
-
-{\bf Gap at start of bar.}
-Use {\tt a} followed by a
-decimal number to override the default setting for \bs{\tt afterruleskip},
-the space before the first note in a bar. The default in \PMX is
-{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s.
-
-{\bf Space between staves within a system.}
-If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or
-{\tt i} , followed by a decimal number, to apply a scale factor to
-\bs{\tt interstaff} . {\tt I}
-affects all pages, {\tt i} only the current one. Shrinking the space between
-staves within each system will cause the space between systems to increase, and
-conversely. These options have no effect if there is only one staff per system.
-
-{\bf Equal space between systems.}
-\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system
-and inserts equal vertical space between boxes. \NEW{2.3}
-When objects protrude above the top staff in a system or
-below the bottom one, this can lead to unequal spacing between the top staff
-line in one system and the next. If you prefer that the vertical spacing
-between the staves of consecutive systems be constant for the whole page,
-use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae}
-is that it will prevent systems from spilling over onto extra pages,
-regardless of how many systems are put on the page. When using this option,
-you may occasionally want to force more vertical space between certain systems.
-There is a \TeX~macro
-{\tt \bs spread} that can be inserted anywhere in the system before the
-desired wider gap. It has one argument, the desired extra space in
-{\tt\bs internote}s.
-
-{\bf Stop grouping systems at top in sparse pages.}
-Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v}
-option of the {\tt A} command (for
-{\bf v}ertical). \PMX normally spreads staves
-vertically over a full page, unless the white space becomes excessive,
-in which case it groups all staves near the top of the page. Entering
-{\tt Av} will suppress this grouping near the top, and ensure that
-systems will always be spread vertically regardless of how much white
-space is left. It is a toggle; the second time it is issued, the
-behavior reverts to the default.
-
-{\bf Add extra vertical space before and/or page eject (last resort)}\NEW{2.8}
-As a last resort in getting the right spacing at the top or bottom of a page,
-the option {\tt V} will insert a vertical skip of the specified number of
-{\tt \bs Internote}s before and after the next page eject. It must be followed by
-{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number.
-
-{\bf Make some staves smaller.}
-The {\tt S}
-option to the {\tt A} command\NEW{2.7} allows you to specify a
-different size for selected staves and their notes compared to the
-global value set in the setup data. It is followed by exactly {\tt noinst}
-characters, one for each instrument, selected from
-{\tt 0}, {\tt -}, {\tt s}, or {\tt t} for
-normal, small, small, or tiny sizes respectively.
-
-{\bf Postscript slurs.}
-The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K
-{\bf p}ostscript slurs. To use this
-you must have {\tt musixps.tex} somewhere that \TeX~can find it, and
-{\tt psslurs.pro} somewhere that {\bfx dvips} can find it.
-If these files happen to be missing from your \TeX~distribution, they
-can be found
-\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{here}}.
-Several suboptions affecting Type K
-postscript slurs are described here and in the following paragraphs. First,
-by default these slurs and ties will not have their vertical positioning tweaked
-to avoid tangencies with staff lines. To activate this type of adjustment,
-use one of the suboptions {\tt +s} or {\tt +t} for
-slurs or ties respectively.
-(For example, {\tt Ap+s}). Be
-warned that this may alter the endpoint positions from what one would normally
-expect. To deactivate the adjustment, use the same command but with {\tt -} .
-Another suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie
-is drawn at the start of the second line.
-However, the suboption {\tt Ap+h} causes the use of
-{\it{\bfi h}alfties} for the second part, which are flattened at their
-left-hand end, and require the
-special font {\tt mxsk} provided with the Type K postscript slur distribution.
-It may be cancelled with {\tt Ap-h} .
-
-The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks
-and tweaking capabilities for line-breaking Type K slurs and ties. It
-automatically tweaks the
-horizontal positions of the end point of the first segment and the start of the
-second, uses a normal tie character for both segments of a tie, and enables
-further tweaking of the horizontal and vertical positions of internal endpoints
-on a case-by-case basis, using options in the initial slur or tie command (see
-section~\ref{lbslurs}, and the end of the fourth system in the example file
-{\tt barsant.pmx}).
-
-Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of
-Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or
-decrease the default curvature of all slurs to the next level in the sequence
-{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels
-may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the
-default curvature by two levels. If you try to
-go outside the allowable range, a warning will be issued, the curvature will be
-set to
-{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for
-further details.
-
-If \NEW{2.5} your score contains Type K slurs and if you use a program such as
-{\bf dviselec} to extract single pages
-from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g.
-{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written
-into the postscript file at the top of of every page.
-
-{\bf Vertical rest positioning in keyboard scores.}
-The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in
-two-voice staves. By way of background, without this option, rests in two-voice
-staves have default positions based on a simple rule that is not
-context-sensitive: those in the lower voice (the one before {\tt//}) are
-4\bs{\tt internote}s below their single-voice default positions, and those in
-the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the
-option {\tt AK} invokes a set of context-sensitive rules to set the default
-position. The baseline rule is to align the rest in a horizontal line with the
-next following note in the same bar. If there is no following note in the bar,
-then it is aligned with the next prior note. If there are simulataneous rests
-in both voices, the old rule is applied. When the {\tt AK} option is in force,
-it only affects places where there are two voices in a staff. It may be toggled
-on and off at the beginning of any input block, using just {\tt AK}. When the
-option is in effect, any user-defined tweaks on the height of a rest will
-supersede the option for that particular rest, i.e., the tweak will be applied
-relative to the single-voice default position. When {\tt AK} is in effect, the
-option {\tt L} in a rest command will cause the vertical position of that rest
-to be based on the {\it preceding} note, rather than the following one as is
-the default.
-
-{\bf Names of \PMX files for parts.}
-The \label{ANDirective}option {\tt N} to the {\tt A} command allows you to specify
-arbitrary names for the part files generated by
-{\bfx scor2prt}. Follow {\tt AN} with the part number and the new file base name in double
-quotes. Immediately follow this with any number of additional part numbers and
-alternate file base names in quotes. When part files are generated, {\tt .pmx} will be
-appended to the requested base name.
-
-{\bf Gapped bracket for nonbeamed xtuplets.}
-Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with
-a bracket above or below, and
-a number above or below that. If you would like this number instead to be
-positioned within a gap in the bracket itself, enter {\tt AT} .You must have
-{\tt tuplet.tex} available to your \TeX~processor. If missing, this file
-can be found
-\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
-{\underline{here}}.
-
-{\bf ``Include'' file.}
-\PMX commands \NEW{2.5}in an external file can be included at the start of any input
-block by designating the file as a {\it normal include} file, using the
-command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details.
-
-{\bf Positioning printed pages.}
-For \NEW{2.7} printing on {\bf l}etter or a{\bf 4} paper, the command {\tt Acl} or
-{\tt Ac4} will set the margins
-of the printed area so it will be properly centered with no further
-adjustments needed when running {\bfx dvips}.
-
-\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace}
-
- Despite the author's best intentions to relieve you of the chore
-of adjusting {\it any} horizontal spacing by hand, there may be some occasions
-where you
-will want to do it. A command starting with {\tt X} initiates one of two
-types of horizontal adjustment: A {\it shift} moves one or more
-characters but does not affect any other spacing anywhere; a
-{\it hardspace} inserts a fixed amount of space at a particular time and
-affects the horizontal positions of everything in all staves in the system.
-If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects
-only the next note or rest. If it includes a {\tt :} it either starts or
-terminates a {\it group} shift.
-All {\tt X} commands except group shift terminations
-must include a decimal number for the size of the offset in notehead widths.
-If the number is immediately followed by
-{\tt p}, then the number represents points, otherwise, notehead widths.
-If there is no such number but there is a {\tt :} the command
-signals a group shift termination.
-Group-shift commands must occur in
-start/terminate pairs, and group shifts cannot extend across a bar line.
-
-An {\tt X} command containing neither {\tt S} nor {\tt :} is
-automatically a hardspace.
-
-Because horizontal spacing in parts will usually differ from that in the
-score, by default the hardspace command will {\it not} be copied into parts
-by {\bfx scor2prt}; however the shift commands will be copied.
-These behaviors can be overridden using the methods to be described in
-section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score
-files neat
-and readable, the character {\tt B} can be used within the {\tt X} command
-to signify that it applies to {\bf b}oth score and part, or {\tt P} for
-{\bf p}art only.
-
-\subsubsection{Minimum spacing between notes in crowded systems}
-
- \PMX does some special, complex analysis to adjust horizontal spacing
-in crowded systems. By default, the minimum space between consecutive
-noteheads is 0.3 notehead widths. In very special situations you may want to
-change 0.3 to some other fraction. To do so, enter {\tt W. }(decimal point is required)
- followed by {\tt 1}-{\tt 9} to represent the number
-of tenths of a notehead width to be used as the minimum spacing. Use of this option
-is demonstrated in the example file {\tt barsant.pmx}.
-
-\subsubsection{Page size}
-
- The default page size is 740 by 524 pt (10.3 by 7.3 in). To change
-the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or
-{\tt w}[{\it n}][{\it u}] at
-the beginning of the first input block. Here {\it n} is a decimal number
-for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for
-millimeters, and {\tt p} or nothing for points. This command can be used
-together with {\tt \%\%} or {\tt \%!}
-(see section~\ref{scor2prt}) to give the parts made by
-{\bfx scor2prt} different page sizes than the parent score.
-
-\subsubsection{Line, page, and movement breaks} \label{movbrk}
-
- It is possible to force line, page, or movement breaks anywhere.
-For a line break, just enter {\tt L}[{\it n}] at
-the start of an input block (in the first voice only), and the {\it n}-th
-system will start there. To start page {\it m} at line {\it n}, enter
-{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without
-first forcing a line break.
-
- To force a movement break, you must first force a line break as above,
-then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede
-the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert
-vertical space in \bs{\tt internote}s before the break,
-{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction
-of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather
-than resetting the bar number to 0 (which is the default). \NEW{1.4}Also, to
-change the {\bf n}umber of instruments,
-enter {\tt n}[{\it integer}], then the number of each instrument in their new
-order, then a clef-designating character for each staff of each instrument.
-(An instrument's number is simply its position in the original sequence.)
-There can never be more than the original number of instruments. In this
-instance, \NEW{2.5}two-digit instrument numbers must be preceded with
-{\tt :} (colon). If you want to start with some number of instruments and
-later increase it, you'll need to insert
-a dummy page at the beginning with the full set of instruments, then start the
-second page with a movement break and decrease the number there.
-
-Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either
-forces or
-suppresses {\bf r}eprinting the instrument names. The default is to print
-them if the number of instruments changes, but otherwise not.
-
- Immediately after a movement break, any desired meter changes,
-key changes, or text can be entered in the normal way.
-
-\subsubsection{Blank gaps} \label{Gaps}
-
-A blank gaps can be insterted in the middle or at the end of almost any system.
-The middle gap might be used to create a very short coda at the end of a
-system. The end gap leaves the system shorter than the others. Both types
-create a space that could be used for text comments.
-
-Both types of gapped systems are initiated by an option to an {\tt L} command at
-the beginning of the system in question. The syntax is
-{\tt L}[{\it n}]{\tt S}[{\it x}] where [{\it n}] is the system number,
-[{\it x}] is the fraction of the width of the system up to the beginning of the
-gap, and no brackets are to be entered. This must be soon followed by a normal
-{\tt L}[{\it n+1}] command to start the next line. With no intervening {\tt LC}
-command (see below), the system entered between the two {\tt L}'s will simply
-start at the left margin and be shortened to a length of {\it x} times the
-default.
-
-To create a middle gap, begin as above with {\tt L}[{\it n}]{\tt S}[{\it x}]
-followed by the material to the left of the gap. Then enter {\tt LC}[{\it y}]
-to insert a gap followed by another segment of music extending to the end of
-the system. Here {\it y} is the fraction of the total system length occupied
-by the second segment (so the fraction of the width occupied by the gap will
-be 1-{\it x}-{\it y} ). The second segment must soon be followed by
-{\tt L}[{\it n+1}] to start the next normal line. Obviously {\it x}+{\it y}
-must be less than 1.
-
-Normally a bar number will appear at the beginning of the second segment after
-a gap. To suppress this, use {\tt LC}[{\it y}]{\tt n} to start the second
-segment.
-
-If you want to insert text into the gap, one way is to use the text-dynamics
-command after the last note before the gap:
-{\tt D"}{\it text}{\tt "}[{\tt +},{\tt -}][{\it n}][{\tt +},{\tt -}][{\it m}] , where
-{\it n} and {\it m} are the vertical and horizontal offsets from default
-position. Some trial and error will always be needed here.
-
-In a system with a gap, the default barline at the end of one or two segments
-of music will be a single bar unless the following line starts a new movement
-in which case it will be a double bar. If you want to change either of these
-segment-ending barline symbols to something else, then after the last note in
-the lowest voice before the gap, you may use the normal ``repeat'' command,
-e.g. {\tt RD} for a thin-thick double bar, or with other options for different
-symbols as explained in \ref{Repeats}. If you use this option, it must be
-immediately followed by a space and {\tt /} to end the input block. So in
-particular if you have entered some text with the {\tt D} command, that must
-come before the {\tt R} command.
-
-Here is an example \PMX file incorporating the different types of gaps,
-followed by the output it produces:
-
-%\pagebreak
-\begin{verbatim}
-1 1 2 4 2 4 0 -1
-1 9 20 .1
-Harp
-t
-.\
-h7.4i
-Abe
-h
-Movement 1
-f44 g a g f g a g /
-L2S.4
-f44 g a g a g D"\bigfont Hello"+8+8 /
-LC.4
-f44 g a g a g /
-L3
-f44 g a g f g a g /
-L4Mi.1+11
-h
-Movement 2
-f44 g a g f g a g /
-f44 g a g oC+1+6 f g a g /
-L6S.4
-f44 g a g a g
- D"\bigfont D.C. al"+10+6 D"\bigfont Coda"+4+6 RD /
-LC.4n
-f44 oC+2 D"\bigfont Coda"+18-8 g a g a g /
-L7Mi.1+11
-h
-Movement 3
-f44 g a g f g a g /
-f44 g a g f g a g /
-L9S.8
-f44 g a g a g D"\BIgfont The end"+6+11 /
-\end{verbatim}
-
-\includegraphics[scale=.7]{gapxmpl.eps}
-
-\subsubsection{Fractional bars}
-
- Often if a piece starts with a pickup, the last bar may not be
-complete. In such cases, it is usually possible to
-place the last bar in an input block by itself, headed by a {\it blind} meter
-change.
-For example, if the meter had been 4/4 and there was a quarter note
-pickup, leaving 3 beats in the last bar, the last bar might be coded
-{\tt m3400 cd24 /}.
-
-\subsubsection{Stem direction of bass notes}
-
- By default \PMX makes stems go up for middle-line D's in bass
-clef, but down for notes on the middle line of all other clefs. If
-you want middle-line bass-clef notes also to have downward stems by default,
-enter a {\tt B} near the beginning of the file.
-
-\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX}
-
- There are five ways to enter \TeX ~commands into the {\tt .pmx} file.
-Four of
-them are {\it in-line}, where the commands are entered directly; the fifth
-is by way of an external file.
-
- The four categories of in-line \TeX~strings
-differ mainly in where they will appear in the {\tt .tex} file.
-(A \TeX\ {\it string} consists of a starting character, a sequence of
-\TeX~commands, and a terminal character).
-In the {\tt .pmx} file,
-only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must
-adhere to the 128-character limit per line, but each line can have more than
-one \TeX\ command.
-Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file
-right before the \TeX
-~command for the next note or rest in the {\tt .pmx} file. Multiple
-type 1 strings associated with the same note or rest are allowed, although
-the total length may not exceed 128 characters (so there is generally no
-reason not to combine all \TeX\ commands for a single note into a single
-type 1 string).
-
-A type 2 string begins with \bs\bs\
-and will appear near the top of the {\tt .tex} file, right before
-\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file.
-A type 3 string starts with \bs\bs\bs\ and will appear right before the
-{\tt\bs xbar}
-or {\tt \bs alaligne} at the beginning of the current input block, before the
-first barline of the block. While individual type 2 and 3 strings may not wrap
-over line breaks in the {\tt .pmx} file, strings of like type on consecutive
-lines will appear together in the {\tt .tex} file.
-Types 1, 2, and 3 strings must end with \bs\ (backslash-space).
-This means that they may not contain
-the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string
-should be isolated on a line of its own, and should be started in column 1.
-
-Type four permits multiple
-lines of arbitrary text to be entered at the top of the {\tt .pmx} file;
-they will be transferred verbatim to the top of the {\tt .tex} file. Type
-four is initiated with {\tt ---} alone as the top line of the {\tt .pmx}
-file. Then follows any text on any number of lines, until the next line
-starting with {\tt ---} terminates the block to be transferred.
-
-The only other distinction among the types of in-line \TeX\ strings arises when
-{\bfx scor2prt} is used to make separate parts
-(see section~\ref{scor2prt}):
-types 2-4 will be copied into all parts, while type 1 only goes into its
-original part.
-
-If you should want to enter a type-1 (note-based) string longer than
-128 characters, you could use a series of type-2 or -3 strings to define
-a \TeX\ macro containing the desired commands.
-
- \PMX provides one further option for entering an unlimited set of
-\TeX ~commands
-just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings.
-Simply put the commands into a text file named [{\it basename}]{\tt .mod}
-in the texinput directory. It will then automatically be
-entered with an \bs{\tt input} command. This feature is retained mainly for
-backward compatibility; it has been essentially replaced by the various options
-for in-line \TeX ~strings.
-
-\subsection{Figured Bass}
-
- Figure commands are entered {\it after} their associated note commands.
-They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}.
-Enter the characters as
-they would appear from top to bottom, and as you might pronounce them,
-e.g., {\tt 64} or {\tt 73}. Flats here are {\tt -} (minus), sharps are
-{\tt \#}, and
-naturals {\tt n}, {\it before} the number (if there is a number) (notice
-the characters are different here than in notes).
-So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over)
-flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}.
-In addition to the symbols just described, the following special symbols
-are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} .
-\NEW{2.6}To use them, you must have the font
-\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}}
-in your \TeX~system, and then just put an {\tt s} after the number.
-
-The program
-positions all the figures for each system below the lowest staff of that
-system, with their tops aligned, and just low enough to clear the
-lowest beam, notehead, or stem that could interfere. If you would like to
-change the vertical alignment for the remainder of the staff starting at a
-figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an
-integer representing the vertical shift in \bs{\tt internote}s, which may
-have a minus sign.
-
-If you want a figure to
-align horizontally in the second tier, insert the placeholder figure
-{\tt\_} (underscore) before the one you want lowered. This is equivalent to
-lowering the figure stack by 4 \bs{\tt internote}s.
-\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of
-\bs{\tt internote}s, append {\tt +} and the number. This can be combined with
-the placeholder figure {\tt\_} to provide full control over the vertical
-position of the stack.
-
- Sometimes you may need to enter a figure when there's no bass
-note sounding. To do this, just after the most recent bass note enter
-{\tt x}, followed by a two single digits (the first is a repeat count; the
-second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol
-as defined in the previous paragraph. This will
-offset the figure from the associated note by the specified time
-value. For example, if the lowest voice contained {\tt c03 x3465}, there
-would be a whole-note c, and 3 quarter notes later a figure 65 below
-the staff.
-
- There is also a {\it continuation} command, a zero followed immediately
-by another \NEW{2.4}
-unsigned number. This produces a horizontal line under the bass note, starting
-just to the left and extending to the right by the given number of
-\bs{\tt noteskip}s. The height and length of the line are set by the current
-note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with
-other figures to produce vertical stacks. If another figure follows in the
-same command, use {\tt:} as a separator.
-If \bs{\tt noteskip} changes or a note drops
-below the starting level before the line ends, it is possible to trick
-\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX
-will automagically join them together at the same height
-(thanks to Werner Icking for this idea).
-
- If there are figured bass commands in a {\tt .pmx} file but
-you want them to be ignored, then enter the command {\tt F} at the
-beginning of the body of the file. This feature would most often be
-used in the form {\tt \%1F}
-(see section~\ref{scor2prt}), which makes a
-separate bass part with no figures.
-
- Figured bass commands will not be altered in any way under
-transposition. There is no universal set of interpretations of figured bass
-symbols, so no automatic transposition is possible.
-
-\subsection{Macros}
-
- A \PMX macro is a single command that stands literally for any
-any string of characters that may occur in the input file (sorry, no
-variables). It may be useful if you need to repeat the same string later.
-There is no practical length limit.
-
-To
-{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between
-1 and 20.
-Everything you then type will be processed normally as well as stored,
-until you enter the command {\tt M}. The next time you need to enter the same
-string, just type {\tt MP}{\it n} to {\bf p}lay back the macro.
-
-To just {\bf s}{\it ave} a macro without having \PMX process it as you
-enter it, start it with {\tt MS}{\it n}.
-
-Macros can be redefined at will. \PMX will print a warning whenever this
-occurs.
-
-If you use macros and want to make separate parts, some care is necessary.
-{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they
-originated, but will transfer {\tt MS} macros into all parts.
-
-\subsection{Include Files}\NEW{2.5}\label{ARDirective}
-{\it Include} files are separate text files
- containing arbitrary (but contextually appropriate) sequences of
- valid \PMX commands. By using the techniques described in this section,
- the commands in an include file can be inserted at any desired
- place in the virtual \PMX file that the code processes.
- They will always be syntax-checked.
-
-There are two types of include files, {\it global} and
- {\it normal}. There can only be one global include file and it must be named
- {\tt pmx.mod}. If activated, its contents will always be inserted right after
- the setup data.
- To activate it, two conditions must be met: (1) an environment variable
- {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or
- \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined.
- If {\tt PMXMODDIR} is not set, or if it is defined but there is no file
- {\tt pmx.mod}, then processing will proceed as usual.
-
- Normal include files
- can have any name and do not require any environment variable to be set.
- They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the
- .pmx file
- at the location where the included lines are to go. It will generally
- only make sense to place this command at the beginning of an input block.
- \PMX will first check
- for the file as pointed to by [{\it filename}], which may contain a complete
- or partial pathname preceding the actual file name. If [{\it filename}] is not
- found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check
- the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However,
- it is not necessary to define {\tt PMXMODDIR} to use a
- normal include file. There may be any number of normal include files. The same
- file may be used multiple times. Include files cannot contain references to
- other include files via the {\tt AR} command; if you try to do that
- your computer will
- explode. The following information regarding all activated include
- files will be printed both to the screen and to the .pml file: notice of
- opening or closing, echo of the contents, error messages pertaining to syntax
- errors in the included \PMX commands, and an error message if \PMX cannot find
- a referenced normal include file. In the latter two cases \PMX will stop.
-
-\subsection{Batch Processing}
-
-Due \NEW{2.0} to the number of different programs that must be run in sequence
-to produce a printed sheet of music with the \MusiXTeX{} system, most users
-prefer to use a batch script to control the process. Since batch commands are
-platform-dependent we will not provide examples here, but will mention
-several \PMX features that can facilitate batch processing.
-
-First, whenever {\bfx pmxab} terminates due to a syntax
-error, the exit code is set to 1. There are various ways of detecting this
-with batch commands, then acting accordingly.
-\NEW{1.4} Second, {\bfx pmxab} always writes a file
-{\tt pmxaerr.dat} containing a single number: 0 if it exited normally,
-otherwise the line number in the {\tt .pmx} file where the syntax
-error was. With advanced batch programming techniques, this file can be
-opened and read, and if there was an input error, a text editor can be
-opened and the input point placed on the line with the error.
-
-There have been several requests to allow \PMX to keep running even
-after it detects an input error.
-This has not been done because in many cases any error messages after
-the first one would be meaningless, or worse, uncorrected errors could
-cause crashes. In any event, all the output from {\bfx pmxab} will be
-stored in the log file [{\it jobname}]{\tt.pml}.
-
-%\setcounter{secnumdepth}1
-\section{Making Parts from a Score} \label{scor2prt}
-
- Separate parts can be made by running {\bfx scor2prt} and entering the
-basename when prompted. The program will create {\tt noinst} separate
-{\tt .pmx} files, one for each instrument. By default the files will be named
-[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}]
-is the sequential position of the instrument. If desired, part file names can
-be customized with {\tt AN} as described in section~\ref{ANDirective}.
-
- In this section we describe how to control the layout of the
-parts separately from that of the score, but by using commands
-that are placed in the {\tt .pmx} file for the score. This eliminates the
-need for ever editing the {\tt .pmx} files for the parts separately. You
-can make all corrections in the file for the score, and then re-run
-{\bfx scor2prt}.
-
- Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are
-transferred into all the parts. However, if a line has {\tt \%\%} in
-columns 1-2, both it {\it and the following line} will be ignored when
-making parts. If the ignored line contains only {\tt h}~, {\tt l}~,
- {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start,
-then one additional line will be ignored.
-
- Conversely, if a line begins with {\tt \%!} then it will be ignored as
-usual in creating the parent {\tt .tex} file, but after stripping the first
-2 characters the rest will be put in the {\tt .pmx} file for {\it all} the
-parts.
-
-To enter a line into the score file that is only to be transferred to one part,
-begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended
-hexadecimal digit} representing the part number from 1 to 24
-({\tt1,2,...,9,a,b,c,...,n,o}). The first
-two characters will then be stripped and the rest transferred to the desired part.
-For example, to force a line break to system 15 and a page
-break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex
-digits {\tt a-o} creates a potential incompatibility with prior versions.
-To minimize this, the
-character after ``{\tt\%}" will {\it only} be interpreted as a part number if
-it represents a number less than or equal to {\tt noinst}; otherwise the entire
-line will be treated as an ordinary comment and transferred to all parts as
-a comment.
-
- Although only permitted in the first voice in the score, the
-following commands with all their options will automatically be copied
-into all parts (unless the preceding line has {\tt \%\%}):
- {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be
-copied into all parts, while type 1 will only go into its original part.
-
-User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By
-default they are not copied into parts. There are two ways to circumvent this.
-One way to insert hardspace {\it x} into part
-{\it n} is to place in the score, on a line of its own, the command
-{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options
-in the {\tt X} command in the score: {\tt B} causes the hardspace to be
-used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not
-the score.
-
-Instrument-wise \NEW{2.7} transposition commands (see section \ref{transpose})
-are also handled specially.
-When {\bfx scor2prt} encounters {\tt Ki}[{\it n}] (for instrument {\it n}) in
-the score, it transfers the transposition information (transposition amount and
-key signature) for that instrument into
-the corresponding part, replacing {\tt Ki} by {\tt K} and keeping only the
-information for instrument {\tt n}.
-
-Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally,
-staying with their original voice.
-
- By default the total number of systems in each part will be the
-same as in the score. If you want to override this, there is a command
-{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which
-can only appear at
-the beginning of the first input block. This can be used after {\tt \%!}
-to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}.
- {\bfx Scor2prt} will also
-compute how many pages it thinks each part should have, and enter that
-in the startup data for that part. If you wish to override that, then
-in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to
-force the third part to have 14 systems and 2 pages (you cannot override the
-number of pages without first overriding the number of systems).
-
- A \NEW{2.0} musicsize of 20 is the default in all parts. This may be
-overridden with the option {\tt m} in the command {\tt S}; e.g.,
-{\tt \%2S15m16} .
-
- As already noted, a {\tt P} command for page numbering in the parent
-file is ignored when making parts. To initiate page numbering in the
-parts, use for example {\tt \%!P} anywhere within the \PMX code representing
-the first page of the parts (from \TeX 's standpoint the command must occur
-between the beginning and end of the page on which the numbering is to begin).
-It \NEW{2.0} will often be useful in this case to use the option {\tt c} ,
-which by default causes the instrument name to be centered in small type at
-the top of every page after the first.
-
-Note the distinctions among the various usages of {\tt P}: as an option with
-{\tt S}, it sets the total number of pages in a part; as an option with
-{\tt L}, it forces a page break; and as a command on its own, it controls page
-numbering and centered headings.
-
-MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be
-copied into parts, unless they are in a special comment line as just described.
-
- One function of {\bfx scor2prt} is to condense consecutive bars of rest
-into a single group of special printed characters with a number above it.
-The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described
-in section~\ref{MultibarRest}.
-{\bfx Scor2prt} will automatically insert {\tt rm} commands into the
-{\tt .pmx} files
-for the parts where appropriate. However, for this feature to work,
-the {\it first} full-bar rest in the sequence {\it must} have its duration
-explicitly defined in the parent {\tt .pmx} file, either with a digit or
-with {\tt p}. I.e., the feature will not work if the first rest in the
-sequence inherits its duration from the previous note.
-
-Using the special \PMX commands listed in this section,
-augmented where needed with literal \TeX ~commands, it is possible to store
-{\it all} the information for both the score and the parts in a single
-{\tt .pmx} file. This greatly simplifies the editing process, since
-both the score and the part can be corrected at once, and parts need not be
-re-edited each time they are regenerated from the score.
-
-\section{Making MIDI Files}\label{MIDI}
-
-\PMX has an elementary capability to create MIDI files. It is intended mainly
-to aid in editing scores, so it does not have advanced facilities one would
-want for making musically satisfying sound files.
-
-As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with
-15 or fewer voices.
-
-Entering the command {\tt I} before any notes have been entered
-will cause a MIDI file [{\it jobname}]{\tt.mid} to be
-generated in the current directory. Options may follow, without spaces. They
-are defined in the following paragraphs. Multiple
-options can be combined in one {\tt I} command.
-{\tt I} commands can appear later in the file as well, but only at the start
-of an input block. Sometimes the order of the
-options matters, determining for example whether or not a user-defined pause
-is included inside a macro block.
-
-{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute.
-Default is 96. You can change tempos as often as you like, but only at the
-start of an input block (as with all MIDI commands).
-
-{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the
-respective \PMX instruments. The default is harpsichord, of course. If
-you use this option, you must specify {\it all} instruments.
-Each {\it in} is either
-a 2-letter abbreviation or an integer between 1 and 255. Acceptable
-abbreviations are listed below. Numbers and pairs of letters may be mixed,
-but consecutive pairs of numbers must be separated by {\tt :} (colon) .
-This option can only be exercised once per file.
-Also, the number of instruments cannot change during a piece.
-
-The \NEW{2.7} number of arguments following suboption {\tt i}, as well as the next
-three described suboptions, must in fact equal the number of {\it instruments}. Before
-version 2.7, it was the number of {\it staves} (despite the incorrect
-description in the manual!) These numbers may differ and this creates a
-backward incompatibility. Hoping this won't cause too much distress,
-I've enhanced the real-time error messages.
-
-{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities
-to each instrument. The colons are required. Values may range from 1 to 127.
-The default is 127.
-
-{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to
-each instrument. The colons are required. Values may range from 1 to 128.
-The default value is 64, which represents the center. Smaller numbers favor
-the left stereo channel; larger ones the right.
-
-{\tt T} allows transposing any instrument by a selected number of steps \NEW{2.7}
- ({\tt\bs internote}s).
-It must be followed by exactly {\tt noinst} signed integers representing the
-amount of transposition for each instrument in order. In practice it is useful
-in two situations (1) To transpose a MIDI output up or down by one octave
-(7 {\tt\bs internote}s); and (2) when a transposing instrument is printed
-in the transposed key in the score after having issued {\tt Ki}, to undo
-the transposition in the MIDI.
-
-{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc.
-Macros must have ID numbers between 1 and 20. Operations are start record
-macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert)
-macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time,
-recording or playing but not both. If you try nesting or overlapping macros,
-your computer will become psychotic.
-
-{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are
-allowed, but will be rounded to the nearest sixteenth note.
-
-{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence
-inserted at the end of every note, while decreasing the sounding duration
-by the same amount. The default is 10, which is 2/3 of a 64th note.
-
- The MIDI module does not recognize graces, ornaments, repeats, voltas, or
-segnos. The only ties that are recognized are those using {\tt s} or {\tt (}
-alone, with no explicit ID number. Key signatures,
-time signatures (meter) and instrument names will be written into the MIDI file,
-the latter as track names. This will have no effect whatsoever on audible
-output but will affect on-screen appearance of some MIDI file players
-and editors. Location of the \PMX key-change and meter-change commands
-relative to MIDI macro delimiters in the source will affect (in the obvious
-way) how these data are passed to such programs.
-
-The MIDI file generator does not yet support changing the number of
-instruments in midstream. Doing so will cause unpredictable results.
-
- The instruments are a subset of ``The General MIDI Instrument
-Specification." Of course how they sound depends on your hardware and software.
-Instruments not listed below can still be used but must be specified by number.
-The numbers listed here are from the 1-128 range; when passed to the MIDI file
-they are reduced by one.
-
-%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}}
-\def\tentry#1#2#3{\hbox to 2in{
-\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}}
-
-\null
-\hbox to 6.5in{\vbox to 1.7in{
-\tentry{pi}{Acoustic Grand Piano}{1}
-\tentry{rh}{Rhodes Piano}{5}
-\tentry{ha}{Harpsichord}{7}
-\tentry{ct}{Clavinet}{8}
-\tentry{ma}{Marimba}{13}
-\tentry{or}{Church Organ}{20}
-\tentry{gu}{Acoustic Nylon Guitar}{25}
-\tentry{ab}{Acoustic Bass}{33}
-\tentry{vl}{Violin}{41}
-}\hss\vbox to 1.7in{
-\tentry{va}{Viola}{42}
-\tentry{vc}{Cello}{43}
-\tentry{cb}{Contrabass}{44}
-\tentry{vo}{Synth Voice}{55}
-\tentry{tr}{Trumpet}{57}
-\tentry{tb}{Trombone}{58}
-\tentry{tu}{Tuba}{59}
-\tentry{fr}{French Horn}{61}
-\tentry{so}{Soprano Sax}{65}
-}\hss\vbox to 1.7in{
-\tentry{al}{Alto Sax}{66}
-\tentry{te}{Tenor Sax}{67}
-\tentry{bs}{Baritone Sax}{68}
-\tentry{ob}{Oboe}{69}
-\tentry{ba}{Bassoon}{71}
-\tentry{cl}{Clarinet}{72}
-\tentry{fl}{Flute}{74}
-\tentry{re}{Recorder}{75}
-}}
-
-\section{Limits}
-
-For simplicity in writing the program, \PMX has numerous variables with
-fixed dimensions. In most cases there are no checks against these limits
-(hey, I've got more important things to program), so
-occasionally there may be hangups due to exceeding a dimension.
-Any of these can potentially be increased by making a request via the
-mailing list. However, before making such a
-request, try working around the problem by
-breaking the input into smaller blocks.
-
-\subsection{Limits on quantities that a user can control}
-
-(The user can control the {\it number} of these items, but cannot control
-the {\it limit on the maximum number} of them.)
-
-128 characters per input line.
-
-24 \NEW{2.6} staves.
-
-2 voices per staff.
-
-24 \NEW{2.6} voices per system.
-
-125 systems.
-
-600 bars.
-
-40 forced line breaks.
-
-10 forced page breaks.
-
-18 key changes.
-
-75 \NEW{2.78} pages.
-
-600 \NEW{2.6} notes per input block.
-
-15 bars per input block.
-
-101 slurs per input block.
-
-74 figures (figured bass) per input block.
-
-37 grace note groups per input block.
-
-74 notes in grace note groups per input block.
-
-52 literal \TeX\ strings per input block.
-
-6 voltas per input block.
-
-24 \NEW{2.6} trills per input block.
-
-62 chordal notes (non-spacing) per input block.
-
-8 beams per voice per bar.
-
-40 \NEW{2.5}forced beams per voice per input block.
-
-10 clef changes per voice per input block.
-
-24 notes per beam.
-
-24 notes per xtuplet.
-
-41 text-dynamic strings per input block.\NEW{2.5}
-
-9600 \NEW{2.78} lines in input file
-
-\subsection{Limits not under immediate user control}
-
-% Need all the spaces because this damn format insists on left-justifying
-% first line of *first* paragraph in a section..
-%
-\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file
-
-20 \bs{\tt notes} groups per bar.
-
-20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar.
-
-20 inserted anti-collision spaces within xtuplets per bar.
-
-19 inserted anti-collision end-of-bar hardspaces per system.
-
-83 inserted anti-collision end-of-bar hardspaces.
-
-400 inserted standard anti-collision spaces per system.
-
-100 inserted anti-collision spaces within xtuplets per system.
-
-1000 inserted standard anti-collision spaces.
-
-200 inserted anti-collision spaces within xtuplets.
-
-24576 \NEW{2.2} bytes of MIDI output data per voice.
-
-\section{Closing Notes}
-
-\subsection{About the Example Files}
-
-{\tt most.pmx} contains examples of most of the \PMX commands, and a few
-programming tricks, including examples in the last line of beam groups whose
-notes vary widely in pitch. The printed
-output displays the \PMX commands near to the resulting typeset characters.
-It is more
-useful to look at the printed output rather than the source file, since the
-file is littered with in-line \TeX ~needed to output the text strings
-representing the \PMX commands.
-{\bfx WARNING:} Do not try to play this music; it could be hazardous.
-
-{\tt barsant.pmx} contains the first movement of a recorder sonata by the
-Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's
-strong points in a ``battlefield'' situation: figured
-bass, complex beaming patterns, xtuplets, and
-automatically adjusted horizontal and vertical spacing in crowded scores.
-In fact,
-this single-page score pushes the limits of vertical and horizontal crowding.
-To get the final result, it makes subtle adjustments using various available options:
-{\tt Ae} for equal space between systems, {\tt AI1.1} to increase the vertical
-space between staves in a system, {\tt Apl} to activate postscript slurs and
-special treatment of line-breaking slurs/ties (note slur at end of fourth
-system), and {\tt W.5} to increase minimum space between noteheads so the 64th
-notes don't touch each other. This is also a
-good score to try making parts with {\bfx scor2prt}. A special command
-{\tt \%2S9} is used to increase the number of systems in the recorder part.
-
-{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German
-Matthias Weckmann
-(1616-1674). It uses many techniques peculiar to keyboard scores, most notably
-two voices per staff.
-
-{\tt prad5.pmx} {\tt netsoos.pmx} are examples of how to enter lyrics purely in \PMX.
-They include several inline \TeX\ commands to enhance the layout.
-
-{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are
-single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets.
-
-{\tt dyntest.pmx} contains examples showing the default vertical positions of dynamic marks.
-
-\subsection{A Benign Bug}
-
- When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull
-\bs vbox} message at the end of each page. This is due to my using
-\bs{\tt eject} at the end of every page, which automatically spaces the
-systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far
-as I know, the
-warning is benign, and may be ignored.
-
-\subsection{Where to Get Help} \label{where}
-
-The main home of \PMX on the internet is the software section of the
-\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. This
-site also links to a mailing list devoted to \MusiXTeX\ and related programs including
-\PMX. The denizens of this list are always willing to answer questions about any
-aspect of the software. New users are strongly advised to take advantage of this
-resource.
-
-\subsection{Acknowledgments}
-
- To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating
-\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in
-the note-entry scheme;
-to my colleague John DiPol (a non-musician!) for the idea of using binary masks
-to define beam groupings;
-to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles;
-to Dirk Laurie
-for making \PMX accessible to vocal music by creating {\tt\bs pmxlyr}
-and {\bfx M-Tx};
-to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript
-slur packages; to
-Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders,
-Olivier Vogel, and other denizens of the TeX-music mailing list
-for first-class bug-finding and support in responding to queries about
-\PMX on the mailing list; to Luigi Cataldi, Olivier Vogel, Christof
-Biebricher, and Cornelius Noack for producing translated and enhanced
-\PMX tutorials; and to Bob Tennent for maintaining the software section
-of the web site.
-Finally, I want to mention again the invaluable contributions by
-Werner Icking: his exhaustive beta testing,
-uncanny bug-finding, continuing encouragement, and promotion
-of \PMX right up until his sudden and premature departure from this
-earthly realm.
-
-\end{document}
Added: trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf
===================================================================
(Binary files differ)
Index: trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf 2023-02-19 17:57:06 UTC (rev 65926)
Property changes on: trunk/Master/texmf-dist/doc/generic/pmx/pmx300.pdf
___________________________________________________________________
Added: svn:mime-type
## -0,0 +1 ##
+application/pdf
\ No newline at end of property
Added: trunk/Master/texmf-dist/doc/generic/pmx/pmx300.tex
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/pmx300.tex (rev 0)
+++ trunk/Master/texmf-dist/doc/generic/pmx/pmx300.tex 2023-02-19 17:57:06 UTC (rev 65926)
@@ -0,0 +1,2973 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+% pmx300.tex 1/28/2023
+%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\documentclass[11pt]{article}
+%
+\let\reft\ref
+ \usepackage[dvips,colorlinks=true,linkcolor=blue]{hyperref}
+ \usepackage[dvips]{graphicx}
+ \usepackage{multicol}
+%
+\def\MusiXTeX{MusiX\TeX}
+\def\bs{{\tt\char'134}}
+\newcommand\PMXX{\textbf{PMX}}
+\newcommand\PMX{\PMXX~}
+\newcommand\IMA{\href{http://Icking-Music-Archive.org}{\underline{Icking Music Archive}}}
+%
+% Use \bfx for program names only. Use \bf for single embedded letters
+%
+\font\bfx=cmb10 scaled\magstephalf
+\font\bfi=cmbxti10 scaled\magstephalf
+\font\specfig=cmrj
+\setcounter{secnumdepth}3
+\setcounter{tocdepth}3
+\def\Bslash{\tt\char'134}
+\def\|{{\tt\char'174}}
+\def\LBR{{\tt\char'173}}
+\def\RBR{{\tt\char'175}}
+\textheight= 9.5in \voffset-.8in%
+\textwidth= 6.5in \hoffset-1.0in
+\def\newfrom{2.59} % changed every now and then
+\def\NEW#1{\ifdim#1 pt<\newfrom pt\else%
+\marginpar{\fbox{#1}}\fi}
+
+\hoffset-54pt
+
+%\let\rulet\rule\def\rule#1#2{\if#1<#2\rulet{.05in}{#2}\else\rulet{#1}{.05in}\fi}
+
+\begin{document}
+
+\raggedright
+\parindent24pt
+
+\title{
+ \Huge\bf
+ PMX~--~a Preprocessor for \MusiXTeX{}\\
+ \null\vskip-15pt
+ \Large\sl
+ Version 3.00~--~28 January 2023\\
+ \author{\Large\rm Don \sc Simons\\
+ \large\sl
+ Dr. Don's PC and Harpsichord Emporium\\
+ \normalsize\sl
+ Redondo Beach, California, USA.\\
+% To make the bitmapped eps: (1) TeX file with cmtt scaled 2500,
+% (2) dvips -> gsview -> pdf.
+% (3) gwin32 -sDEVICE=pnggray -sOutputFile=file.png -r100 -dEPSCrop -dbatch -q
+% -dNOPAUSE -dTextAlphaBits=4 file.eps -c quit
+% (4) file.png -> GIMP (crop out blank space) -> save as .eps.
+%
+ \includegraphics[scale=0.4]{file600.eps}}}
+
+\date{}
+
+\maketitle
+
+\section*{Preface}
+Compared to version 2.98, \PMX version 3.00 has very minor changes. It provides
+an option to remove the limit of 9 on the slope of forced beams. A side benefit
+of selecting the option is that all beams will be {\it vectorized}, i.e., no
+longer created with font characters, thereby removing some very slight jogs in
+longer beams (\ref{Acommands}). It also allows 2-digit figured bass
+figures (\ref{figbass}).
+
+\setcounter{page}1
+% Need extra line to push last line of TOC to next page
+
+~~
+
+~~
+
+\tableofcontents
+%\setcounter{secnumdepth}1
+\pagestyle{headings}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\def\boxitsep{10pt}
+\let\hrt\hrule\def\hrule{\hrt height2pt}
+\let\vrt\vrule\def\vrule{\vrt width2pt}
+\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern\boxitsep\vbox{%
+\kern\boxitsep\hbox{#1}\kern\boxitsep}\kern\boxitsep\vrule}\hrule}}
+\font\ded=cmssdc10 scaled \magstep3
+\bigskip
+\setbox4=\vbox{
+% \hsize3in\noindent\strut
+ \hsize4in\noindent\strut
+ \centerline{\ded Dedication}
+\vskip 3pt
+The \MusiXTeX~community was stunned by the sudden death of Werner Icking on
+February 8, 2001. He had been a benevolent patriarch, touching many
+of us not only
+with his technical savvy and gentle guidance, but also his genuine kindness
+and generosity. His spirit runs deep through all of \PMXX. His encouragement
+fueled its development from its very beginning. Many
+enhancements have been his proposals, including one he made on what
+turned out to be his last day. Werner, my friend, I dedicate this work to
+you and your memory.
+}
+\vfill
+$$\boxit{\box4}$$
+\let\hrule\hrt\let\vrule\vrt
+\vfill
+\eject
+
+\section{Introduction}
+%\setcounter{secnumdepth}1
+
+ \PMX is a preprocessor for \MusiXTeX{}. Before using it you should
+have installed \MusiXTeX~Version 1.21 \NEW{2.71} or higher, and
+any available version of \TeX~that includes e-\TeX. The goal of \PMX is to
+facilitate the efficient typesetting of scores and parts
+that have an almost professional appearance. It can do {\it all} the work
+involved in setting up {\tt \bs notes-\bs enotes} groupings,
+selecting groups of
+notes to be beamed, defining beam heights and slopes, spreading the
+entire piece evenly over specified numbers of systems and pages, and inserting
+extra spaces where needed to make room for accidentals, flags, dots,
+and new clefs. The input language for \PMX is much simpler than
+\MusiXTeX. You can enter note values and rests from 64ths to double
+whole notes ({\it breves}), ornaments, slurs, and limited text strings. Every
+voice in every bar must have exactly the correct number of beats in
+the current meter, but you may change the meter at the beginning of any
+measure, with or without printing the new time signature. Before making a
+\TeX{} file, \PMX checks these timings and other aspects of the input.
+\PMX has special features for dealing with baroque chamber music, including
+the ability
+to notate figured bass below the bottom staff in each system. If \PMX hasn't
+yet learned to do something you want to do, you can usually work around the
+problem by inserting literal \TeX\ strings in the \PMX input file.
+
+ You can automatically create parts from a score using {\bfx scor2prt}.
+This auxiliary program generates a set of {\tt .pmx} input files, one for
+each part, from a single {\tt .pmx} file for the score.
+You can control the appearance of the
+parts with special commands in the main file, thereby making it
+possible to include within a single input file all the information
+that defines the score and the individual parts.
+
+The basic \PMX
+distribution as of this version of the manual is
+\href{http://icking-music-archive.org/software/pmx/pmx298.zip}
+{\underline{\tt pmx298.zip}}.\NEW{2.98} It
+contains the FORTRAN sources, binaries that will run in a DOS
+window on a PC with WINDOWS95 or higher, manuals for usage and for installation
+in DOS/Windows, and example typesetting files. Alternatively, the
+\href{http://www.icking-music-archive.org/software/htdocs/Getting_Started_Four_Scenar.html}
+{\underline{software section}} of the Werner Icking Music Archive (WIMA) has instructions
+for acquiring and installing \MusiXTeX~and \PMX on various platforms
+(Windows, Mac-OSX, Unix-like systems) including using automated procedures from
+several external \TeX~distribution sites.
+The packages from those other sites will
+all eventually incorporate all the upgrades in {\tt pmx298.zip} but will take
+varying amounts of time to do so. If~\PMX~is upgraded, the most current version will
+be available directly from the ``News'' paragraph
+\href{http://www.icking-music-archive.org/software/htdocs/htdocs.html}{\underline{here}}.
+
+\subsection{Conventions for This Manual}
+
+ Hey, this is boring stuff, but if you take a minute to understand
+the typographic conventions and a little jargon,
+it may avoid some confusion down the road.
+
+ The typewriter typeface always indicates verbatim text as it would
+be input to a computer. This includes file names, \MusiXTeX{} tokens, and
+\PMX commands, e.g., {\tt barsant.pmx, \bs internote, c44}.
+
+ Bold is used for program names (e.g., {\bfx pmxab}), or when applied
+to a single letter, to relate a \PMX command to its meaning (e.g., ``{\tt e}
+signifies a l{\bf e}ft shift'').
+
+ When\NEW{2.5}~viewing the PDF version of this document on a computer
+screen, clickable internal hyperlinks are colored blue, and clickable external
+links are underlined and colored cyan.
+
+ Italics may mean several different things depending on the context:
+simple emphasis, or the first appearance of {\it jargon}
+(buzz-words that need to be explicitly defined), or finally
+to represent input variables for which some verbatim text would need to be
+substituted. In the latter case the variable will be surrounded by
+square brackets, e.g., [{\it basename}], but the brackets are not to be
+included with the substituted text.
+
+ Speaking of jargon, there are several special words that have very
+specific meanings here: A {\it staff} is one set of 5 lines (plural
+{\it staves}), a {\it system} is a group of staves, and {\it voice} refers to
+one of the one or two
+simultaneous allowable sequences of notes in a staff. Note that this
+is a change \NEW{2.5}from versions prior to 2.5, where {\it voice} was used
+interchangeably with staff.
+
+A \PMX {\it command} is a string of characters with no spaces between them.
+The first character determines the type of command. Any other characters
+are parameters that may be either required or optional. Sometimes we loosely
+use the word {\it command} to refer just to the initial character.
+
+\subsection{Setup}
+
+ Here we briefly describe the setup for the Windows OS,
+assuming \TeX\ and \MusiXTeX\ have already been installed. After compiling the
+FORTRAN source code, users of other OS's
+may either adapt these instructions as needed or use one of the other setup
+methods referenced earlier.
+
+After decompressing the distribution file {\tt pmx276.zip},
+you should have these
+files: \NEW{2.76} {\tt pmx276.for}, {\tt scor2prt.for}, two
+Windows executables {\tt pmxab.exe} and {\tt scor2prt.exe}, several sample
+{\tt .pmx} files,
+{\tt pmx.tex}, {\tt ref276.tex} (\TeX\ source for a command summary),
+{\tt pmx276.tex }(\TeX\ source for this file),
+PDF images of the latter two files, {\tt pmx25-276.html} showing
+changes from version 2.50 to 2.76, and {\tt install\_run\_PMX271.pdf} which gives more
+details about installing and running on different platforms.
+
+%If necessary, compile the FORTRAN programs.
+%I have tried to keep the source code as generic as possible, but minor
+%modifications may be needed for FORTRAN-to-C translation and/or other
+%compilers.
+
+ Once you have assembled a full set of files, put the executables
+somewhere in the path or in your working directory, {\tt pmx.tex} into the
+texinput directory, the sample {\tt *.pmx} files in your working
+directory (the one from which you will run \PMXX), and the source code and
+document files wherevever you wish.
+
+\subsection{Basic Operation, by Example}
+
+Edit the 15th line of {\tt barsant.pmx} to contain the path to the
+directory where you want \PMX to write the {\tt .tex} file. For example,
+if you want this to be the same as the working directory, type {\tt .\bs}~for Windows,
+or {\tt ./} for UNIX.
+
+If you haven't done so, open a command window and navigate to the
+folder containing {\tt barsant.pmx}. Execute \PMX by typing
+{\tt pmxab barsant} . Alternatively, you may
+just type {\tt pmxab <return>} and you will be prompted
+for a jobname, which in this case is just {\tt barsant} .
+{\bfx pmxab} will always generate two files in the working
+directory: {\tt barsant.pml}
+is a log file, and {\tt pmxaerr.dat} contains a single integer, 0 if
+the run was successful, otherwise the line number in the {\tt .pmx} file of the
+fatal error (useful for batch processing). Also, on successful completion,
+{\tt barsant.tex} will be placed in the path specified in the setup.
+
+Now you are right where you would be after
+entering, debugging, and rough-editing the {\tt .tex} file manually. To see
+the results, process {\tt barsant.tex} just as you would for any \MusiXTeX{}
+file, running all three passes, and view the {\tt .dvi} file, or go on and run
+{\bf dvips} to create a postscript file and view that with a postscript viewer
+such as {\bf GSview}. To make
+separate parts, run {\bfx scor2prt} by typing {\tt scor2prt barsant} .\NEW{2.0}
+The program will create a new {\tt .pmx} file for each instrument, in this
+case {\tt barsant1.pmx} and {\tt barsant2.pmx}.
+You may then process these
+files like you did the original one to create separate parts.
+
+\section{Elements of PMX}
+\def\l at subsection{\@dottedtocline{2}{5em}{20em}}%original 2 3.8 3.2
+%\setcounter{secnumdepth}2
+
+\subsection{Setup Data in the Input File} \label{setupdata}
+
+ To see how the input file is put together, we'll look at
+{\tt barsant.pmx}. For reference, here are are the first few lines:
+\pagebreak
+\begin{verbatim}
+%----------------%
+%
+% barsant.pmx Revised 29 June 2002
+%
+%----------------%
+%
+% nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdnp,xmtrnum0,isig,
+ 2 2 4 4 0 6 0 0
+%
+% npages,nsyst,musicsize,fracindent
+ 1 7 20 0.07
+Basso
+Recorder
+bt
+./
+\end{verbatim}
+The lines
+with {\tt \%} in column 1 are comments.
+Some special handling of comment lines will be
+discussed in the section on creating parts from a score in
+section~\ref{scor2prt}.
+
+The rest of the lines in this example are the {\it setup data}.
+Starting in the first non-comment line above,
+
+{\tt nv} (integer$\leq$24) \NEW{2.6} is the total number of
+sta{\bf v}es per system. Each staff may contain either one or two voices,
+but the total number of voices at any one time may not exceed 24.
+
+{\tt noinst} (integer$\leq${\tt nv}) is number of {\it instruments}. Each
+instrument has a unique name (see below), and any instrument
+with more than one staff will have its staves joined with a curly bracket.
+Usually there is only one staff per instrument and {\tt noinst=nv}. There
+are two ways to assign more than one staff to one or more instruments.
+If only the first (lowest) instrument has more than one staff, such as in
+a score for piano and a solo instrument, simply make
+{\tt noinst$<$nv} and any difference will show up in instrument 1, the bottom
+one in each system.
+\NEW{1.4} For a
+more general distribution of staves among instruments,
+put a minus sign in front of {\tt noinst},
+and follow {\tt noinst} with the number of staves in each instrument in
+succession, separated by spaces. These numbers must add up to {\tt nv} or your
+computer will explode. For a typical example of keyboard music, see
+{\tt mwalmnd.pmx}, in which {\tt nv=2} and {\tt noinst=1}, producing two
+staves per system with a curly bracket at the left.
+
+The number of instruments can be changed as well after the start of the
+score, but only to a number less than the original one. See
+section~\ref{movbrk} to learn how to start with a smaller
+number of instruments and later increase it.
+
+{\tt mtrnuml} is the {\it logical} numerator of the meter, or the number of
+beats per measure; {\tt mtrdenl} the denominator. Please note the special
+considerations in the paragraph after the next. If {\tt mtrnuml} is
+divisible by 2 or 3, beam grouping will be automatic; otherwise you will
+have to force all beams using {\tt [}$\dots${\tt ]} as described in
+section~\ref{beams}.
+
+{\tt mtrnmp} and {\tt mtrdnp} are the {\it printed} numerator and denominator.
+These determine the appearance of the meter in the printed output but
+have no effect on the internal timing analysis. If {\tt mtrnmp$>$0} then it
+and {\tt mtrdnp} are printed literally as the numerator and denominator
+of the time signature. Please note the special considerations in the following
+paragraph. If
+{\tt mtrnmp$<$0}, then the numerator is abs({\tt mtrnmp}) and the
+entire time signature will be printed with a vertical slash through
+it. If {\tt mtrnmp}=0, then {\tt mtrdnp} determines the printed meter
+as follows:
+
+\medskip
+
+\begin{tabular}{ll}
+\tt 0 & No meter is printed ({\it blind} meter change)\\
+\tt 1, 2, 3, or 4 & A single digit, between the 2nd and 4th lines\\
+\tt 5 & Cut time (alla breve)\\
+\tt 6 & Common time\\
+\tt 7 & Numeral 3 with a vertical slash\\
+\end{tabular}
+
+\medskip
+
+There are special considerations for n/16 and n/1 time signatures (where the
+latter "1" normally means a whole note). To get
+n/1 time, use {\tt 0} (zero) for {\tt mtrdenl} and {\tt 1} for {\tt mtrdnp}. To
+remember this rule, recall that the printed denominator is taken literally,
+while the logical denominator can always be represented
+by the same single digit used for the corresponding time value when entering
+ordinary notes (see section~\ref{notes}). So
+for n/16 time, use {\tt 1} for {\tt mtrdenl} and {\tt 16} for {\tt mtrdnp}.
+
+If the first bar is a partial bar containing a pickup, {\tt xmtrnum0} is
+the number of beats in it; otherwise set it to 0. It need not be an
+integer. The first bar is the {\it only} bar that can have a different
+number of beats than the current value of {\tt mtrnuml} (Later we'll see how
+to change the meter).
+
+{\tt isig} is the key signature, positive integer for sharps, negative for
+flats.
+
+If {\tt npages}$>$0, it is the number of pages and {\tt nsyst} is the total
+number of systems in the entire piece. \PMX will spread the entire
+piece horizontally over this number of systems, and vertically over
+{\tt npages} pages. For proper vertical spacing there should be from
+about 9 to 16 staves per page. If you specify too many staves for the number
+of pages, one or more staves may spill over onto an extra sheet. If this
+happens it will only become obvious when you preview the {\tt .dvi} file.
+One solution is to use the global option {\tt Ae}
+(see section~\ref{AeDirective}); another is to increase {\tt npages} or
+decrease {\tt nsyst}.
+
+If {\tt npages} is set to 0, then {\tt nsyst} is interpreted as the average
+number of measures per system. This is useful while building up a
+file a little at a time. \PMX will calculate how many systems to use, and
+spread them over an appropriate number of pages.
+
+{\tt musicsize} is 16, 20, 24, or 29, the height of a staff in points, with
+20 considered the default\NEW{2.6}.
+
+{\tt fracindent} is the indentation of the first system from the left
+margin, expressed as a decimal fraction of the total line width.
+
+Next come the names of the {\tt noinst} instruments as you want them to
+appear within the indentation in the first system, one per line,
+starting with the {\it bottom} instrument. If you've set {\tt fracindent}=0
+and don't
+want instrument names to appear, you must still leave {\tt noinst}
+blank lines here. Next comes a single string of {\tt nv}
+letters or numbers for the clefs, again starting with the bottom staff:
+\label{ClefCodes}
+{\tt b,~r,~n,~a,~m,~s,~t,~f,~8} or digits 0-8 \NEW{2.71} respectively for {\bf b}ass,
+ba{\bf r}itone, te{\bf n}or, {\bf a}lto, {\bf m}ezzo-soprano, {\bf s}oprano,
+{\bf t}reble,\NEW{2.2} {\bf F}rench violin clef, or octave treble clef.
+The last line of setup data contains the path to the directory
+where you want the {\tt tex} file to go when \PMX creates it. The one
+in {\tt barsant.pmx}~,
+{\tt ./}~, represents the current directory in UNIX and some versions of DOS.
+The path must terminate with {\tt /} or {\tt \bs}~.
+
+\subsection{Structure of the Body of the Input File} \label{structure}
+
+ The rest of the {\tt .pmx} file is the {\it body} of the input.
+The basic unit of input from here on is called an {\it input block} or
+just {\it block}, each one representing an integral number of bars. If there
+is a pickup bar defined by {\tt xmtrnum0} $>$ 0,
+it must be included in the first block {\it together with at least one full bar}.
+If you wish to put a pickup in a separate block, for example at the start
+of a new movement, set the initial logical
+meter to fit the pickup bar, then after the pickup bar do a blind meter change
+as described in section~\ref{MeterChange}).
+
+There will usually be
+4 to 8 bars in a block. 15 is the most allowed. It is good practice
+to separate the blocks with comment lines that state which bars are
+represented, as I've done in {\tt barsant.pmx}.
+It is also advisable, although not required, to separate the bars with
+the command {\tt |}. Its main functions
+are to provide visual separation in the input file, and to help isolate input
+errors: if you put one anywhere except
+at a bar-end, {\bfx pmxab} will stop and show you where it detected the
+timing error. Otherwise, with several minor exceptions,
+{\tt |} has no effect.
+
+At the start of each block there may be a few special commands
+(described starting in section~\ref{pmxcmds}).
+Next come the input data for the selected number
+of bars of the first (lowest in the system) voice in the first staff, followed by
+either {\tt /} to move to the next staff, or {\tt //} to move to the next voice
+on the same staff. Each new voice must start on a new line
+in the input file, i.e., there should be no further data on the same input line
+after {\tt /} or {\tt // }.
+ Continue entering other voices, each with
+{\it exactly} the same number of bars as the first,
+terminated by {\tt /} or {\tt //}, until
+ the last (topmost in the system) ends with a {\tt /} and the block is
+finished. Within
+a block every voice must have the same number of bars, but every block
+needn't have the same number of bars as other blocks. The number of
+voices in a staff can only be 1 or 2, and cannot change within a block, but
+may vary from block to block.
+
+ The data for each voice in each staff are a sequence of commands
+containing one or more adjacent characters. Commands are separated from each
+other by spaces. The line-terminating commands {\tt /} and {\tt //} should also
+naturally be preceded by a space.
+
+\subsubsection{Notes} \label{notes}
+
+ Commands for notes always start with a lower-case letter and, as
+with all commands, end at
+the first space. The first letter is the note name ({\tt a-g}). The
+rest of the characters can be in any order with only a few
+restrictions. The first digit defines the {\it basic time value} of the
+note: {\tt 9, 0, 2, 4, 8, 1, 3} or {\tt 6} respectively for double-whole,
+whole, half, quarter,
+eighth, sixteenth, thirty-second, and sixty-fourth notes. The second
+digit sets the octave (for reference, octave 4 runs from middle C to
+the B above). Certain letters may appear after the initial one: {\tt d}
+for {\bf d}ot; {\tt dd} for \NEW{1.4} double dot;
+{\tt f, n,} or {\tt s} for {\bf f}lat, {\bf n}atural,
+or {\bf s}harp (repeat the letter
+immediately for a double); {\tt u} or {\tt l}, which force the stem
+direction of any un-beamed note; {\tt e} or {\tt r} to shift the notehead
+l{\bf e}ft
+or {\bf r}ight by its own width; {\tt a} (for {\bf a}lone) which inhibits
+beaming for this note (or, if the first note of an xtuplet, for the
+entire xtuplet); and \NEW{2.80}{\tt T} to insert a single-note {\it tremolo}
+on the stem (not to be confused with a 2-note tremolo, discussed later in
+section~\ref{TwoNoteT}).
+The {\tt T} may be followed by a single digit {\tt 1}, {\tt 2}, or {\tt 3}
+to indicate the
+number of slashes in the tremolo symbol; {\tt 1} is the default if no digit
+is entered. \NEW{2.4}A single accidental may be immediately
+followed by {\tt c} to
+make it {\bf c}autionary, i.e., surround it with parentheses.
+Alternatively, it may also be followed by {\tt i} to
+suppress typesetting \NEW{2.3} but still have
+the M{\bf I}DI processor honor the accidental. Other characters allowed in note
+commands are {\tt +}, {\tt -}, {\tt .}(period), {\tt ,}(comma), {\tt x}, and
+several special characters following {\tt x}, all to be described below.
+Between the first letter and the end or {\tt x} if present,
+non-digits can be in any order with respect to each other and to the digits,
+with minor exceptions involving shifting dots and accidentals.
+
+To move
+a dot from its default location, simply follow the {\tt d}
+with one or two decimal numbers, each predeced by
+{\tt +} or {\tt -}.
+The first is the
+vertical shift in \bs{\tt internote}s, the second, the horizontal shift in
+notehead widths.
+
+\label{AccidentalPosition}
+Accidentals \NEW{1.4} can be shifted too. One way is to enter
+{\tt +} or {\tt -} right after the accidental character,
+then an integer
+for the vertical shift, then another {\tt +} or {\tt -} followed by the
+horizontal shift in notehead widths. If you use this method, you {\it must}
+enter both numbers. Or, to just shift horizontally, use
+{\tt <} or {\tt >} followed by the shift in notehead widths. When shifting
+a sharp to avoid another sharp, a left shift of 0.85 is usually best. When
+shifting a flat to avoid a flat above it, a left shift of 0.3 is suggested.
+In chords (see section~\ref{chords}), if all the notes are in the same \NEW{2.4}voice,
+\PMX will automatically shift accidentals if required. This will be disabled
+for the current chord
+if any user-defined accidental shifts are entered, unless {\tt A} is entered
+along with the shift, e.g., {\tt zcsA<.5} . In that case the user-defined
+shift will be added to the PMX-computed one.
+\NEW{2.4} Another option that affects accidental positioning in
+chords is {\tt Ao},
+entered in the main note command of a chord. It will force the accidentals
+in that chord will be posted in the order
+they come in the source file (starting with the main note), each one as far
+to the right as it will go without crashing into a notehead, stem, or
+another accidental.
+
+
+ Dots and accidentals always have to be entered when and if a note
+calls for them. i.e., they are never carried over from previous notes.
+On the other hand, the octave only needs to be entered if the note is
+more than a fourth away from the most recent note in the same voice.
+This feature lets you go for long stretches in a voice before needing
+to enter the octave. An alternate way to jump more than a fourth but
+less than a twelfth is to type {\tt +} or {\tt -}. In other words, these
+mean to put the note an octave higher or lower than it
+otherwise would have gone. Two {\tt +}'s will raise the pitch two octaves
+above what it otherwise would have been, and so forth.
+The basic time
+value is also carried over from the past if it is not re-entered,
+except for the first note or rest in each voice in an input block,
+for which it {\it must} be entered.
+Therefore, when the melody jumps more than a 4th, using {\tt +} or {\tt -} is
+often more convenient than using a digit. This is because in order to
+use the digit, you must first enter the basic time value whether it
+changes or not.
+
+ For example {\tt c44 d e f g a b c c0-} is an ascending quarter-note
+scale starting on middle C, followed by an octave jump down to a
+whole note middle C.
+
+ Explicit octave \NEW{2.1} numbers can be combined with one or
+more {\tt +} or {\tt -} . In earlier versions, {\tt +} or {\tt -} was
+ignored if an octave number was specified. This is a slight backward
+incompatibility; \PMX prints a warning when it happens.
+
+\label{Stemlength}Stem length \NEW{2.73} can be {\bf s}hortened or {\bf l}engthened by {\it x}
+\bs{\tt internote} with the options {\tt S}{\it x} or {\tt L}{\it x}~.
+{\it x} is restricted to the range (0.5,4.0) for shortening and 0.5 to 27.5
+for lengthening.
+The shortening can be made ``sticky'' by following the number {\it x} with
+{\tt :} . Then every note's stem in the voice will be shortened until
+one is encountered with the option {\tt S:} . By lengthening a stem enough
+to span to the next staff and connect with notes there, unflagged staff-spanning
+chords can be constructed. See section \ref{chords}~for further details
+about staff-spanning chords.
+
+The first note command in each voice in a block must
+contain at a minimum the note name or {\tt r} for a rest (see below),
+and a basic time value. For notes, it is good practice and can simplify
+editing
+if in addition an explicit octave is set here. However if it is not,
+\PMX will make some assumptions. At \NEW{2.4} the start of the first
+input block the pitch will be set as if the prior note were middle C.
+In later blocks \PMX will use the
+obvious inheritance rules from the end of the prior block.
+However, if the number of voices in a staff
+has changed from the prior block, it is safest to reset the octave at the
+start of a new block. Duration is never inherited and must be set at the
+start of each input block.
+
+ Dots can be a little tricky, because even though they affect the
+actual time value, they don't affect the basic time value, and it is only the
+latter that is ``sticky". Therefore, if a note is to be dotted, you always have to
+enter a {\tt d} (or a period, see next paragraph) somewhere within the
+command, after
+the note name, even if the actual time value and octave are the same
+as the prior note. But the {\it basic} time value need not be re-entered if
+it hasn't changed (unless the note is more than a fourth from the
+prior note {\it and} you have for some strange reason elected to indicate the
+octave with a number rather than {\tt +} or {\tt -} ). So for example,
+consecutive dotted half notes, each within a fourth of the previous
+one, could be most cleanly entered as {\tt cd24 ed gd ed}, whereas {\tt cd24 e}
+would represent a dotted half note followed by a plain half note
+(since the basic time value---as defined by the first digit---was a half
+note all along).
+
+ There are two special shortcut rhythmic notations. For normal dotted
+rhythms (3:1 ratio), if you
+include a period ({\tt .}) in the note command, it will
+(a) assign a dot to the note just entered, (b) terminate that note,
+(c) prepare to
+receive the next note name {\it without any space}, and (d)~automatically
+assign a time value to the second note equal to one-third of the first one.
+No time value may be entered for the second note, but octave and accidental
+data may. Ornaments and slurs (see below) following this command will apply
+to the second member. If you need to follow the main note
+with some modifying
+\NEW{2.3}
+command, you can still use the shortcut ({\tt .}) after that command and a
+space.
+The main advantage of this shortcut comes if you want to
+follow one dotted pair with another of the same rhythm; then you
+needn't enter any explicit time value for {\it either} member of the second pair.
+This is possible because after using the shortcut,
+the basic (inheritable) duration is set to that of the
+{\it first} note in the pair, without the dot.
+
+ For paired notes with 2:1 rhythmic ratios, the character {\tt ,}~(comma)
+behaves similarly to the {\tt .}~(period) for 3:1 rhythms.
+
+ Xtuplets, or groups of notes with their stems connected,
+can have from 2 to 24 notes or\NEW{1.4} rests. Normally they
+all have the same duration, but there are several options---described
+below---to change this. The command for the first note of an xtuplet begins
+exactly like a
+note or rest command, with the name of the first note in the xtuplet, or
+{\tt r} if it starts with a {\bf r}est (see subsection below on rests),
+and an optional time value.
+However, the actual time value (including a dot if present and a basic
+duration that may have been inherited from the prior note) now represents the
+{\it total} duration of the xtuplet. Next (with no space, as usual) comes
+{\tt x} followed by either a one- or two-digit integer for the number of notes in
+the xtuplet, or \NEW{2.80}{\tt T} to initiate a 2-note tremolo, to be further
+discussed below. The only options allowed immediately following the number are
+{\tt d} and {\tt n} . \NEW{2.4}{\tt d} signifies that the {\it first} note
+of the xtuplet should have a dot and the second, and extra flag.
+{\tt n} controls the printing of the {\bf n}umber and bracket.
+If {\tt n} is followed by a blank, then no number will be
+printed. On the other hand,
+an \NEW{2.3}{\it unsigned} integer here is taken as a substitute number to
+be printed instead of the natural one.
+If one or two {\it signed} decimal numbers follow {\tt n}
+(each starting with {\tt +} or {\tt -}), the first
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
+in notehead widths. Another suboption to {\tt n} is {\tt f},
+to {\bf f}lip the number vertically from its default position. A \NEW{2.5}final
+suboption to {\tt n} is {\tt s} followed by a signed integer. It applies only
+to non-beamed xtuplets, for which it tweaks the slope of the bracket above or
+below the xtuplet. For non-beamed xtuplets, you can further change the
+appearance of the bracket and number as explain in section~\ref{ATDirective}.
+
+The second through last notes of the xtuplet are each then
+represented by a separate command containing a subset of the characters
+permitted for ordinary notes or rests: note name or {\tt r} (the only required
+character), accidental, and octave change character ({\tt +} or {\tt -}).
+\NEW{1.4} The octave may be given explicitly instead, and any integer will be
+interpreted as such, as no numerical time value is permitted.
+
+To double\NEW{2.3} the duration of any note in an xtuplet, add the
+character {\tt D} to the command for that note. This will decrease the expected
+number of notes in the xtuplet by one. To add a dot to the doubled note
+(as Bach sometimes did), use {\tt F} instead of {\tt D}.
+\NEW{2.4}To add a dot to one
+note and an extra flag to the next, include {\tt d} in the note command,
+{\it after} the {\tt x} if it's the first note of the xtuplet as noted above.
+
+As an example, an ascending quarter-note triplet scale would be
+notated\hfil\break {\tt~c44x3~d~e~f4x3~g~a~b4x3~c~d~\dots}
+
+\subsubsection{2-note tremolos}\label{TwoNoteT}
+
+A 2-note tremolo \NEW{2.80}is a special case of an xtuplet.
+It represent a rapid alternation between two notes.
+It is notated with a pair of
+notes, either beamed or unbeamed, with the possible addition of from one to three
+indented, disconnected beams between the two note stems.
+Like an ordinary
+xtuplet, it begins with a note name, optional duration and octave, then
+the character {\tt x}. The duration applies to the total time value of the
+two notes, is currently limited to either a half note ({\tt 2}),
+quarter ({\tt 4}), or eighth ({\tt 8}), and may be dotted by including~{\tt d}~after
+the duration digit.
+Next comes a {\tt T}. This is optionally followed by one or two
+integers from 0 to 3. The first indicates the number of ordinary beams
+connecting the two notes; the second, the number of indented beams.
+
+The only other option allowed on the first note is to move the dot. After
+the~{\tt d}~enter one or two signed integers, where the first
+is a vertical shift in {\tt \bs internote}s, and the second, a horizontal shift
+in notehead widths. If the note has both a moved dot and a digit for an explicit octave,
+the~{\tt d} must follow the octave number
+
+No other options are allowed, and some options are prohibited, such as zero
+ordinary beams on anything except a quarter or dotted quarter tremolo. If no
+integers are entered after the~{\tt T}, defaults are assigned: (3,0) for a half,
+(0,3) for a quarter, and (1,2) for an eighth.
+
+After a space, the second note of the tremolo is entered. If the total duration
+is a half or dotted half, the
+noteheads will be open. For a whole note tremolo, two consecutive half note
+tremolos should be used. As with ordinary xtuplets, the horizontal spacing of the
+notes will always be the
+correct value for notes with half the duration of the total. If the tremolo duration
+is dotted, a dot will appear by default on the second note, and no~{\tt d}~should
+be entered there unless the dot needs to be moved, in which case the syntax is as
+described above for the first note.
+
+Either\NEW{2.84} or both members of the tremolo may include chordal notes,
+using the normal {\tt z} notation described in section~\ref{chords}. If the
+duration is dotted, dots will appear by default on chord notes, and again
+no~{\tt d}~should be entered there unless the dot needs to be moved.
+If the tremolo is beamed, the height and angle of the beam may be adjusted
+after making it a forced beam as described in section~\ref{beams}.
+
+Some examples of 2-note tremolos are shown below. When two versions are shown
+for a given duration,
+the first is the default. The following \PMX code generates the example.
+
+~
+
+{\tt f24xT a fxT a | fxT20 a fxT20 a /}
+
+{\tt L2 fd24xT zefd-2+1 zcd-2+1 a r4 | f24xT a f2xT20 a /}
+
+{\tt L3 fd44xT a r8 f44xT a r4 | f44xT02 a fd8xT a r1 f8xT a r4 f8xT11 a /}
+
+~
+
+\includegraphics[scale=1.0]{tremxmpl4.eps}
+
+\subsubsection{Rests}
+
+ The command for a rest starts with {\tt r}.
+Then for a normal rest, in either order come a digit for the basic time value
+(using same codes as for notes, optional if unchanged from previous value),
+a {\tt d} if the rest is dotted, and a second {\tt d} if double dotted.
+\NEW{2.0} The basic time value of a rest
+affects future notes and rests the same as if it had come from a note,
+i.e., it applies until another value is entered with a subsequent note
+or rest in the same voice. The command {\tt rp} represents a
+full-bar rest notated with a {\bfi p}{\it ause} character (whole rest)
+regardless of
+the time signature; in this case no other duration information is
+needed or allowed. {\tt rb}, followed if necessary by a duration
+specifier, denotes a {\bfi b}{\it lank} rest, one that occupies space and time
+but is invisible. This is most often used when there are
+two voices in a staff and one drops out for some of the duration
+of the current input block. (See {\tt mwalmnd.pmx} for examples).
+\NEW{1.4} The
+option {\tt o} (for {\bf o}ff-center) suppresses centering a full bar rest. If
+you don't exercise this option, then
+{\it all} full-bar rests will be horizontally centered between bar
+lines, including pauses ({\tt rp}) as well as normal rests that fill the bar.
+
+ The default vertical position of a rest depends on whether there
+are one or two voices in the staff.
+For one voice it is just the \MusiXTeX{} default
+(approximately centered on the middle line). On the other hand, in
+the lower voice in
+a two-voice staff, the rest is lowered {\tt 4\bs internote}, while
+in the upper voice it is raised {\tt 2\bs internote}. The \PMX default can be
+manually overridden by appending {\tt +}~or~{\tt -} and an integer
+representing the offset from the {\it middle} line of the staff
+(not from the \PMX default if there are two voices in the staff!).
+So for example, in a single staff
+in 3/4 meter, two voices, each with a half note followed by its own
+quarter rest would be either
+\begin{verbatim}
+c24 r4 //
+c25 r4 /
+\end{verbatim}
+or equivalently
+\begin{verbatim}
+c24 r4-4 //
+c25 r4+2 /
+\end{verbatim}
+while
+\begin{verbatim}
+c24 r4+0 //
+c25 r4b /
+\end{verbatim}
+would produce two notes followed by a single, vertically centered rest.
+
+Another way to override the default vertical positioning of rests is useful in
+keyboard scores, or in fact any score containing two voices on a staff.
+The option {\tt K} (for {\bf K}eyboard) in the
+{\tt A} command generally causes rests to be
+aligned horizontally with notes in the voice in which they are entered. See
+section~\ref{Acommands} for a detailed description.
+
+ \label{MultibarRest}The command {\tt rm} followed immediately by an
+unsigned integer will generate a {\bfi m}{\it ulti-bar}
+rest, a special combination of characters between two bar lines
+representing two or more bars of rest. The integer will always be printed,
+horizontally centered. The integer in the command \NEW{2.91}may optionally
+be followed by {\tt n} and then another integer, possibly negative, indicating a
+different vertical position for the number relative to the bottom staff line.
+The default is 9. To put the number
+below the staff use -5 or -6. Once the height is changed it will stay the same until
+changed again. The {\tt rm} command will generally only be used in separate parts
+that have been automatically generated by {\bfx scor2prt}. However, it
+\NEW{2.4}may be used in a multi-line score, provided it is entered for the same
+number of bars in every staff.
+
+\subsubsection{Chords}\label{chords}
+
+ Chordal notes, which always share a stem and the same time value as the
+prior note, are symbolized with {\tt z} (for {\bf z}ero time) followed by a note name and
+optionally an accidental, {\tt +} or {\tt -} as octave indicator, and {\tt e}
+or {\tt r} for a l{\bf e}ft or {\bf r}ight shift by one notehead width.
+No basic time value is allowed. If the main note
+is dotted, then the chordal note will appear with a dot regardless of whether
+a {\tt d} is entered. The only time a {\tt d} is required in a chordal note
+command is if the dot's position is to be adjusted; in this case the
+{\tt d} is required, followed by one or two decimal numbers, each preceded by
+{\tt +} or {\tt -}. The first is the vertical shift in \bs{\tt internote}s;
+the second, the horizontal shift in notehead widths.
+Any number of chordal notes can follow a
+single main note. The stem direction of a chord is controlled by the main
+note, but may be manually overridden with {\tt u} or {\tt l} in the main note
+command.
+
+ When chordal notes are beamed together, the default height and angle of
+the beam will be determined by the main note on each stem (the one without
+{\tt z}). If a beam joining chordal notes looks bad, you can usually
+fix it either by changing which note acts as the main one,
+or by fine-tuning the beam parameters as described
+in section~\ref{beams}.
+
+\PMX uses a complex algorithm to automatically position accidentals in chords.
+If you are unhappy with the result, you can manually tweak the horizontal
+positions as described in section~\ref{AccidentalPosition}.
+
+Although there is no dedicated command for it, chords can be made to span from
+one staff to another using various techniques\NEW{2.73}. The approach will depend on
+whether
+the chord is single-stemmed with no flag, single-stemmed with a flag, or beamed.
+If beamed, it will also depend on whether it is an xtuplet or not. Examples of all
+the basic possibilities are contained in the sample file {\tt staffcrossall.pmx}.
+
+For unbeamed, unflagged staff-crossing chords,
+by lengthening the stem with the {\tt L} option on the main note, it can
+be made long enough to join with an unflagged single-stemmed note or chord in the
+next staff. Single-stemmed notes with one or more flags can be joined across staves
+with a trick discovered by Andre Van Ryckeghem: In one staff create a standard note or
+chord with
+the stem pointing away from the other staff. In the other staff, place the chord notes
+in a one-note forced beam that has been lowered or raised into the first staff
+(e.g. {\tt [-10 b14 ]}); that
+will stretch the stem to join the other notes, but with just one note (or chord) in the
+beam, the crossbar will have zero length and be invisible.
+
+Beamed chords may also span from one staff to another, using joined beams (see
+section~\ref{beams}). The general approach is to construct a set of chords
+(or single notes, if the other chord notes are in the other staff) in each of
+the two staves, enclose each set in a separate forced beam, and join the two
+beams with {\tt ]j}...{\tt [j}~. It is important to remember that the
+lower staff is processed first. So in most cases, the end of the segment in the lower
+staff must be joined (using {\tt ]j}) to the start of the upper segment (with {\tt [j}).
+It turns out that for non-xtuplet beamed chords, in all cases where the chord at the
+beginning of the beam has a note
+in the {\it lower} staff, this works fine provided that the forced beams are of equal
+duration and cover the same time span, and that positions in either staff with no note
+are represented with
+blank rests \bs{\tt rb} inside the force beam. So for example a set of beamed chords
+that starts only in the
+lower staff and ends only in the upper could be represented by
+\begin{verbatim}
+[+28 g83 g g rb ]j /
+[jf rb g84 g g ] /
+\end{verbatim}
+This example highlights some other issues, viz., that the beam height or direction of one
+or both beam groups may need to be altered. Often this will require trial and error.
+
+Unfortunately this two-group procedure breaks down if the first chord in the beam has no
+notes in the lower staff. There are tricks to get around this; the user is referred to
+the file {\tt staffcrossall.pmx} for examples. However, there is a much more
+straightforward way to define
+staff-crossing beamed chords that begin in the upper staff: it simply requires defining
+the beamed group in each staff as an xtuplet within a forced beam. It turns out that
+the treatment of
+staff-crossing beamed xtuplets is more robust than for non-xtuplets, and will admit
+more intuitive coding. So for example, the reverse of the above example, where
+the beam starts in the upper staff and ends in the lower, could be obtained with
+\begin{verbatim}
+[+28 rb2x4n g3 g g ]j /
+[jf g24x4 g g rb ] /
+\end{verbatim}
+\newdimen\psav\psav=\parindent\parindent=0pt where we used the option {\tt n} to
+suppress printing the number. As you might expect, more general staff-crossing
+beamed chordal xtuplets follow the same concepts already described for non-xtuplets,
+but as noted, they are more robust and admit patterns that start in the upper staff
+and end in the lower one. {\tt staffcrossall.pmx} also contains examples this
+approach.
+
+\parindent=\psav
+
+\subsubsection{Grace notes}\label{graces}
+
+ A grace note command starts with a {\tt G}. It is entered in its natural
+order, normally before the main note, but sometimes after. After {\tt G} and
+before the note name, comes any
+combination of the following options: an unsigned integer (which may have 2 digits)
+representing the number of
+notes in the grace (default is 1), {\tt m} and a digit for
+{\bfi m}{\it ultiplicity}
+(number of flags or beams, default is 1, 0 is allowed),
+{\tt s} for {\bf s}lur (joining all notes of the
+grace to the main note; no other {\bf s} is needed on the main note),
+{\tt x} for a slash (only for single graces),
+{\tt l} or {\tt u} to force the direction of the stem(s),
+{\tt X} followed by a decimal number {\it x} to insert a gap of {\it x}
+notehead widths between a normal grace and its main note\NEW{2.6},
+{\tt A} (for
+{\bf A}fter) or {\tt W} (for {\bf W}ay-after) to associate
+the grace note with the {\it prior} note. Next comes the only
+required character, the
+first note name. No time value can be entered, but if needed, the
+octave or an accidental can be given as in a normal note. Second and
+later notes must follow immediately in sequence, set apart by spaces, likewise
+without any time value, and without any intervening commands.
+
+ Normal or after-graces will be placed {\it immediately} before or after
+the main note; way-after's, as far to right as possible before the next note
+or bar line. If either type of after-grace is slurred, the slur will start
+on the main note and end on the last one in the grace.
+
+
+\subsubsection{Ornaments}
+
+ Commands for ornaments are entered {\it after} their associated
+note command. The ornaments now available are shake ({\tt ot}), {\bf m}ordent
+({\tt om}), ``x"- or ``+"-shaped ornament symbols ({\tt ox, o+}), pizzicato
+({\tt ou}), strong {\bf p}izzicato ({\tt op}), left parenthesis before
+notehead ({\tt o(}), right parenthesis after notehead ({\tt o)}),
+upper {\bf f}ermata ({\tt of}), {\bf d}own {\bf f}ermata ({\tt ofd}),
+staccato ({\tt o.}), tenuto ({\tt o\_}), two different se{\bf g}nos
+({\tt og} or {\tt oG}), {\bf C}oda ({\tt oC})\NEW{2.71},
+arbitrary-length wavy-line {\bf t}rill with {\it tr} ({\tt oT}),
+arbitrary-length wavy-line
+trill without {\it tr} ({\tt oTt}), sforzando ({\tt o>}),
+%duncecap ({\tt o}\hbox to 6pt{\tt\^~}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
+duncecap ({\tt o\verb|^|}), \NEW{2.4}{\bf c}aesura ({\tt oc}), and
+{\bf b}reath ({\tt ob}).
+All except the parentheses, staccato,
+tenuto, and down fermata will normally
+appear above the staff; the parentheses appear at the level of the note
+head, and staccato and tenuto just above or below depending on the
+stem direction. The only difference between staccato and
+pizzicato is the vertical positioning of the dot.
+
+Either type of trill may immediately include an unsigned decimal number
+to specify the length of the printed symbol in current \bs{\tt noteskip}s; the
+default is 1. Thus {\tt oT0} represents {\it tr} with no wavy line.
+
+Once the ornament type has been specified, most of them can be raised
+or lowered from their default position by appending
+a signed integer to the command, representing the vertical offset
+in \bs{\tt internote}s. \NEW{2.4}. A second signed integer specifies a
+horizontal shift from default in notehead widths.
+
+The caesura and breath marks differ from the others in their default horizontal position,
+which is 0.5\bs{\tt noteskip} past the note.
+
+The {\tt og} segno has several special properties. It must be entered in the first (lowest)
+staff, but will appear above
+every staff. Its vertical position cannot be altered, but if appended by a number...unsigned
+if positive...all appearances will be shifted horizontally by that number of points. On the
+other hand, the {\tt oG} segno\NEW{2.71} has a smaller symbol than {\tt og},
+applies only to the note after which it is entered, and can be shifted just as a
+normal ornament.
+
+ An ornament can be automatically repeated on a series of consecutive notes,
+provided the notes are all in the same voice and the same input block.
+To activate this feature, terminate
+the first ornament command with~{\tt:}~. Then every note in that voice will
+have the same ornament until a note is followed by the repeat terminator
+{\tt o:} .
+
+\subsubsection{Editorial accidentals}
+
+ To place a small sharp, flat, natural, or question mark above the staff,
+after the affected note enter {\tt oe} followed by {\tt s, f, n} or {\tt ?}.
+\NEW{2.2} You may also put a question mark right after the accidental.
+
+\subsubsection{Slurs} \label{slurs}
+
+ By default \PMX will use \MusiXTeX's built-in font-based slurs.
+But through user intervention it is possible to use either one of
+\NEW{2.4}two different types of postscript slurs. {\it Type K} slurs,
+developed by Stanislav Kneifl, are directly supported by \PMX and will
+be the focus of any future \PMX enhancements.
+They are globally activated with {\tt Ap} and several global
+defaults set with other options to the {\tt A} command as described in
+section~\ref{ApDirective}. If these are used, so will an alternate
+set of hairpins (see section~\ref{dynamics}).
+The other postscript slur option is Hiroaki Morimoto's {\it Type M} slurs.
+These
+are not directly supported by \PMXX, but are intended to be fully
+compatible with the default font-based slurs. To use them, one would
+use the in-line \TeX~command \bs\bs{\tt input musixpss}\bs~, and be sure
+{\it not} to enter {\tt Ap} . From \PMXX's standpoint they are no different
+from font-based slurs.
+
+There are some advanced options available only
+with Type K postscript slurs, and a few obsolete ones only with font-based.
+At this point the main
+difference in functionality between the two is that with postscript, \PMX
+provides support for
+true ties, which are shaped and positioned slightly differently from
+slurs. Future enhancements
+will probably only work with Type K postscript slurs. Some users do still
+prefer
+font-based, possibly because Type K postscript slurs are not visible in some
+DVI viewers.
+New users should experiment with the various types of slurs and decide for
+themselves.
+
+ The normal commands for slurs are {\tt (} placed with a space
+before a note, and {\tt )} placed after. The command {\tt s} is equivalent to
+{\it both} of them (!), except that it always follows the affected note.
+With font-based slurs, {\tt t} is equivalent to {\tt s} but
+with several minor differences to be explained later. With postscript slurs,
+{\tt t} signals to use a true tie.
+The commands {\tt s} and {\tt t} are {\it toggles}, turning
+a slur or tie off if it's already on and starting one otherwise.
+
+A \NEW{2.5} slur or tie may end on a rest, but not start on one. The default
+ending height in this case will be the same as the starting height, and it
+may be tweaked as described below.
+
+ The first character is optionally followed by
+a single-character ID code {\tt 0-9} or {\tt A-Z}, then by other
+options described below. ID codes are only needed if two or more slurs are
+open at the same time within one voice, such as when several chord
+notes are tied. Using ID codes in such cases tells \PMX which open slur to
+close. ID codes cannot be used with font-based {\tt t} slurs.
+
+The rules for finding the default direction and position of a slur
+are complex; many factors enter into defining visually pleasing values. But
+there's no need for gory details here; the result will usually satisfy, and if
+not, it can easily be tweaked. The default direction of curvature can be
+overridden with {\tt u} ({\bf u}pper), {\tt l} ({\bf l}ower),
+or equivalently {\tt d} ({\bf d}own).
+Starting or ending position can be shifted from its default by
+entering one or two explicitly signed numbers. The first, which must be
+an integer, represents the vertical shift in \bs{\tt internote}s; the second,
+which may be decimal, the horizontal offset in notehead widths. \NEW{2.71}Starting
+or ending
+position of a postscript slur or tie can be made to align with the end of the stem
+of an unbeamed note by using the option {\tt v}. No other options are permitted
+with {\tt sv}, but any desired position can be forced with the numeric options.
+
+The shape of the slur may be altered as well\NEW{2.1}. This paragraph
+deals with font-based slurs, for which the shapes may be less
+than fully satisfying due to fundamental limitations of \MusiXTeX.
+At the slur termination only, one or three
+more parameters may follow the ones just described. The first, a signed,
+nonzero
+integer, is a vertical adjustment to the mid-height of the slur in
+\bs{\tt internote}s. The next two, integers between 1 and 7 following a
+``{\tt :}", are alterations to the starting and ending slopes.
+These numbers are
+passed directly as arguments of the \MusiXTeX{} macros \bs{\tt midslur}
+(if only
+one is given) or \bs{\tt curve} (if there are three).
+
+For \NEW{2.4}Type-K slurs,
+the shape may be changed locally by including {\tt f} in either the
+slur's starting or ending command to flatten it a bit, or {\tt h},
+{\tt H}, or {\tt HH} to
+increase its curvature and raise or lower its middle by increasing degrees.
+The default \NEW{2.5}curvature can be altered from normal
+with new suboptions
+to {\tt Ap} as described in section~\ref{ApDirective}. Local
+curvature tweaks will take precedence over the global default. A special
+option {\tt n} to the slur command can be used to locally restore the normal
+curvature if the default curvature has been globally changed.
+
+Another option peculiar to Type-K slurs and ties is to locally
+override the global
+setting for automatic height adjustment (to avoid tangencies with staff
+lines). The global defaults may be changed with the {\tt A} command as
+described in section~\ref{ApDirective}. To
+override the global setting for the current slur or tie only, use
+the option {\tt p} in the command that starts the slur or tie,
+followed by {\tt +} or {\tt -} (to turn adjustment
+on or off), followed by {\tt s} or {\tt t} (for slur or tie).
+
+A dotted \NEW{1.41} slur is activated by including the option {\tt b} (for
+{\bf b}roken) in the command that starts the slur.
+
+Slurs involving grace notes are specified within the command for the grace
+(see section~\ref{graces}).
+
+For font-based slurs, the unique aspect of {\tt t} slurs is that if one
+starts or ends on the same
+note as an {\tt s} slur, the former will be moved away from the notehead to
+avoid a collision. {\it This only works if neither slur has an ID code.}
+This feature is only retained for backward compatibility.
+
+The available options should cover most circumstances, but if not,
+the \TeX\ macros \bs{\tt isu} etc, defined in {\tt pmx.tex}, can be entered
+as in-line \TeX\ commands (see section~\ref{LitTeX}).
+These commands have three arguments:
+slur number, vertical position (pitch, or offset from bottom staff line in
+\bs{\tt internote}s), and horizontal offset in
+notehead widths. When using these commands, you must choose an explicit
+slur number. Use one large enough to avoid
+conflicts with \PMXX 's automatic slurs, which are numbered from \NEW{2.4}
+0 upward.
+Also, remember that non-spacing in-line \TeX\ commands such as this one must
+come {\it before} the note they apply to, in contrast with the \PMX
+slur toggles which may come after.
+
+\subsubsection{Ties}
+
+With font-based slurs, in \PMX the only difference between ties and slurs
+is the default positioning.
+Ordinary slur ends are centered horizontally above or below the notehead,
+while tie ends are shifted inboard and closer to the midheight of the
+notehead. To specify a font-based tie in \PMXX, use a slur command and
+include the option {\tt t}
+in it, somewhere after the initial {\tt ( , ) , s } or {\tt t} .
+
+\NEW{2.4} With postscript slurs, ties---indicated with {\tt t} or
+{\tt st}---will have similar differences
+in endpoint positions,
+but in addition will have a different shape (somewhat flatter) and will
+always end at the same height they start. There is also an option to the
+{\tt A} command that affects ties across line breaks
+(see section~\ref{ApDirective}). By default the
+second part of such ties will be drawn as a complete tie symbol. However,
+if you want them to be a {\it half tie}---a special shape that is horizontal
+at its left end---use the command {\tt Ap+h} at the start of the file.
+
+In addition to the notation options just mentioned, ties may also be
+%indicated with the character {\tt\{} before the starting note and {\tt\}} after
+indicated with the character {\tt$\{$} before the starting note and {\tt$\}$} after
+the ending note\NEW{2.6}.
+
+\subsubsection{Line-breaking Type K slurs and ties} \NEW{2.5} \label{lbslurs}
+
+No special action is required if a slur or tie happens to cross a line break.
+However, some special, manual adjustments are available for Type K postscript
+slurs in these cases. The global option {\tt Apl} by itself adjusts several
+parameters as described in section~\ref{ApDirective}. Further, if {\tt Apl}
+has been issued,
+then case-by-case adjustments for line-breaking Type K slurs and ties are
+available as suboptions to the
+slur commands. To tweak the horizontal and vertical positions of the end of
+the first segment, enter the suboption {\tt s} in the command that starts
+the line-breaking slur or tie, followed by two signed numbers representing
+respectively the vertical shift
+in \bs{\tt internote}s and the the horizontal shift in notehead widths. To
+tweak the position of the start of the second segment, follow the above by
+another {\tt s} and two more signed numbers. The usual curvature options
+{\tt h}, {\tt H}, {\tt HH}, and {\tt f}, if included in
+the starting command for a line-breaking slur, will apply only to the first
+segment, and if in the closing command, to the second segment. If the tweaked
+slur or tie does not happen to come at a linebreak,
+the special position tweaks (after {\tt s} ) will all be ignored, and the
+curvature tweaks on the closing note will take precedence as they normally
+would.
+
+\subsubsection{Dynamics} \label{dynamics}
+
+\NEW{2.3}
+After the affected note, enter {\tt D} followed by one of the
+following {\tt pppp, ppp, pp, p, ffff, fff, ff, f, mf, mp, fp, sfz,
+"[{\it any text}]", >,}
+or {\tt <} . The last two are diminuendo and crescendo, and they are toggles,
+i.e., the first one of each starts the symbol and the next one ends it.
+The one surrounded by \NEW{2.76} double quotes is an arbitrary text string
+no longer than 64 characters, which may include embedded \TeX.
+By default a single note dynamic mark is horizontally centered below the note
+to which it is assigned, or below the staff, whichever is lower. Dim. or cresc.
+follow the obvious extension of that rule to the starting and ending note taken
+together. Examples of the default positions of dynamic marks are contained
+in the file {\tt dyntest.pmx}. However, with any dynamic mark you can also
+enter position shifts, vertical as a signed integer representing
+the number of {\tt \bs internote}s, then (if desired) horizontal as a signed
+number representing a
+number of notehead widths. There can only be one of the letter-groups on each
+note, but there may also be {\tt D<} and/or {\tt D>} on the same note. These must be
+entered as separate {\tt D...} commands, and must come in the right order, e.g.,
+
+\medskip
+[{\it some notes}] {\tt D<} [{\it more notes}] {\tt D< Dffff D>}
+[{\it more notes}] {\tt D>}
+\medskip
+
+Hairpins \NEW{2.7} may span from one input block to the next.
+
+There are numerous context-sensistive automagic adjustments to the positions
+of all the dynamic symbols. If you don't like the result you can adjust the
+position as just described.
+
+Due to \MusiXTeX's limitations,
+there are some restrictions on hairpins when using font-based slurs.
+They cannot be longer than 68mm, they cannot wrap over a system break, and they
+must be horizontal. Finally,
+only certain specific lengths are available so some horizontal position
+tweaking may be needed, especially when letter-groups and
+hairpins are combined.
+These restrictions are all removed when using postscript slurs.
+
+\subsubsection{Beams} \label{beams}
+
+ For the most part, \PMX automatically takes care of the details of
+defining beams: selecting which notes are beamed together, and setting
+the angle, direction, height, and {\it multiplicity} (the number of bars
+along the top or bottom). However, one may define a {\it forced}
+beam---which overrides \PMXX 's selection of which notes are beamed
+together---by
+surrounding the included notes with {\tt [} and {\tt ]}, being certain to
+separate these commands and their options from the included note commands with
+spaces. One may also wish to edit certain features of a beam even when
+\PMXX 's grouping decision
+would otherwise be acceptable; here again the beamed notes must be set
+apart with {\tt [} and {\tt ]}.
+
+The {\tt [} may optionally be followed
+immediately by several options.
+
+{\tt u} or {\tt l} will override
+\PMXX 's selection of the direction of the beam, while {\tt f} will
+{\bf f}lip it from whatever \PMX decided.
+
+{\tt j} {\bf j}oins the beam
+grouping to a prior one started in another system (see below).
+
+One, two, or three consecutive integers, each preceded with {\tt +}
+or {\tt -} , will affect the beam's geometry. The first integer is
+an adjustment to the starting level (in \bs{\tt internote}s) and may range
+from -30 to 30; the second is a slope adjustment with the same
+permissible range. The final slope parameter passed to \MusiXTeX{} will be the
+internally computed one plus the adjustment. If it exceeds 9 in magnitude, \PMX
+by default will reduce the magnitude to 9. Rarely a user may wish to enable
+final slopes of larger magnitude. This can be done with the global option
+{\tt AB} (see section ~\ref{Acommands}).
+
+The third number, if present, is an alternate adjustment to the
+starting level (in beam thicknesses) and may only range from 1 to 3,
+always acting to increase the stem length. This may be used to
+align consecutive horizontal beams which have internal multiplicity
+changes. For example, in 2/4 time, {\tt c84~c1~c~c~c~c8} would cause two
+beams but the
+first one would be lower than the second; {\tt [+0+0+1~c84~c1~c~]~c~c~c8}
+would align the tops of the beams with each other. Due to the
+complexity of \PMXX 's beam analysis procedures, these editing commands
+may sometimes produce unexpected results, and some iteration may be
+required to get exactly what you want. For example,
+{\tt [+0+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}
+will not produce two aligned beams as desired, because
+when \PMX analyzes the first beam, it automatically raises the starting
+level a bit for another reason, namely, to avoid too short a stem on
+the 64th notes at the end of that beam. In this case,
+the user could counteract \PMXX 's internal adjustment by using
+{\tt [-1+0+3~cd8~c3~c6~c~]~c~c~c3~cd8}.
+
+The option {\tt h} forces the beam to be {\bf h}orizontal.
+
+The character {\tt m} followed by a digit 1-4 forces the {\bf m}ultiplicity
+of the beam, the number of stem-joining bars.
+
+ By default, xtuplets are set apart with their own beam. To beam
+an xtuplet together with other non-xtuplets, just include it with the
+other notes in a forced beam.
+
+ Rests may also be included within forced beams, provided they are
+shorter than quarter rests, and of course that they come {\it between} the first
+and last notes under the beam.
+
+It's \NEW{2.5} now easy to define a repeating forced beam pattern.
+If the option {\tt :}~(colon) is included in the starting command {\tt [}~for
+a forced beam, then after you end the beam, more beams of the same duration
+will be forced in
+that voice, until stopped. They will be stopped at either the next regular
+forced beam, or the end of the input block for that voice, whichever comes
+first.
+
+ Some users may wish to define beamed groupings with subgroups
+joined by a single beam. The command {\tt ][}, standing alone between two
+note commands in a forced beam, causes the multiplicity to decrease to
+unity and immediately increase to its natural value for the next note.
+For example, {\tt [~c14~c~c~c~][~c~c~c~c~]} will generate two doubly-beamed
+groups connected by a single beam.
+
+Related \NEW{2.3} to this is a {\it single-slope beam group}, which is the
+same as described
+in the previous paragraph except that the beam disappears between segments.
+Segments should be separated by {\tt ]-[} standing alone between two notes
+inside the forced beam.
+
+ If there are large jumps in pitch between notes in a beam within
+a single staff, as a matter of taste you may wish
+to start the beam for example as an upper one and end it as a
+lower. \PMX will never do this automatically, but you can accomplish
+it by forcing the beam with appropriately modified up/down-ness, starting level,
+and slope. If you use this technique, there are two details to note: (1)~if
+there are any intermediate multiplicity changes, they will only be handled
+properly if the initially specified up-down-ness is consistent with the
+vertical position
+of the intermediate notes involved, and (2)~for proper appearance in crowded
+scores you may wish
+to insert hardspace or shifts as described in
+section~\ref{hardspace}. Some examples are included in {\tt most.pmx}.
+
+ Beams cannot normally jump staves. But if that is desired, start
+the beam normally in one staff, and terminate the part of the beam in that
+staff with {\tt ...~]j} . Then resume the beam in the new, adjacent staff with
+{\tt [j~...} . For staff-jumping beams, it's OK to have just a single note
+inside one or both of the members. Some adjustment of the beam height and
+slope may be required. Sometimes the ending section's up-downness must be
+overridden; you will know this is so if the ending is shifted horizontally
+from its proper position by one notehead width.
+Each voice must still have the right number
+of beats, so you will probably need to fill time with blank rests after the
+first member of the beam in one staff and before the second member in the other.
+There can still only be one staff-jumping beam open at a time.
+
+ \label{Jumps}In most cases \NEW{2.91} it is possible within \PMX to set a staff-jumping
+beam that changes multiplicity right at the jump. The only cases where the author
+hasn't yet found a way are where multiplicity increases and the beam runs
+at a height between the notes in the two staves. In that case some inline \TeX\
+is needed. The example below covers all possible combinations of jump direction;
+whether the beam runs below all, between, or above all of the notes; and
+whether multiplicity stays the same, increases, or decreases at the jump.
+
+~
+\begin{verbatim}
+h4.4i
+w5.5i
+\\let\nbbut\nbbu\let\nbblt\nbbl\
+% Fixed mult, up jump
+[ g83 g ]j rb4 | [u g83 g ]j rb4 | [u+14 g83 g ]j rb4 /
+rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] /
+% down jump
+rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] /
+[ f84 f ]j rb4 | [l f84 f ]j rb4 | [l-14 f84 f ]j rb4 /
+L2
+% Bar 7 Incr mult, up jump
+[ g83 g ]j rb4 | [l+14 g83 g ]j rb4 /
+rb4 [j f14 f f8 ] | rb4 \def\nbbu#1{\nbbl{#1}\let\nbbu\nbbut}\ [ju f14 f f8 ] /
+[u+14 g83 g ]j rb4 /
+rb4 [jl f14 f f8 ] /
+% down jump
+rb4 [j g13 g g8 ] | rb4 \def\nbbl#1{\nbbu{#1}\let\nbbl\nbblt}\ [j g13 g g8 ] /
+[ f84 f ]j rb4 | [u-14 f84 f ]j rb4 /
+rb4 [ju g13 g g8 ] /
+[l-14 f84 f ]j rb4 /
+L3
+% Bar 13 Decrease mult, up jump
+[ g83 g1 g1 ]j rb4 | [u g83 g1 g1 ]j rb4 | [u+14 g83 g1 g1 ]j rb4 /
+rb4 [j f84 f ] | rb4 [j f84 f ] | rb4 [jl f84 f ] /
+% down jump
+rb4 [j g83 g ] | rb4 [j g83 g ] | rb4 [ju g83 g ] /
+[ f84 f1 f ]j rb4 | [l f84 f1 f ]j rb4 | [l-14 f84 f1 f ]j rb4 /
+\end{verbatim}
+
+\includegraphics[scale=1.0]{sjb291.eps}
+
+~
+
+\subsubsection{Clefs}
+
+ A clef change is signaled by {\tt C} followed by a single lower-case
+letter or digit using the code specified in
+section~\ref{ClefCodes}. If clefs come out at the wrong
+vertical position, refer to the note in {\tt pmx.tex}.
+
+\subsubsection{Arpeggios}
+
+To set an arpeggio (a vertical wavy line), simply place the \bs {\tt ?}
+after the commands for both the first and last note. To shift the symbol to
+the left by {\it x} notehead widths, use the option {\tt -}[{\it x}]\NEW{2.6} .
+
+\subsubsection{Lyrics}\NEW{2.73}\label{lyrics}
+
+Lyrics rely on the underlying \TeX\ command {\tt\bs pmxlyr} developed by Dirk
+Laurie, which is defined in {\tt pmx.tex}. It in turn makes use of the macro
+package {\tt musixlyr.tex} developed by Rainer Dunker. So to enable lyrics within \PMXX,
+you will need to
+ensure that {\tt musixlyr.tex} is installed somewhere in your system where your
+\TeX\ processor can find it.
+
+Lyrics can be inserted by enclosing them in double-quotes inside the music line
+just before the first note to which they apply, as in
+{\tt "us-ing lyr---ics now\_\hglue1pt\_ "}. Once the first double quote is encountered, \PMX will
+ensure that {\tt musixflx.tex} is input into the \TeX~file.
+
+Lyrics for several notes can be defined in one go.
+The lyrics in each input string demand a specific number of notes, depending on
+the number of syllables, hyphens, and underscores. If there are not enough lyrics,
+question marks will appear; if too many, the excess syllables will not appear.
+
+The rules for aligning lyrics properly with notes are as follows. Words are
+separated by whitespace, with any number of spaces counting as one. Syllables
+within a word that require just one note each are separated by a single hyphen. There are
+two ways to extend a syllable over two or more notes. If it is the last syllable in
+a word (like {\tt "now\_\hglue1pt\_ "}), follow it with consecutive underscores, one for each extra
+note, and finally a space. It will be printed with a continuous underscore.
+To extend a syllable within a word (like {\tt "lyr---ics"}), insert one extra hyphen
+(with no spaces) for each
+extra note, and it will be printed with some number of hyphens filling the proper
+space between syllables. Conversely, a tilde ({\tt \char126}) between two words
+(with no spaces) prints a space between them while assigning the last syllable of the
+first and the first syllable of the second to a single note\footnote{This is just an
+example of using a standard \TeX\ feature within lyrics.}. So in the end, in a voice
+with lyrics, every note must be associated with a syllable, its extension, or two
+syllables joined with a tilde.
+
+Although underscores within a word or consecutive hyphens at the end may not crash the
+code, they are not recommended for any foreseen useful purpose.
+
+Accented characters can be included in lyrics or elsewhere in several different ways. Here
+we provide examples for just one of those methods, one which uses special \TeX~commands.
+The following \PMX input contains most of the available accented characters and
+leads to the example pictured below.
+
+\begin{verbatim}
+"\'o \`o \^o \"o \~o \=o \.o \u{o} \v{o} \H{o} \t{oo}"@b+4
+c44 d e f g a b c c- d e r /
+
+"\c{o} \d{o} \b{o} {\oe} {\OE} {\ae} {\AE} {\aa} {\AA} {\o} {\O} {\l} {\L} {\ss}"
+c44 d e f g a b c c- d e8 f g a /
+\end{verbatim}
+
+\includegraphics[scale=1.0]{accents.eps}
+
+By default, lyrics will be placed below the staff where they are entered, half way between that
+and the next lower staff. You may want to
+alter the vertical position of a lyrics line, especially if both voices in
+a staff have lyrics. This is accomplished with the opfion {\tt @}, immediately
+following the closing quote of the
+lyrics string with no space. That must be followed by either {\tt a} or {\tt b} for
+{\bf a}bove or {\bf b}elow the staff, then a signed integer for the number of
+\bs{\tt internote}s above or below the default height. This command is "sticky"; it
+will remain in force for later lyrics in the same voice until altered.
+
+It may also be necessary to allow extra vertical space where the lyrics are positioned.
+There is no \PMX command for this, but type 2 inline \TeX~can be used to insert extra
+vertical space above any instrument. For example, if the voice is in instrument \#2 and
+lyrics are below that staff,
+\bs\bs{\tt interinstrument=0\bs internote\bs setinterinstrument1\{8\bs internote\}}\bs~ will
+add \newline 8 \bs{\tt internote}s in the space for the lyrics.
+
+Present limitations allow lyrics at upper and lower voices on the bottom two
+staves of instruments 1 to 4. Elsewhere they are quietly ignored.
+
+Most scores with lyrics will benefit from the type 2 command \bs\bs{\tt sepbarrules}\bs, which
+stops bar lines from crossing through the vertical space between instruments.
+
+The notation {\tt "us-ing lyr---ics now\_\hglue1pt\_ "} is actually shorthand for the inline \TeX\
+string {\tt\bs pmxlyr\{us-ing lyr---ics now\_\hglue1pt\_ \}\bs}. All the rules given in
+section~\ref{LitTeX}~for
+Type~1 \TeX\ strings apply. To ensure that the length of all the Type 1 \TeX\
+strings belonging to a particular note combined does not exceed 128, remember
+to account for the nine characters in {\tt\bs pmxlyr\{\}}.
+
+The sample files {\tt prad5.pmx} and {\tt netsoos.pmx} illustrate many aspects of
+this direct method for entering lyrics in pure \PMX.
+
+This way of entering lyrics is a convenient interface to a subset of the
+facilities offered by {\tt musixlyr}. If more advanced features than those supported by
+{\tt\bs pmxlyr} are needed, the necessary {\tt musixlyr} macros could be manually
+entered as in-line \TeX\ directly into the .pmx file.
+
+If really advanced features are needed (such as having several verses of lyrics
+at once), most users would prefer the convenient interface to {\tt musixlyr} via
+the program {\bfx M-Tx} developed by Dirk Laurie. It is a pre-preprocessor which produces
+a {\tt .pmx} file containing the proper in-line \TeX\ commands. Its input language
+is similar (but not identical) to \PMX and includes most \PMX functionality as a subset.
+
+\subsection{Commands That Affect All Voices} \label{pmxcmds}
+
+ Most commands that affect all the voices can only appear in the first
+(lowest) voice in the first (lowest) staff. Most such commands will
+automatically be
+transferred from score to parts when separate parts are generated by
+{\bfx scor2prt} (see section~\ref{scor2prt}).
+
+\subsubsection{Repeats, double bars, forced single bars} \label{Repeats}
+
+ Repeat signs, double bars, and other bar-ending options are signaled
+by {\tt R} followed by
+{\tt l, r, lr, d, D, dl, b} or {\tt z} for
+{\bf l}eft repeat, {\bf r}ight repeat, {\bf l}eft-{\bf r}ight repeat,
+thin-thin {\bf d}ouble
+bar, thin-thick {\bf D}ouble bar, thin-thin {\bf d}ouble bar followed by
+{\bf l}eft repeat, single {\bf b}ar, or blank (invisible) barline\NEW{2.4}.
+Some of these have peculiarities.
+{\tt Rb} forces a single bar before a movement break (see section~\ref{movbrk}),
+where otherwise by default there is a double bar. That can be useful for
+example if you
+change the number of instruments (via an option in the movement-break command)
+in the middle of a movement. {\tt Rz} will cause a blank barline at the end
+of the current system, not necessarily the current bar. It can be used
+together with blind meter changes if you want to split a bar across a
+system break.
+If {\tt Rlr} falls at a system break, \PMX will automatically split it in
+two. The command {\tt Rdl} will likewise be split at a system break, but if
+not at a system break, the {\tt d} will be ignored.
+
+These commands must be in the
+first voice. It is best only to place them before the first note in an
+input block or if necessary after the last one; otherwise {\bfx scor2prt}
+may behave erratically.
+Using two separate {\tt R} commands in succession will cause
+unpredictable results.
+
+
+\subsubsection{Voltas (first and second endings)}
+
+ Beginnings and ends of first and second endings are signaled by
+{\tt V} (for {\bfi v}{\it olta}).
+If it's the {\it end} of the volta, add the option {\tt b} (for
+{\bfi b}{\it ox}) or {\tt x} for {\it no bo}{\bfi x}.
+If it's the {\it start} of a volta, you can
+optionally enter any text at all that doesn't include a space and doesn't
+start with {\tt b} or {\tt x} (most
+commonly {\tt 1} or {\tt 2}). A period will automatically be
+appended to the text. If one volta ends and another starts right
+away, only a single {\tt V} is needed. Voltas must only be entered in the
+first voice. If separate parts are to be created from a score using
+{\bfx scor2prt}, then only a single volta is allowed in any given input
+block, and it must be at the beginning of the block.
+
+\subsubsection{Meter changes}\label{MeterChange}
+
+ Meter can only be changed at the beginning of an input block.
+A {\bfi m}{\it eter change} command starts with the letter {\tt m}.
+There are two different ways to complete the command.
+
+{\bfx Method 1.} Enter 4 numbers
+with no intervening spaces. The four numbers are {\tt mtrnuml},
+{\tt mtrdenl}, {\tt mtrnmp}, {\tt mtrdnp} as defined in section~\ref{setupdata},
+with the following exceptions for this method only:
+You must use {\tt o} to represent
+the number 1; if you enter the digit {\tt 1} then \PMX will interpret that
+digit and the next as a 2-digit integer, between 10 and 19 inclusive.
+19 is the largest number that can be entered with this method. Note that
+{\tt mtrdenl=0} still represents a whole note.
+
+{\bfx Method 2.} \NEW{1.4} Enter the four numbers verbatim in the order just
+listed, but separate them with slashes ({\it /}).
+
+\subsubsection{Bar numbers}
+
+ By default \PMX will place a boxed bar number at the start of every system
+except the first, above the clef at the beginning of the top staff. Numbers start at
+1 unless the first bar is a pickup included in the first input block, in which case
+the pickup bar is numbered 0. There is no way to change any of this except with
+inline \TeX.
+
+ There are several ways to modify specific aspects of bar numbering
+when blank gaps have been inserted (see section~\ref{Gaps}), or to continue
+numbering rather than resetting to zero at a movement break
+(see section~\ref{movbrk}).
+
+ If you wish to mover the bar number box at the start of any system,
+enter the type 1 inline \TeX~ command {\tt\bs bnrs[i][j]} anywhere in the
+system before the linebreak, where {\tt [i]} is the vertical shift in
+{\tt \bs internotes} and {\tt [j]} is the horizontal shift in notehead
+widths.
+
+\subsubsection{Fundamentals of key changes and transposition}\label{transpose}
+
+As explained in section~\ref{setupdata}, the intial key signature, also called
+the concert key, is specified in the setup data. In order to change the key
+signature or to transpose (i.e. make the printed notes appear at a different
+level than where
+they were entered), use the {\tt K} command. The syntax is {\tt K}[{\it n}][{\it k}]
+where {\it n} and {\it k} are explicitly signed digits respectively giving the distance
+to transpose in \bs{\tt internotes}, and
+new key signature. When transposing, you should always use relative accidentals, activated by
+the separate command {\tt Ar} at the start of the first input block (see section~\ref{ArDirective}).
+For example, to transpose a piece in C major to E major you would enter
+{\tt Ar~K+2+4} at the beginning of the first block.
+
+To transpose by a half step to a key with the same
+letter name, use {\tt K-0}[{\it k}] where as before {\it k} is an explicitly signed integer giving
+the new signature.
+(Using {\tt -0} instead of {\tt +0} eliminates confusion with a simple key
+change, see the next paragraph.)
+
+A simple key change can be signalled at the start of any input block. Use
+the command {\tt K} with {\it n}={\tt +0} as the first argument and the new key signature as the second.
+
+If the signature changes from sharps to flats
+or vice-versa, the default will be to include naturals in the first instance of the new
+signature. To suppress this behavior, use the \NEW{2.7}option {\tt n} right after {\tt K} .
+For example, to change from
+2 flats to 3 sharps and suppress the naturals, enter {\tt Kn+0+3} .
+
+The procedures described above will affect all instruments in the score. To change the key of or
+transpose just a single instrument, use Ki[{\it m}][{\it n}][{\it k}] when {\it m} is an unsigned integer
+representing the instrument number, and {\it n} and {\it k} are as just described.
+For more than one instrument, you may immediately repeat everything after {\tt K} (including {\tt i}).
+This may come either at start of score (right after setup) or at the beginning of any later input
+block. But if it's later, it must be preceded by a normal
+(full score) non-transposing key change command {\tt K+0}[{\it k}].
+For example, to change the keys of the second and third instruments to one sharp and two sharps
+respectively, use {\tt Ki2+0+1i3+0+2} .
+
+\subsubsection{More on transposition; ``transposing'' instruments and example files}
+
+In practice, two fundamentally different situations may arise: (1) (Full-score transposition) A
+score that has been entered in one key
+is to be completely transposed to a different key and pitch level, usually to force the range to fit
+different instruments than original; or (2) (``Transposing''
+instruments) some of the instruments require a part printed in a different key and at a different
+pitch level than it sounds.
+
+To transpose
+an entire score from the key specified in the setup data (Case TTA), simply use the
+{\tt K} command at the
+beginning of the first input block, as outlined in the previous section.
+
+It gets more complicated when some transposing instruments are involved,
+because there are three different possibilities:
+(Case~CTS)~The transposing instruments can be entered in concert key but printed
+transposed in the score and in separate parts created with {\bfx scor2prt} (see
+section~\ref{scor2prt});
+(Case~TTS)~They can be entered transposed and printed transposed in
+both the score and in parts;
+(Case~CCS)~They can be entered in concert key and printed in concert key in the score, but
+printed transposed in parts. Matters are further complicated if there is a later key
+change. Finally, if a MIDI file is to be produced, then in cases CTS and TTS an additional
+step involving the transpose option to the MIDI command {\tt I}
+(see section~\ref{MIDI}) must be taken.
+
+All of the required commands for all four of these cases are summarized in the table
+below. Following that, they are discussed a bit further and illustrated in
+four example files (named [Case]{\tt .pmx}) that are also included in the distribution.
+
+\font\smaller=cmr10
+{\smaller
+\begin{center}
+ \begin{tabular}{cllcll}
+ \hline
+ Case & PMX entry & Printed score & MIDI pitch & Initial commands & Later key change \\
+ \hline
+ TTA & All B flat major, & All transposed up & transposed & {\tt K+2+2} & {\tt K+0-5} \\
+ ~ & later key change & 2 steps to D & ~ & {\tt I} & ~ \\
+ ~ & to B flat minor & major, later to D & ~ & ~ & ~ \\
+ ~ & ~ & minor & ~ & ~ & ~ \\
+ \hline
+ CTS & All B flat major, & Trombone (1) & concert & {\tt Ki2+5+1i3+1+0} & {\tt K+0-5} \\
+ ~ & later key change & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+5-2i3+1-3} \\
+ ~ & to B flat minor & (2) transposed up & ~ & ~ & ~ \\
+ ~ & ~ & 5 to G, later G & ~ & ~ & ~ \\
+ ~ & ~ & minor; clarinet (3) & ~ & ~ & ~ \\
+ ~ & ~ & transposed up 1 to & ~ & ~ & ~ \\
+ ~ & ~ & C, later C minor. & ~ & ~ & ~ \\
+ \hline
+ TTS & Trombone (1) & Trombone (1) & concert & {\tt Ki2+0+1i3+0+0} & {\tt K+0-5} \\
+ ~ & concert; alto sax & concert; alto sax & ~ & {\tt IT+0-5-1} & {\tt Ki2+0-2i3+0-3} \\
+ ~ & (2) transposed up & (2) transposed up & ~ & ~ & ~ \\
+ ~ & 5 to G, later G & 5 to G, later G & ~ & ~ & ~ \\
+ ~ & minor; clarinet (3) & minor; clarinet (3) & ~ & ~ & ~ \\
+ ~ & transposed up 1 to & transposed up 1 to & ~ & ~ & ~ \\
+ ~ & C, later C minor. & C, later C minor. & ~ & ~ & ~ \\
+ \hline
+ CCS & All B flat major, & All B flat major, & concert & {\tt \%2K+5+2} & {\tt K+0-5} \\
+ ~ & later key change & later key change & ~ & {\tt \%3K+1+0} & ~ \\
+ ~ & to B flat minor & to B flat minor; & ~ & ~ & ~ \\
+ ~ & ~ & parts printed & ~ & ~ & ~ \\
+ ~ & ~ & transposed & ~ & ~ & ~ \\
+ \hline
+ \end{tabular}
+\end{center}
+\medskip
+}
+
+{\bfx Case TTA: Full score transposition.}
+Here the entire score is to be transposed. In the setup data the signature is set to -2. Then
+the command {\tt K+2+2} says to transpose up 2 steps from the initial key of B flat to D, and put 2
+sharps in the key signature. No special attention is needed for the MIDI; it will come out in the
+transposed key. A later (full-score) key change requires another {\tt K} command, but now the
+transposition parameter is set to 0 and the new key is the concert key (I guarantee people will be
+confused by this). In the example the command for the signature change is {\tt K+0-5} , making the
+new concert key B flat minor with 5 flats, and, considering the initial transposition, causing the
+score and MIDI to come out in D minor with 2 flats.
+
+{\bfx Case CTS: Parts all entered in concert key, but some transposed in the printed score.}
+Here, to produce the
+printed score, parts are all entered in concert key, but instrument-wise transposition is used for
+the transposed instruments. In the example the alto sax part is entered in B flat but will be
+transposed up 5 steps in the printed score, to G major. This is brought about with {\tt Ki2+5+1} . Similar
+logic applies to the clarinet part, while the trombone part is not transposed. If a MIDI file is
+desired, it will come out in concert key, but only after using the transpose option in the MIDI
+command to undo the transpositions caused by the K command. In the example the command
+{\tt IT+0-5-1} does this, ``de''transposing each of the three instruments by the necessary number of
+steps. For a later key change, first the full-score {\tt K} command changes the concert key, then the
+instrument-wise {\tt Ki command}, with the same transpositions as the initial one, sets the new key
+signatures for the transposing instruments. Here the signatures to be entered are the transposed
+signatures, i.e., the ones that will be printed.
+
+{\bfx Case TTS: Parts entered in respective transposed keys, and printed in those keys in the score.}
+In this method of scoring transposing instruments, parts for transposing instruments
+are transposed ahead of time and
+entered exactly as they will appear in the score. So to produce the printed
+score this way, the pitch does not have to be changed, but the key signatures must be set
+separately for each transposing instrument using the {\tt Ki} command. In the example, the alto sax is
+entered in the key of G so the instrument-wise option for it is {\tt Ki2+0+1} . Note that {\tt +0} means no
+further transposition is needed before printing, because the part was transposed on entry. Once
+again, if a MIDI file is desired, it will come out in concert key, but just as in the previous case,
+you must use the transpose option in the MIDI command {\tt IT} to undo the transpositions caused
+by the {\tt K} command. For a later key change, the same full-score {\tt K} command as in the previous
+case is used to change the concert key. Then the instrument-wise {\tt Ki} command, now with {\tt +0} for
+the transpositions, sets the new key signatures for the transposing instruments, again using the
+transposed signatures.
+
+{\bfx Case CCS: Parts entered in concert key, printed in score in concert key, but transposed in
+separate printed parts.}
+This is the easiest case of all. Nothing special needs to be done for the score, but part-only,
+full-score transposition commands {\tt\%}[instrument number]{\tt K...} should be entered in the score. Then
+{\bfx scor2prt} will generate a transposed part. Of course if a MIDI is made from the score it will
+come out at concert pitch. For example, to transpose the alto sax part up 5 steps, initially to G
+major, near the top of the score file enter {\tt\%2K+5+1} . Later, where the concert key changes to B
+flat minor and the alto sax to G minor, enter simply {\tt K+0-5}, making the new concert key B flat
+minor with 5 flats. When {\bfx scor2prt} is invoked to make separate parts, this will be transferred
+verbatim into all parts, and then \PMX will internally adjust the signature for each transposed part
+as required.
+
+{\bfx Making separate parts.}
+In all of the cases discussed, if the patterns of commands in the table are followed, then
+separate parts can be made as usual using {\bfx scor2prt}. They will
+automatically come out transposed as desired.
+
+\medskip
+%\pagebreak
+{\bfx Texts of the transposition sample files:}
+% Note: when editing is done, figure out how to make scripts size work without page break.
+\begin{scriptsize}
+%\begin{tiny}
+\begin{multicols}{4}
+\begin{verbatim}
+%TTA.pmx
+3 2 4 4 4 4 0 -2
+1 1 20 .13
+Trombone II+III
+Trombone I
+bbb
+.\bs
+Tt
+TTA
+Apr
+I
+K+2+2
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+b42 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+b42 c d e f gs as b /
+
+
+
+%CTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CTS
+Apr
+Ki2+5+1i3+1+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+Ki2+5-2i3+1-3
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+
+%TTS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+TTS
+Apr
+Ki2+0+1i3+0+0
+IT+0-5-1
+b42 d f b t b t gf df b /
+g44 b d g t g t ef bf g /
+c45 e g c t c t af ef c /
+K+0-5
+Ki2+0-2i3+0-3
+b42 c d e f gs as b /
+g44 a b c d es fs g /
+c45 d e f g as bs c /
+
+%CCS.pmx
+3 3 4 4 4 4 0 -2
+1 1 20 .1
+Trombone
+Alto Sax
+Clarinet
+btt
+.\
+Tt
+CCS
+Apr
+%2K+5+1
+%3K+1+0
+I
+b42 d f b t b t gf df b /
+b43 d f b t b t gf df b /
+b44 d f b t b t gf df b /
+K+0-5
+b42 c d e f gs as b /
+b43 c d e f gs as b /
+b44 c d e f gs as b /
+\end{verbatim}
+\end{multicols}
+\end{scriptsize}
+%\end{tiny}
+
+\subsubsection{Text}
+
+ The commands {\tt h} or {\tt l}, when placed in the first
+column of an input line and followed by a blank or, for {\tt h} only, by
+a signed integer,
+stand for {\bfi h}{\it eader} and {\bfi l}{\it ower text}. They will put a
+text string
+above or below the {\it top} staff in the {\it first} bar of the block where
+they are entered. The text string must be on a line of its own,
+immediately following the command. The integer is a vertical shift in
+\bs{\tt internote}s.
+
+ A {\it title block} with up to three elements can be defined at the
+beginning of the first input block. {\tt Tt} signals that the text
+{\it on the following line} is to be set as a {\bf t}itle for the whole piece,
+and it will be centered. {\tt Tc} similarly indicates a {\bf c}omposer's name,
+to be set below the title and right justified. {\tt Ti} likewise stands for
+an {\bf i}nstrument name, which will be set above the title, left-justified.
+The text for any of these commands can be split over two or more lines
+by including \bs\bs~at the location of the line break.
+
+{\tt Ti} will automatically be invoked by {\bfx scor2prt} when it generates
+parts from a score.
+
+Extra vertical space can be added between the title
+block and the top system by appending to {\tt Tt} a one- or two-digit
+number representing the space in \bs{\tt internote}s. This only works if
+{\tt Tt} is the {\it final} title block element entered.
+
+The {\tt D} command can be used to enter arbitrary text as described in
+section~\ref{dynamics}.
+
+Lyrics may be entered as described in section~\ref{lyrics}.\NEW{2.73}
+
+\subsubsection{Page numbering, centered header text}
+
+ If you want pages to be numbered at the top left or right, place
+the command {\tt P} anywhere within the \PMX code that represents the first
+page to be numbered (usually the first or second page).
+{\tt P} can be followed optionally by the starting
+page number and/or by {\tt l} or {\tt r}, the latter overriding the default
+locations of odds on the right and evens on the left. \NEW{2.0}
+There is also a special option {\tt c} for {\bf c}entered header text.
+It must be the {\it last}
+option in the {\tt P} command. It will define text to be printed at the top of
+every page {\it after the first}. If a blank follows {\tt c}, the default
+header text will
+be the instrument name entered with the command {\tt Ti} . If any non-blank
+character except {\tt "} follows {\tt c}, the header text will start with that
+character and end at the next blank. If {\tt "} follows {\tt c}, the
+header text will be everything between that and the next {\tt "} (this
+permits headers containing spaces). The {\tt P} command and its options
+will be ignored when making parts from a score (since page numbering
+will usually be different in the score than in the parts), but page
+numbering (and centered headers) for parts can be still be initiated
+independently, for example with {\tt \%!P2} or {\tt \%1P2r} (see
+section~\ref{scor2prt}).
+
+\subsubsection{Overriding certain defaults, or
+getting the most from \PMXX}\label{Acommands}
+
+Understanding this section is important if you want to get the most out
+of \PMXX. In many
+cases the switches described here represent subtle but significant
+improvements that have come along since \PMX was initially developed. Rather
+than changing the defaults, they are treated as optional in order not to
+upset the layout of older scores. For example, virtually every new score I
+create begins with at least {\tt Abple}.
+
+As you may have guessed, it is the command {\tt A} that can be used to
+override a grab-bag of default settings. The available options affect a
+wide range of \PMX features: sizes
+and interpretation of accidentals,
+dot positions, space before the first note of every bar, space between staves,
+slur package selection, vertical positioning of Type K postscript
+slurs, line-breaking Type-K slurs, curvature of Type-K slurs,
+naming of parts, vertical positioning of rests in 2-voice staves\NEW{2.6},
+brackets for non-beamed xtuplets, and inputting so-called
+{\it normal include} files.
+
+{\bf Size of Accidentals.}
+{\tt b} makes all accidentals
+{\bf b}ig, {\tt s} makes them all {\bf s}mall. By default, big ones are used
+unless unaltered spacing doesn't provide enough space. Thus the default
+behavior may cause a mixture of big and small accidentals, and in fact is not
+recommended.
+
+{\bf Relative accidentals.}\label{ArDirective}
+If transposing, then the {\bf r}elative accidental convention must be used,
+indicated by {\tt r}. This changes the way you enter accidentals. With
+relative accidentals, the note options {\tt s}, {\tt f}, {\tt n} take on
+unconventional meanings, now respectively signaling that a note should be raised
+a half step, lowered a half step, or left alone {\it relative to the pitch
+it would have according to the key signature}. So for example, with {\tt Ar},
+in the key of B flat major the note command {\tt bs} would cause a B natural
+to be printed. By contrast, the default is
+the normal, absolute convention, where the indicated pitch alteration is
+relative to what the pitch would be if there were no key signature.
+
+{\bf Vertical position of dots.}
+If there are staves with two voices, {\tt d} causes dots in the
+lower one to appear on or {\it below} center, in contrast with the default.
+
+{\bf Gap at start of bar.}
+Use {\tt a} followed by a
+decimal number to override the default setting for \bs{\tt afterruleskip},
+the space before the first note in a bar. The default in \PMX is
+{\tt 1}\bs{\tt elemskip}, 20 percent smaller than \MusiXTeX{}'s.
+
+{\bf Space between staves within a system.}
+If \PMXX's vertical spacing between staves within a system is not pleasing, use {\tt I} or
+{\tt i} , followed by a decimal number, to apply a scale factor to
+\bs{\tt interstaff} . {\tt I}
+affects all pages, {\tt i} only the current one. Shrinking the space between
+staves within each system will cause the space between systems to increase, and
+conversely. These options have no effect if there is only one staff per system.
+
+{\bf Equal space between systems.}
+\label{AeDirective}\MusiXTeX~normally draws a virtual box around each system
+and inserts equal vertical space between boxes. \NEW{2.3}
+When objects protrude above the top staff in a system or
+below the bottom one, this can lead to unequal spacing between the top staff
+line in one system and the next. If you prefer that the vertical spacing
+between the staves of consecutive systems be constant for the whole page,
+use the {\tt e} option of the {\tt A} command. One side benefit of {\tt Ae}
+is that it will prevent systems from spilling over onto extra pages,
+regardless of how many systems are put on the page. When using this option,
+you may occasionally want to force more vertical space between certain systems.
+There is a \TeX~macro
+{\tt \bs spread} that can be inserted anywhere in the system before the
+desired wider gap. It has one argument, the desired extra space in
+{\tt\bs internote}s.
+
+{\bf Stop grouping systems at top in sparse pages.}
+Another \NEW{2.4}\ command affecting vertical spacing is the {\tt v}
+option of the {\tt A} command (for
+{\bf v}ertical). \PMX normally spreads staves
+vertically over a full page, unless the white space becomes excessive,
+in which case it groups all staves near the top of the page. Entering
+{\tt Av} will suppress this grouping near the top, and ensure that
+systems will always be spread vertically regardless of how much white
+space is left. It is a toggle; the second time it is issued, the
+behavior reverts to the default.
+
+{\bf Add extra vertical space before and/or page eject (last resort)}\NEW{2.8}
+As a last resort in getting the right spacing at the top or bottom of a page,
+the option {\tt V} will insert a vertical skip of the specified number of
+{\tt \bs Internote}s before and after the next page eject. It must be followed by
+{\tt +} or {\tt -}, then a number, then another {\tt +} or {\tt -} and number.
+
+{\bf Make some staves smaller.}
+The {\tt S}
+option to the {\tt A} command\NEW{2.7} allows you to specify a
+different size for selected staves and their notes compared to the
+global value set in the setup data. It is followed by exactly {\tt noinst}
+characters, one for each instrument, selected from
+{\tt 0}, {\tt -}, {\tt s}, or {\tt t} for
+normal, small, small, or tiny sizes respectively.
+
+{\bf Postscript slurs.}
+The \label{ApDirective}\NEW{2.4} command {\tt Ap} activates Type K
+{\bf p}ostscript slurs. To use this
+you must have {\tt musixps.tex} somewhere that \TeX~can find it, and
+{\tt psslurs.pro} somewhere that {\bfx dvips} can find it.
+If these files happen to be missing from your \TeX~distribution, they
+can be found
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+Several suboptions affecting Type K
+postscript slurs are described here and in the following paragraphs. First,
+by default these slurs and ties will not have their vertical positioning tweaked
+to avoid tangencies with staff lines. To activate this type of adjustment,
+use one of the suboptions {\tt +s} or {\tt +t} for
+slurs or ties respectively.
+(For example, {\tt Ap+s}). Be
+warned that this may alter the endpoint positions from what one would normally
+expect. To deactivate the adjustment, use the same command but with {\tt -} .
+Another suboption of {\tt Ap} affects line-breaking slurs. Normally a full tie
+is drawn at the start of the second line.
+However, the suboption {\tt Ap+h} causes the use of
+{\it{\bfi h}alfties} for the second part, which are flattened at their
+left-hand end, and require the
+special font {\tt mxsk} provided with the Type K postscript slur distribution.
+It may be cancelled with {\tt Ap-h} .
+
+The \NEW{2.5} suboption {\tt l} (e.g. {\tt Apl}~) activates some other tweaks
+and tweaking capabilities for line-breaking Type K slurs and ties. It
+automatically tweaks the
+horizontal positions of the end point of the first segment and the start of the
+second, uses a normal tie character for both segments of a tie, and enables
+further tweaking of the horizontal and vertical positions of internal endpoints
+on a case-by-case basis, using options in the initial slur or tie command (see
+section~\ref{lbslurs}, and the end of the fourth system in the example file
+{\tt barsant.pmx}).
+
+Another pair of \NEW{2.5}suboptions to {\tt Ap} affects the default curvature of
+Type-K postscript slurs. {\tt Ap+c} and {\tt Ap-c} will respectively increase or
+decrease the default curvature of all slurs to the next level in the sequence
+{\tt f, n, h, H, HH} . (Here {\tt n} stands for {\bf n}ormal.) Several levels
+may be traversed by repeating the suboption, e.g., {\tt Ap+c+c} increases the
+default curvature by two levels. If you try to
+go outside the allowable range, a warning will be issued, the curvature will be
+set to
+{\tt f} or {\tt HH} , and processing will continue. See section~\ref{slurs} for
+further details.
+
+If \NEW{2.5} your score contains Type K slurs and if you use a program such as
+{\bf dviselec} to extract single pages
+from a {\tt .dvi} file, you should use the suboption {\tt h} (e.g.
+{\tt Aph}~) . This will cause the header file {\tt psslurs.pro} to be written
+into the postscript file at the top of of every page.
+
+{\bf Vertical rest positioning in keyboard scores.}
+The\NEW{2.6} option {\tt AK} activates special rules for vertical positioning of rests in
+two-voice staves. By way of background, without this option, rests in two-voice
+staves have default positions based on a simple rule that is not
+context-sensitive: those in the lower voice (the one before {\tt//}) are
+4\bs{\tt internote}s below their single-voice default positions, and those in
+the upper line are 2\bs{\tt internote}s above the single-voice default. In contrast, the
+option {\tt AK} invokes a set of context-sensitive rules to set the default
+position. The baseline rule is to align the rest in a horizontal line with the
+next following note in the same bar. If there is no following note in the bar,
+then it is aligned with the next prior note. If there are simulataneous rests
+in both voices, the old rule is applied. When the {\tt AK} option is in force,
+it only affects places where there are two voices in a staff. It may be toggled
+on and off at the beginning of any input block, using just {\tt AK}. When the
+option is in effect, any user-defined tweaks on the height of a rest will
+supersede the option for that particular rest, i.e., the tweak will be applied
+relative to the single-voice default position. When {\tt AK} is in effect, the
+option {\tt L} in a rest command will cause the vertical position of that rest
+to be based on the {\it preceding} note, rather than the following one as is
+the default.
+
+{\bf Names of \PMX files for parts.}
+The \label{ANDirective}option {\tt N} to the {\tt A} command allows you to specify
+arbitrary names for the part files generated by
+{\bfx scor2prt}. Follow {\tt AN} with the part number and the new file base name in double
+quotes. Immediately follow this with any number of additional part numbers and
+alternate file base names in quotes. When part files are generated, {\tt .pmx} will be
+appended to the requested base name.
+
+{\bf Gapped bracket for nonbeamed xtuplets.}
+Non-beamed \label{ATDirective}\NEW{2.5}xtuplets will normally be printed with
+a bracket above or below, and
+a number above or below that. If you would like this number instead to be
+positioned within a gap in the bracket itself, enter {\tt AT} .You must have
+{\tt tuplet.tex} available to your \TeX~processor. If missing, this file
+can be found
+\href{http://www.icking-music-archive.org/software/musixtex/musixtex.zip}
+{\underline{here}}.
+
+{\bf ``Include'' file.}
+\PMX commands \NEW{2.5}in an external file can be included at the start of any input
+block by designating the file as a {\it normal include} file, using the
+command {\tt AR}[{\it filename}] . See section~\ref{ARDirective} for details.
+
+{\bf Positioning printed pages.}
+For \NEW{2.7} printing on {\bf l}etter or a{\bf 4} paper, the command {\tt Acl} or
+{\tt Ac4} will set the margins
+of the printed area so it will be properly centered with no further
+adjustments needed when running {\bfx dvips}.
+
+{\bf Removing restriction on beam slopes.}\label{beamslope}
+\PMX and \MusiXTeX{} by \NEW{3.0}default limit the magnitude of beam slopes to 9. The
+global \PMX command {\tt AB} removes that restriction for forced beams only.
+With {\tt AB} in force, the second numerical parameter for a forced beam can be
+used to create beams having slope magnitudes up to 30. To use this option, the
+file {\tt musixvbm.tex} must be present in the \TeX system. However, with the
+suboption {\tt f}, i.e., with {\tt ABf}, very advanced users may suppress
+loading {\tt musixvbm.tex}, but will need to provide their own \TeX files
+to admit larger beam slopes. A side effect of {\tt AB} is to cause all beams
+to be {\it vectorized}, i.e., drawn rather than relying on fonts. Some may wish
+use {\tt AB} solely for this purpose, as it eliminates the occasional jogs seen
+even in shallower font-based beams.
+
+\subsubsection{Extra hardspace, horizontal shifts} \label{hardspace}
+
+ Despite the author's best intentions to relieve you of the chore
+of adjusting {\it any} horizontal spacing by hand, there may be some occasions
+where you
+will want to do it. A command starting with {\tt X} initiates one of two
+types of horizontal adjustment: A {\it shift} moves one or more
+characters but does not affect any other spacing anywhere; a
+{\it hardspace} inserts a fixed amount of space at a particular time and
+affects the horizontal positions of everything in all staves in the system.
+If the command includes {\tt S}, it is a {\bfi s}{\it ingle} shift and affects
+only the next note or rest. If it includes a {\tt :} it either starts or
+terminates a {\it group} shift.
+All {\tt X} commands except group shift terminations
+must include a decimal number for the size of the offset in notehead widths.
+If the number is immediately followed by
+{\tt p}, then the number represents points, otherwise, notehead widths.
+If there is no such number but there is a {\tt :} the command
+signals a group shift termination.
+Group-shift commands must occur in
+start/terminate pairs, and group shifts cannot extend across a bar line.
+
+An {\tt X} command containing neither {\tt S} nor {\tt :} is
+automatically a hardspace.
+
+Because horizontal spacing in parts will usually differ from that in the
+score, by default the hardspace command will {\it not} be copied into parts
+by {\bfx scor2prt}; however the shift commands will be copied.
+These behaviors can be overridden using the methods to be described in
+section~\ref{scor2prt}, Alternatively, \NEW{1.42} to help keep \PMX score
+files neat
+and readable, the character {\tt B} can be used within the {\tt X} command
+to signify that it applies to {\bf b}oth score and part, or {\tt P} for
+{\bf p}art only.
+
+\subsubsection{Minimum spacing between notes in crowded systems}
+
+ \PMX does some special, complex analysis to adjust horizontal spacing
+in crowded systems. By default, the minimum space between consecutive
+noteheads is 0.3 notehead widths. In very special situations you may want to
+change 0.3 to some other fraction. To do so, enter {\tt W. }(decimal point is required)
+ followed by {\tt 1}-{\tt 9} to represent the number
+of tenths of a notehead width to be used as the minimum spacing. Use of this option
+is demonstrated in the example file {\tt barsant.pmx}.
+
+\subsubsection{Page size}
+
+ The default page size is 740 by 524 pt (10.3 by 7.3 in). To change
+the height or width, use the special commands {\tt h}[{\it n}][{\it u}] or
+{\tt w}[{\it n}][{\it u}] at
+the beginning of the first input block. Here {\it n} is a decimal number
+for the new dimension and {\it u} defines the units; {\tt i} for inches, {\tt m} for
+millimeters, and {\tt p} or nothing for points. This command can be used
+together with {\tt \%\%} or {\tt \%!}
+(see section~\ref{scor2prt}) to give the parts made by
+{\bfx scor2prt} different page sizes than the parent score.
+
+\subsubsection{Line, page, and movement breaks} \label{movbrk}
+
+ It is possible to force line, page, or movement breaks anywhere.
+For a line break, just enter {\tt L}[{\it n}] at
+the start of an input block (in the first voice only), and the {\it n}-th
+system will start there. To start page {\it m} at line {\it n}, enter
+{\tt L}[{\it n}]{\tt P}[{\it m}]. You can't force a page break without
+first forcing a line break.
+
+ To force a movement break, you must first force a line break as above,
+then enter {\tt M}. If a page break also occurs here, the {\tt P} must precede
+the {\tt M}. Options following {\tt M} are {\tt +}[{\it integer}] to insert
+vertical space in \bs{\tt internote}s before the break,
+{\tt i}[{\it decimal number}] to reset the first-line indentation as a fraction
+of the line width, and {\tt c}\NEW{1.41} to {\bf c}ontinue bar numbering rather
+than resetting the bar number to 0 (which is the default). \NEW{1.4}Also, to
+change the {\bf n}umber of instruments,
+enter {\tt n}[{\it integer}], then the number of each instrument in their new
+order, then a clef-designating character for each staff of each instrument.
+(An instrument's number is simply its position in the original sequence.)
+There can never be more than the original number of instruments. In this
+instance, \NEW{2.5}two-digit instrument numbers must be preceded with
+{\tt :} (colon). If you want to start with some number of instruments and
+later increase it, you'll need to insert
+a dummy page at the beginning with the full set of instruments, then start the
+second page with a movement break and decrease the number there.
+
+Another\NEW{1.4} option after {\tt M} is {\tt r+} or {\tt r-}, which either
+forces or
+suppresses {\bf r}eprinting the instrument names. The default is to print
+them if the number of instruments changes, but otherwise not.
+
+ Immediately after a movement break, any desired meter changes,
+key changes, or text can be entered in the normal way.
+
+\subsubsection{Blank gaps} \label{Gaps}
+
+A blank gaps can be insterted in the middle or at the end of almost any system.
+The middle gap might be used to create a very short coda at the end of a
+system. The end gap leaves the system shorter than the others. Both types
+create a space that could be used for text comments.
+
+Both types of gapped systems are initiated by an option to an {\tt L} command at
+the beginning of the system in question. The syntax is
+{\tt L}[{\it n}]{\tt S}[{\it x}] where [{\it n}] is the system number,
+[{\it x}] is the fraction of the width of the system up to the beginning of the
+gap, and no brackets are to be entered. This must be soon followed by a normal
+{\tt L}[{\it n+1}] command to start the next line. With no intervening {\tt LC}
+command (see below), the system entered between the two {\tt L}'s will simply
+start at the left margin and be shortened to a length of {\it x} times the
+default.
+
+To create a middle gap, begin as above with {\tt L}[{\it n}]{\tt S}[{\it x}]
+followed by the material to the left of the gap. Then enter {\tt LC}[{\it y}]
+to insert a gap followed by another segment of music extending to the end of
+the system. Here {\it y} is the fraction of the total system length occupied
+by the second segment (so the fraction of the width occupied by the gap will
+be 1-{\it x}-{\it y} ). The second segment must soon be followed by
+{\tt L}[{\it n+1}] to start the next normal line. Obviously {\it x}+{\it y}
+must be less than 1.
+
+Normally a bar number will appear at the beginning of the second segment after
+a gap. To suppress this, use {\tt LC}[{\it y}]{\tt n} to start the second
+segment.
+
+If you want to insert text into the gap, one way is to use the text-dynamics
+command after the last note before the gap:
+{\tt D"}{\it text}{\tt "}[{\tt +},{\tt -}][{\it n}][{\tt +},{\tt -}][{\it m}] , where
+{\it n} and {\it m} are the vertical and horizontal offsets from default
+position. Some trial and error will always be needed here.
+
+In a system with a gap, the default barline at the end of one or two segments
+of music will be a single bar unless the following line starts a new movement
+in which case it will be a double bar. If you want to change either of these
+segment-ending barline symbols to something else, then after the last note in
+the lowest voice before the gap, you may use the normal ``repeat'' command,
+e.g. {\tt RD} for a thin-thick double bar, or with other options for different
+symbols as explained in \ref{Repeats}. If you use this option, it must be
+immediately followed by a space and {\tt /} to end the input block. So in
+particular if you have entered some text with the {\tt D} command, that must
+come before the {\tt R} command.
+
+Here is an example \PMX file incorporating the different types of gaps,
+followed by the output it produces:
+
+%\pagebreak
+\begin{verbatim}
+1 1 2 4 2 4 0 -1
+1 9 20 .1
+Harp
+t
+.\
+h7.4i
+Abe
+h
+Movement 1
+f44 g a g f g a g /
+L2S.4
+f44 g a g a g D"\bigfont Hello"+8+8 /
+LC.4
+f44 g a g a g /
+L3
+f44 g a g f g a g /
+L4Mi.1+11
+h
+Movement 2
+f44 g a g f g a g /
+f44 g a g oC+1+6 f g a g /
+L6S.4
+f44 g a g a g
+ D"\bigfont D.C. al"+10+6 D"\bigfont Coda"+4+6 RD /
+LC.4n
+f44 oC+2 D"\bigfont Coda"+18-8 g a g a g /
+L7Mi.1+11
+h
+Movement 3
+f44 g a g f g a g /
+f44 g a g f g a g /
+L9S.8
+f44 g a g a g D"\BIgfont The end"+6+11 /
+\end{verbatim}
+
+\includegraphics[scale=.7]{gapxmpl.eps}
+
+\subsubsection{Fractional bars}
+
+ Often if a piece starts with a pickup, the last bar may not be
+complete. In such cases, it is usually possible to
+place the last bar in an input block by itself, headed by a {\it blind} meter
+change.
+For example, if the meter had been 4/4 and there was a quarter note
+pickup, leaving 3 beats in the last bar, the last bar might be coded
+{\tt m3400 cd24 /}.
+
+\subsubsection{Stem direction of bass notes}
+
+ By default \PMX makes stems go up for middle-line D's in bass
+clef, but down for notes on the middle line of all other clefs. If
+you want middle-line bass-clef notes also to have downward stems by default,
+enter a {\tt B} near the beginning of the file.
+
+\subsection{Putting {\TeX} Commands into the {\PMX}File } \label{LitTeX}
+
+ There are five ways to enter \TeX ~commands into the {\tt .pmx} file.
+Four of
+them are {\it in-line}, where the commands are entered directly; the fifth
+is by way of an external file.
+
+ The four categories of in-line \TeX~strings
+differ mainly in where they will appear in the {\tt .tex} file.
+(A \TeX\ {\it string} consists of a starting character, a sequence of
+\TeX~commands, and a terminal character).
+In the {\tt .pmx} file,
+only type 4 \TeX~strings may wrap over line breaks. All in-line \TeX\ must
+adhere to the 128-character limit per line, but each line can have more than
+one \TeX\ command.
+Type 1 begins with a single \bs\ and will appear in the {\tt .tex} file
+right before the \TeX
+~command for the next note or rest in the {\tt .pmx} file. Multiple
+type 1 strings associated with the same note or rest are allowed, although
+the total length may not exceed 128 characters (so there is generally no
+reason not to combine all \TeX\ commands for a single note into a single
+type 1 string).
+
+A type 2 string begins with \bs\bs\
+and will appear near the top of the {\tt .tex} file, right before
+\bs{\tt startmuflex}, regardless of where it appears in the {\tt .pmx} file.
+A type 3 string starts with \bs\bs\bs\ and will appear right before the
+{\tt\bs xbar}
+or {\tt \bs alaligne} at the beginning of the current input block, before the
+first barline of the block. While individual type 2 and 3 strings may not wrap
+over line breaks in the {\tt .pmx} file, strings of like type on consecutive
+lines will appear together in the {\tt .tex} file.
+Types 1, 2, and 3 strings must end with \bs\ (backslash-space).
+This means that they may not contain
+the \TeX\ macro \bs\ (backslash-space). Finally, each type 2 or 3 string
+should be isolated on a line of its own, and should be started in column 1.
+
+Type four permits multiple
+lines of arbitrary text to be entered at the top of the {\tt .pmx} file;
+they will be transferred verbatim to the top of the {\tt .tex} file. Type
+four is initiated with {\tt ---} alone as the top line of the {\tt .pmx}
+file. Then follows any text on any number of lines, until the next line
+starting with {\tt ---} terminates the block to be transferred.
+
+The only other distinction among the types of in-line \TeX\ strings arises when
+{\bfx scor2prt} is used to make separate parts
+(see section~\ref{scor2prt}):
+types 2-4 will be copied into all parts, while type 1 only goes into its
+original part.
+
+If you should want to enter a type-1 (note-based) string longer than
+128 characters, you could use a series of type-2 or -3 strings to define
+a \TeX\ macro containing the desired commands.
+
+ \PMX provides one further option for entering an unlimited set of
+\TeX ~commands
+just before \bs{\tt startmuflex}, and before any Type 2 in-line \TeX ~strings.
+Simply put the commands into a text file named [{\it basename}]{\tt .mod}
+in the texinput directory. It will then automatically be
+entered with an \bs{\tt input} command. This feature is retained mainly for
+backward compatibility; it has been essentially replaced by the various options
+for in-line \TeX ~strings.
+
+\subsection{Figured Bass}\label{figbass}
+
+ Figure commands are entered {\it after} their associated note commands.
+They only work in the first (lowest) voice, and in any one other voice\NEW{2.6}.
+Enter the characters as
+they would appear from top to bottom, and as you might pronounce them,
+e.g., {\tt 64} or {\tt 73}.
+Figures may range from 2 to 19\NEW{3.0}. The ones larger than 9 are entered as two
+consecutive digits. They may likewise be combined with others to produce a stack, so
+for example {\tt 119} will produce {\tt 11} over {\tt 9}.
+Flats in figures are {\tt -} (minus), sharps are
+{\tt \#}, and
+naturals {\tt n}, {\it before} the number (if there is a number) (notice
+the characters are different here than in notes).
+So for example {\it sharp third} is {\tt \#3}, just a sharp is {\tt \#}, {\it six (over)
+flat five} is {\tt 6-5}, and {\it sharp six (over) 4} is {\tt \#64}.
+In addition to the symbols just described, the following special symbols
+are available: {\specfig 2}, {\specfig 4}, {\specfig 5}, {\specfig 6}, {\specfig 9} .
+\NEW{2.6}To use them, you must have the font
+\href{http://www.icking-music-archive.org/software/musixtex/add-ons/figbas.zip}{\underline{\tt cmrj}}
+in your \TeX~system, and then just put an {\tt s} after the number.
+
+The program
+positions all the figures for each system below the lowest staff of that
+system, with their tops aligned, and just low enough to clear the
+lowest beam, notehead, or stem that could interfere. If you would like to
+change the vertical alignment for the remainder of the staff starting at a
+figure after the first, \NEW{2.71}append {\tt v}[{\it n}], where {\it n} is an
+integer representing the vertical shift in \bs{\tt internote}s, which may
+have a minus sign.
+
+If you want a figure to
+align horizontally in the second tier, insert the placeholder figure
+{\tt\_} (underscore) before the one you want lowered. This is equivalent to
+lowering the figure stack by 4 \bs{\tt internote}s.
+\NEW{2.6}If you want to {\it raise} the entire stack by an integral number of
+\bs{\tt internote}s, append {\tt +} and the number. This can be combined with
+the placeholder figure {\tt\_} to provide full control over the vertical
+position of the stack.
+
+ Sometimes you may need to enter a figure when there's no bass
+note sounding. To do this, just after the most recent bass note enter
+{\tt x}, followed by a two single digits (the first is a repeat count; the
+second a time value, i.e., {\tt 2,4,8,1,} or {\tt 3}), immediately followed by a figure symbol
+as defined in the previous paragraph. This will
+offset the figure from the associated note by the specified time
+value. For example, if the lowest voice contained {\tt c03 x3465}, there
+would be a whole-note c, and 3 quarter notes later a figure 65 below
+the staff.
+
+ There is also a {\it continuation} command, a zero followed immediately
+by another \NEW{2.4}
+unsigned number. This produces a horizontal line under the bass note, starting
+just to the left and extending to the right by the given number of
+\bs{\tt noteskip}s. The height and length of the line are set by the current
+note's level and \bs{\tt noteskip} respectively. These \NEW{2.4} can be mixed in with
+other figures to produce vertical stacks. If another figure follows in the
+same command, use {\tt:} as a separator.
+If \bs{\tt noteskip} changes or a note drops
+below the starting level before the line ends, it is possible to trick
+\PMX by entering separate {\tt 0}[{\it n}] commands under each consecutive note; \PMX
+will automagically join them together at the same height
+(thanks to Werner Icking for this idea).
+
+ If there are figured bass commands in a {\tt .pmx} file but
+you want them to be ignored, then enter the command {\tt F} at the
+beginning of the body of the file. This feature would most often be
+used in the form {\tt \%1F}
+(see section~\ref{scor2prt}), which makes a
+separate bass part with no figures.
+
+ Figured bass commands will not be altered in any way under
+transposition. There is no universal set of interpretations of figured bass
+symbols, so no automatic transposition is possible.
+
+\subsection{Macros}
+
+ A \PMX macro is a single command that stands literally for any
+any string of characters that may occur in the input file (sorry, no
+variables). It may be useful if you need to repeat the same string later.
+There is no practical length limit.
+
+To
+{\bfi r}{\it ecord} a macro, type {\tt MR}{\it n} where {\it n} is between
+1 and 20.
+Everything you then type will be processed normally as well as stored,
+until you enter the command {\tt M}. The next time you need to enter the same
+string, just type {\tt MP}{\it n} to {\bf p}lay back the macro.
+
+To just {\bf s}{\it ave} a macro without having \PMX process it as you
+enter it, start it with {\tt MS}{\it n}.
+
+Macros can be redefined at will. \PMX will print a warning whenever this
+occurs.
+
+If you use macros and want to make separate parts, some care is necessary.
+{\bfx Scor2prt} will only transfer {\tt MR} macros into the part where they
+originated, but will transfer {\tt MS} macros into all parts.
+
+\subsection{Include Files}\NEW{2.5}\label{ARDirective}
+{\it Include} files are separate text files
+ containing arbitrary (but contextually appropriate) sequences of
+ valid \PMX commands. By using the techniques described in this section,
+ the commands in an include file can be inserted at any desired
+ place in the virtual \PMX file that the code processes.
+ They will always be syntax-checked.
+
+There are two types of include files, {\it global} and
+ {\it normal}. There can only be one global include file and it must be named
+ {\tt pmx.mod}. If activated, its contents will always be inserted right after
+ the setup data.
+ To activate it, two conditions must be met: (1) an environment variable
+ {\tt PMXMODDIR} must be defined to contain a valid path, ending with {\tt /} or
+ \bs~; (2) a file named {\tt pmx.mod} must be present in the directory so defined.
+ If {\tt PMXMODDIR} is not set, or if it is defined but there is no file
+ {\tt pmx.mod}, then processing will proceed as usual.
+
+ Normal include files
+ can have any name and do not require any environment variable to be set.
+ They are activated by the PMX command {\tt AR[{\it filename}]} , placed in the
+ .pmx file
+ at the location where the included lines are to go. It will generally
+ only make sense to place this command at the beginning of an input block.
+ \PMX will first check
+ for the file as pointed to by [{\it filename}], which may contain a complete
+ or partial pathname preceding the actual file name. If [{\it filename}] is not
+ found, then \PMX will look for {\tt \%PMXMODDIR[{\it filename}]}, i.e., it will check
+ the directory defined by {\tt PMXMODDIR} if {\tt PMXMODDIR} has been set. However,
+ it is not necessary to define {\tt PMXMODDIR} to use a
+ normal include file. There may be any number of normal include files. The same
+ file may be used multiple times. Include files cannot contain references to
+ other include files via the {\tt AR} command; if you try to do that
+ your computer will
+ explode. The following information regarding all activated include
+ files will be printed both to the screen and to the .pml file: notice of
+ opening or closing, echo of the contents, error messages pertaining to syntax
+ errors in the included \PMX commands, and an error message if \PMX cannot find
+ a referenced normal include file. In the latter two cases \PMX will stop.
+
+\subsection{Batch Processing}
+
+Due \NEW{2.0} to the number of different programs that must be run in sequence
+to produce a printed sheet of music with the \MusiXTeX{} system, most users
+prefer to use a batch script to control the process. Since batch commands are
+platform-dependent we will not provide examples here, but will mention
+several \PMX features that can facilitate batch processing.
+
+First, whenever {\bfx pmxab} terminates due to a syntax
+error, the exit code is set to 1. There are various ways of detecting this
+with batch commands, then acting accordingly.
+\NEW{1.4} Second, {\bfx pmxab} always writes a file
+{\tt pmxaerr.dat} containing a single number: 0 if it exited normally,
+otherwise the line number in the {\tt .pmx} file where the syntax
+error was. With advanced batch programming techniques, this file can be
+opened and read, and if there was an input error, a text editor can be
+opened and the input point placed on the line with the error.
+
+There have been several requests to allow \PMX to keep running even
+after it detects an input error.
+This has not been done because in many cases any error messages after
+the first one would be meaningless, or worse, uncorrected errors could
+cause crashes. In any event, all the output from {\bfx pmxab} will be
+stored in the log file [{\it jobname}]{\tt.pml}.
+
+%\setcounter{secnumdepth}1
+\section{Making Parts from a Score} \label{scor2prt}
+
+ Separate parts can be made by running {\bfx scor2prt} and entering the
+basename when prompted. The program will create {\tt noinst} separate
+{\tt .pmx} files, one for each instrument. By default the files will be named
+[{\it basename}][{\it n}]{\tt .pmx}, where [{\it n}]
+is the sequential position of the instrument. If desired, part file names can
+be customized with {\tt AN} as described in section~\ref{ANDirective}.
+
+ In this section we describe how to control the layout of the
+parts separately from that of the score, but by using commands
+that are placed in the {\tt .pmx} file for the score. This eliminates the
+need for ever editing the {\tt .pmx} files for the parts separately. You
+can make all corrections in the file for the score, and then re-run
+{\bfx scor2prt}.
+
+ Normally all lines starting with {\tt \%} in the parent {\tt .pmx} are
+transferred into all the parts. However, if a line has {\tt \%\%} in
+columns 1-2, both it {\it and the following line} will be ignored when
+making parts. If the ignored line contains only {\tt h}~, {\tt l}~,
+ {\tt Tc}~, {\tt Ti}~, or {\tt Tc} to start,
+then one additional line will be ignored.
+
+ Conversely, if a line begins with {\tt \%!} then it will be ignored as
+usual in creating the parent {\tt .tex} file, but after stripping the first
+2 characters the rest will be put in the {\tt .pmx} file for {\it all} the
+parts.
+
+To enter a line into the score file that is only to be transferred to one part,
+begin the line with \NEW{2.6} {\tt\%}{\it h}, where {\it h} is an {\it extended
+hexadecimal digit} representing the part number from 1 to 24
+({\tt1,2,...,9,a,b,c,...,n,o}). The first
+two characters will then be stripped and the rest transferred to the desired part.
+For example, to force a line break to system 15 and a page
+break to page 2 in part 11 only, enter {\tt \%bL15P2}. The use of the extended hex
+digits {\tt a-o} creates a potential incompatibility with prior versions.
+To minimize this, the
+character after ``{\tt\%}" will {\it only} be interpreted as a part number if
+it represents a number less than or equal to {\tt noinst}; otherwise the entire
+line will be treated as an ordinary comment and transferred to all parts as
+a comment.
+
+ Although only permitted in the first voice in the score, the
+following commands with all their options will automatically be copied
+into all parts (unless the preceding line has {\tt \%\%}):
+ {\tt m, V, R, A, h, w, K}. Literal \TeX\ strings of types 2-4 will also be
+copied into all parts, while type 1 will only go into its original part.
+
+User-defined hardspaces ({\tt X} without {\tt :}) are handled specially. By
+default they are not copied into parts. There are two ways to circumvent this.
+One way to insert hardspace {\it x} into part
+{\it n} is to place in the score, on a line of its own, the command
+{\tt\%}[{\it n}]{\tt X}[{\it x}] . The \NEW{1.42} other way is with options
+in the {\tt X} command in the score: {\tt B} causes the hardspace to be
+used in {\bf b}oth score and parts; {\tt P} puts it into the {\bf p}art but not
+the score.
+
+Instrument-wise \NEW{2.7} transposition commands (see section \ref{transpose})
+are also handled specially.
+When {\bfx scor2prt} encounters {\tt Ki}[{\it n}] (for instrument {\it n}) in
+the score, it transfers the transposition information (transposition amount and
+key signature) for that instrument into
+the corresponding part, replacing {\tt Ki} by {\tt K} and keeping only the
+information for instrument {\tt n}.
+
+Lateral shifts ({\tt X}[$\dots$]{\tt :}) will be handled normally,
+staying with their original voice.
+
+ By default the total number of systems in each part will be the
+same as in the score. If you want to override this, there is a command
+{\tt S}[{\it n}] (where {\it n} is the desired number of systems), which
+can only appear at
+the beginning of the first input block. This can be used after {\tt \%!}
+to affect all the parts, or after {\tt \%}[{\it h}] to affect just part {\it h}.
+ {\bfx Scor2prt} will also
+compute how many pages it thinks each part should have, and enter that
+in the startup data for that part. If you wish to override that, then
+in the {\tt .pmx} file for the score, insert for example {\tt \%3S14P2} to
+force the third part to have 14 systems and 2 pages (you cannot override the
+number of pages without first overriding the number of systems).
+
+ A \NEW{2.0} musicsize of 20 is the default in all parts. This may be
+overridden with the option {\tt m} in the command {\tt S}; e.g.,
+{\tt \%2S15m16} .
+
+ As already noted, a {\tt P} command for page numbering in the parent
+file is ignored when making parts. To initiate page numbering in the
+parts, use for example {\tt \%!P} anywhere within the \PMX code representing
+the first page of the parts (from \TeX 's standpoint the command must occur
+between the beginning and end of the page on which the numbering is to begin).
+It \NEW{2.0} will often be useful in this case to use the option {\tt c} ,
+which by default causes the instrument name to be centered in small type at
+the top of every page after the first.
+
+Note the distinctions among the various usages of {\tt P}: as an option with
+{\tt S}, it sets the total number of pages in a part; as an option with
+{\tt L}, it forces a page break; and as a command on its own, it controls page
+numbering and centered headings.
+
+MIDI \NEW{2.2} commands, i.e., those starting with {\tt I}, will never be
+copied into parts, unless they are in a special comment line as just described.
+
+ One function of {\bfx scor2prt} is to condense consecutive bars of rest
+into a single group of special printed characters with a number above it.
+The command {\tt rm} defines such a {\bf m}ulti-bar {\bf r}est as described
+in section~\ref{MultibarRest}.
+{\bfx Scor2prt} will automatically insert {\tt rm} commands into the
+{\tt .pmx} files
+for the parts where appropriate. However, for this feature to work,
+the {\it first} full-bar rest in the sequence {\it must} have its duration
+explicitly defined in the parent {\tt .pmx} file, either with a digit or
+with {\tt p}. I.e., the feature will not work if the first rest in the
+sequence inherits its duration from the previous note.
+
+Using the special \PMX commands listed in this section,
+augmented where needed with literal \TeX ~commands, it is possible to store
+{\it all} the information for both the score and the parts in a single
+{\tt .pmx} file. This greatly simplifies the editing process, since
+both the score and the part can be corrected at once, and parts need not be
+re-edited each time they are regenerated from the score.
+
+\section{Making MIDI Files}\label{MIDI}
+
+\PMX has an elementary capability to create MIDI files. It is intended mainly
+to aid in editing scores, so it does not have advanced facilities one would
+want for making musically satisfying sound files.
+
+As \NEW{2.6} of version 2.6, \PMX can only generate MIDI files for scores with
+15 or fewer voices.
+
+Entering the command {\tt I} before any notes have been entered
+will cause a MIDI file [{\it jobname}]{\tt.mid} to be
+generated in the current directory. Options may follow, without spaces. They
+are defined in the following paragraphs. Multiple
+options can be combined in one {\tt I} command.
+{\tt I} commands can appear later in the file as well, but only at the start
+of an input block. Sometimes the order of the
+options matters, determining for example whether or not a user-defined pause
+is included inside a macro block.
+
+{\tt t}{\it x} sets the tempo to {\it x} quarter notes per minute.
+Default is 96. You can change tempos as often as you like, but only at the
+start of an input block (as with all MIDI commands).
+
+{\tt i}{\it i1i2...in} assigns MIDI instruments {\it i1,i2,...,in} to the
+respective \PMX instruments. The default is harpsichord, of course. If
+you use this option, you must specify {\it all} instruments.
+Each {\it in} is either
+a 2-letter abbreviation or an integer between 1 and 255. Acceptable
+abbreviations are listed below. Numbers and pairs of letters may be mixed,
+but consecutive pairs of numbers must be separated by {\tt :} (colon) .
+This option can only be exercised once per file.
+Also, the number of instruments cannot change during a piece.
+
+The \NEW{2.7} number of arguments following suboption {\tt i}, as well as the next
+three described suboptions, must in fact equal the number of {\it instruments}. Before
+version 2.7, it was the number of {\it staves} (despite the incorrect
+description in the manual!) These numbers may differ and this creates a
+backward incompatibility. Hoping this won't cause too much distress,
+I've enhanced the real-time error messages.
+
+{\tt v}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} velocities
+to each instrument. The colons are required. Values may range from 1 to 127.
+The default is 127.
+
+{\tt b}{\it i1}:{\it i2}:{\it...}:{\it in} assigns MIDI \NEW{2.3} balances to
+each instrument. The colons are required. Values may range from 1 to 128.
+The default value is 64, which represents the center. Smaller numbers favor
+the left stereo channel; larger ones the right.
+
+{\tt T} allows transposing any instrument by a selected number of steps \NEW{2.7}
+ ({\tt\bs internote}s).
+It must be followed by exactly {\tt noinst} signed integers representing the
+amount of transposition for each instrument in order. In practice it is useful
+in two situations (1) To transpose a MIDI output up or down by one octave
+(7 {\tt\bs internote}s); and (2) when a transposing instrument is printed
+in the transposed key in the score after having issued {\tt Ki}, to undo
+the transposition in the MIDI.
+
+{\tt M} initiates a macro operation. This is used for repeats, da capo's, etc.
+Macros must have ID numbers between 1 and 20. Operations are start record
+macro {\it i}: {\tt MR}{\it i} ; end recording: {\tt M} ; and playback (insert)
+macro {\it i}: {\tt MP}{\it i} . Only one macro can be active at a time,
+recording or playing but not both. If you try nesting or overlapping macros,
+your computer will become psychotic.
+
+{\tt p}{\it x} inserts a pause of {\it x} quarter notes. Decimals are
+allowed, but will be rounded to the nearest sixteenth note.
+
+{\tt g}{\it i} sets the MIDI gap to {\it i} MIDI clock tics. This is a silence
+inserted at the end of every note, while decreasing the sounding duration
+by the same amount. The default is 10, which is 2/3 of a 64th note.
+
+ The MIDI module does not recognize graces, ornaments, repeats, voltas, or
+segnos. The only ties that are recognized are those using {\tt s} or {\tt (}
+alone, with no explicit ID number. Key signatures,
+time signatures (meter) and instrument names will be written into the MIDI file,
+the latter as track names. This will have no effect whatsoever on audible
+output but will affect on-screen appearance of some MIDI file players
+and editors. Location of the \PMX key-change and meter-change commands
+relative to MIDI macro delimiters in the source will affect (in the obvious
+way) how these data are passed to such programs.
+
+The MIDI file generator does not yet support changing the number of
+instruments in midstream. Doing so will cause unpredictable results.
+
+ The instruments are a subset of ``The General MIDI Instrument
+Specification." Of course how they sound depends on your hardware and software.
+Instruments not listed below can still be used but must be specified by number.
+The numbers listed here are from the 1-128 range; when passed to the MIDI file
+they are reduced by one.
+
+%\def\toc#1#2{\hbox to 3.1in{{#2}\leaderfill{#1}}}
+\def\tentry#1#2#3{\hbox to 2in{
+\hbox to .24in{\tt #1\hfill}\hbox to 1.7in{#2 (#3)\hfill}\hss}}
+
+\null
+\hbox to 6.5in{\vbox to 1.7in{
+\tentry{pi}{Acoustic Grand Piano}{1}
+\tentry{rh}{Rhodes Piano}{5}
+\tentry{ha}{Harpsichord}{7}
+\tentry{ct}{Clavinet}{8}
+\tentry{ma}{Marimba}{13}
+\tentry{or}{Church Organ}{20}
+\tentry{gu}{Acoustic Nylon Guitar}{25}
+\tentry{ab}{Acoustic Bass}{33}
+\tentry{vl}{Violin}{41}
+}\hss\vbox to 1.7in{
+\tentry{va}{Viola}{42}
+\tentry{vc}{Cello}{43}
+\tentry{cb}{Contrabass}{44}
+\tentry{vo}{Synth Voice}{55}
+\tentry{tr}{Trumpet}{57}
+\tentry{tb}{Trombone}{58}
+\tentry{tu}{Tuba}{59}
+\tentry{fr}{French Horn}{61}
+\tentry{so}{Soprano Sax}{65}
+}\hss\vbox to 1.7in{
+\tentry{al}{Alto Sax}{66}
+\tentry{te}{Tenor Sax}{67}
+\tentry{bs}{Baritone Sax}{68}
+\tentry{ob}{Oboe}{69}
+\tentry{ba}{Bassoon}{71}
+\tentry{cl}{Clarinet}{72}
+\tentry{fl}{Flute}{74}
+\tentry{re}{Recorder}{75}
+}}
+
+\section{Limits}
+
+For simplicity in writing the program, \PMX has numerous variables with
+fixed dimensions. In most cases there are no checks against these limits
+(hey, I've got more important things to program), so
+occasionally there may be hangups due to exceeding a dimension.
+Any of these can potentially be increased by making a request via the
+mailing list. However, before making such a
+request, try working around the problem by
+breaking the input into smaller blocks.
+
+\subsection{Limits on quantities that a user can control}
+
+(The user can control the {\it number} of these items, but cannot control
+the {\it limit on the maximum number} of them.)
+
+128 characters per input line.
+
+24 \NEW{2.6} staves.
+
+2 voices per staff.
+
+24 \NEW{2.6} voices per system.
+
+125 systems.
+
+600 bars.
+
+40 forced line breaks.
+
+10 forced page breaks.
+
+18 key changes.
+
+75 \NEW{2.78} pages.
+
+600 \NEW{2.6} notes per input block.
+
+15 bars per input block.
+
+101 slurs per input block.
+
+74 figures (figured bass) per input block.
+
+37 grace note groups per input block.
+
+74 notes in grace note groups per input block.
+
+52 literal \TeX\ strings per input block.
+
+6 voltas per input block.
+
+24 \NEW{2.6} trills per input block.
+
+62 chordal notes (non-spacing) per input block.
+
+8 beams per voice per bar.
+
+40 \NEW{2.5}forced beams per voice per input block.
+
+10 clef changes per voice per input block.
+
+24 notes per beam.
+
+24 notes per xtuplet.
+
+41 text-dynamic strings per input block.\NEW{2.5}
+
+9600 \NEW{2.78} lines in input file
+
+\subsection{Limits not under immediate user control}
+
+% Need all the spaces because this damn format insists on left-justifying
+% first line of *first* paragraph in a section..
+%
+\ \ \ \ \ \kern6pt 131072 \NEW{2.78} bytes in the entire input file
+
+20 \bs{\tt notes} groups per bar.
+
+20 inserted standard anti-collision spaces (not xtuplet or end-of-bar) per bar.
+
+20 inserted anti-collision spaces within xtuplets per bar.
+
+19 inserted anti-collision end-of-bar hardspaces per system.
+
+83 inserted anti-collision end-of-bar hardspaces.
+
+400 inserted standard anti-collision spaces per system.
+
+100 inserted anti-collision spaces within xtuplets per system.
+
+1000 inserted standard anti-collision spaces.
+
+200 inserted anti-collision spaces within xtuplets.
+
+24576 \NEW{2.2} bytes of MIDI output data per voice.
+
+\section{Closing Notes}
+
+\subsection{About the Example Files}
+
+{\tt most.pmx} contains examples of most of the \PMX commands, and a few
+programming tricks, including examples in the last line of beam groups whose
+notes vary widely in pitch. The printed
+output displays the \PMX commands near to the resulting typeset characters.
+It is more
+useful to look at the printed output rather than the source file, since the
+file is littered with in-line \TeX ~needed to output the text strings
+representing the \PMX commands.
+{\bfx WARNING:} Do not try to play this music; it could be hazardous.
+
+{\tt barsant.pmx} contains the first movement of a recorder sonata by the
+Italian Francesco Barsanti (1690-1772). It demonstrates many of \PMXX 's
+strong points in a ``battlefield'' situation: figured
+bass, complex beaming patterns, xtuplets, and
+automatically adjusted horizontal and vertical spacing in crowded scores.
+In fact,
+this single-page score pushes the limits of vertical and horizontal crowding.
+To get the final result, it makes subtle adjustments using various available options:
+{\tt Ae} for equal space between systems, {\tt AI1.1} to increase the vertical
+space between staves in a system, {\tt Apl} to activate postscript slurs and
+special treatment of line-breaking slurs/ties (note slur at end of fourth
+system), and {\tt W.5} to increase minimum space between noteheads so the 64th
+notes don't touch each other. This is also a
+good score to try making parts with {\bfx scor2prt}. A special command
+{\tt \%2S9} is used to increase the number of systems in the recorder part.
+
+{\tt mwalmnd.pmx} is an Allemand for harpsichord by the German
+Matthias Weckmann
+(1616-1674). It uses many techniques peculiar to keyboard scores, most notably
+two voices per staff.
+
+{\tt prad5.pmx} {\tt netsoos.pmx} are examples of how to enter lyrics purely in \PMX.
+They include several inline \TeX\ commands to enhance the layout.
+
+{\tt staffcrossall.pmx}\NEW{2.74} contains examples of staff-crossing chords. Some are
+single-stemmed, some are beamed non-xtuplets, and finally beamed xtuplets.
+
+{\tt dyntest.pmx} contains examples showing the default vertical positions of dynamic marks.
+
+\subsection{A Benign Bug}
+
+ When \TeX 'ing the output of \PMX you will usually get an {\tt Underfull
+\bs vbox} message at the end of each page. This is due to my using
+\bs{\tt eject} at the end of every page, which automatically spaces the
+systems vertically without having to fiddle with \bs{\tt staffbotmarg}. As far
+as I know, the
+warning is benign, and may be ignored.
+
+\subsection{Where to Get Help} \label{where}
+
+The main home of \PMX on the internet is the software section of the
+\href{http://icking-music-archive.org}{\underline{Werner Icking Music Archive}}. This
+site also links to a mailing list devoted to \MusiXTeX\ and related programs including
+\PMX. The denizens of this list are always willing to answer questions about any
+aspect of the software. New users are strongly advised to take advantage of this
+resource.
+
+\subsection{Acknowledgments}
+
+ To Daniel Taupin, Ross Mitchell, and Andreas Egler for creating
+\MusiXTeX{}; to Olivier Clary for suggesting a crucial modification in
+the note-entry scheme;
+to my colleague John DiPol (a non-musician!) for the idea of using binary masks
+to define beam groupings;
+to Joel Hunsberger for unraveling some deep \MusiXTeX~tangles;
+to Dirk Laurie
+for making \PMX accessible to vocal music by creating {\tt\bs pmxlyr}
+and {\bfx M-Tx};
+to Stanislav Kneifl and Hiroaki Morimoto for developing the postscript
+slur packages; to
+Christian Mondrup, Andre Van Ryckeghem, Christof Biebricher, Joerg Anders,
+Olivier Vogel, and other denizens of the TeX-music mailing list
+for first-class bug-finding and support in responding to queries about
+\PMX on the mailing list; to Luigi Cataldi, Olivier Vogel, Christof
+Biebricher, and Cornelius Noack for producing translated and enhanced
+\PMX tutorials; and to Bob Tennent for maintaining the software section
+of the web site.
+Finally, I want to mention again the invaluable contributions by
+Werner Icking: his exhaustive beta testing,
+uncanny bug-finding, continuing encouragement, and promotion
+of \PMX right up until his sudden and premature departure from this
+earthly realm.
+
+\end{document}
Property changes on: trunk/Master/texmf-dist/doc/generic/pmx/pmx300.tex
___________________________________________________________________
Added: svn:eol-style
## -0,0 +1 ##
+native
\ No newline at end of property
Deleted: trunk/Master/texmf-dist/doc/generic/pmx/ref298.pdf
===================================================================
(Binary files differ)
Deleted: trunk/Master/texmf-dist/doc/generic/pmx/ref298.tex
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/ref298.tex 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/ref298.tex 2023-02-19 17:57:06 UTC (rev 65926)
@@ -1,487 +0,0 @@
-%%%%%%%%%%%%%%%%%
-%%
-%% ref298.tex (latex)
-%%
-%%%%%%%%%%%%%%%%%
-\ifx\documentstyle\undefined
-% \documentstyle[11pt,multicol]{article}
- \documentstyle[12pt,multicol]{article}
-\else
-% \documentclass[11pt]{article}
- \documentclass[12pt]{article}
- \usepackage{multicol}
-\fi
-
-\pagestyle{empty}
-
-% A4 horizontal 210mm, letter vertical 11in:
-\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm}
-\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm}
-\addtolength{\topmargin}{-3.5cm}
-\addtolength{\oddsidemargin}{-3.4cm}
-\addtolength{\evensidemargin}{-3.4cm}
-\setlength\columnsep{2mm}
-
-\hoffset22.5pt
-
-\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep}
-
-\begin{document}
-
-{\footnotesize\small
-
-\def\bs{{\tt\char'134}}
-\def\bsn{\bs}
-\def\dhline{\hline\hline}
-\def\newcol{
-\hline
-\end{tabular}
-
-\begintab
-\hline
-}
-%\let\blank\ \def\ {\blank\blank}
-
-\centerline{QUICK REFERENCE TABLE FOR {\bf PMX},
-Version 2.98,
-Feb 2022~~~
-\hfill Don Simons (dsimons at roadrunner.com)}
-
-%\begin{multicols}{2}
-\null
-
- This table defines PMX command syntax. Each command starts with a
-single character from a non-indented line, followed by characters from
-subsequent indented lines, with no internal spaces. When characters
-on the same line are separated by commas, only one can be used, unless
-otherwise noted. Characters enclosed in brackets {\tt [~]} are optional,
-but if one is used and the following line is indented and unbracketed,
-then one character must be used from the unbracketed group. Several
-characters, chosen from different lines that are indented the same
-amount, may be used in sequence. {\it d1, d2} are single digits, so
-for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer.
-{\it i}, {\it i1}, or {\it i2} is any non-negative integer.
-{\it x} or {\it y} is any non-negative decimal number.
-
-%\end{multicols}
-
-\begin{multicols}{2}
-\begin{center}
-%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
-\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
-\begintab
-\hline
-a,b,c,d,e,f,g & Note name.\\
-\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration.
- Must include if duration not yet set in current input block.\\
-\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number.
- Must include if octave not yet set in current input block.\\
-\ [d] & Dot.\\
- \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\
-\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\
-\ \ [d] & Double dot.\\
-\ [f,s,n] & Accidental. Repeat for double.\\
-\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes;
- horiz. shift, notehead widths.\\
-\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\
-\ \ [i] & MIDI-only accidental.\\
-\ \ [c] & Cautionary accidental.\\
-\ [+,-] & Shift octave from default (default is within a 4th).\\
-\ [u,l] & Force stem direction.\\
-\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit
- beaming the xtuplet.\\
-\ [r] & Right offset by one notehead.\\
-\ [e] & Left offset by one notehead.\\
-\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\
-\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\
-\ [D] & In xtuplet note only, double duration. Reduce number of
- notes in xtup by 1.\\
-\ [F] & As above, and add dot.\\
-\ [S,L {\it x}] & Shrink or lengthen stem length by {\it x} \bs{\tt internote}.\\
-\ \ [:] & Make it sticky.\\
-\ [S,L :] & Shrink or lengthen this stem, then return to default.\\
-\ [Ao] & In main chord note, post accidentals in order entered.\\
-\ [T] & Single-note tremolo (slashes across stem).\\
-\ \ [1,2,3] & Number of slashes; 1 is default.\\
-\newcol
-~ & Note options, continued\\
-\ [x{\it i}] & An {\it i}-tuplet starts here.
- Duration (already set) refers to total for xtuplet.
- Next $i-1$ notes or rests are in
- xtuplet. They must have no duration number; may have
- octave number or {\tt d} for dot.\\
-\ \ [d] & Dot first xtup note, halve next.\\
-\ \ [n] & Fine-tune printed number. \\
-\ \ \ (\it{blank}) & Don't print number. \\
-\ \ \ [f] & Flip vertical location. \\
-\ \ \ [{\it i}] & Replacement printed number. \\
-\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\
-\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
-\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\
-\ \ \ \ +,- {\it i} & Slope adjustment.\\
-\ [xT] & Start a 2-note tremolo. Next note is 2nd note. If starting note
- has {\tt d}, 2nd note must not, unless dot needs to be moved.\\
-\ \ [0,1,2,3] & Number of main beams between 2 notes.\\
-\ \ \ [0,1,2,3] & Number of indented beams.\\
-\dhline
-z & Chordal note. No duration allowed.\\
-\ a,b,c,d,e,f,g & Note name.\\
-\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp.
- Shift options same as on main note.\\
-\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\
-\ \ [+,-] & Up or down one octave.
- may use several in succession.\\
-\ \ [r,e] & Right or left offset by one notehead.\\
-\ \ [d] & Dot. Permitted but not required, unless dot is to
- be shifted. \\
-\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\
-\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
-\newcol
-r & Rest.\\
-\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration.
- Must include if duration not yet set in current input block.\\
-\ [d] & Dot.\\
-\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\
-\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\
-\ \ [n{\it j}] & Put number at level {\it j}. Default is 9, below staff
- is -6. Change is ``sticky''.\\
-\ [b] & Blank rest, not printed (this line of music
- drops from sight).\\
-\ [o] & Suppress centering full-bar rest.\\
-\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\
-\ [L] & With AK, align rest with note to left. \\
-\ [x{\it i}] & Start xtup. After above options. See description for
- main note.\\
-\dhline
-o & Ornament. Symbol comes after note.\\
-%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.}
-\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ }
- & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before
- notehead,
- ``)" after notehead, tenuto, stacc., sfz, duncecap\\
-\ c,b & Caesura, breath.\\
-\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\
-\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
-\ f & Fermata. Default is up.\\
-\ \ [d] & Convert to down fermata. \\
-\ T,Tt & Trill ({\it tr}) with or without wavy line.\\
-\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips.
- Default is one \bsn{}noteskip.
- Use {\tt oT0} for {\it tr} .\\
-\ g & Segno. Voice \#1 only.\\
-\ \ [-]{\it n} & Horizontal shift, points. \\
-\ G & Smaller segno, any voice. \\
-\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\
-\ e & Editorial accidental. \\
-\ \ s,f,n & Sharp, flat, natural. \\
-\ \ \ [?] & Editorial accidental is dubious. \\
-\ \ ? & Text is dubious. \\
-\ C & Coda. \\
-\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by
- {\it i} \bsn{}internotes from default.\\
-\ [:] & Repeat toggle. Must come last. First instance, after setting
- ornament type, gives all later notes same ornament, until
- {\tt o:} shuts it off. \\
-\newcol
-G & Grace note group.\\
-\ [{\it i}] & Number of notes in group. Not needed if 1.
- If {\tt>}1, next $i-1$ notes are in grace.\\
-\ [s] & Slur to/from main note.\\
-\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\
-\ [x] & Slash. Single grace only. \\
-\ [l,u] & Forced stem direction.\\
-\ [A,W] & Put grace just after main note, or shifted as far
- right as possible.\\
-\ [X{\it x}] & Gap to main note, notehead widths. \\
-\ ({\it first note}) & Must follow above options.
- Use same symbols as normal note.\\
-\dhline
-s,);t,\} & Slur/tie toggle, after note. With {\tt Ap}, {\tt t} or {\tt\}} causes
- true tie.\\
-(;\{ & Placed before note, same as {\tt s} or {\tt\}} placed after. \\
-\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first
- after {\tt s,t,(,\{} .\\
-\ [u,d,l] & Force direction. Only allowed at slur/tie start.\\
-\ [t] & Position slur end as tie rather than slur. With postscript
- slurs, print a true tie.\\
-\ [b] & Dotted slur.\\
-\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\
-\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\
-\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\
-\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\
-\ [f,n,h,H,HH] & Flatten, normalize, or increase curve. For font-based, on end
- only. For Type K linebrk, 1st seg if on start,
- 2nd if on end.\\
-\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment
- of end of first segment.\\
-\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\
-\ \ \ [s +,- {\it i}] & Vertical adjustment of start of second segment.\\
-\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\
-\ [p] & Local change in postscript slur or tie adjustment.\\
-\ \ +,- & Turn on or off automatic adjustment.\\
-\ \ \ s,t & Adjust slur or tie.\\
-\ [v] & Stem slur, postscript only.\\
-\newcol
-A & Miscellaneous controls.
- Only at start of first block except {\tt i} , {\tt I}\\
-\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\
-\ [d] & Lower dots in lower voice of 2 on a staff\\
-\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default
- is 1.\\
-\ [b,s] & Force big or small accidentals.\\
-\ [r] & Relative accidentals. Must be set if transposing.\\
-\ [e] & Equalize inter-system spacing.\\
-\ [S] & Make some staves small.\\
-\ \ {\it c1c2...} & A string of specifiers {\tt 0} (normal); {\tt -,s} (small);
- {\tt t} (tiny); one for each staff.\\
-\ [v] & Toggles vshrink (initially on), which collapses pages vertically
- when computed \bs{\tt interstaff} exceeds 20.\\
-\ [N] & User-defined part file name.\\
-\ \ {\it i1}"{\it name1}" & Base name to use in part {\it i1}.\\
-\ \ \ [{\it i2}"{\it name2}"] & Base name to use in part {\it i2}.\\
-\ \ \ \ [...] & Continue with other parts as desired.\\
-\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\
-\ [p] & Activate postscript slurs.\\
-\ \ l & Activate special adjustments for line-breaking slurs and ties.\\
-\ \ h & Input Type K postscript header at start of every page, so pages can be
- separated e.g. with dviselec.\\
-\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\
-\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\
-\ [R] & Read in normal include file.\\
-\ \ {\it filename} & File name, may include path.\\
-\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\
-\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\
-\ [V +,- {\it n1} +,- {\it n2}] & Vertical skips, \bsn{}internotes, before and after next
- ~\bsn{}eject.\\
-\dhline
-B & Toggles default stem direction for middle line of bass clef.
- (intial direction is up).\\
-\dhline
-C & Clef change.\\
-\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f,8 or 0-8} & {\bf t}reble, {\bf s}oprano,
- {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone,
- {\bf b}ass, {\bf F}rench violin, octave treble\\
-\newcol
-D & Dynamics.\\
-\ p,pp,...,ffff & Pre-defined standard dynamics.\\
-\ "{\it text}" & Any text string.\\
-\ <.> & Hairpin toggles.\\
-\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\
-\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\
-\dhline
-F & Cancels figures in bass line
- (use with {\tt \%1} in score file
- to make a bass part with no figures).\\
-\dhline
-h,w & If followed by number, page height or width.
- Only at start of first input block.\\
-\ {\it x} & Page height or width.\\
-\ \ [i,m,p] & Inches, mm, points. Default is points.\\
-\dhline
-h & If followed by blank or {\tt [+,-]}, heading.
- Next input line will print above top staff.\\
-\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\
-\dhline
-I & MIDI controls. Only at start of an input block.\\
-\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\
-\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\
-\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in}
- are integers between 1 and 128 or 2-letter abbreviations.
- Consecutive integers must be separated with {\tt ":"}.\\
-\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities
- (volumes), 1$\leq${\it i}$\leq$128. \\
-\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances
- 1$\leq${\it i}$\leq$128, 64=center. \\
-\ [T] & MIDI-only transposition.\\
-\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions in
- \bs{\tt internote}s, {\tt noinst} values.\\
-\ [g{\it i}] & Internote gap in midi tics. Default = 10\\
-\ [MR{\it i}] & Start recording macro {\it i}.\\
-\ [M] & Stop recording.\\
-\ [MP{\it i}] & Playback (insert) macro {\it i}.\\
-\dhline
-K & Key signature change and/or transposition.\\
-\ [n] & Suppress printing naturals.\\
-\ [i {\it i}] & Applies only to instrument {\it i}.\\
-\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose
- by 1/2 step to same-name key.\\
-\ \ +,- {\it i} & New key signature.\\
-\ \ \ [i {\it i}]... & Applies to another instrument {\it i}.\\
-\newcol
-l & Next input line is a text string
- to appear below top staff.\\
-\dhline
-L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of
- block only.\\
-\ [P{\it i}] & Force a page break at page {\it i}.\\
-\ [M] & Movement break. Must follow {\tt P} if present. \\
-\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\
-\ \ [i{\it x}] & New indent, decimal fraction of line width.\\
-\ \ [c] & Continue bar numbering, do not reset.\\
-\ \ [r +,-] & Force or suppress reprinting instrument names.\\
-\ \ [n{\it i}] & Change to {\it i} instruments.\\
-\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\
-\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for
- every staff in new lineup.\\
-\ [S{\it x}] & Shorten this system to fraction {\it X} of orig.\\
-LC{\it y} & After L{\it i}S{\it x} and after gap, short segment of
- length fraction {\it y} to end of system.\\
-\ [n] & Suppress bar number at start of 2nd segment\\
-\dhline
-m & Meter change. Voice \#1 only. Start of input block only.\\
-\ o,{\it d1}[{\it d2}] & True numerator of meter.
- Use {\tt o} if full value is exactly 1.
- If {\it d1}=1, numerator is 10+{\it d2}.\\
-\ \ {\it d1}[{\it d2}] & True denominator.\\
-\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\
-\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\
-\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\
-\ \ {\it d1}[{\it d2}]/ & true denominator \\
-\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\
-\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\
-\dhline
-M & Macro. If alone, ends recording or saving.\\
-\ [R,S,P] & Record (store and execute), save (store but do not execute),
- or playback. \\
-\ \ {\it i} & Macro ID number, from 1 to 20. \\
-\newcol
-P & Start page numbering in this page. Voice \#1 only.
- Start of input block only.\\
-\ [{\it i}] & Starting page number. Default is 1.\\
-\ [r,l] & Margin for starting page number. Default is 'r'.\\
-\ [c] & Centered header on each page. Must be last option in symbol.
- Default text is instrument name \\
-\ \ [{\it text}] & Text with no blanks \\
-\ \ ["{\it text}"] & Text with blanks \\
-\dhline
-R & Repeat or doublebar. Voice \#1 only.
- Doublebars at start of bar only.\\
-\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR,
- doublebar-left repeat.\\
-\ z & Blank barline at next system break.\\
-\ b & Single bar (end of movement or piece).\\
-\dhline
-S{\it i} & Reset total number of systems to {\it i}.
- Only at start of first input block.
- Only useful with \bs{\tt \%}{\it j} for automatically
- generated parts.\\
-\ [P{\it i}] & Force total number of pages to be {\it i}.\\
-\ [m{\it i}] & Change musicsize to {\it i}.\\
-\dhline
-T & Title string. Only at start of first input block.\\
-\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left
- justified), or composer (right justified). Following line
- is the text.
- {\tt Tt} may be followed by a number (\bsn{}internotes) to add
- vertical space below entire title block.
- {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\
-{\it text}\bs\bs{\it text} & Make a line break in the title string.\\
-\dhline
-V & Toggle for Volta. Voice \#1 only. Start of bar only.
- For scor2prt, only allowed one per input block,
- and it must come at start of block.\\
-\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\
-\ b,x & At end of volta, boxed end or horizontal (no box).\\
-\newcol
-W & Set new minimum horizontal space between noteheads.\\
-\ . & Decimal point (required).\\
-\ \ {\it d1} & Tenths of notehead width. Default is 3.\\
-\dhline
-x & Floating figure (offset to right).\\
-\ {\it d1} & Number of note-length units of offset.\\
-\ \ {\it d2} & Note-length unit. Same code as for note durations.\\
-\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it d1}}
- & Characters for floating figure,
- arranged as in normal figure.\\
-\dhline
-X & Shift or insert hardspace. \\
-\ [-]{\it x} & Distance. Default units are notehead widths.\\
-\ \ [{\tt p}] & Units are points.\\
-\ [:] & Begin shift (if number\break also present), end shift
- (if no number),\\
-\ [S] & Single-note shift ({\tt S}). \\
-\ [P] & Use only in part, not score. \\
-\ [B] & Use in both score and part. \\
-\dhline
-2,3,\dots,9,\#,-,n & Normal figure.
- Combine characters as needed. See manual.\\
-\ [v] & Start vertical shift for this line.\\
-\ \ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
-0 {\rm (zero)} & Continuation figure.\\
-\ {\it x} & Length in \bsn{}internotes.\\
-\_ {\rm (underscore)} & Placeholder figure, to lower the next one. \\
-\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes. \\
-\ [s] & (With 2,4,5,6,9) add slash. Must have font cmrj. \\
-\dhline
-[ & Start a forced beam.\\
-\ [j] & Continue an existing staff-\break jumping beam.\\
-\ [u,l] & Direction of forced beam.\\
-\ [f] & Flip beam direction.\\
-\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\
-\ [h] & Force horizontal beam (zero slope).\\
-\ [:] & After this forced beam, continue forced beaming over the
- same interval until next explicit forced beam or end of
- input block.\\
-\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
-\ \ [+,- {\it i}] & Change slope from default.\\
-\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\
-\dhline
-] & End forced beam.\\
-\ [j] & Keep beam open, prepare to jump to other staff \\
-\newcol
-][ & Between two notes in a forced beam,
- decrease multiplicity to 1, then immediately increase.
- Treated as a single symbol, set off by spaces.\\
-\dhline
-]-[ & Between two notes in forced beam, end one segment and
- start next of a single-slope beam group\\
-\dhline
-( & Placed before a note, equivalent to {\tt s} after note. \\
-) & Equivalent to {\tt s} . \\
-\dhline
-\{ & Placed before a note, equivalent to {\tt t} after note. \\
-\} & Equivalent to {\tt t} . \\
-\dhline
-? & Arpeggio start/stop. Comes after note. \\
-\ [-{\it x}] & Shift left by {\it x} notehead widths. \\
-\dhline
-\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before
- next note, before \bsn{}startmuflex, or before
- first \bsn{}notes group of current input block.\\
-\ {\it Text}\bs & TeX string and terminator.
- May have more than one TeX command, strung end-to-end.\\
---- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first
- line. All lines until next {\tt ---} will be copied verbatim
- to top of \TeX\ file.\\
-\dhline
-[|] & Bar line. Only used for checking, except required after
- end-of-bar inserted hardspace.\\
-\dhline
-/ & Terminate input for a staff in this input block.\\
-\dhline
-// & Terminate first line of music on this staff for this input
- block, start a second line of music on same staff.\\
-\dhline
-\% & Comment line.\\
-\ [{\it h}]{\it text} & Scor2prt will put {\it text}
- into the part whose hexadecimal number is {\it h}.\\
-\ [!]{\it text} & {\it text}
- will be put in all parts by scor2prt.\\
-\ [\%] & Following line will be ignored by scor2prt.\\
-\dhline
-.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have
- 1/3 duration of prior note. See note name command.\\
-\dhline
-,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have
- 1/2 duration of prior note. See note name command.\\
-\newcol
-"\break\null\ {\it text}" & Lyrics. See pmx294.pdf section 2.2.15 for details.\\
-\ \ [@] & Set a vertical offset\\
-\ \ \ a,b & Above or below the staff\\
-\ \ \ \ +,- {\it i} & Amount of offset, \bsn{}internotes\\
-\hline
-\end{tabular}
-\end{center}
-\end{multicols}
-}
-\end{document}
Added: trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf
===================================================================
(Binary files differ)
Index: trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf 2023-02-19 17:57:06 UTC (rev 65926)
Property changes on: trunk/Master/texmf-dist/doc/generic/pmx/ref300.pdf
___________________________________________________________________
Added: svn:mime-type
## -0,0 +1 ##
+application/pdf
\ No newline at end of property
Added: trunk/Master/texmf-dist/doc/generic/pmx/ref300.tex
===================================================================
--- trunk/Master/texmf-dist/doc/generic/pmx/ref300.tex (rev 0)
+++ trunk/Master/texmf-dist/doc/generic/pmx/ref300.tex 2023-02-19 17:57:06 UTC (rev 65926)
@@ -0,0 +1,491 @@
+%%%%%%%%%%%%%%%%%
+%%
+%% ref300.tex (latex)
+%%
+%%%%%%%%%%%%%%%%%
+\ifx\documentstyle\undefined
+% \documentstyle[11pt,multicol]{article}
+ \documentstyle[12pt,multicol]{article}
+\else
+% \documentclass[11pt]{article}
+ \documentclass[12pt]{article}
+ \usepackage{multicol}
+\fi
+
+\pagestyle{empty}
+
+% A4 horizontal 210mm, letter vertical 11in:
+\setlength{\textwidth}{21cm}\addtolength{\textwidth}{-2cm}
+\setlength{\textheight}{11in}\addtolength{\textheight}{-2cm}
+\addtolength{\topmargin}{-3.5cm}
+\addtolength{\oddsidemargin}{-3.4cm}
+\addtolength{\evensidemargin}{-3.4cm}
+\setlength\columnsep{2mm}
+
+\hoffset22.5pt
+
+\message{h=\the\textheight, w=\the\textwidth, s=\the\columnsep}
+
+\begin{document}
+
+{\footnotesize\small
+
+\def\bs{{\tt\char'134}}
+\def\bsn{\bs}
+\def\dhline{\hline\hline}
+\def\newcol{
+\hline
+\end{tabular}
+
+\begintab
+\hline
+}
+%\let\blank\ \def\ {\blank\blank}
+
+\centerline{QUICK REFERENCE TABLE FOR {\bf PMX},
+Version 3.00,
+Feb 2023~~~
+\hfill Don Simons (dsimons at roadrunner.com)}
+
+%\begin{multicols}{2}
+\null
+
+ This table defines PMX command syntax. Each command starts with a
+single character from a non-indented line, followed by characters from
+subsequent indented lines, with no internal spaces. When characters
+on the same line are separated by commas, only one can be used, unless
+otherwise noted. Characters enclosed in brackets {\tt [~]} are optional,
+but if one is used and the following line is indented and unbracketed,
+then one character must be used from the unbracketed group. Several
+characters, chosen from different lines that are indented the same
+amount, may be used in sequence. {\it d1, d2} are single digits, so
+for example {\it d1}{\tt[}{\it d2}{\tt]} is a one- or two-digit integer.
+{\it i}, {\it i1}, or {\it i2} is any non-negative integer.
+{\it x} or {\it y} is any non-negative decimal number.
+
+%\end{multicols}
+
+\begin{multicols}{2}
+\begin{center}
+%\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\def\begintab{\begin{tabular}{|p{3.0cm\tt}|p{5.5cm\hangindent5pt}|}}
+\begintab
+\hline
+a,b,c,d,e,f,g & Note name.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & If first digit, duration.
+ Must include if duration not yet set in current input block.\\
+\ [1,2,3,4,5,\break\rightline{6,7]} & If second digit, Octave number.
+ Must include if octave not yet set in current input block.\\
+\ [d] & Dot.\\
+ \ \ [+.- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ [+.- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [d] & Double dot.\\
+\ [f,s,n] & Accidental. Repeat for double.\\
+\ \ [+,- {\it i} +,- {\it x}] & Vertical shift, \bsn{}internotes;
+ horiz. shift, notehead widths.\\
+\ \ [<,> {\it x}] & Horiz. shift, notehead widths.\\
+\ \ [i] & MIDI-only accidental.\\
+\ \ [c] & Cautionary accidental.\\
+\ [+,-] & Shift octave from default (default is within a 4th).\\
+\ [u,l] & Force stem direction.\\
+\ [a] & Prohibit beaming this note. If first note of xtuplet, prohibit
+ beaming the xtuplet.\\
+\ [r] & Right offset by one notehead.\\
+\ [e] & Left offset by one notehead.\\
+\ [.] & Dot shortcut: {\tt a8.b} = {\tt ad8 b1} \\
+\ [,] & 2:1 shortcut: {\tt a8,b} = {\tt a8 b1} \\
+\ [D] & In xtuplet note only, double duration. Reduce number of
+ notes in xtup by 1.\\
+\ [F] & As above, and add dot.\\
+\ [S,L {\it x}] & Shrink or lengthen stem length by {\it x} \bs{\tt internote}.\\
+\ \ [:] & Make it sticky.\\
+\ [S,L :] & Shrink or lengthen this stem, then return to default.\\
+\ [Ao] & In main chord note, post accidentals in order entered.\\
+\ [T] & Single-note tremolo (slashes across stem).\\
+\ \ [1,2,3] & Number of slashes; 1 is default.\\
+\newcol
+~ & Note options, continued\\
+\ [x{\it i}] & An {\it i}-tuplet starts here.
+ Duration (already set) refers to total for xtuplet.
+ Next $i-1$ notes or rests are in
+ xtuplet. They must have no duration number; may have
+ octave number or {\tt d} for dot.\\
+\ \ [d] & Dot first xtup note, halve next.\\
+\ \ [n] & Fine-tune printed number. \\
+\ \ \ (\it{blank}) & Don't print number. \\
+\ \ \ [f] & Flip vertical location. \\
+\ \ \ [{\it i}] & Replacement printed number. \\
+\ \ \ [+,- {\it i}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ \ \ [s] & Fine tune slope of bracket for non-beamed xtuplet.\\
+\ \ \ \ +,- {\it i} & Slope adjustment.\\
+\ [xT] & Start a 2-note tremolo. Next note is 2nd note. If starting note
+ has {\tt d}, 2nd note must not, unless dot needs to be moved.\\
+\ \ [0,1,2,3] & Number of main beams between 2 notes.\\
+\ \ \ [0,1,2,3] & Number of indented beams.\\
+\dhline
+z & Chordal note. No duration allowed.\\
+\ a,b,c,d,e,f,g & Note name.\\
+\ \ [f,s,n] & Flat, sharp, natural. Repeat for double flat or sharp.
+ Shift options same as on main note.\\
+\ \ \ [A] & (Preceding a shift) Apply shift relative to PMX-computed one.\\
+\ \ [+,-] & Up or down one octave.
+ may use several in succession.\\
+\ \ [r,e] & Right or left offset by one notehead.\\
+\ \ [d] & Dot. Permitted but not required, unless dot is to
+ be shifted. \\
+\ \ \ [+,- {\it x}] & Vertical shift, \bsn{}internotes.\\
+\ \ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\newcol
+r & Rest.\\
+\ [0,2,4,8,1,\break\rightline{3,6,9]} & Duration.
+ Must include if duration not yet set in current input block.\\
+\ [d] & Dot.\\
+\ [p] & Full-bar rest using 'Pause' symbol (no digit).\\
+\ [m{\it i}] & Multi-bar rest of {\it i} bars.\\
+\ \ [n{\it j}] & Put number at level {\it j}. Default is 9, below staff
+ is -6. Change is ``sticky''.\\
+\ [b] & Blank rest, not printed (this line of music
+ drops from sight).\\
+\ [o] & Suppress centering full-bar rest.\\
+\ [+,- {\it i}] & Raise/lower rest from middle line, \bsn{}internotes.\\
+\ [L] & With AK, align rest with note to left. \\
+\ [x{\it i}] & Start xtup. After above options. See description for
+ main note.\\
+\dhline
+o & Ornament. Symbol comes after note.\\
+%\ t,m,x,+,u,p,\break\rightline{),-,>,\raise1pt\hbox{\^\ }.}
+\ t,m,x,+,u,p,\break\rightline{(,),\_,.,>,\^\ }
+ & Shake, mordent, ``x", ``+", pizz., strong pizz., ``(" before
+ notehead,
+ ``)" after notehead, tenuto, stacc., sfz, duncecap\\
+\ c,b & Caesura, breath.\\
+\ \ [+,- {\it i}] & Vertical shift, \bs{\tt internote}.\\
+\ \ \ [+,- {\it x}] & Horiz. shift, notehead widths.\\
+\ f & Fermata. Default is up.\\
+\ \ [d] & Convert to down fermata. \\
+\ T,Tt & Trill ({\it tr}) with or without wavy line.\\
+\ \ [{\it x}] & Length to end of wavy line, \bsn{}noteskips.
+ Default is one \bsn{}noteskip.
+ Use {\tt oT0} for {\it tr} .\\
+\ g & Segno. Voice \#1 only.\\
+\ \ [-]{\it n} & Horizontal shift, points. \\
+\ G & Smaller segno, any voice. \\
+\ \ [[-]{\it d1}[{\it d1}]] & Offset of segno symbol in points.\\
+\ e & Editorial accidental. \\
+\ \ s,f,n & Sharp, flat, natural. \\
+\ \ \ [?] & Editorial accidental is dubious. \\
+\ \ ? & Text is dubious. \\
+\ C & Coda. \\
+\ [+,- {\it i}] & (After~setting~ornament~type)\break Raise/lower by
+ {\it i} \bsn{}internotes from default.\\
+\ [:] & Repeat toggle. Must come last. First instance, after setting
+ ornament type, gives all later notes same ornament, until
+ {\tt o:} shuts it off. \\
+\newcol
+G & Grace note group.\\
+\ [{\it i}] & Number of notes in group. Not needed if 1.
+ If {\tt>}1, next $i-1$ notes are in grace.\\
+\ [s] & Slur to/from main note.\\
+\ [m {\it d1}] & Multiplicity (number of flags or beams). Default is 1.\\
+\ [x] & Slash. Single grace only. \\
+\ [l,u] & Forced stem direction.\\
+\ [A,W] & Put grace just after main note, or shifted as far
+ right as possible.\\
+\ [X{\it x}] & Gap to main note, notehead widths. \\
+\ ({\it first note}) & Must follow above options.
+ Use same symbols as normal note.\\
+\dhline
+s,);t,\} & Slur/tie toggle, after note. With {\tt Ap}, {\tt t} or {\tt\}} causes
+ true tie.\\
+(;\{ & Placed before note, same as {\tt s} or {\tt\}} placed after. \\
+\ [{\it c}] & Optional ID code, {\tt 1-9} or {\tt A-Z} . Must be first
+ after {\tt s,t,(,\{} .\\
+\ [u,d,l] & Force direction. Only allowed at slur/tie start.\\
+\ [t] & Position slur end as tie rather than slur. With postscript
+ slurs, print a true tie.\\
+\ [b] & Dotted slur.\\
+\ [+,- {\it i}] & Raise/lower start/end of slur, \bsn{}internotes.\\
+\ \ [+,- {\it x}] & Horizontal shift start/end of slur, notehead widths. \\
+\ \ \ [+,- {\it i}] & Mid-height alteration, nonzero, only on termination.\\
+\ \ \ \ [:{\it d1d2}] & Alter starting and ending slope, 1-7.\\
+\ [f,n,h,H,HH] & Flatten, normalize, or increase curve. For font-based, on end
+ only. For Type K linebrk, 1st seg if on start,
+ 2nd if on end.\\
+\ [s +,- {\it i}] & On start of a line-breaking type K slur or tie, vertical adjustment
+ of end of first segment.\\
+\ \ +,- {\it x} & Horizontal tweak of end of first segment.\\
+\ \ \ [s +,- {\it i}] & Vertical adjustment of start of second segment.\\
+\ \ \ \ +,- {\it x} & Horizontal tweak of start of second segment.\\
+\ [p] & Local change in postscript slur or tie adjustment.\\
+\ \ +,- & Turn on or off automatic adjustment.\\
+\ \ \ s,t & Adjust slur or tie.\\
+\ [v] & Stem slur, postscript only.\\
+\newcol
+A & Miscellaneous controls.
+ Only at start of first block except {\tt i} , {\tt I}\\
+\ [i,I {\it x}] & Factor on \bs{\tt interstaff}\\
+\ [d] & Lower dots in lower voice of 2 on a staff\\
+\ [a{\it x}] & Change afterruleskip to {\it x} \bs{\tt elemskip}s. Default
+ is 1.\\
+\ [b,s] & Force big or small accidentals.\\
+\ [r] & Relative accidentals. Must be set if transposing.\\
+\ [e] & Equalize inter-system spacing.\\
+\ [S] & Make some staves small.\\
+\ \ {\it c1c2...} & A string of specifiers {\tt 0} (normal); {\tt -,s} (small);
+ {\tt t} (tiny); one for each staff.\\
+\ [v] & Toggles vshrink (initially on), which collapses pages vertically
+ when computed \bs{\tt interstaff} exceeds 20.\\
+\ [N] & User-defined part file name.\\
+\ \ {\it i1}"{\it name1}" & Base name to use in part {\it i1}.\\
+\ \ \ [{\it i2}"{\it name2}"] & Base name to use in part {\it i2}.\\
+\ \ \ \ [...] & Continue with other parts as desired.\\
+\ [T] & Use Col. S's broken brackets for non-beamed xtups.\\
+\ [p] & Activate postscript slurs.\\
+\ \ l & Activate special adjustments for line-breaking slurs and ties.\\
+\ \ h & Input Type K postscript header at start of every page, so pages can be
+ separated e.g. with dviselec.\\
+\ \ [+,-] & Turn on or off global slur or tie adjustments, or halfties.\\
+\ \ \ s,t,h,c & Switch slur, tie, halftie, or ratchet curvature.\\
+\ [R] & Read in normal include file.\\
+\ \ {\it filename} & File name, may include path.\\
+\ [K] & Activate special rules for rest positions in 2-staff keyboard scores.\\
+\ [cl,c4] & Set vert. and horiz. page sizes and offsets for letter or a4 paper.\\
+\ [V +,- {\it n1} +,- {\it n2}] & Vertical skips, \bsn{}internotes, before and after next
+ ~\bsn{}eject.\\
+\ [B] & Remove limit of 9 on beam slopes. Requires musixvbm.tex by default.\\
+\ \ [f] & Do not require access to musixvbm.tex\\
+\newcol
+B & Toggles default stem direction for middle line of bass clef.
+ (intial direction is up).\\
+\dhline
+C & Clef change.\\
+\hbox{\ t,s,m,a,n,r,}\hbox{\ b,f,8 or 0-8} & {\bf t}reble, {\bf s}oprano,
+ {\bf m}ezzo-soprano, {\bf a}lto, te{\bf n}or, ba{\bf r}itone,
+ {\bf b}ass, {\bf F}rench violin, octave treble\\
+\dhline
+D & Dynamics.\\
+\ p,pp,...,ffff & Pre-defined standard dynamics.\\
+\ "{\it text}" & Any text string.\\
+\ <.> & Hairpin toggles.\\
+\ \ [+,- {\it n }] & Vertical shift from default, \bs{\tt internote}s.\\
+\ \ \ [+,- {\it n }] & Horizontal shift from default, notehead widths.\\
+\dhline
+F & Cancels figures in bass line
+ (use with {\tt \%1} in score file
+ to make a bass part with no figures).\\
+\dhline
+h,w & If followed by number, page height or width.
+ Only at start of first input block.\\
+\ {\it x} & Page height or width.\\
+\ \ [i,m,p] & Inches, mm, points. Default is points.\\
+\dhline
+h & If followed by blank or {\tt [+,-]}, heading.
+ Next input line will print above top staff.\\
+\ [+,- {\it i}] & Alter height from default, \bs{\tt internote} \\
+\dhline
+I & MIDI controls. Only at start of an input block.\\
+\ [t{\it x}] & Set tempo to {\it x} beats per minute.\\
+\ [p{\it x}] & Insert a pause of {\it x} quarter notes.\\
+\ [i{\it i1i2...in}] & Specify {\tt noinst} MIDI instruments. {\it i1,i2...in}
+ are integers between 1 and 128 or 2-letter abbreviations.
+ Consecutive integers must be separated with {\tt ":"}.\\
+\ [v{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} velocities
+ (volumes), 1$\leq${\it i}$\leq$128. \\
+\ [b{\it i1}:{\it i2}:...{\it in}] & Specify {\tt noinst} balances
+ 1$\leq${\it i}$\leq$128, 64=center. \\
+\ [T] & MIDI-only transposition.\\
+\ \ +,- {\it i1} +,- {\it i2} ... +,- {\it in} & Amounts of transpositions in
+ \bs{\tt internote}s, {\tt noinst} values.\\
+\ [g{\it i}] & Internote gap in midi tics. Default = 10\\
+\ [MR{\it i}] & Start recording macro {\it i}.\\
+\ [M] & Stop recording.\\
+\ [MP{\it i}] & Playback (insert) macro {\it i}.\\
+\newcol
+K & Key signature change and/or transposition.\\
+\ [n] & Suppress printing naturals.\\
+\ [i {\it i}] & Applies only to instrument {\it i}.\\
+\ +,- {\it i} & Amount of transposition in \bsn{}internotes. Use {\tt-0} to transpose
+ by 1/2 step to same-name key.\\
+\ \ +,- {\it i} & New key signature.\\
+\ \ \ [i {\it i}]... & Applies to another instrument {\it i}.\\
+\dhline
+l & Next input line is a text string
+ to appear below top staff.\\
+\dhline
+L{\it i} & Force a line break at line {\it i}. Voice \#1 only. Start of
+ block only.\\
+\ [P{\it i}] & Force a page break at page {\it i}.\\
+\ [M] & Movement break. Must follow {\tt P} if present. \\
+\ \ [+{\it i}] & Extra vertical space, \bs{\tt internote}. \\
+\ \ [i{\it x}] & New indent, decimal fraction of line width.\\
+\ \ [c] & Continue bar numbering, do not reset.\\
+\ \ [r +,-] & Force or suppress reprinting instrument names.\\
+\ \ [n{\it i}] & Change to {\it i} instruments.\\
+\ \ \ {\it d1d2...di} & Numbers of instruments. Precede 2-digit numbers with {\tt :}\\
+\ \ \ \ {\it c1c2...ck} & Clef symbols. Enter one for
+ every staff in new lineup.\\
+\ [S{\it x}] & Shorten this system to fraction {\it X} of orig.\\
+LC{\it y} & After L{\it i}S{\it x} and after gap, short segment of
+ length fraction {\it y} to end of system.\\
+\ [n] & Suppress bar number at start of 2nd segment\\
+\dhline
+m & Meter change. Voice \#1 only. Start of input block only.\\
+\ o,{\it d1}[{\it d2}] & True numerator of meter.
+ Use {\tt o} if full value is exactly 1.
+ If {\it d1}=1, numerator is 10+{\it d2}.\\
+\ \ {\it d1}[{\it d2}] & True denominator.\\
+\ \ \ o,{\it d1}[{\it d2}] & Printed numerator of meter. Use {\tt o} as above.\\
+\ \ \ \ {\it d1}[{\it d2}] & Printed denominator.\\
+\ {\it d1}[{\it d2}]/ & (Alternate syntax) true numer-ator \\
+\ \ {\it d1}[{\it d2}]/ & true denominator \\
+\ \ \ {\it d1}[{\it d2}]/ & printed numerator \\
+\ \ \ \ {\it d1}[{\it d2}] & printed denominator \\
+\newcol
+M & Macro. If alone, ends recording or saving.\\
+\ [R,S,P] & Record (store and execute), save (store but do not execute),
+ or playback. \\
+\ \ {\it i} & Macro ID number, from 1 to 20. \\
+\dhline
+P & Start page numbering in this page. Voice \#1 only.
+ Start of input block only.\\
+\ [{\it i}] & Starting page number. Default is 1.\\
+\ [r,l] & Margin for starting page number. Default is 'r'.\\
+\ [c] & Centered header on each page. Must be last option in symbol.
+ Default text is instrument name \\
+\ \ [{\it text}] & Text with no blanks \\
+\ \ ["{\it text}"] & Text with blanks \\
+\dhline
+R & Repeat or doublebar. Voice \#1 only.
+ Doublebars at start of bar only.\\
+\ l,r,lr,d,D,dl & Left repeat, right repeat, l-r rpt, doublebar, doubleBAR,
+ doublebar-left repeat.\\
+\ z & Blank barline at next system break.\\
+\ b & Single bar (end of movement or piece).\\
+\dhline
+S{\it i} & Reset total number of systems to {\it i}.
+ Only at start of first input block.
+ Only useful with \bs{\tt \%}{\it j} for automatically
+ generated parts.\\
+\ [P{\it i}] & Force total number of pages to be {\it i}.\\
+\ [m{\it i}] & Change musicsize to {\it i}.\\
+\dhline
+T & Title string. Only at start of first input block.\\
+\ t[{\it d1}[{\it d2}]],i,c & Title of piece (centered), instrument (left
+ justified), or composer (right justified). Following line
+ is the text.
+ {\tt Tt} may be followed by a number (\bsn{}internotes) to add
+ vertical space below entire title block.
+ {\tt Tt} must come after {\tt Ti} and {\tt Tc} for this to work.\\
+{\it text}\bs\bs{\it text} & Make a line break in the title string.\\
+\newcol
+V & Toggle for Volta. Voice \#1 only. Start of bar only.
+ For scor2prt, only allowed one per input block,
+ and it must come at start of block.\\
+\ [{\it text}] & Text for start of volta. May not be ``b" or ``x".\\
+\ b,x & At end of volta, boxed end or horizontal (no box).\\
+\dhline
+W & Set new minimum horizontal space between noteheads.\\
+\ . & Decimal point (required).\\
+\ \ {\it d1} & Tenths of notehead width. Default is 3.\\
+\dhline
+x & Floating figure (offset to right).\\
+\ {\it d1} & Number of note-length units of offset.\\
+\ \ {\it d2} & Note-length unit. Same code as for note durations.\\
+\ \ \ 2,3,\dots,9,\break\rightline{\#,-,n,0{\it x}}
+ & Characters for floating figure,
+ arranged as in normal figure.\\
+\dhline
+X & Shift or insert hardspace. \\
+\ [-]{\it x} & Distance. Default units are notehead widths.\\
+\ \ [{\tt p}] & Units are points.\\
+\ [:] & Begin shift (if number\break also present), end shift
+ (if no number),\\
+\ [S] & Single-note shift ({\tt S}). \\
+\ [P] & Use only in part, not score. \\
+\ [B] & Use in both score and part. \\
+\dhline
+1,2,3,\dots,9,\break\rightline{\#,-,n} & Normal single-digit figure.
+ Combine characters as needed. See manual.\\
+\ [1,2,3,\dots,9] & Following 1, 2nd digit of 2-digit figure.\\
+\ [v] & Start vertical shift for this line.\\
+\ \ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
+0 {\rm (zero)} & Continuation figure.\\
+\ {\it x} & Length in \bsn{}internotes.\\
+\ \ [:] & Insert if followed by another figure.\\
+\_ {\rm (underscore)} & Placeholder figure, to lower the next one.\\
+\ [+{\it i}] & In any figure, raise by {\it i}~\bs internotes.\\
+\ [s] & After 2,4,5,6, or 9, add slash. Must have font cmrj.\\
+\newcol
+[ & Start a forced beam.\\
+\ [j] & Continue an existing staff-\break jumping beam.\\
+\ [u,l] & Direction of forced beam.\\
+\ [f] & Flip beam direction.\\
+\ [m {\it d1}] & Forced multiplicity. {\it d1} = 1 - 4. \\
+\ [h] & Force horizontal beam (zero slope).\\
+\ [:] & After this forced beam, continue forced beaming over the
+ same interval until next explicit forced beam or end of
+ input block.\\
+\ [+,- {\it i}] & Vertical offset, \bsn{}internotes.\\
+\ \ [+,- {\it i}] & Change slope from default.\\
+\ \ \ [+,- {\it i}] & Distance to raise or lower beam, beam thk's.\\
+\dhline
+] & End forced beam.\\
+\ [j] & Keep beam open, prepare to jump to other staff \\
+\dhline
+][ & Between two notes in a forced beam,
+ decrease multiplicity to 1, then immediately increase.
+ Treated as a single symbol, set off by spaces.\\
+\dhline
+]-[ & Between two notes in forced beam, end one segment and
+ start next of a single-slope beam group\\
+\dhline
+( & Placed before a note, equivalent to {\tt s} after note. \\
+) & Equivalent to {\tt s} . \\
+\dhline
+\{ & Placed before a note, equivalent to {\tt t} after note. \\
+\} & Equivalent to {\tt t} . \\
+\dhline
+? & Arpeggio start/stop. Comes after note. \\
+\ [-{\it x}] & Shift left by {\it x} notehead widths. \\
+\dhline
+\bs,\bs\bs,\bs\bs\bs & Start a literal \TeX~string before
+ next note, before \bsn{}startmuflex, or before
+ first \bsn{}notes group of current input block.\\
+\ {\it Text}\bs & TeX string and terminator.
+ May have more than one TeX command, strung end-to-end.\\
+--- (\rm 3 minus's) & Toggle for multiline \TeX\ block. Must start on first
+ line. All lines until next {\tt ---} will be copied verbatim
+ to top of \TeX\ file.\\
+\dhline
+[|] & Bar line. Only used for checking, except required after
+ end-of-bar inserted hardspace.\\
+\newcol
+/ & Terminate input for a staff in this input block.\\
+\dhline
+// & Terminate first line of music on this staff for this input
+ block, start a second line of music on same staff.\\
+\dhline
+\% & Comment line.\\
+\ [{\it h}]{\it text} & Scor2prt will put {\it text}
+ into the part whose hexadecimal number is {\it h}.\\
+\ [!]{\it text} & {\it text}
+ will be put in all parts by scor2prt.\\
+\ [\%] & Following line will be ignored by scor2prt.\\
+\dhline
+.\break\null\ {\it note command} & Detatched dot-form shortcut.\break Note will have
+ 1/3 duration of prior note. See note name command.\\
+\dhline
+,\break\null\ {\it note command} & Detatched 2:1 shortcut. Note will have
+ 1/2 duration of prior note. See note name command.\\
+\dhline
+"\break\null\ {\it text}" & Lyrics. See pmx294.pdf section 2.2.15 for details.\\
+\ \ [@] & Set a vertical offset\\
+\ \ \ a,b & Above or below the staff\\
+\ \ \ \ +,- {\it i} & Amount of offset, \bsn{}internotes\\
+\hline
+\end{tabular}
+\end{center}
+\end{multicols}
+}
+\end{document}
Property changes on: trunk/Master/texmf-dist/doc/generic/pmx/ref300.tex
___________________________________________________________________
Added: svn:eol-style
## -0,0 +1 ##
+native
\ No newline at end of property
Modified: trunk/Master/texmf-dist/doc/man/man1/pmxab.1
===================================================================
--- trunk/Master/texmf-dist/doc/man/man1/pmxab.1 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/doc/man/man1/pmxab.1 2023-02-19 17:57:06 UTC (rev 65926)
@@ -1,4 +1,4 @@
-.TH pmxab 1 "12 Feb 2018" "Version 2.8.4" "PMX Manual Page"
+.TH pmxab 1 "30 August 2022" "Version 2.8.4" "PMX Manual Page"
.SH NAME
pmxab \- a MusiXTeX preprocessor
.SH SYNOPSIS
@@ -10,7 +10,7 @@
It's usually invoked by a frontend musixtex(1).
To use it to its full benefit you should have installed MusiXTeX Version 1.21
or higher, and TeX itself.
-The goal of PMX is to faciliate the efficient typesetting of scores and parts
+The goal of PMX is to facilitate the efficient typesetting of scores and parts
that have an almost professional appearance. To learn more about typesetting
with PMX, please read the PMX Manual.
Modified: trunk/Master/texmf-dist/doc/man/man1/pmxab.man1.pdf
===================================================================
(Binary files differ)
Modified: trunk/Master/texmf-dist/doc/man/man1/scor2prt.man1.pdf
===================================================================
(Binary files differ)
Modified: trunk/Master/texmf-dist/tex/generic/pmx/pmx.tex
===================================================================
--- trunk/Master/texmf-dist/tex/generic/pmx/pmx.tex 2023-02-19 17:40:44 UTC (rev 65925)
+++ trunk/Master/texmf-dist/tex/generic/pmx/pmx.tex 2023-02-19 17:57:06 UTC (rev 65926)
@@ -4,7 +4,8 @@
%% %%
%%%%%%%%%%%%%%%%%%%%%%%
\ifx\pmxversion\undefined\else\endinput\fi
-\def\pmxversion{2.94}\def\pmxdate{23 Jan 20}
+\def\pmxversion{3.00}\def\pmxdate{27 Jan 23}
+% 3.00 add steep beam stuff
% 2.94 add def'ns of \hbp, \hbpp
% 2.80 add def'n of \slx, real stemlength
% 2.73 4 Feb 16 Fix \pmxclefsym to include \smalltreblelowoct
@@ -60,7 +61,6 @@
\def\mtr#1{\zcharnote{#1}%
{\specfnt\kern 1.5\internote\raise 0.3\internote\hbox to 0pt{/\hss}%
\kern -0.7\internote\raise 1.0\internote\hbox to 0pt{/\hss}}}
-%
\newif\ifolder%
%
% Older fonts had clefs at different heights. If you have the older
@@ -864,6 +864,13 @@
\def\hbp{\h at symbol\@qbp}%
\def\hbpp{\h at symbol\@qbpp}%
%
+%
+% For allowing steeper beams
+%
+\def\C at ib#1{\max at n@v\@l\min at n@v{-\@l}\global\b at p\n at v
+\getcurpos \global\b at x\y at v \b at z#14.333\interbeam \advance\b at z\altportee
+\pl at base \global\advance\b at z\y at i}
+%
\catcode`\@=\catcodeat
\endinput
More information about the tex-live-commits
mailing list.