From cdr  Mon Nov 25 11:52:21 1991
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Date: Mon, 25 Nov 91 11:52:21 CST
From: cdr (Craig D. Rice, St. Olaf College)
Message-Id: <9111251752.AA23291@stolaf.edu>
To: mutex@stolaf.edu
Subject: Welcome


This is the first posting to MuTeX@stolaf.edu

Craig

From cdr@stolaf.edu  Wed Nov 27 10:13:56 1991
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To: mutex@stolaf.edu
Subject: [forwarded] multiple staves with MuTeX
Date: Wed, 27 Nov 91 10:13:33 CST
From: cdr@stolaf.edu


------- Forwarded Message

Date: Tue, 26 Nov 91 21:11:06 -0800
From: William Vera <vera@prodnet.la.locus.com>


Please add me to your mailing list.  I just installed MuTeX here today and
produced the 2 demo pieces which look fine.  My eventual goal here is to
write an X-window front end for composing multi-part scores which will
output with MuTeX on a laser printer or previewer.  I hear someone is
already working on extensions to increase the number of allowable staves.
I'm trying to track down who that is at the moment.  Please pass along any
other interesting development info you might hear about.  Thanks,

- - William Vera
  vera@locus.com

------- End of Forwarded Message



From hudson@radar.eecs.wsu.edu  Wed Nov 27 11:00:24 1991
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From: hudson@radar.eecs.wsu.edu
Message-Id: <9111271055.AA11108@radar.eecs.wsu.edu>
To: mutex@stolaf.edu
Subject: where to get it

Can someone email me the most up-to-date anonymous ftp site in the US for
mutex and/or musictex?  I'd appreciate it very much.

Scott

From cdr  Wed Nov 27 11:07:05 1991
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From: cdr (Craig D. Rice, St. Olaf College)
Message-Id: <9111271707.AA06968@stolaf.edu>
To: mutex
Subject: FAQ - Frequently Asked Questions


Looks like now is a good time for the initial version of FAQ.


FAQ 911126: Frequently Asked Questions pertaining to MusicTeX and MuTeX

-------------------------------------------------------------------------------

NOTE: This is a bare bones beginning of what will constitute a more substantial
	"Frequently Asked Questions" for MuTeX and MusicTeX.

	Please mail your contributions to this to "mutex@stolaf.edu"

-------------------------------------------------------------------------------
TABLE OF CONTENTS
-------------------------------------------------------------------------------

01	What is MuTeX?
02	Where can I get MuTeX and MusicTeX?
03	Where are the archives of MuTeX mailing list?

-------------------------------------------------------------------------------
01 	What is MuTeX?

The MuTeX package is a set of macros allowing TeX to typeset beautiful music.
It is the outcome of a Master's thesis at the Rheinische Friedrich-Wilhelms
University.

01	What is MusicTeX?

Here are the tools to write music with MusicTeX under TeX.
The useful macros are MUSIC*.TEX.

-------------------------------------------------------------------------------
02	Where can I get MuTeX and MusicTeX?

MuTeX and MusicTeX are available from many sites, including:
	ftp.stolaf.edu:/pub/TeX/MuTeX.tar.Z
	ftp.stolaf.edu:/pub/TeX/MuTeX_doc.tar.Z
	ftp.stolaf.edu:/pub/TeX/MusicTeX.tar.Z
	ccadfa.cc.adfa.oz.au:/pub/tex/MuTeX.tar.Z
	clouso.crim.ca:/pub/MuTeX.tar.Z
	alfred.ccs.carleton.ca:/pub/tex/MusicTeX.tar.Z

-------------------------------------------------------------------------------
03	Where are the archives of the MuTeX mailing list?

Archives for the MuTeX mailing list are available via anonymous FTP from:
	ftp.stolaf.edu:/pub/mutex/archive

-------------------------------------------------------------------------------


Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 663-3631		1520 St. Olaf Avenue
+1 507 663-3549 FAX	Northfield, MN  55057-1098   USA

From MAKO@UIHEPA.HEP.UIUC.EDU  Wed Nov 27 12:22:29 1991
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 <01GDFZ4AJ0M8BNJ2LH@UIHEPA.HEP.UIUC.EDU>; Wed, 27 Nov 1991 12:23 CST
Date: Wed, 27 Nov 1991 12:23 CST
From: "Makoto Shimojima, Univ of Tsukuba/CDF" <MAKO@UIHEPA.HEP.UIUC.EDU>
Subject: Re: FAQ - Frequently Asked Questions
To: mutex@stolaf.edu
Message-Id: <01GDFZ4AJ0M8BNJ2LH@UIHEPA.HEP.UIUC.EDU>
X-Organization: High Energy Physics, University of Illinois, Urbana-Champaign
X-Vms-To: IN%"mutex@stolaf.edu"
X-Vms-Cc: MAKO

I have the following info regarding the ftp sites:

						mako
--
Makoto Shimojima

 Location    DECnet/ESnet  Bitnet         Internet
 UoTsukuba:  UTKBP::MAKO   -N/A-          mako%utkbp.dnet@kekux.kek.jp
 KEK:        KEKVAX::MAKO  MAKO@JPNKEKVX  mako@kekvax.kek.jp
>UoIllinois: UIHEP::MAKO   MAKO@UIUCHEPG  mako@uihepa.hep.uiuc.edu
 Fermilab:   FNAL::MAKO    MAKO@FNAL      mako@fnal.fnal.gov

From: jmcn@castle.ed.ac.uk (J McNicol)
Date: 15 Aug 91 16:07:24 GMT

aix370.rrz.uni-koeln.de	(134.95.80.1)	/tex/musictex.tar.Z
arisia.xerox.com   	(13.1.100.206)	/pub/musictexdemo.PS
athene.uni-paderborn.de	(131.234.2.32)	/pcsoft/amiga/tex/fonts/musictex.lzh
bach.cs.umb.edu		(192.12.26.23)	/pub/tex/musictex.tar.Z
cs.dal.ca		(129.173.4.5)	/pub/comp.archives/musictex
emx.utexas.edu		(128.83.1.33)	/pub/mnt/source/tex/musictex.tar.Z
forwiss.uni-passau.de	(132.231.20.10)	/pub/tex/macros/musictex.tar.Z
iraun1.ira.uka.de	(129.13.10.90)	/tex/musictex.tar.Z
kth.se			(130.237.72.201)/tex/umb/musictex.tar.Z
nz20.rz.uni-karlsruhe.de(129.13.96.2)	/pub/pctex/texutl/macros/musictex.lzh
qed.rice.edu		(128.42.4.38)	/pub/musictex.tar.Z
sol.cs.ruu.nl		(131.211.80.5)	/TEX/musictex.tar.Z
srawgw.sra.co.jp	(133.137.4.3)
	/.a/sranha/arch/arch/comp.archives/musictex
 	/.a/sranha/arch/arch/comp.archives/music/notation/musictex
wraith.cs.uow.edu.au	(130.130.64.1)
	/cache/ftp.cs.umb.edu/pub/tex/musictex.tar.Z

Also, the author of MusicTeX recommends this site (presumably his home
site, and most up to date):

rsovax.circe.fr   Username musictex, Password <your name>

From: TAUPIN@FRUPS51.BITNET
Date: 23 Sep 91 20:50:55 GMT

Music composers/typesetters/lovers could find interesting Music macroes
at ip address 130.84.128.100, user anonymous, cwd musictex.
Questions and comments welcome...

From: schoepf@sc.ZIB-Berlin.DE (Rainer Schoepf)
Date: 19 Aug 91 13:07:50 GMT

The most recent version of MuTeX (directly obtained from Bonn, the
original source) is located on rusinfo.rus.uni-stuttgart.de, in
directory soft/tex/mtex.

From ORLANDINI@JANE.GSFC.NASA.GOV  Wed Nov 27 12:53:05 1991
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Date:    Wed, 27 Nov 1991 13:54:42 EST
From: ORLANDINI@JANE.GSFC.NASA.GOV (M.Orlandini - NASA/GSFC. Tel (301) 286 1128)
Message-Id: <911127135442.20a0015f@JANE.GSFC.NASA.GOV>
Subject: Site for Mutex and MusicTex
To: mutex@stolaf.edu
X-Vmsmail-To: SMTP%"mutex@stolaf.edu"

From the FAQ of the comp.text.tex newsgroup

> A package called MuTeX, written by Andrea Steinbach and Angelika Schofer,
> aids in doing this [typeset music]. It is available via anonymous ftp from
> sol.cs.ruu.nl (131.211.80.5) in pub/TEX/mtex.tar.Z and from
> ymir.claremont.edu (134.173.4.23) in [anonymous.tex.music.mtex]. This
> package allows you to typeset single-staff music and lyrics.
> A more powerful package which allows the typesetting of orchestral and
> polifonic music is MusicTeX, written by Daniel Taupin. It is also available
> from ymir.claremont.edu in [anonymous.tex.music.musictex].

---Mauro

From HOLZWARTH@DHDSPRI6.BITNET  Thu Nov 28 00:03:46 1991
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Date: Thu, 28 Nov 91 07:03 N
From: Frank Holzwarth <HOLZWARTH@DHDSPRI6.BITNET>
Subject: Wanted: PS demofile for MuTeX/MusicTeX
To: mutex@stolaf.edu
Message-Id: <DB26EF07AF1F001399@DHDSPRI6.bitnet>
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X-Vms-To: IN%"mutex@stolaf.edu"

Hello all you musical TeXers,
 
Some time ago I saw an output of the archie facility mentioning
a file like MUSICTEX_DEMO.PS
Unfortunately the FTP site was dead and that interesting file
was not available elsewhere. Can anybody point me to an archive
where to obtain this PostScript file. As I have not yet installed
MuTeX or MusicTeX the file should contain all the fonts needed
in PS form.
 
Thank you very much in advance
Frank Holzwarth
                             e-mail: HOLZWARTH@DHDSPRI6.bitnet
Springer-Verlag
Dept. New Technologies/Product Development
Tiergartenstrasse 17
W-6900 Heidelberg
FRG

From icking@gmdzi.gmd.de  Thu Nov 28 04:26:04 1991
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Date: Thu, 28 Nov 91 11:26:21 -0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <9111281026.AA27826@gmdzi.gmd.de>
To: ORLANDINI@JANE.GSFC.NASA.GOV, mutex@stolaf.edu
Subject: MusicTeX vs. MuTeX

>>From the FAQ of the comp.text.tex newsgroup
>
>> A package called MuTeX, written by Andrea Steinbach and Angelika Schofer,
>> aids in doing this [typeset music]. It is available via anonymous ftp from
>> sol.cs.ruu.nl (131.211.80.5) in pub/TEX/mtex.tar.Z and from
>> ymir.claremont.edu (134.173.4.23) in [anonymous.tex.music.mtex]. This
>> package allows you to typeset single-staff music and lyrics.
>> A more powerful package which allows the typesetting of orchestral and
>> polifonic music is MusicTeX, written by Daniel Taupin. It is also available
>> from ymir.claremont.edu in [anonymous.tex.music.musictex].

I think that it is not correct to say that MusicTeX is more powerful.

The main difference between MuTeX and MusicTeX is that 
   - MusicTeX deals with multiple staves (staffs?)
   - MuTeX produces a nicer output.

The reason that MuteX produces nicer output seems to be that it can
handle only single-staff music and therefore can easier put glue
between the notes. A second reason is that it makes "real" slurs and not
some sort of rotated brackets (braces, ...).

Both packages have in common, that the input language is a horrorific. Both
packages show some errors which are nearly impossible to trace down
or to find a circumvention (e.g. MuTeX typesets sometimes not-available
characters instead of slurs; MusicTeX sometimes makes a break in the
middle of a slur.). Both packages are very big and required a lot of
CPU-power and a big TeX-installation.      

Some days (or month?) ago a new MusicTeX-version came out. And when I
looked at various archives most of them had (different) outdated versions.
Therefor it may be a good advice to update the archived versions (or to
get MusicTeX from rsovax.circe.fr (userid: musictex  password: any)) 
near to the author.

Werner
--
Werner Icking          icking@gmdzi.gmd.de          (+49 2241) 14-2443
Gesellschaft fuer Mathematik und Datenverarbeitung mbH (GMD)
Schloss Birlinghoven, P.O.Box 1240, D-5205 Sankt Augustin 1, FRGermany
                                  "Der Dativ ist dem Genitiv sein Tod."

From icking@gmdzi.gmd.de  Thu Nov 28 11:59:52 1991
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Date: Thu, 28 Nov 91 19:00:14 -0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <9111281800.AA20629@gmdzi.gmd.de>
To: mutex@stolaf.edu
Subject: MuTeX documentation - MuTeX users guide
Cc: jalbert@cs.ucb.ca

A lot of MuTeX users complain about the poor documentation. 
A reason for this may be that they DO NOT have GUIDE.TEX
which was written by Francois Jalbert, because the original
short users guide MTEXINFO.TEX is written in German (no problem
for Francois :-) - hello Frankie, how are you?) and is very poor.
GUIDE.TEX is contained in MUTEX.ARC which can be found on SIMTEL
(and its mirror sites) in the directory PD1:<MSDOS.TEX>.

Another source of information about MuTeX is the master thesis
(Diplomarbeit) of the MuTeX authors which can be found on most
TEX-server. It is written in German. It CANNOT serve as a users
guide; it tells something about music typesetting and how the
principles of "Notenstich" (engraving) can be transferred to a
text-processor like TeX. The basic knowledge about "Notenstich"
is cited from "the" famous small book by Harder.

Werner

From MAKO@UIHEPA.HEP.UIUC.EDU  Thu Nov 28 17:11:52 1991
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 <01GDHNIFHJTCBNJ3KJ@UIHEPA.HEP.UIUC.EDU>; Thu, 28 Nov 1991 17:12 CST
Date: Thu, 28 Nov 1991 17:12 CST
From: "Makoto Shimojima, Univ of Tsukuba/CDF" <MAKO@UIHEPA.HEP.UIUC.EDU>
Subject: New MusicTeX available at rsovax.circe.fr
To: mutex@stolaf.edu
Message-Id: <01GDHNIFHJTCBNJ3KJ@UIHEPA.HEP.UIUC.EDU>
X-Organization: High Energy Physics, University of Illinois, Urbana-Champaign
X-Vms-To: IN%"mutex@stolaf.edu"

From:	IN%"TAUPIN@FRUPS51.BITNET" 28-NOV-1991 13:29:40.04
To:	IN%"MAKO@UIHEPA.HEP.UIUC.EDU"
CC:	
Subj:	RE:  Re: MusicTeX

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Date: 28 NOV 91 19:27:33.65-GMT
From: TAUPIN@FRUPS51.BITNET
Subject: RE:  Re: MusicTeX
To: MAKO@UIHEPA.HEP.UIUC.EDU
Message-id: <01GDHFPURPQCBNIY8L@UIHEPA.HEP.UIUC.EDU>

New version of MusicTeX available by ftp anonymous
at 130.84.128.100 (rsovax.circe.fr)
 
Enhancements: fonts corrected according to
              K. Neuwirth's suggestions (except some
              difficult things)
           -- ties and slurs work better.
           -- repeats seem to work correctly now
           -- some other small defects removed
           -- the notice has been seriously enhanced.
           -- better flexibility with modes in *.mf
 
Further projects: automatic transposition, including
                  accidentals, small notes, nicer ties.
       -- latex style according to N. Brouard's suggestions.
 
                  Daniel TAUPIN, Bat. 510, 91405 ORSAY (France)

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Tue Dec  3 09:27:47 1991
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Date:  3 DEC 91 16:23:31.78-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: Musictex version 4.31
To: MUTEX@stolaf.edu

New version 4.31 of MusicTeX available by ftp anonymous
at 130.84.128.100 (rsovax.circe.fr)
New: you can now write transposable music, including
the transposition of accidentals. Read the notice.tex.


Bugs removed in signature changes from 4.3 (november 1991)

Enhancements since summer 1991: fonts corrected according to
              K. Neuwirth's suggestions (except some
              difficult things)
           -- ties and slurs work better.
           -- repeats seem to work correctly now
           -- some other small defects removed
           -- the notice has been seriously enhanced.
           -- better flexibility with modes in *.mf

Further projects:
                  small notes, nicer ties.
       -- latex style according to N. Brouard's suggestions.

                  Daniel TAUPIN, Bat. 510, 91405 ORSAY (France)

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Tue Dec  3 11:57:58 1991
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Date:  3 DEC 91 18:59:44.88-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: French MusicTeX examples
To: MUTEX@stolaf.edu


If you have troubles with 8bit french characters, the musicsty.tex
contrain their definitions (starting from 2 minutes ago).

If you have only a 7bit TeX, then look at this file and perform
the replacement with your editor...

From bobb@agora.rain.com  Tue Dec  3 22:06:26 1991
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Date: Tue, 3 Dec 91 20:04 PST
From: bobb@agora.rain.com (Bob Beauchemin)
To: mutex@stolaf.edu
Subject: Music and book publishing




  A friend of mine is looking to typeset a textbook that is mostly text,
but interspersed with staffs of music (ie. music included in the text
like figures). Does anyone have any experiences doing this sort of thing
with any combination of Plain TeX, LaTeX, MuTeX and/or MusicTeX?

  It appears, after a brief glance, that MuTeX and MusicTeX are mostly
for typesetting musical scores (with possible title and composer information).
It was mentioned (in the MusicTeX docs, I think) that you lose the TeX
'&' character (used for columns) because it use to separate music staffs
(staves?). Also, that there may be problems using MusicTeX with LaTeX.
But the MusicTeX docs contain "music figures" in the text...

  Any music & TeX gurus out there? I'm a TeX beginner looking for
recommendations.

Bob Beauchemin
6503 SW 46th Place
Portland OR, 97221
(503)-244-5029
bobb@agora.rain.com




From robin.fairbairns@lsl.co.uk  Wed Dec  4 04:33:48 1991
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Date: Wed, 04 Dec 1991 10:08:21 +0100
From: Robin Fairbairns <robin.fairbairns@lsl.co.uk>
To: mutex@stolaf.edu
Message-Id: <009529A9.DA74FE80.2833@lsl.co.uk>
Subject: Re: Musictex version 4.31


In article <9112031527.AA16509@stolaf.edu>, TAUPIN <TAUPIN%bitnet.FRUPS51@edu.CUNY.CUNYVM> writes:
> New version 4.31 of MusicTeX available by ftp anonymous
> at 130.84.128.100 (rsovax.circe.fr)
> New: you can now write transposable music, including
> the transposition of accidentals. Read the notice.tex. 

I had slight problems with the positioning of `notice' on my printer (a
DEC LPS 20 postcript machine). 

> Bugs removed in signature changes from 4.3 (november 1991)
> 
> Enhancements since summer 1991: fonts corrected according to
>               K. Neuwirth's suggestions (except some
>               difficult things)
>            -- ties and slurs work better.

Much better (though admittedly still not perfect!).  I'm setting 
(mostly) late classical or romantic music, with widely variable bar 
lengths.  The ties and slurs now (occasionally) break up; previously 
they had ghastly tails to the left, which are now entirely absent.
I can _cope_ with gaps...  ;-)

>            -- repeats seem to work correctly now
>            -- some other small defects removed
>            -- the notice has been seriously enhanced.
>            -- better flexibility with modes in *.mf

Very useful - every previous version I had to patch the MF files.

> Further projects:
>                   small notes, nicer ties.

Go to it, Daniel!

All in all, I strongly recommend that people acquire this latest 
version.

In addition, given that the connection to rsovax.circe.fr is (by
Daniel's own admission) rather flaky, I suggest that someone on the far
side of the Atlantic (at least) should set up a copy on anon ftp for
general consumption.  (I shall suggest the same to Aston, at least.) 
-- 
Robin Fairbairns, Senior Consultant, postmaster and general dogsbody
Laser-Scan Ltd., Science Park, Milton Rd., Cambridge CB4 4FY, UK
Email: robin@lsl.co.uk  --or--  rf@cl.cam.ac.uk

From icking@gmdzi.gmd.de  Wed Dec  4 05:56:12 1991
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Date: Wed, 4 Dec 91 12:56:22 -0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <9112041156.AA24681@gmdzi.gmd.de>
To: mutex@stolaf.edu, robin.fairbairns@lsl.co.uk, taupin@gmdzi.gmd.de
Subject: MusicTeX version 4.31 availabe on  gmdzi.gmd.de
Cc: jc@gmdzi.gmd.de

Robin Fairbairns complaint has found an open ear:
>
>In addition, given that the connection to rsovax.circe.fr is (by
>Daniel's own admission) rather flaky, I suggest that someone on the far
>side of the Atlantic (at least) should set up a copy on anon ftp for
>general consumption.  (I shall suggest the same to Aston, at least.) 
>

gmdzi.gmd.de (129.26.8.90) has version 4.31 of musictex.zip in /ftp/tmp:

  -rw-r--r--  1 icking     406528 Dec  2 04:31 musictex.zip

Standard ftp-processing is available (user: anonymous  password: <email-addr>

Hope this hilft -- Werner

PS: If you cannot connect to gmdzi.gmd.de try 129.26.8.90 which is new since
    yesterday.
--
Werner Icking          icking@gmdzi.gmd.de          (+49 2241) 14-2443
Gesellschaft fuer Mathematik und Datenverarbeitung mbH (GMD)
Schloss Birlinghoven, P.O.Box 1240, D-5205 Sankt Augustin 1, FRGermany
                                  "Der Dativ ist dem Genitiv sein Tod."

From piet@cs.ruu.nl  Wed Dec  4 07:32:56 1991
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Date: Wed, 4 Dec 91 14:32:03 -0100
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9112041332.AA25246@alchemy.cs.ruu.nl>
To: MUTEX@stolaf.edu
Subject: Re: Musictex version 4.31
References: <9112031527.AA16509@stolaf.edu>

I do have a compressed tar file in our archive. This is easier for most
Unix folx. It is also accessible by a mail-server.

How to get musictex.tar.Z from the archive at
	Dept. of Computer Science, Utrecht University:

NOTE: In the following I have assumed your mail address is john@highbrow.edu.

    Of course you must substitute your own address for this. This should be
    a valid internet or uucp address. For bitnet users name@host.BITNET
    usually works.  

by FTP: (please restrict access to weekends or evening/night (i.e. between
about 20.00 and 0900 UTC).

    ftp archive.cs.ruu.nl [131.211.80.5]
    user name: anonymous or ftp
    password: your own email address (e.g. john@highbrow.edu)
      Don't forget to set binary mode if the file is a tar/arc/zoo archive,
      compressed or in any other way contains binary data.
    get TEX/musictex.tar.Z

by mail-server:

send the following message to
mail-server@cs.ruu.nl (or uunet!mcsun!hp4nl!ruuinf!mail-server):

    begin
    path john@highbrow.edu (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send TEX/musictex.tar.Z
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE USER@HOST.BITNET ***

The path command can be deleted if we receive a valid from address in your
message. If this is the first time you use our mail server, we suggest you
first issue the request:
    send HELP
--
Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From @hp4nl.nluug.nl:erikjan@icce.rug.nl  Wed Dec  4 07:47:05 1991
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From: Erik-Jan Vens <erikjan@icce.rug.nl>
Message-Id: <9112041132.AA07861@guicce.icce.rug.nl>
Subject: Re: Musictex version 4.31
To: mutex@stolaf.edu
Date: Wed, 4 Dec 91 12:32:55 MET
In-Reply-To: <009529A9.DA74FE80.2833@lsl.co.uk>; from "Robin Fairbairns" at Dec 4, 91 10:08 am
Reply-To: E.J.Vens@icce.rug.nl
X-Organization: The ICCE Experience
X-Mailer: ELM [version 2.3 PL11]

Robin Fairbairns dixit:
> In article <9112031527.AA16509@stolaf.edu>, TAUPIN <TAUPIN%bitnet.FRUPS51@edu.CUNY.CUNYVM> writes:
> > New version 4.31 of MusicTeX available by ftp anonymous
> > at 130.84.128.100 (rsovax.circe.fr)
> > Enhancements since summer 1991: fonts corrected according to
> >               K. Neuwirth's suggestions (except some
> >               difficult things)

Well, actually, there are still problems with the musicd16 en musicd20
MetaFont files. There are two lines:
  input modes
  input local
which do not belong there. The <modes.mf> which comes with the musictex
package not only is an old (?) file, it also is a wrong file. Karl Berry has
compiled a file <modes.mf> (currently version 0.8) which contains mode
definitions for a lot of printers. You or your systemmanager should compile
these into your MetaFont <.base> file. Then you can select the right printer
on the commandline. The setup now forces you select to a HP LaserJet.

If you have correctly made a <.base> file, you can dyke these two lines out.

> Go to it, Daniel!
> 
> All in all, I strongly recommend that people acquire this latest 
> version.

Yes, it is a much better version than the old one. I met Daniel Taupin in
Eindhoven two weeks ago and the examples he showed promised a lot. So, a year
after giving up on musictex, I gave it another try. And it is *good*.

> In addition, given that the connection to rsovax.circe.fr is (by
> Daniel's own admission) rather flaky, I suggest that someone on the far
> side of the Atlantic (at least) should set up a copy on anon ftp for
> general consumption.  (I shall suggest the same to Aston, at least.) 

I will pass this on to Piet van Oostrum, keeper of the Utrecht Archives
(sol.cs.ruu.nl).

EJee.

-- 

Erik-Jan Vens.  E.J.Vens@icce.rug.nl

From acadia!yale!CS.YALE.EDU!malcolm@harvard.harvard.edu  Wed Dec  4 10:19:13 1991
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From: malcolm%acadia.UUCP@CS.YALE.EDU (Malcolm Sanders)
Message-Id: <9112041419.AA00697@ acadia >
Reply-To: Malcolm M. Sanders <@CS.YALE.EDU:malcolm%acadia.uucp%acadia.UUCP@cs.yale.edu>
Received: by NeXT Mailer (1.63)
To: mutex@stolaf.edu
Subject: Re: MusicTeX version 4.31 availabe on  gmdzi.gmd.de

Werner Icking writes:
>gmdzi.gmd.de (129.26.8.90) has version 4.31 of musictex.zip in /ftp/tmp:
                                        ^^^^

>  -rw-r--r--  1 icking     406528 Dec  2 04:31 musictex.zip
                                           ^^^^
Incredible.


 
-Malcolm Sanders
 malcolm%acadia.uucp@cs.yale.edu
 Telephone: (203) 458-2939

From cdr@stolaf.edu  Wed Dec  4 10:22:17 1991
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Message-Id: <9112041621.AA03106@sachiko.acc.stolaf.edu>
To: mutex@stolaf.edu
Subject: MusicTeX archive in US
Date: Wed, 04 Dec 91 10:21:43 CST
From: cdr@stolaf.edu


From the land of snow and ice, 

	anonymous FTP from ftp.stolaf.edu:/pub/mutex now contains

-rw-rw-r--  1 root       347451 Apr 12  1990 MuTeX.tar.Z
-rw-rw-r--  1 root        37155 Apr 12  1990 MuTeX_doc.tar.Z
-rw-rw-r--  1 cdr         29540 Dec  4 10:19 archive
-rw-r--r--  1 root         3206 Dec  3 09:01 faq
-rw-r--r--  1 root       508169 Dec  4 10:16 musictex.tar.Z

"archive" is an archive of the mutex@stolaf.edu mailing list;
"faq" is a currently small but developing mutex Frequently Asked Questions

Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 663-3631		1520 St. Olaf Avenue
+1 507 663-3549 FAX	Northfield, MN  55057-1098   USA

From @CUNYVM.CUNY.EDU:BROUARD@FRINED51.BITNET  Wed Dec  4 11:03:18 1991
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	id AA27342; Wed, 4 Dec 91 11:03:18 CST
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   with BSMTP id 7359; Wed, 04 Dec 91 12:02:12 EST
Date:  4 DEC 91 18:02:25.57-GMT
From: BROUARD%FRINED51.bitnet@CUNYVM.CUNY.EDU
Subject: Re: Music and book publishing
To: MUTEX@stolaf.edu

It seems possible to use musictex and latex. I designed a
musictex.sty (which is probably in latest version) by simply
concatenating the files used by D. Taupin and commenting some
lines concerning font loading (which is already done by latex).
I also built a new environment named \begin¤music‡ which
temporarly sets the catcodes of & and |. So one can write
a latex book and insert some music using this environment. An example
is also given.

Problems concern width of page, as music needs generally a whole page
without margin to avoid rotation of sheets. This is partly done with an option
named bigmusic (\documentstyle[musictex,bigmusic]¤article‡)
which gives the biggest dimensions of an A4 page to LaTeX. It has to be improved
so that this feature could be done in the environment itself, i.e.
\begin¤music‡[15cm]
page width being set to 15cm.

LaTeX hackers can think about it.

Nicolas Brouard
<brouard@frined51>

From acadia!yale!CS.YALE.EDU!malcolm@harvard.harvard.edu  Wed Dec  4 13:17:11 1991
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Date: Wed, 4 Dec 91 13:27:51 EST
From: malcolm%acadia.UUCP@CS.YALE.EDU (Malcolm Sanders)
Message-Id: <9112041827.AA00917@ acadia >
Reply-To: Malcolm M. Sanders <@CS.YALE.EDU:malcolm%acadia.uucp%acadia.UUCP@cs.yale.edu>
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To: mutex@stolaf.edu
Subject: arrgh...

I should know better than to try to be cute.  My last message was  
slightly mangled in transit.  The placement of the carets (^^^^) was  
critical.  I was amused that Werner Icking (or someone) had created
the archive for version 4.31 of musictex on gmdzi.gmd.de at precisely  
04:31 local time, in case anyone was wondering what the heck I was  
talking about.

Sheepishly,
Malcolm. 
-Malcolm Sanders
 malcolm%acadia.uucp@cs.yale.edu
 Telephone: (203) 458-2939

From piet@cs.ruu.nl  Thu Dec  5 02:28:28 1991
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Date: Thu, 5 Dec 91 09:27:31 -0100
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9112050827.AA10082@alchemy.cs.ruu.nl>
To: karl@cs.umb.edu
Cc: info-tex@shsu.BITNET, tex-archive@math.utah.edu, MUTEX@stolaf.edu
Subject: Re: modified musictex available
References: <9112042248.AA00693@claude.cs.umb.edu>

The copy in our archive includes the newest version of Daniels files and
Karl Berrys modifications in a separate subdirectory (together in a
compressed tar archive).  Karls files have as date aug 19 (that's the date I
got them). I don't know if that is his latest version. I haven't tried if
Karls modifications will work with the new version of musictex.

Our archive is reachable by mail and ftp.

How to get musictex.tar.Z from the archive at
	Dept. of Computer Science, Utrecht University:

NOTE: In the following I have assumed your mail address is john@highbrow.edu.

    Of course you must substitute your own address for this. This should be
    a valid internet or uucp address. For bitnet users name@host.BITNET
    usually works.  

by FTP: (please restrict access to weekends or evening/night (i.e. between
about 20.00 and 0900 UTC).

    ftp archive.cs.ruu.nl [131.211.80.5]
    user name: anonymous or ftp
    password: your own email address (e.g. john@highbrow.edu)
      Don't forget to set binary mode if the file is a tar/arc/zoo archive,
      compressed or in any other way contains binary data.
    get TEX/musictex.tar.Z

by mail-server:

send the following message to
mail-server@cs.ruu.nl (or uunet!mcsun!hp4nl!ruuinf!mail-server):

    begin
    path john@highbrow.edu (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send TEX/musictex.tar.Z
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE USER@HOST.BITNET ***

The path command can be deleted if we receive a valid from address in your
message. If this is the first time you use our mail server, we suggest you
first issue the request:
    send HELP
--
Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From @CUNYVM.CUNY.EDU:BROUARD@FRINED51.BITNET  Thu Dec  5 02:56:01 1991
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	id AA07726; Thu, 5 Dec 91 02:56:01 CST
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Date:  5 DEC 91 09:53:43.19-GMT
From: BROUARD%FRINED51.bitnet@CUNYVM.CUNY.EDU
Subject: Generating mutex pk's for 100 118 240 300 dpi.
To: MUTEX@stolaf.edu


Please find enclosed the script file I used for the generation
of music fonts at 100, 118, 240, 300 dpi, using latest modes.mf
form Karl Berry. I put all the pks on the GUTenberg distribution.
Some changes in .mf have been send to Daniel. Most important
concern length which has been replaced by the french word longueur.
Other changes concern the codes for hplaserjet which have be commented.
I am trying to get last version 4.31 tar files to see if the modifications are
enclosed or not (with the latex style), but I don't have access to
ftp and use bitftp or mail-server.
A nice idea could be to give the version number in the tar or zip file
musictex4.31.tar.Z.
Nicolas Brouard

#!/bin/sh
set -x;
MF="beamn16 beamn20 musicn16 musicn20 slur16 slurdd16 slurdu16 slurn16 \
slurn20 slurud16 sluruu16"

MODE="NeXTscreen bitgraph EpsonMXFX localfont"
#MODE=NeXTscreen
#DPI=100

      for mode in $MODE
      do
        for name in $MF
        do
          /usr/local/lbin/mf "\mode:=$mode ;scrollmode;input $name";
           case $mode in
              localfont) DPI=300;;
              NeXTscreen) DPI=100;;
              bitgraph)   DPI=118;;
              EpsonMXFX)  DPI=240;;
           esac
           GFNAME=$name."$DPI"gf ;
           PKNAME=$name."$DPI"pk ;
           /usr/local/lbin/gftopk ./$GFNAME ../pk/dpi"$DPI"/$PKNAME  ;
        done;
      done

From @CUNYVM.CUNY.EDU:TJEAN@CSEARN.BITNET  Thu Dec  5 08:33:01 1991
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	id AA08617; Thu, 5 Dec 91 08:33:01 CST
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Date:         Thu, 05 Dec 91 15:29:01 MDT
From: Antonin Novotny <TJEAN%CSEARN.bitnet@CUNYVM.CUNY.EDU>
Subject:      Archives
To: MuTeX discussion list <mutex@stolaf.edu>

I've read about archives accesible with FTP. But how can I get files from
archive (for example I've received file musictex.tar.Z but I'm not able
to extract files from it).

Thank You.

Petr Novotny
TJEAN@CSEARN.BITNET
Czechoslovakia

From @CUNYVM.CUNY.EDU:BROUARD@FRINED51.BITNET  Tue Dec 10 11:16:25 1991
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Date: 10 DEC 91 18:12:51.99-GMT
From: BROUARD%FRINED51.bitnet@CUNYVM.CUNY.EDU
Subject: musictex.sty 2/3
To: MUTEX@stolaf.edu

From:   BERTI::"root@sauvy" 10-DEC-1991 18:09:16.77
To:     barsac::brouard
CC:
Subj:

Mail 2 bigmusic.sty and latex-mu.tex (example)
Nicolas Brouard
<brouard@frined51.bitnet>
======bigmusic.sty=========
%-% bigmusic.sty to be used
%-% \documentstyle[bigmusic,musictex]¤article‡
%-%  with environment \begin¤music‡
%-% It enlarges LaTeX to its near maximum page size for
%-% large music array.
%-% Theses lines can be changed just before \begin¤document‡
\hoffset -1in  % This should theoretically not be changed but if equal to 0
               % tex put a value of 1 inch. So we set it to -1 inch.
\voffset -1in
\evensidemargin 5mm
\oddsidemargin 5mm
\topmargin 1mm
\textwidth 190mm
\textheight 260mm
========end of bigmusic.sty=======
====latex-mu.tex=========
%-% Choose of one these two following lines (depending of the fonts you have)
 \documentstyle[bigmusic,musictex]¤article‡
% \documentstyle[bigmusic,musicpln]¤article‡
 \title¤Is Musictex compatible with \LaTeX¤‡?‡
 \author¤First attempt to make it compatible\thanks¤Nicolas Brouard
 (Unit\'e ``D\'emographie et \'epidemiologie''. Institut national
 d'\'etudes d\'emographiques. Paris.‡‡
 \date¤Novembre 1991‡
 \begin¤document‡
  \maketitle
 \section*¤Testing musictex.sty v0.0‡
If music fonts are not available you can use \verb|musicpln.sty|
which use LaTeX fonts. Carefull as \verb|circle10.tfm| have been
changed in new latex to \verb|lcircle10.tfm| abbreviated to the first
8 characters on a PC as \verb|lcircle1.tfm| and
\verb|\lcirclew[10].tfm|.

We enlarged LaTeX at its maximum size and it could be reduced for
normal layout without music\footnote¤Using small pages reduces the
memory need by the compiler.‡. It could probably be done within the music
environment. But for the moment we defined an option style named
\verb|bigmusic.sty|.

Here are the parameters changed by bigmusic.sty:
\begin¤verbatim‡
\hoffset -1in  % This should theoretically not be changed but if equal to 0
               % tex put a value of 1 inch. So we set it to -1 inch.
\voffset -1in
\evensidemargin 5mm
\oddsidemargin 5mm
\topmargin 1mm
\textwidth 190mm
\textheight 260mm
\end¤verbatim‡

 \begin¤music‡
\def\nbinstruments¤1‡\relax
\nbporteesi=2\relax
\generalmeter¤\meterfrac¤4‡¤4‡‡\relax
\debutmorceau
\normal
\zglu\Notes\ibu0f0\qh0¤cge‡\tbu0\qh0g|\hl j\enotes
\temps\Notes\ibu0f0\qh0¤cge‡\tbu0\qh0g|\ql l\sk\ql n\enotes
\barre
\Notes\ibu0f0\qh0¤dgf‡|\qlp i\enotes
\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes
\temps\Notes\ibu0f0\qh0¤cge‡\tbu0\qh0g|\hu j\enotes
\suspmorceau
 \end¤music‡

 \begin¤center‡
 \begin¤tabular‡¤|ccc|‡
\hline
Are &Musictex \& \LaTeX¤‡ & able \\
to   & live & together? \\
\hline
 \end¤tabular‡
 \end¤center‡

 \begin¤music‡
\def\nbinstruments¤1‡\relax
\generalmeter¤\meterfrac¤4‡¤4‡‡\relax
\debutmorceau
\normal
\zglu\Notes\rlap¤\hu j‡\ql h\enotes
\temps\Notes\hl g\enotes
\temps\Notes\hu k\enotes
\temps\Notes\ql f\enotes
\suspmorceau
 \end¤music‡
 \clearpage
 \begin¤center‡
¤\Huge\bf Aria No. 24‡\\
¤\Large\bf(La Cr\'eation)‡\\
¤\large Joseph HAYDN‡\\
¤Transcription pour Orgue et T\'enor, D. Taupin (1990)‡
 \end¤center‡

\begin¤music‡

\def\nbinstruments¤2‡%
\generalmeter¤\meterfrac¤4‡¤4‡‡%
\signaturegenerale¤0‡%
\nbporteesii=2\relax
\def\qbl#1#2#3¤\ibl¤#1‡¤#2‡¤#3‡\qb¤#1‡¤#2‡‡%
\def\qbu#1#2#3¤\ibu¤#1‡¤#2‡¤#3‡\qh¤#1‡¤#2‡‡%
\etroit     \def\DS¤\hbox¤\ds‡‡\def\FS¤\hbox¤\kern 0.3\noteskip\soupir‡\kern
-0.3\noteskip‡
\cleftoksi=¤¤6‡¤0‡¤0‡¤0‡‡
\cleftoksii=¤¤6‡¤0‡¤0‡¤0‡‡

\debutmorceau
\NOTes\soupir\relax
&\rlap¤\rmidtwotext¤\bf II‡‡\relax
\soupir\relax
|\relax
\qu g\relax
\enotes
% mesure 1
\advance\barno by -1\relax
\barre\NOtes
\itenu2J\relax
\wh J\relax
&\relax
\zw N\relax
\ibl0c0\relax
\qb0e\relax
|\relax
\itenl0j\relax
\ibu1l0\relax
\qh1j\relax
\enotes
\notes&\qbl0c0|\nbbu1\nbbbu1\tten0\qh1¤jkj‡\tbu1\qh1i\enotes
\Notes&\qb0e\tbl0\qb0c|\qu j\enotes
\temps\Notes&\ibl0c0\qb0¤ece‡\tbl0\qb0c|\ql l\sk\ql j\enotes
% mesure 2
\barre\Notes\tten2\wh J&\ql J\sk\ql L|\ppt g\rlap¤\qu g‡\qbl1e0\relax
       \zq c\qb1e\zq c\qb1e\relax
       \zq c\tbl1\rlap¤\qb1e‡\ \ \ccu h\enotes
\temps\Notes&\ql N\sk\pt L\ibl0L¤-4‡\qb0L|\ibl1e0\zq c\rlap¤\qb1e‡\cu g\relax
       \zq c\rlap¤\qb1e‡\raise\Interligne\DS \rlap¤\qu g‡\qb1g\enotes
\notes&\sk\tbbl0\tbl0\qb0J|\tbl1\zq c\qb1e\enotes
% mesure 3
\barre\NOtes\itenl2G\wh G&\zw N\raise 3.5\Interligne\ds
|\rlap¤\cl f‡\itenl0k\ibu1m0\qh1k\enotes
\notes&\qbl0b0|\nbbu1\nbbbu1\tten0\qh1¤klk‡\tbu1\qh1¤^j‡\enotes
\Notes&\zq d\qb0f\tbl0\qb0b|\qu k\enotes
\temps\Notes&\ibl0d0\zq d\qb0¤fb‡\zq d\qb0f|\qu m\sk\pt k\qbu1k¤-4‡\enotes
\notes&\tbl0\qb0b|\sk\tbbu1\tbu1\qh1i\enotes
% mesure 4
\alaligne\Notes\tten2\wh G&\ql G\sk\ql I|\rlap¤\qupp g‡\ibl1c0\qb1g\relax
       \zq¤bd‡\qb1f\zq¤bd‡\qb1f\relax
       \zq¤bd‡\tbl1\rlap¤\qb1f‡\ \ \ccu h\enotes
\temps\Notes&\ql K\sk\pt I\qbl0I¤-4‡|\ibl1d0\rlap¤\qb1b‡\cu g\relax
       \zq¤bd‡\rlap¤\qb1f‡\raise\Interligne\DS \rlap¤\qu g‡\qb1g\enotes
\notes&\sk\tbbl0\tbl0\qb0G|\tbl1\zq¤bd‡\qb1f\enotes
% mesure 5
\barre\Notes\hu J&\rlap¤\lhu J‡\ibl0M0\qb0J\zq N\qb0c\zq N\qb0c\tbl0\zq
N\qb0c\relax
      |\rlap¤\hl e‡\qu j\sk\qbu1l¤-4‡\tbu1\qh1j\enotes
\temps\Notes\hu K&\rlap¤\lhu K‡\ibl0M0\qb0K\zq N\qb0b\zq N\qb0b\tbl0\zq
N\qb0b\relax
      |\rlap¤\hl f‡\ibu1k0\qh1¤ikm‡\tbu1\qh1k\enotes
%\check
% mesure 6
\barre\Notes\wh L&\zw N\raise 3.5\Interligne\ds\qbl0c0\qb0e\relax
      |\rlap¤\hl g‡\ppt j\qu j\enotes
\notes&\tbl0\qb0c|\sk\ccu l\enotes
\temps\Notes&\ibl0c0\qb0¤ece‡|\rlap¤\hl g‡\qu n\sk\raise 2\Interligne\DS\enotes
\notes&\tbl0\qb0c|\ibbu1m¤-3‡\qh1m\tbu1\qh1l\enotes
%\check
% mesure 7
\barre\Notes\wh M&\zw a\raise 3.5\Interligne\ds\qbl0d0\qb0f\tbl0\qb0d\relax
      |\rlap¤\hlp h‡\qu k\sk\qu m\enotes
\temps\Notes&\ibl0d0\qb0f|\pt o\qbu1o¤-3‡\enotes
\notes&\zq d\qb0f\sk
\zq d\qb0f\sk\tbl0\zq d\qb0f|\sk\tbbu1\tbu1\qh1n\relax
      \ibbu1m¤-3‡\rlap¤\raise -\Interligne\qp‡\qh1¤mlk‡\tbu1\qh1j\enotes
%\check
% mesure 8
\alaligne\Notes\hu G&\lcharnote c¤\bf I‡\relax
\pz b\ibl0M3\qb0N\pz d\qb0b\pz f\qb0d\pz d\tqb0b|\ql i\rlap¤\uptext¤\bf
I‡‡\sk\ds\ppz p\zq¤km‡\cl p\enotes
\temps\Notes\hu G&\ibl0M3\pz b\qb0N\pz e\qb0c\pz g\qb0e\pz e\tqb0c\relax
        |\zq¤jl‡\ql q\sk\ds\ppz l\zq¤gj‡\cl l\enotes
%\check
% mesure 9
\barre\Notes\hu G&\pz b\ibl0M3\qb0N|\zq¤gi‡\ql k\enotes
\notes&\nbbl0\qb0b\tqb0c\enotes
\zglu\Notes&\pz f\ibl0d¤-4‡\qb0d\pz d\tqb0b|\ds\ppz p\zq¤km‡\cl p\enotes
\temps\Notes\hu G&\pz b\ibl0M3\qb0N|\ppz q\ibl1m3\zq l\qb1q\enotes
\notes&\nbbl0\qb0c\tqb0d|\nbbl1\qb1q\tqb1p\enotes
\temps\notes&\pz g\ibl0e¤-4‡\qb0e\sk\pz e\tqb0c|\ibbl1p0\qb1¤qpq‡\tqb1s\enotes
%\check
% mesure 10
\barre\Notes\hu G&\zq¤Nb‡\ql d|\pz t\ibl1o¤-3‡\qb1r\enotes
\notes&|\nbbl1\qb1n\tqb1¤^m‡\enotes
\zglu\notes&\soupir|\ibbl1m0\qb1¤nmn‡\tqb1m\enotes
\temps\Notes\hpause&\ibl0I6\pz J\qb0G|\pz p\cl n\enotes
\notes&\nbbl0\qb0N\tqb0¤^M‡|\ibbu1g¤-3‡\qh1g\tqh1¤^f‡\enotes
\notes&\ibbl0N0\qb0¤NMN‡\tqb0M|\ibbu1g0\qh1¤gfg‡\tqh1f\enotes
%\check
\suspmorceau
\def\nbinstruments¤4‡%
\nbporteesiii=0\relax
% mesure 11
\reprmorceau
\NOtes\qu G&\ql N|\st n\qu g&&\hpause\enotes
\zglu\NOtes\soupir&\rlap¤\rmidtwotext¤\bf II‡‡\soupir|\zq d\qu¤=f‡&&\enotes
\temps\NOtes\hpause&\hpause|\zq c\qu e&&\soupir\enotes
\zglu\NOtes&|\zq b\qu d&Mit~&\ilegu0p\qu g\enotes
% mesure 12
\barre\Notes&\qu J|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&W\"urd~&\ql j\enotes
\Notes&\soupir|\zq c\qh0e\zq c\tqh0e&und~&\ql j\enotes
\temps\Notes\pause&\hpause|\zq c\ibu0e0\qh0e\zq c\qh0e&Ho-&\ql l\enotes
\Notes&\zcharnote C¤\bf I‡|\zq c\qh0e\zq c\tqh0e&heit~&\ql j\enotes
% mesure 13
\barre\Notes&\qu C|\zw N\zq c\ibu0e0\qh0e\zq c\qh0e&an-&\qup g\enotes
\Notes&\qu E|\zq c\qh0e\zq c\tqh0e&\sk ge-&\sk\cu h\enotes
\temps\Notes\pause&\qu G|\zq c\ibu0e0\qh0e\zq c\qh0e&tan,~&\tleg0\qu g\enotes
\Notes&\ibu1E¤-3‡\qhp1E|\zq c\qh0e&mit~&\ilegu0p\qu g\enotes
\notes&\sk\tbbu1\tqh1C|\zq c\tqh0e&&\enotes
% mesure 14
\barre\Notes&\qu G|\zw N\ibu0e0\zq¤bd‡\qh0f\zq¤bd‡\qh0f\relax
    &Sch\"on-&\ql k\enotes
\Notes&\soupir|\zq¤bd‡\qh0f\zq¤bd‡\tqh0f&heit,~&\ql k\enotes
\temps\Notes\pause&\hpause|\zq¤bd‡\qh0f\zq¤bd‡\qh0f&St\"ark~&\ql m\enotes
\Notes&|\zq¤bd‡\qh0f\zq¤bd‡\tqh0f&und~&\ibu2k¤-4‡\qh2k\tqh2i\enotes
\suspmorceau
\removelastskip\flushright¤\sl\today‡
\end¤music‡

 \end¤document‡
===end of latex-mu.tex=====

From BROUARD%FRINED51.BITNET@CUNYVM.CUNY.EDU  Tue Dec 10 11:20:19 1991
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Date: 10 DEC 91 18:12:32.85-GMT
From: BROUARD%FRINED51.bitnet@CUNYVM.CUNY.EDU
Subject: musictex.sty 1/3
To: MUTEX@stolaf.edu

From:   BERTI::"root@sauvy" 10-DEC-1991 18:09:39.91
To:     barsac::brouard
CC:
Subj:

First mail
Please find here enclosed musictex.sty
Nicolas Brouard
<brouard@frined51.bitnet>
==============musictex.sty===========
%-% Musictex.sty version 0.1 of December, 10 1991
%-%   Updates to version 4.31 November 1991 of plain musictex
%-% Musictex.sty version 0.0 of 5, November 1991
%-% It is a first attempt to make musictex running by LaTeX
%-% We defined an environment named music to change the catcodes
%-% of the vertical bar and the ampersand for musictex.
%-% We used TeX command instead of LaTeX command inside of music.
%-% It needs a rather big \Tex$, but emTeX compiler on PCs does the trip
%-% for small music arrays. It works better on work stations.
%-% Nicolas Brouard <brouard@frined51>
%-% With this file you need extra fonts. If extrafonts are
%-% are not available then use \documenstyle[musicpln]$article
%-%
%-% In both cas you can add the option file bigmusic.sty which
%-% enlarges LaTeX page to a big size (A4).
%-%  \documentstyle[musicpln,bigmusic]$article
%-%
%-% Here is an example:
%-% \documentstyle[musictex]$article
%-% \begin$document
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$music
%-%
%-% Latex blabla
%-%
%-% \begin$music
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$document
%-%
%-%    Building  Musictex.sty
%-%
%-% Two files are required to build musictex.sty from
%-% the plain distribution, premusic.tex and posmusic.\TeX$.
%-% Then musictex.sty is
%-% the concatenation of premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex
%-% On unix:
%-%   cat premusic.tex musicfnt.tex musictex.tex posmusic.tex >musictex.sty
%-% On dos:
%-%   copy premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex musictex.sty
%-%  If you don't have the fonts use:
%-% On unix:
%-%   cat premusic.tex musicpln.tex musictex.tex posmusic.tex >musicpln.sty
%-% On dos:
%-%   copy premusic.tex+musicpln.tex+musictex.tex+posmusic.tex musicpln.sty
%-% You also need the option file bigmusic.sty.
\def\fonthdg$c  %  prefix to cmxxx fonts. change to "a" for amxxx fonts
\font\cmmi=\fonthdg mmi10 scaled \magstep1
\font\cmbx=\fonthdg mbx10 scaled \magstep1
\font\moyen=\fonthdg mbx10 scaled \magstep1
\font\cmex=\fonthdg mex10
\font\cmsy=\fonthdg msy10 scaled \magstep1
\font\cmr=\fonthdg mr10 scaled \magstep1
\font\ttyeight=\fonthdg mtt8
\catcode`\@=11
%
\let\@plainwlog=\wlog
\def\wlog#1$%
%
\font\musictwenty=musicn20
\font\musicsixteen=musicn16
\font\beamsixteen=beamn16
\font\beamtwenty=beamn20
%
\def\q@u$\musicxx\char"21\hss\def\qu@raise$\z@%
\def\h@a$\musicxx\char"22\hss\def\ha@raise$\z@%
\def\w@h$\musicxx\char"23\hss\def\wh@raise$\z@%
\def\w@hq$\musicxx\char 125\hss\def\wh@raise$\z@%
\def\s@bv$\musicxx\char"24\hss\def\wh@raise$\z@%
\def\b@rv$\musicxx\char"20\hss\def\wh@raise$\z@%
\def\zwq#1$\getn@i$#1\def\n@fon$\zwq\def\n@sym$\w@hq\g@zw%
\def\zsb#1$\getn@i$#1\def\n@fon$\zws\def\n@sym$\s@bv\g@zsb% semi-breve
\def\zbv#1$\getn@i$#1\def\n@fon$\zbv\def\n@sym$\b@rv\g@zbv% breve
\def\g@zbv$\global\n@raise=\wh@raise\ifnum\n@i<100\relax
  \h@lines$\bv@width\def\s@tem$\resetstem\plap@symss\fi%
\def\g@zsb$\global\n@raise=\wh@raise\ifnum\n@i<100\relax
  \h@lines$\sb@width\def\s@tem$\resetstem\plap@symss\fi%
%
\newbox\ch@box
\newdimen\lthick
\global\lthick=0.4pt
\newdimen\qn@width
\newdimen\hn@width
\newdimen\wn@width
\newdimen\sb@width
\newdimen\bv@width
\newdimen\qd@skip
\newdimen\hd@skip
\newdimen\wd@skip
%
\newcount\musicsize
\def\computespecifics$\ifnum\musicsize=0\relax\musicsize=20\relax\fi
\ifnum\musicsize=20\relax
\def\musicxx$\musictwenty\else\def\musicxx$\musicsixteen\fi
\ifnum\musicsize=20\relax
\def\beamnxx$\beamtwenty\else\def\beamnxx$\beamsixteen\fi
\ifnum\musicsize=20\relax\def\meterfont$\moyen\else\def\meterfont$\cmbx\fi
\Interligne=\musicsize pt\divide\Interligne by 4\relax
\wn@width=1.4\Interligne
\sb@width=2.2\Interligne
\bv@width=1.4\Interligne
\hn@width=1.2\Interligne
\qn@width=1.2\Interligne
\qd@skip=\qn@width\advance\qd@skip by -0.5\lthick
\hd@skip=\hn@width\advance\hd@skip by -0.5\lthick
\wd@skip=\wn@width\advance\wd@skip by -0.5\lthick
\setbox\ch@box=\hbox$\c@rochu\c@height=\ht\ch@box
%
%
%\check
%
\def\s@oupir$$\musicxx\char"3E%
%
\def\c@rochu$$\musicxx \char"28%
\def\c@rochl$$\musicxx \char"2D%
\newdimen\c@height\newcount\c@mult
%\check
\def\d@cr#1$\c@mult=#1\relax    % queue de #1 croche(s) vers le haut
\advance\c@mult by 39\relax
\setbox\ch@box=\rlap$\musicxx\char\c@mult\c@height=\ht\ch@box
\global\advance\st@top by \c@height
\global\advance\st@top by \internote
\global\advance\st@top by -\st@bot
  \ifdim\st@top>1pt
  \global\advance\st@bot by -\altportee
  \raise\st@bot\rlap$\kern\stem@skip\vrule height\st@top width \lthick
  \advance\st@top by -\c@height\raise\st@top\box\ch@box\fi
  \resetstem%
%\check
\def\p@cr#1$\c@mult=#1\relax    % queue de #1 croche(s) vers le bas
\advance\c@mult by 44\relax
\setbox\ch@box=\rlap$\kern 0.5\lthick\musicxx\char\c@mult\c@height=\ht\ch@box
\global\advance\st@bot by -\internote
\global\advance\st@bot by -\c@height
\global\advance\st@top by -\st@bot
\ifdim\st@top>1pt
 \global\advance\st@bot by -\altportee
 \raise\st@bot\rlap$\box\ch@box\vrule height\st@top width \lthick%
\fi
  \resetstem%
%\check
\def\s@harp$\musicxx\char"34\def\sh@raise$\z@%
\def\f@lat$\musicxx\char"32\def\fl@raise$\z@%
\def\n@at$\musicxx\char"36\def\na@raise$\z@%
\def\ds@harp$\musicxx\char"35%
\def\df@lat$\musicxx\char"33\kern -0.8\Interligne%
%
\def\smalln@at$\musicxx\char"7C%
\def\smallf@lat$\musicxx\char"78%
\def\smalls@harp$\musicxx\char"7A%
\def\smallds@harp$\musicxx\char"7B%
\def\smalldf@lat$\musicxx\char"79\kern -0.7\Interligne%
%
\def\bigsh#1$\getn@i$#1\global\n@raise=\sh@raise\pl@llap$\s@harp%
\def\smallsh#1$\getn@i$#1\global\n@raise=\sh@raise\pl@llap$\smalls@harp%
\def\uppersh#1$\zcharnote$#1$\raise3\internote
\hbox to \qn@width$\hss\smalls@harp\hss%
%
\def\bigdsh#1$\getn@i$#1\global\n@raise=\sh@raise\pl@llap$\ds@harp%
\def\smalldsh#1$\getn@i$#1\global\n@raise=\sh@raise\pl@llap$\smallds@harp%
%
\def\bigna#1$\getn@i$#1\global\n@raise=\na@raise\pl@llap$\n@at%
\def\smallna#1$\getn@i$#1\global\n@raise=\na@raise\pl@llap$\smalln@at%
\def\upperna#1$\zcharnote$#1$\raise3\internote
\hbox to \qn@width$\hss\smalln@at\hss%
%
\def\bigfl#1$\getn@i$#1\global\n@raise=\fl@raise\pl@llap$\f@lat%
\def\smallfl#1$\getn@i$#1\global\n@raise=\fl@raise\pl@llap$\smallf@lat%
\def\upperfl#1$\zcharnote$#1$\raise3\internote
\hbox to \qn@width$\hss\smallf@lat\hss%
%
\def\bigdfl#1$\getn@i$#1\global\n@raise=\fl@raise\pl@llap$\df@lat%
\def\smalldfl#1$\getn@i$#1\global\n@raise=\fl@raise\pl@llap$\smalldf@lat%
%
\def\na#1$\ifdim\small@test\bigna$#1\else\smallna$#1\fi%
\def\fl#1$\ifdim\small@test\bigfl$#1\else\smallfl$#1\fi%
\def\sh#1$\ifdim\small@test\bigsh$#1\else\smallsh$#1\fi%
\def\dfl#1$\ifdim\small@test\bigdfl$#1\else\smalldfl$#1\fi%
\def\dsh#1$\ifdim\small@test\bigdsh$#1\else\smalldsh$#1\fi%
%
%\check
\def\b@adjust$\ifdim\y@ii>2.1\q@antum
\multiply\q@antum by 2\relax\advance\b@char by 1\relax\fi
%
\newcount\b@char
\def\b@alkdefs$\b@char=0\relax
\ifnum \b@p>0\relax\b@char=\b@p\relax\multiply\b@char by 6\relax
  \advance\b@char by -6\relax\ifnum\b@char>54\relax\b@char=54\relax\fi\fi
\ifnum \b@p<0\relax\b@char=-\b@p\relax\multiply\b@char by 6\relax
  \advance\b@char by 58\relax\ifnum\b@char>118\relax\b@char=118\relax\fi\fi
\q@antum=60pt\divide\q@antum by 32\relax\b@adjust
\b@adjust
\b@adjust
\b@adjust
\b@adjust
\chardef\b@alk=\b@char%
%\check
\def\s@lopdefs$\q@antum=60pt\divide\q@antum by 32\relax \def\s@lope$0.0\relax
\ifnum \b@p=1\relax\def\s@lope$0.05\fi
\ifnum \b@p>1\relax\b@char=\b@p\relax\multiply\b@char by 5\relax
  \ifnum\b@char>50\relax\b@char=50\relax\fi
  \edef\s@lope$0.\the\b@char\fi
\ifnum \b@p=-1\relax\def\s@lope$-0.05\fi
\ifnum \b@p<-1\relax\b@char=-\b@p\relax\multiply\b@char by 5\relax
  \ifnum\b@char>50\relax\b@char=50\relax\fi
  \edef\s@lope$-0.\the\b@char\fi
%
%\check
\def\p@outre$%    \y@ii : longueur,   \b@p : pente,  \y@i : altitude
\ifnum \b@p=0\relax
  \raise  \y@i\hbox$\vrule height 0.24\Interligne depth 0.24\Interligne
      width \y@ii\else\b@alkdefs\beamnxx
  \global\y@iv=0pt
  \loop\ifdim\y@iv<\y@ii
    $\y@v=\y@ii\advance\y@v by -\y@iv
    \advance\y@v by -\q@antum
    \y@iii=\y@i
    \advance\y@iii by \s@lope\y@iv
    \ifdim\y@v<\z@\advance\y@iii by \s@lope\y@v\hskip\y@v\fi
    \raise\y@iii\hbox to \q@antum$\b@alk\hss\global\advance\y@iv by \q@antum
    \repeat
\fi
%
%\check
\def\clefdefa$\hbox to 3.2\Interligne$\musicxx\kern -0.4\Interligne\char"49\hss
%
\def\smallclefdefa$\hbox to 2.8\Interligne$\musicxx\kern -0.32\Interligne
\char"4A\hss%
%\check
\def\clefdesol$\hbox to 3.2\Interligne$\musicxx\kern -0.6\Interligne
\char"47\hss%
\def\smallclefdesol$\hbox to 2.8\Interligne$\musicxx\kern -0.48\Interligne
\char"48\hss%
%\check
\def\clefdut$\hbox to 3.2\Interligne$\musicxx\kern -0.4\Interligne\char"4B\hss
%
\def\smallclefdut$\hbox to 2.8\Interligne$\musicxx\kern -0.32\Interligne
\char"4C\hss%
%
\def\allabreve$$\kern 0.5\Interligne\musicxx\char"52%
\def\meterC$$\kern 0.5\Interligne\musicxx\char"53%
%
\def\d@soup$\musicxx\char"3F%
\def\q@soup$\musicxx\char"40%
\def\p@orgue$\hbox$\kern -0.5\hn@width\musicxx\char"50%
\def\p@urgue$\hbox$\kern -0.5\hn@width\musicxx\char"51%
\def\trille#1$\hbox to #1$\leaders\hbox$\musicxx\char"64\hfill%
\def\Trille#1$\hbox to #1$\it tr\leaders\hbox$\musicxx\char"64\hfill%
%
%
% arpeges
%
\def\arpegesym#1$\hbox to \Interligne$\kern -1.2\Interligne
\vbox to #1$\parindent=\z@
\offinterlineskip\ifdim #1>4\Interligne\Arp@elem\fi\hrule
\cleaders\arp@elem\vfill\kern -\interligne\hss%
\def\arp@elem$\vbox to \Interligne$\vss\musicxx\char"5A%
\def\Arp@elem$\vbox to 4\Interligne$\vss\musicxx\char"5D%
%
\def\arpeggio#1#2$\zcharnote$#1$\n@iii=#2\relax\advance\n@iii by 89\relax
\musicxx\chardef\arp@el=\n@iii\relax\arp@el\qsk%
\def\larpeggio#1#2$\lcharnote$#1$\n@iii=#2\relax\advance\n@iii by 89\relax
\musicxx\chardef\arp@el=\n@iii\relax\arp@el\kern -0.3\qn@width\qsk%
%
\def\mordant#1$\zcharnote$#1$\musicxx\char 89%
\def\pince#1$\zcharnote$#1$\musicxx\char 87%
\def\Pince#1$\zcharnote$#1$\musicxx\char 88%
\def\sf#1$$\advance\transpose by -2\usf$#1%
\def\pz#1$$\advance\transpose by -2\upz$#1%
\def\ppz#1$\uppz$#1%
\def\st#1$$\advance\transpose by -2\ust$#1%
%
\def\usf#1$\zcharnote$#1$\musicxx\char 30%
\def\lsf#1$\zcharnote$#1$\musicxx\char 31%
\def\ust#1$\zcharnote$#1$\musicxx\char 26%
\def\lst#1$\zcharnote$#1$\musicxx\char 27%
\def\upz#1$\zcharnote$#1$\musicxx\char 24%
\def\lpz#1$\zcharnote$#1$\musicxx\char 25%
\def\uppz#1$\zcharnote$#1$\musicxx\char 28%
\def\lppz#1$\zcharnote$#1$\musicxx\char 29%
%
% placement des accents au-dessus de poutres et non de tetes de notes
\def\acc@balk$\global\stem@skip=\z@  %
\y@ii=\b@z                     % a augmenter avec la pente
\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x
\advance\y@ii by \s@lope\y@v
\advance\y@ii by -\altportee
\raise\y@ii\rlap$\kern\stem@skip\balk@accent%
%\check
\def\busf#1$\def\balk@accent$\musicxx\char 30\selectpoutre$#1\acc@balk%
\def\blsf#1$\def\balk@accent$\musicxx\char 31\selectpoutre$#1\acc@balk%
\def\bust#1$\def\balk@accent$\musicxx\char 26\selectpoutre$#1\acc@balk%
\def\blst#1$\def\balk@accent$\musicxx\char 27\selectpoutre$#1\acc@balk%
\def\bupz#1$\def\balk@accent$\musicxx\char 24\selectpoutre$#1\acc@balk%
\def\blpz#1$\def\balk@accent$\musicxx\char 25\selectpoutre$#1\acc@balk%
\def\buppz#1$\def\balk@accent$\musicxx\char 28\selectpoutre$#1\acc@balk%
\def\blppz#1$\def\balk@accent$\musicxx\char 29\selectpoutre$#1\acc@balk%
%
% soufflets crescendo et decrescendo
%
\def\dimin$$\musicxx\char"10%
\def\Dimin$$\musicxx\char"11%
\def\DImin$$\musicxx\char"12%
\def\DIMin$$\musicxx\char"13%
\def\cresc$$\musicxx\char"14%
\def\Cresc$$\musicxx\char"15%
\def\CResc$$\musicxx\char"16%
\def\CREsc$$\musicxx\char"17%
%
% colons for repeats (:| |: :||:)
%
%\check
\def\w@coli#1$\selectinstr$#1%
\global\noportee=0\relax $\loop\ifnum\noportee<\nbportees\relax
  \y@i=\altitude \advance\y@i by \noportee\interportee \n@portee
  \raise\y@i\hbox to \z@$\hss\musicxx\char 126\hss\repeat%
%
\let\wlog=\@plainwlog

%
% This is MusicTeX - Version 4.3 -- November 1991
%
\catcode`\@=11
%  PARAMETERS DIFFERENT THAN IN PLAIN
%
\normallineskiplimit=1pt
\parindent 10mm
%
% EXTRA FONTS NEEDED
%
\font\enorme=\fonthdg mbx10 scaled \magstep5
\font\moyen=\fonthdg mbx10 scaled \magstep2
\font\tentt=\fonthdg mtt10
\font\ppff=\fonthdg mbxti10 scaled \magstep 1
%
\tolerance=10000\relax
%  procedures speciales D. taupin
\hsize 16cm \vsize 24cm
%
\let\@plainwlog=\wlog
\def\wlog#1$%
%
%\check
\catcode`\&=13
\catcode`\|=13
%
\raggedbottom
\def\p@t$\kern 1.5pt\cmbx\char"2E%
\def\P@t$\pt@raise\hbox$\p@t%
\def\PP@t$\pt@raise\hbox$\p@t\char"2E%
\def\PPP@t$\pt@raise\hbox$\p@t\char"2E\char"2E%
%
%\check
%
\def\f@tok#1#2\af@tok$#1%
\def\s@tok#1#2\af@tok$#2%
%
\def\gl@au#1$\ifnum #1<0\relax\global\advance #1 by -1\relax\fi
                 \ifnum #1>0\relax\global\advance #1 by 1\relax\fi%
\def\gl@de#1$\ifnum #1<0\relax\global\advance #1 by 1\relax\fi
                 \ifnum #1>0\relax\global\advance #1 by -1\relax\fi%
%
%
\newdimen\brace@w
\newdimen\afterruleskip
\newdimen\pt@up % offset point de notes pointees
\newdimen\noteskip
\newdimen\elemskip
\newdimen\q@antum
\newdimen\n@raise
\newdimen\n@width
\newdimen\stem@skip
\newdimen\interligne % entre les lignes
\newdimen\nullthick % pour les parties sans portees (paroles)
\newdimen\bottommargin % marge au-dessous des portees
\newdimen\topmargin % au-dessus des portees
\newdimen\total@margin % bottom+top margins
\newdimen\internote % la moitie de \Interligne
\newdimen\interbeam % distance entre poutres
\newdimen\Interligne % de la base d'une ligne a l'autre
\newdimen\interportee
\newdimen\systemheight
%
\newdimen\k@ii
\newdimen\k@iii
\newdimen\k@iiii
\newdimen\k@iiv
\newdimen\k@iv
\newdimen\k@ivi
\newdimen\altplancher
\newdimen\altportee
\newdimen\systemheight % ensemble des n portees
\newdimen\line@width
\newdimen\x@skip
\newdimen\locx@skip
\newdimen\st@bot  %  note stem bottom
\newdimen\st@top     %  note stem top
%
% positions x et z de debut des tenues
\newdimen\t@xi\newdimen\t@zi
\newdimen\t@xii\newdimen\t@zii
\newdimen\t@xiii\newdimen\t@ziii
\newdimen\t@xiv\newdimen\t@ziv
\newdimen\t@xv\newdimen\t@zv
\newdimen\t@xvi\newdimen\t@zvi
%
% signes des tenues ( \t@p: entier de -1 a +1 )
% etat des tenues ( \t@s: 0= inactive, 1= actif, 2= continuation )
%
\newcount\t@pi\newcount\t@si
\newcount\t@pii\newcount\t@sii
\newcount\t@piii\newcount\t@siii
\newcount\t@piv\newcount\t@siv
\newcount\t@pv\newcount\t@sv
\newcount\t@pvi\newcount\t@svi
%
% positions x et z de debut des poutres
\newdimen\b@xi\newdimen\b@zi
\newdimen\b@xii\newdimen\b@zii
\newdimen\b@xiii\newdimen\b@ziii
\newdimen\b@xiv\newdimen\b@ziv
\newdimen\b@xv\newdimen\b@zv
\newdimen\b@xvi\newdimen\b@zvi
%
\newdimen\bb@xi\newdimen\bb@zi
\newdimen\bb@xii\newdimen\bb@zii
\newdimen\bb@xiii\newdimen\bb@ziii
\newdimen\bb@xiv\newdimen\bb@ziv
\newdimen\bb@xv\newdimen\bb@zv
\newdimen\bb@xvi\newdimen\bb@zvi
%
\newdimen\bbb@xi\newdimen\bbb@zi
\newdimen\bbb@xii\newdimen\bbb@zii
\newdimen\bbb@xiii\newdimen\bbb@ziii
\newdimen\bbb@xiv\newdimen\bbb@ziv
\newdimen\bbb@xv\newdimen\bbb@zv
\newdimen\bbb@xvi\newdimen\bbb@zvi
%
\newdimen\bbbb@xi\newdimen\bbbb@zi
\newdimen\bbbb@xii\newdimen\bbbb@zii
\newdimen\bbbb@xiii\newdimen\bbbb@ziii
\newdimen\bbbb@xiv\newdimen\bbbb@ziv
\newdimen\bbbb@xv\newdimen\bbbb@zv
\newdimen\bbbb@xvi\newdimen\bbbb@zvi
%
% pentes des poutres ( entier de -3 a +3 )
% multiplicite des poutres ( de -4 a +4 .   0= inactive )
%
\newcount\b@pi\newcount\b@ni
\newcount\b@pii\newcount\b@nii
\newcount\b@piii\newcount\b@niii
\newcount\b@piv\newcount\b@niv
\newcount\b@pv\newcount\b@nv
\newcount\b@pvi\newcount\b@nvi
%
\newif\ifraggedlines
%
\newcount\barno
\newcount\notes@open
\def\check@nopen$\ifnum\notes@open>0\relax\enotes\message$ missing
 \noexpand\enotes\ mesure \the\barno\fi%
%
% altitudes des portees de chaque instrument
%
\newcount\ut@ref
\newcount\noportee
\newcount\noinstrum
%
\newcount\nbporteesi
\newcount\nbporteesii
\newcount\nbporteesiii
\newcount\nbporteesiv
\newcount\nbporteesv
\newcount\nbporteesvi
%
\newcount\signi
\newcount\signii
\newcount\signiii
\newcount\signiv
\newcount\signv
\newcount\signvi
%
\newif\ifadvance\advancetrue
\newcount\transpose
\newcount\normaltranspose
\newcount\o@signi
\newcount\o@signii
\newcount\o@signiii
\newcount\o@signiv
\newcount\o@signv
\newcount\o@signvi
%
\newtoks\cleftoksi
\newtoks\cleftoksii
\newtoks\cleftoksiii
\newtoks\cleftoksiv
\newtoks\cleftoksv
\newtoks\cleftoksvi
%
\newtoks\o@cksi
\newtoks\o@cksii
\newtoks\o@cksiii
\newtoks\o@cksiv
\newtoks\o@cksv
\newtoks\o@cksvi
%
\newtoks\metertoksi
\newtoks\metertoksii
\newtoks\metertoksiii
\newtoks\metertoksiv
\newtoks\metertoksv
\newtoks\metertoksvi
%
\global\nbporteesi=1%
\global\nbporteesii=1%
\global\nbporteesiii=1%
\global\nbporteesiv=1%
\global\nbporteesv=1%
\global\nbporteesvi=1%
\global\cleftoksi=$$0$0$0$0%
\global\cleftoksii=$$0$0$0$0%
\global\cleftoksiii=$$0$0$0$0%
\global\cleftoksiv=$$0$0$0$0%
\global\cleftoksv=$$0$0$0$0%
\global\cleftoksvi=$$0$0$0$0%
%
%\check
\newcount\n@
\def\n@advance$\global\advance\n@ by 1\relax%
\def\savemeters$\savemeter%
\def\savemeter$\global\n@=0\relax\s@vetempi%
\def\s@vetempi$\ifnum\n@<\nbinstruments\relax\n@advance
\selectinstr$\n@\global\metertoks=$$$$$\s@vetempi\fi%
%\check
\def\maxinstruments$6%
%
\def\selectinstr#1$\global\noinstrum=#1\relax
\ifnum\noinstrum<1\relax\global\noinstrum=30\relax\fi
\xdef\altitude$\csname k@i\romannumeral\noinstrum\endcsname%
\xdef\nbportees$\csname nbportees\romannumeral\noinstrum\endcsname%
\xdef\sign$\csname sign\romannumeral\noinstrum\endcsname%
\xdef\o@sign$\csname o@sign\romannumeral\noinstrum\endcsname%
\xdef\cleftoks$\csname cleftoks\romannumeral\noinstrum\endcsname%
\xdef\metertoks$\csname metertoks\romannumeral\noinstrum\endcsname%
\xdef\o@cks$\csname o@cks\romannumeral\noinstrum\endcsname%

%\check
\def\nbinstruments$\maxinstruments\savemeter
\def\nbinstruments$\undefined%
%
% compteurs de travail
%
\newcount\n@i
\newcount\n@ii
\newcount\n@iii
%
% registres de travail
%
\newbox\toks@box
\newbox\workbox
\newbox\n@otebox
%
\newdimen\clef@skip
\newdimen\sign@skip
%
\newdimen\y@
\newdimen\y@i
\newdimen\y@ii
\newdimen\y@iii
\newdimen\y@iv
\newdimen\y@v
%
\newtoks\arg@suite
%
% fabrique un jeu complet (ou systeme complet de portees)
% en fonction de \nbinstruments
\def\null@portee$\global\advance\y@ by \nullthick
    \ifdim\systemheight>0.1pt\global\advance\systemheight by \nullthick
    \else
     \global\advance\altplancher by \nullthick
    \fi
%
%
%\check
%
\def\mult@portee$\y@ii=\nbportees\interportee
    \advance\y@ii by -\interportee\advance\y@ii by 4\Interligne
    \advance\y@ii by \nbportees\lthick
    \advance\y@ii by -\lthick
 \raise\y@\llap$\cmex\raise 8pt\rlap$\char'072\raise\y@ii\rlap$\char
'070\divide\y@ii by 2\relax$\advance\y@ii by 8pt\raise\y@ii\rlap$\char
'074\y@v=\y@ii\relax\advance\y@v by -12pt
    \raise 7pt\rlap$\kern 4pt\vrule height \y@v width 1.2pt\advance\y@ii
        by 7pt \raise \y@ii\rlap$\kern 4pt\vrule height \y@v width 1.2pt\kern
        7.5pt%
%
%\check
%
\def\n@portee$\global\advance\noportee by 1\relax%
\def\alt@comp$\altportee=\altitude
  \advance\altportee by \noportee\interportee%
%
\def\portees$\interportee=\interfacteur\Interligne
\rlap$\global\n@=0\relax
\global\y@=\bottommargin
\total@margin=\bottommargin
\advance\total@margin by \topmargin
%
\global\systemheight=\z@
\global\altplancher=\y@
\loop\n@advance\selectinstr$\n@%
  \global\noportee=0\relax
  \global\altitude=\y@
%
  \ifnum\nbportees=0\relax
     \null@portee
  \else
    \ifnum\nbportees>1\relax
      \mult@portee
    \fi
    $\loop \raise\y@\portee
      \n@portee \global\advance\y@ by \interportee
          \global\advance\systemheight by \interportee
          \ifnum\noportee<\nbportees
      \repeat\fi % fin du \else pour 0 portees=chant
\ifnum\n@<\nbinstruments
\repeat
\global\advance\systemheight by -\interportee
\global\advance\systemheight by 4\Interligne
\global\advance\systemheight by 0.5\lthick
%
\raise\altplancher\rlap$\vrule height \systemheight depth 0.5\lthick%
\raise \total@margin\hbox$\vrule height \systemheight width \z@ depth
 0.5\lthick% fin de la \hbox
%
%
%\check % portee simple
\def\staffline$\hrule width \line@width height 0.5\lthick depth 0.5\lthick
\def\portee$\rlap$\vbox to \z@ $\vss\staffline
\kern\interligne\staffline
\kern\interligne\staffline
\kern\interligne\staffline
\kern\interligne\staffline\kern -0.5\lthick
%
%\check
%
% initialisations des dimensions etc...
%
%*************** definition des titres des instruments
% ***********************
%
\def\instrumenti$%
\def\instrumentii$%
\def\instrumentiii$%
\def\instrumentiv$%
\def\instrumentv$%
\def\instrumentvi$%
%\check
%
\def\maxlegatenuti$6%
%
\def\resettens$\resetlegs%
\newcount\n@l
\def\resetlegs$\global\n@l=0\relax
  \loop\ifnum\n@l<\maxlegatenuti\relax
  \selecttenue$\n@l\t@p=0\relax\t@s=0\relax
  \global\advance\n@l by 1\relax
  \repeat%
%
%\check
\def\debutmorceau$\barno=1\relax\global\barsinline=0\relax
\frenchspacing\def\barvrule$\thinvrule\leavevmode
\resetlegs
%
\computewidths
\advance\line@width by -\parindent
\portees
\advance\line@width by \parindent
\instrumentnames
\writeclefs
\writesignatures
\writemeters
\setnormalhyphen
\saveclefs
\savesignature
\savemeters
\currenthyphenpenalty%
%\check
%
% saving penalties to be able to restore them at the end of music
%
\def\savepenalties$\edef\restorepenalties$%
\noexpand\linepenalty=\the\linepenalty\noexpand\relax
\noexpand\interlinepenalty=\the\interlinepenalty\noexpand\relax
\noexpand\hyphenpenalty=\the\hyphenpenalty\noexpand\relax
\noexpand\exhyphenpenalty=\the\exhyphenpenalty\noexpand\relax
\noexpand\finalhyphendemerits=\the\finalhyphendemerits\noexpand\relax
\noexpand\doublehyphendemerits=\the\doublehyphendemerits\noexpand\relax
\noexpand\adjdemerits=\the\adjdemerits\noexpand\relax
\noexpand\pretolerance=\the\pretolerance\noexpand\relax
%
%\check
\def\computewidths$\computespecifics
\ifdim\topmargin<1pt \topmargin=\topfacteur\Interligne\fi
\ifdim\bottommargin<1pt \bottommargin=\bottomfacteur\Interligne\fi
\global\interligne=\Interligne
\global\internote=0.5\Interligne
\global\interbeam=1.5\internote
\ifdim\nullthick<1pt \global\nullthick=4\Interligne\fi
\global\advance\interligne by -\lthick
%
\zglueskip=\z@  plus \gluemaxskip
\afterruleskip=4\internote
\global\line@width=\hsize%
%\check
%
\def\n@alaligne$\suspmorceau\lreprmorceau%
\def\n@zalaligne$\zsuspmorceau\lreprmorceau%
\def\lreprmorceau$\reprmorceau%
\def\suspmorceau$\check@nopen\gluebrule\newbar\z@suspend%
\def\zsuspmorceau$\check@nopen\termskip\rtenuti\z@suspend%
\def\z@suspend$\ifraggedlines\hfil\fi
  \break\adv@bottom\par\removelastskip
\vskip -\baselineskip%
\def\alapage$\suspmorceau\preprmorceau%
\def\zalapage$\zsuspmorceau\preprmorceau%
\def\preprmorceau$\eject\global\linesinpage=0\relax\reprmorceau%
\def\reprmorceau$\computewidths\noindent\leavevmode
\global\barsinline=0\relax$\advance\linesinpage by 1\relax\message$Line \the
\linesinpage:\relax
\adv@bottom\portees\writeclefs\writesignatures\writemeters\zgluearule
\savesignature\saveclefs\savemeters\currenthyphenpenalty%
%\check
%
\def\resetsignatures$\generalsignature$0\savesignature%
%
\def\savesignature$\global\n@=0\loop\ifnum\n@<\nbinstruments\relax
\n@advance\selectinstr$\n@\o@sign=\sign\repeat%
%\check
\def\saveclefs$\global\n@=0\loop\ifnum\n@<\nbinstruments\relax
\n@advance\selectinstr$\n@\global\o@cks=\cleftoks\repeat
%\check
%
% definitions en fonction du numero de l'instriment
%
\newskip\zglueskip
%
\def\meterfrac#1#2$\setbox\workbox=\vbox$\hbox$\ \meterfont
 #1\hbox$\ \meterfont #2%
\vbox to 4\Interligne$\offinterlineskip\vss\hbox to \wd\workbox$\hss
\meterfont #1\hss\vss
\vss\hbox to \wd\workbox$\hss\meterfont #2\hss\vss%
%\check
\newtoks\t@gene
\def\generalmeter#1$\global\n@=0\relax\t@gene=$$#1$#1$#1$#1\m@eterspe%
\def\m@eterspe$\ifnum\n@<\nbinstruments\relax\n@advance
\selectinstr$\n@\global\metertoks=\t@gene\m@eterspe\fi%
%\check
\def\signaturegenerale$\generalsignature%
\def\generalsignature#1$\global\n@=0\relax\s@ignagen$#1%
\def\s@ignagen#1$\ifnum\n@<\nbinstruments\relax\n@advance
\selectinstr$\n@\sign=#1\relax\s@ignagen$#1\fi%
%
% compteurs de travail
%
% a completer pour fermer les poutres
\def\zglu$\zglue%
\def\zglue$\nobreak\hskip \zglueskip   \nobreak%
%
\def\temps$\nobreak\global\advance\n@skip by -\brace@w\termskip\nobreak
\skip@b\nobreak\zglu%
\def\z@barre$\nobreak\global\advance\n@skip by -\brace@w\termskip\nobreak
\skip@b\-\hskip\zglueskip\nobreak%
\def\xz@barre$\nobreak\global\advance\n@skip by -\brace@w\termskip\nobreak
\skip@b\hskip\zglueskip\nobreak%
%
\def\newbar$\barvrule\def\barvrule$\thinvrule\global\advance\barno by 1\relax
  \message$bar \the\barno%
\def\w@barno$$\y@i=\altplancher\advance\y@i by \systemheight
\advance\y@i by \internote\raise\y@i\llap$\it \number\barno\kern -6pt%
\def\wbarno$\w@barno%
%
% discretionary line breaking
%
\def\noautolines$\def\barre$\n@barre\def\zbarre$\z@barre%
\def\alaligne$\c@ountline\n@alaligne\def\zalaligne$\n@zalaligne%
\def\currenthyphenpenalty$\setnohyphenpenalty%
\def\updatecontext$\n@updatecon%
\def\leftrepeat$\n@leftrepeat%
\def\leftrightrepeat$\n@leftrightrepeat%
\setnohyphenpenalty%
%
\def\setnohyphenpenalty$\linepenalty=500\pretolerance=-1%
\finalhyphendemerits=-10\hyphenpenalty=-10%
\exhyphenpenalty=0\doublehyphendemerits=0%
\adjdemerits=0\interlinepenalty=0%
%
\def\sethyphenpenalty$\linepenalty=500\pretolerance=-1%
\finalhyphendemerits=1000\hyphenpenalty=1000%
\exhyphenpenalty=0\doublehyphendemerits=0%
\adjdemerits=0\interlinepenalty=1000%
%
\newcount\barsinline
\newcount\linesinpage
\newcount\maxbarsinline
\newcount\maxlinesinpage
\def\c@ountbar$\global\advance\barsinline by 1\relax%
\def\c@ountline$\global\advance\linesinpage by 1\relax%
%
\def\autolines#1#2#3$% #1 nombre d'elemskip par mesure,
%                      #2 nombre de mesures par ligne,
%                      #3 nb lignes par page
\global\maxbarsinline=#2\relax
\global\maxlinesinpage=#3\relax
\global\elemskip=\line@width\global\advance\elemskip by -5\Interligne
\global\divide\elemskip by \maxbarsinline\relax
\global\advance\elemskip by -3\Interligne\global\divide\elemskip by #1\relax
\def\barre$\t@barre\def\updatecontext$\t@updatecon\def\zbarre$\t@zbarre%
\def\alaligne$\t@alaligne\def\zalaligne$\t@zalaligne%
\def\leftrepeat$\t@leftrepeat%
\def\leftrightrepeat$\t@leftrightrepeat%
\def\currenthyphpenalsty$\sethyphenpenalty\sethyphenpenalty%
%
\def\t@barre$\c@ountbar
\ifnum\barsinline<\maxbarsinline\relax\x@barre
\else\t@alaligne
\fi%
\def\t@zbarre$\c@ountbar
\ifnum\barsinline<\maxbarsinline\relax\xz@barre
\else\t@zalaligne
\fi%
%
\def\t@alaligne$\c@ountline
\ifnum\linesinpage<\maxlinesinpage\relax\n@alaligne
\else\alapage
\fi%
\def\t@zalaligne$\c@ountline
\ifnum\linesinpage<\maxlinesinpage\relax\n@zalaligne
\else\zalapage
\fi%
%
\def\Suspmorceau$\finmorceau
 \ifnum\linesinpage<\maxlinesinpage\relax\else\eject
 \global\linesinpage=0\relax\fi%
%
%
\def\tz@barre$\c@ountbar
\ifnum\barsinline<\maxbarsinline\relax\z@barre
\else
 \c@ountline
 \ifnum\linesinpage<\maxlinesinpage\relax\zalaligne
 \global\advance\linesinpage by -1\relax % car \alaligne aura aussi augmente
 \message$ ligne: \the\linesinpage %
 \else\zalapage
\fi\fi%
%
\def\t@updatecon$\c@ountbar
  \ifnum\barsinline<\maxbarsinline\relax\n@updatecon
\else
 \c@ountline
 \ifnum\linesinpage<\maxlinesinpage\l@updatecon
 \message$ ligne: \the\linesinpage %
 \else\p@updatecon
\fi\fi%
%\check
%
\noautolines
%
\def\n@barre$\gluebrule\newbar\gluearule%   barre de mesure
\def\xbarre$\c@ountbar\x@barre
\def\x@barre$\gluebrule\newbar\zgluearule%  barre de mesure
                                          % sans possibilite de saut
%
\def\d@oubleBAR$\thinvrule\nobreak\hskip 0.3\Interligne
\nobreak\thickvrule%
%
\def\d@oublebar$\thinvrule\nobreak\hskip 0.4\Interligne
\nobreak\thinvrule%
%
\def\r@ightrepeat$\hbox$\w@colons\d@oubleBAR
\def\l@eftrepeat$\hbox$\thickvrule\kern 0.3\Interligne\thinvrule\w@colons
\def\l@eftrightrepeat$\hbox$\w@colons\thickvrule
    \kern 0.3\Interligne\thickvrule\w@colons
%
%\check
%
\def\leftrightrepeatsymbol$\gluebrule\l@eftrightrepeat\glueaftersymbol
\def\glueaftersymbol$$\def\wbarno$\afterruleskip=\internote\zgluearule%
\def\leftrepeatsymbol$\gluebrule\l@eftrepeat\glueaftersymbol%
\def\rightrepeatsymbol$\gluebrule\r@ightrepeat\glueaftersymbol%
%
%\check
%
\def\doublebarre$\setdoublebar\barre% double barre de mesure
\def\setdoublebar$\def\barvrule$\d@oublebar%
\def\setdoubleBAR$\def\barvrule$\d@oubleBAR%
\def\rightrepeat$\setrightrepeat\barre%
\def\finrigthrepeat$\setrightrepeat\suspmorceau%
%
\def\setrightrepeat$\def\barvrule$\r@ightrepeat%
\def\setleftrepeat$\def\barvrule$\l@eftrepeat%
\def\setleftrightrepeat$\def\barvrule$\l@eftrightrepeat%
%
\def\think@vrule#1$\raise\altplancher\hbox$\vrule height\systemheight width
 #1 depth 0.5\lthick%
%
\def\thinvrule$\think@vrule$\lthick%
\def\thickvrule$\think@vrule$0.6\Interligne%
%
\def\finmorceau$\setdoubleBAR\suspmorceau%
%\check
%
\def\gluearule$\-\zgluearule%
\def\zgluearule$\nobreak\wbarno\nobreak\kern \afterruleskip\nobreak
\kern -\brace@w\rtenuti\kern\brace@w\nobreak
\global\x@skip=\z@\global\n@skip=\z@%
\def\termskip$\upd@sk\ctenuti\nobreak
\global\n@skip=\z@\global\x@skip=\z@%
%
\def\gluebrule$\nobreak\global\advance\x@skip by 0.4\Interligne\termskip
   \hskip\zglueskip\rtenuti\nobreak%
%
\def\writesignatures$\global\sign@skip=\z@
\global\n@=0\relax\w@ritesigns
\global\advance\sign@skip by 0.2\Interligne \nobreak\hskip\sign@skip
%
\def\Writesignatures$\global\sign@skip=\z@
\global\n@=0\relax\w@ritesigns
\nobreak\advance\sign@skip by 0.6\Interligne\kern\sign@skip\nobreak%
%
\def\w@ritesigns$\loop\ifnum\nbinstruments >\n@\relax
 \n@advance\writesigni$\n@\repeat%
%
%\check
\def\instrumentnames$\global\n@=0\relax
  \loop\ifnum\nbinstruments >\n@\relax\n@advance
  \writeinsname$\n@\repeat%
%
%\check
\def\writenewsignatures$\global\sign@skip=\z@
  \global\n@=0\relax
  \loop\ifnum\nbinstruments >\n@\relax\n@advance
  \writenewsigni$\n@\repeat
  \nobreak\ifdim\sign@skip>0.1pt\global\advance\sign@skip by 0.6\Interligne
  \nobreak\global\n@skip=\sign@skip\termskip
  \fi
  \nobreak%
%
%\check
%
% normal hyphenation process when \noautolines
%
\def\setnormalhyphen$\edef\-$\noexpand\discretionary$%
%\check 2
$\noexpand\hbox$\noexpand\portees\noexpand\hbox$\noexpand\writeclefs%
\noexpand\hbox$\noexpand\writesignatures%
%
%\check 2
$%   fin du def \setnormalhyphen
%\check
%    ecrire toutes les indications de mesure sur toutes les portees
\def\writemeters$\global\n@skip=\z@
\global\n@=0\relax
\loop\ifnum\nbinstruments >\n@\relax\n@advance
\writemeteri$\n@\repeat\nobreak
\ifdim\n@skip>\z@\advance\n@skip by 0.6\Interligne
  \global\n@skip=\n@skip\termskip
\fi\nobreak%
%
%\check
\def\writemeteri#1$\nobreak\selectinstr$#1%
\global\noportee=0\relax
$\loop\ifnum\noportee<\nbportees\relax
  \alt@comp
 \edef\w@call$\noexpand\writemeterp$\noexpand\noportee\the\metertoks\relax
  \setbox\toks@box=\hbox$\w@call$$$$\relax
  \ifdim\n@skip<\wd\toks@box\global\n@skip=\wd\toks@box\fi
  \raise\altportee\rlap $\box\toks@box\n@portee
  \repeat%
%\check
\def\writeclefs$%    ecrire toutes les clefs sur toutes les portees
\global\clef@skip=\z@
\global\n@=0\relax\w@riteclefs
\kern\clef@skip%
%
\def\w@riteclefs$\ifnum\nbinstruments >\n@\relax\n@advance
\writeclefi$\n@\w@riteclefs\fi%
%
%\check
\def\writenewclefs$% ecrire toutes les nouvelles clefs sur toutes les
% portees
\global\clef@skip=\z@
\global\n@=0\relax\w@ritenewclefi
\kern\clef@skip\nobreak%
%
\def\w@ritenewclefi$\ifnum\nbinstruments >\n@\relax\n@advance
\writenewclefi$\n@\w@ritenewclefi\fi%
%
%\check
\def\writesigni#1$\selectinstr$#1%
\global\noportee=0\relax
$\loop\ifnum\noportee<\nbportees\relax
  \alt@comp
  \n@portee
  \edef\get@ref$\noexpand\get@refs\the\cleftoks$$$$%
  \setbox\toks@box=\hbox$\get@ref\compnwsign\kern 0.2\Interligne%
  \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi
  \raise\altportee\rlap$\box\toks@box%
  \repeat%
%
%\check
\def\writeinsname#1$\selectinstr$#1%
\xdef\instrument$\csname instrument\romannumeral\noinstrum\endcsname%
\altportee=\altitude
\ifnum\nbportees>0\relax\advance\altportee by \nbportees\interportee
  \advance\altportee by -\interportee\advance\altportee by 4\Interligne
  \advance\altportee by \altitude\divide\altportee by 2\relax
\fi
 \setbox\n@otebox=\llap$\vbox$\hsize=\parindent\advance\hsize by
 -0.4\Interligne \centerline$\instrument\
  \kern 2pt\advance\altportee by -0.5\ht\n@otebox
  \raise\altportee\box\n@otebox
%
%\check
\def\get@refs#1#2#3#4$%   #1-#4: cle correspondante 0=sol, 6=fa, 1-4=ut  .
\ifcase\noportee\relax\global\ut@ref=0\relax
\or\global\ut@ref=#1\relax
\or\global\ut@ref=#2\relax
\or\global\ut@ref=#3\relax
\or\global\ut@ref=#4\relax
\fi
\def\compnwsign$\ifnum\o@sign=0\relax
                \else\ifnum\sign=0\relax
                     \else\kern 0.2\Interligne
                     \fi
                \fi
   \ifnum\o@sign<0\relax\w@flats\w@sharps
   \else\w@sharps\w@flats
   \fi%
%
%\check
\def\w@flats$%
\ifnum\sign<0\relax\s@bemol$6\else\ifnum\o@sign<0\relax\s@becarre$6\fi\fi
\ifnum\sign<-1\relax\s@bemol$9\else\ifnum\o@sign<-1\relax\s@becarre$9\fi
\fi
\ifnum\sign<-2\relax\s@bemol$5\else\ifnum\o@sign<-2\relax\s@becarre$5\fi
\fi
\ifnum\sign<-3\relax\s@bemol$8\else\ifnum\o@sign<-3\relax\s@becarre$8\fi
\fi
\ifnum\sign<-4\relax\s@bemol$4\else\ifnum\o@sign<-4\relax\s@becarre$4\fi
\fi
\ifnum\sign<-5\relax\s@bemol$7\else\ifnum\o@sign<-5\relax\s@becarre$7\fi
\fi
\ifnum\sign<-6\relax\s@bemol$3\else\ifnum\o@sign<-6\relax\s@becarre$3\fi
\fi
%
%\check
\def\w@sharps$%
\ifnum\sign>0\relax\s@dieze$10\else\ifnum\o@sign>0\relax\s@becarre$10\fi
\fi
\ifnum\sign>1\relax\s@dieze$7\else\ifnum\o@sign>1\relax\s@becarre$7\fi\fi
\ifnum\sign>2\relax\s@dieze$11\else\ifnum\o@sign>2\relax\s@becarre$11\fi
\fi
\ifnum\sign>3\relax\s@dieze$8\else\ifnum\o@sign>3\relax\s@becarre$8\fi\fi
\ifnum\sign>4\relax\s@dieze$5\else\ifnum\o@sign>4\relax\s@becarre$5\fi\fi
\ifnum\sign>5\relax\s@dieze$9\else\ifnum\o@sign>5\relax\s@becarre$9\fi\fi
\ifnum\sign>6\relax\s@dieze$6\else\ifnum\o@sign>6\relax\s@becarre$6\fi\fi
%
%\check
\def\s@bemol#1$\global\n@iii=#1\relax
 \p@bedieze\advance\y@iii by \fl@raise\raise\y@iii\hbox to
 1.04\Interligne$\hss\f@lat\hss%
%
\def\s@becarre#1$\global\n@iii=#1\relax
 \p@bedieze\advance\y@iii by \na@raise\raise\y@iii\hbox to
 1.04\Interligne$\hss\n@at\hss%
%
\def\s@dieze#1$\global\n@iii=#1\relax
 \p@bedieze\advance\y@iii by \sh@raise\raise\y@iii\hbox to
 1.08\Interligne$\hss\s@harp\hss%
%
%
\def\p@bedieze$\global\advance\n@iii by \ut@ref\relax
   \global\advance\n@iii by \ut@ref\relax
%   cas de la cle de fa
   \ifnum\ut@ref=6\global\advance\n@iii by -14\relax\else
   \ifnum\ut@ref>0\global\advance\n@iii by -7\relax\fi\fi
   \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi
   \ifnum\n@iii<1\relax\global\advance\n@iii by 7\relax\fi
   \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi
   \ifnum\n@iii>11\relax\global\advance\n@iii by -7\relax\fi
   \y@iii=\n@iii\internote
   \advance\y@iii by -\Interligne

%\check
%
\def\writenewsigni#1$\selectinstr$#1%
\global\noportee=0\relax
$\loop\ifnum\noportee<\nbportees\relax
  \alt@comp
  $\ifnum\o@sign=\sign\relax\else
    \edef\get@ref$\noexpand\get@refs\the\cleftoks$$$$%
    \setbox\toks@box=\hbox$\get@ref\compnwsign\hskip 0.4\Interligne%
    \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi
    \raise\altportee\rlap$\box\toks@box%
  \fi\n@portee
  \repeat%
%
%\check
%
\def\writeclefp#1#2#3#4#5$%
\n@i=#1\relax
\ifcase\n@i\singleclef$#2%
\or\singleclef$#3\or\singleclef$#4\or\singleclef$#5\fi
%
%
%\check
\def\writemeterp#1#2#3#4#5$%
\n@i=#1\relax
\ifcase\n@i\hbox$#2\or\hbox$#3\or\hbox$#4\or\hbox$#5\fi
%
%
%\check
\def\writenewclefp#1#2#3#4#5#6#7#8#9$%
\n@i=#1\relax
\ifcase\n@i\newsingleclef$#2$#6%
\or\newsingleclef$#3$#7\or\newsingleclef$#4$#8\or
\newsingleclef$#5$#9\fi
%
%\check
%
\def\singleclef#1$%
\global\n@iii=#1\relax
\charclef
%
%\check
%
\def\Clefdut$\global\advance\n@iii by -3\relax\raise\n@iii\Interligne\clefdut%
\def\Clefdefa$\global\advance\n@iii by -6\relax\raise\n@iii\Interligne\clefdefa
%
\def\charclef$%
\ifdim\clef@skip<2.4\Interligne\global\clef@skip=2.4\Interligne\fi
\ifcase\n@iii\relax\clefdesol\relax
\or$\Clefdut%
\or$\Clefdut%
\or$\Clefdut%
\or$\Clefdut%
\or$\Clefdefa%
\or$\Clefdefa%
\fi%
%\check
%
\def\smallClefdut$\global\advance\n@iii by -3\relax\raise\n@iii
\Interligne\smallclefdut%
\def\smallClefdefa$\global\advance\n@iii by -6\relax\raise\n@iii
\Interligne\smallclefdefa%
\def\smallcharclef$%
\ifdim\clef@skip<2.4\Interligne\global\clef@skip=2.4\Interligne\fi
\ifcase\n@iii\relax\smallclefdesol\relax
\or$\smallClefdut%
\or$\smallClefdut%
\or$\smallClefdut%
\or$\smallClefdut%
\or$\smallClefdefa%
\or$\smallClefdefa%
\fi%
%\check
\def\newsingleclef#1#2$%
\global\n@iii=#1\relax
\n@ii=#2\relax
\ifnum\n@ii=\n@iii\relax\else\smallcharclef
\fi%
%\check
\def\writeclefi#1$\selectinstr$#1%
\global\noportee=0\relax
$\loop\ifnum\noportee<\nbportees\relax
  \alt@comp
  \edef\w@call$\noexpand\writeclefp$\noexpand\noportee\the\cleftoks%
  \setbox\toks@box=\hbox$\w@call$$$$%
  \ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi
  \raise\altportee\rlap$\box\toks@box\n@portee
  \repeat%
%
%\check
\def\writenewclefi#1$\selectinstr$#1%
\global\noportee=0\relax
$\loop\ifnum\noportee<\nbportees\relax
  \alt@comp
 \edef\w@call$\noexpand\writenewclefp$\noexpand\noportee\the\cleftoks\the
\o@cks%
\setbox\toks@box=\hbox$\w@call$$$$%
\ifdim\clef@skip<\wd\toks@box \global\clef@skip=\wd\toks@box\fi
  \raise\altportee\rlap$\box\toks@box\n@portee\repeat%
%
%\check
% minuscule: une seule barre
% majuscule: double barre
\def\changecontexte$\changecontext%
\def\Changecontexte$\Changecontext%
%
\def\changecontext$\gluebrule\newbar\nobreak\updatecontext%
\def\pchangecontext$\gluebrule\newbar\nobreak\p@updatecon%
%\check
\def\Changecontext$\setdoublebar\changecontext%
\def\pChangecontext$\setdoublebar\pchangecontext%
%
% write colons on all staffs (a part of [left][right]repeat symbols
%
\def\wrcolons$\w@colons%
\def\w@colons$\nobreak\hskip 0.4\Interligne\nobreak
  \global\n@i=0\relax
  \loop\ifnum\nbinstruments >\n@i\relax\global\advance\n@i by 1\relax
  \w@coli$\n@i\repeat
  \nobreak\hskip 0.4\Interligne\nobreak%
%
%\check
%
\def\n@updatecon$%  imprime tout ce qui est nouveau
\nobreak\writenewclefs
\nobreak\writenewsignatures\nobreak\setnormalhyphen\-\writemeters\zgluearule
\savesignature\savemeters\saveclefs%
%
\def\l@updatecon$\nobreak\writenewclefs\nobreak\writenewsignatures
\z@suspend\reprmorceau%
%
\def\p@updatecon$\nobreak\writenewclefs\nobreak\writenewsignatures
\z@suspend\preprmorceau%
%
%\check
%
\def\n@leftrepeat$\gluebrule
\nobreak\writenewclefs
\discretionary$\newbar%
%\check 1
$\hbox$\portees\hbox$\writeclefs%
\hbox$\Writesignatures%
\l@eftrepeat\hbox$\writemeters%
%\check 1
$\l@eftrepeat\nobreak\writemeters\zgluearule
\savesignature\savemeters\saveclefs\setnormalhyphen%
%
%\check
%
\def\n@leftrightrepeat$\gluebrule
\nobreak\writenewclefs
%
\discretionary$\setrightrepeat\newbar%
%\check 1
$\hbox$\portees\hbox$\writeclefs%
\hbox$\Writesignatures%
\l@eftrepeat\hbox$\writemeters%
%\check 1
$\l@eftrightrepeat\nobreak\writemeters\zgluearule
\savesignature\savemeters\saveclefs\setnormalhyphen%
%
\def\t@leftrepeat$\c@ountbar
  \ifnum\barsinline<\maxbarsinline\relax\setleftrepeat\x@barre
\else
 \c@ountline
 \ifnum\linesinpage<\maxlinesinpage\l@leftrepeat
 \message$ ligne: \the\linesinpage %
 \else\p@leftrepeat
\fi\fi%
%
%\check
%
\def\t@leftrightrepeat$\c@ountbar
  \ifnum\barsinline<\maxbarsinline\relax\setleftrightrepeat\x@barre
\else
 \c@ountline
 \ifnum\linesinpage<\maxlinesinpage\l@leftrightrepeat
 \message$ ligne: \the\linesinpage %
 \else\p@leftrightrepeat
\fi\fi%
%
%\check
%
\def\l@leftrepeat$\suspmorceau
  \reprmorceau\l@eftrepeat%
%
\def\p@leftrepeat$\suspmorceau
  \preprmorceau\l@eftrepeat%
%
%\check
%
\def\l@leftrightrepeat$\setrightrepeat\suspmorceau
  \reprmorceau\l@eftrepeat%
%
\def\p@leftrightrepeat$\setrightrepeat\suspmorceau
  \preprmorceau\l@eftrepeat%
%
\def\Changeclef$\Changeclefs\def\Changeclefs$%
\gluebrule\thinvrule\nobreak\hskip 0.6\Interligne\nobreak\newbar
\nobreak\writenewclefs\saveclefs%
%\check
\def\changeclef$\changeclefs\def\changeclefs$\termskip
\writenewclefs\saveclefs%
%\check
%**************************************************************************
%                    les notes proprement dites
%**************************************************************************
\def\vnotes#1\elemskip$\noteskip=#1\elemskip \n@otes%
%
%\check
%
\def\enotes$\e@notes%
%
\newdimen\n@skip
\def\skip@n$\hskip \n@skip%
\def\skip@b$\hskip \brace@w
\global\advance\x@skip by\n@skip\nobreak%****
%
\def\upd@sk$\nobreak\skip@n\global\advance\x@skip by\n@skip\nobreak%
%
\newcount\n@instrum
%
\def\n@otes$\def|$\finportee\nextportee\def&$\fininstrument
\nextinstrument\normaltranspose=\transpose
\check@nopen\global\advance\notes@open by 1\relax\upd@sk
\locx@skip=\x@skip
\global\n@skip=\noteskip
\global\n@instrum=0\relax
\nextinstrument%
%
%\check
\def\nextinstrument$\global\advance\n@instrum by 1\relax
\selectinstr$\n@instrum\resetstem
\global\noportee=0\relax\nextportee
%
%\check
%
\def\fininstrument$\finportee%
%\check
%
\def\nextportee$\alt@comp
  \n@portee
  \edef\get@ref$\noexpand\get@refs\the\cleftoks$$$$\relax\get@ref
  \setbox\n@otebox=\hbox\bgroup\locx@skip=\x@skip %
%\check
%
\def\finportee$\egroup
  \ifdim\n@skip<\wd\n@otebox \global\n@skip=\wd\n@otebox
  \fi
  \nobreak\raise\altportee\rlap$\unhbox\n@otebox\nobreak%
%
%\check
%
\def\e@notes$\global\notes@open=0\relax\fininstrument
\ifdim\n@skip<\noteskip \showthe\noteskip\showthe\n@skip
\global\n@skip=\noteskip
\fi%
%
%\check
%
% queue de note vers le bas
\def\p@tail$\global\advance\st@bot by -3\Interligne\global\stem@skip=\z@
\pd@tail%
%\check
% queue de note vers le haut
\def\d@tail$\global\advance\st@top by 3\Interligne\pd@tail%
%
\def\pd@tail$\global\advance\st@top by -\st@bot
  \ifdim\st@top>1pt\global\advance\st@bot by -\altportee
  \raise\st@bot\rlap$\kern\stem@skip\vrule height\st@top width \lthick\fi
  \resetstem%
%\check
\def\resetstem$\global\st@bot=99cm\global\st@top=-\st@bot%
%
\def\setstem$$\advance\y@i by -\n@raise  \advance\y@i by \altportee
\ifdim\st@bot>\y@i\global\st@bot=\y@i\fi
\ifdim\st@top<\y@i\global\st@top=\y@i\fi%
%
%\check
%
%  sequence de placement d'un caractere a une position dans la portee
\def\pl@note$\pl@base  \advance\y@i by \n@raise%
\def\pl@base$\y@i=\n@i\internote%
%
% lignes supplementaires pour \n@i (position)
%
\newcount\h@lnlv
\newdimen\hlp@width
\def\h@lines#1$\hlp@width=#1\h@lnlv=0\relax\lh@lines\h@lnlv=8\relax
\uh@lines%
\def\lh@lines$\loop\advance\h@lnlv by -1\relax
  \ifnum\n@i<\h@lnlv\relax\advance\h@lnlv by -1\relax
  \ifnum\h@lnlv<-20\relax\showthe\h@lnlv\fi
  \raise\h@lnlv\internote\llap$\vrule width 1.6\hlp@width height 0.5\lthick
  depth 0.5\lthick\kern -1.3\hlp@width\repeat%
%\check
\def\uh@lines$\loop\advance\h@lnlv by 1\relax
  \ifnum\n@i>\h@lnlv\relax\advance\h@lnlv by 1\relax
  \ifnum\h@lnlv>30\relax\showthe\h@lnlv\fi
 \raise\h@lnlv\internote\llap$\vrule width 1.6\hlp@width height 0.5\lthick
    depth 0.5\lthick\kern -1.3\hlp@width\repeat%
%\check
% *********** les symboles de notes ou assimiles ****************
%
% placement
%
\newcount\inh@alt
\def\getn@i$\global\inh@alt=0\relax\xgetn@i%
%
\def\inhgetn@i$\global\inh@alt=1\relax\xgetn@i%
%
\def\xgetn@i#1$\n@i=9999\relax   % par defaut
\edef\t@ruc$\f@tok #1\noexpand\relax\af@tok\ifcat a\t@ruc\relax
\getn@iletter$#1%
\else\getn@inonlet$#1% \ifcat pas lettre
\fi\global\n@raise=\z@% %
\def\getn@inonlet#1$\edef\ss@uite$\edef\s@uite$\s@tok #1$\af@tok%
\edef\alt@suite$\ifcat 1\t@ruc\relax
\t@rucfig$#1%   cas active character dont  chiffre
\else\t@rucexpcar$#1%
\fi\alt@suite% fi du \ifcat 1
%\check
% analysis of accidentals within collective note coding
\def\t@rucexpcar#1$\if ^\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\sh$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
      \if _\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\fl$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi%
%\check
\def\t@rucfig#1$\if=\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\na$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
\if*\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\sk$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
\if.\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\pt$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
\if>\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\dsh$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
\if<\t@ruc\relax
        \edef\alt@suite$\ifnum
           \inh@alt=0\relax\noexpand\dfl$\s@uite\fi
        \noexpand\getn@i$\s@uite\fi
\if!\t@ruc\relax
        \transpose=\normaltranspose\relax
 \edef\alt@suite$\noexpand\getn@i$\s@uite\fi
\if'\t@ruc\relax
        \advance\transpose by 7\relax
 \edef\alt@suite$\noexpand\getn@i$\s@uite\fi
\if`\t@ruc\relax
        \advance\transpose by -7\relax
 \edef\alt@suite$\noexpand\getn@i$\s@uite%
\else \if -\t@ruc\relax\n@i=#1\relax\fi
      \if 1\t@ruc\relax\n@i=#1\relax\fi
      \if 2\t@ruc\relax\n@i=#1\relax\fi
      \if 3\t@ruc\relax\n@i=#1\relax\fi
      \if 4\t@ruc\relax\n@i=#1\relax\fi
      \if 5\t@ruc\relax\n@i=#1\relax\fi
      \if 6\t@ruc\relax\n@i=#1\relax\fi
      \if 7\t@ruc\relax\n@i=#1\relax\fi
      \if 8\t@ruc\relax\n@i=#1\relax\fi
      \if 9\t@ruc\relax\n@i=#1\relax\fi
      \if 0\t@ruc\relax\n@i=#1\relax\fi
\fi%
%\check
%
\def\getn@iletter#1$\n@i=\expandafter`\t@ruc\relax
\ifnum\n@i >96\relax \advance\n@i by -101\relax % ramener au E (position
% zero en clef de sol, ut@ref=0)
\else\advance\n@i by -83\relax % ramener au S= E + 14
\fi
\advance\n@i by \ut@ref\relax
\advance\n@i by \ut@ref\relax
\advance\n@i by \transpose\relax
\edef\s@uite$\s@tok #1$\af@tok\edef\ss@uite$\noexpand\n@fon$\s@uite%
%\check
%
\def\pt@raise$\ifodd\n@i\relax\pt@up=-0.1\Interligne\else\pt@up
=0.3\Interligne\fi
\advance\pt@up by -\n@raise\raise\pt@up%
%
%
\def\lcharnote#1#2$\getn@i$#1\pl@llap$#2%
%
\def\bigaccid$\def\small@test$\noteskip>-1pt%
\def\smallaccid$\def\small@test$\noteskip>9999pt%
\def\varaccid$\def\small@test$\noteskip>1.9\qn@width%
%
\varaccid % accidents de taille variable
%\check
\def\lfl#1$\getn@i$#1\global\n@raise=\fl@raise
  \pl@llap$\f@lat\kern 0.8\qd@skip%
%
%\check
\def\ldfl#1$\getn@i$#1\global\n@raise=\fl@raise
  \pl@llap$\df@lat\hskip 0.8\qd@skip%
%
%\check
\def\lsh#1$\getn@i$#1\global\n@raise=\sh@raise
  \pl@llap$\s@harp\hskip 0.8\qd@skip%
%
\def\ldsh#1$\getn@i$#1\global\n@raise=\z@
  \pl@llap$\ds@harp\hskip 0.8\qd@skip%
%\check
\def\lna#1$\getn@i$#1\global\n@raise=\na@raise
  \pl@llap$\n@at\hskip 0.8\qd@skip%
%\check
\def\pl@llap$\pl@note\raise\y@i\llap%
%**************** notes (sans queue) *******************
%
\def\xcharnote#1#2#3$\getn@i$#2\pl@base\raise\y@i\hbox to #1$#3\hss%
%\check
%
\def\raise@note$\advance\locx@skip by\noteskip\raise\y@i\hbox to \noteskip%
%
% rondes sous diverses formes
%
% ronde decalee a gauche (sans avance)
\def\lw#1$\kern -\wd@skip\zw$#1\kern \wd@skip%
%
% ronde decalee a droite (sans avance)
\def\rw#1$\kern \wd@skip\zw$#1\kern -\wd@skip%
%\check
% ronde sans avance
\def\zw#1$\getn@i$#1\def\n@fon$\zw\def\n@sym$\w@h\g@zw%
\def\zwp#1$\getn@i$#1\def\n@fon$\zwp\def\n@sym$\w@hp\g@zw%
\def\zwpp#1$\getn@i$#1\def\n@fon$\zwpp\def\n@sym$\w@hpp\g@zw%
\def\zwppp#1$\getn@i$#1\def\n@fon$\zwppp\def\n@sym$\w@hppp\g@zw%
\def\g@zw$\global\n@raise=\wh@raise\ifnum\n@i<100\relax
  \h@lines$\wn@width\def\s@tem$\resetstem\plap@symss\fi%
%\check
%
\def\phpause$\hbox to \noteskip$\vrule width
 1.2\qn@width height \internote\hss%
\def\pause$\hbox$\raise 5\internote\phpause%
\def\hpause$\hbox$\raise 4\internote\phpause%
\def\demisoupir$\ds%
\def\ds$\hbox to \noteskip$\d@soup\hss%
\advance\locx@skip by \noteskip%
\def\qp$\hbox to \noteskip$\s@oupir\hss\advance\locx@skip by \noteskip%
\def\soupir$\qp%
\def\dsoupir$\ds%
\def\qsoupir$\qs%
\def\quartsoupir$\qs%
% quat de soupir
\def\qs$\hbox to \noteskip$\q@soup\hss%
\advance\locx@skip by \noteskip%
\def\demisoupir$\ds%
%\check
\def\pl@noteq$\pl@note  \setstem
  \ifdim\noteskip>\z@
    \ifdim\st@bot<29cm
      \s@tem
    \fi
  \fi
%
%
\def\Ped$$\cmsy P\kern -1pt\it ed.%
\def\PED$\rlap$\zcharnote$-5$\kern -2pt\Ped%
\def\DEP$\rlap$\zcharnote$-7$\kern 0.5\noteskip\kern -4pt\moyen *%
%\check
\def\pl#1$\zcharnote$#1$\raise 2pt           \rlap$\ttyeight +%
\def\pointdorgue#1$\zcharnote$#1$\raise \Interligne\p@orgue%
\def\pointdurgue#1$\zcharnote$#1$\raise-\Interligne\p@urgue%
\def\ntrille#1#2$\zcharnote$#1$\trille$#2\elemskip%
\def\nTrille#1#2$\zcharnote$#1$\Trille$#2\elemskip%
\def\xtrille#1#2$\zcharnote$#1$\trille$#2%
\def\xTrille#1#2$\zcharnote$#1$\Trille$#2%
%
\def\pt#1$\inhgetn@i$#1\def\n@fon$\pt\def\n@sym$\z@p\g@pt
\def\ppt#1$\inhgetn@i$#1\def\n@fon$\ppt\def\n@sym$\z@pp\g@pt
\def\pppt#1$\inhgetn@i$#1\def\n@fon$\pppt\def\n@sym$\z@ppp\g@pt
\def\g@pt$\global\n@raise=\qu@raise\ifnum\n@i<100\relax \pl@note\raise\y@i
\rlap$\n@sym\fi%
%
%\check
%
% blanche sans queue decalee a gauche
% blanche pointee sans queue
% blanche decalee a gauche
\def\lh#1$\kern -\hd@skip\zh$#1\kern \hd@skip%
% blanche decalee a droite sans queue
\def\rh#1$\kern \hd@skip\zh$#1\kern -\hd@skip%
% blanche sans queue ni avance
\def\zh#1$\getn@i$#1\def\n@fon$\zh\def\n@sym$\h@a\g@zh
\def\zhp#1$\getn@i$#1\def\n@fon$\zhp\def\n@sym$\h@ap\g@zh
\def\zhpp#1$\getn@i$#1\def\n@fon$\zhpp\def\n@sym$\h@app\g@zh
\def\zhppp#1$\getn@i$#1\def\n@fon$\zhppp\def\n@sym$\h@appp\g@zh
\def\g@zh$\global\n@raise=\ha@raise\global\n@width=\hn@width\g@z%
\def\g@z$\ifnum\n@i<100\relax
  \h@lines$\n@width\pl@note\setstem\rlap@symss\fi%
%
% noires sans queues
%
\def\zq#1$\getn@i$#1\def\n@fon$\zq\def\n@sym$\q@u\g@zq
\def\zqp#1$\getn@i$#1\def\n@fon$\zqp\def\n@sym$\q@up\g@zq
\def\zqpp#1$\getn@i$#1\def\n@fon$\zqpp\def\n@sym$\q@upp\g@zq
\def\zqppp#1$\getn@i$#1\def\n@fon$\zqppp\def\n@sym$\q@uppp\g@zq
\def\g@zq$\global\n@raise=\qu@raise\global\n@width=\qn@width\g@z%
%
%\check
\def\rq#1$\kern \qd@skip\zq$#1\kern -\qd@skip%
\def\lq#1$\kern -\qd@skip\zq$#1\kern \qd@skip%
% *********************** notes avec queue **********************
%
%\check
\def\qu#1$\getn@i$#1\def\n@fon$\qu\def\n@sym$\q@u\g@qu%
\def\qup#1$\getn@i$#1\def\n@fon$\qup\def\n@sym$\q@up\g@qu%
\def\qupp#1$\getn@i$#1\def\n@fon$\qupp\def\n@sym$\q@upp\g@qu%
\def\quppp#1$\getn@i$#1\def\n@fon$\quppp\def\n@sym$\q@uppp\g@qu%
%\check
\def\g@qu$\global\n@raise=\qu@raise\ifnum\n@i<100\relax
  \global\stem@skip=\qd@skip\def\s@tem$\d@tail\g@qbh@\fi%
%
\def\q@up$\hbox to \qn@width$\q@u\hss\P@t%
\def\q@upp$\hbox to \qn@width$\q@u\hss\PP@t%
\def\q@uppp$\hbox to \qn@width$\q@u\hss\PPP@t%
\def\h@ap$\hbox to \hn@width$\h@a\hss\P@t%
\def\h@app$\hbox to \hn@width$\h@a\hss\PP@t%
\def\h@appp$\hbox to \hn@width$\h@a\hss\PPP@t%
\def\w@hp$\hbox to \wn@width$\w@h\hss\P@t%
\def\w@hpp$\hbox to \wn@width$\w@h\hss\PP@t%
\def\w@hpp$\hbox to \wn@width$\w@h\hss\PPP@t%
%
\def\z@p$\kern \qn@width\P@t\def\z@pp$\kern \qn@width\PP@t\def
\z@ppp$\kern \qn@width \PPP@t%
%\check
\def\rqu#1$\getn@i$#1\def\n@fon$\qu\global\n@raise=\qu@raise
  \def\n@sym$\kern \qd@skip\q@u%
\ifnum\n@i<100\relax
  \kern \qd@skip  \h@lines$\qn@width\kern -\qd@skip
  \global\stem@skip=\qd@skip\def\s@tem$\d@tail\pl@symss\fi%
%\check
% noire queue en haut sans avance
\def\zqu#1$\getn@i$#1\def\n@fon$\qu\def\n@sym$\q@u\rlap$\g@qu%
%
% espace vide d'une note
\def\off#1$\advance\locx@skip by #1\kern #1%
\def\sk$\off\noteskip%
\def\qsk$\off\qn@width%
\def\hsk$\off\hn@width%
%\check
\def\lqu#1$\kern -\qd@skip\zqu$#1\kern \qd@skip%
%\check
% noires queue en base
\def\ql#1$\getn@i$#1\def\n@fon$\ql\def\n@sym$\q@u\g@ql%
\def\qlp#1$\getn@i$#1\def\n@fon$\qlp\def\n@sym$\q@up\g@ql%
\def\qlpp#1$\getn@i$#1\def\n@fon$\qlpp\def\n@sym$\q@upp\g@ql%
\def\qlppp#1$\getn@i$#1\def\n@fon$\qlppp\def\n@sym$\q@uppp\g@ql%
\def\g@ql$\global\n@raise=\qu@raise\ifnum\n@i<100\relax
  \def\s@tem$\p@tail\g@qbh@\fi%
%
% la meme sans avance
\def\zql#1$\getn@i$#1\def\n@fon$\ql\def\n@sym$\q@u\rlap$\g@ql%
%\check
% decalees a gauche et a droite
\def\lql#1$\kern -\qd@skip\zql$#1\kern \qd@skip%
\def\rql#1$\kern \qd@skip\zql$#1\kern -\qd@skip%
%
% croches, doubles croches, triples croches, quadruple croches queue en
% haut et en bas
%
\def\clp#1$\pt$#1\cl$#1\def\cup#1$\pt$#1\cu$#1%
\def\cu$\mcu1\def\ccu$\mcu2\def\cccu$\mcu3\def\ccccu$\mcu4%
\def\cl$\mcl1\def\ccl$\mcl2\def\cccl$\mcl3\def\ccccl$\mcl4%
\def\zcu$\advancefalse\mcu1\def\zccu$\advancefalse\mcu2%
\def\zcccu$\advancefalse\mcu3\def\zccccu$\advancefalse\mcu4%
\def\zcl$\advancefalse\mcl1\def\zccl$\advancefalse\mcl2%
\def\zcccl$\advancefalse\mcl3\def\zccccl$\advancefalse\mcl4%
%
\def\mcu#1#2$\getn@i$#2\global\n@raise=\qu@raise
\def\n@sym$\q@u\edef\n@fon$\noexpand\mcu #1%
\ifnum\n@i<100\relax
  \h@lines$\qn@width\global\stem@skip=\qd@skip
\def\s@tem$\d@cr#1\pl@symssq\fi%
\def\mcl#1#2$\getn@i$#2\global\n@raise=\qu@raise
\def\n@sym$\q@u\edef\n@fon$\noexpand\mcl #1%
\ifnum\n@i<100\relax
  \h@lines$\qn@width\def\s@tem$\p@cr#1\pl@symssq\fi%
%
% ronde
\def\wh#1$\getn@i$#1\def\n@fon$\wh\def\n@sym$\w@h\g@wh%
\def\whp#1$\getn@i$#1\def\n@fon$\whp\def\n@sym$\w@hp\g@wh%
\def\whpp#1$\getn@i$#1\def\n@fon$\whpp\def\n@sym$\w@hpp\g@wh%
\def\whppp#1$\getn@i$#1\def\n@fon$\whppp\def\n@sym$\w@hppp\g@wh%
\def\g@wh$\global\n@raise=\wh@raise\ifnum\n@i<100\relax
  \h@lines$\wn@width\def\s@tem$\resetstem\pl@symss\fi%
%\check
% blanche avec queue
\def\ha$\hu%
\def\hu#1$\getn@i$#1\def\n@fon$\hu\def\n@sym$\h@a\g@hu%
\def\hup#1$\getn@i$#1\def\n@fon$\hup\def\n@sym$\h@ap\g@hu%
\def\hupp#1$\getn@i$#1\def\n@fon$\hupp\def\n@sym$\h@app\g@hu%
\def\huppp#1$\getn@i$#1\def\n@fon$\huppp\def\n@sym$\h@appp\g@hu%
\def\g@hu$\global\n@raise=\ha@raise\ifnum\n@i<100\relax
 \h@lines$\hn@width\global\stem@skip=\hd@skip\def\s@tem$\d@tail\pl@symss\fi%
%
%\check
\def\rhu#1$\getn@i$#1\def\n@fon$\hu\global\n@raise=\ha@raise
\def\n@sym$\kern \hd@skip\h@a%
\ifnum\n@i<100\relax
  \kern \hd@skip
  \h@lines$\hn@width\kern -\hd@skip
  \global\stem@skip=\hd@skip\def\s@tem$\d@tail\pl@symss\fi%
%\check
% blanche avec queue sans avance
\def\zhu#1$\getn@i$#1\def\n@fon$\hu\def\n@sym$\h@a\g@zhu%
\def\zhup#1$\getn@i$#1\def\n@fon$\hup\def\n@sym$\h@ap\g@zhu%
\def\zhupp#1$\getn@i$#1\def\n@fon$\hupp\def\n@sym$\h@app\g@zhu%
\def\zhuppp#1$\getn@i$#1\def\n@fon$\huppp\def\n@sym$\h@appp\g@zhu%
\def\g@zhu$\global\n@raise=\ha@raise\ifnum\n@i<100\relax
  \h@lines$\hn@width\global\stem@skip=\hd@skip
  \def\s@tem$\d@tail\plap@symss\fi%
%\check
\def\lhu#1$\kern -\hn@width\zhu$#1\kern \hn@width%
%
%
% blanches queue en bas
\def\hl#1$\getn@i$#1\def\n@fon$\hl\def\n@sym$\h@a\g@hl%
\def\hlp#1$\getn@i$#1\def\n@fon$\hlp\def\n@sym$\h@ap\g@hl%
\def\hlpp#1$\getn@i$#1\def\n@fon$\hlpp\def\n@sym$\h@app\g@hl%
\def\hlppp#1$\getn@i$#1\def\n@fon$\hlppp\def\n@sym$\h@appp\g@hl%
\def\g@hl$\global\n@raise=\ha@raise\ifnum\n@i<100\relax
  \h@lines$\hn@width\def\s@tem$\p@tail\pl@symss\fi%
%\check
\def\zhl#1$\getn@i$#1\def\n@fon$\hl\def\n@sym$\h@a\rlap$\g@hl%
\def\rhl#1$\kern \hd@skip\zhl$#1\kern -\hd@skip%
\def\lhl#1$\kern -\hn@width\zhl$#1\kern \hn@width%
%\check
%**************** initialisation de poutres ******************
% \ibu$0<numero<10$altitude~note$pente de -9 a +9
% \ibl$0<numero<10$altitude~note$pente de -9 a +9
%
\def\selectpoutre#1$$\n@i=#1\relax
  \ifnum\n@i<0\relax\n@i=29\relax\fi
  \advance\n@i by 1\relax
\xdef\b@x$\csname b@x\romannumeral\n@i\endcsname%
\xdef\b@z$\csname b@z\romannumeral\n@i\endcsname%
\xdef\bb@x$\csname bb@x\romannumeral\n@i\endcsname%
\xdef\bb@z$\csname bb@z\romannumeral\n@i\endcsname%
\xdef\bbb@x$\csname bbb@x\romannumeral\n@i\endcsname%
\xdef\bbb@z$\csname bbb@z\romannumeral\n@i\endcsname%
\xdef\bbbb@x$\csname bbbb@x\romannumeral\n@i\endcsname%
\xdef\bbbb@z$\csname bbbb@z\romannumeral\n@i\endcsname%
\xdef\b@n$\csname b@n\romannumeral\n@i\endcsname%
\xdef\b@p$\csname b@p\romannumeral\n@i\endcsname\s@lopdefs%
% fin selectpoutre
%
\def\ibu#1$\selectpoutre$#1\i@bu%
\def\i@bu#1#2$\ifnum\b@n=0\relax\else\t@bu\fi
  \global\b@n=-1\relax
  \global\b@x=\locx@skip
  \global\advance\b@x by \qd@skip\inhgetn@i$#1\pl@base
  \global\b@z=\y@i\global\advance\b@z by\altportee\global\b@p=#2\relax
  \global\advance\b@z by 3.25\Interligne%
%
\def\ibl#1$\selectpoutre$#1\i@bl%
\def\i@bl#1#2$\ifnum\b@n=0\relax\else\t@bl\fi
  \global\b@n=1\relax
  \global\b@x=\locx@skip\inhgetn@i$#1\pl@base
  \global\b@z=\y@i\global\advance\b@z by \altportee\global\b@p=#2\relax
  \global\advance\b@z by -3.25\Interligne%
%\check
\def\ibbu#1$\selectpoutre$#1\i@bbu%
\def\ibbl#1$\selectpoutre$#1\i@bbl%
\def\i@bbu#1#2$\ifnum\b@n=0\relax\i@bu$#1$#2\relax\global\advance\b@z by
 \internote\fi\n@bbu\relax%
\def\i@bbl#1#2$\ifnum\b@n=0\relax\i@bl$#1$#2\relax\global\advance\b@z by
 -\internote\fi\n@bbl\relax%
\def\nbbu#1$\selectpoutre$#1\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbu\fi
\fi%
\def\nbbl#1$\selectpoutre$#1\ifnum\b@n>-2\relax\ifnum\b@n<2\relax\n@bbl\fi
\fi%
\def\n@bbu$\gl@au$\b@n\global\bb@x=\locx@skip
  \global\advance\bb@x by \qd@skip
 \global\bb@z=\b@z\ifnum\b@n<0\relax\global\advance\bb@z by
 -\interbeam
 \else \global\advance\bb@z by \interbeam
                         \fi
 $\advance\locx@skip by \qd@skip \advance\locx@skip by -\b@x
\global\advance\bb@z by \s@lope\locx@skip %
%
\def\n@bbl$\gl@au$\b@n\global\bb@x=\locx@skip
  \global\advance\bb@x by \lthick
 \global\bb@z=\b@z\ifnum\b@n<0\relax\global\advance\bb@z by -\interbeam
 \else \global\advance\bb@z by \interbeam \fi
  $\advance\locx@skip by -\b@x
\global\advance\bb@z by \s@lope\locx@skip %
%\check
\def\ibbbu#1$\selectpoutre$#1\i@bbbu%
\def\ibbbl#1$\selectpoutre$#1\i@bbbl%
\def\i@bbbu#1#2$\ifnum\b@n=0\relax\i@bbu$#1$#2%
\global\advance\b@z by \internote
\global\advance\bb@z by \internote
\fi\n@bbbu%
\def\i@bbbl#1#2$\ifnum\b@n=0\relax\i@bbl$#1$#2%
\global\advance\b@z by -\internote
\global\advance\bb@z by -\internote
\fi\n@bbbl%
\def\nbbbu#1$\selectpoutre$#1\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n
=1\relax\n@bbu\fi
 \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi
%
\def\nbbbl#1$\selectpoutre$#1\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n
=1\relax\n@bbl\fi
 \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi
%
\def\n@bbbu$\gl@au$\b@n\global\bbb@x=\locx@skip
  \global\advance\bbb@x by \qd@skip
 \global\bbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbb@z by
 -2\interbeam
 \else \global\advance\bbb@z by 2\interbeam
                         \fi
 $\advance\locx@skip by \qd@skip \advance\locx@skip by -\b@x
\global\advance\bbb@z by \s@lope
\locx@skip %
%
\def\n@bbbl$\gl@au$\b@n\global\bbb@x=\locx@skip
  \global\advance\bbb@x by \lthick
 \global\bbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbb@z by
 -2\interbeam
 \else \global\advance\bbb@z by 2\interbeam
                         \fi
 $\advance\locx@skip by -\b@x\global\advance\bbb@z by \s@lope
\locx@skip %
%\check
%
\def\ibbbbu#1$\selectpoutre$#1\i@bbbbu%
\def\ibbbbl#1$\selectpoutre$#1\i@bbbbl%
\def\i@bbbbu#1#2$\ifnum\b@n=0\relax\i@bbbu$#1$#2%
\global\advance\b@z by \interbeam
\global\advance\bb@z by \interbeam
\global\advance\bbb@z by \interbeam
\fi\n@bbbbu%
\def\i@bbbbl#1#2$\ifnum\b@n=0\relax\i@bbbl$#1$#2%
\global\advance\b@z by -\interbeam
\global\advance\bb@z by -\interbeam
\global\advance\bbb@z by -\interbeam
\fi\n@bbbbl%
\def\nbbbbu#1$\selectpoutre$#1\ifnum\b@n=-1\relax\n@bbu\fi\ifnum\b@n
=1\relax\n@bbu\fi
 \ifnum\b@n=-2\relax\n@bbbu\fi\ifnum\b@n=2\relax\n@bbbu\fi
 \ifnum\b@n=-3\relax\n@bbbbu\fi\ifnum\b@n=3\relax\n@bbbbu\fi
%
\def\nbbbbl#1$\selectpoutre$#1\ifnum\b@n=-1\relax\n@bbl\fi\ifnum\b@n
=1\relax\n@bbl\fi
 \ifnum\b@n=-2\relax\n@bbbl\fi\ifnum\b@n=2\relax\n@bbbl\fi
 \ifnum\b@n=-3\relax\n@bbbbl\fi\ifnum\b@n=3\relax\n@bbbl\fi
%
\def\n@bbbbu$\gl@au$\b@n\global\bbbb@x=\locx@skip
  \global\advance\bbbb@x by \qd@skip
 \global\bbbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbbb@z by
 -3\interbeam
 \else \global\advance\bbbb@z by 3\interbeam
                         \fi
 $\advance\locx@skip by \qd@skip \advance\locx@skip by -\b@x
\global\advance\bbbb@z by \s@lope
\locx@skip %
%
\def\n@bbbbl$\gl@au$\b@n\global\bbbb@x=\locx@skip
  \global\advance\bbbb@x by \lthick
 \global\bbbb@z=\b@z\ifnum\b@n<0\relax\global\advance\bbbb@z by
 -3\interbeam
 \else \global\advance\bbbb@z by 3\interbeam
                         \fi
 $\advance\locx@skip by -\b@x\global\advance\bbbb@z by \s@lope
\locx@skip %
%\check
%
% terminaison de toutes les poutres en suspens
%
%
%***** terminer une poutre superieure ****************
%\check
%
\def\tbu#1$\selectpoutre$#1\t@bu%
\def\tqh#1$\selectpoutre$#1\t@qh%
\def\tbbu#1$\selectpoutre$#1\t@bbu%
\def\tbbbu#1$\selectpoutre$#1\t@bbbu%
\def\tbbbbu#1$\selectpoutre$#1\t@bbbbu%
%\check
\def\t@qh$\t@bu\qh@%
\def\t@bu$\ifnum\b@n<-1\relax\t@bbu\fi
\ifnum\b@n>1\relax\t@bbu\fi
\y@i=\b@z
\advance\y@i by -\altportee
\y@ii=\locx@skip
\advance\y@ii by \qn@width
\advance\y@ii by -\b@x
\llap$\p@outre\hskip -\qn@width%
\global\b@n=0\relax%
%
%\check
\def\t@bbu$\ifnum\b@n<-2\relax\t@bbbu\fi
           \ifnum\b@n>2\relax\t@bbbu\fi
\ifnum\b@n=1\relax$\advance\locx@skip by -\qn@width\n@bbu\fi
\ifnum\b@n=-1\relax$\advance\locx@skip by -\qn@width\n@bbu\fi
\y@i=\bb@z\y@ii=-\bb@x\t@xbu%
%\check
\def\t@xbu$\advance\y@i by -\altportee
\advance\y@ii by \locx@skip \advance\y@ii by \qn@width
\llap$\p@outre\hskip -\qn@width%
\ifnum\b@n>0\relax
\advance\y@i by \s@lope\y@ii\raise\y@i\rlap$\kern\qn@width
\kern -\lthick\vrule height \z@ depth 1.8\internote width \lthick\fi
\gl@de$\b@n%
%\check
\def\t@bbbu$\ifnum\b@n<-3\relax\t@bbbbu\fi
            \ifnum\b@n>3\relax\t@bbbbu\fi
\ifnum\b@n=2\relax$\advance\locx@skip by -\qn@width\n@bbbu\fi
\ifnum\b@n=-2\relax$\advance\locx@skip by -\qn@width\n@bbbu\fi
\y@i=\bbb@z\y@ii=-\bbb@x\t@xbu%
%
%\check
\def\t@bbbbu$\ifnum\b@n<-4\relax\showthe\b@n\global\b@n=-4\relax\fi
\ifnum\b@n>4\relax\showthe\b@n\global\b@n=4\relax\fi
\ifnum\b@n=3\relax$\advance\locx@skip by -\qn@width\n@bbbbu\fi
\ifnum\b@n=-3\relax$\advance\locx@skip by -\qn@width\n@bbbbu\fi
\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbu%
%***** terminer une poutre inferieure****************
\def\tbl#1$\selectpoutre$#1\t@bl%
\def\tqb#1$\selectpoutre$#1\t@qb%
\def\tbbl#1$\selectpoutre$#1\t@bbl%
\def\tbbbl#1$\selectpoutre$#1\t@bbbl%
\def\tbbbbl#1$\selectpoutre$#1\t@bbbbl%
% provisoire
\def\t@qb$\t@bl\qb@%
\def\t@bl$\relax
\ifnum\b@n<-1\relax\t@bbl\fi
\ifnum\b@n>1\relax\t@bbl\fi
\y@i=\b@z
\advance\y@i by -\altportee
\y@ii=\locx@skip
\advance\y@ii by \lthick
\advance\y@ii by -\b@x
\kern\lthick\llap$\p@outre\kern -\lthick
\global\b@n=0\relax%
%\check
%
\def\t@bbl$\relax
\ifnum\b@n<-2\relax\t@bbbl\fi
\ifnum\b@n>2\relax\t@bbbl\fi
\ifnum\b@n=1\relax$\advance\locx@skip by -\qn@width\n@bbl\fi
\ifnum\b@n=-1\relax$\advance\locx@skip by -\qn@width\n@bbl\fi
\y@i=\bb@z\y@ii=-\bb@x\t@xbl%
%
\def\t@xbl$\advance\y@i by -\altportee
\advance\y@ii by \locx@skip
\advance\y@ii by \lthick
\kern\lthick\llap$\p@outre\kern-\lthick
\ifnum\b@n<0\relax\advance\y@i by \s@lope\y@ii
\raise\y@i\rlap$\vrule height \interbeam width \lthick\fi
\gl@de$\b@n%
%\check
\def\t@bbbl$\relax
\ifnum\b@n<-3\relax\t@bbbbl\fi
\ifnum\b@n>3\relax\t@bbbbl\fi
\ifnum\b@n=2\relax$\advance\locx@skip by -\qn@width\n@bbbl\fi
\ifnum\b@n=-2\relax$\advance\locx@skip by -\qn@width\n@bbbl\fi
\y@i=\bbb@z\y@ii=-\bbb@x\t@xbl%
%\check
\def\t@bbbbl$\relax
\ifnum\b@n<-4\relax\showthe\b@n\global\b@n=-4\relax\fi
\ifnum\b@n>4\relax\showthe\b@n\global\b@n=4\relax\fi
\ifnum\b@n=3\relax$\advance\locx@skip by -\qn@width\n@bbbbl\fi
\ifnum\b@n=-3\relax$\advance\locx@skip by -\qn@width\n@bbbbl\fi
\y@i=\bbbb@z\y@ii=-\bbbb@x\t@xbl%
%******************** notes accrchees aux poutres
% ************************************
%
\def\qh#1$\selectpoutre$#1\qh@%
\def\hh#1$\selectpoutre$#1\hh@%
\def\qhp#1$\selectpoutre$#1\qhp@%
\def\qhpp#1$\selectpoutre$#1\qhpp@%
\def\qhppp#1$\selectpoutre$#1\qhppp@%
\def\qh@#1$\getn@i$#1\def\n@fon$\qh@\def\n@sym$\q@u\g@qh@% % position
\def\hh@#1$\getn@i$#1\def\n@fon$\hh@\def\n@sym$\h@u\g@qh@% % position
\def\qhp@#1$\getn@i$#1\def\n@fon$\qhp@\def\n@sym$\q@up\g@qh@% % position
\def\qhpp@#1$\getn@i$#1\def\n@fon$\qhpp@\def\n@sym$\q@upp\g@qh@% % position
\def\qhppp@#1$\getn@i$#1\def\n@fon$\qhppp@\def\n@sym$\q@uppp\g@qh@% %
% position
\def\qb#1$\selectpoutre$#1\qb@%
\def\hb#1$\selectpoutre$#1\hb@%
\def\qbp#1$\selectpoutre$#1\qbp@%
\def\qbpp#1$\selectpoutre$#1\qbpp@%
\def\qbppp#1$\selectpoutre$#1\qbppp@%
\def\qb@#1$\getn@i$#1\def\n@fon$\qb@\def\n@sym$\q@u\g@qb@ % #1 position
\def\hb@#1$\getn@i$#1\def\n@fon$\hb@\def\n@sym$\h@a\g@qb@ % #1 position
\def\qbp@#1$\getn@i$#1\def\n@fon$\qbp@\def\n@sym$\q@up\g@qb@ % #1 position
\def\qbpp@#1$\getn@i$#1\def\n@fon$\qbpp@\def\n@sym$\q@upp\g@qb@ % #1
% position
\def\qbppp@#1$\getn@i$#1\def\n@fon$\qbppp@\def\n@sym$\q@uppp\g@qb@ % #1
% position
\def\g@qb@$\global\n@raise=\qu@raise\ifnum\n@i<100\relax
  \global\stem@skip=\z@\def\s@tem$\d@balk\g@qbh@\fi%
%
\def\g@qh@$\global\n@raise=\qu@raise\ifnum\n@i<100\relax
  \global\stem@skip=\qd@skip\def\s@tem$\d@balk\g@qbh@\fi%
%
\def\g@qbh@$\h@lines$\qn@width\pl@symss%
%
\def\pl@symss$\pl@noteq\raise@note$\n@sym\hss\ss@uite%
\def\pl@symssq$\ifadvance\pl@symss\else\plap@symss\fi\advancetrue%
%
\def\rlap@symss$\raise\y@i\rlap$\n@sym\ss@uite%
\def\plap@symss$\pl@noteq\rlap@symss%
%
\def\d@balk$%    % queue de note vers une poutre
\y@ii=\b@z                     % a augmenter avec la pente
\y@v=\locx@skip\advance\y@v by \stem@skip\advance\y@v by -\b@x
\advance\y@ii by \s@lope\y@v
\ifdim\y@ii>\st@top % la poutre est au-dessus
  \ifnum\b@n>0\relax\advance\y@ii by \b@n\interbeam
    \advance\y@ii by -\interbeam
  \fi\global\st@top=\y@ii  %  a mettre a jour avec la pente ulterieurement
\else
  \ifdim\y@ii<\st@bot
  \ifnum\b@n<0\relax\advance\y@ii by \b@n\interbeam
    \advance\y@ii by \interbeam
  \fi\global\st@bot=\y@ii
\fi\fi\pd@tail%
%
%*********************************** notes sans avancement (accords)
% ********************
\def\zwh#1$$\noteskip=\z@\wh$#1%
\def\zha#1$$\noteskip=\z@\ha$#1%
%
\def\charnote$\xcharnote$\noteskip%
\def\zcharnote$\xcharnote$\z@%
%\check
%
%************************* liaisons horizontales **************************
%
\def\selecttenue#1$$\n@i=#1\relax
\ifnum\n@i<0\relax\n@i=29\fi
  \advance\n@i by 1\relax
\xdef\t@x$\csname t@x\romannumeral\n@i\endcsname%
\xdef\t@z$\csname t@z\romannumeral\n@i\endcsname%
\xdef\t@p$\csname t@p\romannumeral\n@i\endcsname%
\xdef\t@s$\csname t@s\romannumeral\n@i\endcsname%
%   fin selecttenue
%
%\check
% mise a jour marge inferieure et correction d'altitude de tenues
%
\newdimen\bottom@adv
\def\advancebottom#1$\global\bottom@adv=#1\relax%
\def\adv@bottom$\global\advance\bottommargin by \bottom@adv
  \global\n@l=0\relax
  \loop\ifnum\n@l<\maxlegatenuti\relax
    \selecttenue$\n@l\global\advance\t@z by \bottom@adv\relax
    \global\advance\n@l by 1\relax
  \repeat
  \global\bottom@adv=\z@%
%
%\check
%
\def\lu@slur$\cmex\char"7A\def\ru@slur$\cmex\char"7B%
\def\ll@slur$\cmex\char"7C\def\rl@slur$\cmex\char"7D%
\setbox\n@otebox=\hbox$\lu@slur\brace@w=\wd\n@otebox
%
\def\leg@hrule$\leaders\hrule height 1.2pt\hfill%
\def\leg@vrule$\vrule height 1.2pt%
%
% complete slur of length #1 (up and down)
\def\upleg#1$%    #1 longueur
\hbox to #1$\lu@slur\ifdim #1>2\brace@w\leg@hrule
\else\hss\fi\ru@slur%
%
\def\loleg#1$%    #1 longueur
\hbox to #1$\ll@slur\ifdim #1>2\brace@w\leg@hrule
\else\hss\fi\rl@slur%
%
% slur termination of length #1 (up and down)
\def\uprleg#1$%    #1 longueur
\hbox to #1$\ifdim #1>\brace@w\leg@hrule
\else\hss\fi\ru@slur%
%
\def\lorleg#1$%    #1 longueur
\hbox to #1$\ifdim #1>\brace@w\leg@hrule
\else\hss\fi\rl@slur%
%\check
%
% slur beginning (left) (up and down)
\def\uples#1$%    #1 longueur
\hbox to #1$\lu@slur\ifdim #1>\brace@w\leg@hrule
\else\hss\fi%
%
\def\loles#1$%    #1 longueur
\hbox to #1$\ll@slur\ifdim #1>\brace@w\leg@hrule
\else\hss\fi%
%\check
%
% continuation des tenues au milieu d'une mesure
%
\def\ctenuti$% \vrule width 0.4pt height 3cm\kern -0.4pt\relax
% **** \locx@skip=\x@skip\advance\locx@skip by \n@skip
\global\n@l=0\relax
\loop\ifnum\n@l<\maxlegatenuti\relax
  \selecttenue$\n@l\ifnum\t@s=0\relax
  \else\c@ten\fi
  \global\advance\n@l by 1\relax
  \repeat%
%
% continuation d'une tenue par dessus une barre: ne doit pas
% deborder mais s'arreter juste au point indique
%
\def\rtenuti$% *** \locx@skip=\x@skip\advance\locx@skip by \n@skip
\global\n@l=0\relax
\loop\ifnum\n@l<\maxlegatenuti\relax
  \selecttenue$\n@l\ifnum\t@s=2\relax\r@ten\fi
  \global\advance\n@l by 1\relax
  \repeat%
%
% noter un debut de tenue
%
\def\itenu#1$\selecttenue$#1\i@tenu%
\def\ilegu#1#2$\selecttenue$#1$\advance\locx@skip by -1.5\qn@width
\i@tenu$#2%
\def\rtenu#1$\selecttenue$#1\ri@tenu%
\def\ri@tenu#1$\i@tenu$#1\global\advance\t@x by \wn@width%
\def\i@tenu#1$\global\t@p=1\relax % sens=1
  \global\t@s=1\relax % etat en cours
  \global\t@x=\locx@skip
  \global\advance\t@x by \qd@skip
  \inhgetn@i$#1\pl@base\global\t@z=\y@i\global\advance\t@z by\altportee
  \global\advance\t@z by 3.5pt%
%
\def\itenl#1$\selecttenue$#1\i@tenl%
\def\minternote$-\internote%
\def\ilegl#1#2$\selecttenue$#1$\advance\locx@skip by -1.5\qn@width
\i@tenl$#2%
\def\rtenl#1$\selecttenue$#1\ri@tenl%
\def\ri@tenl#1$\i@tenl$#1\global\advance\t@x by \wn@width%
\def\i@tenl#1$\global\t@p=-1\relax % sens= -1
  \global\t@s=1\relax % actif
  \global\t@x=\locx@skip
  \global\advance\t@x by \qd@skip
 \inhgetn@i$#1\pl@base\global\t@z=\y@i\global\advance\t@z by \altportee
  \global\advance\t@z by -4.5pt
%
%\check
\def\tten#1$\selecttenue$#1\t@ten%
\def\tleg#1$\selecttenue$#1$\advance\locx@skip by 1.5\qn@width\kern
 1.5\qn@width\t@ten\kern -1.5\qn@width%
\def\t@ten$\y@i=\t@z\advance\y@i by -\altportee
\y@ii=\locx@skip\advance\y@ii by -\t@x
\ifnum\t@p>0\relax
  \ifnum\t@s=2\relax
    \raise\y@i\llap$\uprleg$\y@ii%
  \else
    \raise\y@i\llap$\upleg$\y@ii%
  \fi
\else
  \ifnum\t@s=2\relax
    \raise\y@i\llap$\lorleg$\y@ii%
  \else
    \raise\y@i\llap$\loleg$\y@ii%
  \fi
\fi
\global\t@s=0\relax%
%
%\check
\def\c@ten$\y@ii=\x@skip\advance\y@ii by -\t@x
\ifnum\t@s=1\relax
  \ifnum\t@p>0\relax
    \raise\t@z\llap$\uples$\y@ii\else
    \raise\t@z\llap$\loles$\y@ii\fi
\else\ifnum\t@s=2\relax
    \raise\t@z\llap$\leg@vrule width \y@ii\fi
\fi
\global\t@x=-\y@ii
\global\t@s=2\relax%
%
%\check
\def\r@tenu#1$\selecttenue$#1\r@ten%
\def\r@ten$\ifnum\t@s=2\relax
    \y@ii=-\t@x
    \global\advance\y@ii by-\brace@w
    \raise\t@z\llap$\leg@vrule width \y@ii\relax
\fi
\ifdim\t@x<-4\Interligne\global\t@x=-4\Interligne\fi
%
%
%\check
%
%********************** ponctuations speciales ****************************
%
\def\breath$\raise 3\Interligne\hbox$\enorme'%
\def\uptext#1$\resetstem\raise 5\Interligne\rlap$#1%
\def\Uptext#1$\resetstem\raise 7\Interligne\rlap$#1%
\def\text@sp$\vrule width \z@ height 8.5pt depth 3.5pt
\def\m@idcomp$\y@v=\interportee\advance\y@v by 4\Interligne\divide\y@v by
 2\relax
\raise\y@v\vbox to \z@%
%
\def\midtwotext#1$$\m@idcomp
$\vss\hbox to \noteskip$\hss\text@sp #1\hss\vss%
\def\rmidtwotext#1$$\m@idcomp
$\vss\hbox to \noteskip$\text@sp #1\hss\vss%
\def\zmidtwotext#1$$\m@idcomp
$\vss\rlap$\text@sp #1\vss%
\def\lmidtwotext#1$$\m@idcomp
$\vss\hbox to \noteskip$\hss\text@sp #1\vss%
%\check
\def\metron#1#2$$\noteskip 10pt #1 1\ = #2%
%\check
%
%**************************************************************************
% definition standard, modifiables par l'usager
%**************************************************************************
%
\def\resetfacteurs$\topmargin=\z@\bottommargin=\z@\nullthick=\z@
\def\interfacteur$9%
\def\bottomfacteur$3%
\def\topfacteur$3%
\elemskip=10pt\relax
\def\gluemaxskip$0.1\line@width%
%
\resetfacteurs
%\check
\def\normal$\ifdim\Interligne<0.1pt\computewidths\fi
\elemskip=2\Interligne
\def\notes$\vnotes 1.0\elemskip %  double croches
\def\Notes$\vnotes 1.4\elemskip %  croches
\def\NOtes$\vnotes 2.0\elemskip %  croches pointees
\def\NOTes$\vnotes 2.8\elemskip %  noires
\def\NOTEs$\vnotes 4.0\elemskip %
\def\NOTES$\vnotes 5.6\elemskip %
%
\def\large$\normal\elemskip=2.4\Interligne%
\def\etroit$\normal
\def\Notes$\vnotes 1.3\elemskip %  croches
\def\NOtes$\vnotes 1.8\elemskip %  croches pointees
\def\NOTes$\vnotes 2.6\elemskip %  noires
\def\NOTEs$\vnotes 3.6\elemskip %
\def\NOTES$\vnotes 5.2\elemskip %
%
%\check
\normal
\def\testseq$%
\def\nspace$\vnotes 0.2\elemskip\sk\enotes%
%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\def\barfill$\leaders\hbox$ --\hfill%
\def\octsup#1#2$\zcharnote$#1$\hbox to #2\noteskip
$\llap$\rm 8\barfill
 \vrule width \z@ height 3pt depth 3pt%
%\check
\def\octfin#1#2$\zcharnote$#1$\hbox to #2\noteskip$\llap$\rm 8\barfill
--\vrule width \lthick height 3pt depth 3pt%
\def\octline#1$\zcharnote$#1$\line$\llap$\rm 8\barfill
\vrule width \z@ height 3pt depth 3pt\hskip 20mm%
%\check
\def\xtuplet#1#2$\global\n@l=#1\relax\global\advance\n@l by -1\relax
$\divide\noteskip by \n@l\relax\zcharnote$#2$\kern\n@l\noteskip\hbox
 to\z@$\hss\it
#1\hss%
\def\triolet$\xtuplet3%
%\check
%
\let\wlog=\@plainwlog
%


\def\catcodemusic$
\catcode`\&=13
\catcode`\|=13

\def\nocatcodemusic$
\catcode`\&=4
\catcode`\|=12

\nocatcodemusic
\newenvironment$music$\catcodemusic$\nocatcodemusic
%-% End of musictex.sty

From BROUARD%FRINED51.BITNET@CUNYVM.CUNY.EDU  Tue Dec 10 11:20:39 1991
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Date: 10 DEC 91 18:13:11.20-GMT
From: BROUARD%FRINED51.bitnet@CUNYVM.CUNY.EDU
Subject: musictex.sty 3/3
To: MUTEX@stolaf.edu

From:   BERTI::"root@sauvy" 10-DEC-1991 18:09:29.16
To:     barsac::brouard
CC:
Subj:

Mail 3 Makefile and other files to build musictex.sty
Makefile
premusic.tex
posmusic.tex
premupln.tex

Do make all

As musictex 4.31 does no more load fonts already loaded by
plain or lplain, musictex.sty can be built by simple concatenation
of files. But there is still a problem with musicpln.tex which uses
font eightbf (is it really necessary?) not loaded by standard latex,
this is the reason for premupln.tex.

1) Having just get the latest version of musictex.tar.Z, I noticed that
Daniel made some of my suggestions. In particular for the .mf, but
as someone pointed it out on this list, the two lines input local and
input modes have to be erased (they were not in the version I sent to
Daniel) if your mf.bases is correctly done. I can send you the latest
modes.mf if someone wants it.
2) As you probably know there is no more circle10.tfm but lcircle10
abbreviated to lcircle1 on dos. I know that it is a problem, but things
going on and we have to update our fmt, pk, tfm, and macros. Sorry.
I made the changes in the version I sent to Daniel, but they are still
in the old fashion...
3) I think that the directories could be rearranged. I changed tex to
inputs (because of latex). But the most important thing consist in
the distinction between doc and examples. I also put notice.ps
in the root directory. Every one should have ghostscript (gs is available
on dos, unix and vms) to preview or print the basic documentation in
Postscript.
I made a very bad -30 0 translate in notice.ps as the new notice.dvi
is right shifted.
4)Most important pks should also be included (100,118 for screen, 240 for
epson,
and 300 for laser). At the end of this message is my ls -lR as it will
be organized on the GUTenberg RS6000 tex tape.

Nicolas Brouard
<brouard@frined51.bitnet>
========Makefile=========
LIB     =/usr/local/lib/tex/inputs

LAPARTS = premusic.tex musicnft.tex musictex.tex posmusic.tex
LAPLNPARTS= premupln.tex musicpln.tex musictex.tex posmusic.tex
TEXPARTS = musicnft.tex musicpln.tex musictex.tex musicvbm.tex musicadd.tex

all:    musictex.sty musicpln.sty $(TEXPARTS)

install: all
        install -c -m 444 musicnft.tex $(LIB)
        install -c -m 444 musictex.tex $(LIB)
        install -c -m 444 musicpln.tex $(LIB)
        install -c -m 444 musicvbm.tex $(LIB)
        install -c -m 444 musicadd.tex $(LIB)
        install -c -m 444 musictex.sty $(LIB)
        install -c -m 444 musicpln.sty $(LIB)

musictex.sty:
        cat $(LAPARTS)  \
        | cat -s > musictex.sty

musicpln.sty:
        cat $(LAPLNPARTS)  \
        | cat -s > musicpln.sty


=====end of Makefile=========
======premusic.tex========
%-% Musictex.sty version 0.1 of December, 10 1991
%-%   Updates to version 4.31 November 1991 of plain musictex
%-% Musictex.sty version 0.0 of 5, November 1991
%-% It is a first attempt to make musictex running by LaTeX
%-% We defined an environment named music to change the catcodes
%-% of the vertical bar and the ampersand for musictex.
%-% We used TeX command instead of LaTeX command inside of music.
%-% It needs a rather big \Tex$, but emTeX compiler on PCs does the trip
%-% for small music arrays. It works better on work stations.
%-% Nicolas Brouard <brouard@frined51>
%-% With this file you need extra fonts. If extrafonts are
%-% are not available then use \documenstyle[musicpln]$article
%-%
%-% In both cas you can add the option file bigmusic.sty which
%-% enlarges LaTeX page to a big size (A4).
%-%  \documentstyle[musicpln,bigmusic]$article
%-%
%-% Here is an example:
%-% \documentstyle[musictex]$article
%-% \begin$document
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$music
%-%
%-% Latex blabla
%-%
%-% \begin$music
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$document
%-%
%-%    Building  Musictex.sty
%-%
%-% Two files are required to build musictex.sty from
%-% the plain distribution, premusic.tex and posmusic.\TeX$.
%-% Then musictex.sty is
%-% the concatenation of premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex
%-% On unix:
%-%   cat premusic.tex musicfnt.tex musictex.tex posmusic.tex >musictex.sty
%-% On dos:
%-%   copy premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex musictex.sty
%-%  If you don't have the fonts use:
%-% On unix:
%-%   cat premusic.tex musicpln.tex musictex.tex posmusic.tex >musicpln.sty
%-% On dos:
%-%   copy premusic.tex+musicpln.tex+musictex.tex+posmusic.tex musicpln.sty
%-% You also need the option file bigmusic.sty.
======end of premusic.tex =======
=====posmusic.tex==========
% posmusic.tex Version 0.1 decembre 1991 N. Brouard
\def\catcodemusic$
\catcode`\&=13
\catcode`\|=13

\def\nocatcodemusic$
\catcode`\&=4
\catcode`\|=12

\nocatcodemusic
\newenvironment$music$\catcodemusic$\nocatcodemusic
%-% End of musictex.sty
=====end of posmusic.tex========
=====premupln.tex=========
%-% Musicpln.sty version 0.1 of December, 10 1991
%-%   Updates to version 4.31 November 1991 of plain musictex
%-% Musictex.sty version 0.0 of 5, November 1991
%-% It is a first attempt to make musictex running by LaTeX
%-% We defined an environment named music to change the catcodes
%-% of the vertical bar and the ampersand for musictex.
%-% We used TeX command instead of LaTeX command inside of music.
%-% It needs a rather big \Tex$, but emTeX compiler on PCs does the trip
%-% for small music arrays. It works better on work stations.
%-% Nicolas Brouard <brouard@frined51>
%-% With this file you need extra fonts. If extrafonts are
%-% are not available then use \documenstyle[musicpln]$article
%-%
%-% In both cas you can add the option file bigmusic.sty which
%-% enlarges LaTeX page to a big size (A4).
%-%  \documentstyle[musicpln,bigmusic]$article
%-%
%-% Here is an example:
%-% \documentstyle[musictex]$article
%-% \begin$document
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$music
%-%
%-% Latex blabla
%-%
%-% \begin$music
%-%\def\nbinstruments$1\relax
%-%\generalmeter$\meterfrac$4$4\relax
%-%\debutmorceau
%-%\normal
%-%\zglu\Notes\rlap$\hu j\ql h\enotes
%-%\temps\Notes\hl g\enotes
%-%\temps\Notes\hu k\enotes
%-%\temps\Notes\ql f\enotes
%-%\suspmorceau
%-% \end$document
%-%
%-%    Building  Musictex.sty
%-%
%-% Two files are required to build musictex.sty from
%-% the plain distribution, premusic.tex and posmusic.\TeX$.
%-% Then musictex.sty is
%-% the concatenation of premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex
%-% On unix:
%-%   cat premusic.tex musicfnt.tex musictex.tex posmusic.tex >musictex.sty
%-% On dos:
%-%   copy premusic.tex+musicfnt.tex+musictex.tex+posmusic.tex musictex.sty
%-%  If you don't have the fonts use:
%-% On unix:
%-%   cat premusic.tex musicpln.tex musictex.tex posmusic.tex >musicpln.sty
%-% On dos:
%-%   copy premusic.tex+musicpln.tex+musictex.tex+posmusic.tex musicpln.sty
%-% You also need the option file bigmusic.sty.
%\font\eightbf=\fonthdg mbx8
\font\eightbf=cmbx8
=====end of premupln.tex=====
==== start of ls -lR of musictex  ===========
total 372
-rw-r--r--   1 root     ined         361 Dec 10 17:10 ALIRE
-rw-r--r--   1 root     ined           0 Dec 10 17:09 Version4.31
drwxr-sr-x   2 root     ined        1024 Dec 10 17:07 doc
drwxr-sr-x   2 root     ined        2048 Dec 10 16:44 examples
drwxr-sr-x   2 root     ined         512 Dec 10 17:25 inputs
drwxr-sr-x   2 root     ined         512 Dec 10 16:45 karlmusic
drwxr-sr-x   2 root     ined        2560 Dec 10 15:37 mf
-rw-r--r--   1 root     ined      344628 Dec 10 16:59 notice.ps
drwxr-sr-x   6 root     ined         512 Dec 10 15:33 pk
drwxr-sr-x   2 brouard  ined         512 Dec 10 15:34 tfm

musictex/doc:
total 204
-rw-r--r--   1 root     ined        5276 Oct 23 10:25 creation.tex
-rw-------   1 root     ined        6499 Dec 10 16:40 dblecols.tex
-rw-r--r--   1 root     ined       37003 Oct 23 10:25 gutenb90.tex
-rw-r--r--   1 root     ined        7367 Dec 10 15:38 latex-mu.tex
-rw-r--r--   1 root     ined       11663 Dec 10 16:49 marcellx.tex
-rw-------   1 root     ined       69203 Dec 10 16:37 notice.tex
-rw-r--r--   1 root     ined       52168 Oct 23 10:26 old-notice.tex
-rw-r--r--   1 root     ined        5198 Dec 10 16:48 praetorx.tex

musictex/examples:
total 908
-rw-r--r--   1 108      110         1988 Nov 29 17:36 accordeo.tex
-rw-r--r--   1 108      110        13264 Nov 29 17:36 accordex.tex
-rw-r--r--   1 108      110        16406 Nov 29 17:36 adagio.tex
-rw-r--r--   1 108      110         1707 Nov 29 17:36 affconc.tex
-rw-r--r--   1 108      110         1739 Nov 29 17:36 amourspe.tex
-rw-r--r--   1 108      110         7733 Nov 29 17:36 amourspx.tex
-rw-r--r--   1 108      110          761 Nov 29 17:36 angescam.tex
-rw-r--r--   1 108      110          755 Nov 29 17:36 angescao.tex
-rw-r--r--   1 108      110        12648 Nov 29 17:36 angescax.tex
-rw-r--r--   1 108      110         1527 Nov 29 17:36 campra.tex
-rw-r--r--   1 108      110         1705 Nov 29 17:36 car_rest.tex
-rw-r--r--   1 108      110        44511 Nov 29 17:36 carillon.tex
-rw-r--r--   1 108      110          159 Nov 29 17:36 chardim.tex
-rw-r--r--   1 108      110         1891 Nov 29 17:36 choral.tex
-rw-r--r--   1 108      110        21011 Nov 29 17:36 chorala.tex
-rw-r--r--   1 108      110         6726 Nov 29 17:36 choralb.tex
-rw-r--r--   1 108      110        11641 Nov 29 17:36 concert.tex
-rw-r--r--   1 108      110         5276 Nov 29 17:36 creation.tex
-rw-r--r--   1 108      110         6499 Nov 29 17:36 dblecols.tex
-rw-r--r--   1 108      110          885 Nov 29 17:36 footnote.tex
-rw-r--r--   1 108      110        27013 Nov 29 17:36 fugue.tex
-rw-r--r--   1 108      110        11867 Apr 12 1991  genpctex.tex
-rw-r--r--   1 108      110        12537 Nov 29 17:36 gloriab.tex
-rw-r--r--   1 108      110         7407 Nov 29 17:36 glorias.tex
-rw-r--r--   1 108      110        17972 Oct 08 13:02 gongs.tex
-rw-r--r--   1 108      110        37390 Nov 29 17:36 gutenb90.tex
-rw-r--r--   1 108      110        17169 Apr 12 1991  gutransp.tex
-rw-r--r--   1 108      110           62 Nov 29 17:36 hadagim.tex
-rw-r--r--   1 108      110          239 Nov 29 17:36 hadagio.tex
-rw-r--r--   1 108      110           80 Nov 29 17:36 hcreatim.tex
-rw-r--r--   1 108      110           80 Nov 29 17:36 hcreatio.tex
-rw-r--r--   1 108      110          269 Nov 29 17:36 hfugue.tex
-rw-r--r--   1 108      110         1180 Nov 29 17:36 howtoget.tex
-rw-r--r--   1 108      110          255 Nov 29 17:36 hprelfug.tex
-rw-r--r--   1 108      110          216 Nov 29 17:36 hreves.tex
-rw-r--r--   1 108      110          292 Nov 29 17:36 hwidor.tex
-rw-r--r--   1 108      110        16468 Nov 29 17:36 hymnepas.tex
-rw-r--r--   1 108      110         3721 Nov 29 17:36 johannus.tex
-rw-r--r--   1 108      110          225 Nov 29 17:36 marcello.tex
-rw-r--r--   1 108      110        11663 Nov 29 17:36 marcellx.tex
-rw-r--r--   1 108      110         1361 Nov 29 17:36 moulinrg.tex
-rw-r--r--   1 108      110        12796 Nov 29 17:37 nlslides.tex
-rw-r--r--   1 108      110        69203 Nov 29 17:37 notice.tex
-rw-r--r--   1 108      110          276 Nov 29 17:37 nwidor.tex
-rw-r--r--   1 108      110          322 Nov 29 17:37 outmorc.tex
-rw-r--r--   1 108      110          795 Nov 29 17:37 outputlj.tex
-rw-r--r--   1 108      110        38433 Nov 29 17:37 pacifiq.tex
-rw-r--r--   1 108      110        38453 Nov 29 17:37 pacifiqb.tex
-rw-r--r--   1 108      110        38902 Nov 29 17:37 pacifiqn.tex
-rw-r--r--   1 108      110        38188 Nov 29 17:37 pacifiqp.tex
-rw-r--r--   1 108      110          736 Nov 29 17:37 praetori.tex
-rw-r--r--   1 108      110          736 Nov 29 17:37 praetorr.tex
-rw-r--r--   1 108      110         5198 Nov 29 17:37 praetorx.tex
-rw-r--r--   1 108      110        26624 Apr 12 1991  prelfug.tex
-rw-r--r--   1 108      110        27702 Nov 29 17:37 prelude.tex
-rw-r--r--   1 108      110          256 Nov 29 17:37 purcell.tex
-rw-r--r--   1 108      110         8244 Nov 29 17:37 purcellx.tex
-rw-r--r--   1 108      110        14096 Nov 29 17:37 recit.tex
-rw-r--r--   1 108      110         3479 Nov 29 17:37 recueil.tex
-rw-r--r--   1 108      110        20033 Nov 29 17:37 reves.tex
-rw-r--r--   1 108      110          248 Nov 29 17:37 sixi.tex
-rw-r--r--   1 108      110          230 Nov 29 17:37 sixrm.tex
-rw-r--r--   1 108      110         2967 Nov 29 17:37 souvenir.tex
-rw-r--r--   1 108      110        14003 Nov 29 17:37 souvenix.tex
-rw-r--r--   1 108      110          822 Nov 29 17:37 testchar.tex
-rw-r--r--   1 108      110         5275 Nov 29 17:37 testenue.tex
-rw-r--r--   1 108      110        14342 Nov 29 17:37 tierce.tex
-rw-r--r--   1 108      110        24451 Nov 29 17:37 tugpaper.tex
-rw-r--r--   1 108      110        16326 Nov 29 17:37 widor.tex

musictex/inputs:
total 280
-rw-r--r--   1 root     ined         688 Dec 10 15:50 Makefile
-rw-r--r--   1 root     ined         499 Dec 10 15:50 bigmusic.sty
-rw-r--r--   1 root     ined        7367 Dec 10 15:50 latex-mu.tex
-rw-r--r--   1 root     ined        1659 Dec 10 15:50 musicadd.tex
-rw-r--r--   1 root     ined       10359 Dec 10 15:50 musicnft.tex
-rw-r--r--   1 root     ined       73679 Dec 10 15:50 musicpln.sty
-rw-r--r--   1 root     ined        8860 Dec 10 15:50 musicpln.tex
-rw-r--r--   1 root     ined        3648 Dec 10 15:50 musicsty.tex
-rw-r--r--   1 root     ined       75129 Dec 10 15:50 musictex.sty
-rw-r--r--   1 root     ined       62365 Dec 10 15:50 musictex.tex
-rw-r--r--   1 root     ined        3225 Dec 10 15:50 musicvbm.tex
-rw-r--r--   1 root     ined         250 Dec 10 17:25 posmusic.tex
-rw-r--r--   1 root     ined        2256 Dec 10 15:50 premupln.tex
-rw-r--r--   1 root     ined        2207 Dec 10 15:50 premusic.tex

musictex/karlmusic:
total 36
-rw-------   1 108      110         1140 Aug 19 13:32 2a.tex
-rw-------   1 108      110         1233 Aug 19 13:32 2b.tex
-rw-------   1 108      110         4075 Aug 19 13:32 5.tex
-rw-------   1 108      110         3115 Aug 19 13:32 README
-rw-------   1 108      110         4065 Aug 19 13:32 karlmusic.tex
-rw-------   1 108      110         9782 Aug 19 13:32 mtex.diff
-rw-------   1 108      110         3844 Aug 19 13:32 mtexfont.diff

musictex/mf:
total 184
-rwxr-xr-x   1 root     ined         638 Dec 10 15:36 Install.sh
-rwxr-xr-x   1 108      110          224 Nov 06 10:34 Makefonts
-rwxr-xr-x   1 108      110          220 Nov 06 10:31 Makefonts.~1~
-rw-------   1 108      110           61 Nov 29 17:38 beamd20.mf
-rw-------   1 108      110           62 Nov 29 17:38 beamn16.mf
-rw-------   1 108      110           91 Nov 29 17:38 beamn20.mf
-rw-------   1 108      110         2012 Nov 29 17:38 beamngen.mf
-rw-------   1 108      110           61 Nov 29 17:38 beamq20.mf
-rw-------   1 108      110           61 Nov 29 17:38 beamt20.mf
-rw-------   1 108      110           61 Nov 29 17:38 beamv20.mf
-rw-------   1 root     110          833 Dec 10 15:10 musicd16.mf
-rw-------   1 108      110          831 Nov 29 17:38 musicd16.mf~
-rw-------   1 root     110          802 Dec 10 15:10 musicd20.mf
-rw-------   1 108      110         1495 Nov 29 17:38 musicdef.mf
-rw-------   1 108      110        41001 Nov 29 17:38 musicg16.mf
-rw-------   1 108      110        37982 Nov 29 17:38 musicgen.mf
-rw-------   1 108      110          152 Nov 29 17:38 musicn16.mf
-rw-------   1 108      110          152 Nov 29 17:38 musicn20.mf
-rw-------   1 108      110         6475 Nov 29 17:38 slur16.mf
-rw-------   1 108      110         1366 Nov 29 17:38 slurdd16.mf
-rw-------   1 108      110         1366 Nov 29 17:38 slurdu16.mf
-rw-------   1 108      110         3511 Nov 29 17:38 slurgen.mf
-rw-------   1 108      110           30 Nov 29 17:38 slurn16.mf
-rw-------   1 108      110           30 Nov 29 17:38 slurn20.mf
-rw-------   1 108      110         1363 Nov 29 17:38 slurud16.mf
-rw-------   1 108      110         1265 Nov 29 17:38 sluruu16.mf

musictex/pk:
total 16
drwxr-sr-x   2 root     110          512 Dec 10 15:33 dpi100
drwxr-sr-x   2 root     110          512 Dec 10 15:33 dpi118
drwxr-sr-x   2 root     110          512 Dec 10 15:33 dpi240
drwxr-sr-x   2 root     110          512 Dec 10 15:33 dpi300

musictex/pk/dpi100:
total 60
-rw-r--r--   1 root     110         3220 Dec 10 15:14 beamn16.100pk
-rw-r--r--   1 root     110         3472 Dec 10 15:14 beamn20.100pk
-rw-r--r--   1 root     110         3124 Dec 10 15:14 musicn16.100pk
-rw-r--r--   1 root     110         3836 Dec 10 15:14 musicn20.100pk
-rw-r--r--   1 root     110         3572 Dec 10 15:15 slur16.100pk
-rw-r--r--   1 root     110         5180 Dec 10 15:15 slurdd16.100pk
-rw-r--r--   1 root     110         5180 Dec 10 15:15 slurdu16.100pk
-rw-r--r--   1 root     110         2704 Dec 10 15:15 slurn16.100pk
-rw-r--r--   1 root     110         3220 Dec 10 15:15 slurn20.100pk
-rw-r--r--   1 root     110         5248 Dec 10 15:15 slurud16.100pk
-rw-r--r--   1 root     110         5200 Dec 10 15:16 sluruu16.100pk

musictex/pk/dpi118:
total 64
-rw-r--r--   1 root     110         3788 Dec 10 15:16 beamn16.118pk
-rw-r--r--   1 root     110         3880 Dec 10 15:16 beamn20.118pk
-rw-r--r--   1 root     110         3700 Dec 10 15:16 musicn16.118pk
-rw-r--r--   1 root     110         4348 Dec 10 15:17 musicn20.118pk
-rw-r--r--   1 root     110         3948 Dec 10 15:17 slur16.118pk
-rw-r--r--   1 root     110         6008 Dec 10 15:17 slurdd16.118pk
-rw-r--r--   1 root     110         6008 Dec 10 15:17 slurdu16.118pk
-rw-r--r--   1 root     110         3064 Dec 10 15:17 slurn16.118pk
-rw-r--r--   1 root     110         3628 Dec 10 15:17 slurn20.118pk
-rw-r--r--   1 root     110         6112 Dec 10 15:18 slurud16.118pk
-rw-r--r--   1 root     110         6040 Dec 10 15:18 sluruu16.118pk

musictex/pk/dpi240:
total 108
-rw-r--r--   1 root     110         6192 Dec 10 15:18 beamn16.240pk
-rw-r--r--   1 root     110         6440 Dec 10 15:18 beamn20.240pk
-rw-r--r--   1 root     110         6584 Dec 10 15:18 musicn16.240pk
-rw-r--r--   1 root     110         8360 Dec 10 15:19 musicn20.240pk
-rw-r--r--   1 root     110         6980 Dec 10 15:19 slur16.240pk
-rw-r--r--   1 root     110        11732 Dec 10 15:19 slurdd16.240pk
-rw-r--r--   1 root     110        11732 Dec 10 15:19 slurdu16.240pk
-rw-r--r--   1 root     110         5272 Dec 10 15:19 slurn16.240pk
-rw-r--r--   1 root     110         6632 Dec 10 15:19 slurn20.240pk
-rw-r--r--   1 root     110        11676 Dec 10 15:20 slurud16.240pk
-rw-r--r--   1 root     110        11540 Dec 10 15:20 sluruu16.240pk

musictex/pk/dpi300:
total 156
-rw-r--r--   1 root     110         8668 Dec 10 15:20 beamn16.300pk
-rw-r--r--   1 root     110         8876 Dec 10 15:20 beamn20.300pk
-rw-r--r--   1 root     110         8888 Dec 10 15:20 musicn16.300pk
-rw-r--r--   1 root     110        11392 Dec 10 15:21 musicn20.300pk
-rw-r--r--   1 root     110         9736 Dec 10 15:21 slur16.300pk
-rw-r--r--   1 root     110        16684 Dec 10 15:21 slurdd16.300pk
-rw-r--r--   1 root     110        16684 Dec 10 15:21 slurdu16.300pk
-rw-r--r--   1 root     110         7116 Dec 10 15:22 slurn16.300pk
-rw-r--r--   1 root     110         9068 Dec 10 15:22 slurn20.300pk
-rw-r--r--   1 root     110        16560 Dec 10 15:22 slurud16.300pk
-rw-r--r--   1 root     110        16280 Dec 10 15:22 sluruu16.300pk

musictex/tfm:
total 44
-rw-r--r--   1 root     110          772 Dec 10 15:20 beamn16.tfm
-rw-r--r--   1 root     110          772 Dec 10 15:20 beamn20.tfm
-rw-r--r--   1 root     110          820 Dec 10 15:20 musicn16.tfm
-rw-r--r--   1 root     110          820 Dec 10 15:21 musicn20.tfm
-rw-r--r--   1 root     110          772 Dec 10 15:21 slur16.tfm
-rw-r--r--   1 root     110          724 Dec 10 15:21 slurdd16.tfm
-rw-r--r--   1 root     110          724 Dec 10 15:21 slurdu16.tfm
-rw-r--r--   1 root     110          708 Dec 10 15:22 slurn16.tfm
-rw-r--r--   1 root     110          708 Dec 10 15:22 slurn20.tfm
-rw-r--r--   1 root     110          724 Dec 10 15:22 slurud16.tfm
-rw-r--r--   1 root     110          724 Dec 10 15:22 sluruu16.tfm

From bobb@agora.rain.com  Wed Dec 11 01:01:10 1991
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Date: Tue, 10 Dec 91 22:59 PST
From: bobb@agora.rain.com (Bob Beauchemin)
To: mutex@stolaf.edu
Subject: Music in books using MusicTeX



  Thanks for the suggestions on music in books using TeX! Received the letter
and Latex macros for MusicTeX. This may be just the thing to convince my
friends to typeset their book on Music by using TeX (they don't even have
TeX itself yet, and I've only been using it for a few weeks).

  What they want to do is use music riffs as others use mathematical
formulas in their books. For example:
-------------------------Sample page ---------------------------------------

Some narrative about musical constructs.....and here is an example of a
certain musical construct:

   ------------------------------------------------------------------
   ------------------------------------------------------------------
   -----------------------Small example of music---------------------
   ------------------------------------------------------------------
   ------------------------------------------------------------------

as you can see by the above riff....(their point).................Next came
the composer called....etc etc.. more narrative.

   The style files to use MusicTeX with Latex should be a BIG help!
   Thanks again.

Bob Beauchemin
S&B Software, Inc
6503 SW 46th Place
Portland OR, 97221
(503)-244-5029
bobb@agora.rain.com

From icking@gmdzi.gmd.de  Thu Dec 12 09:06:23 1991
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Date: Thu, 12 Dec 91 15:46:11 -0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <9112121446.AA06861@gmdzi.gmd.de>
To: mutex@stolaf.edu
Subject: Mu(sic)TeX fonts

When I installed the MusicTeX **AND** the MuTeX fonts on a Un*x system
I had several problems, but I could solve them. I'm not sure whether my
solution is a good solution - it works.

There are Metafont sources from MuTeX:
 acc16.mf       musicdef.mf    slur16.mf      slurud16.mf    vio16.mf
 beam16.mf      noten16.mf     slurdd16.mf    sluruu16.mf
 music16.mf     pause16.mf     slurdu16.mf    sonder16.mf
                    and from MusicTeX:
 beamd20.mf     beamt20.mf     musicd20.mf    musicn20.mf    slurn16.mf
 beamn16.mf     beamv20.mf     musicdef.mf    slur16.mf      slurn20.mf
 beamn20.mf     local.mf       musicg16.mf    slurdd16.mf    slurud16.mf
 beamngen.mf    modes.mf       musicgen.mf    slurdu16.mf    sluruu16.mf
 beamq20.mf     musicd16.mf    musicn16.mf    slurgen.mf

Some other netter proposed already that it is advisable to comment out
the two lines in local.mf (%) and to make the mode-definition outside of
these files when calling Metafont. And do not take  modes.mf if you
already have a "better" one. Otherwise it may be that you have to merge
modes.mf of MusicTeX and modes.mf you already have.

I had to keep all the sources in the same directory so I had the problem
of duplicate names. My solution was to prefer the MusicTeX-definitions.
But then music16 of MuTeX was unusable; the flags were too big for the
eights and completely black for 16th, ... This disappeared when I changed
the MuTeX music16.mf to refer to musicd16.mf instead of  musicdef.mf.

Now everything works well on the Un*x system (and quick on my MSDOS PC :-)

Werner
--
Werner Icking         icking@gmdzi.gmd.de         (+49 2241) 14-2443
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin 1, Germany
                               "Der Dativ ist dem Genitiv sein Tod."

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Fri Dec 13 08:25:42 1991
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Date: 13 DEC 91 15:27:04.22-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: MetaFONT et modes
To: MUTEX@stolaf.edu


(in englis because sent also to MuTeX@stolaf.edu)

Everybody tells me that I should use modes.mf to generate
musicTeX fonts (and every other new font) but I workd hard to
find that I was not able to introduce mode in the MF command.

The answer is that you have to run MF /i plain.ini
where plain.ini contains "input modes.mf" (mine contained
"input local.mf" and then copy into \emtex\mfbases
the resuklting file "plain.bas".

This is absolutely obvious for anybody, but so obvious that
it is not documented in the Metafont book and that nobody told it.

Now you know that I know that you did not tell me what I should
know...

From @UICVM.uic.edu:wagner@dcc.unicamp.ansp.br  Fri Dec 13 14:26:50 1991
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Date: Fri, 13 Dec 91 13:35:47 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.uic.edu (Wagner Ikeda)
Subject: availability of MuTeX and MusicTeX
To: mutex@stolaf.edu
Message-Id: <01GE2F289GHO934Q3J@ccvax.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi there! Can anyone tell me if these packages are available thru
anon. FTP? Which sites?
Or else, how can I get these packs?

Thank you

Wagner Ikeda
wagner@dcc.unicamp.ansp.br

From ORLANDINI@HEAVAX.GSFC.NASA.GOV  Tue Dec 17 17:45:42 1991
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From: ORLANDINI@HEAVAX.GSFC.NASA.GOV (M.Orlandini - NASA/GSFC. Tel (301) 286 1128)
Message-Id: <911217184651.21001fab@HEAVAX.GSFC.NASA.GOV>
Subject: Print of MusicTeX notice.tex on american size paper
To: mutex@stolaf.edu
X-Vmsmail-To: SMTP%"mutex@stolaf.edu"

Is there a simple way to print the notice.tex file of the MusicTeX package
on american size paper? The author wrote all the output macros for the 
european A4 paper, therefore I am not able to print the file.

Thank you
---Mauro

From vera@prodnet.la.locus.com  Tue Dec 17 22:49:56 1991
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Date: Tue, 17 Dec 91 20:43:54 -0800
From: William Vera <vera@prodnet.la.locus.com>
Message-Id: <9112180443.AA265280@prodnet.la.locus.com>
To: ORLANDINI@HEAVAX.GSFC.NASA.GOV (M.Orlandini - NASA/GSFC. Tel (301) 286 1128)
Cc: mutex@stolaf.edu
Subject: Re: Print of MusicTeX notice.tex on american size paper
In-Reply-To: Message of Tue,
             17 Dec 1991 18:46:51 EST       from "ORLANDINI@HEAVAX.GSFC.NASA.GOV (M.Orlandini - NASA/GSFC. Tel (301) 286 1128)"       <911217184651.21001fab@HEAVAX.GSFC.NASA.GOV>
Fcc: 

-------

> Is there a simple way to print the notice.tex file of the MusicTeX package
> on american size paper? The author wrote all the output macros for the 
> european A4 paper, therefore I am not able to print the file.

> Thank you
> ---Mauro

Just produce a "notice.ps" file with 'dvi2ps' and change line #56 from:
	
	310 -3005 translate                      % move origin to top

to:

	150 -3250 translate                      % move origin to (American) top


.then just send it to the postscript printer.

- William Vera
  Locus Computing Corp.
  Inglewood, CA - USA
  vera@locus.com

From deflorio@minsky.csata.it  Wed Dec 18 04:41:11 1991
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From: Enzo De Florio <deflorio@minsky.csata.it>
Subject: legati in MusicTeX
To: mutex@stolaf.edu
Date: Wed, 18 Dec 91 11:19:03 MET
Mailer: Elm [revision: 66.25]

Dear Sirs,
I would like any idea about creating real legati signs for MusicTeX.
The macros \itenu, \itenl and \ileg don't seem to me to be enough for
this job. I think (and propose to you) the following:
we could create some sort of "bezier style curves", (see `the METAFONTbook'
for more details), specifying their points by inserting in the source
lines like
		\zcharnote x{\firstpoint}
		\zcharnote x{\secondpoint}
and so on, and then starting the drawing with another macro, say \legato.

The main problem is that I'm not able to do that... any volunteer?

Thanks for the attenction,

- Vincenzo De Florio
  deflorio@minsky.csata.it

From robin.fairbairns@lsl.co.uk  Wed Dec 18 06:51:40 1991
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Date: Wed, 18 Dec 1991 12:49:35 +0100
From: Robin Fairbairns <robin.fairbairns@lsl.co.uk>
To: mutex@stolaf.edu
Message-Id: <009534C0.B27401C0.4521@lsl.co.uk>
Subject: Re: legati in MusicTeX


In article <9112181041.AA00461@stolaf.edu>, Enzo De Florio <deflorio@it.csata.minsky> writes:
> I would like any idea about creating real legati signs for MusicTeX.
> The macros \itenu, \itenl and \ileg don't seem to me to be enough for
> this job.

I agree.  However, Daniel Taupin's announcement of the latest MusicTeX 
did mention that he was thinking about improving ties and legati.  The 
earlier MuTeX did the job better, but Daniel lost the German work in his 
development of multi-staff music.

>           I think (and propose to you) the following:
> we could create some sort of "bezier style curves", (see `the METAFONTbook'
> for more details), specifying their points by inserting in the source
> lines like
> 		\zcharnote x{\firstpoint}
> 		\zcharnote x{\secondpoint}
> and so on, and then starting the drawing with another macro, say \legato.
> The main problem is that I'm not able to do that... any volunteer?

I don't think that one can in fact do the job as simply as you suggest.
I can see two possible routes to do the job:

1) Retrieve the MuTeX work.  Advantage: known working, general solution;
   Daniel's already working on it.  Disadvantage: there was probably a 
   reason that the MuTeX capability was lost in the first place, so 
   Daniel's work on it will presumably take some time...

2) Using PostScript functions.  Advantage: I think I can see how to do 
   it (at least excepting over line breaks... ;-).  Disadvantage: yukky
   way of doing the job (like the languages I used to use in the 60s 
   that enabled you to drop into assembler for anything difficult);
   not a general solution (only works for those, like me, who print on
   a PostScript printer).

In fact, I proposed a more general PostScript-based crescendo/
decrescendo sign to Daniel some time back.  He didn't explicitly 
respond, but the next version of MusicTeX he released contained the 
present expanded range of such signs (done in Metafont, which I _still_ 
don't like, but _still_ haven't got round to replacing...).

One presumes, therefore, that he doesn't like PostScript solutions: not
unreasonable, since the evidence of his (one-time) device-specific
Metafont code was that he didn't have a PostScript printer. 
-- 
Robin Fairbairns, Senior Consultant, postmaster and general dogsbody
Laser-Scan Ltd., Science Park, Milton Rd., Cambridge CB4 4FY, UK
Email: robin@lsl.co.uk  --or--  rf@cl.cam.ac.uk

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Wed Dec 18 10:03:36 1991
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Date: 18 DEC 91 16:58:36.03-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: Slurs = legati = tenuti = Bogen = ties = tenues
To: MUTEX@stolaf.edu



Please, don't shoot the pianist, his is doing his best.

I'm conscious this is an serious aesthetic problem. But extremely difficult
in the general case, because it is impossible to find the horizontal distance
between two notes when there is glue interleaved bu TeX inbetween.

Ad if I inhibit glue when a slur is pending, then things will get awfully ugly.

So, what I shall provide will be a facility of having short range slurs
and ties (of the same order as the beam lengths). And, in case of emergency,
you can still use zcharnote to set some character where you like:

 \font\slurx=slurn20
 \zcharnote r¤\slurx\char 117‡

D. Taupin

.. All the possible is done, the impossible is being done, for miracles
I ask for some delay.

From @UICVM.uic.edu:wagner@dcc.unicamp.ansp.br  Fri Dec 20 08:52:03 1991
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Date: Thu, 19 Dec 91 17:59:44 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.uic.edu (Wagner Ikeda)
Subject: I can't get mutex (help please)
To: mutex@stolaf.edu
Message-Id: <01GEC4B8RME295N58W@ccvax.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Our internet connection always had some problems. Now due to an
overload in the line, ftp services are no longer available.
I don't know any ftp server (thru mail) that can distribute mutex. Can
someone contact me if you do know.

And as a last hope (if there's no ftp server supporting mutex), is there
anyone who can send me thru mail (tar+compress+uuencode+split). Please
are there any volunteers?
If you decide to help me, first please ask me if nobody had the job
yet, OK?
I'm so sorry if I offend someone.

Thanks for any help and for reading this,



Wagner Ikeda
wagner@dcc.unicamp.ansp.br

From piet@cs.ruu.nl  Fri Dec 20 09:40:18 1991
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Date: Fri, 20 Dec 91 16:40:01 -0100
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9112201540.AA19702@alchemy.cs.ruu.nl>
To: wagner%dcc.unicamp.ansp.br@UICVM.uic.edu (Wagner Ikeda)
Cc: mutex@stolaf.edu
Subject: Re: I can't get mutex (help please)
References: <01GEC4B8RME295N58W@ccvax.unicamp.ansp.br>

We have both MuTeX (the German one) and musictex (the French one) available
by mail server.

Note: musictex.tar.Z and musictex.zip contain about the same info (except
that musictex.zip contains gf files that you don't need and musictex.tar.Z
contain Karl Berry's macros). Please choose one of them.
MuTeXfonts.tar.Z contains pk files that you can generate yourself if you
have Metafont. 

How to get musictex.tar.Z, musictex.zip, MuTeX.tar.Z and MuTeXfonts.tar.Z
from the archive at
	Dept. of Computer Science, Utrecht University:

NOTE: In the following I have assumed your mail address is john@highbrow.edu.

    Of course you must substitute your own address for this. This should be
    a valid internet or uucp address. For bitnet users name@host.BITNET
    usually works.  

by FTP: (please restrict access to weekends or evening/night (i.e. between
about 20.00 and 0900 UTC).

    ftp archive.cs.ruu.nl [131.211.80.5]
    user name: anonymous or ftp
    password: your own email address (e.g. john@highbrow.edu)
      Don't forget to set binary mode if the file is a tar/arc/zoo archive,
      compressed or in any other way contains binary data.
    get TEX/musictex.tar.Z
    get TEX/musictex.zip
    get TEX/MuTeX.tar.Z
    get TEX/MuTeXfonts.tar.Z

by mail-server:

send the following message to
mail-server@cs.ruu.nl (or uunet!mcsun!hp4nl!ruuinf!mail-server):

    begin
    path john@highbrow.edu (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send TEX/musictex.tar.Z
    send TEX/musictex.zip
    send TEX/MuTeX.tar.Z
    send TEX/MuTeXfonts.tar.Z
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE USER@HOST.BITNET ***

The path command can be deleted if we receive a valid from address in your
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From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Sun Dec 22 11:51:11 1991
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From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: MusicTeX fonts : a little bug
To: MUTEX@stolaf.edu


The quarter rest (= soupir = Viertelpause) becomes incorrect at little
sizes in the musicn20 and musicn16 fonts. This happens in musicn16
and also in musicn20 scaled 800 and probably smaller. This is due to
a "strange path" not diagnosed by metafont.

 So look in musicgen.mf, character 62: the penpos7 shoul have an angle
of 45 degrees instead of 10.

  Corrected fonts will be posted in a few days...

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Mon Dec 23 09:39:20 1991
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Date: 23 DEC 91 16:41:01.67-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: MusicTeX fonts corrected
To: MUTEX@stolaf.edu


Slight corrections in musictex.tex, examples and fonts now posted
at rsovax.ups.circe.fr  (130.84.128.100)

Note the .ups. between "rsovax" and "circe.fr". The old name will work
for a while but not in s\ae cula s\ae culorum...
(the rest not either...)

From @CUNYVM.CUNY.EDU:KOZUSKO@CSEARN.BITNET  Thu Dec 26 16:55:30 1991
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Date:         Thu, 26 Dec 91 23:13:26 MDT
From: Petr Novotny <KOZUSKO%CSEARN.bitnet@CUNYVM.CUNY.EDU>
Subject:      Problems with MusicTeX fonts
To: MusicTeX discussion list <mutex@stolaf.edu>

Hello everybody!

I was just making fonts for MusicTeX when I got this error message:


>This is METAFONT, Version 2.0 [3a] (preloaded base=plain 91.12.23)  26 DEC 1991
>**&plain \mode=lqlores; mag=1; input musicn16
>(\emtex\mfinput\musicn16.mf (\emtex\mfinput\musicd16.mf
>(\emtex\mfinput\modes.mf) (\emtex\mfinput\local.mf))
>(\emtex\mfinput\musicgen.mf [16] [17] [18] [19] [20] [21] [22] [23] [24]
>[25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39]
>[40] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50] [51] [52] [53] [54]
>[55] [56] [57] [58] [59] [60] [61] [62] [63] [64] [65] [66] [67] [68] [69]
>[70] [71] [72] [73] [74] [75] [76] [77] [78] [79] [80] [81] [82] [83] [84]
>[85] [86] [87] [88] [89] [90] [91] [92] [93] [94] [95] [96] [97] [98] [99]
>[100] [101] [102] [103] [104] [105] [106] [107] [108] [109]
> > 0 ESE 1 SSE 2 SSW WSW 4 (WNW NNW NNE) ENE NNE 5 NNW 6 7 (WNW WSW) SSW 0 (SSE
>! Strange path (turning number is zero).
><to be read again>
>                   ;
>flagshape->...)+2]e{down}..intersectionp);
>                                          else:penstrike(counterclock...
>cflag->...,flagthick,flagthin,0,0,(EXPR0))
>                                          ;
>l.1184      cflag(1)
>                    ;
>The path doesn't have a counterclockwise orientation,
>so I'll probably have trouble drawing it.
>(See Chapter 27 of The METAFONTbook for more help.)
>
>[110] [111] [112] [113] [114] [115] [116] [117] [118] [119] [120] [121]
>[122] [123] [124] [125] [126]) )
>(some charht values had to be adjusted by as much as 0.65002pt)
>Font metrics written on musicn16.tfm.
>Output written on musicn16.180gf (111 characters, 10964 bytes).


What does it mean? I've tried to change the angle 10 to 45 in MUSICGEN.MF,
but it didn't help.



+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+
Petr Novotny                           BITNET: KOZUSKO@CSEARN
Prague                            Tel (voice): (42-2) 8550778
Czechoslovakia

     "Naur an edraith ammen! Naur dan i ngaurhoth!"

+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+

From @CUNYVM.CUNY.EDU:KOZUSKO@CSEARN.BITNET  Thu Dec 26 18:51:51 1991
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Date:         Fri, 27 Dec 91 01:44:15 MDT
From: Petr Novotny <KOZUSKO%CSEARN.bitnet@CUNYVM.CUNY.EDU>
Subject:      Problems with MusicTeX fonts
To: MusicTeX discussion list <mutex@stolaf.edu>

Hello everybody!

I was just making fonts for MusicTeX when I got this error message:


>This is METAFONT, Version 2.0 [3a] (preloaded base=plain 91.12.23)  26 DEC 1991
>**&plain \mode=lqlores; mag=1; input musicn16
>(\emtex\mfinput\musicn16.mf (\emtex\mfinput\musicd16.mf
>(\emtex\mfinput\modes.mf) (\emtex\mfinput\local.mf))
>(\emtex\mfinput\musicgen.mf [16] [17] [18] [19] [20] [21] [22] [23] [24]
>[25] [26] [27] [28] [29] [30] [31] [32] [33] [34] [35] [36] [37] [38] [39]
>[40] [41] [42] [43] [44] [45] [46] [47] [48] [49] [50] [51] [52] [53] [54]
>[55] [56] [57] [58] [59] [60] [61] [62] [63] [64] [65] [66] [67] [68] [69]
>[70] [71] [72] [73] [74] [75] [76] [77] [78] [79] [80] [81] [82] [83] [84]
>[85] [86] [87] [88] [89] [90] [91] [92] [93] [94] [95] [96] [97] [98] [99]
>[100] [101] [102] [103] [104] [105] [106] [107] [108] [109]
> > 0 ESE 1 SSE 2 SSW WSW 4 (WNW NNW NNE) ENE NNE 5 NNW 6 7 (WNW WSW) SSW 0 (SSE
>! Strange path (turning number is zero).
><to be read again>
>                   ;
>flagshape->...)+2]e{down}..intersectionp);
>                                          else:penstrike(counterclock...
>cflag->...,flagthick,flagthin,0,0,(EXPR0))
>                                          ;
>l.1184      cflag(1)
>                    ;
>The path doesn't have a counterclockwise orientation,
>so I'll probably have trouble drawing it.
>(See Chapter 27 of The METAFONTbook for more help.)
>
>[110] [111] [112] [113] [114] [115] [116] [117] [118] [119] [120] [121]
>[122] [123] [124] [125] [126]) )
>(some charht values had to be adjusted by as much as 0.65002pt)
>Font metrics written on musicn16.tfm.
>Output written on musicn16.180gf (111 characters, 10964 bytes).


What does it mean? I've tried to change the angle 10 to 45 in MUSICGEN.MF,
but it didn't help.



+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+
Petr Novotny                           BITNET: KOZUSKO@CSEARN
Prague                            Tel (voice): (42-2) 8550778
Czechoslovakia

     "Naur an edraith ammen! Naur dan i ngaurhoth!"

+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+

From @CUNYVM.CUNY.EDU:KOZUSKO@CSEARN.BITNET  Thu Dec 26 18:53:06 1991
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Date:         Fri, 27 Dec 91 01:51:21 MDT
From: Petr Novotny <KOZUSKO%CSEARN.bitnet@CUNYVM.CUNY.EDU>
Subject:      Sorry
To: MusicTeX discussion list <mutex@stolaf.edu>

It seems that system here got a bit lost and sent my file to the list
again instead of receiving it. I'm very sorry.



+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+
Petr Novotny                           BITNET: KOZUSKO@CSEARN
Prague                            Tel (voice): (42-2) 8550778
Czechoslovakia

     "Naur an edraith ammen! Naur dan i ngaurhoth!"

+--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--*--+

From @CUNYVM.CUNY.EDU:TAUPIN@FRUPS51.BITNET  Thu Jan  2 10:50:14 1992
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Date:  2 JAN 92 17:52:07.46-GMT
From: TAUPIN%FRUPS51.bitnet@CUNYVM.CUNY.EDU
Subject: rsovax.circe.fr
To: MUTEX@stolaf.edu

On vient de changer la liaison SNA-link a 9600 morceaux par seconde
et de la remplacer par une fibre optique. Ceux qui veulent acceder aux version
originales de MusicTeX, de FTAx, etc. sont invites a tester, et me dire
si c'est plus rapide... et si ca marche.

The SNA-link between rsovax.circe.fr (now rsovax.ups.circe.fr) has been replaced
with a brand new optic fiber link. The throughput is thus no more limited
to 9600 bits/sec but or the order of 30kbytes/second. Please try it
and tell me whether it works, and whether it is faster.

Thanks and happy new year...

D. Taupin

From dgold@basso.actrix.gen.nz  Mon Jan  6 21:14:47 1992
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: MusicTeX beam problems

Hi,
As you'll see, I've just started using MusicTeX, and I'm having a bit
of trouble understanding how to put beams on notes correctly.  I need
a 16th note attached to a dotted 8th, but after endless experiments,
instead of:

   O   O .
  |_  |
  |___|

I'm getting something like this:

   |

   O   O .
  |_  |
  |_|_|

That is, the 16th note beam has got an extra little stem linking it to 
the 8th note beam, and there's a mysterious little bit of stem (or
something) hanging in space above the 1st note head.  Here's the
code I used to get this:

\Notes\ibbu0j0\ibl0j0\tbbu0\qb0j\tbl0\qbp0j\enotes

I'm still finding the descriptions of these things in Notice.tex puzzling,
and wonder if anyone can tell me where I'm going wrong.

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Tue Jan  7 03:38:36 1992
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Date:  7 JAN 92 10:40:40.33-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: solution to beam problems from new zealand
To: MUTEX@stolaf.edu

\input musicnft
\input musictex
\input musicvbm
\input musicsty

\centerline¤\enorme 16th + pointed 8th notes‡\bigskip

\def\nbinstruments¤1‡
\debutextrait
\normal
\kern 5pt
\notes\ibbl0j0\rlap¤\qsk\tbbl0‡\qb0j\enotes
\NOTes\tbl0\qbp0j\enotes
\temps
\notes\ibbu0j0\rlap¤\qsk\tbbu0‡\qh0j\enotes
\NOTes\tbu0\qhp0j\enotes
\finextrait

\bye



From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Tue Jan  7 04:17:08 1992
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Date:  7 JAN 92 11:18:56.38-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: (correction to beam problem from NZ) (again)
To: MUTEX@stolaf.edu

\input musicnft
\input musictex
\input musicvbm
\input musicsty
Note: in this text, I replaced the left and right braces
with <(> and <)> since they are damaged by the mutex@stola
list server.


\centerline<(>\enorme 16th + pointed 8th notes<)>\bigskip

\def\nbinstruments<(>1<)>
\debutextrait
\normal
\kern 5pt
\notes\ibbl0j0\rlap<(>\qsk\tbbl0<)>\qb0j\enotes
\NOTes\tbl0\qbp0j\enotes
\temps
\notes\ibbu0j0\rlap<(>\qsk\tbbu0<)>\qh0j\enotes
\NOTes\tbu0\qhp0j\enotes
\finextrait

\bye



From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Fri Jan 10 14:46:38 1992
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Date:  9 JAN 92 19:00:41.95-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: Musictex (with faster Opt. Fiber link...)
To: MUTEX@stolaf.edu

New version 4.40 of MusicTeX available by ftp anonymous
at 130.84.128.100 (rsovax.ups.circe.fr)

New: notice.tex more comprehensive and corrected.

   - for LaTeX users : musictex.sty (thanks to N. Brouard)
   - better control of vertical space between instruments/staffs


Further projects:
                  small notes, nicer ties.

                  Daniel TAUPIN, Bat. 510, 91405 ORSAY (France)

From dgold@basso.actrix.gen.nz  Fri Jan 10 14:49:33 1992
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Message-Id: <9201102318.AA005s5@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: (correction to beam problem from NZ)

Thank you Daniel for your clever solution to my 16th & pointed 8th
note question.  It's something that never would have occured to me.
I still haven't quite figured out *why* it works, but I'll use it 
happily until I do.

I think that part of my confusion was due to an error in NOTICE.TEX.
The example code for a beamed 8th and 16th in my printed version doesn't
actually produce the figure shown in the illustration!  (I hope the line
number is right - I had to add few lines of my own to get the pages to fit
on my HP Deskjet printer)

% notice.tex
line 968:  \\notes\\ibl0p0\\ql0p\\tbbl0\\tbl0\\qb0e\\enotes

should be: \\notes\\ibu0e0\\qh0e\\tbbu0\\tbu0\\qh0e\\enotes

shouldn't it? 

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From UPSORSAY%FRUPS51.BITNET@mitvma.mit.edu  Sat Jan 11 13:49:42 1992
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Subject:  BITNET mail from UPSORSAY at FRUPS51
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Date: see below
From:    dgold@basso.actrix.gen.nz  10-JAN-1992 23:38:35.58
To:      mutex@stolaf.edu
CC:
Subj:    Re: (correction to beam problem from NZ)

Message date : Fri, 10 Jan 92 15:18:03 PST
HELO CUNYVM.BITNET
TICK 5755
MAIL FROM:<dgold@basso.actrix.gen.nz>
RCPT TO:<taupin@FRUPS51.bitnet>
DATA
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Thank you Daniel for your clever solution to my 16th & pointed 8th
note question.  It's something that never would have occured to me.
I still haven't quite figured out *why* it works, but I'll use it
happily until I do.

I think that part of my confusion was due to an error in NOTICE.TEX.
The example code for a beamed 8th and 16th in my printed version doesn't
actually produce the figure shown in the illustration!  (I hope the line
number is right - I had to add few lines of my own to get the pages to fit
on my HP Deskjet printer)

% notice.tex
line 968:  \\notes\\ibl0p0\\ql0p\\tbbl0\\tbl0\\qb0e\\enotes

should be: \\notes\\ibu0e0\\qh0e\\tbbu0\\tbu0\\qh0e\\enotes

shouldn't it?

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From deflorio@minsky.csata.it  Mon Jan 13 06:17:59 1992
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From: Vincenzo De Florio <deflorio@minsky.csata.it>
Subject: a very naive question.
To: mutex@stolaf.edu
Date: Mon, 13 Jan 92 13:17:22 MET
Mailer: Elm [revision: 66.25]

Dear Sirs,
I beg your pardon for this naive question about musicTeX.

Very often, writing a musical score with musicTeX---that I
think is fantastic and powerful---I would like that two or more
consecutive mesures don't stretch from each other, because
they're logically tied.

What I would like is to know how can I specify a "\barre" instruction
so that there won't be inserted any glue (am I speaking right? I hope it!)
between the two "\notes" instructions in which "\barre" appears.

Thanks a lot for your attenction, and again excuse me for
silly questions---as you can see, I'm not a TeXpert.

- Vincenzo De Florio

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q

From cypress!cypress.com!rbv@decwrl.dec.com  Mon Jan 13 18:31:58 1992
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From: rbv@cypress.com (Roger Vanderveen)
Message-Id: <9201132312.AA22651@siberia.>
To: mutex@stolaf.edu
Subject: Documentation

I have not been able to get any documentation for MusicTeX.  I don't have
FTP access and obtained the package from cs.ruu.nl, but that package did
not contain much instruction.

Would someone please mail a manual to me or tell me where I can get it via
mail server?  And if it's long, please offer to send it first, before I get
several copies.

Thanks much,
Roger


From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Tue Jan 14 07:18:54 1992
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Date: Tue, 14 Jan 92 10:42:54 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: Documentation
In-Reply-To: Roger Vanderveen's message of Mon, 13 Jan 92 15:12:54 PST
 <9201132312.AA22651@siberia.>
To: rbv@cypress.com
Cc: mutex@stolaf.edu
Message-Id: <01GFAYD4ATU89BVZG3@ccvax.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Mr. Vanderveen, I saw you used the dec gateway to send your message.
Do you know that there is a ftp server running in decwrl.dec.com that
makes ftp in anywhere it can reach and sends you the stuff thru mail,
in uuencode + split fashion?
If you did not, try send a message to ftpmail@decwrl.dec.com with help
as message body.
Then you can try, perhaps get the latest version of Musictex which Mr.
Taupin announced recently. (I'm sorry I am not sure if host
rsovax.ups.circe.fr can be reached from decwrl. I'm not sure also if
you can find what you are looking for in the latest version, I did not
see yet and my version is also from cs.ruu.nl).
Well, I hope this message was useful.

----------------------------------------------------------------------
                          Wagner H. Ikeda
                     wagner@dcc.unicamp.ansp.br
                           projeto AHAND

    ============
    |OOOO-O|-OO|    Depto. de  Ciencia       Department of
    |O-OOOO|O-O|      da  Computacao       Computer  Science
    |OOOO-O|O-O|       Universidade          University of
    |O-OOOO|O-O|   Estadual de Campinas        Campinas
    ============

From cypress!cypress.com!rbv@decwrl.dec.com  Sun Jan 19 09:24:03 1992
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From: rbv@cypress.com (Roger Vanderveen)
Message-Id: <9201180426.AA08561@siberia.>
To: mutex@stolaf.edu
Subject: Problem with a beam

Can anyone tell me why the first beam in the following file is being shifted
to the left relative to its two notes?

\nopagenumbers
\vsize=6in
\input musicnft
\input musictex
\def\nbinstruments{1}
\nbporteesi=2
\cleftoksi={{6}{0}{0}{0}}
\generalsignature1
\generalmeter{\meterC}
\computewidths\debutmorceau
\normal
%
\leftrepeatsymbol
% Wish that I was
\Notes           \wh G  | \clp i \enotes
\Notes                  | \ccl k \enotes
\Notes                  | \ql  k \enotes
\Notes                  | \ql  k \enotes
\barre
%
\Notes          \hu J   | \ql  l \enotes
\Notes                  | \ql  l \enotes
\Notes          \hu G   | \ibl0k{-3} \qb0k \enotes
\Notes                  | \tbl0 \qb0i \enotes
\Notes                  | \qu  g \enotes
\barre
%
\Notes          \hu E   | \qu  g \enotes
\Notes                  | \zqu g \ibu0g0 \enotes
\Notes                  |         \qh0 g \enotes
\Notes          \hu D   |     \qh0 h \enotes
\Notes                  |         \tqh0 g \enotes
\Notes                  | \qu  h \enotes
\barre
\end

From dgold@basso.actrix.gen.nz  Tue Jan 21 19:20:15 1992
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Date: Wed, 22 Jan 92 13:32:18 PST
Message-Id: <9201222132.AA006a3@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: Problem with a beam

rbv@cypress.com (Roger Vanderveen) asked:
> Can anyone tell me why the first beam in the following file is being 
> shifted to the left relative to its two notes?

> \Notes          \hu G   | \ibl0k{-3} \qb0k \enotes
> \Notes                  | \tbl0 \qb0i \enotes
> \Notes                  | \qu  g \enotes
> \barre

I found that taking out a few spaces fixed it:

\Notes          \hu G   | \ibl0k{-3}\qb0k\enotes
\Notes                  | \tbl0\qb0i\enotes

But I like the way this code looks with the |'s aligned.  It would be much
easier to identify the different parts quickly, but can anyone tell me if
this style of notation might lead to any other problems?

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Fri Jan 24 19:39:24 1992
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From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: how can I set paper dimensions for musictex?
To: mutex@stolaf.edu
Message-Id: <9201242108.AA01452@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi,
I'm sorry I do know that this is not the first time this question is
asked. How can I get musictex output that fits OK in my paper (11.5 x
8 inches). The output gets to left and down, losting some information.
I remember that there was suggested to use dvi2ps and then print it,
but here only teachers can use our postscript printer.
Thanks,
----------------------------------------------------------------------
                          Wagner H. Ikeda
                     wagner@dcc.unicamp.ansp.br
                           projeto AHAND

    ============
    |OOOO-O|-OO|    Depto. de  Ciencia       Department of
    |O-OOOO|O-O|      da  Computacao       Computer  Science
    |OOOO-O|O-O|       Universidade          University of
    |O-OOOO|O-O|   Estadual de Campinas        Campinas
    ============

From dgold@basso.actrix.gen.nz  Sat Jan 25 18:22:21 1992
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Message-Id: <9201262052.AA006fv@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Complex rhythms and barlines

I've just come across a problem in some music I'm arranging. There is 
a passage where the two staves have different meters for a short time:

Treble:	6/8	| 5/8 
Bass:	5/8	| 3/4

(the | just indicates the barline)

Does anyone know how to do this so that a non-aligned barline can be
created which will not be joined between the two staves, with things
continuing normally after that?  

Also, is it possible just to have bar numbers appearing in the first bar 
of each line??

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From icking@gmdzi.gmd.de  Mon Jan 27 04:13:37 1992
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Date: Mon, 27 Jan 92 09:58:08 -0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <9201270858.AA12939@gmdzi.gmd.de>
To: mutex@stolaf.edu, wagner@dcc.unicamp.ansp.br
Subject: Re:  how can I set paper dimensions for musictex?

Wagner Ikeda writes:

>[...]  How can I get musictex output that fits OK in my paper (11.5 x
>8 inches). The output gets to left and down, losting some information.
>I remember that there was suggested to use dvi2ps and then print it,
>but here only teachers can use our postscript printer.

Comment out following lines (18-19) from musictex.tex - as D. Taupin will
do in the next release:
    % procedures speciales D. taupin
    \hsize 16cm \vsize 24cm
Now  you may set \hsize and \vsize as you (and your paper) like it. The
same lines can be found in musictex.sty (l. 354)) and should be removed, too.

Werner

From dgold@basso.actrix.gen.nz  Mon Jan 27 06:32:05 1992
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Beams across bar lines

Is this possible?  For instance, the last 8th note (croche) of a bar with 
a beam connecting it to the first 8th note of the next bar.  I always seem
to get breaks in the beam especially when the time signature changes
between the bars.  It would seem to be possible but I can't find a way...

Cheers,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From piet@cs.ruu.nl  Mon Jan 27 08:28:39 1992
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Date: Mon, 27 Jan 92 15:28:35 +0100
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9201271428.AA20046@alchemy.cs.ruu.nl>
To: mutex@stolaf.edu
Subject: Real slurs

I have been looking into the code for slurs in MuTeX (the original german
thing) and I think it should be possible to do something similar in
musictex. Their solution is to connect two pieces of the slur from the
slurfonts together. If the slur is large the pieces are connected by a
rule. The last one should give the opportunity to make the thing
stretchable (although I have not been able to get it really streched out, I
don't know why).

Daniel says in his doc that he prefers the ``ugly'' method becaus it works
with glue, but I think the large MuTeX slurs should work the same way.
Maybe the user should just have the choice which one to use.

I have not enough insight in the musictex internals to try to code this.
Has anybody made an attempt?

Regards,

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Tue Jan 28 05:53:07 1992
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Date: 28 JAN 92 12:56:04.15-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: MusicTeX
To: MUTEX@stolaf.edu


Some remnants of old version have been corrected.
No file in MusicTeX invokes a dead file (musicmus) or a
local file (genpctex).

BUUUUUUUUUUUUUUUUUUUUUUT PAY ATTENTION :

Take the version from the genuine server: 130.84.128 100
or make sure that the archies are up to date. (26 jan 92)


From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Wed Jan 29 16:14:38 1992
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Date: Wed, 29 Jan 92 20:06:16 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: large TeX / full orchestra score
To: mutex
Message-Id: <9201292206.AA20588@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi,

Two questions:
1) Can anyone please name a large TeX implementation, which is cited
in musictex's notice?
   I run musictex with no memory problems on SunOS, but I tried once
   in MSDOS (with PCTEX) and it aborted due to memory overflow.


2) Is anyone out there trying to use musictex to typeset large scores
(I mean more than 10 instruments)?

Thanks.

----------------------------------------------------------------------
                          Wagner H. Ikeda
                     wagner@dcc.unicamp.ansp.br
                           projeto AHAND

    ============
    |OOOO-O|-OO|    Depto. de  Ciencia       Department of
    |O-OOOO|O-O|      da  Computacao       Computer  Science
    |OOOO-O|O-O|       Universidade          University of
    |O-OOOO|O-O|   Estadual de Campinas        Campinas
    ============

From deflorio@minsky.csata.it  Thu Jan 30 02:47:25 1992
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	(16.6/16.2) id AA04714; Mon, 27 Jan 92 15:41:43 +0100
From: Vincenzo De Florio <deflorio@minsky.csata.it>
Subject: Re: large TeX / full orchestra score
To: mutex
Date: Mon, 27 Jan 92 15:41:42 MET
Cc: mutex@stolaf.edu
In-Reply-To: <9201292206.AA20588@dcc.unicamp.ansp.br>; from "Wagner Ikeda" at Jan 29, 92 8:06 pm
Mailer: Elm [revision: 66.25]

I presently use emTeX, a beautiful implementation of TeX for
PC. It is probably the biggest and more complete implementation of TeX
for the PC; you can have it freely doing FTP to various sites,
for example  cs.ruu.nl (in Europe), in the directory TEX/emtex
if I remember right.

It consists among the other things of two executable code
for tex: TEX.EXE and BTEX.EXE. This last is the so-called
BigTeX, that performs more slowly than the first, but with
a bigger capacity.

I've recently ftp'ed the beta test version of TEX386.EXE,
again from emTeX. It has the advantages of both previous
implementations, and I found it very very good.

We, TeX users, owe much to Eberhard Mattes, the german
friend who created emTeX.


For what concerns the second question, sorry, at present I've
used MusicTeX with at most three instruments.


Hope this could help,


- Vincenzo De Florio
  deflorio@minsky.csata.it

From @CUNYVM.CUNY.EDU:JCF@DGAIPP1S.BITNET  Thu Jan 30 02:54:16 1992
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From: Christoph Fuchs <JCF%DGAIPP1S.bitnet@CUNYVM.CUNY.EDU>
Subject:      Re: large TeX
To: mutex


>  I run musictex with no memory problems on SunOS, but I tried once
>  in MSDOS (with PCTEX) and it aborted due to memory overflow.

Some time ago I tried to run musicTeX on a PC (386SX, 1MB RAM)
with DR-DOS 5 and emTeX  and it worked, but I had to set some
line breaks by hand.


+--------------------+------------------------------------------------+
|J. Christoph Fuchs  | Bitnet:     jcf@dgaipp1s                       |
|                    | Internet:   jcf@ibma.ipp-garching.mpg.de       |
|                    | Voice:      +49 89 3299 1730                   |
|                    | Fax:        +49 89 3299 2580                   |
|                    | Mail:       Max-Planck-Institut f. Plasmaphysik|
|                    |             Boltzmannstrasse                   |
|                    |             W-8046 Garching b. Muenchen        |
|                    |             Germany                            |
+--------------------+------------------------------------------------+
Acknowledge-To: <JCF@DGAIPP1S>

From dgold@basso.actrix.gen.nz  Thu Jan 30 05:20:28 1992
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Real slurs

Piet van Oostrum <piet@cs.ruu.nl> wrote:

> I have been looking into the code for slurs in MuTeX (the original german
> thing) and I think it should be possible to do something similar in
> musictex. Their solution is to connect two pieces of the slur from the
> slurfonts together. If the slur is large the pieces are connected by a
> rule. [...]

I don't understand how slurs and ties work in relation to glue yet, 
but I've been meaning to ask about Daniel's statement in notice.tex 
that he feels that "it is the only way of implementing *in one pass* 
ties & slurs which run across glue".

I've used flavours of TeX which need to do second and third passes to 
take care of indexes, etc.  Does this imply that MusicTeX might one day
be able to do a 2nd pass which would make more elaborate slurs possible
once all the glue has been set, and the lines and pages established?

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Thu Jan 30 07:12:29 1992
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Date: Thu, 30 Jan 92 10:50:31 -0100
From: Werner Icking <icking%gmdzi.gmd.de@UICVM.UIC.EDU>
Subject: [icking@gmdzi.gmd.de: Re:  large TeX / full orchestra score]
Subject: Re:  large TeX / full orchestra score
To: mutex
To: mutex
Message-Id: <9201301303.AA28229@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi, I'm forwarding one answer that I received regarding large bigTeX.
Thanks to:
Frank Holzwarth <HOLZWARTH@DHDSPRI6.bitnet>
(suggested using pctex:
>I.e. if you fire up your PCTeX you will not have all the memory it
>could manage. To achieve this just add two switches to your call:
>/f=xxxxx and /m=yyyyy
)

Christoph Fuchs <JCF%DGAIPP1S.bitnet@CUNYVM.CUNY.EDU>
Vincenzo De Florio <deflorio@minsky.csata.it>

for replies.

--begin included message--

Selber Hi,
>Hi,
>
>Two questions:

but only one answer:

>1) Can anyone please name a large TeX implementation, which is cited
>in musictex's notice?
>   I run musictex with no memory problems on SunOS, but I tried once
>   in MSDOS (with PCTEX) and it aborted due to memory overflow.

I have no problems with emTeX (Eberhardt Mattes TeX) and the esp. bigTeX.
But in the meantime I use the betatest version of emTeX's tex386. emTeX
is free and available at most TeX-servers all over the world.

>
>2) Is anyone out there trying to use musictex to typeset large scores
>(I mean more than 10 instruments)?

Not me.
>
>Thanks.

Hope this hilft. Feel free to send this info to the list. I didn't do it
to avoid multiple postings on the same issue.

Werner
----------------------------------------------------------------------------
==============================================================================
README.ENG (emTeX DISTRIBUTION)                            VERSION: 25.09.1990
==============================================================================
                                              With modifications of 18.03.1991
[...]
------------------------------------------------------------------------------
How do I get emTeX?
------------------------------------------------------------------------------

-  You can get emTeX at some University computing centers.

-  Ask your friends, etc.

-  Ask your local TeX users group.

-  Anonymous ftp:
     rusmv1.rus.uni-stuttgart.de [129.69.1.12]   soft/tex/machines/pc/emtex
     ymir.claremont.edu          [134.173.4.23]  [anonymous.tex.ibm_pc.emtex]
     archive.cs.ruu.nl           [131.211.80.5]  TEX/emtex
     utsun.s.u-tokyo.ac.jp       [133.11.11.11]  TeX/emtex
     ponder.csci.unt.edu         [129.120.3.16]  pub/TeX/EmTeX

-  Mail server:
     mail-server@cs.ruu.nl
     texserver@uk.ac.tex        (UK)
     texserver@tex.ac.uk        (outside UK)

-  Ask the one from whom you got this text.  As this text is distributed
   by the author only with the complete emTeX, you should be able to
   trace back this text to a complete emTeX.

-  If there is no other way to get emTeX (which is impossible, as proved
   above), you can try to send formatted diskettes in sufficient number
   (5.25 inch, 1.2 MB, high density or 3.5 inch, 1.44 MB, high density;
   see above; include a spare diskette), return postage, and a suitable
   self-addressed package, to the author (see below).  Also indicate the
   fonts desired (i.e. printer type and resolution).  You can save the
   author from unpleasant work by using MFjob (which comes with emTeX)
   for generating fonts.

   Shipping at your risk.  You also run the risk of having your address
   given to (a few) other people in your vicinity who want a copy of emTeX.


------------------------------------------------------------------------------
The author
------------------------------------------------------------------------------

Address:

        Eberhard Mattes
        Teckstrasse 81                                         (Teckstra\ss e)
        D-7141 Moeglingen                                      (M\"oglingen)
        Federal Republic of Germany

Questions only by mail! No telephone calls please!
Please inclose a self-addressed return package with postage if
you expect a response.

Electronic mail (subject to sudden change):

    Internet:   mattes@azu.informatik.uni-stuttgart.de
[...]
------------------------------------------------------------------------------
==============================================================================
EMTEX386.DOC [3c-beta3]                                            11-Jun-1991
==============================================================================

This is the 3rd BETA TEST release of emTeX/386 (using emx 0.7l). Don't
expect a perfect package or miracles. There will be enough unexpected
miracles.

------------------------------------------------------------------------------
System Requirements
------------------------------------------------------------------------------
- CPU: 80386DX, 80386SX, or i486; *no* coprocessor required
- Memory: 512KB minimum, 3MB recommended
- Machine: as COMPAQ or IBM compatible as possible
- Operating system: MS-DOS / PC-DOS 3.0 or later (OS/2 not supported)
- VDISK.SYS supported (version 3.3 and later)
- DPMI *not* supported yet (does not run under Windows 3.0)
- EMS emulators using VCPI are supported
- DESQview-386 is supported, but only with QEMM-386 (see notes)
- XMS (himem.sys 2.06 or later) is supported
- Hard disk, floppy disk, ... as required for emTeX
[... :-]
- Due to lazyness and lack of time, this document is available only
  in English(!)

- The newest version of emTeX/386 is available for anonymous ftp
  on rusmv1.rus.uni-stuttgart.de [129.69.1.12] in the directory
  /soft/tex/machines/pc/emtex/betatest

- Report problems to mattes@azu.informatik.uni-stuttgart.de
[...]


From @mitvma.mit.edu:UPSORSAY@FRUPS51.BITNET  Thu Jan 30 07:36:26 1992
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To: mutex

Date: see below
From:    icking%gmdzi.gmd.de@UICVM.UIC.EDU  30-JAN-1992 14:38:18.20
To: mutex
CC:
Subj:    [icking@gmdzi.gmd.de: Re:  large TeX / full orchestra score]

Message date : Thu, 30 Jan 92 10:50:31 -0100
HELO CORNELLC
TICK 2807
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Subject: Re:  large TeX / full orchestra score
To: mutex
Message-Id: <9201301303.AA28229@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi, I'm forwarding one answer that I received regarding large bigTeX.
Thanks to:
Frank Holzwarth <HOLZWARTH@DHDSPRI6.bitnet>
(suggested using pctex:
>I.e. if you fire up your PCTeX you will not have all the memory it
>could manage. To achieve this just add two switches to your call:
>/f=xxxxx and /m=yyyyy
)

Christoph Fuchs <JCF%DGAIPP1S.bitnet@CUNYVM.CUNY.EDU>
Vincenzo De Florio <deflorio@minsky.csata.it>

for replies.

--begin included message--

Selber Hi,
>Hi,
>
>Two questions:

but only one answer:

>1) Can anyone please name a large TeX implementation, which is cited
>in musictex's notice?
>   I run musictex with no memory problems on SunOS, but I tried once
>   in MSDOS (with PCTEX) and it aborted due to memory overflow.

I have no problems with emTeX (Eberhardt Mattes TeX) and the esp. bigTeX.
But in the meantime I use the betatest version of emTeX's tex386. emTeX
is free and available at most TeX-servers all over the world.

>
>2) Is anyone out there trying to use musictex to typeset large scores
>(I mean more than 10 instruments)?

Not me.
>
>Thanks.

Hope this hilft. Feel free to send this info to the list. I didn't do it
to avoid multiple postings on the same issue.

Werner
----------------------------------------------------------------------------
==============================================================================
README.ENG (emTeX DISTRIBUTION)                            VERSION: 25.09.1990
==============================================================================
                                              With modifications of 18.03.1991
[...]
------------------------------------------------------------------------------
How do I get emTeX?
------------------------------------------------------------------------------

-  You can get emTeX at some University computing centers.

-  Ask your friends, etc.

-  Ask your local TeX users group.

-  Anonymous ftp:
     rusmv1.rus.uni-stuttgart.de [129.69.1.12]   soft/tex/machines/pc/emtex
     ymir.claremont.edu          [134.173.4.23]  [anonymous.tex.ibm_pc.emtex]
     archive.cs.ruu.nl           [131.211.80.5]  TEX/emtex
     utsun.s.u-tokyo.ac.jp       [133.11.11.11]  TeX/emtex
     ponder.csci.unt.edu         [129.120.3.16]  pub/TeX/EmTeX

-  Mail server:
     mail-server@cs.ruu.nl
     texserver@uk.ac.tex        (UK)
     texserver@tex.ac.uk        (outside UK)

-  Ask the one from whom you got this text.  As this text is distributed
   by the author only with the complete emTeX, you should be able to
   trace back this text to a complete emTeX.

-  If there is no other way to get emTeX (which is impossible, as proved
   above), you can try to send formatted diskettes in sufficient number
   (5.25 inch, 1.2 MB, high density or 3.5 inch, 1.44 MB, high density;
   see above; include a spare diskette), return postage, and a suitable
   self-addressed package, to the author (see below).  Also indicate the
   fonts desired (i.e. printer type and resolution).  You can save the
   author from unpleasant work by using MFjob (which comes with emTeX)
   for generating fonts.

   Shipping at your risk.  You also run the risk of having your address
   given to (a few) other people in your vicinity who want a copy of emTeX.


------------------------------------------------------------------------------
The author
------------------------------------------------------------------------------

Address:

        Eberhard Mattes
        Teckstrasse 81                                         (Teckstra\ss e)
        D-7141 Moeglingen                                      (M\"oglingen)
        Federal Republic of Germany

Questions only by mail! No telephone calls please!
Please inclose a self-addressed return package with postage if
you expect a response.

Electronic mail (subject to sudden change):

    Internet:   mattes@azu.informatik.uni-stuttgart.de
[...]
------------------------------------------------------------------------------
==============================================================================
EMTEX386.DOC [3c-beta3]                                            11-Jun-1991
==============================================================================

This is the 3rd BETA TEST release of emTeX/386 (using emx 0.7l). Don't
expect a perfect package or miracles. There will be enough unexpected
miracles.

------------------------------------------------------------------------------
System Requirements
------------------------------------------------------------------------------
- CPU: 80386DX, 80386SX, or i486; *no* coprocessor required
- Memory: 512KB minimum, 3MB recommended
- Machine: as COMPAQ or IBM compatible as possible
- Operating system: MS-DOS / PC-DOS 3.0 or later (OS/2 not supported)
- VDISK.SYS supported (version 3.3 and later)
- DPMI *not* supported yet (does not run under Windows 3.0)
- EMS emulators using VCPI are supported
- DESQview-386 is supported, but only with QEMM-386 (see notes)
- XMS (himem.sys 2.06 or later) is supported
- Hard disk, floppy disk, ... as required for emTeX
[... :-]
- Due to lazyness and lack of time, this document is available only
  in English(!)

- The newest version of emTeX/386 is available for anonymous ftp
  on rusmv1.rus.uni-stuttgart.de [129.69.1.12] in the directory
  /soft/tex/machines/pc/emtex/betatest

- Report problems to mattes@azu.informatik.uni-stuttgart.de
[...]


From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Thu Jan 30 08:56:27 1992
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Date: Thu, 30 Jan 92 10:47:39 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: large TeX
In-Reply-To: Christoph Fuchs's message of Thu, 30 Jan 92 07:26:49 EST
 <9201300854.AA05455@stolaf.edu>
To: mutex
Cc: mutex@stolaf.edu
Message-Id: <9201301247.AA28037@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Thank you,
Wagner Ikeda

From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Thu Jan 30 08:56:45 1992
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Date: Thu, 30 Jan 92 10:50:55 EDT
From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: large TeX / full orchestra score
In-Reply-To: Vincenzo De Florio's message of Mon, 27 Jan 92 15:41:42 MET
 <9201300847.AA05227@stolaf.edu>
To: mutex
Cc: mutex@stolaf.edu, mutex@stolaf.edu
Message-Id: <9201301250.AA28113@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Thank you for your advice,
Wagner Ikeda

From dgold@basso.actrix.gen.nz  Fri Jan 31 18:44:43 1992
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: FAQ file

I've been thinking about the FAQ file, and here are some questions that
seem useful to me, and maybe the beginning of an answer to another one
that seems popular.

Questions:

1. Where's the glue?  it's not clear to me when to use or not use \temps
   or just what it really does.  
 
2. When and why do you really need to put \relax at the end of a line?
   (I guess it prevents the dreaded spaces at the end of lines, and it does
   seem to allow more readable code with things like:

      \notes\foo&
      \foobar&
      \blah\enotes
   
but I'm not sure why it appears in the demos after lines like:
      \tracingstats=1\relax

3. What are the advantages or disadvantages of using ^ instead of \sh?
   Is one more flexible, or is it just a matter of typing style? 
 
4. To my eye, the accidentals are a bit too close to the notes, and the
   \lsh variations have too much space for general use.  Can I define
   my own spacing for accidentals, or will this cause trouble with the glue 
   and spacing of everything else?

A tip:

It *is* explained in notice.tex, but it wasn't clear to me at first that
running BigTeX is not the 1st thing to try when you get `TeX capacity
exceeded' errors in large scores.  Using \autolines or specifying line
breaks with \alaligne, etc, means that TeX doesn't have to try and keep all
the details of the entire piece in memory at once. (or something like
that...)

Has anyone got any more ideas?

Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From newton  Sun Feb  2 10:15:37 1992
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From: newton (Dale E. Newton)
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To: mutex
Subject: SMUSTeX?

Has anyone heard of the following uility? --

------------ Article: 3942 of comp.sys.amiga.applications ------------
From: kzyx@vax5.cit.cornell.edu
Newsgroups: comp.sys.amiga.applications
Subject: Re: MusicTeX
Date: 26 Jan 92 17:38:28 GMT
Article-I.D.: vax5.1992Jan26.123828.10139
Organization: Cornell University


	What about SMUS2TeX, did anyone get it to work? The archive
I found seems to be missing somes files.

	This package is nice because one could use DMCS as the front 
end. Save the file as SMUS, and use this program to convert to MusicTeX
format.

	Regards
	Edval Santos
esantos@macdlab.ee.cornell.edu



From GLETTY@vmd.cso.uiuc.edu  Wed Feb  5 13:40:06 1992
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Date: 5 Feb 1992 1337 CST
From: "Bruce E. Gletty" <GLETTY@vmd.cso.uiuc.edu>
To: mutex
Subject: Lost Mail

Here is a piece of mail that consists of two pieces of mail joined
together somehow. I am sending it on to all people mentioned in the
headers. I am not sending it on to any list servers.

Do not reply to this, the mail will come to me. Use forward to send it
to the person you wish.

Note - I don't know how the mail gets fused together. I just find it
stuck in hold on RSCS's reader. I suspect that someone is leaving an
smtp connection 'open' and other mail gets tacked onto it that way.
All of the fused mail I have seen has had one of two sites as the
originator of the first mail - utoronto and uiowa Its likely IBM's
implementation of SMTP is doing something odd when it gets this
situation.

---<<< Original note follows >>>----------------------
Received: by ugw.utcs.utoronto.ca id <23430>; Sat, 25 Jan 1992 19:58:34 -0500
To: mutex
From:   The UTCS Post Office <postmaster@UTORUGW.bitnet>
Subject: Unresolvable mail address
Cc:     The Postmaster <xbitbucket@UTORUGW.bitnet>
Message-Id: <92Jan25.195834est.23430@ugw.utcs.utoronto.ca>
Date:   Sat, 25 Jan 1992 19:24:58 -0500


Your message has been received by the University of Toronto Computing
Services Postal System. A copy of it has been returned to you because
one or more of the addresses you specified in the following message
were not recognized as addresses that can be reached from this gateway.


error: unresolvable: LNS@WELL.SF.CA

------- Original Message follows -------
rcvdfrom GRIN1.Bitnet
with SMTP
from <SHAWT@GRIN1.Bitnet>
to <LNS@WELL.SF.CA>
Date: Sat, 25 Jan 92 18:12:48 cdt
From: "Me! (Shaw,Tara A)" <SHAWT@GRIN1.Bitnet>
To: mutex
Subject: hi

sorry I didn't write yesterday -- I forgot.
things are fine here.  There's a rollerskating party tonight in the Harris
concert hall. They rented 200 pairs of rollerskates and people will get half
hour turns.  Julia and I were going to bring our rollerblades but apparently
200 is the largest amount of skates the hall can hold so we'll have to take a
turn with everyone else.
I went to the doctor yesterday but apparently I only have a cold. Oh ya and
today I talked to a rugby player about insurance - because you have to have
medical insurance and I wasn't sure Kaiser is good out here.  She said she
has east coast Kaiser and its fine. It pays for things as long as you contact
them first.  Is this true for me?  If so how would I use it if I need to?
        Indoor practice for rugby starts Thursday - just to get in shape
talk to you later
love Tara
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From: dgold@basso.actrix.gen.nz
Subject: Complex rhythms and barlines
To: mutex
Message-id: <9201262052.AA006fv@basso.actrix.gen.nz>
X-Envelope-to: taupin@FRUPS51.BITNET

I've just come across a problem in some music I'm arranging. There is
a passage where the two staves have different meters for a short time:

Treble: 6/8     | 5/8
Bass:   5/8     | 3/4

(the | just indicates the barline)

Does anyone know how to do this so that a non-aligned barline can be
created which will not be joined between the two staves, with things
continuing normally after that?

Also, is it possible just to have bar numbers appearing in the first bar
of each line??

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Thu Feb  6 17:01:22 1992
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Date: Fri, 7 Feb 92 10:35:23 PST
Message-Id: <9202071835.AA006x7@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: SMUSTeX?

newton@stolaf.edu (Dale Newton) asked:
> Has anyone heard of the following uility? --
>
>> What about SMUS2TeX, did anyone get it to work? 

Smus2tex is supposed to convert Amiga SMUS files to MusicTeX format. It was
written by Glenn Lewis (glewis@pcocd2.intel.com) on a Unix machine, but he
thinks it should compile easily on an Amiga.  He became tired of the
project, and has placed it in the Public Domain if anyone else would like
to continue with it.

hadig@cip-s01.informatik.rwth-aachen.de (Thomas Hadig) has just informed me
that:

> If you are interested in the source code of smus2tex, you can find it via
> ftp on amaru.informatik.rwth-aachen.de ( 137.226.112.31) in the directory
> pub/amiga/usenet/ (lzh-packed).

On the subject of Amigas - my son is writing me a mouse-driven front end
for entering MusicTeX code.  If there are any Amiga users on the mailing
list, we'd be interested in hearing from them in email.

Cheers,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From lingnau@math.uni-frankfurt.de  Tue Feb 18 11:34:42 1992
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To: mutex
Subject: Triplets, anyone?
Date: Tue, 18 Feb 92 18:34:10 +0100
From: Anselm Lingnau <lingnau@math.uni-frankfurt.de>

I couldn't find anything in the NOTICE on this: how do you do triplets? I
suppose I might code up an appropriate slur and position the 3 by hand, but
has anybody got code to do this automatically?

Thanks a lot,

Anselm.
--
Anselm Lingnau, Buchenweg 1, 6239 Eppstein| You see things, and you say `Why?'
lingnau@math.uni-frankfurt.de      Germany| But I dream things that never were,
University of Frankfurt, CompSci and Maths| and say `Why not?'  --- G. B. Shaw

From dgold@basso.actrix.gen.nz  Fri Feb 21 18:04:58 1992
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Message-Id: <9202222043.AA007rl@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Cc: lingnau@math.uni-frankfurt.de
Subject: Re: Triplets, anyone?

>  how do you do triplets? 

That sounds like a good question for the FAQ list!

It's already in musictex.tex, but without the `slur' you wanted. \xtuplet
is the routine that puts a number under your beam, and the line:

	\def\triolet{\xtuplet3}%

will provide you with a number under or over your beam and it could be
adapted for sextuplets or anything else.  This will make you a nice
triplet:

	\Notes\ibl0j0\triolet M\qb0{jk}\tbl0\qb0j\enotes

While looking for this, I also noticed a shortcut for terminating beams
which I hadn't noticed in notice.tex:

	\Notes\ibl0j0\triolet M\qb0{jk}\tqb0j\enotes
	                                ^^^^^

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Sat Feb 22 16:40:33 1992
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Adjusting vertical position of rests

Hi,

I'm working on an orchestral score which has many bars in 6/8 with this
pattern:

	\notes\ibu0c0\qh0c\ds\tbu0\qh0c\enotes

(8th note - 8th rest - 8th note, with the 8ths attached by a beam).  is
there any way I can create a macro that will adjust the rest vertically
according to the pitch so that it doesn't conflict with the beam?

Thanks,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Mon Feb 24 04:42:27 1992
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Message-Id: <9202241957.AA007vj@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Clef change in middle of bar

Daniel, I hope you're not getting tired of all my questions - I do
appreciate all the help you've offered!

As I understand it, MusicTeX only wants to change clefs at barlines.
I often need to change in the middle of a bar, and since I work mostly
with string music, I don't have an extra staff handy as keyboard music
does.  This almost works:

\notes\ccl j\kern -2pt\clefdefa\kern 1pt\advance\transpose by -2\relax
      \ibbl0h4\qb0h\qb0j\tbl0\qb0l\enotes

but if I need to change the spacing later via \autolines or
\notes...\NOTES, horrible things begin to happen.  Using \elemskip in
some way to do the \kern seems possible, but beyond my knowledge at
this time.

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Mon Feb 24 04:42:38 1992
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Message-Id: <9202241927.AA007vf@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: Adjusting vertical position of rests

> PURPOSEDLY, all rests (some mistakes) are \hboxes. Thus you can write
>
> \raise -2\internote\ds
>
> instead of \ds

Yes, I see how that works, but wouldn't I have to determine one-by-one
how much to \raise every \ds?  My goal is to have a macro that will find 
a value for the \raise command according to the pitches and direction of
the beams involved in the group of notes. Something like:

%  ( ) = { } for purposes of email transmission
% 8th, beam up - adjusted \ds - 8th beam up
%
\def\dsu#1(ibu0(#1)0\qh0(#1)\raise #1\internote\ds\tbu0\qh0(#1))

I've probably omitted some important brackets, but of course,  the main
problem is that `\raise #1' will not be happy to receive a letter instead
of a number for its argument... 

Notice.tex does mention that "if neccesary, a numeric symbol can be used 
to place a symbol independently of the active clef", but I don't understand
how that might work.

Cheers,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From igor@charles.ucdavis.edu  Mon Feb 24 16:34:16 1992
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To: mutex
Subject: put me on the mutex mail list

SUB MUSICTEX-L

From @UICVM.UIC.EDU:wagner@dcc.unicamp.ansp.br  Tue Feb 25 10:49:21 1992
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Date: Tue, 25 Feb 92 13:42:05 EST
From: wagner%dcc.unicamp.ansp.br@UICVM.UIC.EDU (Wagner Ikeda)
Subject: cadenzas?
To: mutex
Message-Id: <9202251642.AA19690@dcc.unicamp.ansp.br>
X-Envelope-To: mutex@stolaf.edu

Hi,
Does anyone out there have ever the need for very small notes?
I don't know how to put a more complex ornament with 2 or more notes
(without using mordants, etc.), for example:
(small notes 1/8): cde                 /*ornament*/
(normal note 1/4): d                   /*main note*/

It becomes even more difficult if the score has a 'cadenza', which
occurs on many piano scores, where a great number of small notes is
used.
There is 2 sizes of notes in musictex. Is it possible to change the
size of the notes 'on the fly' (inside a bar), to contour this problem?
Thanks!

----------------------------------------------------------------------
                          Wagner H. Ikeda
                     wagner@dcc.unicamp.ansp.br
                           projeto AHAND

    ============
    |OOOO-O|-OO|    Depto. de  Ciencia       Department of
    |O-OOOO|O-O|      da  Computacao       Computer  Science
    |OOOO-O|O-O|       Universidade          University of
    |O-OOOO|O-O|   Estadual de Campinas        Campinas
    ============

From dgold@basso.actrix.gen.nz  Tue Feb 25 14:21:08 1992
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Message-Id: <9202261644.AA0081n@basso.actrix.gen.nz>
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: Triplets, anyone?

> Did you try that? IMHO it doesn't work:

Yes Werner, you're right.  I jumped to the conclusion that the
\divide\noteskip part of the definition of \xtuplet was going to chose 
the correct place for the number.  Still, this will work:

\def\nbinstruments{1}\relax
\debutextrait\transpose=7\relax
   \Notes\ibl0c0\qb0{cc}\xtuplet7e\qb0{cccc}\tbl0\qb0c\enotes\relax
   \Notes\ibl0c0\qb0{cc}{\transpose=-6\xtuplet7e}\qb0{cccc}\tbl0\qb0c\enotes
\finextrait
\bye

Since IMHO, the numbers are better on the beam side, I'd do something
like the second example, although it's bound to cause problems with slanted
beams and long-stemmed notes.  I wonder if there's a way to determine a
good value for \transpose from the information in the \ibxxxx macro?

Following along from this, I'd be interested to find a way to put the
number between `square brackets' as is common with half-note triplets:

  |__ 3 __|

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Fri Mar 13 13:59:49 1992
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Date: 13 MAR 92 20:53:10.76-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: MusicTeX 4.5
To: mutex



The 4.5 version is beta-available at 130.84.128.100

Novelty: possibility of small and tiny notes (cadenzas)

         New doc: MUSICDOC.TEX in Latex (with index)

         New MUSICTEX.STY

         New fonts for small notes...


From icking@gmdzi.gmd.de  Tue Mar 17 06:59:41 1992
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Date: Tue, 17 Mar 1992 13:59:12 +0100
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <199203171259.AA25278@gmdzi.gmd.de>
To: mutex
Subject: maximising hp-laserjet II output



When typesetting notes I have always the problem that not enough notes
fit on one page. Therefor I looked for maximising the logical page, to
ensure that nearly every pixel could be used.

I process MusicTeX with emTeX and printed the result ona HP-Laserjet II
with (german) A4-paper. I developed the following "response-file" for
dvihplj - the dvi-to-printer driver of emTeX:
-----------------------------------------------------------------------
% hplj.cnf (300x300 DPI using LJ fonts)
/pd=%DVIDRVINPUT%
/pl=%DVIDRVFONTS%;lj_0;lj_h;lj_1;lj_2;lj_3;lj_4;lj_5a;lj_5b
/pf=%DVIDRVFONTS%
/pg=%DVIDRVGRAPH%
/pt=%TMP%\dviout.dlg
/r=300
/rf=300
/h=286.935333333mm
%/ta=5.08mm
/w=197.950666667mm
/la=4.233333333333mm
/fs=1
-----------------------------------------------------------------------
The /ta-parameter is not used because  dvihplj  interprets /ta and /la
in a different way.

To view a dvi-file on my screen with an EIZO-vga card (Tseng Labs EVA
800x600) I use the following response file which shows exactly what my
laserjet may print:
-----------------------------------------------------------------------
% eizo.cnf (ensure visibility on HPLJ - 300x300 DPI using LJ fonts)
/pd=%DVIDRVINPUT%
/pl=%DVIDRVFONTS%;lj_0;lj_h;lj_1;lj_2;lj_3;lj_4;lj_5a;lj_5b
/pf=%DVIDRVFONTS%
/pg=%DVIDRVGRAPH%
/pt=%TMP%\dviout.dlg
/h=286.935333333mm
/ta=5.08mm
/w=197.950666667mm
/la=4.233333333333mm
/s=2
/fl=-1
/o=3
/oa=8
---------------------------------------------------------------------------
Here /ta has to be specified to see exactly what the laserjet will print.

The MusicTeX-input based on the plain-TeX definitions defines the size
and position of the locical page with following definitions:
 
    \hoffset=-21.16666666mm \hsize=197,9506666666mm
    \voffset=-20.32mm \vsize=286.9353333333mm

If you use the american letter format use the following specification
(which I did not test!):

    /h=269.24mm
 [%]/ta=5.08mm
    /w=203.2mm
    /la=4.233333333333mm

    \hoffset=-21.16666666mm \hsize=203.2mm
    \voffset=-20.32mm \vsize=269.24mm

Happy Mu(sic)TeX-ing

Werner

PS: Based on a solution of Martin C. Mueller" <mcm@mathematik.uni-kl.de>
    for twoup-print of TeX output on a HP-laserjet-II I generated the 
    MusicTeX-fonts for 212 dpi. If anyone is interested in this nice
    feature I'm willing to tell the details. You can get something like
    Taschenpartituren (pocket-scores).
PPS: This works for the newest MusicTeX version (4.5) (available by ano-
     nymous ftp from: ftp.gmd.de  music/musictex/musictex.zip :-), too.

From KUYKENS@AMC.UVA.NL  Mon Mar 23 10:06:26 1992
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Date: Mon, 23 Mar 92 16:59 MET
From: KUYKENS@AMC.UVA.NL
Subject: MIDI 2 MusicTeX translator
To: mutex
Message-Id: <7FAC826B77450031C3@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: IN%"mutex@stolaf.edu"

 
Currently I am working on a program which translates standard MIDI type 1
files into MusicTeX source code. An alfa version is ready and
available soon. I'' tell more about it soon.
 
 
 
                                Hans Kuykens
 

From Robin.Fairbairns@lsl.co.uk  Tue Mar 24 13:31:16 1992
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From: Robin Fairbairns <Robin.Fairbairns@lsl.co.uk>
To: mutex
Message-Id: <009580DF.726D0F20.16139@lsl.co.uk>
Subject: The structure of MusicTeX.sty


I've recently started incorporating musical fragments into an 
autobiographical doodle I'm writing.  The effect is good: thanks to all 
involved.

However, I did have a couple of surprises when I first started:

 1. The style subverts LaTeX's \sf command, which I was using before I 
    incorporated music.  The effect was startling: I had to think quite 
    a number of times before I realised what was going on!

    I feel that there are two possible solutions to this problem:
    a) the (undocumented) MusicTeX command should be withdrawn 
       altogether from MusicTeX (or from MusicLaTeX) - my favourite 
       solution, since I abhor these clashes of command usage
    b) \sf should only be switched on while you're in the \begin{music}
       environment

    Unfortunately, I can't discern from the source precisely _how_ \sf 
    differs from \usf or \lsf, so I can't decide how much would be lost 
    if it would be withdrawn.

 2. The style sets \parindent! (I noticed this because I was already 
    using a style that subverts \parindent).  Surely, no part of 
    MusicTeX need set \parindent?  It's set by plain.tex and lplain.tex,
    which must surely be enough...

Fwiw, I'm using Daniel Taupin's recently announced test version.

(Which documents \Upz and \Lpz, but doesn't implement them... :-( 
 I wanted them for a whistled motif of my father's!)
-- 
Robin Fairbairns, Senior Consultant, postmaster and general dogsbody
Laser-Scan Ltd., Science Park, Milton Rd., Cambridge CB4 4FY, UK
Email: robin@lsl.co.uk  --or--  rf@cl.cam.ac.uk

From deflorio@minsky.csata.it  Wed Mar 25 05:21:23 1992
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From: Vincenzo De Florio <deflorio@minsky.csata.it>
Subject: smus2tex
To: mutex
Date: Wed, 25 Mar 92 12:21:21 MET
Cc: deflorio@minsky.csata.it
Mailer: Elm [revision: 66.25]

Dear Sirs,

some time ago I read an e-mail from this group concerning the
Smus2TeX package by Glenn Lewis. I was very interested, so I
got a copy of the package and tried to run it on my PC.

I was missing a header file (cdefs.h) and a source file (bcopy.c)
that I easily found on the net (thanks Archie!). So I successfully
compiled smus2tex, but I coudn't find any trace of the SMUS source
code, enterteiner.smus, mentioned in the package.

Then I contacted mr. Lewis, that was so kind to help me to
understand better what SMUS and IFF standards are. He wasn't
able to give me a copy of any smusfile, though, so I searched
a bit for them. 

Now I've finally found one, and I've generated a syntactically
corrected MusicTeX source code, that presents of course all the
problems expectable in a non-manual encoding process, but it
works. I got a better output changing all \NOTEs, \NOTes etc
to \Notes.

If any of you is interested I could post my result.

Thanks, Glenn, and of course, thanks Daniel!


- Vincenzo De Florio
  deflorio@minsky.csata.it


From Rene.Quiniou@irisa.fr  Fri Mar 27 08:23:06 1992
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Message-Id: <199203271423.AA15817@irisa.irisa.fr>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: smus2tex 
Date: Fri, 27 Mar 92 15:23:21 +0100
From: Rene.Quiniou@irisa.fr

In his mail, dated Wed, 25 Mar 92 12:21:21 +0700, Vincenzo De Florio
<deflorio@minsky.csata.it>  wrote:
> 
> 
> 
> If any of you is interested I could post my result.
> 
> Thanks, Glenn, and of course, thanks Daniel!
> 
> 
> - Vincenzo De Florio
>   deflorio@minsky.csata.it
> 

I am interested. Please post your results!

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
  QUINIOU Rene                  quiniou@irisa.fr
  INRIA / IRISA                         Phone : +33 99 84 73 19
 Campus Universitaire de Beaulieu       Fax :   99 38 38 32
 35042 RENNES CEDEX - FRANCE            Telex : UNIRISA 950 473F
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

From KUYKENS@AMC.UVA.NL  Fri Apr  3 09:47:47 1992
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Date: Fri, 3 Apr 92 17:43 MET
From: KUYKENS@AMC.UVA.NL
Subject: Midi2TeX translator
To: mutex
        mutex@stolaf.edu
Message-Id: <77018573F8FD001663@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: @SENDASK.GRP

To all MusicTeX/MIDI users,
 
In the past months I have been working on a translator program, MIDI2TEX
which maps MIDI files to a MusicTeX file.
Though not completely bug free the software could use some
external input to test its proper function. Therefore, I would like to
invite you to receive a test version of the software. The aim is that you
try it on some of your MIDI files and report back your findings to me.
 
The software is available for the Atari-ST and  PC compatible.
On the Atari the core program is of TTP type. I wrote a dedicated GEM shell
which simplifies the use.
Such a shell is not available for the PC version.
 
Some features of MIDI2TEX are :
 
     *    translation of notes into MusicTeX format
     *    one or more MIDI tracks are supported
     *    skip tracks
     *    glue tracks into one (MusicTeX) instrument
     *    selection of bass or violin cleff for any track
     *    slurring of notes
     *    selection of measure segmentation
     *    debugging info to screen/file/printer
 
 
If you are interested please tell me so by e-mail. I will then send you the
software in ARC'ed and uuencoded format through e-mail.
 
 
 
                                       greetings : Hans Kuykens
 

From KUYKENS@AMC.UVA.NL  Fri Apr  3 10:00:42 1992
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Date: Fri, 3 Apr 92 17:50 MET
From: KUYKENS@AMC.UVA.NL
Subject: MidiTeX translator
To: mutex
        mutex@stolaf.edu
Message-Id: <7700963BA1FF001663@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: @SENDASK.GRP

To all MusicTeX/MIDI users,
 
In the past months I have been working on a translator program, MIDI2TEX
which maps MIDI files to a MusicTeX file.
Though not completely bug free the software could use some
external input to test its proper function. Therefore, I would like to
invite you to receive a test version of the software. The aim is that you
try it on some of your MIDI files and report back your findings to me.
 
The software is available for the Atari-ST and  PC compatible.
On the Atari the core program is of TTP type. I wrote a dedicated GEM shell
which simplifies the use.
Such a shell is not available for the PC version.
 
Some features of MIDI2TEX are :
 
     *    translation of notes into MusicTeX format
     *    one or more MIDI tracks are supported
     *    skip tracks
     *    glue tracks into one (MusicTeX) instrument
     *    selection of bass or violin cleff for any track
     *    slurring of notes
     *    selection of measure segmentation
     *    debugging info to screen/file/printer
 
 
If you are interested please tell me so by e-mail. I will then send you the
software in ARC'ed and uuencoded format through e-mail.
 
 
 
                                       greetings : Hans Kuykens
 

From ger@cv.ruu.nl  Fri Apr 10 14:01:46 1992
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From: ger@cv.ruu.nl
Subject: FAQ ? problem
To: mutex
Date: Fri, 10 Apr 92 21:00:20 METDST
X-Mailer: ELM [version 2.3 PL11]

Hello there,

How do I set up a working musictex environment ?
We do have mf.
The problem is that I can run tex on notice.tex, but the music
fonts cannot be found.
Do I have to set TEXFONTS and/or DVIFONTS ? And I want to 
convert the resulting dvi file to PostScript with dvi2ps, is
this possible ?

Sorry, if this is a FAQ.
-- 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
=     Ger Timmens, Univesity Hospital Utrecht, 3D Comp.Vision = 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
=               _TT    /|    |~        Keep                   = 
=          >====ttt===< |   O|   |~         on                = 
=             {_|||_}  \|       O|                Blowing     = 
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
=I'd rather hear Chet miss a note, than Wynton make a thousand=
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
=   Tel.:  030-506711                 @-mail: ger@cv.ruu.nl   =
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

From piet@cs.ruu.nl  Sat Apr 11 10:54:23 1992
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Date: Sat, 11 Apr 92 17:54:21 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9204111554.AA10552@alchemy.cs.ruu.nl>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: FAQ ? problem
References: <199204101900.AA21767@prisma.cv.ruu.nl>

>>>>> ger@cv.ruu.nl (GT) writes:

GT> How do I set up a working musictex environment ?
GT> We do have mf.
GT> The problem is that I can run tex on notice.tex, but the music
GT> fonts cannot be found.
GT> Do I have to set TEXFONTS and/or DVIFONTS ? And I want to 
GT> convert the resulting dvi file to PostScript with dvi2ps, is
GT> this possible ?

You must move (or copy) the tfm files to a directory in TEXFONTS (e.g. the
standard one), and the pk files to a directory where your dvi  driver
expects them (and possibly rename them to fit the naming scheme). If you
can't move the pk files to the standard directory, the directory where you
put them must be named in TEXFONTS, TEXPKS or something similar (see the
doc on the dvi2ps version you have.

In some cases you must run metafont, e.g if you don't have a write-black
300dpi laser printer.

Piet van Oostrum <piet@cs.ruu.nl>

From piet@cs.ruu.nl  Sat Apr 11 11:03:30 1992
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From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <9204111603.AA10554@alchemy.cs.ruu.nl>
To: mutex
Subject: A few suggestions

I have a few suggestions for changes to musictex and its doc: I guess
Daniel is reading this list.

First Karl Berry introduced a change to suppress the printing of bar
numbers with a conditional \ifprintbarnumbers. Moreover he had a \ifverbose
to suppress the messages on the screen (which I find not essential). Both
changes are very simple.

The musical rests (soupir and pause) are not documented.
An index in the documentation would be very useful, maybe together wih a
finer section numbering scheme. I find it very hard to find a specific
feature in the doc.

I had a peculiar problem last night where the notes got separated from the
staff. I traced it down to a blank line within the score. I think it would
be useful to disable \par within a score (e.g. by \def\par{}). I think this
should be done in \debutmorceau and \reprmorceau and reset in \finmorceau
and \(z)suspmorceau.
I don't know if this would give any problems.

By the way, I am willing to do some coding for the above, especially the
easy pieces :=)
I don't want to make nonstandard versions, however, so I do it only if
Daniel agrees to put the in the official version.

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From piet@cs.ruu.nl  Sun Apr 26 08:24:36 1992
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From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199204261324.AA07239@infix.cs.ruu.nl>
To: mutex
Subject: some bugs

The definition of \w@hppp is wrong (it says \def w@hpp).

The doc says that on \ibl n n should be 0-6. This must be 0-5. For 6 you
need musicadd.

there are no pointed versions for \cc.. (e.g. \ccup)

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From KUYKENS@AMC.UVA.NL  Tue Apr 28 15:37:14 1992
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 22:40 MET
Date: Tue, 28 Apr 92 22:35 MET
From: KUYKENS@AMC.UVA.NL
Subject: Help on \autolines and \Notes wanted
To: mutex
Message-Id: <63339AADCA19001450@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: STOLAF

Hello MusicTeX users,
 
      Can somebody explain me what the commands : \notes ...\NOTES
exactly do ? Do they determine the distance between the notes within
the column starting with the command or do they determine the distance
between the columns ? I find the manual not very clear on this point.
 
I am using \autolines{12}45 to get line breaking automatic. But when
measures with lots of notes appear the last measure on a line spills
over the paper's margin with lots of rubbish at the end of the line.
 
How do the commands \notes and \autoline relate to each other ?
 
If I know the number of notes in a measure in any of the staffs, is there
a rule which always combines a correct setting of \autolines parameters
and \notes (\Notes... etc.) in each of the staffs so that I don't end up
with spilling measure over the margins of the paper ?
 
I am currently working on a new version of MIDI2TeX and I would like to
see if there is a solution to this problem which I can build into the
program.
 
 
                                thanks in advance and greetings :
 
                                       Hans Kuykens
 

From jco@daimi.aau.dk  Wed Apr 29 01:54:35 1992
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From: jco@daimi.aau.dk
Message-Id: <9204281737.AA21634@torun.daimi.aau.dk>
To: mutex
Subject: Problem with MuTeX' boxes.


  I have recently obtained the MuTeX and the MusicTeX packages from
  rsovax.ups.circe.fr. Since I haven't managed to get the MusicTeX
  run proberly I am now trying out the MuTeX. Everything works fine,
  except one:

  The \1{note(s)}\2{note(s)}\* asdescribed by F.Jalbert in the MuTeX
  User's Guide v1.1 is not working. When the 1. box starts at the beginning
  of a line, the notelines are missing on the whole staff-line. The same
  thing happends when the two boxed are split over 2 staff-lines. In the
  latter case, the clef is also missing on the staff-line containing the
  2. box ( got that ? ).

  I code something like:

  ...
  %
  \1\v{2}\group{\\{....}}\ubeam{1}{2}[ ... \v{2}%
  \2\v{2} ... \v{2}\*%
  ...

  I have o
  (ups) allready done the patches suggested by F.Jalbert in the guide.

  Since I am planning to code a SMUS-to-MuTeX converter I would be very
  greatefull to receive help from someone - maybe if someone is familiar
  with the MuTeX-packages he will help me later on in the project when
  other problems pop up. (They will, I know by experience :-< ).

  Thanks !

From hartley@maths.uwa.oz.au  Mon May 18 04:21:16 1992
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From: hartley@maths.uwa.oz.au (Mike Hartley)
Subject: MuTeX on the PS2
To: mutex
Date: Mon, 18 May 92 17:21:19 WST
X-Mailer: ELM [version 2.3 PL0]


G'Day from WA!
  That's Western Australia, not Washington.

  I'm new to the mailing list - Craig @stolaf suggested I join it so that
I can throw this question to an open audience:

Does anyone know where I can get MuTeX or MusicTeX with the appropriate 
fonts to run on an IBM (PS/2)?

			Yours, Madvax Mike
			<hartley@madvax.maths.uwa.oz.au>


From KUYKENS@AMC.UVA.NL  Tue May 19 04:36:33 1992
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Date: Tue, 19 May 92 10:51 MET
From: KUYKENS@AMC.UVA.NL
Subject: new version of MIDI2TeX V0.3
To: mutex
Message-Id: <53157677186D003173@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: STOLAF

To all MusicTeX/MIDI users,
 
MIDI2TeX translates type 1 standard MIDI files into MusicTeX code.
Some weeks ago I distributed an alfa test version to people who
have shown interest in the program. Some of them have send bug reports
which have lead to the present new version of the program (V 0.3).
 
I already have send the new version of the program to those who
received the previous version(s). If you are interested in the program
and have not received it before please notify and I will send it.
 
The software is available for the Atari-ST and  PC compatible.
On the Atari the core program is of TTP type. I wrote a dedicated GEM shell
which simplifies the use.
Such a shell is not available for the PC version.
 
Some features of MIDI2TEX are :
 
     *    translation of notes into MusicTeX format
     *    one or more MIDI tracks are supported
     *    skip tracks
     *    glue tracks into one (MusicTeX) instrument
     *    selection of bass or violin cleff for any track
     *    slurring and beaming of notes
     *    selection of measure segmentation
     *    debugging info to screen/file/printer
     *    selection of document size
 
 
If you are interested please tell me so by e-mail. Don't forget to
specify for which computer. I will then send you the
software in ARC'ed and uuencoded format through e-mail.
 
 
                                       greetings : Hans Kuykens
 
 

From @ai.leeds.ac.uk,@dcs.leeds.ac.uk:kia@dcs.leeds.ac.uk  Tue May 19 16:47:25 1992
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Via: ai.leeds.ac.uk; Tue, 19 May 1992 22:47:05 +0100
Via: dcs.leeds.ac.uk (csvax1.ARPA); Tue, 19 May 92 22:47:09 GMT
From: K C Ng <kia@dcs.leeds.ac.uk>
Date: Tue, 19 May 92 22:43:09 GMT
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To: mutex
Subject: Re: new version of MIDI2TeX V0.3
Cc: kia@dcs.leeds.ac.uk

Hi,

This is great stuff ! Well safe all of us here from
lerning musicTeX :) Thank you very much.

Well, in fact, I am using MusicTeX on a unix machine,
SGI (silicon graghics iris indigo) and there are 
Laser printers connected over the net, thus it would
be easier for me if you have a version for Unix ?
Anyway, we have Atari and PC as well. May I have both
version ( PC and Atari ) ? Thanks.

My email address is :: kia@uk.ac.leeds.dcs

Thank you very much
kia


From KUYKENS@AMC.UVA.NL  Fri May 22 04:21:02 1992
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Date: Fri, 22 May 92 11:19 MET
From: KUYKENS@AMC.UVA.NL
Subject: How do I omit gaps in slurs ??
To: mutex
Message-Id: <50B5FA8F77C90042BC@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
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Hello MusicTeX users,
 
      Can somebody explain me how to get rid of the gaps in slurs
between notes in two different measures ? I thought that placing \temps
in front of the measure part (i.e. \notes \enotes pair) would glue the
lines together (as mentioned in the manual) but that does not work.
 
 
 
                                greetings : Hans Kuykens
 

From LVENEMA@KVI.nl  Fri May 22 05:37:29 1992
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Date: Fri, 22 May 1992 12:37 WET-DST
From: "LARS VENEMA, KVI, ZERNIKELAAN 25, 9747 AA GRONINGEN, THE NETHERLANDS"
 <LVENEMA@KVI.nl>
Subject: gaps in slurs ??
To: mutex
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X-Vms-To: IN%"mutex@stolaf.edu"

Hello MusicTeX-users,

	It is nice that the question of slurs popped up as this caused me also
lots of work. The workaround I found is very bad and it is my feeling that this
problem has to be solved in the MusicTeX definition itself. Is there indeed
someone who did this? The problems got worse when I had my slurs over bar where
the measure was changed. Somehow, MusicTeX misses some horizontal spacing in
calculating the slurlength.

		greetings: Lars Venema

From daemon@tools.de  Fri May 22 07:28:31 1992
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From: "LARS VENEMA, KVI, ZERNIKELAAN 25, 9747 AA GRONINGEN, THE NETHERLANDS"" -a
Newsgroups: tools.mutex
Subject: gaps in slurs ??
Message-Id: <6238@kurt.tools.de>
Date: 22 May 92 12:26:24 GMT
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Lines: 10


Hello MusicTeX-users,

	It is nice that the question of slurs popped up as this caused me also
lots of work. The workaround I found is very bad and it is my feeling that this
problem has to be solved in the MusicTeX definition itself. Is there indeed
someone who did this? The problems got worse when I had my slurs over bar where
the measure was changed. Somehow, MusicTeX misses some horizontal spacing in
calculating the slurlength.

		greetings: Lars Venema

From cdr@stolaf.edu  Fri May 22 09:23:53 1992
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To: mutex
Subject: Test/Problem
Date: Fri, 22 May 92 09:23:51 -0500
From: cdr@stolaf.edu



This is a test message. Please forgive.  The last message posted to the 
mutex mailing list bounced horrendously, so we'll see if this one does any
better.

Sorry about the inconvenience.

Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1520 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1098   USA

From icking@gmdzi.gmd.de  Mon May 25 02:51:51 1992
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Date: Mon, 25 May 1992 09:51:33 +0200
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <199205250751.AA07426@gmdzi.gmd.de>
To: mutex
Subject: Re:  How do I omit gaps in slurs ??

First to say: sometimes there seems to be no way to get rid of the gaps
in the slurs.

But first you may play around with the spacing-definitions: \normal, \etroit,
or \large. In addition you should use \raggedlinestrue. Then you may find
those bars which are too much expanded during line-breaking with right margin
justification. Changing \Notes to \NOtes (or similar) for these bars may help
to avoid gaps within the slurs.

I do not understand why MusicTeX isn't able to to fill the gaps but this
advice of Daniel Taupin helped much. And you should always use the newest
version of MusicTeX because I noticed that the solution for this problem
was better from version to version.

Let's hope for the best and expect the worst.

Werner
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~

From icking@gmdzi.gmd.de  Mon May 25 02:52:13 1992
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Date: Mon, 25 May 1992 09:52:00 +0200
From: Werner Icking <icking@gmdzi.gmd.de>
Message-Id: <199205250752.AA07440@gmdzi.gmd.de>
To: mutex
Subject: Re:  gaps in slurs ??


First to say: sometimes there seems to be no way to get rid of the gaps
in the slurs.

But first you may play around with the spacing-definitions: \normal, \etroit,
or \large. In addition you should use \raggedlinestrue. Then you may find
those bars which are too much expanded during line-breaking with right margin
justification. Changing \Notes to \NOtes (or similar) for these bars may help
to avoid gaps within the slurs.

I do not understand why MusicTeX isn't able to to fill the gaps but this
advice of Daniel Taupin helped much. And you should always use the newest
version of MusicTeX because I noticed that the solution for this problem
was better from version to version.

Let's hope for the best and expect the worst.

Werner
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~

From KUYKENS@AMC.UVA.NL  Mon May 25 07:32:29 1992
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Date: Mon, 25 May 92 14:31 MET
From: KUYKENS@AMC.UVA.NL
Subject: An FTP site for MIDI2TeX
To: mutex
Message-Id: <4E3FB48CB55700461E@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: STOLAF

 
Hello MusicTeX users,
 
     As some of you may know I recently released v 0.3 MIDI2TeX. I
received many requests for a copy. So many that it takes me too much time
sending it off personally. Therefore I would like to submit it to a
FTP node. However, I do not have experience with uploading anything
on an FTP site. Could somebody suggest an FTP site and could somebody
explain or help me uploading it ?
 
 
                                        regards: Hans Kuykens
 

From KUYKENS@AMC.UVA.NL  Tue May 26 13:07:03 1992
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Date: Tue, 26 May 92 09:24 MET
From: KUYKENS@AMC.UVA.NL
Subject: Question about sizes in MusicTeX...
To: mutex
Message-Id: <4DA1835BFD79001C31@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: STOLAF

Hello MusicTeX users,
 
In the latest version of the MIDI2TeX program I inserted code to
automatically generate \alaligne and \alapage commands. For that I use the
spacing code embedded in MusicTeX (\Notes, \notes, \elemskip etc.).
Lately I have been playing around with the \elemskip value to see
what the effect was. After doing that I discovered that the way I implemented
the line/page breaking stuff is not correct.
All of this business is still quite mirky to me.
Unfortunately I am not a TeX expert so that I cannot fully evaluate the
code in musictex.tex. Particularly, I have the following questions:
 
1.  With what physical size is \elemskip associated ?
 
2.  With what physical size is \noteskip associated ?
 
3.  Are \noteskip \elemskip related in any way, i.e. if the musicsize
    changes do both of them change ?
 
4.  Is there a formula which gives me the horizontal length increment
    when one note is added (i.e. cumlength=1*\noteskip+0.5*\elemskip...)
 
5.  Is there a simple way to see in the musictex source code how the
    horizontal and vertical increments are calculated ?
 
6.  I have the impression that musictex does not create space for flat- and
    sharp signs, is that correct ?
 
7.  Are there anymore parameters involved in the calculation of the
    horizontal increment ?
 
8.  What is the physical length of one pt (i.e. \elemskip=10pt) ?
 
 
    I woule be grately helped if someone could supply me some answers on
these questions.
 
                                thanks in advance : Hans Kuykens
 

From igor@charles.ucdavis.edu  Tue May 26 18:01:39 1992
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Tue, 26 May 92 15:56:09 PDT
Message-Id: <9205262256.AA09104@charles.ucdavis.edu>
To: mutex
Subject: Re:  An FTP site for MIDI2TeX



From igor@charles.ucdavis.edu  Tue May 26 18:10:06 1992
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Tue, 26 May 92 16:04:57 PDT
Message-Id: <9205262304.AA09112@charles.ucdavis.edu>
To: mutex
Subject: Re:  An FTP site for MIDI2TeX

I've put the 0.3 version of PC_M2TEX.ARC and your short description of the
package on a writeable and readable directory at 
ftp.cse.ucsc.edu    aka, 128.114.134.19

That machine has a very quick ftp connection with ours, and probably with
the rest of the University of California campuses as well.  If you mail 
me the Atari version I'd be happy to ftp it to that site as well.
I'll let you announce the location(s) of the package on ftp sites when
you're decided on which one(s) to use.  BTW, I have no contact with the
folks at ucsc, and have no idea how long it will stay on that machine
without establishing a formal agreement with the administrators... you may
wish to contact them about setting up a directory for it.  I'd be happy
to get you their e-mail address if you're unable to ftp to their site 
directly.  Actually, though, I don't think the site features IBM, Atari, 
music, or TeX areas of interest, so maybe a more related site would be 
preferable.  For now, though, you can let people to know to look for it
there.  

Once again it's located at:

ftp.cse.ucsc.edu

in the directory /tmp/upload



Thanks for your contribution to the public domain music typesetting community!

From @pucc.Princeton.EDU:TAUPIN@FRUPS51.BITNET  Mon Jun  1 10:16:31 1992
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Date:  1 JUN 92 16:42:21.23-GMT
From: TAUPIN%FRUPS51.BITNET@pucc.Princeton.EDU
Subject: MUSICTEX 4.52
To: mutex

VERSION 4.52 OF MUSICTEX is presently available at ftp anonymous
(rsovax.ups.circe.fr = 130.84.128.100). Directory [anonymous.musictex]

From icking@gmdzi.gmd.de  Mon Jun  1 11:06:51 1992
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Date: Mon, 1 Jun 1992 18:06:20 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199206011606.AA25821@gmdzi.gmd.de>
To: mutex
Subject: Re:  MUSICTEX 4.52

>
>VERSION 4.52 OF MUSICTEX is presently available at ftp anonymous
>(rsovax.ups.circe.fr = 130.84.128.100). Directory [anonymous.musictex]
>
and at
   ftp.gmd.de:    music/musictex/musictex.zip   and   .../musicpk.zip
 [129.26.8.90]
             -rw-r--r--  1 icking     286208 Jun  1 04:52 musicpk.zip
             -rw-r--r--  1 icking     501760 Jun  1 04:52 musictex.zip

Werner
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~

From icking@gmdzi.gmd.de  Tue Jun  2 02:56:04 1992
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Date: Tue, 2 Jun 1992 09:55:45 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199206020755.AA07412@gmdzi.gmd.de>
To: mutex
Subject: musicdoc.dvi of version 4.52

If you have difficulties when printing or viewing musicdoc.dvi
                           because some fonts d... are not found and
if you use one of the dvi-drivers of emTeX

create a file  musicdoc.ze  with only one line: d* -> c*
and call dvidrv (dvihplj, dviscr, ...) with the parameter: /ps=musicdoc.ze

Hope this hilft -- Werner
--
Werner Icking           icking@gmd.de            (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, P.O.Box 1316, D-5205 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~
 

From piet@cs.ruu.nl  Tue Jun  2 06:42:34 1992
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Date: Tue, 2 Jun 1992 13:42:34 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199206021142.AA16672@alchemy.cs.ruu.nl>
To: mutex
Subject: Re: musicdoc.dvi of version 4.52
References: <199206020755.AA07412@gmdzi.gmd.de>

I have tried to re-latex musicdoc.tex. There was a problem because
musictex.sty is incomplete. It does not contain musicpos.tex.

Moreover I think it is a waste to copy the various .tex files into
musictex.sty. The following gives the same result:

\input musicnft
\input musictex
\input musicvbm
\input musicpos

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From piet@cs.ruu.nl  Tue Jun  2 08:44:27 1992
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Date: Tue, 2 Jun 1992 15:44:26 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199206021344.AA19597@alchemy.cs.ruu.nl>
To: mutex
Subject: Re: musicdoc.dvi of version 4.52
References: <199206020755.AA07412@gmdzi.gmd.de>
	<199206021142.AA16672@alchemy.cs.ruu.nl>

The musictex.sty file in musictex.zip appears to be different from the one
that is standing in the musictex directory. Could this be the case for more
files?

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From dgold@basso.actrix.gen.nz  Fri Jun  5 00:23:24 1992
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: MUSICTEX 4.52

I've just ftp'd this from ftp.gmd.de [129.26.8.90].  Using grep, I've not
been able to find any mention in any of the files of SORTINDX.EXE.  From
the .EXE I would assume that it's something for IBM computers, and that
SORTINDX.FOR is in the same class.  Can someone tell me what it's for?

Daniel, I wonder why MusicTeX is distributed without any directory
structure.  I'm not aware of any computer that couldn't deal with an
archive that contained a few directories, such as: pk, tfm, docs, demos,
etc.  I've had enough experience now to know where to put things on my
system, but it must be very confusing for a new user to receive an
archive with so many things jumbled together and not to know how to get
started! 

I also wonder if it might be possible to give some indication of which
files have been changed in a new release.  Of course it's important to 
have the latest version available as a single file, but for old users,
it could be useful to have a smaller archive available which only has 
the files which have been changed.

Also, I see that \input genpctex has reappeared in TESTCHAR.TEX and
AFFCONC.TEX it would be useful to have this included.  I've been
unable to find it anywhere.

I hope I don't sound unhappy - thanks for the work, Daniel, I'm looking
forward to enjoying the improvements!

Cheers,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From hm308ba@unidui.uni-duisburg.de  Fri Jun  5 01:08:16 1992
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Date: Fri, 5 Jun 92 08:07:21 +0200
Subject: <none - added by mutex-owner>
From: hm308ba@unidui.uni-duisburg.de (Mathias Bartsch)
Message-Id: <9206050607.AA03345@unidui.uni-duisburg.de>
To: mutex

Please put me on your MuTex mailing list.
Where can I *get* MuTex?
Is there a Unix Version?

Thanks!
Mathias Bartsch
hm308ba@unidui.uni-duisburg.de

From hm308ba@unidui.uni-duisburg.de  Wed Jun 17 11:36:37 1992
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Date: Wed, 17 Jun 92 10:13:16 +0200
From: hm308ba@unidui.uni-duisburg.de (Mathias Bartsch)
Message-Id: <9206170813.AA28369@unidui.uni-duisburg.de>
To: mutex
Subject: mutex installation problems

Hi,

being new to this list I would like to ask for help on the 
installation of MuTeX on a Unix system.

The main problem seems to be that the new fonts that came 
along with the package are not recognized by the dvi drivers. 
(I thought keeping them under my home directory would be best.)
How can I direct the dvi drivers to the fonts?

Then I tried to build the fonts myself with metafont (as described 
in the MuTeX manual) but I failed. Is there a more useful description 
of metafont somewhere around (something like "metafont for 
beginners" ?!)

What I have to create are the laserjet and epson(9pin) versions of 
the fonts.

Thanks in advance!
-------
Mathias Bartsch /Dept. of Physics/Technology / Uni -GH- Duisburg / FRG

From @marvin.cdf.toronto.edu:g0gumby@cdf.toronto.edu  Wed Jun 17 23:35:17 1992
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Received: by marvin.cdf.toronto.edu id <30990>; Thu, 18 Jun 1992 00:35:20 -0400
From: Daniel Mayost <g0gumby@cdf.toronto.edu>
To: mutex
Subject: Advanced Beams
Message-Id: <92Jun18.003520edt.30990@marvin.cdf.toronto.edu>
Date: 	Thu, 18 Jun 1992 00:35:18 -0400


So I'm using MuTeX (the one currently available on ymir), and I have to
typeset a group consisting of two eights notes connected by a beam
followed by four sixteenths notes connected by another, wholly separate
beam.  Both beams have to be part of one group because there is a slur
between the last note of the first beam and the first note of the
second beam.  Question:  What is the appropriate \beamlist to use in
this situation ?

--
Daniel Mayost
Stanford University

From walt@GECKO.SLAC.Stanford.EDU  Tue Jun 23 11:42:26 1992
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From: walt@GECKO.SLAC.Stanford.EDU (Walter Innes)
Subject: bagpipe.tex available
To: mutex
Message-Id: <9206231642.AA06868@gecko.SLAC.Stanford.EDU>
X-Envelope-To: mutex@stolaf.edu

I have contributed bagpipe.tex version 1.0 to ftp.stolaf.edu. It can 

be found in /pub/mutex/contrib as a tarred compressed file. It
contains the macro-package, a user quide, a quick reference, and a
few examples.

bagpipe.tex is a set of macros for use with MusicTeX (version 4.50 or
4.52). It takes advantage of the peculiarities and simplicities of
music for the highland bagpipes to make make entry considerably
simpler than using native MusicTeX. There are macros for all common
and many not so common grace note sequences, the pitches are given
their common names, and there are extensive macros for beamed note
groups. Some minor mods have been made to MusicTeX macros to improve
very compressed music ( I like to get four bars across an 8 1/2 in.
page). 

From icking@gmdzi.gmd.de  Wed Jun 24 09:04:14 1992
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Date: Wed, 24 Jun 1992 16:02:10 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199206241402.AA20234@gmdzi.gmd.de>
To: mutex
Subject: Re:  Advanced Beams

>Message-Id: <92Jun18.003520edt.30990@marvin.cdf.toronto.edu>
>Date: 	Thu, 18 Jun 1992 00:35:18 -0400
>
>So I'm using MuTeX (the one currently available on ymir), and I have to
>typeset a group consisting of two eights notes connected by a beam
>followed by four sixteenths notes connected by another, wholly separate
>beam.  Both beams have to be part of one group because there is a slur
>between the last note of the first beam and the first note of the
>second beam.  Question:  What is the appropriate \beamlist to use in
>this situation ?

Where's the problem?  After having NOT used MuTeX since february I
composed following piece for you :-)

\beginsong\vio\C\meter4/8%
{\def\beamlist{\\{1-2,3-6,}\\{3-6,}}%
\group{\\{\a3}\\{\a3}\\{\s3}\\{\s3}\\{\s3}\\{\s3}}%
{\\3\\3\\3\\3\\3\\3}\ubeam16\lslur23\go}\|%
%
{\def\beamlist{\\{1-2,3-6,}\\{3-6,}}%
\group{\\{\a0}\\{\a1}\\{\s2}\\{\s3}\\{\s4}\\{\s5}}%
{\\0\\1\\2\\3\\4\\5}\ubeam16\lslur23\go}\|%
%
{\def\beamlist{\\{1-2,3-6,}\\{3-6,}}%
\group{\\{\a5}\\{\a4}\\{\s3}\\{\s2}\\{\s1}\\{\s0}}%
{\\5\\4\\3\\2\\1\\0}\ubeam16\lslur23\go}\|%
%
\^{\music\fermateup}{\h{-2}}%
\=\endsong\bye

Enjoy -- Werner

From @pucc.Princeton.EDU:TAUPIN@FRUPS51.BITNET  Sat Jun 27 04:25:54 1992
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Date: 27 JUN 92 11:27:57.53-GMT
From: TAUPIN%FRUPS51.BITNET@pucc.Princeton.EDU
Subject: MusicTeX / Latex compatibility
To: mutex



MusicTeX and Latex both use a register names \topmargin, and
this may lead to strange layout problems.


Therefore all occurences of \topmargin and \bottommargin in
MusicTeX and examples given should be replaced by

  \stafftopmarg and \staffbotmarg


This will be done in the next MusicTeX release, of course.


Besides, it is wise to change the musicpos.tex file and
say:

\newenvironment¤music‡¤\catcodemusic, \parskip=\z@ \resetfacteurs‡¤‡

Also corrected in the next release (july 5 or 6th)

Inbetween, have fun...

From @mitvma.mit.edu:TAUPIN@FRUPS51.BITNET  Sun Jul  5 11:56:17 1992
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Date:  4 JUL 92 12:24:17.95-GMT
From: TAUPIN%FRUPS51.BITNET@mitvma.mit.edu
Subject: Acknowledgements
To: mutex



Since I cancelled the input message, I cannot retrieve
the name/adress of the helpful person who send important
contribution to enhance MusicTeX's handling of slurs
(macros @uptenbox, etc..).


If the authjor can help me finding his origin, he would be
better acknowledged in MusicTeX papers... of course.

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Thu Jul 23 08:27:29 1992
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Date: 23 JUL 92 15:29:36.50-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX 4.7
To: mutex


Version 4.7 of MusicTeX available et anonymous, ftp
rsovax.ups.circe.fr (130.84.128.100) directory [anonymous.musictex]

Changes: several NICER slur/ties available.
         Read MUSICDOC.TEX


From @pucc.PRINCETON.EDU:UPSORSAY@FRUPS51.BITNET  Thu Jul 23 11:49:58 1992
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Subject:  BITNET mail from UPSORSAY at FRUPS51
To: mutex

Date: see below
From:    TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU  23-JUL-1992 18:31:34.36
To: mutex
CC:
Subj:    MusicTeX 4.7

Message date : 23 JUL 92 15:29:36.50-GMT
HELO CUNYVM.BITNET
TICK 2988
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RCPT TO:<taupin@FRUPS51.bitnet>
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Version 4.7 of MusicTeX available et anonymous, ftp
rsovax.ups.circe.fr (130.84.128.100) directory [anonymous.musictex]

Changes: several NICER slur/ties available.
         Read MUSICDOC.TEX


From mwitten@hermes.chpc.utexas.edu  Sat Jul 25 21:50:00 1992
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From: mwitten@hermes.chpc.utexas.edu
Message-Id: <9207260250.AA02443@morpheus.chpc.utexas.edu>
Subject: MUSICTEX 4.7
To: mutex
Date: Sat, 25 Jul 92 21:50:01 CDT
X-Mailer: ELM [version 2.3 PL11]

I tried to ftp MUSICTEX 4.7 from rsovax.ups.circe.fr . Here is
a transcription of my failed attempt. Any suggestions????

morpheus.chpc.utexas.edu 220% ftp rsovax.ups.circe.fr
Connected to rsovax.ups.circe.fr.
220 CMC VAX/VMS FTP Server Version 3.2.1
Name (rsovax.ups.circe.fr:mwitten): anonymous     
331 Enter password for login.
Password:
230 User ANONYMOUS logged in.
ftp> ls
200 PORT Command Accepted.
150 Data Connection Established: NLST 
caesar.dir
dcfonts.dir
engfr.dir
freeinput.dir
ftax.dir
gut.dir
mlhyphen.dir
musictex.dir
oztex14.dir
powder.dir
siebenmann.dir
tmfonts.dir
226 Transfer complete
152 bytes received in 0.62 seconds (0.24 Kbytes/s)
ftp> ls -laCF
200 PORT Command Accepted.
150 Data Connection Established: NLST -LACF
%RMS-F-SYN, file specification syntax error
226 Transfer complete
remote: -laCF
45 bytes received in 0.42 seconds (0.11 Kbytes/s)
ftp> ls
200 PORT Command Accepted.
150 Data Connection Established: NLST 
caesar.dir
dcfonts.dir
engfr.dir
freeinput.dir
ftax.dir
gut.dir
mlhyphen.dir
musictex.dir
oztex14.dir
powder.dir
siebenmann.dir
tmfonts.dir
226 Transfer complete
152 bytes received in 0.52 seconds (0.29 Kbytes/s)
ftp> ls musictex
200 PORT Command Accepted.
150 Data Connection Established: NLST MUSICTEX
musictex.dir
226 Transfer complete
remote: musictex
14 bytes received in 0.13 seconds (0.1 Kbytes/s)
ftp> binary   
200 Type set to Image.
ftp> binary
200 Type set to Image.
ftp> mget musictex
mget musictex.dir? y
200 PORT Command Accepted.
550 File is a Directory: RETR MUSICTEX.DIR
ftp> cd musictex.dir
250 "$DISK2:[ANONYMOUS.MUSICTEX.DIR]" is current directory
ftp> mget *
mget %RMS-E-DNF, directory not found? n
ftp> mget MUSICDOC.TEX
mget %RMS-E-DNF, directory not found? cd ..
200 PORT Command Accepted.
550 File is Unavailable: RETR %RMS-E-DNF, DIRECTORY NOT FOUND
ftp> cd ..
550 file specification syntax error
ftp> quit 
221 Terminating Connection
morpheus.chpc.utexas.edu 221% 


Thanks ............  Matthew

-- 

_____________________________________________________________________

Matthew Witten, Ph.D. MED
Director, Applications Research & Development
Associate Director, 
UT System Center For High Performance Computing
Balcones Research Center, 1.154 CMS
10100 Burnet Road, Austin, TX 78758-4497 USA

Phone: (512) 471-2472  FAX: (512) 471-2445  

E-MAIL  MWITTEN@CHPC.UTEXAS.EDU
      or
        MWITTEN@UTHERMES.BITNET

"some intellectuals make their living by creating 
obscurities for the rest of us to puzzle over"
_____________________________________________________________________

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Sun Jul 26 12:05:23 1992
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Date: 26 JUL 92 19:07:47.58-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Musictex 4.7
To: mutex



CAUTION: the slurn16 and slurn20 fonts have been changed.
Thus you have either to recompile the new ones with metafont,
or get the new slurn16.tfm and slurn16.pk (idem slurn20).

From rf@cl.cam.ac.uk  Mon Jul 27 05:43:12 1992
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          Mon, 27 Jul 1992 11:42:58 +0100
To: mutex
Cc: mutex@stolaf.edu, rf@cl.cam.ac.uk
Subject: Re: MUSICTEX 4.7
In-Reply-To: Your message of Sat, 25 Jul 92 21:50:01 -0500. <9207260250.AA02443@morpheus.chpc.utexas.edu>
Date: Mon, 27 Jul 92 11:42:45 +0100
From: rf@cl.cam.ac.uk
Message-Id: <"swan.cl.ca.582:27.06.92.10.43.02"@cl.cam.ac.uk>

>I tried to ftp MUSICTEX 4.7 from rsovax.ups.circe.fr . Here is
>a transcription of my failed attempt. Any suggestions????

I can but try...

>220 CMC VAX/VMS FTP Server Version 3.2.1
         ^^^^^^^
This is the point you're missing; since it's a VMS system, it needs
special "treatment"...

>[lots omitted]
>ftp> ls -laCF
>200 PORT Command Accepted.
>150 Data Connection Established: NLST -LACF
>%RMS-F-SYN, file specification syntax error

Since it's a VMS system, "-laCF" gets uppercased and is an
acceptable file title.  RMS (of %RMS-F-SYN fame) is the file system
front end; I don't know what it's complaining about - there's no
syntax error...

>ftp> ls musictex
>200 PORT Command Accepted.
>150 Data Connection Established: NLST MUSICTEX
>musictex.dir
>226 Transfer complete
>remote: musictex

This is standard VMS behaviour: "DIRECTORY X" is equivalent to
"DIRECTORY X.*"

>ftp> mget musictex
>mget musictex.dir? y
>200 PORT Command Accepted.
>550 File is a Directory: RETR MUSICTEX.DIR

RMS convention dictates that directories end ".DIR", so this is not
surprising.

>ftp> cd musictex.dir
>250 "$DISK2:[ANONYMOUS.MUSICTEX.DIR]" is current directory
>ftp> mget *
>mget %RMS-E-DNF, directory not found? n

You need simply to "cd musictex" - VMS directory structures are
rather differently organised to U*x ones.  In U*x terms, you've
changed directory to /disk2/anonymous/musictex/dir, which is not
what you intended.

What was needed was

    ftp> cd musictex

Once there, I would suggest that you don't try to transfer (i.e.,
mget) the whole directory as binary.  VMS text files may have
embedded record structure information which will give you an awful
time on your U*x machine.  Also avoid any files of the form *.bck,
*.bak, etc, since they've been created with the VMS backup utility
which won't be a lot of help to you.

>Thanks ............  Matthew

It's a pleasure.

Robin Fairbairns
Presently unemployed, and using the facilities of the U of Cambridge
Computer Lab.

From KUYKENS@AMC.UVA.NL  Mon Jul 27 11:51:26 1992
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	id AA05371; Mon, 27 Jul 92 11:51:26 CDT
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 ) id <01GMVEVIQ3BK9BVIQ9@vx.cis.umn.edu>; Mon, 27 Jul 1992 11:53:31 CDT
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Date: 27 Jul 1992 18:47 +0100 (MET)
From: KUYKENS@AMC.UVA.NL
Subject: MIDI2TeX FTP site wanted
To: mutex
Message-Id: <1C9A81914AD1004699@AMC.UVA.NL>
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Content-Transfer-Encoding: 7BIT

 
Hello MusicTeX users,
 
        I have recently finished version 1.1 of  MIDI2TeX I tried to upload
it on an FTP site without success. Also, people whoi offered to do the
uploading for me did not respond yet. So I am looking for somebody who
can either point out a site to upload the pacakage and some (detailed)
help how to do that or someone who is willing to that job for me.
 
 
                        thanks : Hans
 

From hm308ba@unidui.uni-duisburg.de  Wed Jul 29 01:01:05 1992
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Date: Wed, 29 Jul 92 07:59:40 +0200
From: hm308ba@unidui.uni-duisburg.de (Mathias Bartsch)
Message-Id: <9207290559.AA13219@unidui.uni-duisburg.de>
To: mutex
Subject: MusicTex 4.7  in tar or zip ?!?!?

So, there is MusicTeX 4.7!

I looked at rsovax.ups.circe.fr and discovered millions of 
*.tex, *.mf, *.tfm, *.pk, *.sty, 
even *.doc and *.com ...

... has anyone zip'ped or tar'ed it?  

... or has anyone an idea how to retrieve that stuff from a VMS machine?
... does "mget *" work? Most files appear to be plain ascii, but some
    are binary, of course.

Any help appreciated       -Thanks in advance-
Mathias Bartsch
	
 +----------------------------+-----------------------------------------+
 |       Mathias Bartsch      |  Laboratorium f. Festkoerperphysik      |
 |   Uni -GH- Duisburg (FB10) |  phone : +49 203 379 3476               |
 |       Lotharstr. 1-21      |  Email : hm308ba@unidui.uni-duisburg.de |
 |      W-4100 DUISBURG 1     |  FAX   : +49 203 379 3163               |
 +----------------------------+-----------------------------------------+


From atibm65l@vnet.ibm.com  Thu Jul 30 07:55:40 1992
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Date: Thu, 30 Jul 92 14:52:27 CET
From: "RUSCH, KLAUS JOHANNES" <atibm65l@vnet.ibm.com>
To: mutex
Subject: Subscription

Send subscription requests to mutex-request@stolaf.edu.

From KUYKENS@AMC.UVA.NL  Wed Aug  5 03:48:42 1992
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 5 Aug 1992 10:53 MET
Date: 05 Aug 1992 10:47 +0100 (MET)
From: KUYKENS@AMC.UVA.NL
Subject: MIDI2TeX V.1.1 uploaded
To: mutex
Message-Id: <15CB10C9165B005D49@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
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Content-Transfer-Encoding: 7BIT

 
Hello MIDI2TeX user,
 
     Recently I have finished version 1.1 of the MIDI2TeX translator.
Instead of sending it by e-mail to all users I now have uploaded the
complete package (PC and ST) on ftp site
 
                obelix.icce.rug.nl
 
directory :     pub/erikjan/MIDI2TeX
 
Download st_m2t11.arc for the ST and pc_m2t11.exe for the PC. The file
m2tex11.inf contains some general information about the package.
 
I encourage everybody to transfer the package to other (more general) ftp
sites. If you do, please inform me where you uploaded it and in what
directory.
 
For those of you who do not have ftp access I am still willing to send the
new version by e-mail. Please e-mail your request. It may take one or two
weeks before you receive the package by e-mail.
 
 
                                        Hans Kuykens
 

From @pucc.PRINCETON.EDU:jqdoumen@vub.ac.be  Tue Aug 11 07:01:37 1992
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From: jqdoumen@vub.ac.be (Doumen Jan)
Message-Id: <9208111156.AA11437@is1.vub.ac.be>
Subject: installation problems : not finding files
To: mutex
Date: Tue, 11 Aug 92 13:56:29 MET
X-Mailer: ELM [version 2.3 PL11]

Hi all,

I`am trying to install MusicTeX under UNIX.
Unfortunately, some problems appear. Is there anybody
who had the same problems or knows a solution to this :

I installed MusicTeX in a subdirectory of my home-directory.
All the subdirs of MusicTeX are as they should be according to
the installation.
In my .login I specified where TeX has to look for inputs and fonts.

*setenv PKPATH ".:/u2/jqdoumen/MusicTeX/pk"
*setenv TEXFONTS ".:/u2/jqdoumen/MusicTeX/tfm"
*setenv TEXINPUTS ".:/u2/jqdoumen/MusicTeX/macros"

This should do the job, I think.
When I run TeX on hchoral.tex (as a test-file) I get a hchoral.dvi without
problems. But when I run dvips hchoral.dvi -0 , he says he can't find
some font files.


This is dvips 5.47 Copyright 1986-91 Radical Eye Software
' TeX output 1992.08.11:1107' -> hchoral.ps
- MakeTeXPK musicn20 300 300 magstep\(0.0\)
mf \mode:=imagen; mag:=magstep(0.0); scrollmode; input musicn20 \</dev/null
This is METAFONT, C Version 2.7

! I can't find file `musicn20'.
<*> ...g:=magstep(0.0); scrollmode; input musicn20

Please type another input file name:
! Emergency stop.
<*> ...g:=magstep(0.0); scrollmode; input musicn20

Transcript written on mfput.log.
Metafont failed for some reason on musicn20.300gf
dvips: Font musicn20.300pk not found, characters will be left blank.
dvips: Font cmbx12.300pk at 360 not found; scaling 300 instead.
dvips: Such scaling will generate extremely poor output.
dvips: Font beamn20.300pk not found, characters will be left blank.
<tex.pro><special.pro>. [1dvips: Unknown keyword (hp:) in \special will be ignor
dvips: Unknown keyword (xy) in \special will be ignored
dvips: Unknown keyword (12mm) in \special will be ignored
dvips: Unknown keyword (18mm) in \special will be ignored
dvips: No \special psfile was given; figure will be blank
] [2] [3] [4] [5] [6] [7] [8]

I don't get the chance to do anything. The emergency stop is done
by dvips itself.

Can anybody please help ?

Thanks in advance.

DeJean.


--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


From piet@cs.ruu.nl  Thu Aug 13 02:22:45 1992
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Date: Thu, 13 Aug 1992 09:22:29 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199208130722.AA27352@alchemy.cs.ruu.nl>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: installation problems : not finding files
References: <9208111156.AA11437@is1.vub.ac.be>

>>>>> jqdoumen@vub.ac.be (Doumen Jan) (DJ) writes:

DJ> I`am trying to install MusicTeX under UNIX.
DJ> Unfortunately, some problems appear. Is there anybody
DJ> who had the same problems or knows a solution to this :

DJ> I installed MusicTeX in a subdirectory of my home-directory.
DJ> All the subdirs of MusicTeX are as they should be according to
DJ> the installation.
DJ> In my .login I specified where TeX has to look for inputs and fonts.

DJ> *setenv PKPATH ".:/u2/jqdoumen/MusicTeX/pk"

This should set the TEXPKS variable rather than PKPATH.

I discovered another problem: in musictex 4.7 in musicadd.tex the following
lines should be added:

\newcount\t@wvii
\newcount\t@wviii
\newcount\t@wix

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From ryanr@mozart.cs.colostate.edu  Thu Aug 13 04:13:45 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208130913.AA26193@mozart.cs.colostate.edu>
Subject: Finding version 4.7 in U.S.A.
To: mutex
Date: Thu, 13 Aug 92 3:13:47 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

I've heard that version 4.7 is the most current version of MusicTeX.
Could someone please tell me where I could get a copy of this from an
American site so I'm not tying things up overseas?  And if not, could
someone tell me of a site elsewhere that wouldn't mind me getting from
them overseas?

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From @pucc.PRINCETON.EDU:jqdoumen@vub.ac.be  Thu Aug 13 08:57:13 1992
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From: jqdoumen@vub.ac.be (Doumen Jan)
Message-Id: <9208131351.AA05636@is1.vub.ac.be>
Subject: Manual
To: mutex
Date: Thu, 13 Aug 92 15:51:39 MET
X-Mailer: ELM [version 2.3 PL11]

Does there excist a good detailed manual for MusicTeX.
The musicdoc is not satisfactory in my opinion.
If you look at the demos and try to find the definitions of the commands used
in the musicdoc, you can only find 25 % of them.
How do I start to learn this MusicTeX. Any good suggestions ?

DeJean.

- --
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


------- End of Forwarded Message



--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


From ryanr@mozart.cs.colostate.edu  Fri Aug 14 03:43:52 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208140843.AA10826@mozart.cs.colostate.edu>
Subject: getting started with musictex
To: mutex
Date: Fri, 14 Aug 92 2:43:52 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

I've been trying to get started with musictex and finally was able to get
a hold of one of the newer versions.  My latest problem is probably best
described with the included typescript of my session.  Also, does anyone
know the earliest acceptable version of TeX and LaTeX I should be able to
use with the current version of MusicTeX?  Is LaTeX what I use for
MusicTeX now or do I just use TeX or plain TeX?  Anyway here's the
included typescript under this letter.

Thanks,
Richard.

Script started on Fri Aug 14 02:22:36 1992
ryanr@{beethoven} 34 % latex
This is TeX, C Version 3.0
LaTeX Version 2.09 <7 Dec 1989>

*\input musicnft
(/tmp/ryanr/music/package/musicnft.tex)
*\input musictex
(/tmp/ryanr/music/package/musictex.tex)
*\input musicdoc
(/tmp/ryanr/music/package/musicdoc.tex (/usr/local/lib/tex/inputs/report.sty
Document Style `report' <13 Nov 89>.
(/usr/local/lib/tex/inputs/rep11.sty) (/usr/local/lib/tex/inputs/titlepage.sty)
) (/tmp/ryanr/music/package/musictex.sty
(/tmp/ryanr/music/package/musicpre.tex) (/tmp/ryanr/music/package/musicnft.tex
! No room for a new \dimen .
\ch@ck ...\else \errmessage {No room for a new #3}
                                                  \fi 
\alloc@ ...\advance \count 1#1by\@ne \ch@ck #1#4#2
                                                  \allocationnumber =\count ...
l.85 \newdimen\wd@skip
                      ^^M
? x
No pages of output.
Transcript written on texput.log.
ryanr@{beethoven} 35 % exit
script done on Fri Aug 14 02:23:56 1992


-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From @pucc.PRINCETON.EDU:jqdoumen@vub.ac.be  Fri Aug 14 04:54:49 1992
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From: jqdoumen@vub.ac.be (Doumen Jan)
Message-Id: <9208140950.AA21780@is1.vub.ac.be>
Subject: Force two mesures on one line ?
To: mutex
Date: Fri, 14 Aug 92 11:50:08 MET
X-Mailer: ELM [version 2.3 PL11]

How can you force MusicTeX to put two mesures on one line.
I've got a lot of 16th and 32th notes in the
left hand of a piano-transcription. He automatically puts the
next barre on the next line. This because the second mesure is only a few
notes too long. Can you force him to put in anyway on the same line ?

DeJean.

--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Mon Aug 17 10:43:11 1992
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Date: 17 AUG 92 17:45:12.78-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX 4.72
To: mutex


Encore qqs bugs corriges. Version 4.72 de MusicTeX disponible:

Some more bugs corrected. Version 4.72 available:

ftp anonymous: 130.84.128.100 (alias rsovax.ups.circe.fr)

directory [anonymous.musictex]


From ryanr@mozart.cs.colostate.edu  Mon Aug 17 12:36:35 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208171736.AA00611@mozart.cs.colostate.edu>
Subject: Question about public domain music for MusicTeX
To: mutex
Date: Mon, 17 Aug 92 11:36:36 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

Are there any MusicTeX documents available of music in the public
domain?  I was wondering if there might be any newsgroups or ftp
sites that covered this.

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From @pucc.PRINCETON.EDU:jqdoumen@vub.ac.be  Tue Aug 18 01:47:56 1992
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From: jqdoumen@vub.ac.be (Doumen Jan)
Message-Id: <9208180643.AA12994@is1.vub.ac.be>
Subject: Public domain.
To: mutex
Date: Tue, 18 Aug 92 8:43:06 MET
X-Mailer: ELM [version 2.3 PL11]

# domain?  I was wondering if there might be any newsgroups or ftp
# sites that covered this.
#
It could be a good idea for the members of this list to start an ftp-site
with transcriptions of their music as it could be interesting to see
how certain problems have been solved by people.

DeJean.




--
/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure                                              |
| B - 1640 Sint-Genesius-Rode            Internet : jqdoumen@vub.ac.be        |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


From cdr@stolaf.edu  Wed Aug 19 07:39:06 1992
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To: mutex
Subject: [cdr (Craig D Rice): mutex subscription]
Date: Wed, 19 Aug 92 07:39:04 -0500
From: cdr@stolaf.edu

Forwarded to mutex:

------- Forwarded Message

Date: Tue, 18 Aug 92 22:31:12 EDT
From: groak@BOURBAKI.MIT.EDU
Message-Id: <9208190231.AA24016@kronecker>
Subject: The MusicTEX Mailing list

Dear Werner:
	I saw your message on comp.music regarding the MusicTeX mailing
list and dutifully tried to send them a subscription request.  Therefore,
I'd like to ask a favor.  Could you please send a request to them to
have me placed on it?  I realize that this is an unusual request, in that
it certainly isn't your responsibility to do this for random people who
write you letters, but my mail to them simply keeps bouncing.  I'd
really appreciate it.

Thanks,

Paul Gunnells
groak@math.mit.edu




------- End of Forwarded Message


From igor@charles.ucdavis.edu  Thu Aug 20 21:28:45 1992
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Thu, 20 Aug 92 19:30:14 PDT
Message-Id: <9208210230.AA14120@charles.ucdavis.edu>
To: mutex
Subject: All these MusicTeX revisions being only availabe via overseas ftp

Please, please, please won't someone offer to upload, hopefully in a one-file 
.tar or .ARJ format, the latest versions of MusicTex upon downloading from
France?  It seems most absurd that everyone in the states that wants it should
have to ftp to Europe seperately.  Of course, we just need an ftp site that
could accomodate this... hopefully one that the uploader can get permission
with to have it be an ongoing thing.  I know there are many sites that have
readable /incoming or /tmp directories, maybe someone keeping up on such things
could offer possibilities.  I believe ucsc has such an area, and they seem to
have always been strong in the computer and music fields... perhaps someone
who has it could put it there with a short note explaining its identity, and
we could see what happens.

From ryanr@mozart.cs.colostate.edu  Sat Aug 22 02:38:13 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208220738.AA17915@mozart.cs.colostate.edu>
Subject: getting dvips to recognize MusicTeX's _.pk fonts (Please help)
To: mutex
Date: Sat, 22 Aug 92 1:38:17 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

I'm looking for help from some UNIX users who know who also use postscript
printers.  I'm trying to use dvips to convert _.dvi files to postscript
files.  For some reason dvips does not seem to recognize the _.pk files
for MusicTeX.  I've tried dvi2ps, also, but it seems to do much worse than
dvips does.  The following is the file I set the envornment with:

setenv TEXINPUTS .:/tmp/ryanr/music/package:/usr/local/lib/tex/inputs
setenv TEXFONTS /tmp/ryanr/musicpk:/tmp/ryanr/music/package:/tmp/ryanr/tfm:/usr/local/lib/tex/fonts
setenv DVIFONTS /tmp/ryanr/music/package:/tmp/ryanr/musicpk:/tmp/ryanr/tfm:/usr/local/lib/tex/fonts
setenv TEXPKS /tmp/ryanr/music/package/:tmp/ryanr/music300pk/:/tmp/ryanr/tfm/pk300:/usr/local/lib/tex/fonts/pk

Next is the transcript of a session I where I use dvips:

Script started on Fri Aug 21 11:11:37 1992
ryanr@{beethoven} 34 % source /tmp/ryanr/music/musictexenv.source
ryanr@{beethoven} 35 % dvips -M -o musicdoc.ps musicdoc.dvi
This is dvips 5.47 Copyright 1986-91 Radical Eye Software
' TeX output 1992.08.18:1213' -> musicdoc.ps
dvips: Font musicn20.300pk not found, characters will be left blank.
dvips: Font beamn20.300pk not found, characters will be left blank.
dvips: Font slurn20.300pk not found, characters will be left blank.
dvips: Font musicn13.300pk not found, characters will be left blank.
dvips: Font beamn13.300pk not found, characters will be left blank.
dvips: Font musicn16.300pk not found, characters will be left blank.
<tex.pro>. [0] [1] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] [12] [13] [14] 
[15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25] [26] [27] [28] [29] 
[30] [31] [32] [33] [34] [35] [36] [37] [38] [39] [40] [41] [42] [43] [44] 
ryanr@{beethoven} 36 % exit
ryanr@{beethoven} 37 % 
script done on Fri Aug 21 11:13:37 1992

I use the "-M" option because without it dvips looks for _.mk files for
all the other fonts so then those fonts won't work.  What do I need to do?
I would really appreciate the help.

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From ryanr@mozart.cs.colostate.edu  Sat Aug 22 05:32:12 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208221032.AA18340@mozart.cs.colostate.edu>
Subject: (The metafont files) I think I've got dvips working but ...
To: mutex
Date: Sat, 22 Aug 92 4:32:15 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

I think I've got dvips working but I had a couple of problems.  The first
problem was that there was a <ctl>-M at the end of each line that I had to
edit out of each _.mf file.  All the other MusicTeX files unzipped all
right so I don't know how those got there.  Also, I used a makefonts file
that I doctored up to try to get it to work on these fonts.  I didn't
quite get it right so any corrections would be appreciated.  I had to
force it through the rough spots and if I had gotten everything right I
shouldn't have had to do that.  Here's the file I used:

start of makefonts -------
#!/bin/sh
# Bourne shell script to make all the fonts here.

mode=localfont
mf=mf

fonts="beamd20 beamn11 beamn13 beamn16 beamn20 beamngen beamq20 beamt20 \
beamv20 modes musicd11 musicd13 musicd16 musicd20 musicdef musicg16 \
musicgen musicn11 musicn13 musicn16 musicn20 slur16 slurdd16 slurdu16 \
slurgen slurn16 slurn20 slurud16 sluruu16"

for f in $fonts
do
  mf \\mode:=$mode\; input $f
  gftopk $f.*gf
done
end of makefonts ----------------

Thanks for any help,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From ryanr@mozart.cs.colostate.edu  Sat Aug 22 13:44:47 1992
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From: ryanr@mozart.cs.colostate.edu (richard ryan)
Message-Id: <9208221844.AA19701@mozart.cs.colostate.edu>
Subject: \fhyph and \Interligne
To: mutex
Date: Sat, 22 Aug 92 12:44:51 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

My TeX here can't seem to find the definition of \fhyph and \Interligne.
Could someone tell me where I can find these defined?

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From tim@maths.tcd.ie  Sat Aug 22 20:01:44 1992
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	id AA21009; Sat, 22 Aug 92 20:01:44 CDT
From: Timothy Murphy <tim@maths.tcd.ie>
Subject: Re: \fhyph and \Interligne
To: mutex
In-Reply-To: richard ryan's message of Sat, 22 Aug 92 12:44:51 MDT
Date: Sun, 23 Aug 92 2:01:43 BST
Sender: tim@maths.tcd.ie
Message-Id:  <9208230201.aa15228@salmon.maths.tcd.ie>

> My TeX here can't seem to find the definition of \fhyph and \Interligne.
> Could someone tell me where I can find these defined?

\fhyph is defined in INRSTeX;
but I was told by Taupin that it could be ignored 
without little or no loss; say

\let\fhyph=\relax

I haven't come across \Interligne in MusicTeX yet;
it is not defined in INRSTeX.

Timothy Murphy  

e-mail: tim@maths.tcd.ie
tel: +353-1-2842366 (home/office)
     +353-1-7021507 (university)
fax: +353-1-2842295
s-mail: School of Mathematics, Trinity College, Dublin 2, Ireland


From piet@cs.ruu.nl  Sun Aug 23 11:45:26 1992
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Sun, 23 Aug 1992 18:45:20 +0200
Date: Sun, 23 Aug 1992 18:45:20 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199208231645.AA24944@infix.cs.ruu.nl>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: getting dvips to recognize MusicTeX's _.pk fonts (Please help)
References: <9208220738.AA17915@mozart.cs.colostate.edu>

>>>>> ryanr@mozart.cs.colostate.edu (richard ryan) (RR) writes:

RR> I'm looking for help from some UNIX users who know who also use postscript
RR> printers.  I'm trying to use dvips to convert _.dvi files to postscript
RR> files.  For some reason dvips does not seem to recognize the _.pk files
RR> for MusicTeX.  I've tried dvi2ps, also, but it seems to do much worse than
RR> dvips does.  The following is the file I set the envornment with:

You should rename all the .pk files too .300pk.

RR> I think I've got dvips working but I had a couple of problems.  The first
RR> problem was that there was a <ctl>-M at the end of each line that I had to
RR> edit out of each _.mf file.  All the other MusicTeX files unzipped all
RR> right so I don't know how those got there.

The Zip contains MS-DOS files which uses CR/LF (ie ^M/^J) for newlines
whereas Unix uses only LF (^J). So you have to remove the ^M from all text
files and sometimes also a trailing ^Z.

Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From walt@GECKO.SLAC.Stanford.EDU  Tue Aug 25 15:47:41 1992
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Date: Tue, 25 Aug 92 13:41:41 -0700
From: Walter Innes <walt@GECKO.SLAC.Stanford.EDU>
Subject: New versions of bagpipe.tex
To: mutex
Message-Id: <9208252041.AA06601@gecko.SLAC.Stanford.EDU>
X-Envelope-To: mutex@stolaf.edu

I have uploaded two new versions of bagpipe.tex. Here is the readme
that goes with them:

bagpipe.tex is a macro-package for use with MusicTeX to type set
Scottish Highland Bagpipe music. Version 1.1 is for use with
MusicTeX versions 4.50 and 4.52. Version 1.2 is for use with
musicTeX versions 4.71 and 4.72. Version 1.1 adds many new
grace note definitions to version 1.0. Version 1.2 adds a
new scheme for specifying pitches which does not require
\s before pitch specifiers.  

From griebl@fmi.uni-passau.de  Wed Aug 26 03:52:16 1992
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  (5.65c8/IDA-1.4.4 for mutex@stolaf.edu); Mon, 24 Aug 1992 17:53:32 +0200
From: Martin Griebl <griebl@fmi.uni-passau.de>
Message-Id: <199208241553.AA06290@inn.fmi.uni-passau.de>
Subject: Re: getting dvips to recognize fonts
To: mutex
Date: Mon, 24 Aug 92 17:53:31 MET DST
Return-Receipt-To: griebl@fmi.uni-passau.de
X-Mailer: ELM [version 2.3 PL6]

Hi Richard, hi all,

in the last time there were several questions about UNIX environment
variables for TeX and esp. for dvips. I had many troubles in that
area, too. Now, I've found a solution which works fine. I'm not sure 
whether my solution is the best (and not even if it works everywhere) 
but I think it's worth posting it.

For dvips the relevant variable is TEXPKS. But, in my version
it is *not* enough to set it to the desired *PATH*. I have to set
this variable to the FILENAMEs of the fonts (!!). For this purpose
there exist three "wildcars":
    %f is the name of the fontfile
    %d is the resolution
    %p is the "extension" (normally pk)

An example:
    "/tex/fonts/pk/%d/%f.%d%p"  contains our standard fonts. 
    If dvips is looking for cmr12 in the resolution of 300 dpi then 
    it looks whether there exists
    "/tex/fonts/pk/300/cmr12.300pk" 
    (simply replace %d, %f and %p in the rule whith the desired 
    values 300, cmr12 and pk, respectively).

Therefore my TEXPKS is set to
"./%f.%d%p:/home/griebl/musictex/fonts/%f.%d%p:/tex/fonts/pk/%d/%f.%d%p:"
for fist looking at the current directory (.), then at my own musictex-font-
directory and then in the operators library /tex/fonts/pk for the needed fonts.

If the font is not found after the operators library, dvips reads the 
final ':' in TEXPKS. This means that dvips should then look in the systems
standard path (I think, it's /usr/lib/tex/fonts/pk or something like that).
If you don't want this then only remove the ':' at the end of TEXPKS.


I don't know if the described behavior for font-name-mathching 
instead of path-setting is a bug or not. I would be interested if anyone
can work with dvips under UNIX without explictly describing the filenames
(and using other directories than the standard-directories, of course).


For Richard, only: Please tell me if you do have success with this help
or not. Thanks.


Ciao,
	Martin

*****************************************************************************
*  Martin Griebl, University of Passau, Germany,  Phone: (49) (851) 509-710 *
*  E-Mail:  griebl@fmi.uni-passau.de                                        *
*****************************************************************************  

From griebl@fmi.uni-passau.de  Wed Aug 26 04:00:35 1992
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  (5.65c8/IDA-1.4.4 for mutex@stolaf.edu); Mon, 24 Aug 1992 17:53:32 +0200
From: Martin Griebl <griebl@fmi.uni-passau.de>
Message-Id: <199208241553.AA06290@inn.fmi.uni-passau.de>
Subject: Re: getting dvips to recognize fonts
To: mutex
Date: Mon, 24 Aug 92 17:53:31 MET DST
Return-Receipt-To: griebl@fmi.uni-passau.de
X-Mailer: ELM [version 2.3 PL6]

Hi Richard, hi all,

in the last time there were several questions about UNIX environment
variables for TeX and esp. for dvips. I had many troubles in that
area, too. Now, I've found a solution which works fine. I'm not sure 
whether my solution is the best (and not even if it works everywhere) 
but I think it's worth posting it.

For dvips the relevant variable is TEXPKS. But, in my version
it is *not* enough to set it to the desired *PATH*. I have to set
this variable to the FILENAMEs of the fonts (!!). For this purpose
there exist three "wildcars":
    %f is the name of the fontfile
    %d is the resolution
    %p is the "extension" (normally pk)

An example:
    "/tex/fonts/pk/%d/%f.%d%p"  contains our standard fonts. 
    If dvips is looking for cmr12 in the resolution of 300 dpi then 
    it looks whether there exists
    "/tex/fonts/pk/300/cmr12.300pk" 
    (simply replace %d, %f and %p in the rule whith the desired 
    values 300, cmr12 and pk, respectively).

Therefore my TEXPKS is set to
"./%f.%d%p:/home/griebl/musictex/fonts/%f.%d%p:/tex/fonts/pk/%d/%f.%d%p:"
for fist looking at the current directory (.), then at my own musictex-font-
directory and then in the operators library /tex/fonts/pk for the needed fonts.

If the font is not found after the operators library, dvips reads the 
final ':' in TEXPKS. This means that dvips should then look in the systems
standard path (I think, it's /usr/lib/tex/fonts/pk or something like that).
If you don't want this then only remove the ':' at the end of TEXPKS.


I don't know if the described behavior for font-name-mathching 
instead of path-setting is a bug or not. I would be interested if anyone
can work with dvips under UNIX without explictly describing the filenames
(and using other directories than the standard-directories, of course).


For Richard, only: Please tell me if you do have success with this help
or not. Thanks.


Ciao,
	Martin

*****************************************************************************
*  Martin Griebl, University of Passau, Germany,  Phone: (49) (851) 509-710 *
*  E-Mail:  griebl@fmi.uni-passau.de                                        *
*****************************************************************************  

From walt@GECKO.SLAC.Stanford.EDU  Wed Aug 26 09:56:37 1992
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Date: Wed, 26 Aug 92 07:47:01 -0700
From: Walter Innes <walt@GECKO.SLAC.Stanford.EDU>
Subject: Re: New versions of bagpipe.tex
To: mutex
Message-Id: <9208261447.AA12372@gecko.SLAC.Stanford.EDU>
X-Envelope-To: mutex@stolaf.edu

>Date: Wed, 26 Aug 1992 09:38:28 +0200
>From: Piet van Oostrum <piet@cs.ruu.nl>
>Subject: Re: New versions of bagpipe.tex
>To: Walter Innes <walt@GECKO.SLAC.Stanford.EDU>

>>>>> Walter Innes <walt@GECKO.SLAC.Stanford.EDU> (WI) writes:

>WI> I have uploaded two new versions of bagpipe.tex. Here is the  
>readme
>WI> that goes with them:

>Wouldn't it be nice to know WHERE you have uploaded them.

>Piet* van Oostrum, Dept of Computer Science, Utrecht University,


Yes it would! to ftp.stolaf.edu in directory pub/mutex/contrib .

From bph@gel.ulaval.ca  Thu Sep  3 15:35:39 1992
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Date: Thu, 3 Sep 92 16:36:47 EDT
From: Beatrice Philibert <bph@gel.ulaval.ca>
Message-Id: <9209032036.AA27082@stlaurent.gel.ulaval.ca>
To: mutex
Subject: Looking for MusicTeX 4.72



Does anybody know where I can get MusicTeX 4.72 in Canada ?
I have not been able to ftp it from France.

Please, e-mail your answer.


Ou puis-je obtenir MusicTeX 4.72 au Canada ? Je
n'ai pas pu me connecter au serveur francais.

Merci de vos reponses par e-mail.

Beatrice Philibert

-------------------------------------------------------------------------------
Dr Beatrice Philibert               |  Tel: 1-418-656-3019
Departement de Genie Electrique     |  Fax: 1-418-656-3159
Universite Laval                    |  e-mail: bph@gel.ulaval.ca
Sainte-Foy (Quebec) CANADA          |          Beatrice.Philibert@gel.ulaval.ca
G1K 7P4  		            |
-------------------------------------------------------------------------------


From pmcilroy@bt-sys.bt.co.uk  Tue Sep  8 11:37:13 1992
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Date: Mon, 7 Sep 92 20:43:40 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: Scale_and_Rests.tex

I have just started learning how to use Daniel Taupin's music setting
package MusicTeX.  As I had a bit of difficulty remembering the names
of notes and rests I made myself a little table of 52 note pitches and
their names, and another little table of all the rests and their names.
Since the code is very short, and since I thought it might help other
novices like myself I am posting the two tables here. The two tables
fit easily on a single A4 page.

I hope any TeX wizzards reading this will forgive the awful way I have
coded this, but as I said I have just started learning.

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

_______________________________ CUT HERE _______________________________
\input musicnft % defines music fonts
\input musictex % defines music macros & parameters
\input musicsty % non musical procedures used in typesetting text
\vsize=25.5cm
\hsize=18.5cm
\hoffset=-14mm % for LaserWriter
\nopagenumbers
\def\nbinstruments{1}
\def\lbnt#1{\zcharnote{12}{#1}\wh{!#1}}\relax
\def\musictex{Music\TeX}%
\cleftoksi={{6}{}{}{}}%
\parindent 0mm%
\centerline{\enorme Note Pitches in \musictex}
\bigskip
\bigskip
\bigskip
\bottommargin=15\Interligne
\def\wbarno{}
\debutmorceau
\autolines{24}{1}{4}%
\temps\temps\temps\notes\lbnt {`A}\lbnt {`B}\lbnt {`C}\lbnt {`D}\lbnt {`E}\lbnt {`F}\lbnt {`G}
\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\lbnt G\lbnt H\lbnt I
\lbnt J\lbnt K\lbnt L\lbnt M\lbnt N\lbnt a\lbnt b\lbnt c\enotes
\cleftoksi={{0}{}{}{}}%
\def\lbnt#1{\zcharnote{-6}{#1}\wh{!#1}}\relax
\alaligne\notes\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\lbnt h\lbnt i
\lbnt j\lbnt k\lbnt l\lbnt m\lbnt n\lbnt o\lbnt p\lbnt q\lbnt r
\lbnt s\lbnt t\lbnt u\lbnt v\lbnt w\lbnt x\lbnt y\lbnt z\enotes
\suspmorceau
\bigskip
\bigskip
\bigskip
\def\mcra#1{\zcharnote{16}{$\backslash$#1}}\relax % Displays a macro
\def\mcrb#1#2{\zcharnote{16}{$\backslash$#1}%
\zcharnote{12}{$\backslash$#2}}\relax % Displays 2 alternative macro names
\def\mcrc#1#2#3{\zcharnote{20}{$\backslash$#1}\zcharnote{16}{$\backslash$#2}%
\zcharnote{12}{$\backslash$#3}}\relax % Displays 3 alternative macro names
\def\nbinstruments{1}
%
% extra rest definitions:-
%
\def\dq@soup{\musicnfont\char"41}%
\def\dqs{\hbox to \noteskip{\dq@soup\hss}%
\advance\locx@skip by \noteskip}%
\def\qq@soup{\musicnfont\char"42}%
\def\qqs{\hbox to \noteskip{\qq@soup\hss}%
\advance\locx@skip by \noteskip}%
%
\cleftoksi={{0}{}{}{}}%
\parindent 0mm%
\centerline{\enorme Rests in \musictex}
\bigskip
\bigskip
\bigskip
\bottommargin=15\Interligne
\def\wbarno{}
\debutmorceau
\autolines{15}{1}{4}%
\Notes\temps\enotes
\NOtes
\mcra{qqs}\qqs%                        hemi-demi-semi-quaver rest
\mcra{dqs}\dqs%                        demi-semi-quaver rest
\mcrc{quartsoupir}{qsoupir}{qs}\qs%    semi-quaver rest
\mcrc{demisoupir}{dsoupir}{ds}\ds%     quaver rest
\mcrb{soupir}{qp}\qp%                  crotchet rest
\mcra{hpause}\hpause%                  minim rest
\mcra{pause}\pause%                    semibreve rest
\enotes
\suspmorceau\bye

From mwitten@hermes.chpc.utexas.edu  Tue Sep  8 12:40:02 1992
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From: mwitten@hermes.chpc.utexas.edu
Message-Id: <9209081741.AA26093@morpheus.chpc.utexas.edu>
Subject: MusicTex
To: mutex
Date: Tue, 8 Sep 92 12:41:06 CDT
X-Mailer: ELM [version 2.3 PL11]

I am trying to get the MusicTex system up and
running here in the US. I am just about to release
the whole thing to anonymous ftp. I will let the
crowd know when it's available. I thought it might
be useful to have people send MusicTex related programs
to me for the ftp library. If I'm duplicating an effort,
let me know. It's so hard to keep track of things
these days.

Matthew

-- 

_____________________________________________________________________

Matthew Witten, Ph.D. MED
Director, Applications Research & Development
Associate Director, 
UT System Center For High Performance Computing
Balcones Research Center, 1.154 CMS
10100 Burnet Road, Austin, TX 78758-4497 USA

Phone: (512) 471-2472  FAX: (512) 471-2445  

E-MAIL  MWITTEN@CHPC.UTEXAS.EDU
      or
        MWITTEN@UTHERMES.BITNET

"some intellectuals make their living by creating 
obscurities for the rest of us to puzzle over"
_____________________________________________________________________

From barrett@astro.cs.umass.edu  Tue Sep  8 13:27:14 1992
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From: barrett@astro.cs.umass.edu (Daniel Barrett)
Message-Id: <9209081827.AA05395@astro.cs.umass.edu>
To: mutex
Subject: SMF to MusicTeX converter being planned - ideas wanted


Hi folks:

	I have just joined this mailing list.  In the next few months,
I will be planning and building a program to convert from Standard
MIDI Files (SMF) to MusicTeX.  The program will be freely
distributable, perhaps with some optional shareware components.  If
anybody has any suggestions or tips, I would appreciate hearing them.

	Since this program is essentially a compiler, I plan first to
write a generic SMF parser using bison (GNU yacc).  If someone else
has done this already, please let me know.  I have seen other SMF
translation programs, but none of them use any grammar-based tools
like lex/yacc.

	Once the parser is built, I'll add the MusicTeX support.
I will try to make the program independent of MusicTeX, so that other
people can use it to generate other languages like MuTeX or whatever
kind of scoring language is desired.  Toward this end, I'll need to
invent lots of MusicTeX macros for common notation.  If you have any
great macros that you'd like to share, I'd love to see them.

	Finally, there's the issue of quantization.  For now, I plan to
force the user to do the quantization using his/her sequencer (or other
tool) before running my converter.  However, eventually I'd like for
the converter to have some of its own heuristics for grouping MIDI
data into chords and guessing durations.  Any ideas about this would
be appreciated.

	A major goal of this work is that the program will be portable.
Anybody with a C compiler and an implementation of bison (freely
available on all major microcomputers and UNIX, I believe) should be
able to port it quickly.  I'll distribute the code already "bisoned"
too, so you won't even need bison to compile the program.

	All user-interface code will be kept separate from the
"engine."  I don't intend for this program to have any kind of graphic
front-end.  This would take more time than I can afford to spend (I am
a graduate student right now).  Possibly, there will be some kind of
machine-specific graphic interface for turning options on and off
before converting to MusicTeX.

	When finished, the program will run under UNIX and the Amiga
operating system.  (But it should port pretty easily to other
platforms.)

	Like I said, I'm interested in hearing any ideas you have.  I
will be spending a long time planning the project before doing any
coding (gosh... software engineering! :-)), so please let me know what
features you might find useful.

                                                        Dan

 //////////////////////////////////////\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
| Dan Barrett -- Dept of Computer Science, Lederle Graduate Research Center |
| University of Massachusetts, Amherst, MA  01003  --  barrett@cs.umass.edu |
 \\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\/////////////////////////////////////


From pmcilroy@bt-sys.bt.co.uk  Tue Sep  8 15:37:56 1992
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Date: Tue, 8 Sep 92 21:37:26 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: Re: SMF to MusicTeX converter being planned - ideas wanted

Dan,

have you seen the posting from KUYKENS@AMC.UVA.NL in the mutex archive
(ftp.stolaf.edu:/pub/mutex/archive).  Just in case you haven't seen it
here it is:-

________________________________________________________________________________
>From KUYKENS@AMC.UVA.NL  Fri Apr  3 09:47:47 1992
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Date: Fri, 3 Apr 92 17:43 MET
>From: KUYKENS@AMC.UVA.NL
Subject: Midi2TeX translator
To: mutex
        mutex@stolaf.edu
Message-Id: <77018573F8FD001663@AMC.UVA.NL>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: @SENDASK.GRP

To all MusicTeX/MIDI users,
 
In the past months I have been working on a translator program, MIDI2TEX
which maps MIDI files to a MusicTeX file.
Though not completely bug free the software could use some
external input to test its proper function. Therefore, I would like to
invite you to receive a test version of the software. The aim is that you
try it on some of your MIDI files and report back your findings to me.
 
The software is available for the Atari-ST and  PC compatible.
On the Atari the core program is of TTP type. I wrote a dedicated GEM shell
which simplifies the use.
Such a shell is not available for the PC version.
 
Some features of MIDI2TEX are :
 
     *    translation of notes into MusicTeX format
     *    one or more MIDI tracks are supported
     *    skip tracks
     *    glue tracks into one (MusicTeX) instrument
     *    selection of bass or violin cleff for any track
     *    slurring of notes
     *    selection of measure segmentation
     *    debugging info to screen/file/printer
 
 
If you are interested please tell me so by e-mail. I will then send you the
software in ARC'ed and uuencoded format through e-mail.
 
 
 
                                       greetings : Hans Kuykens
 
________________________________________________________________________________

If you have not already done so you might want to check out Hans's program
before writing your own.

Regards,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

P.S. Forgive me if I should be minding my own business, but I thought you
     might save yourself some work.


From icking@gmdzi.gmd.de  Wed Sep  9 12:16:26 1992
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Date: Wed, 9 Sep 1992 19:16:04 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199209091716.AA10432@gmdzi.gmd.de>
To: mutex
Subject: Re:  Scale_and_Rests.tex

>Message-Id: <9209071939.AA07419@bt-sys.bt.co.uk>
>Date: Mon, 7 Sep 92 20:43:40 +0100

Hi Paul

>I have just started learning how to use Daniel Taupin's music setting
>package MusicTeX.  As I had a bit of difficulty remembering the names
>of notes and rests I made myself a little table of 52 note pitches and
>their names, and another little table of all the rests and their names.
>Since the code is very short, and since I thought it might help other
>novices like myself I am posting the two tables here. The two tables
>fit easily on a single A4 page.

Nice idea, because ... some time ago I had a similar idea :-)
but forgot to make it public :-(  So I take the chance to combine yours
and mine. The result you may find at the end. Take it as if it were
yours.
>
>I hope any TeX wizzards reading this will forgive the awful way I have
>coded this, but as I said I have just started learning.

Nothing to forgive. But some remarks which may help you.

1. you have an out-of-date version as I could see by(? with in at?) 
   your usage of \bottommargin; it was conflicting with LaTeX so 
   Daniel renamed it to \staffbotmarg.
2. if you use the transposition feature of Musictex you need not
   remember the names of the pitches but only (within \notes ...
   \enotes) the transpose-register:
         \notes\qu{cdef}\enotes\barre\notes\qu{g'ab}\ql c\enotes\relax
   \barre\notes\ql{'dedc}\enotes\barre\notes\qu{'ba`gf}\enotes\relax
   \barre\notes\qu{ed}\wh c\enotes\relax

Werner

PS: And here is the combined  musicref.tex  - waiting for improvements
---------------------------------------------------------------------------
\input musicnft\input musictex\input musicsty
\vsize=25.5cm\hsize=18.5cm\hoffset=-14mm % for LaserWriter
\parindent 0mm\nopagenumbers\def\wbarno{}\def\nbinstruments{1}
\def\musictex{Music\TeX}%
\centerline{\enorme Notes and Pitches in \musictex}\bigskip
\debutmorceau\cleftoksi={{6}{}{}{}}\autolines{26}{1}{12}\temps\notes\relax
\def\lbnt#1{\zcharnote{14}{#1}\wh{!#1}}\relax
\lbnt {`A}\lbnt {`B}\lbnt {`C}\lbnt {`D}\lbnt {`E}\lbnt {`F}\lbnt {`G}\relax
\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\lbnt G\lbnt H\lbnt I\relax
\lbnt J\lbnt K\lbnt L\lbnt M\lbnt N\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\relax
\enotes\cleftoksi={{0}{}{}{}}\alaligne\notes
\def\lbnt#1{\zcharnote{-8}{#1}\wh{!#1}}\relax
\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\lbnt f\lbnt g\lbnt h\lbnt i\relax
\lbnt j\lbnt k\lbnt l\lbnt m\lbnt n\lbnt o\lbnt p\lbnt q\lbnt r\relax
\lbnt s\lbnt t\lbnt u\lbnt v\lbnt w\lbnt x\lbnt y\lbnt z\relax
\enotes\suspmorceau
\def\mcra#1{\zcharnote{M}{$\backslash$#1}}\relax % Displays a macro
\bigskip\debutmorceau\temps\NOtes\relax
\mcra{zbv}\zbv i\sk\mcra{zsb}\zsb i\sk\enotes\Notes\relax
\mcra{wh}\wh i\relax
\mcra{hu}\hu f\mcra{hl}\hl l\relax
\mcra{qu}\qu f\mcra{ql}\ql l\relax
\mcra{cu}\cu f\mcra{cl}\cl l\enotes\NOtes\relax
\mcra{ccu}\ccu f\mcra{ccl}\ccl l\relax
\mcra{cccu}\cccu f\mcra{cccl}\cccl l\relax
\mcra{ccccu}\ccccu f\mcra{ccccl}\ccccl l\enotes\suspmorceau
%
% extra rest definitions:-
%
\def\dq@soup{\musicnfont\char"41}%
\def\dqs{\hbox to \noteskip{\dq@soup\hss}\advance\locx@skip by \noteskip}%
\def\qq@soup{\musicnfont\char"42}%
\def\qqs{\hbox to \noteskip{\qq@soup\hss}\advance\locx@skip by \noteskip}%
%
\def\mcra#1{\zcharnote{16}{$\backslash$#1}}\relax % Displays a macro
\def\mcrb#1#2{\zcharnote{16}{$\backslash$#1}%
\zcharnote{12}{$\backslash$#2}}\relax % Displays 2 alternative macro names
\def\mcrc#1#2#3{\zcharnote{20}{$\backslash$#1}\zcharnote{16}{$\backslash$#2}%
\zcharnote{12}{$\backslash$#3}}\relax % Displays 3 alternative macro names
%
\bigskip\centerline{\enorme Rests in \musictex}\bigskip
\debutmorceau\NOtes\sk\relax
\mcra{qqs}\qqs%                        hemi-demi-semi-quaver rest
\mcra{dqs}\dqs%                        demi-semi-quaver rest
\mcrc{quartsoupir}{qsoupir}{qs}\qs\sk% semi-quaver rest
\mcrc{demisoupir}{dsoupir}{ds}\ds\sk%  quaver rest
\mcrb{soupir}{qp}\qp%                  crotchet rest
\mcra{hpause}\hpause%                  minim rest
\mcra{pause}\pause%                    semibreve rest
\mcra{PAuse}\PAuse%                    ? rest
\mcra{PAUSe}\PAUSe%                    ?? rest
\enotes\suspmorceau
%
\bigskip\centerline{\enorme Symbols in \musictex}\bigskip
\def\mcra#1{\zcharnote{17}{$\backslash$#1}}\relax
\debutmorceau\NOtes\sk\relax
\mcra{nTrille}\nTrille{n}1\sk\mcra{ntrille}\ntrille{n}1\sk\sk\relax
\mcra{pince}\pince{n}\sk\mcra{Pince}\Pince{n}\sk\relax
\mcra{mordant}\mordant{n}\sk\sk\relax
\mcra{turn}\turn{n}\sk\mcra{backturn}\backturn{n}\sk\sk\relax
\mcra{coda}\coda{n}\sk\mcra{segno}\segno{n}\sk\relax
\enotes\alaligne\NOtes\sk\relax
\def\mcra#1{\zcharnote{10}{$\backslash$#1}}\relax
\mcra{dimin}\zcharnote b{\dimin}\sk\relax
\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax
\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax
\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\sk\relax
\enotes\alaligne\NOtes\sk\relax
\mcra{cresc}\zcharnote b{\cresc}\sk\relax
\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax
\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax
\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\relax
\enotes\alaligne\NOtes\sk\relax
\def\mcra#1{\zcharnote{14}{$\backslash$#1}}\relax
\mcra{pointdorgue}\pointdorgue{l}\wh k\sk\relax
\mcra{pointdurgue}\pointdurgue{e}\wh f\sk\relax
\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax
\enotes\suspmorceau\bye

From mau@beatles.CSELT.STET.IT  Thu Sep 10 07:00:34 1992
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Date: Thu, 10 Sep 92 12:28:24 +0200
From: mau@beatles.CSELT.STET.IT
Subject: Re:  Scale_and_Rests.tex
To: mutex
Message-Id: <9209101028.AA06586@beatles.uf.cselt>
X-Envelope-To: mutex@stolaf.edu

> \debutmorceau\cleftoksi={{6}{}{}{}}\autolines{26}{1}{12}\temps\notes\relax

I found that the first clef is still a G one, unless \cleftoksi={{6}{}{}{}}
is put *before* \debutmorceau ...

ciao! .mau.

From cdr  Thu Sep 10 08:44:04 1992
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From: cdr (Craig D Rice)
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To: mutex
Subject: test


This is a test message... Please ignore this...

Craig

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Fri Sep 11 13:16:01 1992
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Date: 11 SEP 92 19:33:07.91-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX 4.76
To: mutex


Version 4.76 posted at rsovax.ups.circe.fr = 130.84.128.100

Corrections: - some rests defined (1/32 and 1/64)
             - doc updated (slightly)
             - summary of pitches, notes and ornaments added
               in fine.


From ryanr@mozart.CS.ColoState.EDU  Sun Sep 13 19:10:23 1992
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From: ryanr@cs.colostate.edu (richard ryan)
Message-Id: <9209140010.AA10811@mozart.CS.ColoState.EDU>
Subject: sortindx (req: versions in C, Bourne shell script and/or pseudocode)
To: mutex
Date: Sun, 13 Sep 92 18:10:20 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

I'm about to ask for an awful lot, but I think a posting of the answers
might be beneficial to many.  Please brace yourselves.

I was wondering if someone could give me the general idea of what sortindx
does.  If it sorts into directories, please post a listing of the
directories and what's in them.  If it does any formatting or processing
of files, please include what the formatting and processing is with the
names of the resultant files and what they're used for, and what
directories they belong in.  If anyone knows how to represent the
algorithm of sortindx in pseudocode or in any other way, I'd really
appreciate it if you could post that.  (My ForTran is on the rusty side,
even though I like the language.)

Maybe if someone has a C version of it for UNIX or a Bourne shell script
version they could post it.  If there are any C versions of sortindx for
any other operating systems, please post that and please include the
version of C used and the operating system it's written for.  If we have
that then maybe it can be adapted.  I'm not that great of a programmer,
but if I can come up with something or if I can find someone who can, I'll
post whatever I can.

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From icking@gmdzi.gmd.de  Tue Sep 15 09:26:24 1992
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Date: Tue, 15 Sep 1992 16:26:08 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199209151426.AA26558@gmdzi.gmd.de>
To: mutex
Subject: MusicTeX 4.76 on ftp.gmd.de PLUS new musicref.tex

Daniel Taupin writes:
>
>Version 4.76 posted at rsovax.ups.circe.fr = 130.84.128.100
>

and as usual it is available for anonymous ftp from:

  ftp.gmd.de        music/musictex.zip

and in addition here is the (pre-)ultimate enhanced one-page musicref.tex:
---------------------------------------------------------------------------
\input musicnft\input musictex\input musicsty
\advance\voffset by -10mm\advance\vsize by 20mm\advance\hoffset by -5mm
\parindent 0mm\nopagenumbers\def\wbarno{}\def\nbinstruments{1}
\def\musictex{Music\TeX}\def\zch{\zcharnote}%
\centerline{\enorme \musictex\ Reference}\bigskip
\centerline{\moyen Pitches}\bigskip
\def\LBNT#1#2{\zch{!g}{#1#2}\wh{!#1#2}}\relax
\def\lbnt#1{\zch g{#1}\wh{#1}}\relax
\def\lbnu#1#2{\zch g{#1}\zch B{\hbox{\kern -3pt '#2}}\wh{#1}}\relax
\cleftoksi={6000}\debutmorceau\autolines{26}{1}{12}\temps\relax
% Pitches
\notes\LBNT `A\LBNT `B\LBNT `C\LBNT `D\LBNT `E\LBNT `F\LBNT `G\enotes\relax
\notes\lbnt A\lbnt B\lbnt C\lbnt D\lbnt E\lbnt F\lbnt G\enotes\relax
\notes\lbnu HA\lbnu IB\lbnu JC\lbnu KD\lbnu LE\lbnu MF\lbnu NG\enotes\relax
\notes\lbnt a\lbnt b\lbnt c\lbnt d\lbnt e\enotes\relax
\def\lbnu#1#2{\zch K{#1}\zch a{\hbox{\kern -3pt '#2}}\wh{#1}}\relax
\def\lbnv#1#2{\zch K{#1}\zch a{\hbox{\kern -4pt ''#2}}\wh{#1}}\relax
\def\lbnw#1#2{\zch K{#1}\zch a{\hbox{\kern -5pt '{'}'#2}}\wh{#1}}\relax
\cleftoksi={0000}\def\lbnt#1{\zch K{#1}\wh{#1}}\alaligne\notes\relax
\lbnt   a\lbnt   b\lbnt   c\lbnt   d\lbnt   e\lbnt   f\lbnt   g\relax
\lbnu h a\lbnu i b\lbnu j c\lbnu k d\lbnu l e\lbnu m f\lbnu n g\relax
\lbnv o a\lbnv p b\lbnv q c\lbnv r d\lbnv s e\lbnv t f\lbnv u g\relax
\lbnw v a\lbnw w b\lbnw x c\lbnw y d\lbnw z e\enotes\suspmorceau
%
\bigskip\centerline{\moyen Notes, Accidentals, Accents, and Rests}\bigskip
\def\mcra#1{\zch   r{$\backslash$#1}}\relax
\def\mcrx#1#2{\zch r{$\backslash$#1}\zch a{#2}}\relax
% Notes & Accidentals
\debutmorceau\temps\NOtes\relax
\mcrx{zsb}{Accidentals:}\zsb i\sk\mcra{zbv}\zbv i\sk\enotes\Notes\relax
\mcra{wh}\wh i\relax
\mcrx{hu}{\tt>}\hu {>f}\mcra{hl}\hl l\relax
\mcrx{qu}{\tt\^}\qu {^f}\mcra{ql}\ql l\relax
\mcrx{cu}{\tt=}\cu {=f}\mcra{cl}\cl l\enotes\NOtes\relax
\mcrx{ccu}{\tt\_}\ccu {_f}\mcra{ccl}\ccl l\relax
\mcrx{cccu}{\tt<}\cccu {<f}\mcra{cccl}\cccl l\relax
\mcra{ccccu}\ccccu f\mcra{ccccl}\ccccl l\enotes
% Pointed Notes and Accents
\def\mcra#1{\zch   o{$\backslash$#1}}\alaligne\Notes\relax
\mcra{pt$\backslash$zbv}\pt j\zbv j\sk\sk\relax
\mcra{whp}\whp i\mcra{hup}\hup h\mcra{qup}\qup g\mcra{cup}\cup f\relax
\sk\mcra{pt$\backslash$ccu}\pt e\ccu e\sk\sk\relax
\mcra{lpz}\lpz g\qu g\mcra{upz}\upz j\ql j\relax
\mcra{lsf}\lsf g\qu g\mcra{usf}\usf j\ql j\relax
\mcra{lst}\lst g\qu g\mcra{ust}\ust j\ql j\relax
\mcra{lppz}\lppz g\qu g\mcra{uppz}\uppz j\ql j\relax
\enotes\suspmorceau
% Rests
\def\mcra#1{\zch     u{$\backslash$#1}}\relax% 1 macro
\def\mcrb#1#2{\zch   u{$\backslash$#1}%
              \zch   q{$\backslash$#2}}\relax% 2 alternative macros
\def\mcrc#1#2#3{\zch y{$\backslash$#1}%
                \zch u{$\backslash$#2}%
                \zch q{$\backslash$#3}}\relax% 3 alternative macros
\debutmorceau\Notes\sk\relax
\mcrb{seizsoupir}{qqs}\qqs\sk\mcrc{huitsoupir}{hsoupir}{hs}\hs\sk\relax
\mcrc{quartsoupir}{qsoupir}{qs}\qs\sk\sk\relax
\mcrc{demisoupir}{dsoupir}{ds}\ds\sk\mcrb{soupir}{qp}\qp\sk\relax
\mcra{hpause}\hpause\sk\mcra{pause}\pause\sk\relax
\mcra{PAuse}\PAuse\sk\mcra{PAUSe}\PAUSe\enotes\suspmorceau
% more Symbols
\bigskip\centerline{\moyen Other Symbols}\bigskip
\def\mcra#1{\zch v{$\backslash$#1}}\relax
\debutmorceau\NOtes\sk\relax
\mcra{nTrille}\nTrille n 2\sk\mcra{ntrille}\ntrille n 2\sk\sk\relax
\mcra{pince}\pince n\sk\mcra{Pince}\Pince n\sk\relax
\mcra{mordant}\mordant n\sk\sk\relax
\mcra{turn}\turn n\sk\mcra{backturn}\backturn n\sk\sk\relax
\mcra{coda}\coda n\sk\mcra{segno}\segno n\sk\enotes\relax
\def\mcra#1{\zch r{$\backslash$#1}}\alaligne\NOtes\sk\relax
\mcra{pointdorgue}\pointdorgue l\wh k\sk\relax
\mcra{pointdurgue}\pointdurgue e\wh f\sk\relax
\mcra{PED}\PED\sk\mcra{DEP}\DEP\sk\relax
\mcra{arpeggio f 1}\arpeggio f 1\sk\sk\relax
\mcra{arpeggio d 4}\arpeggio d 4\sk\sk\relax
\mcra{arpeggio b 7}\arpeggio b 7\sk\enotes\relax
\def\mcra#1{\zch o{$\backslash$#1}}\alaligne\NOtes\sk\sk\relax
\mcra{dimin}\zcharnote b{\dimin}\sk\relax
\mcra{Dimin}\zcharnote b{\Dimin}\sk\sk\relax
\mcra{DImin}\zcharnote b{\DImin}\sk\sk\sk\relax
\mcra{DIMin}\zcharnote b{\DIMin}\sk\sk\sk\mcra{octfin}\octfin r 2\sk\sk\relax
\enotes\alaligne\NOtes\mcra{octline}\octline r\sk\sk\relax
\mcra{cresc}\zcharnote b{\cresc}\sk\relax
\mcra{Cresc}\zcharnote b{\Cresc}\sk\sk\relax
\mcra{CResc}\zcharnote b{\CResc}\sk\sk\sk\relax
\mcra{CREsc}\zcharnote b{\CREsc}\sk\sk\sk\sk\sk\relax
\enotes\suspmorceau\bye

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Mon Sep 21 13:47:05 1992
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Date: 21 SEP 92 19:09:50.02-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX version 4.77
To: mutex


Version 4.77 available at 130.84.128.100 = rsovax.ups.circe.fr
directory [anonymous.musictex]

I suggest that ftp anonymous managers update if not done recently,
since important changes were done in april/may 1992.

From edf@minsky.csata.it  Mon Sep 28 10:29:13 1992
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From: Vincenzo De Florio <edf@minsky.csata.it>
Subject: changesignature macro
To: mutex
Date: Mon, 28 Sep 92 16:30:33 MET
Mailer: Elm [revision: 66.25]

Hi,
in MusicTeX's Manual there's a reference to \changesignature.
Coding that macro I always get the output: `undefined macro'.
What can I do? My need is the following: I want that the signa-
ture in my score changes at the end of a line and before the
new one so that the music reader will notice the changing.

Thank you very much for help and attenction,

Vincenzo De Florio
edf@minsky.csata.it
deflorio@minsky.csata.it


From ryanr@mozart.CS.ColoState.EDU  Mon Sep 28 20:43:03 1992
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From: ryanr@cs.colostate.edu (richard ryan)
Message-Id: <9209290143.AA26218@mozart.CS.ColoState.EDU>
Subject: Re:  Question about public domain music for MusicTeX
To: mutex
Date: Mon, 28 Sep 92 19:43:04 MDT
Cc: mutex@stolaf.edu (MusicTeX/MuTeX)
In-Reply-To: <199209210745.AA00350@tardis43.ethz.ch>; from "Tobias Oetiker" at Sep 21, 92 9:45 am
X-Mailer: ELM [version 2.3 PL8]

Tobias Oetiker
> 
> Hi I just read your request ... for PD Music Tex Docs ...
> Did you get any respons ???
> I would be Interested Too ...

Hi,

I haven't gotten any responses yet.  I think we just need a few people to
get the ball rolling.  If people typeset a few scores of their own or
typeset a few older public domain scores, it might really add to the
MusicTeX users who may in turn find interest in some of the newer music
they found written in MusicTeX.  It might be interesting.

Maybe people could use MusicTeX and the net to give their music some
exposure.  Though their music might be freely distributed, maybe the
composers could keep performance rights or something.  They could always
write not-so-freely distributed music later.

As for me, I've only recently started the music thing, while anything I've
got to add in the way of musical output may not be worth much, when I get
the time I'll try something.  Maybe people will feel sorry enough for me
that they'll say, "hey, let's help this poor misguided fellow out."

Seeya,
Richard.

From ryanr@mozart.CS.ColoState.EDU  Fri Oct  2 01:48:20 1992
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From: ryanr@cs.colostate.edu (richard ryan)
Message-Id: <9210020648.AA22524@mozart.CS.ColoState.EDU>
Subject: Re:  Question about public domain music for MusicTeX
To: mutex
Date: Fri, 2 Oct 92 0:48:21 MDT
Cc: mutex@stolaf.edu (MusicTeX/MuTeX)
In-Reply-To: <01GPFVA1I61S000DBC@VAXA.CIS.UWOSH.EDU>; from "TRAVIS LISK" at Oct 1, 92 4:15 pm
X-Mailer: ELM [version 2.3 PL8]

TRAVIS LISK
> 
> Date sent:  1-OCT-1992 16:14:07 

> How does a subscriber either a) get scores or b) send scores
> please reply!!!!
> Travis A. Lisk
> University of Wisconsin-Oshkosh
> LISKT@OSHKOSHW.BITNET

Hi,

For a) some music comes with the MusicTeX package but outside of that,  I
haven't found any so I couldn't really tell you.

For b) maybe someone could help me out here: would the mutex mail group be
an all right place to start?  It would probably take enough interested
people to get some newsgroup started.  Perhaps if there is a decent
number of contributors here, someone might see their way clear to have a
newsgroup to accommodate the composers, arrangers, transcribers, and of
course, the typesetters here.

Richard.

From tim@maths.tcd.ie  Fri Oct  2 06:08:26 1992
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	id AA27262; Fri, 2 Oct 92 06:08:26 CDT
From: Timothy Murphy <tim@maths.tcd.ie>
Subject: Re:  Question about public domain music for MusicTeX
To: mutex
In-Reply-To: richard ryan's message of Fri, 2 Oct 92 0:48:21 MDT
Date: Fri, 2 Oct 92 12:08:30 BST
Sender: tim@maths.tcd.ie
Message-Id:  <9210021208.aa24203@salmon.maths.tcd.ie>

> For b) maybe someone could help me out here: would the mutex mail group be
> an all right place to start?  It would probably take enough interested
> people to get some newsgroup started.  Perhaps if there is a decent
> number of contributors here, someone might see their way clear to have a
> newsgroup to accommodate the composers, arrangers, transcribers, and of
> course, the typesetters here.

A kind of musical Gutenberg project?!
That would be great.

But I've often wondered --
is there no standard way of entering music into the computer,
as eg must be required for printing?
Are there no SGML or SGML-like standards for music?


Timothy Murphy  

e-mail: tim@maths.tcd.ie
tel: +353-1-2842366 (home/office)
     +353-1-7021507 (university)
fax: +353-1-2842295
s-mail: School of Mathematics, Trinity College, Dublin 2, Ireland


From Robin.Fairbairns@cl.cam.ac.uk  Fri Oct  2 07:48:45 1992
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          by swan.cl.cam.ac.uk with SMTP (PP-6.2) to cl;
          Fri, 2 Oct 1992 13:48:15 +0100
To: mutex
Cc: mutex@stolaf.edu, Robin.Fairbairns@cl.cam.ac.uk
Subject: Re: Question about public domain music for MusicTeX
In-Reply-To: Your message of Fri, 02 Oct 92 12:08:30 -0000. <9210021208.aa24203@salmon.maths.tcd.ie>
Date: Fri, 02 Oct 92 13:48:03 +0100
From: Robin.Fairbairns@cl.cam.ac.uk
Message-Id: <"swan.cl.ca.363:02.09.92.12.48.22"@cl.cam.ac.uk>

|> > For b) maybe someone could help me out here: would the mutex mail group be
|> > an all right place to start?  It would probably take enough interested
|> > people to get some newsgroup started.  Perhaps if there is a decent
|> > number of contributors here, someone might see their way clear to have a
|> > newsgroup to accommodate the composers, arrangers, transcribers, and of
|> > course, the typesetters here.
|> 
|> A kind of musical Gutenberg project?!
|> That would be great.

Hear hear!

|> But I've often wondered --
|> is there no standard way of entering music into the computer,
|> as eg must be required for printing?
|> Are there no SGML or SGML-like standards for music?

There is a thing called SMDL*, but I don't know anything about its
contents (i.e., whether it's a MIDI-level thing or a MusicTeX-level
thing, as it were).

I know about SMDL because it was mentioned as a potential point of
liaison between those standardising graphics for multimedia and
people working on sound representations.  I believe the work is
being done in ISO/IEC JTC1/SC18 - anyone know any better?

Robin 

* Standard Music Description Language (cf SPDL = s _page_ dl); at
the social event of the ISO meeting where I learnt about the
existence of this thing, there was a memorable skit which
substituted Meeting for Music.

From ryanr@mozart.CS.ColoState.EDU  Sat Oct  3 22:59:23 1992
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From: ryanr@cs.colostate.edu (richard ryan)
Message-Id: <9210040359.AA25219@mozart.CS.ColoState.EDU>
Subject: metafont files for dmr8 and dmbx12
To: mutex
Date: Sat, 3 Oct 92 21:59:25 MDT
X-Mailer: ELM [version 2.3 PL8]

Hi,

When I was trying to do a dvips on the musicdoc.dvi and euromtex.dvi files
that came with the musictex.zip, it complained about needing fonts dmr8
and dmbx12.  Does anyone know where I can get the metafont files for
these?

Thanks,
Richard.

-- 
mailing address:                                  home phone:
   813 W. Mountain Ave.				     (303)498-0828
   Ft. Collins, Co. 80521

From igor@charles.ucdavis.edu  Sun Oct  4 20:19:52 1992
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Sun, 4 Oct 92 18:14:00 PDT
Message-Id: <9210050114.AA11487@charles.ucdavis.edu>
To: mutex
Subject: Music notating

|> > people to get some newsgroup started.  Perhaps if there is a decent
|> > number of contributors here, someone might see their way clear to have a
|> > newsgroup to accommodate the composers, arrangers, transcribers, and of
|> > course, the typesetters here.
|> 
|> A kind of musical Gutenberg project?!
|> That would be great.

>Hear hear!

     Newsgroups abound... I would think most folks on this list learned about
it from comp.music, as have I.  A new one that would likely be appropriate
is rec.music.compose (or is it, .composers?)  There's also rec.music.makers.
Perhaps if someone is a regular on all these, they could summarize relevant
discussions to our list here.  What we _need_ is a repository in the form of
an ftp site, where folks could post their contributions:  compositions, 
macro ideas, and utility programs like Midi2Tex for example.  I even remember
a long while back someone on comp.music discussing the idea of a melody 
database, filed by attributes of melodies' qualities.  Anyone know about such
work? 


|> But I've often wondered --
|> is there no standard way of entering music into the computer,
|> as eg must be required for printing?
|> Are there no SGML or SGML-like standards for music?

>There is a thing called SMDL*, but I don't know anything about its
>contents (i.e., whether it's a MIDI-level thing or a MusicTeX-level
>thing, as it were).

     SMDL finally came out after long having calls for contribution to its
design, but it seems pretty technical for general purpose composition or 
sharing of pieces.  It seems more suited to the technically oriented, 
"computer music" academia mindset.  It's probably not unlike MAX and such
high-powered sound design tools, but I know not much about either and would
love hear from someone who has a working familiarity with these things.
     As for a standard way for entering scores into a computer... if you have
access to it, try the SCOre Translator (SCOT) language that comes with Csound,
out of MIT.  I find it a most sensible, straightforward approach to mapping
musical notes to sequences of keyboard strokes.  It's still pretty slow going
though, typing in significant works, so we're all probably better off using 
keyboard interfaces like MidiToTex and cleaning up any interpretation errors
that kind of software might make.  Too bad we can't all sightread 4part scores!
In the interest of increased collective productivity, I'd like to hear from
anyone else who's been entering scores in SCOT.  I'd be very delighted to hear
about any converting software projects, to/from SCOT.   
	I'll see if I can find the SCOT manual online, and perhaps quote some
descriptive passages.  Also, I know the official SMDL document is in ftp land
somewhere.  Happy netting, everyone.

From icking@gmdzi.gmd.de  Mon Oct  5 03:43:33 1992
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Date: Mon, 5 Oct 1992 09:43:15 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199210050843.AA09389@gmdzi.gmd.de>
To: mutex
Subject: Re:  metafont files for dmr8 and dmbx12

use cmr8, cmbx12, ... instead. Daniel Taupin explained me that these are
so-called virtual fonts, which consist of TFMs and construction rules to
generate the wanted characters (e.g. accented letters) from existing fonts.
These should look better than those "made" by TeX by e.g. moving some dots
nearly above some "o".

If you re-process musicdoc.tex by plain-TeX you get an dvi-file which
can be "dvips"-ed without any trouble.

Hi Daniel, I'm not the only one who has difficulties with this dirt(ual)
fonts.

Werner

From groak@math.mit.edu  Mon Oct  5 11:52:19 1992
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From: groak@math.mit.edu
Message-Id: <9210051652.AA04513@riesz>
To: mutex
Subject: MidiToTeX


Hello all.

Does there exist a version of MidiToTex for SUN platforms, or is it only available for PCs?  And, if it does exist for SUNs, can anyone tell me the structure
of the file it expects to receive?  I've really no idea what the standard
MIDI file is supposed to look like.  (I would be trying to upload such files
from an Amiga to a SUN, thence to processed by the translator.)  If this is
an absurd question, then feel free to chastise me either publicly or through
eMail.

Thanks,

Paul.


From bebe@fuw.edu.pl  Wed Oct  7 15:47:49 1992
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From: bebe@fuw.edu.pl
Message-Id: <9210072043.AA05500@cclan.fuw.edu.pl>
To: mutex
Subject: MuTeX & X11 ?

Dear Music TeXers !

 Recently I had a look to archives of MuTeX mailing list and I found on
very beginning: 

>Date: Tue, 26 Nov 91 21:11:06 -0800
>From: William Vera <vera@prodnet.la.locus.com>
>
>                                      ...  My eventual goal here is to
>write an X-window front end for composing multi-part scores which will
>output with MuTeX on a laser printer or previewer.  I hear someone is
>already working on extensions to increase the number of allowable staves.
>...

 What happened with this very interesting project ?

 Any kind of information about it would be interesting.

 Thank you very much in advance
 Wojtek Bogusz

 e-mail: bebe@fuw.edu.pl


From bebe@fuw.edu.pl  Mon Oct 12 09:24:17 1992
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Date: Mon, 12 Oct 92 13:05:20 +0100
From: bebe@fuw.edu.pl
Message-Id: <9210121205.AA09023@cclan.fuw.edu.pl>
To: mutex
Subject: Fit in to page

After trying several examples and several ways to over come this
I'd like to ask. How to shift text on the page up and left to make it
fit it to A4 page ? (I'd tryed to uncomment % **** \hsize 16cm \vsize 24cm
in musictex.tex and it help nothing).

Thanks in advance

 Wojtek Bogusz
 e-mail:bebe@fuw.edu.pl

From cdr@stolaf.edu  Mon Oct 12 10:50:11 1992
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To: mutex
Subject: The Rare MuTeX policy posting
Date: Mon, 12 Oct 92 10:50:09 -0500
From: cdr@stolaf.edu


Greetings all. Just a bit of administrivia coming your way:

Craig
----- CUT HERE -----

Last Updated: 15-January-1992

Welcome to the MuTeX mailing list.

The following is some administrivia:

This list is NOT moderated!  Every message that is sent to the list
	mutex@stolaf.edu
will be passed on to every member of the list

Requests to have addresses added or removed from the list should NOT
be sent to the entire list.  Instead, they should be mailed to:
	mutex-request@stolaf.edu

The MuTeX mailing list is currently archived on "ftp.stolaf.edu"
in /pub/mutex/archive.

--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@acc.stolaf.edu	Academic Computing Center, St. Olaf College
+1 507 646-3631		1520 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1098   USA

From tim@maths.tcd.ie  Mon Oct 12 11:15:42 1992
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From: Timothy Murphy <tim@maths.tcd.ie>
Subject: Re: Fit in to page
To: mutex
In-Reply-To: bebe@fuw.edu.pl's message of Mon, 12 Oct 92 13:05:20 +0100
Date: Mon, 12 Oct 92 17:15:42 BST
Sender: tim@maths.tcd.ie
Message-Id:  <9210121715.aa20936@salmon.maths.tcd.ie>

> After trying several examples and several ways to over come this
> I'd like to ask. How to shift text on the page up and left to make it
> fit it to A4 page ? (I'd tryed to uncomment % **** \hsize 16cm \vsize 24cm
> in musictex.tex and it help nothing).

I'd like to agree with this.
It's a pity so much seems to be built in to MusicTeX.
I really like the program.
But wouldn't it be better if it were a LaTeX style,
with page-size, type-size, margins, etc,
choosable by the user?

I imagine that would be quite difficult to implement,
but it would increase the usability of the program enormously, IMHO.

The reason given for making the page larger than a4
was that a4 is too small for music (as I recall).
It seems to me that most people have access to photo-copiers
that can enlarge the copy,
so wouldn't it make sense to enable the music to be printed in a smaller size
on an A4 sheet?

Timothy Murphy  

e-mail: tim@maths.tcd.ie
tel: +353-1-2842366 (home/office)
     +353-1-7021507 (university)
fax: +353-1-2842295
s-mail: School of Mathematics, Trinity College, Dublin 2, Ireland


From @orchard.la.locus.com:vera@oolong.la.locus.com  Mon Oct 12 12:11:58 1992
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Date: Mon, 12 Oct 92 10:13:19 -0700
From: William Vera <vera@oolong.la.locus.com>
Message-Id: <9210121713.AA819301@prodnet.la.locus.com>
To: mutex
Cc: vera@lear.Bos.Locus.COM
Subject: Re: Fit in to page
In-Reply-To: Message of Mon,
             12 Oct 92 17:15:42 BST       from "Timothy Murphy <tim@maths.tcd.ie>"       <9210121715.aa20936@salmon.maths.tcd.ie>
Fcc: 

-------
> > From: bebe@fuw.edu.pl
> >
> > After trying several examples and several ways to over come this
> > I'd like to ask. How to shift text on the page up and left to make it
> > fit it to A4 page ? (I'd tryed to uncomment % **** \hsize 16cm \vsize 24cm
> > in musictex.tex and it help nothing).

This subject came up last December.  According to Werner Icking (27 Jan 1992):

	Comment out lines 18-19 from musictex.tex (as above) and RESET with
	the proper sizes to fit your printer paper.  (Apparently bebe@fuw.edu.pl
	didn't redefine this).  The same lines can be found in musictex.sty line
	354.

> The reason given for making the page larger than a4
> was that a4 is too small for music (as I recall).
> It seems to me that most people have access to photo-copiers
> that can enlarge the copy,
> so wouldn't it make sense to enable the music to be printed in a smaller size
> on an A4 sheet?

Provided paper larger than A4 size can be fed into a copier (to produce the
enlargement), the idea also sounds good to me.

> Timothy Murphy  

> e-mail: tim@maths.tcd.ie
> s-mail: School of Mathematics, Trinity College, Dublin 2, Ireland

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^|^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
  William Vera                  | 
  vera@locus.com                |       MuTeX and MusicTeX are NOT for
  Locus Computing Corp.         |       typesetting country music! :-)
  (310)337-5162                 | 
^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

From pmcilroy@bt-sys.bt.co.uk  Mon Oct 12 14:16:17 1992
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Date: Mon, 12 Oct 92 20:14:47 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: Re: Fit in to page


Changing \hsize, \vize, \hoffset and \voffset seems to be a
fairly simple way of fitting a document to the page - Typing

\hoffset=-14mm % for LaserWriter
\voffset=-14mm % for LaserWriter

just after the \vsize and \hsize assignments (near the top after all
the \input lines) worked for me.

Offsets of 14mm seem OK for an Apple Laserwriter, but you
may need to experiment for other printers.

Regards,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From icking@gmdzi.gmd.de  Tue Oct 13 03:37:32 1992
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Date: Tue, 13 Oct 1992 09:36:12 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199210130836.AA10058@gmdzi.gmd.de>
To: mutex
Subject: Re:  Fit in to page

>After trying several examples and several ways to over come this
>I'd like to ask. How to shift text on the page up and left to make it
>fit it to A4 page ? (I'd tryed to uncomment % **** \hsize 16cm \vsize 24cm
>in musictex.tex and it help nothing).

It's a simple TeX-problem. Either shift the page during printing or
use \hoffset and \voffset in the (Music)TeX input. I tried to maximise
the output page with respect to HP-Laserjet as output-device:

 \hoffset=-21.16666666mm \hsize=197,9506666666mm
 \voffset=-20.32mm \vsize=286.9353333333mm

A more TeX-like solution would look like:
 \advance \hoffset by -21mm \advance \hsize by 42mm

"Normal" TeX assumes an output frame of 6,5" * 9" on a physical
page of 8,5" * 11" yielding in 1" margins.

Maximising the output frame requires precise control of the dvi-driver.
My input for EmTeXs dvihplj7 looks like:
 /h=286.935333333mm %/ta=5.08mm  dvihplj knows it better
 /w=197.950666667mm  /la=4.233333333333mm

Hope this helps.

Werner

PS: Most TeX-installations have a TeX-input-file named testpage.tex
    which may be used for printer adjustment.

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Tue Oct 13 15:22:33 1992
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Date: 13 OCT 92 20:23:05.66-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: 
To: mutex

MusicTeX varsion 4.80 is available at anonymous ftp 130.84.128.100
(rsovax.ups.circe.fr).

-- doc corrected for slight errors.

-- in reply to a demand, quntuble beams are available.

-- as suggested in prague, \fontdimen are used to save \newdimen
   registers, whose overloading could pose problems with LaTeX


From icking@gmdzi.gmd.de  Wed Oct 14 12:20:59 1992
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Date: Wed, 14 Oct 1992 18:20:46 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199210141720.AA02074@gmdzi.gmd.de>
To: mutex
Subject: MusicTeX Version 4.80 at ftp.gmd.de

Daniel Taupin writes:

>MusicTeX version 4.80 is available at anonymous ftp 130.84.128.100
>(rsovax.ups.circe.fr).

let me add: ... as usual available for anonymous ftp from

  ftp.gmd.de [129.26.8.90]: music/musictex/musictex.zip     (ca. 500.000)
                                           musictex.477-480 (ca. 150.000)

If you ftp the delta-file musictex.477-480 to a PC you may get a
file musictex.477 which works with those unzippers I know, too.

Werner

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Wed Oct 21 09:33:27 1992
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Date: 21 OCT 92 14:46:17.40-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Musictex. Bugs corrected.
To: mutex


While musictex.tex and musicnft.tex were updated to version 4.80,
there was a bug introduced when using musicadd.tex (big scores).

This is corrected and updated releases of musicnft.tex and musicadd.tex
are available at 130.84.128.100 (rsovax.ups.circe.fr). If you already
have 4.80, it is useless to get the *.zip and *.bck fikles, just
the two files quoted (in ASCII).

From icking@gmdzi.gmd.de  Wed Oct 21 11:02:46 1992
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Date: Wed, 21 Oct 1992 17:02:31 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199210211602.AA05825@gmdzi.gmd.de>
To: mutex
Subject: MusicTeX version 4.81:

>Date: 21 OCT 92 14:46:17.40-GMT     >From: TAUPIN@FRUPS51.BitNet
>
>While musictex.tex and musicnft.tex were updated to version 4.80,
>there was a bug introduced when using musicadd.tex (big scores).
>
>This is corrected and updated releases of musicnft.tex and musicadd.tex
>are available at 130.84.128.100 (rsovax.ups.circe.fr). If you already
>have 4.80, it is useless to get the *.zip and *.bck fikles, just
>the two files quoted (in ASCII).

Or get from  ftp.gmd.de:  music/musictex/musictex.480-481.zip (6608 bytes)
(BInary) which contains the updated files (1929+26609 bytes)

If you put it onto your PC it's name may be  musictex.480  which can be
handled by most unzippers I know. Otherwise rename it before unzipping it.

Werner

PS: Did you ever look into    ftp.gmd.de:  music/classical/...   ?
    It contains Dave Lampson's buying guide for Classical CDs as ASCII or
    PostScript files.

From cdr@stolaf.edu  Wed Oct 21 11:43:47 1992
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To: mutex
Subject: musictex-4.81.tar.Z
Date: Wed, 21 Oct 92 11:43:44 -0500
From: cdr@stolaf.edu


For those musictex users that prefer the compress tar format distribution
of musictex, you can find the most recent version (4.80 with the two
patches for 4.81) in
	ftp.stolaf.edu:/pub/mutex/musictex-4.81.tar.Z

FYI,
Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1520 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1098   USA

From bebe@fuw.edu.pl  Tue Oct 27 12:57:21 1992
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From: bebe@fuw.edu.pl
Message-Id: <9210271855.AA02560@albert1.fuw.edu.pl>
To: mutex
Subject: Note question

Hello Music TeX Typesetters !

 I would like ask, probably simple question:

 How can I do thing like this :

              _________ 
              |   |   |           O - half note head
              |   |   |  ....     @ - eighth note head
             O   @   @
            |
            |

 I was trying a bit to understand MusicTeX macros recently. But, well ...
Maybe my TeX knowledge is steal not enought ... ( This for sure )
Any way it would be nice to have some more comments in side and particulary 
more in English.
 And one more think I thought (except leggato's/slurs witch are not looking 
to me nice when compared with one form notes book's) May be it would be nice 
to have some place where people would be able to put own designed macros
with page of TeX description. May be if Daniel Tupin would find some of those
sets interesting it would become a part of MuiscTeX sets of macros. Just like
musicext.tex. Which is interesting but not described in manual. By description
I understand one example and syntax of macro (I know that I can always look in 
side of file and try by me self to test things but ...).

 Regards 

 Wojtek Bogusz

Ps: I was asking time ago question about X11 & Mu/Music TeX. Thanks for reply.
 But I had some thing else in mind from that what was stated in hints I got. 
 I thought about some kind of editor where one can set  shape of score with
 mouse. Just like in paint programs. And after you get file in Mu...TeX format
 to correct only. But I think no body is working on thing like this, ????

 Wojtek

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Wed Oct 28 08:10:19 1992
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Date: 28 OCT 92 15:06:55.39-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Musictex 4.82
To: mutex



Minor corrections in MUSICTEX.DOC and oone bug corrected in MUSICTEX.TEX

ftp anonymous: 130.84.128.100 (rsovax.ups.circe.fr) directory
 [anonymous.musictex]

Only musictex.tex and musicdoc.tex need to be taken if you have 4.81
(sorry NOT musictex.doc BUT musicdoc.tex !!!)

From bogusz@fuw.edu.pl  Thu Oct 29 03:58:07 1992
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Date: Thu, 29 Oct 92 10:56:41 +0100
From: bogusz@fuw.edu.pl
Message-Id: <9210290956.AA03901@albert1.fuw.edu.pl>
To: mutex
Subject: Back to barre

Good morning !

 Is it possible while typing interior of one barre to return to its 
beginning to type one more voice ? Is it correct to do it by placing
first voice in \rlap{} ?

 Thanks

 Wojtek Bogusz

From icking@gmdzi.gmd.de  Thu Nov  5 17:43:32 1992
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Fri, 6 Nov 1992 00:42:45 +0100
Date: Fri, 6 Nov 1992 00:42:45 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199211052342.AA14987@gmdzi.gmd.de>
To: mutex
Subject: Re:  Note question

>Date: Tue, 27 Oct 92 19:55:55 +0100
>Message-Id: <9210271855.AA02560@albert1.fuw.edu.pl>
>
> How can I do thing like this :
>
>              _________ 
>              |   |   |           O - half note head
>              |   |   |  ....     @ - eighth note head
>             O   @   @
>            |
>            |
>
by RTFM (musicdoc.dvi pg. 18):

\def\nbinstruments{1}\generalmeter{\meterfrac 3 3}\debutextrait\relax
\Notes\hl g\off{-1\noteskip}\ibu0g0\hh0 g\qh0 g\tqh0 g\enotes\finextrait\bye

Werner

From steiny!steiny@infoserv.com  Mon Nov  9 13:02:59 1992
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Message-Id: <m0moeU3-0003FMC@infoserv.com>
Subject: Dm fonts?
To: mutex
Date: Mon, 9 Nov 92 11:02:53 PST
From: 0000-Admin(0000) <root@steiny.com>
X-Mailer: ELM [version 2.3 PL6]
Content-Type: text
Content-Length: 300


	Hi, where do the dm fonts live?     I got the MuTex distribution,
but when I try and run the dvi files, I get a message that it can't find
dm this or dm that.    I have looked everywhere in the distribution and
have even regotten then MuTexfonts tar, but I cannot find those fonts.

	Thanks.

-don

From icking@gmdzi.gmd.de  Tue Nov 10 03:10:43 1992
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	id AA13023; Tue, 10 Nov 92 03:10:43 CST
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Tue, 10 Nov 1992 10:10:27 +0100
Date: Tue, 10 Nov 1992 10:10:27 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199211100910.AA12273@gmdzi.gmd.de>
To: mutex
Subject: Re:  Dm fonts?

dm-Fonts are virtual fonts -- either you find a way to deal with
virtual fonts (font's having a TFM for TeX and some hints how to make
the chars out of real (cm-)fonts -- some dvidrv can handle these fonts;
some dvi-converters can convert dvi-files to reflect real-fonts)
or you get a newer musictex-version, because Daniel Taupin has dropped
using virtual fonts in the distribution-zip.

Newest version on:   ftp.gmd.de   music/musictex/musictex.zip
                                  plus           musictex.481-482.zip.
which contains some minor corrections.

Werner

From odie!CLARK@shannon.ee.wits.ac.za  Wed Nov 11 03:44:09 1992
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	id AA28309; Wed, 11 Nov 92 03:44:09 CST
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	id <m0mpEbH-0000ueC@shannon.ee.wits.ac.za>; Wed, 11 Nov 92 11:43 EET
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          via Charon-4.0-VROOM with IPX id 100.921111084347.400;
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Message-Id: <MAILQUEUE-101.921111084346.640@odie>
To: mutex
From: "Alan Robert Clark"  <CLARK@odie.ee.wits.ac.za>
Date:         11 Nov 92 08:43:46 SAT
Subject:      Dual ending "Boxes"
X-Pmrqc:      1
Priority:     normal
X-Mailer:     Pegasus Mail v2.3 (R4).

I need help in constructing a dual end box a la page 14, section 4.5
of the mutex documentation. No matter how I construct it, it spits
out errors. I would appreciate receiving email of a working dual
ending - or any pointers you may have.
Thanks
Alan.

=========================================          ______________________
      ********     ***  Alan Robert Clark, Pr Eng / Electromagnetics Lab \
     *  **    *   *     Dept of Elec Eng          |   Wits University    |
    *   **     * *      P.O.Wits                  |"Bugs are later known |
   ************  *      2050 South Africa         |    as Features"      |
  *     **  *    *      Fax (+ 27 11) 403 - 1929  | Ps 111:10;Ps 37/150  |
 *      **    *   *     Tel (+ 27 11) 716 - 5404  \______________________/
*       **      *  ***  Internet: clark@odie.ee.wits.ac.za


From icking@gmdzi.gmd.de  Wed Nov 11 10:37:32 1992
Return-Path: <icking@gmdzi.gmd.de>
Received: from gmdzi.gmd.de by stolaf.edu (4.1/SMI-4.1)
	id AA13296; Wed, 11 Nov 92 10:37:32 CST
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Wed, 11 Nov 1992 17:29:13 +0100
Date: Wed, 11 Nov 1992 17:29:13 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199211111629.AA01133@gmdzi.gmd.de>
To: mutex
Subject: Re:  Dual ending "Boxes"

>Message-Id: <MAILQUEUE-101.921111084346.640@odie>
>Date:         11 Nov 92 08:43:46 SAT
>
>I need help in constructing a dual end box a la page 14, section 4.5
>of the mutex documentation. No matter how I construct it, it spits
>out errors. [...]

May be that we have different page numbers but after some private commu-
nication I found the problem. It's section 4.5 of Francois Jalberts 
guide to MuTeX. In "Anhang C" (Appendix C) Francois reports some problems
in context with \1{}\2{}\* and suggests some improvements. I modified
my MTEX.TEX that way and following worked without any problems:

\beginsong\vio\C\meter2/4%
\v9\v9\|\v9\v9\1{\v9\v9}\2{\v9\v9}\*\|\v9\v9\|\v9\v9\=%
\endsong\bye

I got following dvi-file which shows that there are some  spacing problems
as Francois noted.

section 1 of uuencode 5.14 of file tst.dvi    by R.E.M.

begin 644 tst.dvi
M]P(!@Y+`'#L``````^@;(%1E6"!O=71P=70@,3DY,BXQ,2XQ,3HQ-S$SBP``
M``$```````````````````````````````````````````````#_____C9_R
M``".H`*#,]J-H/V&S":?#```GRQ,S(V-C9$4``"?\```B0``)F8!P<%'I`0`
M`(D``"9F`<'!1Z&)```F9@'!P4>AB0``)F8!P<%'H8D``"9F`<'!1XZ.C8V1
M%0``\S(*=A<Y`!`````0````!VUU<VEC,3;=1XZ.C8V-D2XS+Y_W``#S`$OQ
M8'D`"@````H````%8VUR,3"K,HZ.C8V1+C,OG_\``#2.CHZ-C8V-D3\H;I_\
M``"$``X`````3,R1_V9HG_(``-TACHZ.CHV-C8V17^PYG_P``(0`#@````!,
MS)'_9FB?\@``(8Z.CHZ1?Y/=A``0)F8``$S,C8V-C9$*P@N?_```A``.````
M`$S,D?]F:)_R```ACHZ.CHV-C8V1*X76G_P``(0`#@````!,S)'_9FB?\@``
M(8Z.CHZ-G^0``(V-C9\*``"-D4LM>I_\``"$``8`````3,R?!```JS$NCHZ1
M2RUZA```)F8`'P46CHZ?'```C8V12RUZA``0)F8``$S,C8V-C9$%Z/.?_```
MA``.`````$S,D?]F:)_R``#=(8Z.CHZ-C8V-D1H1Y)_\``"$``X`````3,R1
M_V9HG_(``"&.CHZ.CHZ.C9_D``"-C9%J,I"$```F9@`1YF*-GPH``(V?_```
MA``&`````$S,CHZ.CI\<``"-C8V1>)CTG_9F:(0``,S0``#,S)'_,S2?!```
MA```S-```,S,CI%[S":$`!`F9@``3,R.CHZ-G^0``(V-C9\*``"-D7Y_6)_\
M``"$``8`````3,R?!```JS(NCHZ1?G]8A```)F8`(+A*CHZ?'```C8V1?G]8
MA``0)F8``@``C8V-C9$%Z/.?_```A``.`````$S,D?]F:)_R``#=(8Z.CHZ-
MC8V-D1H1Y)_\``"$``X`````3,R1_V9HG_(``"&.CHZ.CHZ.D@"Z.."$`!`F
M9@``3,R-C8V-D0K""Y_\``"$``X`````3,R1_V9HG_(``"&.CHZ.C8V-C9$K
MA=:?_```A``.`````$S,D?]F:)_R```ACHZ.CI9++7J$`!`F9@``3,R-C8V-
MD0K""Y_\``"$``X`````3,R1_V9HG_(``"&.CHZ.C8V-C9$KA=:?_```A``.
M`````$S,D?]F:)_R```ACHZ.CI.$`!`F9@``3,R1`F9FA``0)F8``@``CI\P
M<S*.GQ@``(V2`.A@HZLQCHSX````*@&#DL`<.P`````#Z`*;,]H!U<%'``D`
M`?,R"G87.0`0````$`````=M=7-I8S$V\P!+\6!Y``H````*````!6-M<C$P
,^0```^\"W]_?W]_?
`
end
sum -r/size 55575/1530 section (from "begin" to "end")
sum -r/size 44216/1092 entire input file

It was nice to use MuTeX, which I didn't use for a long time.
And everybody should know and obbey: the above composition
is not in the public domain; if it is performed whereever-it-is
my name has to be told to the audience. ...

Werner

PS: I do not know whether there are problems without Francois modifi-
    cations. I didn't test that, because I made all the modifications
    proposed by Francois a long time ago.

From icking@gmdzi.gmd.de  Mon Nov 30 05:22:35 1992
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	id AA02123; Mon, 30 Nov 92 05:22:35 CST
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Mon, 30 Nov 1992 12:20:28 +0100
Date: Mon, 30 Nov 1992 12:20:28 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199211301120.AA18008@gmdzi.gmd.de>
To: mutex
Subject: Re:  MusicTex
Cc: mutex@stolaf.edu

I hope I'm allowed to answer a private mail with a public answer:

>Date: Fri, 27 Nov 92 14:18:31 GMT
>Message-Id: <9211271418.AA28823@lewis.dcs.gla.ac.uk>
>
>I tried to get this, but it's in "zip" format, and we don't have any "zip"
>programs here (or any MS-DOS stuff whatever).  What we do have is the usual
>Unix compression/archiving tools - "pack", "compress", "tar" - and Mac
>things like BinHex 4, StuffIt, and Compactor.  Any chance of getting a
>version that some combination of these can decode?

1. There is a freeware UNZIP for nearly an platform from the ZIP-Info
   Group. ZIP has nothing to do with MS-DOS (in the meantime :-).
2. There are a lot of out-of-date MusicTeX-archives all over the world.
3. I found with archie a lot of such versions, but that may be ok:
    Host sol.cs.ruu.nl
       Location: /TEX/MUSIC
           FILE -rw-r--r--     776949  Oct 28 16:08  musictex.tar.Z
>
>Incidentally, a separate text file giving an index to the material would
>help.  Which file has the manual?

The manual is musicdoc.dvi -- you need a dvi-printer-driver and you have
to install the font-files (PK-files). The source  musicdoc.tex may
be used for initial information, too.

Hope this hilft -- Werner

From crath@bnr.ca  Tue Dec  1 06:19:57 1992
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               Tue, 1 Dec 1992 02:18:00 -0500 
Date: Tue, 1 Dec 1992 07:18:00 +0000 
X400-Originator: /DD.ID=CNT29168/G=Christopher/I=CJ/S=Rath/@bnr.ca 
X400-Mts-Identifier: [/PRMD=BNR/ADMD=TELECOM.CANADA/C=CA/;bcars520.b.860:01.11.92.12.18.55] 
X400-Content-Type: P2-1984 (2) 
Content-Identifier: MIDI2TeX 
From: "Christopher (C.J.) Rath" <crath@bnr.ca>
Message-Id: <"18887 Tue Dec 1 07:19:07 1992"@bnr.ca> 
To: mutex
Subject: MIDI2TeX 

Was Han's MIDI2TeX converter ever ported to the NeXT?

Christopher
---
 Christopher Rath   | crath@bnr.ca
 BNR Lab 5          |
 Ottawa, ON, Canada | "Hydrogen is a colourless, odourless gas which, given 
 (613) 765-3141     | enough time, turns into people." -- Henry Hiebert

From walt@GECKO.SLAC.Stanford.EDU  Thu Dec 10 12:47:42 1992
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Date: Thu, 10 Dec 92 10:47:26 -0800
From: "Walter R. Innes" <walt@GECKO.SLAC.Stanford.EDU>
Subject: bagpipe.tex
To: mutex
Message-Id: <9212101847.AA22174@gecko.SLAC.Stanford.EDU>
X-Envelope-To: mutex@stolaf.edu

I have uploaded a new version of bagpipe.tex (1.21) to ftp.stolaf.edu
/pub/mutex/contrib. This release fixes some minor bugs with little used grace
note macros and adds a few new grace note macros.

Bagpipe.tex is a macro-package for type setting Scottish Highland Bagpipe
music. It requires Daniel Taupin's MusicTeX macro-package and the TeX
technical type-setting program. The music is entered by typing the
macro commands into an ascii file. The output produced by processing
this file through the TeX program is of professional quality. 


I have just finished publishing a collection of 90 tunes plus several
pages of exercises for my pipe band. With practise a complex four-part
6/8 march can be set, corrected, and adjusted in an hour. A simple
two-part 3/4 retreat can be done ten minutes.

If you use this package, please send me a brief e-mail notification (if you
have not already done so). Thanks.

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Thu Dec 10 15:23:54 1992
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Date: 10 DEC 92 19:16:34.46-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Testing TeXting language command portability...
To: mutex

% Dear friends:
%  In order to have an idea of the portability or language dependent
% TeX commands, please:
%     1. run the following TeXt under your usual TeX.
%     2. in case of errors or prompt, answer R to TeX's complaint
%     3. Send me back the LOG (or *.LIS) of the execution.
%        (To me, not to the list... of course)
%     4. THANKS
%
\catcode64=11\relax
\show\language
%
\show\english
\show\french
\show\german
%
\show\ehyph
\show\fhyph
\show\ghyph
%
\show\GB
\show\US
\show\FR
\show\DE
%
\show\l@english
\show\l@USenglish
\show\l@german
\show\l@french
%
\showhyphens¤delegates‡
\csname french \endcsname
\csname fhyph \endcsname
\csname FR \endcsname
\message¤\noexpand\language=\the\language ...‡
%
\showhyphens¤vivisection‡
\showhyphens¤d\'el\'egations‡
\showhyphens¤d^^e9l^^e9gations‡
\bye

From @pucc.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Fri Dec 11 03:46:15 1992
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	id AA11930; Fri, 11 Dec 92 03:46:15 CST
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Date: 11 DEC 92 10:51:31.44-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Portability test.
To: mutex


I found that mutex list puts illegal characters when an opening
brace is encountered. Please correct them before testing:

The must be braces enclosing arguments of \message and \showhyphens...

From TAUPIN@rsovax.ups.circe.fr  Wed Jan  6 07:52:45 1993
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	id AA23142; Wed, 6 Jan 1993 14:52:28 +0100
Message-Id: <9301061352.AA23142@lumiere.circe.fr>
Date:   6-JAN-1993 14:57:18 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  the good way of transferring MusicTeX
To: mutex


Especially for unix users, do not indulge in your usual way
of transferring files BETWEEN two unix systems: note that
the *.MF and *.TEX and *.STY files MUST be transferred in
ASCII mode, not in binary. The reason is that the source
is not necessarily ANOTHER unix,

Use binary transfer only (and necessarily) for *.ZIP, *.DVI, *.PK,
*.TFM.

This will avoid control-M removing problems...

From @cc1.kuleuven.ac.be:jqdoumen@vub.ac.be  Wed Jan  6 09:55:49 1993
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	id AA13895; Wed, 6 Jan 93 16:53:47 +0100
From: jqdoumen@vub.ac.be (Doumen Jan)
Message-Id: <9301061553.AA13895@is1.vub.ac.be>
Subject: ftp-site for music scores
To: mutex
Date: Wed, 6 Jan 93 16:53:46 MET
In-Reply-To: <9301061352.AA23142@lumiere.circe.fr>; from "TAUPIN@rsovax.ups.circe.fr" at Jan 6, 93 3:36 pm
X-Mailer: ELM [version 2.3 PL11]



A few months back there was a small discussion about the opening of a ftp-
site for dropping music-scores. (If we can read each others MusicTeX files
we could learn a lot from each other !)
On another music related discussion group Richard L. Byrd said that his site
is open for dropping music-scores.
Contact Richard L. Byrd : rbyrd@tbf.musicnet.ua.edu and ask him very
politely if you can drop your scores their.



-- 
DeJean.

/=============================================================================\
| Doumen Jan                                Voice : 32 2 3590209              |
| Vrije Universiteit Brussel                Fax   : 32 2 3590390              |
| Instituut Voor Moleculaire Biologie                                         |
| Department For Ultra-structure         Internet : jqdoumen@vub.ac.be        |
| B - 1640 Sint-Genesius-Rode                                                 |
| Belgium                             EARN/BITNET : jqdoumen@BBRBFU60.BITNET  |
\=============================================================================/


From mark.janello@um.cc.umich.edu  Wed Jan  6 11:19:21 1993
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Date: Wed, 6 Jan 93 12:17:44 EST
From: mark.janello@um.cc.umich.edu
To: mutex
Message-Id: <18666818@um.cc.umich.edu>
X-Mts-Userid: 7JK3
Subject: even distribution of extra space

I would like to have the extra space in a line of music be distributed
evenly between all the notes instead of only between 
\notes ... \enotes groups.  Is there a way to find out (using
\raggedlinestrue and something like \the\lastskip) how much excess space
is left at the end of a line?  Then I could compute some kind of 
space factor (for each line, of course) and rerun the file, producing
an even-looking output.  Any ideas on this would be greatly appreciated.
---------
mark.janello@um.cc.umich.edu
---------
Mark Janello
University of Michigan School of Music
---------

From dgold@basso.actrix.gen.nz  Mon Jan 11 00:37:58 1993
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Amiga Frontend for MusicTeX

Hi,

Have we got any Amiga users here?  If so, I could use some
beta-testers and advisors.

I've been working on a mouse-driven Arexx program for MusicTeX
on the Amiga and it might nearly be time for it to see the light
of day.  The goal is to save typing and to avoid typing and
syntax errors in order to quickly create a rough draft of a new
composition.  In time, it might be possible for a total novice to
create a reasonable MusicTeX score without knowing anything about
MusicTeX!  (but I'm not sure how much time I would be able or
willing to devote to that...)

Before you get too excited, there are currently some limitations.
At the moment, it needs WB2.0, and Wshell.  With some minor
changes, it should work in a standard AmigaShell, but since I
haven't used one for years, I'm not sure yet what the problem is.
In theory, it should work under WB1.3, but I haven't had a chance
to test that yet.

RexxArpLib 3.0 is needed, but that's not a problem.

If anyone is interested in trying it, please email me, and I'll
send you a copy.  I'd be especially interested in hearing from
someone *without* Wshell who is fluent in Arexx who would be
willing to fix it to work in a standard shell.

I guess it's best to  send requests to me directly rather than to
mutex@stolaf.edu...
 
Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From rouben@math13.math.umbc.edu  Sun Jan 17 17:24:05 1993
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From: rouben@math13.math.umbc.edu (Rouben Rostamian)
Message-Id: <9301172324.AA11092@math13.math.umbc.edu>
To: mutex
Subject: How to typeset alternate measures

I have encountered a problem with typesetting a piece of music with
MusicTeX and I hope that someone will be able to help me with it.

I would like to typeset the horizontal square brackets that one often
sees above some measures at a conclusion of a piece, distinguishing
music to be played on the first pass from that on the second pass
(i.e., after returning from a repeat.)  These brackets, whose technical
names I do not know, usually have numbers like 1. or 2. attached to
them, indicating measures corresponding to the first or the second
pass.

I did not find a mention of these in musicdoc.tex.  I printed a few of
the sample pieces that came with MusicTeX, but they did not have what I
was looking for.  I would appreciate any help in directing me to the
right place to look for such a construction.

--
Rouben Rostamian

From assmann@karlsruhe.gmd.de  Mon Jan 18 04:23:49 1993
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Message-Id: <9301181023.AA00848@ruegen>
To: mutex
Subject: chords
Date: Mon, 18 Jan 93 11:23:23 +0100
From: "Uwe Assmann" <assmann@karlsruhe.gmd.de>



Here comes a FAQ, probably. Nevertheless: Is there a macro package for MusicTex out there which
supplies simple writing of chords, e.g. in the style of MuTex? I know that MuTex only can make
one staff. What I want to do is writing chorals with 4 voices, sopran,alt,tenor,bass.
So I don't need too much, only relatively easy chord writing. Would be nice if it had something
for D7, C4, G and so on, i.e. for commonly used chords.

Best regards
Uwe Assmann

     /\       Uwe Assmann
    /fi\      GMD Forschungsstelle an der Universitaet Karlsruhe
   /deli\     Vincenz-Priessnitz-Str. 1     
  / tas  \    7500 Karlsruhe GERMANY
 ----------   Email: assmann@karlsruhe.gmd.de Tel: 0721/662255 Fax: 0721/6622968

From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Tue Jan 19 11:43:23 1993
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Date: 19 JAN 93 17:39:43.06-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: New version of MusicTeX
To: mutex

Dear music (& MusicTeX) lovers :

First I wish you a happy new year, full of nice and beautiful music and
all that kind of things.

Secondly, the version 4.90 of MusicTeX is available at ftp anonymous, at site
130.84.128.100 (rsovax.ups.circe.fr) in directory [anonymous.musictex].

Updated files are musicnft.tex, musictex.tex and musicdoc.tex (or
musicdoc.dvi). New and updated examples: angesca*.tex and avemaria.tex
(Gounod's Ave Maria). Updated zips : musictex.zip, musicexa.zip.

New feature : you call have staffs of different spacings in the same
system, especially to typeset piano/organ music with songs of soloist
instruments typeset in a smaller size. See avemaria.tex and angescao.tex.

Have fun !


From icking@gmdzi.gmd.de  Wed Jan 20 07:01:10 1993
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Date: Wed, 20 Jan 1993 14:00:46 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199301201300.AA27794@gmdzi.gmd.de>
To: mutex
Subject: Version 4.90 of MusicTeX

Daniel Taupin writes:
>
>Secondly, the version 4.90 of MusicTeX is available at ftp anonymous, at site
>130.84.128.100 (rsovax.ups.circe.fr) in directory [anonymous.musictex].

and as usual here, too -- and zip's with the modified files only and .tar.Z:

 ftp.gmd.de [129.26.8.90]  music/musictex/ ...

                 365056 Jan 19 17:23 musictex.zip
                 162304 Jan 19 17:23 musicexa.zip
                  74545 Jan 19 17:23 musictex.482-490.zip
                  33032 Jan 19 17:23 musicexa.482-490.zip
                 512123 Jan 19 17:23 musictex-490.tar.Z
                 196059 Jan 19 17:23 musicexa-490.tar.Z
                 ...

musicXXX.482-490.zip contain the modified files only *but* *not* musicdoc.dvi
because that can be produced easily by those who have version 4.82 already.

>New feature : you can have staffs of different spacings in the same
>system, especially to typeset piano/organ music with songs of soloist
>instruments typeset in a smaller size. See avemaria.tex and angescao.tex.

That's what I was already waiting for since a long time ... and what I 
never dared to ask for :-)                      (singing on my violin ;-)

Daniel, thank you -- Werner

From griffin@egr.msu.edu  Sun Jan 24 13:47:35 1993
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From: griffin@egr.msu.edu
Message-Id: <9301241947.AA21052@eecae.ee.msu.edu>
To: mutex
Subject: \fhyph errors

Greetings All

I have just installed, for the first time, MusicTeX v4.90.  I am having
problems with the example score files that use the directive `\fhyph'
(e.g. HPRELUDE.TEX).  \fhyh is unknown, and if I comment it out I get a
lot of errors when trying to process the file through TeX. (errors follow).
I am using PasTeX on an Amiga.  

What is \fhyph, and what can I do about it?  Thank you.

Dan
griffin@egr.msu.edu


---------------- begin error log --------------------
This is a PD-Version of Pas-TeX (made Aug 29 1991 [br]/[hes])
This is TeX, C Version 3.14
(hprelude.TEX (musicnft.tex) (musictex.tex) (musicsty.tex)
! Undefined control sequence.
\nbinstruments ->\undefined

\body ->\ifnum \noinstrument <\nbinstruments
                                             \relax \n@advance \selectinstr ...

\iterate ->\body
                 \let \next \iterate \else \let \next \relax \fi \next
\computewidths ...cing \Internote \fi \fi \repeat
                                                  \fi \ifdim \nullthick <\p@...
l.13 \computewidths

?
----------------------- end ---------------------------

From griffin@egr.msu.edu  Sun Jan 24 13:49:04 1993
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From: griffin@egr.msu.edu
Message-Id: <9301241949.AA21057@eecae.ee.msu.edu>
To: mutex
Subject: MusicTeX, Amiga, and SpecialHost

Greetings again!

For those using MusicTeX on an Amiga, I'd like to ask you what is going
on with regards to SpecialHost?  The only \special commands I see in
the MusicTeX v4.90 example scores are of the form:

\special{hp: xy 10mm 15mm}

Several `pictures' get loaded during dvi processing, but SpecialHost
produces major Enforcer hits then, too.  I suspect that \special for
whatever platform it is intended for here (MS-DOS?) does something
entirely different (like set the x and y page positions for an HP
laserjet maybe) and thus should be eliminated in favor of the DVIprint
x,y offsets.

Dan
griffin@egr.msu.edu

From davisonj@ecn.purdue.edu  Sun Jan 24 21:22:58 1993
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From: davisonj@ecn.purdue.edu (John M Davison)
Message-Id: <9301250323.AA01510@en.ecn.purdue.edu>
Subject: I would like to get started with a TeX-based notation program
To: mutex
Date: Sun, 24 Jan 93 22:23:01 EST
X-Mailer: ELM [version 2.3 PL11]

        Would someone please give me some information regarding the variety and
availability of public-domain TeX-based musical notation software?  The only
programs of which I am currently aware are Glenn Lewis'
(glewis@fws204.intel.com, glewis@pcocd2.intel.com) SMUS2TeX program and Daniel
Taupin's (Laboratoire de Physique des Solides) MusicTeX, and I haven't had any
experience with either.  Help!


-- 
John Davison
davisonj@ecn.purdue.edu

From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Mon Jan 25 04:38:02 1993
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Date: 25 JAN 93 11:43:04.76-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX 4.91
To: mutex


Small but annoying errors have been corrected. Version 4.91
of musicTeX available as usual at 130.84.128.100
(rsovax.ups.circe.fr), directory [anonymous.musictex]

From icking@gmdzi.gmd.de  Mon Jan 25 07:49:45 1993
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Date: Mon, 25 Jan 1993 14:49:18 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199301251349.AA26316@gmdzi.gmd.de>
To: mutex
Subject: Re:  MusicTeX 4.91 (tar- & delta-files on ftp.gmd.de)


... Daniel Taupin's version 4.91 of MusicTeX (musictex.zip, musicexa.zip)
is now available for anonymous ftp from  ftp.gmd.de [129.26.8.90] too.
As usual I've added  
       musictex-491.tar.Z
       musicexa-491.tar.Z 
and the delta-files
       musictex.490-491.zip (17117 bytes)
       musicexa.490-491.zip ( 4708 bytes)

Is this service of any help for anyone? please answer by private mail
and **not** to the list.

Werner

From dgold@basso.actrix.gen.nz  Mon Jan 25 22:44:04 1993
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             (from griffin@egr.msu.edu)
             (at Sun, 24 Jan 93 14:49:15 -0500)
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: MusicTeX, Amiga, and SpecialHost

> For those using MusicTeX on an Amiga, I'd like to ask you what is going
> on with regards to SpecialHost?  The only \special commands I see in
> the MusicTeX v4.90 example scores are of the form:
> 
> \special{hp: xy 10mm 15mm}

You shouldn't need SpecialHost for anything to do with MusicTeX.
\special commands tend to be a bit machine-specific and I've always
just commented them out to process stuff on my Amiga.  You might
have to fiddle with some PasTeX settings, but I doubt it...

Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Mon Jan 25 22:47:25 1993
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In-Reply-To: <9301250323.AA01510@en.ecn.purdue.edu>
             (from davisonj@ecn.purdue.edu (John M Davison))
             (at Sun, 24 Jan 93 22:23:01 EST)
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Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: I would like to get started with a TeX-based notation program

Hi, 

John Davison asked:
>  Would someone please give me some information regarding the variety and
>availability of public-domain TeX-based musical notation software?  The only
>programs of which I am currently aware are Glenn Lewis'
>SMUS2TeX program and Daniel Taupin's MusicTeX, and I haven't had any
>experience with either.  Help!

Well, you've found the right place to get help with MusicTeX!  

Glenn has gone on to other things and isn't terribly interested in
supporting SMUS2TeX any more, although he was very helpful in some
discussions I had with him last year.  SMUS2TeX converts SMUS files
(which are usually created by Deluxe Music on an Amiga) to MusicTeX
code.  It worked for Glenn, and not very well for me because we were
working with different types of music - I think that chords were a
major problem, and none of the old Deluxe Music files I tried it on
resulted in anything very useful.

Since SMUS2TeX is pretty old, the things it does do well are not up
to current MusicTeX standards.  However, C source code is available,
and it's a project that would be well worth pursuing by someone with
the know-how. 

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Thu Jan 28 00:47:38 1993
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Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Amiga front end for MusicTeX, again

Hi,

I've sent this to all the people who requested it, but there have been
some problems with outgoing email here and I don't know if it worked.
If anyone who received it could let me know it would be one less thing
to worry about.

I tried to mail A4422DAE@VM.UNIVIE.AC.AT at both addresses you gave, and
they seemed to fail at your end... sorry.

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From dgold@basso.actrix.gen.nz  Thu Jan 28 05:19:00 1993
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Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: MusicTeX 4.91

I just installed this yesterday from the musictex.490-491.zip
archive at ftp.gmd.de [129.26.8.90] (hello Werner!) and it is 
failing on the simplest files:

This is TeX, Amiga Version 3.14                                     
(1.tex                                                              
! TeX capacity exceeded, sorry [input stack size=200]. 
etc, etc,

Any \Ib type entries seem to cause this, and a simple:

\notes\qu c\qu d\qu e\enotes
\barre

results in all the notes and the barline being stacked on top
of each other.  version 4.90 works fine.

???
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From @sun.rhrk.uni-kl.de:knopper@rhrk.uni-kl.de  Thu Jan 28 07:11:16 1993
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          28 Jan 93 14:08 MET
Subject: Re: MusicTeX 4.91
To: mutex
Date: Thu, 28 Jan 93 14:10:26 MET
From: "Klaus Knopper [ET]" <knopper@rhrk.uni-kl.de>
Cc: mutex@stolaf.edu
In-Reply-To: <9301290756.AA00xmo@basso.actrix.gen.nz>; from "Dale Gold" at Jan 28, 93 11:56 pm
X-Mailer: ELM [version 2.3 PL11]
Message-Id:  <9301281410.aa07297@sun.rhrk.uni-kl.de>

> 
> I just installed this yesterday from the musictex.490-491.zip
> archive at ftp.gmd.de [129.26.8.90] (hello Werner!) and it is 
> failing on the simplest files:
> 
> This is TeX, Amiga Version 3.14                                     
> (1.tex                                                              
> ! TeX capacity exceeded, sorry [input stack size=200]. 
> etc, etc,
> 
> Any \Ib type entries seem to cause this, and a simple:
>
> \notes\qu c\qu d\qu e\enotes
> \barre
>
> results in all the notes and the barline being stacked on top
> of each other.  version 4.90 works fine.
>
> ???
> Dale
>
> - dgold@basso.actrix.gen.nz
> - Korokoro, New Zealand

I believe that you use  the commercial AmigaTeX.
I dont know if you can change the memory config parameters with this TeX,
but maybe you should try the PasTex from Georg Hessmann (forwiss.uni-passau.de).

I think its the BEST TeX for Amiga you can get, with full Arexx Support
(You can use it like from TexShell in EmTeX), a good  Previewer and an
EXCELLENT DVIPrint, AND, which is more,
you can configure ALL TeX-Memory parameters yourself (for example the
input stacksize, which seems to cause the problem here.)
There is also a BigTeX version available in PasTeX, which i recommend
for big scores with no \autolines.

I worked with PasTeX and the MusicTex 4.4 macro package for a long time,
and never got problems using it with the BigTeX (I use 80000 words of page
memory, but there is almost no limit).

( Let's see if it will work with 4.91 )

-Klaus

                //             Klaus Knopper
               //         (knopper@rhrk.uni-kl.de)
           \\ //
            \X/

From griffin@egr.msu.edu  Thu Jan 28 08:30:59 1993
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Date: Thu, 28 Jan 93 09:31:08 -0500
From: griffin@egr.msu.edu
Message-Id: <9301281431.AA09034@eecae.ee.msu.edu>
To: mutex
Subject: MusicTeX 4.91

dgold@basso.actrix.gen.nz (Dale Gold) writes:

	I just installed this yesterday from the musictex.490-491.zip
	archive at ftp.gmd.de [129.26.8.90] (hello Werner!) and it is 
	failing on the simplest files:

I also installed the 4.91 fixes, and it fixed the errors that 4.90
was giving me, but it still doesn't print out many sample files.
To use the same examples as before, the prelude and fugue (HPRELFUG.TEX),
I get the first page, and then nothing on page 2 or 3, then maybe I'll
get page 4, 6, and 15.  I can tell that the blank pages are supposed to
contain only three bars by the bar numbering.  

I am fairly new to TeX, and very new to MusicTeX, but I suspect that 
I am having a page positioning problem and the staves are being 
`printed' off the page.  Looking at the log I see things like: 

Overfull \vbox (29720.84679pt too high) detected at line 158

\vbox(751.15276+4.0)x526.37598
.\glue(\topskip) 0.0 plus 60.0
.\hbox(10527.19963+19948.79991)x526.37598, glue set 0.1644
..\hbox(140.2+0.0)x0.0
...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -15.0 []
...\hbox(65.4+1.00009)x0.0, glue set - 7.5fil, shifted -60.0 []
...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -60.0 []
...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -105.0 []
...\hbox(110.2+0.2)x0.0, glue set - 0.4fil, shifted -15.0 []
...etc.
..\hbox(20.3125+0.0)x0.0, glue set - 15.99998fil, shifted -15.0
...\hbox(20.3125+0.0)x15.99998 []
...\glue 0.0 plus 1.0fil minus 1.0fil
..\hbox(20.3125+0.0)x0.0, glue set - 15.99998fil, shifted -60.0
...\hbox(20.3125+0.0)x15.99998 []
...\glue 0.0 plus 1.0fil minus 1.0fil
..\hbox(30.0+10.0)x0.0, glue set - 15.99998fil, shifted -105.0
...\hbox(30.0+10.0)x15.99998 []
...\glue 0.0 plus 1.0fil minus 1.0fil
..\kern 15.99998
..etc.

Um...it looks like some large sizes there! (Overfull vbox of 29000
[412 inches]??)

MusicDoc prints out fine, as well as some of the scores (Praetorius,
Angels We Have Heard On High, Pacifique are okay).

Dan

From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Fri Jan 29 06:09:05 1993
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Date: 29 JAN 93 13:13:58.50-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Correction to musicnft.tex 4.91 --> 4.92 (\Ib... problems)
To: mutex

% Important correction to  musicnft.tex
%
\def\computespecifics¤\ifnum\musicsize=0\relax\musicsize=20\relax\fi
\ifnum\musicsize=20\relax
  \def\ppff¤\ppfftwenty‡%
  \def\beamnorfont¤\beamtwenty‡\def\musicnorfont¤\musictwenty‡%
  \def\beamsmallfont¤\beamsixteen‡\def\musicsmallfont¤\musicsixteen‡%
  \def\beamtinyfont¤\beamthirteen‡\def\musictinyfont¤\musicthirteen‡%
  \def\meternorfont¤\cmbx‡\def\metersmallfont¤\cmbxsmall‡%
  \def\metertinyfont¤\cmbxtiny‡\def\slurnorfont¤\slurntwenty‡%
  \def\meterbigfont¤\cmbxbig‡%
\else
  \def\ppff¤\ppffsixteen‡%
  \def\beamnorfont¤\beamsixteen‡\def\musicnorfont¤\musicsixteen‡%
  \def\beamsmallfont¤\beamthirteen‡\def\musicsmallfont¤\musicthirteen‡%
  \def\beamtinyfont¤\beameleven‡\def\musictinyfont¤\musiceleven‡%
  \def\meternorfont¤\cmbxsmall‡\def\metersmallfont¤\cmbxtiny‡%
  \def\metertinyfont¤\cmbxmicro‡\def\slurnorfont¤\slurnsixteen‡%
  \def\meterbigfont¤\cmbx‡%
\fi
\Interligne=\musicsize pt\divide\Interligne by 4\relax
% This (below) was the missing line
\Internote=0.5\Interligne
% End of correction
\interbeam=\i@nterbeam
\setbox\ch@box=\hbox¤\w@h‡\wn@width=\wd\ch@box
\setbox\ch@box=\hbox¤\s@bv‡\sb@width=\wd\ch@box
\setbox\ch@box=\hbox¤\b@rv‡\bv@width=\wd\ch@box
\setbox\ch@box=\hbox¤\h@a‡\hn@width=\wd\ch@box
\setbox\ch@box=\hbox¤\q@u‡\qn@width=\wd\ch@box
\qd@skip=\qn@width\advance\qd@skip by -\hlthick
\hd@skip=\hn@width\advance\hd@skip by -\hlthick
\wd@skip=\wn@width\advance\wd@skip by -\hlthick
‡%


From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Fri Jan 29 06:25:52 1993
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	id AA22039; Fri, 29 Jan 93 06:25:52 CST
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Date: 29 JAN 93 13:30:53.89-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: MusicTeX 4.92
To: mutex


Due to some minor corrections but a big problem, version
4.92 is available at rsovax.ups.circe.fr as usual.
Changes files: musictex.zip, musicexa.zip, musicnft.tex, marcellx.tex

Note that some errors cause stack overflows. More friendly reaction
is studied...

From Robin.Fairbairns@cl.cam.ac.uk  Fri Jan 29 06:58:44 1993
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To: mutex
Cc: mutex@stolaf.edu, Robin.Fairbairns@cl.cam.ac.uk
Subject: Re: Correction to musicnft.tex 4.91 --> 4.92 (\Ib... problems)
Date: Fri, 29 Jan 93 12:58:30 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-Id: <"swan.cl.ca.022:29.01.93.12.58.38"@cl.cam.ac.uk>

Daniel writes:

|> % Important correction to  musicnft.tex
|> %
|> \def\computespecifics<currency sign>
                         \ifnum\musicsize=0\relax\musicsize=20\relax\fi

And so on throughout the message.  Obviously the victim of Bitnet->
Internet code mistranslation.  What is the <currency sign>
(looking like a small circle with horns sticking out NE, SE,
SW and NW) _supposed_ to be?


Robin Fairbairns

From JACYK@kcgl1.eng.ohio-state.edu  Fri Jan 29 09:57:37 1993
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	id AA29664; Fri, 29 Jan 93 09:57:37 CST
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 #12133) id <01GU375AYN8WD437DM@kcgl1.eng.ohio-state.edu>; Fri,
 29 Jan 1993 10:57 EST
Date: Fri, 29 Jan 1993 10:57 EST
From: PAUL JACYK <JACYK@kcgl1.eng.ohio-state.edu>
Subject: Please take me off the mailing list.
To: mutex
Message-Id: <01GU375AYN8WD437DM@kcgl1.eng.ohio-state.edu>
X-Envelope-To: mutex@stolaf.edu
X-Vms-To: IN%"mutex@stolaf.edu"

I'm am sorry in advance if this message goes to everyone receiving the
mutex mail.
But, could I please be taken off the mutex mail list.
thanks!!!

From @sun.rhrk.uni-kl.de:knopper@rhrk.uni-kl.de  Fri Jan 29 11:22:29 1993
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          29 Jan 93 18:20 MET
Subject: Re: MusicTeX 4.91
To: mutex
Date: Fri, 29 Jan 93 18:22:14 MET
From: "Klaus Knopper [ET]" <knopper@rhrk.uni-kl.de>
Cc: mutex@stolaf.edu
In-Reply-To: <9301281431.AA09034@eecae.ee.msu.edu>; from "griffin@egr.msu.edu" at Jan 28, 93 9:31 am
X-Mailer: ELM [version 2.3 PL11]
Message-Id:  <9301291822.aa14022@sun.rhrk.uni-kl.de>

> I also installed the 4.91 fixes, and it fixed the errors that 4.90
> was giving me, but it still doesn't print out many sample files.
> To use the same examples as before, the prelude and fugue (HPRELFUG.TEX),
> I get the first page, and then nothing on page 2 or 3, then maybe I'll
> get page 4, 6, and 15.  I can tell that the blank pages are supposed to
> contain only three bars by the bar numbering.  
> 
> I am fairly new to TeX, and very new to MusicTeX, but I suspect that 
> I am having a page positioning problem and the staves are being 
> `printed' off the page.  Looking at the log I see things like: 
> 
> Overfull \vbox (29720.84679pt too high) detected at line 158
> 
> \vbox(751.15276+4.0)x526.37598
> .\glue(\topskip) 0.0 plus 60.0
> .\hbox(10527.19963+19948.79991)x526.37598, glue set 0.1644
> ..\hbox(140.2+0.0)x0.0
> ...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -15.0 []
> ...\hbox(65.4+1.00009)x0.0, glue set - 7.5fil, shifted -60.0 []
> ...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -60.0 []
> ...\hbox(0.0+0.0)x0.0, glue set - 526.37598fil, shifted -105.0 []
> ...\hbox(110.2+0.2)x0.0, glue set - 0.4fil, shifted -15.0 []
> ...etc.
> ..\hbox(20.3125+0.0)x0.0, glue set - 15.99998fil, shifted -15.0
> ...\hbox(20.3125+0.0)x15.99998 []
> ...\glue 0.0 plus 1.0fil minus 1.0fil
> ..\hbox(20.3125+0.0)x0.0, glue set - 15.99998fil, shifted -60.0
> ...\hbox(20.3125+0.0)x15.99998 []
> ...\glue 0.0 plus 1.0fil minus 1.0fil
> ..\hbox(30.0+10.0)x0.0, glue set - 15.99998fil, shifted -105.0
> ...\hbox(30.0+10.0)x15.99998 []
> ...\glue 0.0 plus 1.0fil minus 1.0fil
> ..\kern 15.99998
> ..etc.
> 
> Um...it looks like some large sizes there! (Overfull vbox of 29000
> [412 inches]??)
> 
> MusicDoc prints out fine, as well as some of the scores (Praetorius,
> Angels We Have Heard On High, Pacifique are okay).
> 
> Dan

Thats looks quite what i've got from the "small" version of PasTex.
Some lines were completely missing (especially at the bottom of the page)
and sometimes empty pages were generated in the middle of the scores.
This always happened with "overfull vbox" messages.

I think its a bug in the TeX Compiler, getting confused with too many
box'es.

Since i'm using the BigTex version of PasTex, these problems with
the overfull vbox'es (which simply don't exist), never occured again.
All scores are set perfectly now.

I already contacted Georg Hessmann (the creator of PasTeX) and told him
about this effect in the "small" TeX version.

Bye and good luck.

                //             Klaus Knopper
               //         (knopper@rhrk.uni-kl.de)
           \\ //
            \X/

From griffin@egr.msu.edu  Sat Jan 30 11:50:51 1993
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Date: Sat, 30 Jan 93 12:51:01 -0500
From: griffin@egr.msu.edu
Message-Id: <9301301751.AA20658@eecae.ee.msu.edu>
To: mutex
Subject: MusicTeX & Amigas
Cc: griffin@egr.msu.edu

I have recently installed MusicTeX for use on an Amiga, but was having
several problems with printing out some of the sample scores.  The 4.91
and 4.92 revisions have eliminated some of those problems, and I'd like
to thank Daniel Taupin for MusicTeX and his help.

I'd also like to thank Klaus Knopper (knopper@rhrk.uni-kl.de) for his
suggestion to use bigTeX to eliminate the overfull box problem, and Dale
Gold (dgold@basso.actrix.gen.nz) for his assistance.

Now, only one problem remains: again, refering to the HPRELFUG score,
it appears that there are supposed to be five staves per page, but due to
the smaller USA paper size (11in x 8.5in) only four will fit on a page 
(without starting higher on the page).  I have redefined \vsize smaller
in both HPRELFUG and PRELUDE, and the \outmorc{\shipout\vbox to be smaller
also, but the fifth line always comes out on a separate page all by itself.

I do not see anything in the music that would define end-of-page or call
for an eject in the mus\ic between bars 27 & 28, 42 & 43, etc.  How do I 
redefine the page length so every page is full and has 4 staves?

Dan

From davisonj@ecn.purdue.edu  Mon Feb  1 18:47:10 1993
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From: davisonj@ecn.purdue.edu (John M Davison)
Message-Id: <9302020047.AA28479@en.ecn.purdue.edu>
Subject: Problem encountered setting up MusicTeX on en.ecn.purdue.edu
To: mutex
Date: Mon, 1 Feb 93 19:47:17 EST
X-Mailer: ELM [version 2.3 PL11]


        Today I attempted to install the latest freshly FTPed MusicTeX on
en.ecn.purdue.edu (a UNIX machine running 4.3BSD-Tahoe), but the results were
less than functional.  An attempt to process the file "hadagim.tex" resulted in
the following output:

-------------------------------------------------------------------------------
Script started on Mon Feb  1 19:36:06 1993
[#11] en:[/hogs/davisonj/pub/MusicTeX]: tex /hogs/davisonj/pub/MusicTeX/inputs/hadagim.tex
This is TeX, C Version 3.14
(/hogs/davisonj/pub/MusicTeX/inputs/hadagim.tex
(/hogs/davisonj/pub/MusicTeX/inputs/musicnft.tex
Version 4.92 -- January 29th, 1993
! Font \cmmi=cmmi10 scaled 1200 not loadable: Metric (TFM) file not found.
<to be read again> 
                   \relax 
l.16 \font\cmmi=cmmi10 scaled \magstep1
? 
! Emergency stop.
<to be read again> 
                   \relax 
l.16 \font\cmmi=cmmi10 scaled \magstep1
No pages of output.
Transcript written on hadagim.log.
[#12] en:[/hogs/davisonj/pub/MusicTeX]: 
script done on Mon Feb  1 19:36:27 1993
-------------------------------------------------------------------------------

        I cannot figure out why it can't find this font.  Can anyone out there
tell me why?  Arrrrrrrgh!  I'm not exactly a TeX jockey, so please be forgiving
if I missed something obvious.

        Here is some pertinent information that may illuminate matters:

TEXINPUTS = "/usr/unsup/lib/tex/inputs:/hogs/davisonj/pub/MusicTeX/inputs:."

TEXFONTS = "/usr/unsup/lib/tex/fonts:/hogs/davisonj/pub/MusicTeX/fonts:/hogs/davisonj/pub/MusicTeX/fonts/gf:/hogs/davisonj/pub/MusicTeX/fonts/pk:/hogs/davisonj/pub/MusicTeX/fonts/pxl:/hogs/davisonj/pub/MusicTeX/fonts/tfm:/hogs/davisonj/pub/MusicTeX/fonts/vf:."

TEXFORMATS = "/usr/unsup/lib/tex:/hogs/davisonj/pub/MusicTeX:."

TEXPOOL = "/usr/unsup/lib/tex:/hogs/davisonj/pub/MusicTeX:."

        This is a listing of my directory tree "/hogs/davisonj/pub/MusicTeX",
which is where I have my MusicTeX stuff.  I am too naive to tell if something
has been put in the wrong place...suggestions for better organization are
welcome, as all I did was model my directory structure after the TeX directory
structure ("/usr/unsup/tex") that resides on en.ecn.purdue.edu.

-------------------------------------------------------------------------------
Script started on Mon Feb  1 19:26:24 1993
[#11] en:[/hogs/davisonj/pub/MusicTeX]: ls -R
EN_README       beamt20.mf      musicd16.mf     musicg16.mf     slurdu16.mf
aa_readme.text  beamv20.mf      musicd20.mf     musicgen.mf     slurgen.mf
beamd20.mf      euromtex.aux    musicdef.mf     musicn11.mf     slurn16.mf
beamn11.mf      euromtex.dvi    musicdoc.aux    musicn13.mf     slurn20.mf
beamn13.mf      fonts           musicdoc.bat    musicn16.mf     slurud16.mf
beamn16.mf      inputs          musicdoc.dvi    musicn20.mf     sluruu16.mf
beamn20.mf      modes.mf        musicdoc.idx    musicref.dvi    sortindx.for
beamngen.mf     musicd11.mf     musicdoc.inx    recueil.dvi
beamq20.mf      musicd13.mf     musicdoc.toc    slurdd16.mf

fonts:
gf   pk   pxl  tfm  vf

fonts/gf:

fonts/pk:
beamn11.pk   circlew1.pk  dpi300       musicn20.pk  slurn20.pk
beamn13.pk   dpi100       musicn11.pk  slurdd16.pk  slurud16.pk
beamn16.pk   dpi118       musicn13.pk  slurdu16.pk  sluruu16.pk
beamn20.pk   dpi240       musicn16.pk  slurn16.pk

fonts/pk/dpi100:
beamn11.pk   beamn20.pk   musicn16.pk  slurdd16.pk  slurn20.pk
beamn13.pk   musicn11.pk  musicn20.pk  slurdu16.pk  slurud16.pk
beamn16.pk   musicn13.pk  slur16.pk    slurn16.pk   sluruu16.pk

fonts/pk/dpi118:
beamn11.pk   beamn20.pk   musicn16.pk  slurdd16.pk  slurn20.pk
beamn13.pk   musicn11.pk  musicn20.pk  slurdu16.pk  slurud16.pk
beamn16.pk   musicn13.pk  slur16.pk    slurn16.pk   sluruu16.pk

fonts/pk/dpi240:
beamn11.pk   beamn20.pk   musicn16.pk  slurdd16.pk  slurn20.pk
beamn13.pk   musicn11.pk  musicn20.pk  slurdu16.pk  slurud16.pk
beamn16.pk   musicn13.pk  slur16.pk    slurn16.pk   sluruu16.pk

fonts/pk/dpi300:
beamn11.pk   beamn20.pk   musicn16.pk  slurdd16.pk  slurn20.pk
beamn13.pk   musicn11.pk  musicn20.pk  slurdu16.pk  slurud16.pk
beamn16.pk   musicn13.pk  slur16.pk    slurn16.pk   sluruu16.pk

fonts/pxl:

fonts/tfm:
beamn11.tfm    circlew1.tfm   musicn16.tfm   slurn16.tfm
beamn13.tfm    circlew10.tfm  musicn20.tfm   slurn20.tfm
beamn16.tfm    musicn11.tfm   slurdd16.tfm   slurud16.tfm
beamn20.tfm    musicn13.tfm   slurdu16.tfm   sluruu16.tfm

fonts/vf:
dmb10.vf     dmcsc10.vf   dmr6.vf      dmss12.vf    dmssi9.vf    dmtt12.vf
dmbx10.vf    dmdunh10.vf  dmr7.vf      dmss17.vf    dmssq8.vf    dmtt8.vf
dmbx12.vf    dmff10.vf    dmr8.vf      dmss8.vf     dmssqi8.vf   dmtt9.vf
dmbx5.vf     dmfi10.vf    dmr9.vf      dmss9.vf     dmtcsc10.vf  dmu10.vf
dmbx6.vf     dmfib8.vf    dmsl10.vf    dmssbx10.vf  dmti10.vf    dmvtt10.vf
dmbx7.vf     dmitt10.vf   dmsl12.vf    dmssdc10.vf  dmti12.vf
dmbx8.vf     dmr10.vf     dmsl8.vf     dmssi10.vf   dmti7.vf
dmbx9.vf     dmr12.vf     dmsl9.vf     dmssi12.vf   dmti8.vf
dmbxsl10.vf  dmr17.vf     dmsltt10.vf  dmssi17.vf   dmti9.vf
dmbxti10.vf  dmr5.vf      dmss10.vf    dmssi8.vf    dmtt10.vf

inputs:
a4report.sty  dblecols.sty  hcreatim.tex  musicdoc.tex  ostinato.tex
accordeo.tex  enhyph.tex    hcreatio.tex  musicext.tex  pacifiqb.tex
accordex.tex  enhyphex.tex  hfantais.tex  musicnft.tex  pacifiqn.tex
adagio.tex    euro92.sty    hfugue.tex    musicpln.tex  pacifiqp.tex
amourspe.tex  euro92.tex    hostinat.tex  musicpos.tex  praetori.tex
amourspx.tex  euromtex.tex  howtoget.tex  musicpre.tex  praetorr.tex
angescam.tex  extras.tex    hprelfug.tex  musicref.tex  praetorx.tex
angescao.tex  fantaisi.tex  hprelude.tex  musicsty.tex  prelude.tex
angescax.tex  footnote.tex  hrecit.tex    musictex.sty  purcell.tex
aria.tex      frhyph.tex    hreves.tex    musictex.tex  purcellx.tex
avemaria.tex  fugue.tex     hwidor.tex    musictrp.sty  recit.tex
bigmusic.sty  geslides.tex  hymnepas.tex  musictrp.tex  recueil.tex
campra.tex    gloriab.tex   ibmiso1.tex   musicvbm.sty  reves.tex
carillon.tex  glorias.tex   lines.tex     musicvbm.tex  screatim.tex
choral.tex    hadagim.tex   marcello.tex  nlslides.tex  souvenir.tex
chorala.tex   hadagio.tex   marcellx.tex  notreper.tex  souvenix.tex
choralb.tex   haria.tex     musicacc.tex  notrepex.tex  tierce.tex
creation.tex  hchoral.tex   musicadd.tex  nwidor.tex    widor.tex

[#12] en:[/hogs/davisonj/pub/MusicTeX]: 
script done on Mon Feb  1 19:26:36 1993
-------------------------------------------------------------------------------
-- 
John Davison
davisonj@ecn.purdue.edu

From @sun.rhrk.uni-kl.de:knopper@rhrk.uni-kl.de  Tue Feb  2 05:47:41 1993
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Subject: Re: Problem encoun
To: mutex
Date: Tue, 2 Feb 93 12:47:39 MET
From: "Klaus Knopper [ET]" <knopper@rhrk.uni-kl.de>
Cc: "Klaus Knopper [ET]" <knopper@rhrk.uni-kl.de>, mutex@stolaf.edu
In-Reply-To: <9302020047.AA28479@en.ecn.purdue.edu>; from "John M Davison" at Feb 1, 93 7:47 pm
X-Mailer: ELM [version 2.3 PL11]
Message-Id:  <9302021247.aa12222@sun.rhrk.uni-kl.de>

> 
>         Today I attempted to install the latest freshly FTPed MusicTeX on
> en.ecn.purdue.edu (a UNIX machine running 4.3BSD-Tahoe), but the results were
> less than functional.  An attempt to process the file "hadagim.tex" resulted in
> the following output:
> 
> -------------------------------------------------------------------------------
> Script started on Mon Feb  1 19:36:06 1993
> [#11] en:[/hogs/davisonj/pub/MusicTeX]: tex /hogs/davisonj/pub/MusicTeX/inputs/hadagim.tex
> This is TeX, C Version 3.14
> (/hogs/davisonj/pub/MusicTeX/inputs/hadagim.tex
> (/hogs/davisonj/pub/MusicTeX/inputs/musicnft.tex
> Version 4.92 -- January 29th, 1993
> ! Font \cmmi=cmmi10 scaled 1200 not loadable: Metric (TFM) file not found.
> <to be read again> 
>                    \relax 
> l.16 \font\cmmi=cmmi10 scaled \magstep1
> ? 
> ! Emergency stop.
> <to be read again> 
>                    \relax 
> l.16 \font\cmmi=cmmi10 scaled \magstep1
> No pages of output.
> Transcript written on hadagim.log.
> [#12] en:[/hogs/davisonj/pub/MusicTeX]: 
> script done on Mon Feb  1 19:36:27 1993
> -------------------------------------------------------------------------------
> 
>         I cannot figure out why it can't find this font.  Can anyone out there
> tell me why?  Arrrrrrrgh!  I'm not exactly a TeX jockey, so please be forgiving
> if I missed something obvious.
> 
>         Here is some pertinent information that may illuminate matters:
> 
> TEXINPUTS = "/usr/unsup/lib/tex/inputs:/hogs/davisonj/pub/MusicTeX/inputs:."
> 
> TEXFONTS = "/usr/unsup/lib/tex/fonts:/hogs/davisonj/pub/MusicTeX/fonts:/hogs/davisonj/pub/MusicTeX/fonts/gf:/hogs/davisonj/pub/MusicTeX/fonts/pk:/hogs/davisonj/pub/MusicTeX/fonts/pxl:/hogs/davisonj/pub/MusicTeX/fonts/tfm:/hogs/davisonj/pub/MusicTeX/fonts/> vf:."
> 
> TEXFORMATS = "/usr/unsup/lib/tex:/hogs/davisonj/pub/MusicTeX:."
> 
> TEXPOOL = "/usr/unsup/lib/tex:/hogs/davisonj/pub/MusicTeX:."
> 
>         This is a listing of my directory tree "/hogs/davisonj/pub/MusicTeX",
> which is where I have my MusicTeX stuff.  I am too naive to tell if something
> has been put in the wrong place...suggestions for better organization are
> welcome, as all I did was model my directory structure after the TeX directory
> structure ("/usr/unsup/tex") that resides on en.ecn.purdue.edu.
> 
[... stuff deleted]
> -- 
> John Davison
> davisonj@ecn.purdue.edu

Your problem is the absence of the tfm font descriptions for the cmmi fonts.

This is a standard (math italics) TeX-Font, and not included in
the MusicTeX Package.
Even if this font is not used in your score, it is needed for the predefined
font commands in musicTeX.

So you have to generate at least the TFM file with the 'Metafont'
Font generating program.

If you use this fonts in your score, you also have to generate
the Pixel (.pk) fonts with Metafont.

How to do this is strongly machine-specific (ask your local TeX guru).
On my machine (Amiga) i just have to start an Arexx-Script to generate
missing fonts.

The metafont Font-Descriptions for this case are in a file which should
have the name "cmmi10.mf". I think that this font is used for the
numbers at the top of each bar. 

I hope this may help you a bit (maybe some manpages for MF ?) ....


                //             Klaus Knopper
               //         (knopper@rhrk.uni-kl.de)
           \\ //
            \X/

From dgold@basso.actrix.gen.nz  Tue Feb  9 17:37:52 1993
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Date: Wed, 10 Feb 93 12:06:38 PST
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Amiga Graphical Interface

Hi,

I've got an improved version of this ready, and it can be ftp'd from:

	rata.vuw.ac.nz

and the file is called: guitex1_1.lha

I assume that it will be in the \pub directory, but I'm not putting
it up myself, so you might have to look around for it.  If you don't
see it, try again in a day or two.

PLEASE, PLEASE don't browse around or download anything else.  The
University is doing this as a favour to me, and the system can't handle
a lot of overseas traffic.


About GUITeX:

A mouse-driven interface which tries to do quick and error-free creation
of a rough draft of a MusicTeX score.  It tries to do a few things for you
like automatic bar-numbering, and hopefully will make beams, ties and slurs
easier to handle.  Beam numbers are incremented automatically, and should
always getting your notes hanging or sitting on the beams correctly.


REQUIREMENTS: 

MusicTeX, and an Amiga.  Of course.
AmigaTeX, PasTeX, or some other version of TeX.
ArpRexxLib.library 3.0.

This only works with WB2.0 at the moment but theory should work under
1.3 when I get around to putting in some code for the ARP requesters.

RexxArpLib is available via ftp from:
Host wuarchive.wustl.edu   (128.252.135.4)

    Location: /mirrors4/amiga.physik.unizh.ch/amiga/util/rexx
      FILE      r--r--r--     54272  Oct 11 04:40   RexxArpLib3_0.lzh

And probably also directly from amiga.physik.unizh.ch.

If you haven't got ftp access, let me know and I'll be happy to mail
a copy to anyone who is willing to do a bit of testing.

Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From crath@bnr.ca  Wed Feb 10 07:56:39 1993
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Content-Identifier: Lead sheet pr... 
From: "Christopher (C.J.) Rath" <crath@bnr.ca>
Message-Id: <"16338 Wed Feb 10 08:55:13 1993"@bnr.ca> 
To: mutex
Subject: Lead sheet production. 

I have been asked to look into producing a lead sheet, for a tape
that's being produced locally.  I've installed MusicTeX, and it
certainly looks like it will do the job.  However, it also looks like
I've got a bit of a learning curve to climb.  In this vein I have a
couple of questions:

Definition: Lead Sheet...  By this I mean single staff melody line,
	with chords above the music and words below.

1) Does anyone have an example lead sheet (in MusicTeX source) that
   they would be willing to send me (or point me to an ftp site with
   an example)?

2) Is there any software out there to convert a midifile into MusicTeX
   source?  It must compile or run on a NeXTstation.

Thanks,
   
Christopher
---
 Christopher Rath   | crath@bnr.ca
 BNR Lab 5          |
 Ottawa, ON, Canada | "Hydrogen is a colourless, odourless gas which, given 
 (613) 765-3141     | enough time, turns into people." -- Henry Hiebert

From p.abbott@aston.ac.uk  Fri Feb 12 14:14:14 1993
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          id <07496-0@email.aston.ac.uk>; Fri, 12 Feb 1993 12:25:52 +0000
To: mutex
Cc: spqr@minster.york.ac.uk
Subject: A number of questions
Date: Fri, 12 Feb 93 12:25:24 +0000
From: Peter Abbott <p.abbott@aston.ac.uk>


I have just unpacked 

musictex-492.tar.Z and musicexa-492.tar.Z

I have tried some of the examples and the first major problem is that they
are set up for paper sizes to which I do not have access.

My laserprinter takes A4 paper and whilst I can edit each example file
so that the appearance is acceptable, would it not be possible to
provide a file which hsize and vsize which is included in each eample.

This means that when trying out the software it is easy to tailor to
fit the paper sizes available.

My version was installed by an expert who understand my Sun, UNIX and TeX 
so I assume that the errors quoted here are not of our making.

PACIFIQN  TeX runs OK

/work2/music/examples$ dvips pacifiqn -o
This is dvips 5.495 Copyright 1986, 1992 Radical Eye Software
' TeX output 1993.02.12:1206' -> pacifiqn.ps
<texc.pro><special.pro>. [1dvips: Unknown keyword (xy) in \special will be ignored
dvips: Unknown keyword (12mm) in \special will be ignored
dvips: Unknown keyword (18mm) in \special will be ignored
dvips: Couldn't find figure file hp:; continuing
] [2] [3] [4] [5] [6] [7] [8] [9] [10] [11] 

PACIFIQB TeX runs OK dvips gives same error

HADAGIO TeX error

/work2/music/examples$ tex hadagio
This is TeX, C Version 3.141
(hadagio.tex (/sys/tex/lib/styles/musicnft.tex
Version 4.92 -- January 29th, 1993) (/sys/tex/lib/styles/musictex.tex
Version 4.91 -- January 21th, 1993)
! Undefined control sequence.
l.4 \fhyph

CARILLON TeX run OK dvips same error

PRAETORI TeX runs OK dvips same error

ANGESCAO TeX run OK dvips same error

HPRELFUG TeX runs OK dvips runs ok no error

MARCELLO TeX runs OK dvips same error

RECUEIL

/work2/music/examples$ tex recueil
This is TeX, C Version 3.141
(recueil.tex (/sys/tex/lib/styles/musicnft.tex
Version 4.92 -- January 29th, 1993) (/sys/tex/lib/styles/musictex.tex
Version 4.91 -- January 21th, 1993) (/sys/tex/lib/styles/musicvbm.tex)
(/sys/tex/lib/styles/musicsty.tex)
! Missing number, treated as zero.
<to be read again> 
                   \relax 
l.12 \font \geant=\fonthdg mbx12 scaled \magstep6
  

HWIDOR TeX runs OK dvips same error

NWIDOR TeX runs OK dvips same error

AVEMARIA TeX runs OK dvips no error       

I looked at the FAQ and 

02	Where can I get MuTeX and MusicTeX?

Most up to date version of musictex:

	rsovax.ups.circe.fr	directory [anonymous.musictex]

so

Connected to rsovax.ups.circe.fr.

but this simply gives a list of files do I have no idea if they are more
uptodate than the ones I already have.

Can anyone tell me how to avoid the errors?

Will anyone update the examples to cope with a papersize file containing
vsize and hsize?

How can I tell I have the latest version?

Thanks

Peter


From Robin.Fairbairns@cl.cam.ac.uk  Fri Feb 12 14:42:55 1993
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To: mutex
Cc: mutex@stolaf.edu, spqr@minster.york.ac.uk, Robin.Fairbairns@cl.cam.ac.uk
Subject: Re: A number of questions
In-Reply-To: Your message of Fri, 12 Feb 93 12:25:24 +0000. <9302122014.AB03311@stolaf.edu>
Date: Fri, 12 Feb 93 20:42:42 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-Id: <"swan.cl.ca.126:12.02.93.20.43.00"@cl.cam.ac.uk>

Daniel typically stuffs maximum amounts onto the page (in a very
Phil Taylor-ish way).  I've found that offsetting his stuff by -0.75"
in each axis (w.r.t. the usual {1",1"} origin that TeX uses), I get
acceptable results.

I've had no problems with TeXing or printing the examples (apart from
the offset) on my emTeX system.  So I would presume that the \specials
are emTeX ones.  Since I'm not at home just now, I can't investigate
further - perhaps you have an emTeX to hand?

Sebastian's stuff uploaded to Aston _is_ the latest thing.  That's not
your problem.

Robin
--
Robin (Keep Radio 3 != Classic FM) Fairbairns       rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK

From tim@maths.tcd.ie  Fri Feb 12 15:07:37 1993
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From: Timothy Murphy <tim@maths.tcd.ie>
Subject: Re: A number of questions
To: mutex
In-Reply-To: Peter Abbott's message of Fri, 12 Feb 93 12:25:24 +0000
Date: Fri, 12 Feb 93 21:07:39 GMT
Sender: tim@maths.tcd.ie
Message-Id:  <9302122107.aa25423@salmon.maths.tcd.ie>

> Will anyone update the examples to cope with a papersize file containing
> vsize and hsize?

I'd like to support Peter's plea.
MusicTeX seems like a really nice package to me,
but it also seems unnecessarily rigid,
eg over paper size.

Maybe what is needed is a MusicLaTeX??

Timothy Murphy  

e-mail: tim@maths.tcd.ie
tel: +353-1-2842366 (home/office)
     +353-1-7021507 (university)
fax: +353-1-2842295
s-mail: School of Mathematics, Trinity College, Dublin 2, Ireland


From spqr@minster.york.ac.uk  Sat Feb 13 06:50:48 1993
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From: spqr@minster.york.ac.uk
Date: Sat, 13 Feb 93 12:48:57
Message-Id: <swordfish.729607862@minster.york.ac.uk>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: A number of questions

Peter Abbott writes:
 > 
 > ' TeX output 1993.02.12:1206' -> pacifiqn.ps
 > <texc.pro><special.pro>. [1dvips: Unknown keyword (xy) in \special
 > will be ignored dvips: Unknown keyword (12mm) in \special will be
 > ignored dvips: Unknown keyword (18mm) in \special will be ignored
 > dvips: Couldn't find figure file hp:; continuing ] [2] [3] [4] [5]
i dont think Daniel ever promised that MusicTeX would run with all
drivers; as Robin notes, these are *emTeX* specials. i dont think we
can expect Daniel to cope with more than this

 > ! Undefined control sequence.
 > l.4 \fhyph
french hyphenation patterns requested. well, Daniel *is* French...

 > /work2/music/examples$ tex recueil
....
 > ! Missing number, treated as zero.
 > <to be read again> 
 >                    \relax 
 > l.12 \font \geant=\fonthdg mbx12 scaled \magstep6
curious. now sure how Daniel gets \magstep6 to work. change it to some
other smaller number - its presumably only the headings

 > 
 > How can I tell I have the latest version?
 > 
you trust the Comprehensive TeX Archive Network, of which Aston is a
node, to function properly; we have a (weekly, I think) mirror of a
German site which tracks Daniel closely.

sebastian


From p.abbott@aston.ac.uk  Tue Feb 16 03:35:22 1993
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          id <29462-0@email.aston.ac.uk>; Tue, 16 Feb 1993 09:30:56 +0000
To: mutex
Cc: mutex@stolaf.edu, spqr@minster.york.ac.uk
Subject: Re: A number of questions
In-Reply-To: Your message of Fri, 12 Feb 93 20:42:42 +0000. <"swan.cl.ca.120:12.02.93.20.42.51"@cl.cam.ac.uk>
Date: Tue, 16 Feb 93 09:30:55 +0000
From: Peter Abbott <p.abbott@aston.ac.uk>

 <"swan.cl.ca.120:12.02.93.20.42.51"@cl.cam.ac.uk>
>Daniel typically stuffs maximum amounts onto the page (in a very
>Phil Taylor-ish way).  I've found that offsetting his stuff by -0.75"
>in each axis (w.r.t. the usual {1",1"} origin that TeX uses), I get
>acceptable results.

OK I can do that but some users may not be able to change the offset
easily. I still think that a separate file with hsize and vsize would be a boon.

>I've had no problems with TeXing or printing the examples (apart from
>the offset) on my emTeX system.  So I would presume that the \specials
>are emTeX ones.  Since I'm not at home just now, I can't investigate
>further - perhaps you have an emTeX to hand?

As it happens I do not have emtex to hand, and neither will some other
users. I choose to ignore the error but would suggest that the readme be
amended to say the error will appear on non emtex dvips and can be ignored.

>Sebastian's stuff uploaded to Aston _is_ the latest thing.  That's not
>your problem.

I had assumed that but again the readme refers to a site which then does
not give the details of the latest version, merely copies of the files.

Please do not think that I am simply finding fault. I am just trying to ensure
that access to software is as simple as possible, with minimum problems
when used on platforms different to the originator.

Peter



From dgold@basso.actrix.gen.nz  Wed Feb 17 16:22:08 1993
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: A number of questions

Hi, on Feb 16 you wrote:
 
>  <"swan.cl.ca.120:12.02.93.20.42.51"@cl.cam.ac.uk>
>>Daniel typically stuffs maximum amounts onto the page (in a very
>>Phil Taylor-ish way).  

I think that that is in the nature of music printing rather than
Daniel's style.  Getting more information on the page means that
there will be less page turns to worry the performers.  Music is
often printed on slightly larger paper than the size that most of
us can use on our printers as well.

> Please do not think that I am simply finding fault. I am just trying to ensure
> that access to software is as simple as possible, with minimum problems
> when used on platforms different to the originator.

That would be a big help, although it seems difficult for a composer with
a laser printer to have any idea what the requirements of an Epson would
be, or vice versa.  Perhaps if enough people send in their local 'fixes'
for the demos to the mailing list, a help file about printing could be
compiled from them some day.

Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From Robin.Fairbairns@cl.cam.ac.uk  Thu Feb 18 05:17:59 1993
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To: mutex
Cc: Robin.Fairbairns@cl.cam.ac.uk, mutex@stolaf.edu
Subject: Re: A number of questions
In-Reply-To: Your message of Thu, 18 Feb 93 11:06:00 -0800. <9302181906.AA00zev@basso.actrix.gen.nz>
Date: Thu, 18 Feb 93 11:16:44 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-Id: <"swan.cl.ca.608:18.02.93.11.16.57"@cl.cam.ac.uk>

Dale Gold wrote:
|> Hi, on Feb 16 you wrote:
|>  
|> >  <"swan.cl.ca.120:12.02.93.20.42.51"@cl.cam.ac.uk>
|> >>Daniel typically stuffs maximum amounts onto the page (in a very
|> >>Phil Taylor-ish way).  

(That _was_ me)

|> I think that that is in the nature of music printing rather than
|> Daniel's style.  Getting more information on the page means that
|> there will be less page turns to worry the performers.  Music is
|> often printed on slightly larger paper than the size that most of
|> us can use on our printers as well.

Indeed.  There is, in fact, a fundamental problem of standard vs
American sizes here too.  My reference to Phil was to do with an
argument just completed within the UK TeX Users' Group committee,
which Peter would have recognised; however, I believe that the
difficulty of adjusting to strange (e.g., the various American) paper
sizes is a fundamental TeX issue.  Everyone who wants to do anything
that stretches what was originally thought `useful' tends to hit up
against this problem.  Music has it in spades.

|> > Please do not think that I am simply finding fault. I am just trying to ensure
|> > that access to software is as simple as possible, with minimum problems
|> > when used on platforms different to the originator.
|> 
|> That would be a big help, although it seems difficult for a composer with
|> a laser printer to have any idea what the requirements of an Epson would
|> be, or vice versa.  Perhaps if enough people send in their local 'fixes'
|> for the demos to the mailing list, a help file about printing could be
|> compiled from them some day.

I've said in private mail to Peter Abbott (who was the originator of
the text Dale quotes here) that there is a general problem of MusicTeX
documentation in any case.  I tend to regard the contents of MusicTeX
as the archetypal black arts (I once tried to mend the tie/slur bug
that was present in early version); having formed this opinion, I once
thought of offering to work on the user documentation, but decided I
couldn't commit to anything so far-reaching.

A set of recipes for people to adapt scores to their local conditions
would be a valuable addition to the documentation, however.  I'm not
the one to do it, since the only `other' person's scores I use are
Daniel's, and he uses the same setup as I do, as far as I can tell...

Robin
--
Robin (Keep Radio 3 != Classic FM) Fairbairns       rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK

From crath@bnr.ca  Thu Feb 18 14:25:34 1993
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Date: Thu, 18 Feb 1993 15:23:00 +0000 
X400-Originator: /DD.ID=CNT29168/G=Christopher/I=CJ/S=Rath/@bnr.ca 
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Content-Identifier: Lead sheet (i... 
From: "Christopher (C.J.) Rath" <crath@bnr.ca>
Sender: "Christopher (C.J.) Rath" <crath@bnr.ca>
Message-Id: <"6032 Thu Feb 18 15:24:06 1993"@bnr.ca> 
To: mutex
Subject: Lead sheet (ie. melody line, words & chords) production 

I've posted messages several places regarding the production of lead
sheets, and I have yet to hear from ANYONE who has actually produced a
lead sheet.

I did one using MuTeX.  That was a lot of work: About 25 hours for a
one page lead sheet, including the initial MuTeX learning curve.
However, the end product was very nice.  I estimate additional lead
sheets would take 5 to 8 hours each, now that I know how to use MuTeX.

I have looked at using MusicTeX, since it is supposed to be more
powerful than MuTeX.  But, I am unwilling to climb its learning curve.

Has no one used any of the tools I keep reading about to create a lead
sheet?  A lead sheet boiler-plate (template) for MusicTeX might
convince me to try that tool...however, I thought there were easier to
use tools for my NeXTstation than MusicTeX.

I am willing to purchase commercial software.  However, first I want
to hear first-hand from someone who has used such software.

Signed,
Disappointed.
(Christopher)

 == Christopher Rath === crath@jetform.com === (613) 594-3026 ==
  Jetform Corporation    | "Hydrogen is a colourless, odourless
  560 Rochester St. #400 | gas which, given enough time, turns
  Ottawa, Canada K1S 5K2 | into people." -- Henry Hiebert


From p.abbott@aston.ac.uk  Fri Feb 19 04:25:47 1993
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          id <03760-0@email.aston.ac.uk>; Fri, 19 Feb 1993 10:09:41 +0000
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: A number of questions
In-Reply-To: Your message of Thu, 18 Feb 93 11:06:00 -0800. <9302181906.AA00zev@basso.actrix.gen.nz>
Date: Fri, 19 Feb 93 10:09:40 +0000
From: Peter Abbott <p.abbott@aston.ac.uk>

Dale

>That would be a big help, although it seems difficult for a composer with
>a laser printer to have any idea what the requirements of an Epson would
>be, or vice versa.  Perhaps if enough people send in their local 'fixes'
>for the demos to the mailing list, a help file about printing could be
>compiled from them some day.

Rather than reinventing the wheel every time, if hsize and vsize were
stuffed in a seperate file then the help on printing could simply say.

Change the values of hsize and vsize for the paper size available to you.
It could even offer suggestions as to the values for standard paper sizes.

Peter


From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Mon Feb 22 02:44:09 1993
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Date: 22 FEB 93 09:50:11.44-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: To solve \magstep problems in mnusictex examples !
To: mutex

\def\magstep#1¤\ifcase#1 \@m\or 1200\or 1440\or 1728\or 2074\or
 2488\or 2986\or 3583\or 4300\or 5160\fi\relax‡


From ryanr@mozart.CS.ColoState.EDU  Tue Feb 23 13:36:36 1993
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From: ryanr@cs.colostate.edu (richard ryan)
Message-Id: <9302231936.AA27358@mozart.CS.ColoState.EDU>
Subject: chord question
To: mutex
Date: Tue, 23 Feb 93 12:36:28 MST
X-Mailer: ELM [version 2.3 PL8]

Hi,

I'm trying to notate a guitar chord with

\notes\uppz q\zql q\zql n\zql l\cl c\ds\soupir\enotes%

The vertical line doesn't reach all the way to the bottom note.
Is there any way to make it do that?

Also, how would I get the coda and the segno symbols for something like
"D.C. al <coda symbol>" or "to <coda symbol>"

Thanks,
Richard.

From robz@runxtsa.runx.oz.au  Mon Mar  1 09:07:49 1993
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From: Robert Zurynski <robz@runx.oz.au>
Message-Id: <9303010134.AA11093@runxtsa.runx.oz.au>
Subject: Unsubscription procedures
To: mutex
Date: Mon, 1 Mar 93 12:34:55 AESST
X-Mailer: ELM [version 2.3 PL6]

I recently unsubscribed to this mailing group due to a pending
change of email address.

I wasn't sure of how to do it properly, but I took a punt, and it seems to have 
worked, but I did get two bits of mail indicating that others have reservations
on how to go about it, unless I got it all wrong and they're just sarcastic
jibes 8->.

~(headers deleted )

>> 
>> I'll be getting a different address soon, so please unsubscribe from
>> this group.
>> Regards
>> 
>> Robert Zurynski
>> 
>> 
>Robert,
>I don't remember the method to unsubscribe..Could you tell me?
>Tom
>
>~(headers deleted )
>
>Hello Robert,
>
>   How do I go about unsubscribing ?
>
>.. matt ..
>
>

and the reply I received from stolaf was:
>
>From cdr@stolaf.edu Tue Feb 23 02:14:26 1993
>Received: from stolaf.edu (via ipso.ips.oz) by runxtsa.runx.oz.au with SunIV (5.65b/IDA-1.4.3)
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>	(from cdr@stolaf.edu for robz)
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>	id AA23746; Mon, 22 Feb 93 08:57:35 CST
>Date: Mon, 22 Feb 93 08:57:35 CST
>From: cdr@stolaf.edu (Craig D. Rice, St. Olaf College)
>Message-Id: <9302221457.AA23746@stolaf.edu>
>To: robz@runxtsa.runx.oz.au
>Subject: Unsubscribed from mutex@stolaf.edu
>Status: RO
>
>
>You are no longer subscribed to the mutex mailing list.
>
>mutex-request@stolaf.edu
>

Regards
Robert ( ripple@sydney.dialix.oz.au )

From muzzle@cs.uq.oz.au  Tue Mar  2 20:37:35 1993
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Date: Wed, 3 Mar 93 12:37:37 +1000
From: muzzle@cs.uq.oz.au
Message-Id: <9303030237.AA00553@client>
To: mutex
Subject: Problem: spaces before barlines

Hi there

I have a problem with MusicTeX inserting too much space before a bar line.
Any ideas on what I'm going wrong?

Thanks,
Murray

From icking@gmdzi.gmd.de  Wed Mar  3 10:56:50 1993
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Date: Wed, 3 Mar 1993 17:55:22 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303031655.AA28572@gmdzi.gmd.de>
To: mutex
Subject: Re:  Problem: spaces before barlines

>Date: Wed, 3 Mar 93 12:37:37 +1000
>From: muzzle@cs.uq.oz.au
>Message-Id: <9303030237.AA00553@client>
>
>I have a problem with MusicTeX inserting too much space before a bar line.
>Any ideas on what I'm going wrong?

That's neither a problem nor a bug, it's a feature :-(

MusicTeX seems to collect the glue or space esp. just before a bar.
But that shows why typesetting of music is a bigger problem than
typesetting plain text. Music normally has only a few "words" (bars,
notes, beams) in a line and nearly no hyphenation.

What you can do is: finish your masterpiece using \raggedlinestrue

At the very end do some handtuning: try to use \normal, \etroit, \large.

If all lines have to much space reduce \hsize.

Sometimes you have to insert "hyphenaion" (bars may be split from one
line to the next using e.g. \zbarre in the middle of a bar).

At least you have to optimize single lines. Start from the top go to the
end. If a lines has too much space change some or all of the bars from
\notes to \Notes, from \Notes to \NOtes, ... Maybe that you have to do
this iteratively :-)

When this type of work was done manually (Notenstecher) only craftsmen
with a very high skill were able to "typeset" well-looking music. They
need a lot of years of experience because the "Aufteilung" (division) of
the complete piece into page was (and IS) so complicated.

Hope this hilft -- Werner

From walt@GECKO.SLAC.Stanford.EDU  Wed Mar  3 11:44:08 1993
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Date: Wed, 3 Mar 93 09:42:28 -0800
From: "Walter R. Innes" <walt@GECKO.SLAC.Stanford.EDU>
Subject: <none - added by mutex-owner>
To: mutex
Message-Id: <9303031742.AA12498@gecko.SLAC.Stanford.EDU>
X-Envelope-To: mutex@stolaf.edu

> >Date: Wed, 3 Mar 93 12:37:37 +1000
> >From: muzzle@cs.uq.oz.au
> >Message-Id: <9303030237.AA00553@client>
> >
> >I have a problem with MusicTeX inserting too much space before a bar line.
> >Any ideas on what I'm going wrong?
> 

> That's neither a problem nor a bug, it's a feature :-(
> 

> MusicTeX seems to collect the glue or space esp. just before a bar.
> But that shows why typesetting of music is a bigger problem than
> typesetting plain text. Music normally has only a few "words" (bars,
> notes, beams) in a line and nearly no hyphenation.
> 

> What you can do is: finish your masterpiece using \raggedlinestrue
> 

> At the very end do some handtuning: try to use \normal, \etroit, \large.
> 

> If all lines have to much space reduce \hsize.
> 

> Sometimes you have to insert "hyphenaion" (bars may be split from one
> line to the next using e.g. \zbarre in the middle of a bar).
> 

> At least you have to optimize single lines. Start from the top go to the
> end. If a lines has too much space change some or all of the bars from
> \notes to \Notes, from \Notes to \NOtes, ... Maybe that you have to do
> this iteratively :-)
> 

> Hope this hilft -- Werner
> 

Inserting some \temps within the bars puts glue at places other than before
the bar line thus spreading the space more evenly. \autolines provides
a convenient way to do the same thing as using notes, Notes, NOtes etc.

Happy music setting,  Walt     


From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Wed Mar  3 12:26:50 1993
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Date:  3 MAR 93 19:17:02.33-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Glue in MusicTeX
To: mutex

"Werner.Icking@gmd.de" says :

> >Date: Wed, 3 Mar 93 12:37:37 +1000
> >From: muzzle@cs.uq.oz.au
> >Message-Id: <9303030237.AA00553@client>
> >
> >I have a problem with MusicTeX inserting too much space before a bar line.
> >Any ideas on what I'm going wrong?
>
> That's neither a problem nor a bug, it's a feature :-(
>
> MusicTeX seems to collect the glue or space esp. just before a bar.
> But that shows why typesetting of music is a bigger problem than
> typesetting plain text. Music normally has only a few "words" (bars,
> notes, beams) in a line and nearly no hyphenation.
>
> What you can do is: finish your masterpiece using \raggedlinestrue
>
> At the very end do some handtuning: try to use \normal, \etroit, \large.
>
> If all lines have to much space reduce \hsize.
>
> Sometimes you have to insert "hyphenaion" (bars may be split from one
> line to the next using e.g. \zbarre in the middle of a bar).
>
> At least you have to optimize single lines. Start from the top go to the
> end. If a lines has too much space change some or all of the bars from
> \notes to \Notes, from \Notes to \NOtes, ... Maybe that you have to do
> this iteratively :-)
>
> When this type of work was done manually (Notenstecher) only craftsmen
> with a very high skill were able to "typeset" well-looking music. They
> need a lot of years of experience because the "Aufteilung" (division) of
> the complete piece into page was (and IS) so complicated.
>
> Hope this hilft -- Werner


You can also spread the glue in the middle of the bars, using the macro
  \temps. Only when no beam is pending.



From muzzle@cs.uq.oz.au  Wed Mar  3 17:49:07 1993
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Date: Thu, 4 Mar 93 09:49:14 +1000
From: muzzle@cs.uq.oz.au
Message-Id: <9303032349.AA05526@client>
To: mutex
Subject: Space before barline: thanks!

Hi there

The best solution that I have been given is to use \raggedlinestrue, which
seems to shuffle the bars in a nice way.  The only drawback is that the
staff continues to the side of the page after the double bar line at the
end of the music.

Thanks!

Murray

From @PUCC.PRINCETON.EDU:TAUPIN@FRUPS51.BITNET  Thu Mar  4 08:58:27 1993
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Date:  4 MAR 93 15:42:47.66-GMT
From: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU
Subject: Musictex DOC
To: mutex

MUSICDOC updated (together with MUSICTEX.ZIP and MUSICYEX.BCK)
at rsovax.ups.circe.fr, directory [anonymous.musictex]

From smoliar@iss.nus.sg  Thu Mar  4 18:32:23 1993
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Date: Fri, 5 Mar 93 08:35:35+080
From: smoliar@iss.nus.sg (Stephen Smoliar)
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To: mutex
Cc: mutex@stolaf.edu
In-Reply-To: TAUPIN%FRUPS51.BitNet@pucc.PRINCETON.EDU's message of 4 MAR 93 15:42:47.66-GMT <9303041458.AA28738@stolaf.edu>
Subject: Musictex DOC

Daniel,

May I make a small suggestion?  Those of us with limited disk space often tend
to work with some minimal functioning subset of MusicTeX.  This makes it
awkward to try to port over the "whole ball of wax" bundled in a single
ZIP file.  When you issue a new release, would it be too much trouble to
announce which files have been updated?  As far as I was able to determine,
musictex.tex was the only file I had to change to upgrade to 4.93.  Would you
be so kind as to let me know if I missed anything?

Steve

From mark.janello@um.cc.umich.edu  Thu Mar  4 21:06:21 1993
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Date: Thu, 4 Mar 93 21:08:20 EST
From: mark.janello@um.cc.umich.edu
To: mutex
Message-Id: <20581360@um.cc.umich.edu>
X-Mts-Userid: 7JK3
Subject: even spacing of lines of music

Regarding the question of too much space
before barlines, etc., I have come up with
a system to spread the spacing out just
enough to fill lines evenly.  After having
examined many well-engraved scores (I highly
recommend the old Bach-Gesellschaft editions)
I distilled the following rules:
     1. there are two main "spacings" at any one
time: close spacing (for the fastest notes, for
example sixteenths), and open spacing, for the
next and all levels above.  Given the
rhythm eighth sixteenth sixteenth, there would be
a medium space between the first two notes, and
a small space between the last two, and between
the last one and the next group.
     2.  In the close spacing, there is not enough
room for an accidental so an extra-small "accidental"
skip is needed.  This can be left out if there
is room, e.g., if there is a rest before the accidental,
or the altered note follows a wide enough interval that
the accidental sign will not hit the first note, or,
importantly, if the spacing of the whole line needs
to be expanded so much that there actually room for
the accidentals without a skip.
 
I have made some macros to automate the use of these
principals as much as possible.  What I have done is
to define the three spacings (close, open, and accidental
(I call them \M (for Measurespacing), \m, and \ask))
using the general MusicTeX macro \vnotes, with 
an \mset macro as follows:
 
\newskip\Mskip%
\newskip\mskip%
\newskip\mmmskip%
%
\def\mset M=#1,m=#2,ask=#3{\elemskip=4\Internote%
	\def\Mfact{#1}\def\mfact{#2}%
	\def\ask{\off{#3 pt}}%
	\Mskip=\Mfact\elemskip%
	\mskip=\mfact\elemskip%
	\mmmskip=\Mfact\elemskip%
	\advance\mmmskip by -\mfact\elemskip}%
\def\M{\vnotes\Mfact\elemskip}%
\def\m{\vnotes\mfact\elemskip}%
 
The first three lines set up the skipsizes to be
used.  The usage of \mset is as follows: before the
music to be spaced (I usually find that one setting
per line is enough, but in complicated music with
extreme changes in magnitude of rhythm (for instance,
from thirtysecond notes to a series of whole notes)
more than one setting per line is better), "set" the
spacing as follows:
 
\mset M=1.44,m=1.1,ask=3%
 
the values of M, m, and ask are abitrary here, but these
are good settings to start with.  Note that the \ask
is in points.  This is like setting
\Notes and \notes, but then instead of those, you use
\M and \m to start off blocks of music, ending them
normally with \enotes.  The good thing is this, you set
the values to some pretty compact spacing, then using
\raggedlinestrue see how many measures will fit in a
line, then you fiddle with \mset until the spacing is
just enough to fill the line (a few points left over
is OK, just comment out \raggedlines true and the
space will spread out and be unnoticeable).  Use
\alaligne to break lines.  The
only time-consuming thing is trying out different values
of \M and \m to make it work, though one gets pretty
good at it.  I usually get it perfectly after 2 or 3 tries.
 
A few other macros that I use:
 
\def\mtoM{\off{\mmmskip}}%  turns m into M
\def\Mtom{\off{-1\mmmskip}}% turns M in m
 
These introduce skips that turn M into m spacing, etc.
Sometimes it is just too
tedious to always be switching from \M to \m, and with
these skips available one can set the eighth sixteenth
sixteenth rhythm mentioned above with:
 
\m%  small spacing
\cu c\mtoM\ccu {de}%
\enotes%
 
I admit that this method can be tedious, because each
line needs to be manually adjusted, and care needs to
be taken that \ask is inserted in all parts to make
everything line up, but the results
are spectacular, comparable to the finest engraving.
I have used several other, well-regarded music
typesetting systems, but they all fail miserably at
providing attractive spacing.  A practical tip:  set
the first line, then put it in a separate file; set
each separate line and append it to the first.  This
means you don't have to wait for TeX to process
stuff you have already done to get to the stuff you
are working on.
 
I have also written some METAFONT programs to make
slurs.  I use TeX to dump information into a file,
which is then read to make a "font" containing
slurs.  These also look fabulous, and can be infinitely
variable in shape and size.  I am still fine-tuning
these programs but if anyone is interested I would be
glad to send my METAFONT code and the MusicTeX macros
that I have written.  If anyone tries out the \mset
system please tell me how you like it and how you
modify to your own ends.
 
Sorry for the long post.
 
Mark Janello
Composition Dept.
University of Michigan School of Music
Ann Arbor, MI, USA

From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Fri Mar  5 08:33:20 1993
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From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
Subject: \interinstrument does not seem to work for my application
Reply-To: jservice@rd.hydro.on.ca
Message-Id: <93Mar5.093246est.91538@ark.vis.toronto.edu>
Date: 	Fri, 5 Mar 1993 09:32:35 -0500

Most of my work with MusicTeX to date has been to typeset music for
voice and piano.  I use \interfacteur to set the spacing between
staves.  But, if I try and use \interstrumenti=5pt, for example, to
add additional spacing between the piano accompaniment and the voice
part to make room for text, the upper staff is moved upwards but the
notes remain in the same place as when then \interstrumenti code is
not there.  Is there some particular order to using these vertical
spacing adjustments?  Could someone post an extract of how this might
be done properly?

Thanks

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946



From dmnhieu@math.purdue.edu  Fri Mar  5 11:41:37 1993
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	id AA00215; Fri, 5 Mar 93 12:41:46 EST
Date: Fri, 5 Mar 93 12:41:46 EST
From: dmnhieu@math.purdue.edu (Duy-Minh NHIEU)
Message-Id: <9303051741.AA00215@euclid.math.purdue.edu>
To: mutex
Subject: musictex output in dvi format requested...


Hi, I have limited (disk space/knowledge) access to the computer system.
So to install musictex and enter some music myself is difficult at the moment.
However, I would like to see how musictex's output are like.  If someone
already have any example of output of musictex in .dvi format (ie, I can
just lpr it), would you please send me one copy (probably you have to uuencode
it first) so that I can see how the output is like?

I am currently using SongWright V to restore some very old music and I am not
quite satisfied with the look!

From prw-b@minster.york.ac.uk  Fri Mar  5 12:00:14 1993
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From: prw-b@minster.york.ac.uk
Date: Fri, 5 Mar 93 17:55:49
Subject: <none - added by mutex-owner>
Message-Id: <swordfish.731354430@minster.york.ac.uk>
To: mutex


Having only been using MusicTeX for a few days now, and not really knowing 
TeX all that well anyway, I have run into a few problems.

I have a few questions :-

[1] I am having problems using \autolinesx. I don't fully understand the 
explanation in the manual, and TeX gives me a 'underfull \hbox' error.
Could somebody explain any pre-requsits and conditions for this command to
work.

[2] What is the difference between :-
	\debutextrait
and	\debutmorcea

and how (if at all) does it affect \autolines.

[3] How do I print my masterpeice onto A4 paper (Lasered), what values to
which variables, and do I need any additional '\input's.

----------

Help would be appriciated, as I am totally stumped on these points.
I will reply to any questions asked about my system.

	Thanks in advance,

	Peter Wainwright.



From M.R.Smith@open.ac.uk  Sat Mar  6 09:21:55 1993
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          Sat, 6 Mar 93 15:18:37 GMT
Date: Sat, 6 Mar 93 15:18:36 GMT
Message-Id: <9303061518.AA14683@bean.open.ac.uk>
To: mutex
From: M.R.Smith@open.ac.uk (Matt Smith)
Subject: announcement of AI/Music/ workshop
Sender: M.R.Smith@open.ac.uk

Although this announcement is not about MuTeX, I thought that it
would be of interest to subscribers.

.. matt ..


>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<
>>>>>>>>>>>>>>>      call for participation     <<<<<<<<<<<<<<<<
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>><<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<<

*****************************************************************
*    Music Education : An Artificial Intelligence Perspective   *
*****************************************************************

A half-day workshop to be held on the afternoon of Wednesday 25th August, 1993.
(probably in the Department of Music, University of Edinburgh)

A part of AI-ED 93, the World Conference on Artificial Intelligence in
Education, 23rd-27th August, 1993, Edinburgh, Scotland, UK.

Organizing Committee:
  Matt Smith (Chair), Department of Computing, The Open University
  Eduardo Miranda (Local Chair), Dept. of Music, University of Edinburgh
  Simon Holland, Department of Computing, The Open University
  Geraint Wiggins, Department of Artificial Intelligence, Univ. of Edinburgh
  Alan Smaill, Department of Artificial Intelligence, University of Edinburgh
  Nigel Morgan, Wakefield, West Yorkshire
  Tim Anderson, Department of Electronics, University of York

The workshop :

The workshop will deal with the theory and practice of AI and education for
musical knowledge and skills. The activities of music composition, analysis
and performance involve the learning and development of a range of
different forms of knowledge. Music offers AI and education researchers
challenges not found in many traditional, less open-ended domains (e.g.
arithmetic, computer programming, and categorical knowledge leaning). 

The aims of the workshop are to bring together researchers in AI and
education, AI and music, and music education, and to explore the
theoretical and empirical work aiming to explain and model musical
activities, focusing on how such knowledge and skills are learnt and 
on ways in which AI can help us understand and support this learning. 
By bringing together researchers from these different, but related,
fields, we intend to clarify the areas of agreement of the most important
problems to tackle, and encourage informed discussion of the most
appropriate and promising techniques developed to date.

Specific areas of focus for the workshop :

Researchers are invited to submit work in all areas related to music and
AI/Education, including (but not limited to) the following :

      (1) representation of musical knowledge,
      (2) modelling of musical activities,
      (3) modelling and supporting learning of musical knowledge.

(1) Representation of musical knowledge
    To date, many methods of representation have been used, including
logic, production rules, constraints, and sub-symbolic systems (not to
mention early statistical approaches). Such varied methods have been used
to try to cope with the many tasks and forms of knowledge involved in the
range of musical activities. It would appear that for certain activities
different representations are more appropriate; the questions here are
which representations are most effective, can we find evidence to suggest
which representations humans use, and how does this knowledge get
converted to other forms, during the process of learning and the
retrieval and processing requirements of different musical activities?

(2) Modelling of musical activities
    It may be useful to view music skills and knowledge as not a single
task or knowledge structure, but as many, related ones. To date AI systems
have been developed for such musical tasks as style and performance 
learning, composition, harmonic and rhythmic analysis. Can we find 
relationships between these activities (perhaps common sub-tasks, 
or shared knowledge structures), which will lead to more competent 
systems and further understanding of music cognition?
 
(3) Modelling and supporting learning of musical knowledge
    Of the musical activities mentioned above, those involving learning
(for example of style, performance skills, harmonic and rhythmic 'norms')
are most interesting to the AI and education researcher - since AI systems
that can demonstrate human-like learning offer ideas for student modelling
techniques. Perhaps AI learning systems can help to indicate the more
'important' attributes of music for certain tasks - this would be useful in
educational dialogue and environment design. 

Form of workshop :

        The afternoon will mainly take to form of presentations by authors. 
        Other activities such as a panel-type discussion and demonstrations
        of software will be arranged closer to the workshop (when full details
        of room allocations are known).

It is hoped that proceedings of the workshop may be published as a book.

Submission deadlines (email abstracts are preferred) :

        April 1st :  submission of 2 or 4 page abstracts (to workshop chair)
                (please include details of any special equipment requirements)

        May 1st :  notification of acceptance
                (requirements for camera-ready papers will also be included)

        June 1st : submission of camera-ready papers (to workshop chair)


Workshop submissions and enquiries should be sent to :
        Matt Smith (music education workshop chair)
        Dept. Computing, Faculty of Mathematics, Open University, 
        Walton Hall, Milton Keynes, Bucks MK7 6AA, UK
                email: m.r.smith@open.ac.uk
                FAX: +44 908 652140 / 653744
                Tel: +44 908 652682 / 652816 

Note: The workshop is free to delegates registered for the full AI-ED 93
programme, those wishing to attend only the workshop can register for a
half-day (for more information contact the AI-ED organisers, below)
 
For registration and accommodation details, and more information on AI-ED
93 contact :
        AI-ED 93
        c/o Helen Pain,
        Department of Artificial Intelligence,
        80, South Bridge,
        Edinburgh  EH1 1HN SCOTLAND
        email: AIED93@aisb.ed.ac.uk
        tel: (31) 650-2719/20           fax: (31) 650-6516


-----------------------------------------------------------------------------
 Matt Smith  :::  Tutoring Melody Composition using Artificial Intelligence 
-----------------------------------------------------------------------------
    \_\_  \_\_      \_\_    \_\_\_\_  \_\_\_\_          Raincoats come   
     \_ \_\_ \_     \_  \_      \_        \_            and go, but      
      \_  \_  \_    \_\_\_\_     \_        \_           friends can last 
       \_      \_   \_      \_    \_        \_          a lifetime ...   
-----------------------------------------------------------------------------
 Dept. Computing, Faculty of Mathematics,        email: m.r.smith@open.ac.uk 
 The Open University, Walton Hall,               Tel: +44 0908
652682/652816        
 Milton Keynes, Bucks MK7 6AA United Kingdom     FAX: +44 0908
652140/653744        
-----------------------------------------------------------------------------
   >>> Afternoon, Wednesday 25th August 1993, Edinburgh, Scotland, UK <<<     
   >>>                        AI-ED 93 workshop                       <<<  
   >>>    Music Education : An Artificial Intelligence Perspective    <<<  
----------------------------------------------------------------------------
-


From prw-b@minster.york.ac.uk  Sat Mar  6 17:50:26 1993
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	id AA11678; Sat, 6 Mar 93 17:50:26 CST
From: prw-b@minster.york.ac.uk
Date: Sat, 6 Mar 93 23:30:51
Message-Id: <swordfish.731461838@minster.york.ac.uk>
To: mutex

I have another problem with MusicTex ...
By what method do I attach chords to beams ?

	Regards,

	Peter Wainwright.

PS. Thanks to all those who helped out with my last query.
	I'm quickly learning the ropes.


From icking@gmdzi.gmd.de  Mon Mar  8 03:56:03 1993
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Date: Mon, 8 Mar 1993 10:54:29 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303080954.AA12608@gmdzi.gmd.de>
To: mutex
Subject: autolines, debut..., A4-papersize


"underful hbox" means "to few ""words"" (bars) in a line"; may be that you
have to increase the second parameter of autolines (then yielding in
"overful hbox" :-)

debutextrait starts an small music-example (normally a centered one-liner)
debutmorceau starts - as Daniel says - your masterpiece.
Both do not affect  \autolines.

A4-printing needs adjustment of Tex's vsize, voffset, hsize and hoffset.
These are normally set for american lettersize paper and one inch margins.
For A4-paper you may use e.g.

    \hsize=170mm  % 210mm - 25mm left margin - 15mm right margin
    \voffset=-5mm % only 20mm top margin relative to 1 inch dvidrv offset
    \vsize=257mm  % 297mm - 2mm top margin - 15mm bottom margin

or to maximize the output e.g for a Laserjet:

    \hoffset=-20mm \hsize=196mm
    \voffset=-19mm \vsize=285mm

Hope this hilft -- Werner

From icking@gmdzi.gmd.de  Mon Mar  8 04:58:22 1993
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Date: Mon, 8 Mar 1993 11:57:02 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303081057.AA23610@gmdzi.gmd.de>
To: mutex
Subject: Re:  \interinstrument does not seem to work for my application

>[...]       Is there some particular order to using these vertical
>spacing adjustments?  Could someone post an extract of how this might
>be done properly?

RTFM and test e.g. :-)

\input musicnft\input musictex
\def\nbinstruments{2}\relax
\debutextrait\notes\qu f&\qu f\enotes\finextrait
\def\interinstrumenti{10\Interligne}\relax    %def\interfacteur{9}
\debutextrait\notes\qu f&\qu f\enotes\finextrait
\def\interinstrumenti{0\Interligne}\def\interfacteur{20}\relax
\debutextrait\notes\qu f&\qu f\enotes\finextrait
\def\interinstrumenti{10\Interligne}\def\interfacteur{20}\relax
\debutextrait\notes\qu f&\qu f\enotes\finextrait
\bye

... and report after that your problems and your findings and solution
to the list

I believe that interfacteur and interinstrumentX are cumulative. - Werner



From icking@gmdzi.gmd.de  Mon Mar  8 05:27:18 1993
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Date: Mon, 8 Mar 1993 12:25:55 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303081125.AA25376@gmdzi.gmd.de>
To: mutex
Subject: Re:  Musictex DOC

Stephen,

would it be possible for you to wait until I make a diff of the ZIPs and
provide a ZIP which contains the modified files only? Most of the time I
could do this within one working-day (Monday to thursday for me).

I would like to give Daniel all the time he can spent on improving MusicTeX.

Here we go -- new on:

  ftp.gmd.de   music/musictex/musictex.zip
                              musictex-493.tar.Z
                              musictex.492-493.zip

musictex.492-493.zip contains everything new in version 4.93 except
musicdoc.dvi and euromtex.dvi which may be generated using the other
files in this archive. ftp-users on a PC normally have to rename
this file e.g. to musictex.493 -- get musictex.492-493.zip musictex.493.

Hope this hilft -- Werner

From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Mon Mar  8 08:24:27 1993
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From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
Subject: Re: \interinstrument does not seem to work for my application
Reply-To: jservice@rd.hydro.on.ca
Message-Id: <93Mar8.092406est.91538@ark.vis.toronto.edu>
Date: 	Mon, 8 Mar 1993 09:23:55 -0500

I RTFM on the weekend and discovered that I had confused the definitions of
|, separating staves of the same instrument, and &, separating staves of
different instruments.  Once I had replaced | with & in the appropriate
places, \interinstrument worked fine.

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946

From dmnhieu@math.purdue.edu  Thu Mar 11 14:08:05 1993
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Date: Thu, 11 Mar 93 15:08:15 EST
From: dmnhieu@math.purdue.edu (Duy-Minh NHIEU)
Message-Id: <9303112008.AA03696@sobolev.math.purdue.edu>
To: mutex
Subject: Questions on installing musictex


After convincing my system manager that musictex is a good program, he 
finally decided to install it on our system.  However, he has the following
question:  (Hope that some musictex expert out there can help!)

From sjh Thu Mar 11 08:43:10 1993
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To: mutex
Reply-To: sjh
Subject: Re: faq is in this mail 
In-Reply-To: Your message of Fri, 05 Mar 93 18:03:22 EST.
             <9303052303.AA08929@sobolev.math.purdue.edu> 
Date: Thu, 11 Mar 93 08:43:08 -0500
From: sjh
Status: R

MusicTeX:  Could you correspond with other MusicTeX experts and find
out how I generate useable fonts from the pk files in the
distribution?  Printing the notice.dvi file gets errors complaining
about missing .300pk fonts.  I have installed the pk files in the
fonts dir, but that isn't enough.

Thanks,

Steve.


From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Fri Mar 12 08:54:03 1993
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From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
Subject: RE: Questions on installing musictex [renaming the pk fonts]
Reply-To: jservice@rd.hydro.on.ca
Message-Id: <93Mar12.095346est.91538@ark.vis.toronto.edu>
Date: 	Fri, 12 Mar 1993 09:53:33 -0500

> MusicTeX:  Could you correspond with other MusicTeX experts and find
> out how I generate useable fonts from the pk files in the
> distribution?  Printing the notice.dvi file gets errors complaining
> about missing .300pk fonts.  I have installed the pk files in the
> fonts dir, but that isn't enough.

MusicTeX is zipped for the PC distribution so that the distributed pk fonts
are filed in directories corresponding to their resolution.  I installed the
musictex fonts on a unix system by adding back the resolution to the file
name and moving the pk font files to my local TEXFONTS directory.

for example:

% mv musictex/pk/dpi300/beamn16.pk $TEXFONTS/beam16.300pk

(Of course this is easier if you use something like perl or Tree-Dired in
emacs to rename all the files using an appropriate regexp.)

If there is a need, I could re-zip the renamed pk fonts and deposit them
at some convenient spot for anonymous ftp retrieval.

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946

From skenny@dsg.cs.tcd.ie  Tue Mar 16 10:27:04 1993
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To: mutex
Subject: ***   Trip;ets
Date: Tue, 16 Mar 93 16:29:24 GMT
From: Stephen Kenny <skenny@dsg.cs.tcd.ie>
Message-Id:  <9303161627.aa26584@longvalley.dsg.cs.tcd.ie>


I'm a beginner at MusicTeX, and would like to know if anyone knows of a
good way to encode triplets.  My attempts so far are not pleasant to
look at.  (I would like to be able to do triplets comprising three
beamed quavers with a nice slur under/over the note heads (not under
over the actual beam), and a figure "3" outside the slur.  (I think
outside is the convention ... ? ).

Thanks for an advice.

Stephen Kenny					    

System Manager					E-Mail:	skenny@dsg.cs.tcd.ie
Distributed Systems Group			Phone:	+353 1 702 1222
Dept. of Computer Science			Fax:	+373 1 77 22 04
Trinity College
Dublin 2
Ireland

From cdr@stolaf.edu  Tue Mar 16 11:26:47 1993
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To: mutex
Subject: Japanese Language MuTeX users guide
Date: Tue, 16 Mar 1993 11:26:44 -0600
From: "Craig D. Rice" <cdr@stolaf.edu>


Thanks to the efforts of Hirokawa Rui <tt26256@secc.ecc.u-tokyo.ac.jp>,
a Japanese language version of MuTeX User's Guide Version 1.1
<29 August 1989> is now available.  You may retrieve it via anonymous
FTP from:	ftp.stolaf.edu:pub/mutex/jguide.tar.Z

Its availability is also added to the MuTeX FAQ, enclosed below.

Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1097   USA


----- CUT HERE -----

FAQ 930315: Frequently Asked Questions pertaining to MusicTeX and MuTeX

-------------------------------------------------------------------------------

NOTE: This is a bare bones beginning of what will constitute a more substantial
	"Frequently Asked Questions" for MuTeX and MusicTeX.

	Please mail your contributions to this to "mutex@stolaf.edu"

-------------------------------------------------------------------------------
TABLE OF CONTENTS
-------------------------------------------------------------------------------

01	What is MuTeX?
02	Where can I get MuTeX and MusicTeX?
03	Where are the archives of MuTeX mailing list?
04	With MusicTeX I get notes and beams, but they are badly aligned,
	beams and slurs are offset to the right etc.
05	I obtained easily the .TEX files but the .PK and .TFM are wrong.
06	There is no documentation with MusicTeX.
07	I run MusicTeX on SUNOS (or some other big computer) but I have
        memory problems with MSDOS
08	Where's the glue?  it's not clear to me when to use or not use \temps
	or just what it really does.
09	When and why do you really need to put \relax at the end of a line?
10	What are the advantages or disadvantages of using ^ instead of \sh?
	Is one more flexible, or is it just a matter of typing style?
11	How can I put something somewhere in the MusicTeX staffs.
12	I cannot print notice.tex with american paper.
13	How can I make triplets?
14	How can I offset vertically the rests, in order to avoid collision
	with beams or other notes in polyphonic music:

-------------------------------------------------------------------------------

This FAQ list is kept up to date by the contributions of the members of the
mutex mailing list.  To participate in mutex and musictex discussions, you
can subscribe to (or unsubscribe from) the "mutex" mailing list at the
address:
	mutex-request@stolaf.edu
To send a question to the entire membership of the mutex mailing list, use
the address:
	mutex@stolaf.edu

-------------------------------------------------------------------------------
01 	What is MuTeX?

The MuTeX package is a set of macros allowing TeX to typeset music.  It was
written by Andrea Steinbach and Angelika Schofer, as a master's thesis at
Rheinische Friedrich-Wilhelms University.  MuTeX allows you to typeset
single-staff music and lyrics.


01	What is MusicTeX?

Another powerful package which allows the typesetting of orchestral and
polifonic music is MusicTeX, written by Daniel Taupin.

The main difference between MuTeX and MusicTeX is that
   - MusicTeX deals with multiple staves (staffs?)
   - MuTeX produces a nicer output.

The reason that MuteX produces nicer output seems to be that it can
handle only single-staff music and therefore can easier put glue
between the notes. A second reason is that it makes "real" slurs and not
some sort of rotated brackets (braces, ...). But MusicTeX is getting
better and better because Daniel Taupin maintains it whilst nearly
nobody continues the development of MuTeX

-------------------------------------------------------------------------------
02	Where can I get MuTeX and MusicTeX?

Most up to date version of musictex:

	rsovax.ups.circe.fr	directory [anonymous.musictex]

Different versions of MuTeX and MusicTeX are available from many other
sites, including:
	ftp.stolaf.edu		/pub/mutex/MuTeX.tar.Z
	ftp.stolaf.edu		/pub/mutex/MuTeX_doc.tar.Z
        ftp.gmd.de              /music/mutex/mutex.zip
	ccadfa.cc.adfa.oz.au	/pub/tex/MuTeX.tar.Z
	clouso.crim.ca		/pub/MuTeX.tar.Z
	sol.cs.ruu.nl		/pub/TEX/mtex.tar.Z
	ymir.claremont.edu	[anonymous.tex.music.mtex]

MusicTeX
	ftp.stolaf.edu		/pub/mutex/musictex-4.31.tar.Z
	ftp.gmd.de		/music/musictex/musictex.zip
                                /music/musictex/musictex-nnn.tar.Z
	ymir.claremont.edu	[anonymous.tex.music.musictex].
	alfred.ccs.carleton.ca	/pub/tex/MusicTeX.tar.Z
	aix370.rrz.uni-koeln.de	/tex/musictex.tar.Z
	bach.cs.umb.edu		/pub/tex/musictex.tar.Z
	cs.dal.ca		/pub/comp.archives/musictex
	emx.utexas.edu		/pub/mnt/source/tex/musictex.tar.Z
	forwiss.uni-passau.de	/pub/tex/macros/musictex.tar.Z
	iraun1.ira.uka.de	/tex/musictex.tar.Z
	kth.se			/tex/umb/musictex.tar.Z
	wraith.cs.uow.edu.au	/cache/ftp.cs.umb.edu/pub/tex/musictex.tar.Z
	qed.rice.edu		/pub/musictex.tar.Z
	sol.cs.ruu.nl		/TEX/musictex.tar.Z
	srawgw.sra.co.jp	/.a/sranha/arch/arch/comp.archives/musictex
	srawgw.sra.co.jp	/.a/sranha/arch/arch/comp.archives/music/notation/musictex

Other Related Stuff
	arisia.xerox.com	/pub/musictexdemo.PS
	athene.uni-paderborn.de	/pcsoft/amiga/tex/fonts/musictex.lzh
	nz20.rz.uni-karlsruhe.de /pub/pctex/texutl/macros/musictex.lzh
        ftp.gmd.de              /music/midi2tex/...        midi to MusicTeX

For those without FTP access, you can e-mail to:

        mail-server@cs.ruu.nl   TEX/musictex.tar.Z
or
        mailserv@ymir.claremont.edu

(Submitted by: dgold@basso.actrix.gen.nz (Dale Gold))

-------------------------------------------------------------------------------
03	Where are the archives of the MuTeX mailing list?

Archives for the MuTeX mailing list are available via anonymous FTP from:
	ftp.stolaf.edu:/pub/mutex/archive         (actual size: 0.5 MB!)

-------------------------------------------------------------------------------
04	With MusicTeX I get notes and beams, but they are badly aligned,
	beams and slurs are offset to the right etc.

Remove all unnecessary spaces, i.e. ALL (all, not most of them)
spaces which do not follow a TeX or MusicTeX control sequence. E.g.:
do not write \qu h | \ibu0i3 \qu b \qu c \enotes
but          \qu h|\ibu0i3\qu b\qu c\enotes

\relax at the end of each line not ending with \enotes

Answer thanks to TAUPIN@FRUPS51.bitnet

-------------------------------------------------------------------------------

05	I obtained easily the .TEX files but the .PK and .TFM are wrong.

You probably forgot to say BINARY to your ftp before GETting the binary files.
As a rule the .TEX and .STY are ASCII, as well as the .MF. But the .PK, .ZIP,
.TFM and (for VMS) .BCK files must be transferred in BINARY

Answer thanks to TAUPIN@FRUPS51.bitnet

-------------------------------------------------------------------------------

06     There is no documentation with MusicTeX.

There is one, named musicdoc.tex. You may process it by plain TeX after
installing the tfm-files from the distribution. The result is musicdoc.dvi
-- which is in the distribution, too. Print it with you favourite dvi-driver.
If you do not have all fonts, put dummy ones and read the text. It will not
be beautiful, but still informative...

Japanese language documentation for MuTeX is provide by Hirokawa Rui
<tt26256@secc.ecc.u-tokyo.ac.jp> and is available from:
	ftp.stolaf.edu:pub/mutex/jguide.tar.Z

-------------------------------------------------------------------------------

07      I run MusicTeX on SUNOS (or some other big computer) but I have
        memory problems with MSDOS

Two solutions:
	a) insert compulsory line breaks (\alaligne) and page breaks (\alapage)
	b) use Eberhardt Mattes's bigtex (btex286) (or the beta-test version
           of tex386 if you have at least a 386-machine)

-------------------------------------------------------------------------------

08	Where's the glue?  it's not clear to me when to use or not use \temps
	or just what it really does.

Glue occurs each time you say \barre or \temps or \alaligne or \alapage
\temps is used to put glue between groups of notes. You can disable it
and look how ugly it looks...

-------------------------------------------------------------------------------

09	When and why do you really need to put \relax at the end of a line?

Put \relax at end of lines whenever the last item is not a control
sequence. Because in this case the spaces are swallowed by TeX as a
final part of the control sequence. Thus I use \relax when I need
a control sequence to swallow end of line spaces (and new line code).

-------------------------------------------------------------------------------

10	What are the advantages or disadvantages of using ^ instead of \sh?
	Is one more flexible, or is it just a matter of typing style?

The ^ is used within collective coding, \sh is used outside.

   You may write \sh k\qu k
   or            \qu$^k

-------------------------------------------------------------------------------

11	How can I put something somewhere in the MusicTeX staffs.

Read the musicdoc and use \zcharnote\244<pitch>\207\244<what-you-like>\207
If you want it spacing use \charnote\244...\207\244...\207
Within those macros you can put anything, including maths
below, in the middle of, above the staffs. To be used inside
tne \notes....\enotes.

-------------------------------------------------------------------------------

12	I cannot print notice.tex with american paper.

        don't print it :-)  you have an old version. New versions of
        MusicTeX contain  musicdoc.dvi  a LaTeX-document which fits
        on american paper.

-------------------------------------------------------------------------------

13	How can I make triplets?

It's already in musictex.tex, but without the `slur' you wanted. \xtuplet
is the routine that puts a number under your beam, and the line:

        \def\triolet{\xtuplet3}%

will provide you with a number under or over your beam and it could be
adapted for sextuplets or anything else.  This will make you a nice
triplet:

        \Notes\ibl0j0\triolet M\qb0{jk}\tbl0\qb0j\enotes

-------------------------------------------------------------------------------

14	How can I offset vertically the rests, in order to avoid collision
	with beams or other notes in polyphonic music:

Write \raise <n>\internote\ds
      or       \raise <n>\internote\soupir

      All rests are \hbox-es, so you can prefix them with \raise <dimension>
      The <dimension> (or <n>\internote or <n>\Interligne) can be negative.

-------------------------------------------------------------------------------

From icking@gmdzi.gmd.de  Tue Mar 16 11:43:29 1993
Return-Path: <icking@gmdzi.gmd.de>
Received: from gmdzi.gmd.de by stolaf.edu (4.1/SMI-4.1)
	id AA27489; Tue, 16 Mar 93 11:43:29 CST
Received: by gmdzi.gmd.de id AA08473
  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Tue, 16 Mar 1993 18:42:04 +0100
Date: Tue, 16 Mar 1993 18:42:04 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303161742.AA08473@gmdzi.gmd.de>
To: mutex
Subject: Separating parts froms scores

Daniel Taupin writes in musicdoc.tex:

 "Another question is: `can I write an orchestral score and extract the
  separate scores for individual instruments?' The answer is 95 % "yes":
  in fact, you can define your own macros ..."

Here is my solution ... or let me say: what's working for me and what's
waiting for your enhancements :-)

First I have a SPITBOL-programme which separates the voices. The programme
reads in a MusicTeX input and puts all which belongs to all voices and the
first voice to one output channel and all which belong to all voices and
the other voices to another output channel. So if you apply that program
iteratively you'll get what you need.

Oh, you do not have SPITBOL? A free Vanilla-SNOBOL is available from Simtel
(or oak.oakland.edu) in the directory <msdos.snobol>.

But then remains the problem that in a score the different voices need
adjustments which are ugly for single voices, and that e.g. whole-notes
under sixteenths are defined with the spacing for sixteenth, what does not
look well in the parts. Here's an example from Mozart KV423 for vl & va:

\Takt{07}\Notes\qu b\relax
              &\ITenu1{'e}\ibl1d0\qbp1d\enotes\relax
         \notes\relax
              &\nbbbl1\qb1{'e}\tqb1d\enotes\relax
         \Notes\ql e\relax
              &\tten1\ibl1{'c}{-3}\qb1c\tqb1b\enotes\relax
         \Notes\ql c\sk\ql d\relax
              &\ITenl1g\ibu1{'b}{-3}\qh1b\tten1\qh1{ag}\tqh1f\enotes\relax

Some comments: \Takt is the same as \barre; I use \notes for sixteenths, 
               \Notes for eigths, \NOtes for quarternotes, ...

If I now separate the voices I get for the viola (1st voice):
       \Notes\qu b\enotes\relax
       \notes\enotes\relax
       \Notes\ql e\enotes\relax
       \Notes\ql c\sk\ql d\enotes\relax

instead of something like

       \NOtes\qu b\ql{ecd}\enotes

... wrong spacing, a disturbing \sk ... and a similar non-sense for
the violin.

Therefore I introduce new macros which have a different definition for
    score         or          parts

    \def\Sk{\sk}              \def\Sk{}
    \def\Qsk{\qsk}            \def\Qsk{}
    \def\Off{\off}            \def\Off#1{}
    \def\noten{}              \def\noten{\enotes\notes}
    \def\Noten{}              \def\Noten{\enotes\Notes}
    ...
    \def\NOTEN{}              \def\NOTEN{\enotes\NOTEN}

and modify the example to:

\Takt{07}\Notes\NOten\qu b\relax                           % added \NOten
              &\ITenu1{'e}\ibl1d0\qbp1d\enotes\relax
         \notes\relax
              &\nbbbl1\qb1{'e}\tqb1d\enotes\relax
         \Notes\NOten\ql e\relax                           % added \NOten
              &\tten1\ibl1{'c}{-3}\qb1c\tqb1b\enotes\relax
         \Notes\NOten\ql c\Sk\ql d\relax                   % \NOten \Sk
              &\ITenl1g\ibu1{'b}{-3}\qh1b\tten1\qh1{ag}\tqh1f\enotes\relax

This is the same as the original because \Sk evaluates to \sk and \NOten
is dummy if used with the score macros.

If I now extract the viola part I get:
     \Notes\NOten\qu b\enotes\relax
     \notes\enotes\relax
     \Notes\NOten\ql e\enotes\relax
     \Notes\NOten\ql c\Sk\ql d\enotes\relax

which is equivalent to:

     \NOtes\qu b\enotes\NOtes\ql e\enotes\NOtes\ql c\ql d\enotes
or   \NOtes\qu b\ql {ecd}\enotes                                     :-)

And because I like to read the extracted voices, too, I wrote another
SPITBOL program for beautifying the voice-output by removing empty
lines ("    notes\enotes\relax") and simplifying e.g. "Notes\NOten" 
to "NOtes".

Your comments? Your corrections, enhancements? Your solution?

Werner

PS: If someone is interested in proof-reading the 1st movement of KV423
    I'll provide the DVIs for anonymous ftp.

------- SEPARATE.SPT -----------------------------------------------------
	input('input',0)
	output('voiceo1',1)
	output('voiceor',2)

	notes    = '\notes' | '\Notes' | '\NOtes' | '\NOTes' | '\NOTEs' | '\NOTES'
	enotes   = '\enotes'
	voicesep = '&'

loop	in	= input						:F(END)
	in	arb . head1st notes . note1st '\' = '\'		:s(get1st)
	voiceo1	= in
	voiceor	= in						:(loop)

get1st	headrem = head1st
	noterem	= note1st
	in	arb . voice1st voicesep =			:s(getrem)
        in	arb . voice1st '' . voicerem enotes . enote =	:s(putrem)
	voiceo1	= head1st note1st in
	head1st	=
	note1st	=
loop1st	in	= input						:f(error1st)
        in	arb . voice1st voicesep =			:s(getrem)
        in	arb . voice1st '' . voicerem enotes . enote =	:s(putrem)
        voiceo1	= in         					:s(loop1st) 

getrem  in	arb . voicerem enotes . enote =			:s(putrem)
	voiceor	= headrem noterem in
	headrem	=
	noterem =
looprem	in	= input						:f(errorrem)
        in	arb . voicerem enotes . enote =			:s(putrem)
        voiceor	= in						:s(looprem)

putrem	voiceo1	= head1st note1st voice1st enote in
	voiceor = headrem noterem voicerem enote in		:(loop)
 
END
------- PRETTY.SPT ---------------------------------------------------------
	input('input',0)
	output('pretty',1)

	notesen = table()

	notesen['\notes\Noten'] = '\Notes'
	notesen['\notes\NOten'] = '\NOtes'
	notesen['\notes\NOTen'] = '\NOTes'
	notesen['\notes\NOTEn'] = '\NOTEs'
	notesen['\notes\NOTEN'] = '\NOTES'

	notesen['\Notes\NOten'] = '\NOtes'
	notesen['\Notes\NOTen'] = '\NOTes'
	notesen['\Notes\NOTEn'] = '\NOTEs'
	notesen['\Notes\NOTEN'] = '\NOTES'

	notesen['\NOtes\NOTen'] = '\NOTes'
	notesen['\NOtes\NOTEn'] = '\NOTEs'
	notesen['\NOtes\NOTEN'] = '\NOTES'

	notesen['\NOTes\NOTEn'] = '\NOTEs'
	notesen['\NOTes\NOTEN'] = '\NOTES'

	notesen['\NOTEs\NOTEN'] = '\NOTES'

	noten    = '\notes\Noten' | '\notes\NOten' | '\notes\NOTen' | '\notes\NOTEn' | '\notes\NOTEN' |  
.		   '\Notes\NOten' | '\Notes\NOTen' | '\Notes\NOTEn' | '\Notes\NOTEN' | 
.		   '\NOtes\NOTen' | '\NOtes\NOTEn' | '\NOtes\NOTEN' | 
.		   '\NOTes\NOTEn' | '\NOTes\NOTEN' | 
.		   '\NOTEs\NOTEN'   

	notes	= '\notes' | '\Notes' | '\NOtes' | '\NOTes' | '\NOTEs' | '\NOTES'
	enotes	= '\enotes'
	relax	= '\relax'

loop	in	= input						:F(eof)
	in	noten . x = notesen[x]

	in	pos(0) span(' ') enotes relax  rpos(0)		:f(out)
	last    relax rpos(0) = enotes relax			:s(loop)
out	eq(size(last),0)					:s(note)
        last	pos(0) span(' ') notes enotes relax rpos(0) =	:s(note) 
	pretty	= last
note	last	= in						:(loop)

eof	eq(size(last),0)					:s(end)
	pretty	= last

END
------- SEPARATE.BAT ------------------------------------------------------
call snobol /0=vlva.tex /1=va.tmp /2=vl.tmp separate
call snobol /0=vl.tmp /1=vl.tex pretty
call snobol /0=va.tmp /1=va.tex pretty
---------------------------------------------------------------------------

Attention: The programs are SPITBOL programs. If you want to use them
           with Vanilla-Snobol the input/output statements have to be
           modified slightly. If you are unable or unwilling to do that
           I'll help you :-)

            Oh, what I forgot to say: the Snobol-programmes ignore
            completely the TeX-syntax e.g. comments starting with
            %. So the programme will detect "&" as voice separator
            in comments, too; same for \notes, \enotes, ... which
            may result in garbage-output.

From prw-b@minster.york.ac.uk  Tue Mar 16 12:11:19 1993
Return-Path: <prw-b@minster.york.ac.uk>
Received: from minster.york.ac.uk by stolaf.edu (4.1/SMI-4.1)
	id AA00967; Tue, 16 Mar 93 12:11:19 CST
From: prw-b@minster.york.ac.uk
Date: Tue, 16 Mar 93 18:05:59
Message-Id: <swordfish.732305497@minster.york.ac.uk>
To: mutex
Subject: triplets


I have a problem with spacing and triplets.
I require 8 quavers, beamed in two sets of four in the lower hand (piano)
and 4 triplets, in the upper hand (12 notes).

	Thnaks in advance,

	peter


From sjh@math.purdue.edu  Tue Mar 16 13:17:18 1993
Return-Path: <sjh@math.purdue.edu>
Received: from banach.math.purdue.edu by stolaf.edu (4.1/SMI-4.1)
	id AA05365; Tue, 16 Mar 93 13:17:18 CST
Received: from localhost.purdue.edu by banach.math.purdue.edu (4.1/Purdue_Math_1.0)
	id AA08442; Tue, 16 Mar 93 14:17:27 EST
Message-Id: <9303161917.AA08442@banach.math.purdue.edu>
To: mutex
Reply-To: sjh@math.purdue.edu
Subject: Initial trials
Date: Tue, 16 Mar 93 14:17:26 -0500
From: sjh@math.purdue.edu

I have just installed MusicTex here and am trying to run what I assume
are examples which came with the distribution.

Background: Sun 670MP running SunOS 4.1.2 (Unix) and Tex 3.14t3.

Every one of the files I try gets errors.  I would be forever grateful
if someone would give me a little handholding help to get started.

Case in point: gloriab.tex appears to be a complete example.  If I tex
it I get:

banach 216 $ tex /p3/MusicTex/gloriab.tex
This is TeX, C Version 3.14t3
(/p3/MusicTex/gloriab.tex (/usr/local/TeX/tex/inputs/musicnft.tex
Version 4.92 -- January 29th, 1993) (/usr/local/TeX/tex/inputs/musictex.tex
Version 4.93 -- February 21th, 1993) bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7
bar 8 [1] Line 1: bar 9 bar 10 bar 11 Line 2: bar 12 bar 13 bar 14 bar 15
bar 16 bar 17 [2] Line 1: bar 18 bar 19 bar 20 bar 21 Line 2: bar 22 bar 23
bar 24 bar 25 bar 26 bar 27 bar 28 [3] Line 1: bar 29 bar 30 bar 31 bar 32
Line 2: bar 33 bar 34 bar 35 bar 36 bar 37 bar 38 bar 39 bar 40
! Undefined control sequence.
<argument> \it le \aujourdhui

\rightline #1->\line {\hss #1
                             }
l.277 \medskip\rightline{\it le \aujourdhui}
                                            ^^M
?

at which point I just ^D to get out.  At least it appears to have
found all the input files (others don't).

Please send email direct if you are willing to help a poor novice and
not a very knowledgeabe TeX user.

Thanks, Steve.

====================================================================
Steve Holmes		\ Bitnet:  	sjh%math.purdue.edu@purccvm
Systems Administrator	 \ Internet:	sjh@math.purdue.edu
Dept. of Mathematics	  \ uucp:	...!purdue!sjh
Purdue University,  	   \ phone:	(317) 494-6055
W. Lafayette, Indiana 47907 \ Fax:	(317) 494-0548
====================================================================

From piet@cs.ruu.nl  Wed Mar 17 02:15:10 1993
Return-Path: <piet@cs.ruu.nl>
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	id AA16590; Wed, 17 Mar 93 02:15:10 CST
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  (5.65c/IDA-1.4.4); Wed, 17 Mar 1993 09:15:17 +0100
Received: by alchemy.cs.ruu.nl id AA16368
  (5.65c/IDA-1.4.4); Wed, 17 Mar 1993 09:15:15 +0100
Date: Wed, 17 Mar 1993 09:15:15 +0100
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199303170815.AA16368@alchemy.cs.ruu.nl>
To: mutex
Cc: mutex@stolaf.edu
Subject: MuTeX FAQ
In-Reply-To: <9303161726.AA14226@lars.acc-admin.stolaf.edu>
References: <9303161726.AA14226@lars.acc-admin.stolaf.edu>

Please note the following changes:

>>>>> "Craig D. Rice" <cdr@stolaf.edu> (CDR) writes:


CDR> 	sol.cs.ruu.nl		/pub/TEX/mtex.tar.Z

        ftp.cs.ruu.nl		/pub/TEX/MUSIC/MuTeX.tar.Z

CDR> 	sol.cs.ruu.nl		/TEX/musictex.tar.Z

        ftp.cs.ruu.nl		/pub/TEX/MUSIC/musictex.tar.Z
 						(musictex.zip + musicexa.zip)

CDR>         mail-server@cs.ruu.nl   TEX/musictex.tar.Z

         mail-server@cs.ruu.nl   TEX/MUSIC/musictex.tar.Z


Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')

From icking@gmdzi.gmd.de  Wed Mar 17 05:00:32 1993
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Received: from gmdzi.gmd.de by stolaf.edu (4.1/SMI-4.1)
	id AA23530; Wed, 17 Mar 93 05:00:32 CST
Received: by gmdzi.gmd.de id AA17649
  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Wed, 17 Mar 1993 11:59:11 +0100
Date: Wed, 17 Mar 1993 11:59:11 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303171059.AA17649@gmdzi.gmd.de>
To: mutex
Subject: Re:  triplets

>I have a problem with spacing and triplets.
>I require 8 quavers, beamed in two sets of four in the lower hand (piano)
>and 4 triplets, in the upper hand (12 notes).

Where's the problem? ... except in playing that! (I'm a violinist :-)
 
\def\nbinstruments{2}\generalmeter{\meterC}\debutextrait\relax
\Notes\ibu0f0\qh0c\qsk\qh0g&\ibu1d3\qh1{ce}\tqh1g\enotes
\Notes\qh0e\qsk\tqh0g&\ibu1d3\qh1{ce}\tqh1g\enotes
\Notes\ibu0f0\qh0c\qsk\qh0g&\ibu1d3\qh1{ce}\tqh1g\enotes
\Notes\qh0e\qsk\tqh0g&\ibu1d3\qh1{ce}\tqh1g\enotes
\finextrait\bye

The trick is to use more than one pair of \notes...\enotes because
each pair starts a new synchronisation point. In addition the \qsk
moves the second, fourth, ... quaver a little bit to the right, so 
that it is a little bit later than the second note of the triplet.

Werner

From icking@gmdzi.gmd.de  Wed Mar 17 05:05:01 1993
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Wed, 17 Mar 1993 12:03:40 +0100
Date: Wed, 17 Mar 1993 12:03:40 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303171103.AA17863@gmdzi.gmd.de>
To: mutex
Subject: Re:  ***   Trip;ets

Here is what I found in my collection. May be that you could have found it
in the archive of this mailing list at ftp.stolaf.edu ... or not:

\def\ctl#1#2#3#4#5#6{\relax
        \ibl{#1}{#2}{#3}\qb{#1}{#4}\relax
        {\advance\transpose by -10\relax
        \zcharnote{#5}{\kern -0.4\elemskip\hbox{\it 3}}}\relax
        \qb{#1}{#5}\tbl{#1}\qb{#1}{#6}}\relax
\def\ctu#1#2#3#4#5#6{\relax
        \ibu{#1}{#2}{#3}\qh{#1}{#4}\relax
        {\advance\transpose by  8\relax
        \zcharnote{#5}{\kern  0.4\elemskip\hbox{\it 3}}}\relax
        \qh{#1}{#5}\tbu{#1}\qh{#1}{#6}}\relax
\def\ctlt#1#2#3#4#5#6#7{\relax
        \itenu{#1}{#2}\ibl{#1}{#3}{#4}\qb{#1}{#5}\relax
        {\advance\transpose by -10\relax
        \zcharnote{#6}{\kern -0.4\elemskip\hbox{\it 3}}}\relax
        \qb{#1}{#6}\tbl{#1}\tten{#1}\qb{#1}{#7}}\relax
\def\ctut#1#2#3#4#5#6#7{\relax
        \itenl{#1}{#2}\ibu{#1}{#3}{#4}\qh{#1}{#5}\relax
        {\advance\transpose by  8\relax
        \zcharnote{#6}{\kern  0.4\elemskip\hbox{\it 3}}}\relax
        \qh{#1}{#6}\tten{#1}\tbu{#1}\qh{#1}{#7}}\relax
\def\cctl#1#2#3#4#5#6{\relax
         \ibbl{#1}{#2}{#3}\qb{#1}{#4}\relax
         {\advance\transpose by -11\relax
         \zcharnote{#5}{\kern -0.4\elemskip\hbox{\it 3}}}\relax
         \qb{#1}{#5}\tbl{#1}\qb{#1}{#6}}\relax
\def\cctu#1#2#3#4#5#6{\relax
        \ibbu{#1}{#2}{#3}\qh{#1}{#4}\relax
        {\advance\transpose by  9\relax
        \zcharnote{#5}{\kern  0.4\elemskip\hbox{\it 3}}}\relax
        \qh{#1}{#5}\tbu{#1}\qh{#1}{#6}}\relax
\def\nbinstruments{1}\relax
\debutextrait\transpose=7\relax
      \Notes\ctl0 c0ccc\ctl0 c0ece\ctl0 g{-6}gec\ctl0 d3def\enotes\relax
\barre\Notes\cctl0 c0ccc\cctl0 c0ece\cctl0 g{-6}gec\cctl0 d3def\enotes\relax
\finextrait
\debutextrait\transpose=0\relax
      \Notes\ctu0 e0eee\ctu0 g0ege\ctu0 c6ceg\ctu0 f{-3}fed\enotes\relax
\barre\Notes\cctu0 e0eee\cctu0 g0ege\cctu0 c6ceg\cctu0 f{-3}fed\enotes\relax
\finextrait
\debutextrait\transpose=7\relax
      \Notes\ctlt0 dc0ccc\ctlt0 fc0ece\ctlt0 hg{-6}gec\relax
            \ctlt0 gd3def\enotes\relax
\transpose=0\relax
\barre\Notes\ctut0 de0eee\ctut0 dg0ege\ctut0 bc6ceg\relax
            \ctut0 cf{-3}fed\enotes\relax
\finextrait

\enorme But \rm it does'nt work with accidentals or transposition or if
the position of the second note does not "correspond" to the position
or the slope of the beam.

\debutextrait\transpose=7\relax
      \Notes\ctl0c0c{'c}{`c}\ctl0 c0e{^c}e\enotes\relax
\finextrait
\bye

Does it solve your problem or do I have to read your message? -- Werner

From icking@gmdzi.gmd.de  Wed Mar 17 07:45:24 1993
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	id AA05427; Wed, 17 Mar 93 07:45:24 CST
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  (5.65c/IDA-1.4.4 for mutex@stolaf.edu); Wed, 17 Mar 1993 14:43:59 +0100
Date: Wed, 17 Mar 1993 14:43:59 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199303171343.AA27587@gmdzi.gmd.de>
To: mutex
Subject: Re:  triplets

>>I have a problem with spacing and triplets.
>>I require 8 quavers, beamed in two sets of four in the lower hand (piano)
>>and 4 triplets, in the upper hand (12 notes).
>
>Where's the problem? ... except in playing that! (I'm a violinist :-)

... was my first answer and I got a reply from TME (The MusicTeX-Authority):
>
>The difficulty is to have spacing 2/3 or 4/3 at one staff.
>This obviouly occurs mainly in choirs or piano scores !
>
So here is my next solution (some lines are longer than 80):

\def\nbinstruments{1}\generalmeter{\meterC}\debutextrait\relax
\Notes\ibu1{'c}3\qh1{ce}\tqh1g\off{-3\noteskip}\ibl0{`e}0\qb0c\qsk\qb0g\qsk\enotes
\Notes\ibu1{'c}3\qh1{ce}\tqh1g\off{-3\noteskip}\qb0{`e}\qsk\tqb0g\qsk\enotes
\Notes\ibu1{'c}3\qh1{ce}\tqh1g\off{-3\noteskip}\ibl0{`e}0\qb0c\qsk\qb0g\qsk\enotes
\Notes\ibu1{'c}3\qh1{ce}\tqh1g\off{-3\noteskip}\qb0{`e}\qsk\tqb0g\qsk\enotes
\finextrait\bye

And of course all in C-Major.

Hey, Daniel, it's MusicTeX! Where's the problem?

Werner

From cdr@stolaf.edu  Wed Mar 17 09:49:36 1993
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	id AA10070; Wed, 17 Mar 93 09:49:34 CST
Message-Id: <9303171549.AA10070@lars.acc-admin.stolaf.edu>
To: mutex
Cc: MUTEX@stolaf.edu
Subject: Re: Japanese Language MuTeX users guide 
In-Reply-To: Your message of Wed, 17 Mar 1993 09:27:01 +0100.
             <553*/S=bartho/OU=scsun/O=unige/PRMD=switch/ADMD=arcom/C=ch/@MHS> 
Date: Wed, 17 Mar 1993 09:49:33 -0600
From: "Craig D. Rice" <cdr@stolaf.edu>

Paul,

> Getting the sources of the japanese guide was very easy, but installing the
> full jTeX is a kind of nonsense if you do not plan to use it for real. 
> Could you (or any one else with jTeX) make a jguide.ps available ?

Good point.  I'll see what I can do.  I have a feeling that the .ps
version of jguide will require a printer with Japanese PostScript
fonts builtin, but that might be good enough.

Thanks for the note,
Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1097   USA

From prw-b@minster.york.ac.uk  Sun Mar 21 20:40:14 1993
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	id AA24692; Sun, 21 Mar 93 20:40:14 CST
From: prw-b@minster.york.ac.uk
Date: Mon, 22 Mar 93 02:21:03
Message-Id: <swordfish.732768027@minster.york.ac.uk>
To: mutex
Subject: beaming


Question
--------

	Can two beams on different staves of the same instrument (piano)
be referenced by the same number ?

	So would

\enotes\.beam0on..notes..beam0off|.beam0on..notes..beam0off\enotes

	eork correctly ??

	Regards,

	Peter Wainwright.


From prw-b@minster.york.ac.uk  Tue Mar 30 10:52:53 1993
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	id AA11549; Tue, 30 Mar 93 10:52:53 CST
From: prw-b@minster.york.ac.uk
Date: Tue, 30 Mar 93 16:34:17
Message-Id: <swordfish.733510404@minster.york.ac.uk>
To: mutex
Subject: "Aligning"


I have a question; why, when printed out are the upper and lower parts not 
aligned ?

-------------------------------------------------------------------------------
%
\def\beamU#1#2#3{\ibu0{#3}0\qh0{#1}\tbu0\qh0{#2}}
%
\barre					% bar 2
\notes\hu{.C}\beamU CD{D}|
\hu{.J}\beamU JK{K}\enotes
%
-------------------------------------------------------------------------------

This is taken exactly from my .tex file.

	Cheers

	Peter Wainwright.


From prw-b@minster.york.ac.uk  Tue Mar 30 13:30:48 1993
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	id AA21752; Tue, 30 Mar 93 13:30:48 CST
From: prw-b@minster.york.ac.uk
Date: Tue, 30 Mar 93 19:26:06
Message-Id: <swordfish.733519878@minster.york.ac.uk>
To: mutex
Subject: aligning


Using the \relax worked.

Thanks

	Peter


From cdr@stolaf.edu  Wed Mar 31 10:21:49 1993
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Message-Id: <9303311621.AA26070@lars.acc-admin.stolaf.edu>
To: mutex
Subject: [hirokawa rui: ]
Date: Wed, 31 Mar 1993 10:21:46 -0600
From: "Craig D. Rice" <cdr@stolaf.edu>

Many thanks to Hirokawa Rui for submitting a Japanese PostScript version
of the MuTeX user's guide.  It requires a Japanese-PostScript-handling
printer or GhostScript v2.41 with a Japanese-handling patch.

jguide.ps.z is available via anonymous FTP from
	ftp.stolaf.edu:pub/mutex/jguide.ps.z

The file is in gzip compressed format.

-rw-r--r--  1 root     wheel         812 Mar 31 10:18 jguide.ps.README
-rw-r--r--  1 root     wheel       67565 Mar 31 10:16 jguide.ps.z

Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1097   USA

From prw-b@minster.york.ac.uk  Sat Apr  3 07:40:09 1993
Return-Path: <prw-b@minster.york.ac.uk>
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	id AA27957; Sat, 3 Apr 93 07:40:09 CST
From: prw-b@minster.york.ac.uk
Date: Sat, 3 Apr 93 13:17:24
Message-Id: <swordfish.733844424@minster.york.ac.uk>
To: mutex
Subject: Macros


This is more of a TeX question than a MusicTeX question, but anyway :-

	How can I remove the last character from a parameter passed to a 
	macro defined by \def.

	eg. #1 may be {EFGabN}; how do I extract the {N} and {EFGab} for use ?

Regards,

Peter Wainwright.


From prw-b@minster.york.ac.uk  Sat Apr  3 12:30:04 1993
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From: prw-b@minster.york.ac.uk
Date: Sat, 3 Apr 93 18:15:43
Message-Id: <swordfish.733861818@minster.york.ac.uk>
To: mutex
Subject: Repeats


A question :-

	What is the advised method of doing first and second time
	repeats in piano music.

Regards,

Peter Wainwright.


From jlf@palm.cray.com  Fri Apr  9 15:01:16 1993
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From: jlf@palm.cray.com (John Freeman)
Message-Id: <9304092001.AA10145@poplar12.cray.com>
Subject: beginner questions
To: mutex
Date: Fri, 9 Apr 93 15:01:15 CDT
X-Mailer: ELM [version 2.3 PL11b-CRI]

 I have been tinkering with MusicTex for about a day, and have some
questions about coding things.

1) The examples in the manual all have \begin {music}, but that generates
an error from tex for me.

2) I want a 16th rest before measure one.  I get that but it is left
justified in the measure instead of right justified.  I do it the same
as the example in section 2.18.1 -- code below.

3) After using {!`G}, specifying A comes out as {!`A}. Different coding
provided the correct output, but I don't understand why it failed.  See
line commented out.

4) What is wrong with my code that I get this error?

Underfull \hbox (badness 4048) in paragraph at lines 11--17
[][][][][][][] [][]  [][]  [][][][] [][] [][]  [] []  
[1] )
(see the transcript file for additional information)

-------------------------------------------------------------------------------
\input musicnft
\input musictex
\parindent 1cm
\def\nbinstruments{1}\relax
\def\instrumenti{Piano}
\cleftoksi={{6}{6}{0}{0}}	% two bass clefs
\nbporteesi=2\relax
\generalsignature{+1}\relax 	% one sharp
\generalmeter{\meterfrac 34}\relax
\normal
\debutmorceau					% line 11
\Notes\qs|\qs\enotes
\barre
% \Notes\hu {!`G}\qu A|\hu G\qu H\enotes	%doesn't work
\Notes\hu {!`G} \sk|\hu G \sk\enotes
\Notes\qu A|\qu H\enotes
\finmorceau
\end{music}
\bye



From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Tue Apr 13 08:46:42 1993
Return-Path: <@relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu>
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Received: by ark.vis.toronto.edu id <91539>; Tue, 13 Apr 1993 09:46:29 -0400
From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
Subject: RE: beginner questions
Reply-To: jservice@vis.toronto.edu
Message-Id: <93Apr13.094629edt.91539@ark.vis.toronto.edu>
Date: 	Tue, 13 Apr 1993 09:46:17 -0400

>>>>> On Fri, 9 Apr 1993 17:11:57 -0400, jlf@palm.cray.com (John Freeman) said:

>  I have been tinkering with MusicTex for about a day, and have some
> questions about coding things.

> 1) The examples in the manual all have \begin {music}, but that generates
> an error from tex for me.

This is a LaTeX command used to typeset the manual.  See M. Taupin's examples
for typeset music.

> 2) I want a 16th rest before measure one.  I get that but it is left
> justified in the measure instead of right justified.  I do it the same
> as the example in section 2.18.1 -- code below.

With \sk you are adding a "note space".  Try inserting \Notes\temps\enotes
before to added a stretchable space before your sixteenth rests.

> 3) After using {!`G}, specifying A comes out as {!`A}. Different coding
> provided the correct output, but I don't understand why it failed.  See
> line commented out.

You have to put the entire group in {}:  

	\Notes{\hu {`G}}\qu A|\hu G\qu H\enotes

Otherwise, the effect of ` continues until the \enotes.  I believe the
! just moves the note left slightly so I removed this for clarity.

> 4) What is wrong with my code that I get this error?

> Underfull \hbox (badness 4048) in paragraph at lines 11--17
> [][][][][][][] [][]  [][]  [][][][] [][] [][]  [] []  
> [1] )
> (see the transcript file for additional information)

This is a TeX error.  There's not enough stuff ("glue") to fill out the line
so TeX complains.  Adding \raggedlinestrue or using \debutextrait ...
\finextrait will stop this message.

Here's my hacked up version of your piece of music.

%------------------------------------------------------------------------------
\input musicnft
\input musictex
\parindent 1cm
\def\nbinstruments{1}\relax
\def\instrumenti{Piano}
\cleftoksi={{6}{6}{0}{0}}	% two bass clefs
\nbporteesi=2\relax
\generalsignature{+1}\relax 	% one sharp
\generalmeter{\meterfrac 34}\relax
\normal
\debutextrait					% line 11, changed morceau to extrait
\Notes\temps\enotes				% add a stretchable space
\Notes\qs|\qs\enotes
\barre
\Notes{\hu {`G}}\qu A|\hu G\qu H\enotes		%doesn't work, now it does :-)
\barre
\Notes\hu {`G}|\hu G\enotes				% removed !
\Notes\qu A|\qu H\enotes
\finextrait					% changed morceau to extrait
\bye
%------------------------------------------------------------------------------

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946


From joel@wam.umd.edu  Thu Apr 15 14:11:13 1993
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Date: Thu, 15 Apr 93 15:07 EDT
From: joel@wam.umd.edu (Joel M. Hoffman)
To: mutex
Subject: symbolic music notation <--> Mu(sic)Tex ??

I'm looking for a convenient way to store music (neither MuTeX nor
MusicTeX is especially easy or convenient) and a program to convert
that format to Mu(sic)TeX that will let me a) transpose the music, and
b) set it on any staff.  Does such notation already exist?  Does
software to convert to/from TeX exist?

Many thanks!

-joel
(joel@wam.umd.edu)

From igor@charles.ucdavis.edu  Fri Apr 16 19:09:42 1993
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Fri, 16 Apr 93 17:07:31 PDT
Message-Id: <9304170007.AA04788@charles.ucdavis.edu>
To: mutex
Subject: Re:  symbolic music notation <--> Mu(sic)Tex ??

Joel asked for a more useable notation format for music storage, allowing
transposition and conversion to MTex etc.  Surely there are many, but I've
occasionally urged folks to use/share files in the SCOT format, which stands
for SCore Translator.  This package comes with MIT's Csound, available by
ftp from ems-media.mit.edu (i could be wrong on the exact syntax of that
address).  It doesn't have direct to TeX that I know of, but does have MIDI
converting utility, and there is MIDI<->TeX (though i think we're still all
looking for the source, not just ibm and amiga binaries.)  So consider SCOT.

From mig@ciup1.ncc.up.pt  Fri Apr 23 10:45:57 1993
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Date: Mon, 19 Apr 1993 04:25:19 -0700
From: Miguel Filgueiras <mig@ciup1.ncc.up.pt>
Message-Id: <199304191125.AA03679@ciup1.ncc.up.pt>
To: mutex
Cc: jalmeida@ciup1.ncc.up.pt, jno@di.uminho.pt, jj@ciup1.ncc.up.pt,
        zp@ciup1.ncc.up.pt
Subject: symbolic music notation <--> Mu(sic)Tex ?


Following the question of Joel and the answer from Igor: we are
working here at a system (SceX; please read "skegh", for "score TeX")
for translating a "score language" into MusicTeX. The idea is to have
a "voice language" for describing voices, together with a "score
language" for describing scores and translators between them and to
MusicTeX. Our main concern is that the amount of formatting MusicTeX
does is very limited and in most cases it should be possible to apply
some general rules on how to put notes/symbols/bars on the formatted
score (exactly as TeX does when putting words/lines/paragraphs on the
formatted text).

By now we have a preliminary definition of both SceX Voice Language (SVL)
and SceX Score Language (SSL) and a translator of ConcertWare Plus score
files into SVL (ConcertWare Plus is an old music software for the Macs
in which I happen to have a large number of scores). Although bot SVL
and SSL can be edited with a normal text editor, we are working at a
graphical editor based on X-Windows and we are starting the work on
the SVL to SSL translator (which will be easy to do).

Note that this project is quite recent and we are very interested to
know about other symbolic notations for music. I've tried ftp from
ems-media.mit.edu to get SCOT but this address is wrong. So I would
appreciate any more reliable information on how to get SCOT, as well
as information on other similar languages.

Miguel
______________________________________________________________________________

Miguel Filgueiras		mig@ncc.up.pt
Centro de Informatica
Universidade do Porto

R. do Campo Alegre 823		Tel: 351-2-6001672
4100 Porto / Portugal		Fax: 351-2-6003654
______________________________________________________________________________

From igor@charles.ucdavis.edu  Sun Apr 25 17:54:02 1993
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From: igor@charles.ucdavis.edu (Frog's Experimental Account)
Date: Sun, 25 Apr 93 15:43:06 PDT
Message-Id: <9304252243.AA11167@charles.ucdavis.edu>
To: mutex
Subject: Re:  symbolic music notation <--> Mu(sic)Tex ?
Cc: jalmeida@ciup1.ncc.up.pt, jj@ciup1.ncc.up.pt, jno@di.uminho.pt,
        zp@ciup1.ncc.up.pt

Sorry about the wrong address for Csound (including ScoT) materials.. let it
be a lesson to all that such things recalled from simply human memory are 
often not accurate.  Egreping all files in my sitelist directory for the string
"media.mit" I have found the sought-after reference:

cecelia.media.mit.edu	(18.85.0.2) 	directory /music/....

there is also listings with the address number as 18.85.0.104, so try that in
a bind.  

You'll probably need to descend into the Csound directory, and maybe others,
to find the manuals (for a good description of the language) which come in
at least Postscript and probably other formats.  I'd be glad to post relevant
sections  sometime soon if anyone would benefit from this.

It'll be nice to see folks using and communicating musically with SCOT!


Also, as for developing tools in this area, one might consider incorporation 
of the Standard Musical Description Language, which came out oh, about two 
years ago (?).  I believe there's a copy at the ftpsite ucsd.edu.  It's very
technical though, more suited to computer-only and funky-tuning musics.  This
mention of it is meant to appease those who like to work toward standardizing
all things networked (not a bad cause.)

From john@cs.uct.ac.za  Tue May 11 09:16:46 1993
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From: john@cs.uct.ac.za (John Green)
Subject: Problem getting SCOT
To: mutex
Date: Tue, 11 May 1993 16:16:25 +0200 (SAT)
X-Mailer: ELM [version 2.4 PL13]
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Greetings All

I am very interested in getting hold of the ScoT description since I am
transcribing lots of music to computer using MusicTex.

I got hold of CSound from cecelia.media.mit.edu, but when I tried to remove
the files from the tar, I got a 'directory checksum error'.  I tried
using both UNIX System V/386/486 and SunOS (UNIX).

Is it possible for someone to e-mail just the ScoT description to me,
please?  If not, any pointers to help will be gratefully accepted.

Yours

John S Green
Department of Computer Science
University of Cape Town
e-mail: john@cs.uct.ac.za

From @FRMOP11.CNUSC.FR:TAUPIN@FRUPS51.BITNET  Tue May 18 03:14:09 1993
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Date: 18 MAY 93 10:18:02.93-GMT
From: TAUPIN%FRUPS51.BITNET@FRMOP11.CNUSC.FR
Subject: MUSICTEX
To: mutex

MUSICTEX VERSION 4.94 is now available at anonymous ftp:

rsovax.ups.circe.fr (130.84.128.100)

A few bugs corrected and doc updated.

Archive managers, please update...

From icking@gmdzi.gmd.de  Tue May 18 07:43:07 1993
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Date: Tue, 18 May 1993 14:42:26 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199305181242.AA19661@gmdzi.gmd.de>
To: mutex
Subject: Re:  MUSICTEX

Daniel Taupin writes at 18 MAY 93 10:18:02.93-GMT
>
>MUSICTEX VERSION 4.94 is now available at anonymous ftp:

>Archive managers, please update...

Done at   ftp.gmd.de:

  /ftp/music/musictex
  -rw-r--r--   1 icking   system     129905 May 17 14:23 musicexa-494.tar.Z
  -rw-r--r--   1 icking   system     173568 May 17 14:23 musicexa.zip
  -rw-r--r--   1 icking   system     313941 May 17 14:24 musictex-494.tar.Z
  -rw-r--r--   1 icking   system     372224 May 17 14:24 musictex.zip
  -rw-r--r--   1 icking   system     198656 May 17 14:25 recueil.zip

  /ftp/music/musictex/diff-files
  -rw-r--r--   1 icking   system      65410 May 17 14:23 musicexa.493-494.zip
  -rw-r--r--   1 icking   system      71238 May 17 14:24 musictex.493-494.zip
  
Werner

From @FRMOP11.CNUSC.FR:TAUPIN@FRUPS51.BITNET  Fri May 28 09:04:31 1993
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Date: 28 MAY 93 16:08:09.75-GMT
From: TAUPIN%FRUPS51.BITNET@FRMOP11.CNUSC.FR
Subject: MusicTeX 4.95
To: mutex

Version 4.95 available at rsovax.ups.circe.fr

Just a little beauty change noted by a referree of TUG congress.

Archive and mirror managers, please update.

From cdr Wed Jun  2 08:18:36 1993
To: /var/spool/ftp/pub/mutex/archive
Subject:  Re:  MusicTeX 4.95

>From icking@gmdzi.gmd.de  Tue Jun  1 06:13:01 1993
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Date: Tue, 1 Jun 1993 13:12:00 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199306011112.AA20875@gmdzi.gmd.de>
To: mutex
Subject: Re:  MusicTeX 4.95

>From owner-mutex@stolaf.edu Fri May 28 16:25:02 1993
>Received: from stolaf.edu (nic.stolaf.edu) by gmdzi.gmd.de with SMTP id AA04410
>  (5.65c/IDA-1.4.4 for <icking@gmdzi.gmd.de>); Fri, 28 May 1993 16:24:57 +0200
>Version 4.95 available at rsovax.ups.circe.fr
>
>Just a little beauty change noted by a referree of TUG congress.
>
>Archive and mirror managers, please update.

Done. -- And because only two lines in musictex.tex are changed and
         only some \special in musicexa.zip are dropped I recommend
         to retrieve the diff-files from our ftp-server:

   ftp.gmd.de [129.26.8.90]  music/musictex/diff-files/musictex.494-495.zip
                                                       musicexa.494-495.zip

On a PC you have to rename the files when getting them via anonymous ftp.

The standard zip-files and the ...tar.Z files are available too (and this
time without compressing them with gzip and naming them nevertheless .Z)
Damned gnu-tar!

Werner

From SETTELS@amc.uva.nl  Wed Jul 14 07:30:06 1993
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 14 Jul 1993 07:31:57 CDT
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Date: Wed, 14 Jul 1993 14:29:04 +0100 (MET)
From: SETTELS@amc.uva.nl
Subject: new address
To: mutex
Message-Id: <01H0JAWPM19Q0001FL@amc.uva.nl>
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Hello,

   The e-mail address kuykens@amc.uva.nl is no longer valid.

e-mail for BMI-TNO and Hans Kuykens until further notice can be
send to   settels@amc.uva.nl.


                                  Hans Kuykens


From louis@wizard.ladc.lockheed.com  Thu Jul 15 12:24:15 1993
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Date: Thu, 15 Jul 93 10:23:34 PDT
From: louis@wizard.ladc.lockheed.com (Louis Wilson x0868)
Message-Id: <9307151723.AA26258@wizard.ladc.lockheed.com>
To: mutex
Subject:  Previewing MuTeX on a NeXT
Precedence: bulk


	I am having problems previewing using the TeXView provided
with my NeXTStation. After I have used metafont to create the PK files
in the correct DPI (91) and try to view my DVI file I get an error
that says "lost sync in pk file" or something like this. Do you have
any ideas about why this happens? By the way, when use dvips and print
the music, everything works fine.



		Louis Wilson
		louis@wizard.ladc.lockheed.com

From MCNBJTB@cms.manchester-computing-centre.ac.uk  Wed Jul 21 03:50:47 1993
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Date: Wed, 21 Jul 93 09:39:20 BST
From: "Bernard J. Treves Brown" <MCNBJTB@cms.manchester-computing-centre.ac.uk>
Organization: DIAS - UMIST - MANCHESTER - UK
Subject: Unison Music & Keyboard
To: mutex
Pp-Warning: Parse error in original version of preceding line
Original-To: mutex%stolaf. edu@ UK.AC.NSF
Precedence: bulk

Hi,
As far as I can tell no-one has asked this before:
I am trying to transcribe some manuscript unison music. There is a single
piano part on two staves, joined by the usual { symbol, but the vocal line
is between the staves. I can see how to put comments between the staves,
but is there a way of inserting an instrument (voice) into the middle
of another one, (piano) so that the text moves at the same speed as the music?
 
Having read the manual and looked at a few of the examples I can't see how
this can be done.
 
Many thanks for any help you can offer.
Bernard.

From mig@ciup1.ncc.up.pt  Wed Jul 21 05:35:53 1993
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Date: Wed, 21 Jul 1993 04:28:32 -0700
From: Miguel Filgueiras <mig@ciup1.ncc.up.pt>
Message-Id: <199307211128.AA20344@ciup1.ncc.up.pt>
To: mutex
Subject: Beams and note stems in MusicTeX
Precedence: bulk


I would appreciate getting help on the following problems in using
MusicTeX. I am trying to code the lower staff of bar 65 of Chopin's
Scherzo in B minor op. 31. There is a F-clef, a sequence of quarter
notes with stems up and linked (Kadfda in MusicTeX notation), with
K doubled with stem down. I tried to code this as:

\temps\Notes\ibu0f0\zq{K}\cl{K}\qu{adfd}\tbu0\qu{a}\enotes

but
1) only the stem of f reaches the beam; lowering the beam makes that
stem to cross the beam. This is clearly in contradiction with what is
said in the manual (last but one paragraph, page 17).

2) I get only the K with the stem down but not the one with stem up.

Any help will be most welcome!

Miguel Filgueiras

From mig@ciup1.ncc.up.pt  Wed Jul 21 05:38:54 1993
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Date: Wed, 21 Jul 1993 04:28:32 -0700
From: Miguel Filgueiras <mig@ciup1.ncc.up.pt>
Message-Id: <199307211128.AA20344@ciup1.ncc.up.pt>
To: mutex
Subject: Beams and note stems in MusicTeX
Precedence: bulk


I would appreciate getting help on the following problems in using
MusicTeX. I am trying to code the lower staff of bar 65 of Chopin's
Scherzo in B minor op. 31. There is a F-clef, a sequence of quarter
notes with stems up and linked (Kadfda in MusicTeX notation), with
K doubled with stem down. I tried to code this as:

\temps\Notes\ibu0f0\zq{K}\cl{K}\qu{adfd}\tbu0\qu{a}\enotes

but
1) only the stem of f reaches the beam; lowering the beam makes that
stem to cross the beam. This is clearly in contradiction with what is
said in the manual (last but one paragraph, page 17).

2) I get only the K with the stem down but not the one with stem up.

Any help will be most welcome!

Miguel Filgueiras

From sbeck@marais.math.lsu.edu  Wed Jul 21 14:01:51 1993
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	id AA24821; Wed, 21 Jul 93 14:01:57 -0500
From: Stephen David Beck <sbeck@marais.math.lsu.edu>
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Date: Wed, 21 Jul 93 14:01:56 -0500
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Received: by NeXT Mailer (1.87.1.RR)
To: mutex
Subject: SEAMUS '94
Precedence: bulk

= = = = = = = = = S E A M U S   ' 9 4 = = = = = = = = =
The 1994 National Conference of the 

Society for Electro-Acoustic Music in the United States
April 7-9, 1994
Middlebury College
Middlebury, VT

The Society for Electro-Acoustic Music in the United States (SEAMUS)  
announces its 1994 National Conference to be hosted by the Department  
of Music at Middlebury College in Middlebury, Vermont.

= = = = = = = CALL FOR PAPER PRESENTATIONS & PANELS = = = = = = =

SEAMUS is announcing a call for papers and panel discussions to be  
presented during the conference.  This call is open to all residents  
of the United States, and is not restricted to SEAMUS members.

Papers may be on any topic relating to Electro-Acoustic Music  
including but not limited to the following:
	interactive performance systems
	electro-acoustic music and performance ethics and aesthetics

Participants must submit an abstract of no more than 500 words  
describing the nature of the presentation, including any technical  
resources that will be needed.

Panel sessions should be proposed using the same format.

DEADLINE:

All paper/panel presentation submissions must arrive at the following  
address no later than Friday, September 3, 1993:

	SEAMUS 1994 Paper/Panel Selection Committee
	Professor Jon Appleton
	Department of Music - Hopkins Center
	Dartmouth College
	Hanover, New Hampshire 03755


= = = = = = = = = = = = CALL FOR SCORES AND TAPES = = = = = = = = =
SEAMUS is announcing a call for musical works to be presented during  
the conference.  This call is open to all residents of the United  
States, and is not restricted to SEAMUS members.  Submissions are  
judged by blind audition and are selected for the conference strictly  
on quality of work and feasability of performance.  Preference will  
be given to works shorter than 14 minutes in length.

Music Submission Guidelines:

Composers may submit works of any genre or style in the following  
categories:
	(A)	Music for tape
	(B)	Music for performer(s) and tape
		(including interactive performance)
	(C)	Music videos

SEAMUS strongly encourages student composers to submit works for  
consideration.  Student works will be considered by the music  
committee separately, and special recognition will be given to works  
displaying unusual talent and/or significant potential.

All composers may submit one work per category.  Submissions by  
SEAMUS members are without cost.  Submissions by non-members must  
include a $5.00 submission fee for each work.  SEAMUS members may  
submit more than one work per category if accompanied by a $5.00  
submission fee per additional entry.  All submission fees are  
non-refundable.  Checks should be made out to SEAMUS.

Each work submitted in categories A & B, must be recorded on a  
cassette tape (one work per tape), preferably with Dolby B NR.   
Scores for works in category B must have all appearances of the  
composer's name blocked out or erased.  Works submitted in category C  
must be recorded on VHS Hi-Fi.  Submission materials will only be  
returned if accompanied by a self-addressed stamped envelope (SASE).

Please include specific technical requirements needed for the  
presentation of submitted works.  The conference will be responsible  
for all sound and video diffusion resources.  While the conference  
will assist in providing additional technical resources (i.e.,  
computers, synthesizers), composers will be ultimately responsible  
for any additional technical needs.

DEADLINE:

All submissions must include the following application form.   
Incomplete submissions or submissions which do not adhere to the  
preceding guidelines may not be considered.  All materials must  
arrive at the following address no later than Friday, September 3,  
1993:

	SEAMUS 1994 Music Committee
	Professor George Todd
	Department of Music
	Middlebury College
	Middlebury, VT  05753

============================================================
SEAMUS 1994
Music Submission Form

Name:
Address:
City, State, Zip:

SEAMUS Membership:	Member	Non-member

Submission:	General Entry	Student Entry 

				(must be currently enrolled in degree  
program)

Title of Work:


Length:		Instrumentation:


Circle Category:

	(A)	Music for tape	
	(B)	Music for performer(s) and tape
			(including interactive performance)
	(C)	Music videos
 

Technical Requirements: 

	Tape playback format (i.e., DAT, 1/4-track analog, VHS):



	Other technical needs (i.e. computers, synths, live sound):




============================================================
All materials will returned if a self-addressed stamped envelope is  
included with this form.

Submissions by non-members must include a $5.00 submission fee for  
each work.  SEAMUS members may submit more than one work per category  
if accompanied by a $5.00 submission fee per additional entry.  All  
submission fees are non-refundable.  Checks should be made out to  
SEAMUS.

DEADLINE:  This form and accompaning materials must arrive no later  
than Friday, September 3, 1993 at the following address:

	SEAMUS 1994 Music Committee
	Professor George Todd
	Department of Music
	Middlebury College
	Middlebury, VT 05753
=============================================================

From TAUPIN@rsovax.ups.circe.fr  Thu Jul 22 03:47:58 1993
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Date:  22-JUL-1993 10:54:02 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  how to change my address in mutex list.
To: mutex
Precedence: bulk


To whom should I send my UNSUBSCRIBE/SUBSCRIBE commande.
In vact listserv@stolaf.edu seems to be unknown and I would change my
address from  taupin@frups51.birnet
to            taupin@rsovax.ups.circe.fr

Thanks for help.

From TAUPIN@rsovax.ups.circe.fr  Fri Jul 23 05:33:02 1993
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Date:  23-JUL-1993 12:37:02 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  MusicTeX 4.97
To: mutex
        <@lumiere.circe.fr:tex-euro@DHDURZ1.bitnet>,
        <@lumiere.circe.fr:info-tex@shsu.edu>,
        <@lumiere.circe.fr:mutex@stolaf.edu>
Precedence: bulk


MusicTeX 4.97 now available at rsovax.ups.circe.fr (130.84.128.100)

Changes: updated doc for previous lacks
         updated musictex.* and musicdoc.*
         several new examples
   
         corrected position of bar numbering (remark by DEK himself!)
         add feature to solve collision of beams with bars abd clef changes

Archive and mirror managers, please update.

From TAUPIN@rsovax.ups.circe.fr  Fri Jul 23 10:06:10 1993
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Date:  23-JUL-1993 17:11:56 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  3.1415926535 megatons of apologies!
To: mutex
        <@lumiere.circe.fr:info-tex@shsu.edu>,
        <@lumiere.circe.fr:tex-euro@DHDURZ1.bitnet>,
        <@lumiere.circe.fr:emtex-user@chemie.fu-berlin.de>
Precedence: bulk

I announced version 4.97 of musictex 3 heours ago, but my update
was wrong.

Unless other complaints, it is now really updated.

Archive and mirror managers, thank you for your patience.

From matcp@luxor.latrobe.edu.au  Sun Jul 25 21:11:40 1993
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From: matcp@luxor.latrobe.edu.au
Message-Id: <9307260210.AA17208@luxor.latrobe.edu.au>
Subject: winjammer and midi2tex
To: mutex
Date: Mon, 26 Jul 1993 12:10:50 +22322538 (EST)
X-Mailer: ELM [version 2.4 PL20]
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Dear fellow subscribers,
			I have a problem which someone must have already
had. I recently obtained a copy of Winjammer. I have tried to run
midi2tex with the midi files that it outputs but find that it doesn't
work. A tex file is created but all the bars are empty and it seems
that the binary midi data is placed in some uptext which describes
the parts. I have successfully used midi2tex with the output of band-in-a-box.
The midi files of winjammer can be read by other sequencers. As these
are both commonly used programs I assume there are others which have
come across the problem. I thought it would be best to try this 
mailing list before bothering the authors of the respective programs.

				Thanks

				Carmelo Pisani







From john@cs.uct.ac.za  Mon Jul 26 06:31:44 1993
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Message-Id: <m0oKQkU-00096FC@cs.uct.ac.za>
From: john@cs.uct.ac.za (John Green)
Subject: Re: Beams and note stems in MusicTeX
To: mutex
Date: Mon, 26 Jul 1993 13:29:41 +0200 (SAT)
Cc: mutex@stolaf.edu
In-Reply-To: <199307211128.AA20344@ciup1.ncc.up.pt> from "Miguel Filgueiras" at Jul 21, 93 04:28:32 am
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> 
> I would appreciate getting help on the following problems in using
> MusicTeX. I am trying to code the lower staff of bar 65 of Chopin's
> Scherzo in B minor op. 31. There is a F-clef, a sequence of quarter
> notes with stems up and linked (Kadfda in MusicTeX notation), with
> K doubled with stem down. I tried to code this as:
> 
> \temps\Notes\ibu0f0\zq{K}\cl{K}\qu{adfd}\tbu0\qu{a}\enotes
> 
> but
> 1) only the stem of f reaches the beam; lowering the beam makes that
> stem to cross the beam. This is clearly in contradiction with what is
> said in the manual (last but one paragraph, page 17).

You have to use \qh and \qb (instead of \qu and \ql) to force MusicTex
to make the stems the correct length.  The command \qh makes the stems
hang from the beam, \qb makes them stand on the beam.

> 2) I get only the K with the stem down but not the one with stem up.

To get two notes on the same spot when you only have spacing commands
(like \cl and the beam commands \qh and \qb), I use "rlap" which cancels
the spacing, and lets you put the notes on top of each other.

The coding would thus be:

\temps\Notes\ibu0f0\rlap{\cl{K}}\qh0{K}\cl{K}\qh0{adfd}\tbu0\qh0{a}\enotes

> Any help will be most welcome!
> 
> Miguel Filgueiras

If there is a better method than rlap, I would be glad to know about it.

--
John Green


From john@cs.uct.ac.za  Mon Jul 26 06:59:03 1993
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Message-Id: <m0oKRBx-00098hC@cs.uct.ac.za>
From: john@cs.uct.ac.za (John Green)
Subject: Re: Unison Music & Keyboard
To: mutex
Date: Mon, 26 Jul 1993 13:58:04 +0200 (SAT)
Cc: mutex@stolaf.edu
In-Reply-To: <9307210850.AA25790@stolaf.edu> from "Bernard J. Treves Brown" at Jul 21, 93 09:39:20 am
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> 
> Hi,
> As far as I can tell no-one has asked this before:
> I am trying to transcribe some manuscript unison music. There is a single
> piano part on two staves, joined by the usual { symbol, but the vocal line
> is between the staves. I can see how to put comments between the staves,
> but is there a way of inserting an instrument (voice) into the middle
> of another one, (piano) so that the text moves at the same speed as the music?
>  
> Having read the manual and looked at a few of the examples I can't see how
> this can be done.
>  
> Many thanks for any help you can offer.
> Bernard.
> 

I don't know whether this is the best method, but it works!

----------------------------------------------------------------------

\def\nbinstruments{1}
\nbporteesi=1\relax
\cleftoksi={{6}{6}{0}{0}}%
%
\def\interinstrument{2cm}%  Use any size which makes the gap big enough.
%
% ...
%
\debutmorceau
%
\notes bass-clef-notes | \rlap{ words } treble-clef-notes \enotes
\barre
%
% ...
%

----------------------------------------------------------------------

The words can be put in with \charnote (instead of \zcharnote) to give the
correct spacing.

--
John Green

From mig@ciup1.ncc.up.pt  Mon Jul 26 07:04:10 1993
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Date: Mon, 26 Jul 1993 06:00:42 -0700
From: Miguel Filgueiras <mig@ciup1.ncc.up.pt>
Message-Id: <199307261300.AA13593@ciup1.ncc.up.pt>
To: mutex
Cc: mutex@stolaf.edu
In-Reply-To: John Green's message of Mon, 26 Jul 1993 13:29:41 +0200 (SAT) <m0oKQkU-00096FC@cs.uct.ac.za>
Subject: Beams and note stems in MusicTeX
Precedence: bulk


Thanks for your help. Meanwhile Daniel Taupin kindly gave me advice
on how to solve these and some other problems. He just issued a new
release of MusicTeX with enhancements that solve problems I had with
beams.

Instead of \rlap (that, by the way, I cannot find in the manual) one
can use \zcX (which were not mentioned in the previous manual), and
\zccX, \zcccX, \zccccX (which are not mentioned in the current version
of the manual), X=u or X=l.

Miguel Filgueiras

From kon@ime.usp.br  Tue Jul 27 08:04:34 1993
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Date: Tue, 27 Jul 93 10:05:39-030
From: Fabio Kon <kon@ime.usp.br>
Message-Id: <9307271305.AA05994@brucutu>
To: mutex
Subject: RE: winjammer and midi2tex
References: <9307260210.AA17208@luxor.latrobe.edu.au>
Precedence: bulk

matcp@luxor.latrobe.edu.au writes:
 > Dear fellow subscribers,
 > 			I have a problem which someone must have already
 > had. I recently obtained a copy of Winjammer. I have tried to run
 > midi2tex with the midi files that it outputs but find that it doesn't
 > work. A tex file is created but all the bars are empty and it seems
 > that the binary midi data is placed in some uptext which describes
 > the parts. 
 
 I tried to run midi2tex with the midi files generated by Voyetra's SPG and by
Copyist last year. I got the same kind of problem you have just described.

Bye,

Fabio Kon.

From icking@zsv.gmd.de  Wed Jul 28 08:32:09 1993
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Date: Wed, 28 Jul 1993 15:31:57 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199307281331.AA00385@sunick.gmd.de>
To: mutex
Subject: Re: Beams and note stems in MusicTeX
Precedence: bulk

> Instead of \rlap (that, by the way, I cannot find in the manual) one
> can use \zcX (which were not mentioned in the previous manual), and
> \zccX, \zcccX, \zccccX (which are not mentioned in the current version
> of the manual), X=u or X=l.

Another possibility is to use MusicTex's  \off  esp. if you want to
(back)space more than one note:

   \qu{'abcd}\off{-3\noteskip}\ql{a`gfe}

Especially when usings overlapping beams this technique is very useful:

   \ibbl0g0\qb0{ggg}\tqb0g\off{-4\noteskip}\ibbu1{'b}0\qh1{bbb}\tqh1g

Werner

PS: I'm back from holiday so the above examples may be erroneous because
    I'm not well trained writing MusicTeX in the momemt.
PPS: For the same reason the update of our ftp-archive (ftp.gmd.de) was
     a little bit later than usual. On the other hand as usual not only
     the complete zip-archives are available but the tar-versions and
     the delta files, too; /diff-files/musictex.495-497.zip does not
     contain the changed musicdoc.dvi -- you have to generate it by
     yourself.

From celestin@triglav.lerc.nasa.gov  Thu Jul 29 12:09:10 1993
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Date: Thu, 29 Jul 93 13:09:15 -0400
From: celestin@triglav.lerc.nasa.gov (Mark Celestina)
Message-Id: <9307291709.AA14540@triglav.lerc.nasa.gov>
To: mutex
Subject: MusicTex on an SGI PI
Precedence: bulk

To Whomever Has An Answer,

I was able to download the MusicTex files from  rsovax.ups.circe.fr
to an SGI PI running 4.0.5 and have unzip'ped the appropriate files.

We run TeX from central servers so as not to clutter up disk space
on our machines.  My question is what should I do to let TeX know
the fonts needed to translate the TeX commands in some of the .tex
files from  rsovax.ups.circe.fr.  I currently get messages that the
appropriate fonts are not available and that another is being substituted
instead.  The notes do not look right along for one although the music
lines seem to be fine.

Mark

-----------------------------------------------------------------------------
Mark L Celestina		|     phone: 216-433-5935
M.S. 5-9			|
NASA Lewis Research Center     	|    
Cleveland, Ohio  44135         	|     email: celestin@lerc.nasa.gov 
-----------------------------------------------------------------------------



From icking@zsv.gmd.de  Thu Jul 29 12:48:34 1993
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Date: Thu, 29 Jul 1993 19:48:42 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199307291748.AA00926@sunick.gmd.de>
To: mutex
Subject: Re: MusicTex on an SGI PI
Precedence: bulk

Ask Someone-Whoever-Knows-The-Answer what environment-variables you
have to set that TeX and the DVI-drivers will find the TFM- and the PK-
files. In addition it may be neccessary to rename xyz.PK to xyz.300PK.
In addition it may be neccessary to run Metafont on the MF-files if
your TeX-installation needs the fonts with a resolution different from
300 dpi (or different from the resolutions found in musicpk.zip).

The music-lines, the stems, ... do not need a special font; therefor
they may look nice to give you a first impression of the good performance
of MusicTeX.

And a last advice: did you look into the (a little bit old) FAQ? But I
do not know whether your problem is mentioned there :-)

The FAQ is available by anonymous ftp from

   ftp.gmd.de    /music/musictex/...

Hope this hilft -- Werner

PS: What's an SGI PI with 4.0.5 and why is that thing related in any way to TeX?
    :-)

From matcp@luxor.latrobe.edu.au  Sun Aug  1 23:33:47 1993
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From: matcp@luxor.latrobe.edu.au
Message-Id: <9308020433.AA15387@luxor.latrobe.edu.au>
Subject: Re: winjammer and midi2tex
To: mutex
Date: Mon, 2 Aug 1993 14:33:33 +22322538 (EST)
In-Reply-To: <no.id> from "matcp" at Jul 26, 93 12:10:50 pm
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> 
> Dear fellow subscribers,
> 			I have a problem which someone must have already
> had. I recently obtained a copy of Winjammer. I have tried to run
> midi2tex with the midi files that it outputs but find that it doesn't
> work. A tex file is created but all the bars are empty and it seems
> that the binary midi data is placed in some uptext which describes
> the parts. I have successfully used midi2tex with the output of band-in-a-box.
> The midi files of winjammer can be read by other sequencers. As these
> are both commonly used programs I assume there are others which have
> come across the problem. I thought it would be best to try this 
> mailing list before bothering the authors of the respective programs.
> 
> 				Thanks
> 
> 				Carmelo Pisani
> 
> 
Dear people,
	    I have found the problem. Using mft2 to convert the midi
files to readable form, I found that Winjammer put in some meta events
(Meta 0x21). As these seemed to be the only unusual entries in the midi
file, I deleted them. Midi2tex then processed the file with no problems. 

				kind regards

				Carmelo Pisani


From akenning@spam.adelaide.edu.au  Mon Aug  9 01:23:59 1993
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Date: Mon, 9 Aug 1993 15:54:00 +0930
From: Alan Kennington <akenning@spam.adelaide.edu.au>
Message-Id: <9308090624.AA17831@athos.maths.adelaide.edu.au>
To: mutex
Subject: MusicTeX discussions...
Cc: akenning@spam.adelaide.edu.au
Precedence: bulk

Could you please add me to the list for MusicTeX discussions?

Many Thanks,

	Alan Kennington.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
Alan Kennington
TRC/Applied Mathematics
University of Adelaide     Work: +61 8 303 5075
Adelaide SA 5005            Fax: +61 8 224 0227
Australia              Internet: akenning@maths.adelaide.edu.au
  X.400: C=au A=telememo P=oz.au DDA.RFC-822=akenning(a)maths.adelaide.edu.au

From cdr@stolaf.edu  Mon Aug  9 15:47:14 1993
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Message-Id: <9308092047.AA26067@lars.acc.stolaf.edu>
To: mutex
Subject: FAQ
Date: Mon, 09 Aug 1993 15:47:11 -0500
From: "Craig D. Rice" <cdr@stolaf.edu>
Precedence: bulk


The following is a posting of the MusicTeX frequently asked questions
file.  It is likely a bit out of date, so contributions and
corrections are welcome!

Thanks,
Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1097   USA


FAQ 930317: Frequently Asked Questions pertaining to MusicTeX and MuTeX

-------------------------------------------------------------------------------

NOTE: This is a bare bones beginning of what will constitute a more substantial
	"Frequently Asked Questions" for MuTeX and MusicTeX.

	Please mail your contributions to this to "mutex@stolaf.edu"

-------------------------------------------------------------------------------
TABLE OF CONTENTS
-------------------------------------------------------------------------------

01	What is MuTeX?
02	Where can I get MuTeX and MusicTeX?
03	Where are the archives of MuTeX mailing list?
04	With MusicTeX I get notes and beams, but they are badly aligned,
	beams and slurs are offset to the right etc.
05	I obtained easily the .TEX files but the .PK and .TFM are wrong.
06	There is no documentation with MusicTeX.
07	I run MusicTeX on SUNOS (or some other big computer) but I have
        memory problems with MSDOS
08	Where's the glue?  it's not clear to me when to use or not use \temps
	or just what it really does.
09	When and why do you really need to put \relax at the end of a line?
10	What are the advantages or disadvantages of using ^ instead of \sh?
	Is one more flexible, or is it just a matter of typing style?
11	How can I put something somewhere in the MusicTeX staffs.
12	I cannot print notice.tex with american paper.
13	How can I make triplets?
14	How can I offset vertically the rests, in order to avoid collision
	with beams or other notes in polyphonic music:

-------------------------------------------------------------------------------

This FAQ list is kept up to date by the contributions of the members of the
mutex mailing list.  To participate in mutex and musictex discussions, you
can subscribe to (or unsubscribe from) the "mutex" mailing list at the
address:
	mutex-request@stolaf.edu
To send a question to the entire membership of the mutex mailing list, use
the address:
	mutex@stolaf.edu

-------------------------------------------------------------------------------
01 	What is MuTeX?

The MuTeX package is a set of macros allowing TeX to typeset music.  It was
written by Andrea Steinbach and Angelika Schofer, as a master's thesis at
Rheinische Friedrich-Wilhelms University.  MuTeX allows you to typeset
single-staff music and lyrics.


01	What is MusicTeX?

Another powerful package which allows the typesetting of orchestral and
polifonic music is MusicTeX, written by Daniel Taupin.

The main difference between MuTeX and MusicTeX is that
   - MusicTeX deals with multiple staves (staffs?)
   - MuTeX produces a nicer output.

The reason that MuteX produces nicer output seems to be that it can
handle only single-staff music and therefore can easier put glue
between the notes. A second reason is that it makes "real" slurs and not
some sort of rotated brackets (braces, ...). But MusicTeX is getting
better and better because Daniel Taupin maintains it whilst nearly
nobody continues the development of MuTeX

-------------------------------------------------------------------------------
02	Where can I get MuTeX and MusicTeX?

Most up to date version of musictex:

	rsovax.ups.circe.fr	directory [anonymous.musictex]

Different versions of MuTeX and MusicTeX are available from many other
sites, including:
	ftp.stolaf.edu		/pub/mutex/MuTeX.tar.Z
	ftp.stolaf.edu		/pub/mutex/MuTeX_doc.tar.Z
        ftp.gmd.de              /music/mutex/mutex.zip
	ccadfa.cc.adfa.oz.au	/pub/tex/MuTeX.tar.Z
	clouso.crim.ca		/pub/MuTeX.tar.Z
	ftp.cs.ruu.nl		/pub/TEX/MUSIC/MuTeX.tar.Z
	ymir.claremont.edu	[anonymous.tex.music.mtex]

MusicTeX
	ftp.stolaf.edu		/pub/mutex/musictex-4.31.tar.Z
	ftp.gmd.de		/music/musictex/musictex.zip
                                /music/musictex/musictex-nnn.tar.Z
	ymir.claremont.edu	[anonymous.tex.music.musictex].
	alfred.ccs.carleton.ca	/pub/tex/MusicTeX.tar.Z
	aix370.rrz.uni-koeln.de	/tex/musictex.tar.Z
	bach.cs.umb.edu		/pub/tex/musictex.tar.Z
	cs.dal.ca		/pub/comp.archives/musictex
	emx.utexas.edu		/pub/mnt/source/tex/musictex.tar.Z
	forwiss.uni-passau.de	/pub/tex/macros/musictex.tar.Z
	iraun1.ira.uka.de	/tex/musictex.tar.Z
	kth.se			/tex/umb/musictex.tar.Z
	wraith.cs.uow.edu.au	/cache/ftp.cs.umb.edu/pub/tex/musictex.tar.Z
	qed.rice.edu		/pub/musictex.tar.Z
	ftp.cs.ruu.nl		/pub/TEX/MUSIC/musictex.tar.Z
 						(musictex.zip + musicexa.zip)
	srawgw.sra.co.jp	/.a/sranha/arch/arch/comp.archives/musictex
	srawgw.sra.co.jp	/.a/sranha/arch/arch/comp.archives/music/notation/musictex

Other Related Stuff
	arisia.xerox.com	/pub/musictexdemo.PS
	athene.uni-paderborn.de	/pcsoft/amiga/tex/fonts/musictex.lzh
	nz20.rz.uni-karlsruhe.de /pub/pctex/texutl/macros/musictex.lzh
        ftp.gmd.de              /music/midi2tex/...        midi to MusicTeX

For those without FTP access, you can e-mail to:

        mail-server@cs.ruu.nl   TEX/MUSIC/musictex.tar.Z
or
        mailserv@ymir.claremont.edu

(Submitted by: dgold@basso.actrix.gen.nz (Dale Gold))

-------------------------------------------------------------------------------
03	Where are the archives of the MuTeX mailing list?

Archives for the MuTeX mailing list are available via anonymous FTP from:
	ftp.stolaf.edu:/pub/mutex/archive         (actual size: 0.5 MB!)

-------------------------------------------------------------------------------
04	With MusicTeX I get notes and beams, but they are badly aligned,
	beams and slurs are offset to the right etc.

Remove all unnecessary spaces, i.e. ALL (all, not most of them)
spaces which do not follow a TeX or MusicTeX control sequence. E.g.:
do not write \qu h | \ibu0i3 \qu b \qu c \enotes
but          \qu h|\ibu0i3\qu b\qu c\enotes

\relax at the end of each line not ending with \enotes

Answer thanks to TAUPIN@FRUPS51.bitnet

-------------------------------------------------------------------------------

05	I obtained easily the .TEX files but the .PK and .TFM are wrong.

You probably forgot to say BINARY to your ftp before GETting the binary files.
As a rule the .TEX and .STY are ASCII, as well as the .MF. But the .PK, .ZIP,
.TFM and (for VMS) .BCK files must be transferred in BINARY

Answer thanks to TAUPIN@FRUPS51.bitnet

-------------------------------------------------------------------------------

06     There is no documentation with MusicTeX.

There is one, named musicdoc.tex. You may process it by plain TeX after
installing the tfm-files from the distribution. The result is musicdoc.dvi
-- which is in the distribution, too. Print it with you favourite dvi-driver.
If you do not have all fonts, put dummy ones and read the text. It will not
be beautiful, but still informative...

Japanese language documentation for MuTeX is provide by Hirokawa Rui
<tt26256@secc.ecc.u-tokyo.ac.jp> and is available from:
	ftp.stolaf.edu:pub/mutex/jguide.tar.Z

-------------------------------------------------------------------------------

07      I run MusicTeX on SUNOS (or some other big computer) but I have
        memory problems with MSDOS

Two solutions:
	a) insert compulsory line breaks (\alaligne) and page breaks (\alapage)
	b) use Eberhardt Mattes's bigtex (btex286) (or the beta-test version
           of tex386 if you have at least a 386-machine)

-------------------------------------------------------------------------------

08	Where's the glue?  it's not clear to me when to use or not use \temps
	or just what it really does.

Glue occurs each time you say \barre or \temps or \alaligne or \alapage
\temps is used to put glue between groups of notes. You can disable it
and look how ugly it looks...

-------------------------------------------------------------------------------

09	When and why do you really need to put \relax at the end of a line?

Put \relax at end of lines whenever the last item is not a control
sequence. Because in this case the spaces are swallowed by TeX as a
final part of the control sequence. Thus I use \relax when I need
a control sequence to swallow end of line spaces (and new line code).

-------------------------------------------------------------------------------

10	What are the advantages or disadvantages of using ^ instead of \sh?
	Is one more flexible, or is it just a matter of typing style?

The ^ is used within collective coding, \sh is used outside.

   You may write \sh k\qu k
   or            \qu$^k

-------------------------------------------------------------------------------

11	How can I put something somewhere in the MusicTeX staffs.

Read the musicdoc and use \zcharnote\244<pitch>\207\244<what-you-like>\207
If you want it spacing use \charnote\244...\207\244...\207
Within those macros you can put anything, including maths
below, in the middle of, above the staffs. To be used inside
tne \notes....\enotes.

-------------------------------------------------------------------------------

12	I cannot print notice.tex with american paper.

        don't print it :-)  you have an old version. New versions of
        MusicTeX contain  musicdoc.dvi  a LaTeX-document which fits
        on american paper.

-------------------------------------------------------------------------------

13	How can I make triplets?

It's already in musictex.tex, but without the `slur' you wanted. \xtuplet
is the routine that puts a number under your beam, and the line:

        \def\triolet{\xtuplet3}%

will provide you with a number under or over your beam and it could be
adapted for sextuplets or anything else.  This will make you a nice
triplet:

        \Notes\ibl0j0\triolet M\qb0{jk}\tbl0\qb0j\enotes

-------------------------------------------------------------------------------

14	How can I offset vertically the rests, in order to avoid collision
	with beams or other notes in polyphonic music:

Write \raise <n>\internote\ds
      or       \raise <n>\internote\soupir

      All rests are \hbox-es, so you can prefix them with \raise <dimension>
      The <dimension> (or <n>\internote or <n>\Interligne) can be negative.

-------------------------------------------------------------------------------

From matcp@luxor.latrobe.edu.au  Wed Aug 11 19:00:26 1993
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From: matcp@luxor.latrobe.edu.au
Message-Id: <9308120000.AA21921@luxor.latrobe.edu.au>
Subject: Re: winjammer and midi2tex
To: mutex
Date: Thu, 12 Aug 1993 10:00:13 +22322538 (EST)
X-Mailer: ELM [version 2.4 PL20]
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Tried to send this last week but it bounced for some reason.



 
 > 
 > Dear fellow subscribers,
 > 			I have a problem which someone must have already
 > had. I recently obtained a copy of Winjammer. I have tried to run
 > midi2tex with the midi files that it outputs but find that it doesn't
 > work. A tex file is created but all the bars are empty and it seems
 > that the binary midi data is placed in some uptext which describes
 > the parts. I have successfully used midi2tex with the output of band-in-a-box.
 > The midi files of winjammer can be read by other sequencers. As these
 > are both commonly used programs I assume there are others which have
 > come across the problem. I thought it would be best to try this 
 > mailing list before bothering the authors of the respective programs.
 > 
 > 				Thanks
 > 
 > 				Carmelo Pisani
 > 
 > 
 Dear people,
 	    I have found the problem. Using mft2 to convert the midi
 files to readable form, I found that Winjammer put in some meta events
 (Meta 0x21). As these seemed to be the only unusual entries in the midi
 file, I deleted them. Midi2tex then processed the file with no problems. 
 
 				kind regards
 
 				Carmelo Pisani
 
 


From milos@erebor.ics.muni.cs  Thu Aug 12 05:00:04 1993
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Subject: A few questions about MuTeX
To: mutex
Date: Thu, 12 Aug 1993 12:00:59 +0200 (MET DST)
From: Miloslav Blazek <milos@muni.cs>
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Hi Music-\TeX Wizards !

Excuse me for my English, which is not my mother tongue.

I am using Andrea Steinbach and Angelika Schofer's MuTeX for typesetting of
songs. 

I'm fond of a perfect output of this system, but several problems
here needs solution. I thing that somebody other using MuTeX had to meet with
this, but I found no mention about it in >600K archive of MuTeX discussion list.
If you are using MuTeX too, please be so kind and devote a bit of your time
to the next questions.

1) In MuTeX fonts (file noten16.mf) are bad all lower flags (nn flag nach
oben produces no output). Did anybody fix this mistake ?
(In similar MusicTeX fonts this is OK; but I cannot use these fonts which have
different metrics from MuTeX's.)

2) I'm not very fond of design of macros \group, \beamlist, \uslur etc.. Made
anybody alternative macros for typesetting of slurs and beams (MusicTeX - like
\ibu0 \tbu0 ... with reference numbers), with positions derived from the
position of last note as in MuTeX macro \. ?

3) \1\2\* works not very good

4) Does exist any interactive graphic preprocessor for MuTeX on PC or SUN
(DOS, WINDOWS, X11) ?

If you know some solution of any mentioned problem, or know where I can
learn more, please take notice to me. All tips are appreciated!

Miloslav Blazek                                milos@ics.muni.cz
Inst. of Comp. Sci. Masaryk University
Buresova 20
601 77 Brno
Czech Republic

From skenny@dsg.cs.tcd.ie  Mon Aug 16 06:33:39 1993
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To: mutex
Subject: ***   Help with understanding praetorx.tex
Date: Mon, 16 Aug 93 12:33:49 +0100
From: Stephen Kenny <skenny@dsg.cs.tcd.ie>
Message-Id:  <9308161234.aa02567@longvalley.dsg.cs.tcd.ie>
Precedence: bulk


I'm new to MusicTeX, trying to work through one of the examples.
There's one thing that I'm having difficulty in trying to understand.
In praetorx.tex, there's a line that says:

\catcode`\@=13

"@" is used later on in the encoding of the notes, in positions where
I would have expected the normal staff separator sign ("&") to appear.
Not being very knowledgeable about TeX generally, I don't see what's
happening here.  (I have a copy of the TeXbook to hand, but haven't
managed to figure this out from it).  Why is the "&" not used to
separate staffs as one might expect ?

Thanks for any enlightenment,


Stephen Kenny					    

Dept. of Computer Science
Trinity College
Dublin 2
Ireland

From skenny@dsg.cs.tcd.ie  Mon Aug 16 07:15:31 1993
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To: mutex
Subject: *** Help with praetori - arrgh!!
Date: Mon, 16 Aug 93 13:10:38 +0100
From: Stephen Kenny <skenny@dsg.cs.tcd.ie>
Message-Id: <9308161311.aa03104@longvalley.dsg.cs.tcd.ie>
Precedence: bulk


If I had taken the trouble to read the line following the \catcode
line (\def@ etc).  it would have helped

Apologies for wasting bandwidth, (and more with this message ...)


Stephen Kenny					    

From EPRFIS@vm1.sdi.uam.es  Fri Aug 20 09:04:59 1993
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Date:         Fri, 20 Aug 93 16:03:55 HOE
From: Agustin Martin <EPRFIS@vm1.sdi.uam.es>
Organization: Native address: <EPRFIS@EMDUAM11.BITNET>
Subject:      Some questions
To: mutex
Precedence: bulk


Hi,
I am having a problem coding percussion staffs with MusicTeX. In music
enclosed within repetition symbols, sometimes I find parts to be played
during the first part and parts to be played during the repetition. They
are usually represented by enclosing each one within horizontal upper square
brackets, marking which one is to be played during the first time and which
one is to be played during the second one. Unfortunately I have no idea
about how to code it. Can anybody help me?.

By the way, Is anybody coding percussion staffs?
Thanks,
                               Agustin Martin Domingo

                               Depto. Fisica e Instalaciones
                               ETS Arquitectura Madrid
                               Avda Juan de Herrera, 4
                               E-28040 Madrid SPAIN
                               Tel. (1) 336 6536 Fax (1) 544 2481
                          or
                               Departamento de Fisica de Materiales C-IV
                               Universidad Autonoma de Madrid
                               E-28049 MADRID
                               Tel. (1)397 5028 Fax. (1)397 8579

From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Fri Aug 20 10:13:54 1993
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Received: by ark.vis.toronto.edu id <91538>; Fri, 20 Aug 1993 11:14:25 -0400
From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
In-Reply-To: Agustin Martin's message of Fri, 20 Aug 1993 10:40:02 -0400 <199308201440.AA04043@jabez.rd.hydro.on.ca>
Subject: RE: Some questions
Message-Id: <93Aug20.111425edt.91538@ark.vis.toronto.edu>
Date: 	Fri, 20 Aug 1993 11:14:20 -0400
Precedence: bulk

>>>>> Agustin Martin <EPRFIS@vm1.sdi.uam.es> writes:

Agustin> Hi, I am having a problem coding percussion staffs with MusicTeX.
Agustin> In music enclosed within repetition symbols, sometimes I find parts
Agustin> to be played during the first part and parts to be played during
Agustin> the repetition. They are usually represented by enclosing each one
Agustin> within horizontal upper square brackets, marking which one is to be
Agustin> played during the first time and which one is to be played during
Agustin> the second one. Unfortunately I have no idea about how to code it.
Agustin> Can anybody help me?.

I have used the \ovbkt macro from the musicext.tex file:

\Notes\Uptext{\ovbkt {j}{10}{0}}\uptext{\ \ 1,2}%...

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946, (416) 978-0783

From netad@uds01.unix.st.it  Mon Aug 23 11:56:58 1993
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Date: 23 Aug 1993 17:01:45 +0200
From: netad@uds01.unix.st.it (NetAdvertiser)
Subject: The Net ADvertiser
To: mutex
Message-Id: <9308231501.AA07702@uds01.uds01>
X-Envelope-To: mutex@stolaf.edu
Content-Type: TEXT/PLAIN; CHARSET=US-ASCII
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*****************************************************************************

Are you trying to sell your car, your home, your drums, your whole Jimi
Hendrix's bootlegs collection?
Are you going to rent your flat at Aspen for the summer time?
Or maybe you are looking for a car, or for a new job, or for friends to
spend all the nights watching Peter Greenaways's movies or playing Diplomacy.
Even if you are offering jobs and managing a commercial company you can
enter the world of:

                T H E    N E T    A D V E R T I S E R

The Net Advertiser is a mailing list created to give  all the Internet
community the opportunity to widespread private sales, rent, offer messages.
Everybody can find a place in The Net Advertiser digest, even commercial
companies.

This is a list maintained by the InfoNet Project, a group of computer science 
experts, students and consultants whose aim is the propagation of all kind of 
information across the Internet and CREN world.
Advertising in the digest is completely free, except for commercial companies
which must submit a 75 $ fee in order to support the InfoNet Project work.

For any information, subscription and submission write to: 
netad@uds01.unix.st.it.

*****************************************************************************

From dgold@basso.actrix.gen.nz  Mon Aug 23 18:12:46 1993
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In-Reply-To: <9308201404.AA06262@stolaf.edu>
	     (from Agustin Martin <EPRFIS@vm1.sdi.uam.es>)
	     (at Fri, 20 Aug 93 16:03:55 HOE)
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex
Subject: Re: Some questions
Precedence: bulk

Hi, on Aug 20 Agustin Martin Domingo wrote:

> In music
> enclosed within repetition symbols, sometimes I find parts to be played
> during the first part and parts to be played during the repetition. They
> are usually represented by enclosing each one within horizontal upper square
> brackets, marking which one is to be played during the first time and which
> one is to be played during the second one. 

I think you mean 'first and second endings', also known as 'prima volta 
and segunda volta'.  Here's how I do them:

\def\nbinstruments{1}\relax
\generalmeter{\meterfrac{4}{4}}\relax
%%%
%%% 1st & 2nd ending macro 
% the \ending macro takes two arguments:
% #1 = the number of the ending
% #2 = number of noteskips it will cover.
%
\def\ending#1#2{\uptext{\kern-\elemskip\relax
\rlap{\hbox{\vrule height 3\interligne {\bf\ #1.}}}\relax
\raise 3\interligne\hbox to #2\noteskip{\leaders\hrule\hfil}}}
%
\centerline{\moyen 1st and 2nd Endings}\bigskip
\debutextrait
\Notes\qu{gfed}\enotes
% bar numbers should be turned off in the bar
% prior to the 1st ending:
\def\freqbarno{9999}
\barre
\Notes\ending 1 {10}\qu{cdef}\enotes
\barre
\setrightrepeat
\Notes\qu{gh}\ql{ij}\enotes
\barre
\NOtes\ending 2 3\hu c\qu{de}\enotes
\finextrait
\end
%%%%

I usually have to experiment with the number of noteskips to make it
look good.  I wonder if anyone can see a way to make the macro work 
more automatically?

Cheers,
Dale
- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand

From finostro@vangogh.die.udec.cl  Sat Aug 28 18:02:27 1993
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Date: Sat, 28 Aug 93 19:04:01 -0400
From: Francisco Inostroza <finostro@vangogh.die.udec.cl>
Subject: <none - added by mutex-owner>
Apparently-To: mutex@stolaf.edu
Precedence: bulk

Hello all you musical TeXers,
 
Some time ago I saw an output of the archie facility mentioning
a file like MUSICTEX_DEMO.PS
Unfortunately the FTP site was dead and that interesting file
was not available elsewhere. Can anybody point me to an archive
where to obtain this PostScript file. As I have not yet installed
MuTeX or MusicTeX the file should contain all the fonts needed
in PS form.


From livesey@atm.ox.ac.uk  Wed Sep  1 06:11:33 1993
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From: livesey@atm.ox.ac.uk
To: mutex
Cc: LIVESEY@atm.ox.ac.uk
Subject: Alignment of lyrics in MusicTex.
Precedence: bulk

   I am using MusicTeX to typeset some simple one-line music with lyrics.
MusicTex seems to align the left-hand side of the words with that of the note. 
This is fine in most cases. However, sometimes when I have a long syllable, it
looks odd. I think in these cases being able to align the centres of the words
to the note centres would be an advantage.  Does anyone know of a way to do
this?

   Thanks in advance.

Nathaniel Livesey
University of Oxford
Dept of Atmospheric Physics

From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Wed Sep  1 07:42:06 1993
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From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
Subject: RE: Alignment of lyrics in MusicTex.
Reply-To: jservice@vis.toronto.edu
Message-Id: <93Sep1.084229edt.91538@ark.vis.toronto.edu>
Date: 	Wed, 1 Sep 1993 08:42:29 -0400
Precedence: bulk

>>>>> livesey@atm.ox.ac.uk writes:

livesey>    I am using MusicTeX to typeset some simple one-line music with
livesey> lyrics.  MusicTex seems to align the left-hand side of the words
livesey> with that of the note.  This is fine in most cases. However,
livesey> sometimes when I have a long syllable, it looks odd. I think in
livesey> these cases being able to align the centres of the words to the
livesey> note centres would be an advantage.  Does anyone know of a way to
livesey> do this?

% I include several "kerning" macros at the beginning of the piece \`a la M.
% Taupin's examples:

\def\!{\kern -3pt}%small backspace
\def\BS{\kern -6pt}%larger backspace
\def\FS{\kern 6pt}%larger forward space

% and then I add \! and \BS accordingly.

% For example, I define my lyrics position with a macro \htxt, then I can
% move the lyrics up or down by just changing one character in the \htxt
% definition.

\def\htxt#1{\zcharnote L{\normalf{#1}}}\relax

% Then I adjust the word spacing with \! or \BS as this extract shows (other
% non-musictex macro definitions have been omitted.):

\Notes\tup\qup F\sk\sk\qup J\sk\sk\qu F|\tup%
\ds\upDup chaf\ds\upDup acff\ds\CHordup af&%
\htxt{\!my-}\cu h\htxt{\!ste -}\qu i\sk\htxt{\!ry}\cu j\qp\sk\htxt{\BS Save him, \_\_}\Ibl0mk2\qb0m\itenu1m\tbl0\qb0k\enotes

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946, (416) 978-0783

From cyril@iitb.fhg.de  Thu Sep  2 06:24:51 1993
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From: cyril@iitb.fhg.de (Cyril)
Subject: <none - added by mutex-owner>
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To: mutex
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Hello, I am a beginner with musictex and I am learning piano too !


  - How can I put a number above each note ? The number describes which finger
should play the note. It is very helpfull and is a very common notation in publications for beginners in piano ?

  - Can the MuTex mailing list serve to exchange music scores ?

From icking@zsv.gmd.de  Thu Sep  2 08:29:41 1993
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309021329.AA00932@sunick.gmd.de>
To: mutex
Subject: Fingering notation
Precedence: bulk

> Hello, I am a beginner with musictex and I am learning piano too !

(Nevertheless you could supply a Subject:-line   :-)
> 
>   - How can I put a number above each note ? The number describes which finger
> should play the note. It is very helpfull and is a very common notation in publications for beginners in piano ?

I use following macros which put fingering info just above the (violin-key)
system or at a given pitch. In addition there are two macro two globally
switch the display of fingering information. (I left the german comments
because your mailing-address points at a german site). Take it as a model:
-------------------------------------------------------------------------------
% Fingersaetze ueber (\FS) oder unter (\fS) dem System (fuer Violinschluessel)
%             auch mit Tonhoehenangabe \Fs, \fs
% Fingersaetze AUS:
\def\nofs{\global\def\Fs##1##2{}\global\def\fs##1##2{}}
% Fingersaetze EIN:
\def\yesfs{\global
\def\Fs##1##2{{\advance\transpose by  2\zcharnote{##2}{\kern 0.7pt \hbox{\sevenbf ##1}}}}
\def\FS##1{{\transpose=7\Fs{##1}{e}}}
\def\fs##1##2{{\advance\transpose by -4\zcharnote{##2}{\kern 0.7pt \hbox{\sevenbf ##1}}}}
\def\fS##1{{\transpose=0\fs{##1}{f}}}}
\yesfs
% Fuer Streicher: Aufstrich, Abstrich
\def\upbow{\kern -1.0pt\hbox{$\vee$}}
\def\downbow{\kern -1.0pt\hbox{$\sqcap$}}
-------------------------------------------------------------------------------
> 
>   - Can the MuTex mailing list serve to exchange music scores ?
>
Why not. Either as MusicTeX-input or as Postscript-Files or as uuencoded
compressed dvi-files or ... as message, that you have put such a beast
(pardon, your masterpiece) with my help on  ftp.gmd.de  for anonymous ftp
by everybody.

Werner

PS: Anyone is interrested in my MusicTeX-score and -parts of Mozarts KV 423
    (G-major (1st) Duo for violin und viola)? The 2nd is "under construction".

From cdr@stolaf.edu  Fri Sep  3 09:39:00 1993
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To: mutex
Subject: [Miloslav Blazek: Help with MuTeX]
Date: Fri, 03 Sep 1993 09:38:57 -0500
From: "Craig D. Rice" <cdr@stolaf.edu>
Precedence: bulk

Greetings mutex readers,

I received the following request from a subscriber in the Czech
Republic.  Are there any MuTeX users (as opposed to MusicTeX) users
out there who might be able to help out?

Thanks!
Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3549 FAX	Northfield, MN  55057-1097   USA


------- Forwarded Message

Date: Fri, 3 Sep 1993 09:52:27 +0200 (MET DST)
From: Miloslav Blazek <milos@muni.cz>

Hello Craig,

you are presented as the translator of MuTeX manual from German to English,
so I'm turning to you for some help.

I'm using Steinbach and Sch\"ofer's MuTeX and I thing, it is very nice, but
I have some problems with it, which must have, on my opinion, somebody solved.
Several weeks I send question to mutex Mailing-list, but got no answer. Maybe
everybody here uses Taupin's MusicTeX. 

My demand to you is next:
Could you please send me e-mail addresses of some people using in present
MuTeX ? It may be very helpful for me.

Thank you in advance!

Miloslav Blazek, Masaryk Univerzity Brno, Czech Republic
milos@ics.muni.cz

------- End of Forwarded Message


From icking@zsv.gmd.de  Mon Sep 13 13:33:06 1993
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Date: Mon, 13 Sep 1993 20:32:33 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309131832.AA00952@sunick.gmd.de>
To: mutex
Subject: Mozart's KV423 with MusicTeX - Duo for violin and viola
Precedence: bulk

I've finished my work on typesetting the G-major Duo for violin and
viola of Wolfgang Amadeus Mozart (KV423). I used MusicTeX and produced
some selfcontained postscript files with the score and the parts (and
a transposed part for a 2nd violini :-).

You can get the files as ZIP-archive (~ 650.000 bytes) by anonymous ftp from

  ftp.gmd.de [129.26.8.90]     music/lists/mozart/kv423-ps.zip

Enjoy -- Werner

PS: For those of you who remember an earlier posting of me concerning the
    separation of parts from the score: that's the result.
--
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, PO-Box 1316, D-53731 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~


From assmann@shetland.karlsruhe.gmd.de  Tue Sep 14 01:57:28 1993
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To: mutex
Subject: chorals
Date: Tue, 14 Sep 1993 08:57:39 +0200
From: "Uwe Assmann" <assmann@shetland.karlsruhe.gmd.de>
Precedence: bulk


I'm looking for some examples of chorals with 4 voices (sopran, alt, tenor,
basso). I'd just like to learn how to set such a thing with musictex.

Thanks
Uwe
    /\     Uwe Assmann
   /fi\    GMD Forschungsstelle an der Universitaet Karlsruhe
  /deli\   Vincenz-Priessnitz-Str. 1     
 / tas  \  76131 Karlsruhe GERMANY
---------- Email: assmann@karlsruhe.gmd.de Tel: 0721/662255 Fax: 0721/6622968

From @relay.cs.toronto.edu,@ark.vis.toronto.edu:jservice@vis.toronto.edu  Tue Sep 14 07:31:35 1993
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From: "James R. R. Service" <jservice@vis.toronto.edu>
To: mutex
In-Reply-To: "Uwe Assmann"'s message of Tue, 14 Sep 1993 04:20:42 
Subject: RE: chorals
Message-Id: <93Sep14.083230edt.91538@ark.vis.toronto.edu>
Date: 	Tue, 14 Sep 1993 08:32:25 -0400
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>>>>> "Uwe Assmann" <assmann@shetland.karlsruhe.gmd.de> writes:

Uwe> I'm looking for some examples of chorals with 4 voices (sopran, alt,
Uwe> tenor, basso). I'd just like to learn how to set such a thing with
Uwe> musictex.

There are several examples in M. Daniel Taupin's file, MUSICEXA.ZIP.  I
looked at angesca*.tex in that file to learn how to set four part,
multi-verse choral music.  The archive is found on rsovax.ups.circe.fr and
probably other places.

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946, (416) 978-0783

From icking@zsv.gmd.de  Wed Sep 15 15:25:39 1993
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Date: Wed, 15 Sep 1993 22:25:50 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309152025.AA01728@sunick.gmd.de>
To: mutex
Subject: Re: Mozart's KV423 with MusicTeX - Duo for violin and viola
Precedence: bulk

> I've finished my work on typesetting the G-major Duo for violin and
> viola of Wolfgang Amadeus Mozart (KV423). I used MusicTeX and produced
> some selfcontained postscript files with the score and the parts (and
> a transposed part for a 2nd violini :-).

I wrote that and got some responses complaining that the printing requires
A4-size paper (as stated in the documentation). If you prefer letter-size
paper you may modify the ps-files by inserting the folling just in front
of the first PostScript commands (/TeXDict ...):
-----------------------------------------------------------------------------
/GMD_realshowpage /showpage load def
/GMD_myshowpage { GMD_realshowpage 0.94 0.94 scale 19 45 translate } bind def
/showpage { GMD_myshowpage } bind def
0.94 0.94 scale 19 45 translate
-----------------------------------------------------------------------------
The output is downscaled by factor 0.94 and moved to origin (19,49); 19 and
49 are in 72th inch. Please let me know, if you find "better" numbers.

Hope this hilft -- Werner

PS: I do not know much about PostScript, but I know a colleague "who knows" :-)

PPS: This solution is independent of MusicTeX

From piet@cs.ruu.nl  Thu Sep 16 01:58:11 1993
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Date: Thu, 16 Sep 1993 08:58:17 +0200
From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199309160658.AA04752@alchemy.cs.ruu.nl>
To: mutex
Cc: mutex@stolaf.edu
Subject: Re: Mozart's KV423 with MusicTeX - Duo for violin and viola
In-Reply-To: <199309152025.AA01728@sunick.gmd.de>
References: <199309152025.AA01728@sunick.gmd.de>
Precedence: bulk

>>>>> Werner Icking <Werner.Icking@gmd.de> (WI) writes:

>> I've finished my work on typesetting the G-major Duo for violin and
>> viola of Wolfgang Amadeus Mozart (KV423). I used MusicTeX and produced
>> some selfcontained postscript files with the score and the parts (and
>> a transposed part for a 2nd violini :-).

WI> I wrote that and got some responses complaining that the printing requires
WI> A4-size paper (as stated in the documentation). If you prefer letter-size
WI> paper you may modify the ps-files by inserting the folling just in front
WI> of the first PostScript commands (/TeXDict ...):
WI> -----------------------------------------------------------------------------
WI> /GMD_realshowpage /showpage load def
WI> /GMD_myshowpage { GMD_realshowpage 0.94 0.94 scale 19 45 translate } bind def
WI> /showpage { GMD_myshowpage } bind def
WI> 0.94 0.94 scale 19 45 translate
WI> -----------------------------------------------------------------------------
WI> The output is downscaled by factor 0.94 and moved to origin (19,49); 19 and
WI> 49 are in 72th inch. Please let me know, if you find "better" numbers.

The disadvantage of scaling is that the bitmap fonts that are used probably
don't look very nice after scaling. I haven't tried it, however.

Why don't you just distribute the TeX code?

Piet van Oostrum <piet@cs.ruu.nl>

From icking@zsv.gmd.de  Thu Sep 16 04:25:44 1993
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Date: Thu, 16 Sep 1993 11:25:51 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309160925.AA01790@sunick.gmd.de>
To: mutex
Subject: Re: Mozart's KV423 with MusicTeX - Duo for violin and viola
Cc: mutex@stolaf.edu
Precedence: bulk

> The disadvantage of scaling is that the bitmap fonts that are used probably
> don't look very nice after scaling. I haven't tried it, however.

I tried it and it looked better than I'd expected it. But I tried it on
HP-Laserjet 4si (600 dpi).
> 
> Why don't you just distribute the TeX code?

Should I? I think it's always not so easy for someone to distribute
source code :-(   There is one TeX-source for the score (plus two
small file mytex.tex and mysictex.tex modifying/extending MusicTeX
a little bit). A SPITBOL programm is used to seperate the parts.

The complete work uses heavily \autolines omptimized for A4-paper.
I'm not sure how many users would be able to modify this in a way
I would like it to be done.

Do you understand such misgivings (? ungutes Gefuehl)?

Should I?

Werner

From maray@fix.fsz.bme.hu  Thu Sep 16 09:07:17 1993
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From: Maray Tamas <maray@fix.fsz.bme.hu>
Message-Id: <9309161407.AA10876@fix.fsz.bme.hu>
Subject: upper-lower song instrument
To: mutex
Date: Thu, 16 Sep 1993 16:07:02 +0200 (MET DST)
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Is there anybody who has already used the \lowersonginstrum - \uppersonginstrum
macro pair of MusicTeX? I would need that feature, but it doesn't work.
When I use these macros, nothing happens. In spite of the documentation,
I have not found examples of using this feature. (It is intended to tie
human voices together with a left thick vertical rule.)

All suggestions or help is greatly appreciated!

Tamas

========================================================================
Tamas MARAY                               E-Mail: maray@fsz.bme.hu
Technical University of Budapest          Phone:  +36 1 1667-392
Department of Process Control             Fax:    +36 1 1852-658
Computer Center                           1111 Muegyetem rkp. 9., R.203
                                          Budapest, HUNGARY
========================================================================

From maray@fix.fsz.bme.hu  Thu Sep 23 03:52:31 1993
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From: Maray Tamas <maray@fix.fsz.bme.hu>
Message-Id: <9309230852.AA11630@fix.fsz.bme.hu>
Subject: upper-lower song instrument - solution
To: mutex
Date: Thu, 23 Sep 1993 10:52:17 +0200 (MET DST)
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A couple of days ago I complained of using the MusicTeX facility lower and
uppersonginstrum had not been successful. I got a message from Werner Icking,
where he had given the solution. 

If you want to use \lowersonginstrum and \uppersonginstrum to get special
vertical rule for the songs, you have to DEFINE these values. (The example
in the musicdoc is not good!)   
So, just type something like this:

\def\lowersonginstrum{3}
\def\uppersonginstrum{5}

instead of

\lowersonginstrum=3
\uppersonginstrum=5

and it will work properly.

I've also got a message from Daniel Taupin, and he promised to correct
the mistake and give examples in the next version of MusicTeX.

========================================================================
Tamas MARAY                               E-Mail: maray@fsz.bme.hu
Technical University of Budapest          Phone:  +36 1 1667-392
Department of Process Control             Fax:    +36 1 1852-658
Computer Center                           1111 Muegyetem rkp. 9., R.203
                                          Budapest, HUNGARY
========================================================================

From maray@fix.fsz.bme.hu  Thu Sep 23 03:59:33 1993
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From: Maray Tamas <maray@fix.fsz.bme.hu>
Message-Id: <9309230859.AA11690@fix.fsz.bme.hu>
Subject: distance of notes from bars
To: mutex
Date: Thu, 23 Sep 1993 10:59:18 +0200 (MET DST)
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Another question. Could somebody tell me, how to control the distance of
the first note from the bar?      

========================================================================
Tamas MARAY                               E-Mail: maray@fsz.bme.hu
Technical University of Budapest          Phone:  +36 1 1667-392
Department of Process Control             Fax:    +36 1 1852-658
Computer Center                           1111 Muegyetem rkp. 9., R.203
                                          Budapest, HUNGARY
========================================================================

From icking@zsv.gmd.de  Thu Sep 23 05:05:31 1993
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Date: Thu, 23 Sep 1993 12:05:22 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309231005.AA03573@sunick.gmd.de>
To: mutex
Subject: Re: distance of notes from bars
Precedence: bulk

> Another question. Could somebody tell me, how to control the distance of
> the first note from the bar?

use \off for positioning within \notes...\enotes.

\debutextrait\Notes\off{-6\noteskip}\qu{cccc}\enotes\finextrait

or with more sense

\debutextrait\Notes\ql{gggg}\off{-4\noteskip}\qu{'bbbb}\enotes\finextrait

Hope this hilft -- Werner

PS: For a more general solution for the distance of the first note from the
    first bar of a line you may use \def\atnextline.
PPS: ... and for every bar  ... use \takt instead of \barre e.g.
     \def\takt{\barre\off{<insert your favourite offset here>}}

From TAUPIN@rsovax.ups.circe.fr  Thu Sep 23 07:46:55 1993
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From:	ENP%"MAILER-DAEMON@circe.fr" 23-SEP-1993 12:13:34.08
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CC:	
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Date:  23-SEP-1993 12:12:51 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  distance of nots from  the bar
To: mutex


After barre and before \notes...\enotes you can say \hskip what-you-want
(>0 or <0)

From TAUPIN@rsovax.ups.circe.fr  Thu Sep 23 07:49:07 1993
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Date:  23-SEP-1993 14:55:33 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  using \off in musicTeX
To: mutex
Precedence: bulk

\off seems to work outside \notes...\enotes but it causes holes
in the slurs.

From jsc@slayer.mit.edu  Sun Sep 26 20:32:35 1993
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Date: Sun, 26 Sep 1993 21:33:10 GMT
From: jsc@slayer.mit.edu
Message-Id: <199309262133.AA01024@slayer.mit.edu>
To: mutex
Subject: Source for MIDI2TeX available?
Precedence: bulk


A friend of mine is attempting to use MIDI2TeX to typeset some of his
MIDI files, and has encountered some problems with its output. We were
wondering if the source to MIDI2TeX is freely available so that we might
modify it, and perhaps even get it compiled on a UNIX machine...)

(FYI, we are using v1.1. One of the problems we encountered is that no
\debutmorceau is emitted, causing heinous output on the first page.)

From mig@ncc.up.pt  Wed Sep 29 12:49:37 1993
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Date: Wed, 29 Sep 1993 18:49:48 GMT
From: Miguel Filgueiras <mig@ncc.up.pt>
Message-Id: <199309291849.AA03628@ciup1.ncc.up.pt>
To: mutex
Subject: MusicTeX on Mac
Precedence: bulk


Does anyone have experience in porting MusicTeX to a Macintosh?

I am trying to do that for a Powerbook with a 68000 processor. I
installed OzTeX only to find out that it needs a 68020. With it I got
a Metafont program that works. Now, is it possible to use the output
of Metafont with, for instance, Textures? Or any other TeX for Mac
(running on a 68000)?

Thanks in advance for any help,
Miguel Filgueiras


From icking@zsv.gmd.de  Thu Sep 30 03:42:13 1993
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Date: Thu, 30 Sep 1993 09:42:28 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199309300842.AA04890@sunick.gmd.de>
To: mutex
Subject: Re: MusicTeX on Mac
Precedence: bulk

> Does anyone have experience in porting MusicTeX to a Macintosh?

I've already helped some others and they succeeded.
> 
> I am trying to do that for a Powerbook with a 68000 processor. I
> installed OzTeX only to find out that it needs a 68020. With it I got
> a Metafont program that works. Now, is it possible to use the output
> of Metafont with, for instance, Textures? Or any other TeX for Mac
> (running on a 68000)?

Normally you do not need to run metafont. 300dpi fonts are part of the package,
other resolutions can be found in musikpk.zip. You have to rename them only.

For OzTeX (:-() I put them into the appropriate folder OzTeX:PK-MusicTeX:300 
under names like beamn16, musicn16, ...; that's for OzTeX 1.6; in earlier 
versions the folder was OzTeX:PK-files:300 because I didn't find a way to 
define a "path" (that's DOS-terminologie?) to the PK-files.

Hope this hilft -- Werner

From mig@ncc.up.pt  Thu Sep 30 04:02:59 1993
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Date: Thu, 30 Sep 1993 10:02:46 GMT
From: Miguel Filgueiras <mig@ncc.up.pt>
Message-Id: <199309301002.AA20729@ciup1.ncc.up.pt>
To: mutex
Cc: mutex@stolaf.edu
In-Reply-To: Werner Icking's message of Thu, 30 Sep 1993 09:42:28 +0100 <199309300842.AA04890@sunick.gmd.de>
Subject: MusicTeX on Mac
Precedence: bulk


Thanks for your message. I have installed MusicTeX in a Unix machine
and it is running well. But my problem is with the Mac. Paul McIlroy
(pmcilroy@bt-sys.bt.co.uk) tells me that OzTeX 1.4 runs on a Mac Plus,
which is not the case with version 1.6 that needs a 68020 processor.

So I was wandering whether I could generate fonts for any other TeX on
the Mac (Textures for instance) from the MusicTeX files, maybe using
the Metafont that I got with OzTeX 1.6.

Regards,
Miguel Filgueiras

From TAUPIN@rsovax.ups.circe.fr  Sun Oct  3 13:38:39 1993
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Message-Id: <199310031837.AA16692@ciripa.circe.fr>
Date:   3-OCT-1993 19:37:50 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  MusicTeX 4.98
To: mutex
Precedence: bulk

Version 4.98 of musicTeX posted at rsovax.ups.circe.fr 130.84.128.100

Features: enhanced repeat coding; updated DOC; possible separation of
bars between distinct instruments.

From smoliar@iss.nus.sg  Sun Oct  3 23:42:16 1993
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Date: Mon, 4 Oct 93 12:43:43+080
From: smoliar@iss.nus.sg (Stephen Smoliar)
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Cc: mutex@stolaf.edu
In-Reply-To: TAUPIN@rsovax.ups.circe.fr's message of 3-OCT-1993 19:37:50 GMT2 <199310031837.AA16692@ciripa.circe.fr>
Subject: These are bugs, right?
Precedence: bulk

Daniel,

I have printed my new manual and cruised the directory to figure out which
files have been updated.  My usual algorithm is to check for anything of the
form music*.tex with a recent date.  It did not take long to establish that
the date in question was October 3;  but this algorithm turned up two strange
and unexpected files:

	MUSICEXA.TEX
	MUSICPK.TEX

Upon close inspection these did not look very much like TeX files.  Upon even
closer inspection they turned out to be the same size as a pair of ZIP files
with the same first names?  I assume, then, that neither of these files has
to be ported to the OzTeX on my Macintosh for installation.  Am I right?

Steve

From SETTELS@amc.uva.nl  Mon Oct  4 09:14:12 1993
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Date: Mon, 04 Oct 1993 15:13:07 +0100 (MET)
From: SETTELS@amc.uva.nl
Subject: looking for music FTP site
To: mutex
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Hello,

    I am searching for an FTP site where I can find lyrics, MIDI and
maybe MusicTeX files. I am sure there must be some good ones around.
At this moment I am looking for mellow stuff; musical type things,
Peggy Lee, Frank Sinatra, Marlene Dietrich, Liza Minelli.
Does anyone in this group have suggestions where to look ?


thanks, Hans

From TAUPIN@rsovax.ups.circe.fr  Wed Oct  6 03:22:31 1993
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Date:   6-OCT-1993 09:21:47 GMT2
From: TAUPIN@rsovax.ups.circe.fr
Subject:  IP addressing destroyed...
To: mutex
Precedence: bulk

**********************************************
* Catastrophic changes in INTERNET addresses *
**********************************************

 Due to the disparition and replacement of the Computing Center of CNRS
(CIRCE vanishes), the INTERNET domain "ups.circe.fr" will DISAPPEAR in
a few hours or days.

 In the same time, all absolute IP addresses "130.84.128.1**" will be cancelled
and replaces with "193.55.39.1**" (where "**" stands for 2 digits).

 This means that:

 "rsovax.ups.circe.fr" immediately becomes "rsovax.lps.u-psud.fr"
 130.84.128.100        immediately becomes 193.55.39.100

 Aliasing is attempted for ftp and telnet connections, BUT no FORWARDING
will be possible for MAIL. Therefore:

 -- any mail to <somebody>@rsovax.ups.circe.fr should be sent to both:
            <somebody>@rsovax.ups.circe.fr     
            <somebody>@rsovax.lps.u-psud.fr 

 -- any ftp/telnet connection to "rsovax.ups.circe.fr" should be also tried
    to:                          "rsovax.lps.u-psud.fr" 

 -- any ftp/telnet connection to 130.84.128.1** should be also tried
    to:                          193.55.29.1**

 Apologies from taupin@rsovax.ups.circe.fr alias taupin@rsovax.lps.u-psud.fr
 alias taupin@frups51.bitnet


From TAUPIN@rsovax.lps.u-psud.fr  Fri Oct  8 06:52:14 1993
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Date:   8-OCT-1993 12:12:28 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  rsovax address changes
To: mutex
Precedence: bulk

Since the addresses of rsovax have recently changed (both absolute and
names) the package has been updated at anonymous ftp:

193.55.39.100 = rsovax.lps.u-psud.fr

same directories as usual.
Version unchanged = 4.98 (doc updated)

From owner-mutex  Tue Oct 19 11:22:31 1993
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From: Maray Tamas <maray@fix.fsz.bme.hu>
Message-Id: <9310191618.AA09429@fix.fsz.bme.hu>
Subject: test, drop away
To: mutex
Date: Tue, 19 Oct 1993 17:18:29 +0100 (MET)
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Just a connectivity test.
Drop it away!

========================================================================
Tamas MARAY                               E-Mail: maray@fsz.bme.hu
Technical University of Budapest          Phone:  +36 1 1667-392
Department of Process Control             Fax:    +36 1 1852-658
Computer Center                           1111 Muegyetem rkp. 9., R.203
                                          Budapest, HUNGARY
========================================================================

From cdr  Tue Oct 26 13:56:06 1993
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Date: Tue, 26 Oct 93 13:55:34 CDT
From: cdr (Craig D. Rice, St. Olaf College)
Message-Id: <9310261855.AA19444@stolaf.edu>
To: mutex
Subject: asdf
Precedence: bulk

asdf
asdf

From owner-mutex  Thu Oct 28 11:22:31 1993
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Date: Thu, 28 Oct 93 15:33:22 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: 72 dpi music fonts
Precedence: bulk

I would like to be able to preview MusicTeX dvi files on my old MacPlus
at 72dpi (much faster than 300dpi).  However, this means getting hold
of 72dpi pk files for the music and slur fonts.  Does anybody know if
72dpi music pk files are available anywhere for ftp, or must I learn
how to use Metafont and convert the mf files myself ?

Any advice or suggestions gratefully received.

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From owner-mutex  Thu Oct 28 12:22:31 1993
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Date: Thu, 28 Oct 1993 18:02:23 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199310281702.AA00809@sunick.gmd.de>
To: mutex
Subject: Re: 72 dpi music fonts
Precedence: bulk

> I would like to be able to preview MusicTeX dvi files on my old MacPlus
> at 72dpi (much faster than 300dpi).  However, this means getting hold
> of 72dpi pk files for the music and slur fonts.  Does anybody know if
> 72dpi music pk files are available anywhere for ftp, or must I learn
> how to use Metafont and convert the mf files myself ?

As usual :-)
 
  ftp.gmd.de     music/musictex/musicpk72.zip

It will be there up to the time Daniel Taupin puts it into his  musicpk.zip

It was a pleasure for me to learn again how to fight against emTeX's
MFJOB and MetaFont. It took me only some minutes i.e. that must be good
programs (or I prepared it well in former times :-)

Please tell me soon if the fonts do not work properly because I did not
make any test.

Werner

From owner-mutex  Thu Nov  4 22:22:30 1993
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Date: Thu, 4 Nov 1993 21:42:51 -0600 (CST)
Subject: request for info
To: mutex
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researching impact of lyrics in popular music on teens/society.  Know of
any discussion groups on network that can help?  Any ideas welcome.

Thank you.



From owner-mutex  Mon Nov  8 21:22:31 1993
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Date: Tue, 9 Nov 1993 11:03:57 +0800
From: hartley@maths.uwa.edu.au (Michael Hartley)
To: mutex
Subject: Information regarding ftp site...
Precedence: bulk


Dear Everyone,
  A while before I unsubscribed from this list, people were asking
about the possibility of an ftp site to place musical scores ready for
typesetting. I don't know whether you've found one or not, of course,
but I thiought the following exerpt from a README file I just found
might be of interest to you all.

---SNIP---

This site is aliased to ftp.uwp.edu. For ease of transition in the
future, please only refer to the site as ftp.uwp.edu in any
documentation you release.  If this site ever changes, the name will
continue to be ftp.uwp.edu. Thanks for your help.

The complete recursed directory for the site is in the file /ls-lR

If you run a music-related mailing list and need a place for your
archives, please contact ftp@ftp.uwp.edu to set up the details.

        Thank you
                Dave Datta@ftp.uwp.edu

For your information:

        UWP stands for University of Wisconsin-Parkside. It is located
        in Kenosha, Wisconsin, U.S.A. For you geography buffs, Kenosha
        is on the southwest edge of Lake Michigan, the southern most of
        the five great lakes in the mid-eastern United States. Kenosha
        is almost exactly half way between Chicago, Illinois and
        Milwaukee, Wisconsin.

---SNIP---

Although the guy is only offering a place to store archives, maybe he'd
be willing to store scores as well, and copies of the mutex and musictex
source.

Let me know how it goes.

Yours, Mike H...


                  "Me Transmitte Sursum, Caledoni!"
                    /   
                   /
   . . . . .   __O		Michael Hartley 		    _-_|\
              -\<,		hartley@madvax.maths.uwa.oz.au     /	 \
. . . . . .  ()/ ()				-----------------> *_.-._/
									v


From owner-mutex  Thu Nov 11 12:22:31 1993
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Via: uk.ac.heriot-watt.maths.cara; Thu, 11 Nov 1993 16:37:10 +0000
From: Vasileios Metaftsis <vasileio@cara.maths.heriot-watt.ac.uk>
Date: Thu, 11 Nov 93 16:35:52 GMT
Message-Id: <16723.9311111635@cara.ma.hw.ac.uk>
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To: mutex
Precedence: bulk

I just got a copy of MusicTeX and I'm trying to install it in a SUNOS system.
I tried to compile musicdoc.tex and it seems that everything is o.k. 
But when I try to xdvi or print the file I get the following messages

Can't find font beamn13; using cmr10 instead at 300 dpi
Can't find font beamn20; using cmr10 instead at 300 dpi
Can't find font musicn13; using cmr10 instead at 300 dpi
Can't find font slurn20; using cmr10 instead at 300 dpi
Can't find font musicn16; using cmr10 instead at 300 dpi
Can't find font musicn20; using cmr10 instead at 300 dpi

and of cource the print out has nothing to do with music sheet.
The files I have are 

FAQ           euro92.sty    musicdoc.dvi  musicn20.tfm  slurdd16.mf
README        euro92.tex    musicdoc.idx  musicnft.log  slurdd16.tfm
a4report.sty  euromtex.aux  musicdoc.inx  musicnft.tex  slurdu16.mf
beamd20.mf    euromtex.dvi  musicdoc.log  musicpln.tex  slurdu16.tfm
beamn11.mf    euromtex.tex  musicdoc.ps   musicpos.tex  slurgen.mf
beamn11.pk    extras.log    musicdoc.tex  musicpre.log  slurn16.mf
beamn11.tfm   extras.tex    musicdoc.toc  musicpre.tex  slurn16.pk
beamn13.mf    howtoget.dvi  musicext.tex  musicref.dvi  slurn16.tfm
beamn13.pk    howtoget.log  musicg16.mf   musicref.tex  slurn20.mf
beamn13.tfm   howtoget.tex  musicgen.mf   musicsty.tex  slurn20.pk
beamn16.mf    lines.tex     musicn11.mf   musictex.sty  slurn20.tfm
beamn16.pk    musicacc.log  musicn11.pk   musictex.tex  slurud16.mf
beamn16.tfm   musicacc.tex  musicn11.tfm  musictrp.sty  slurud16.tfm
beamn20.mf    musicadd.tex  musicn13.mf   musictrp.tex  sluruu16.mf
beamn20.pk    musicd11.mf   musicn13.pk   musicvbm.sty  sluruu16.tfm
beamn20.tfm   musicd13.mf   musicn13.tfm  musicvbm.tex  sortindx.exe
beamngen.mf   musicd16.mf   musicn16.mf   racine.log    sortindx.for
beamq20.mf    musicd20.mf   musicn16.pk   racine.tex
beamt20.mf    musicdef.mf   musicn16.tfm  screatim.dvi
beamv20.mf    musicdoc.aux  musicn20.mf   screatim.log
bigmusic.sty  musicdoc.bat  musicn20.pk   screatim.tex

Is there anything missing ?

Does anyone know how to solve such a problem (which propably is trivial but
I don't know how to solve it) ?

From owner-mutex  Thu Nov 11 13:22:33 1993
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Date: Thu, 11 Nov 1993 19:38:06 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Subject: <none - added by mutex-owner>
Message-Id: <199311111838.AA01215@sunick.gmd.de>
To: mutex
Precedence: bulk

> I just got a copy of MusicTeX and I'm trying to install it in a SUNOS system.
> I tried to compile musicdoc.tex and it seems that everything is o.k. 
> But when I try to xdvi or print the file I get the following messages
> 
> Can't find font beamn13; using cmr10 instead at 300 dpi
>[...]
> and of cource the print out has nothing to do with music sheet.

> The files I have are 
> [...]
> beamn11.pk    beamn13.pk    beamn16.pk   beamn20.pk    musicn16.pk [...]
> 
> Is there anything missing ?

I don't think so.
> 
> Does anyone know how to solve such a problem (which propably is trivial but
> I don't know how to solve it) ?

There is more than one possibility.  xdvi  does not find the files which
are now named e.g. beamn11.pk. Try to rename them to  beamn11.300pk  or
put them into an appropiate directory .../fonts/300dpi/beamn11.pk or
look which enviromentvariable has to be defined or ...

I hope that my first proposal hilft. -- Werner

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From: mwitten@chpc.utexas.edu
Message-Id: <9311111914.AA15188@morpheus.chpc.utexas.edu>
Subject: Music Tex and Solaris
To: mutex
Date: Thu, 11 Nov 1993 13:14:41 -0600 (CST)
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I am curious if anyone has attempted to build MusicTex
on a Solaris 2.x x>0 environment. I am about to do it
and could use any help I can get. Also, where is the
most recent MusicTex ftp site. I want to check and
make sure I have the complete package. Thanks,

Matthew Witten 

-- 

_____________________________________________________________________

Matthew Witten
UT System Center For High Performance Computing
Balcones Research Center, 1.154 CMS
10100 Burnet Road, Austin, TX 78758-4497 USA

Phone: (512) 471-2472  FAX: (512) 471-2445  

E-MAIL  MWITTEN@CHPC.UTEXAS.EDU
_____________________________________________________________________

From owner-mutex  Thu Nov 11 17:25:01 1993
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From: Klaus Knopper <knopper@unix-ag.uni-kl.de>
Message-Id: <9311112315.AA25320@pizza.unix-ag.uni-kl.de>
Subject: Re: Music Tex and Solaris
To: mutex
Date: Fri, 12 Nov 1993 00:15:35 +0100 (MET)
Cc: mutex@stolaf.edu
In-Reply-To: <9311111914.AA15188@morpheus.chpc.utexas.edu> from "mwitten@chpc.utexas.edu" at Nov 11, 93 01:14:41 pm
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> I am curious if anyone has attempted to build MusicTex
> on a Solaris 2.x x>0 environment. I am about to do it
> and could use any help I can get. Also, where is the
> most recent MusicTex ftp site. I want to check and
> make sure I have the complete package. Thanks,
> 
> Matthew Witten 

Hi, Matthew!

Yes, its no problem at all. (I'm running Solaris 2.2 on a
Sparc 10).

What you need is sparctex (or any TeX you like), and
the musictex.tar.z (new version) from ftp.gmd.de or anywhere else.

Note, that the TeX-Sources may be in "MSDOS" Style Text-Format
(additional CR's and ^Z as end-of-file-character).
You will then have to strip the additional CR's and remove
everything below the ^Z char in the *.tex, *.mf files.

Put the *.tex files in the search path for you TeX Compiler,
and the *.mf files in the search path for metafont,
rename the *.pk fonts to *.300pk and put them to your pixel-font
directory (for all XDVI fonts). At last, you will need to put all *.tfm
files to the TFM Fontmetric Directory of TeX.

Thats all. Now you can use the greatest Music typesetting program ever ;-).

If you have unusual problems, please feel free to mail me at
knopper@unix-ag.uni-kl.de.

Bye

	-Klaus Knopper (knopper@unix-ag.uni-kl.de)

From owner-mutex  Fri Nov 12 06:22:31 1993
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From: cmp2@tower.york.ac.uk (Chris Peckham)
Message-Id: <9311121154.AA14299@tower.york.ac.uk>
Subject: (guitar) tablature
To: mutex
Date: Fri, 12 Nov 93 11:54:42 GMT
X-Mailer: ELM [version 2.3 PL11]
Precedence: bulk

Just a quick question from an absolute beginner:  can MusicTeX handle
guitar tablature?  OK, two questions:  what ftp site should I go to (and
directory) to read about what MusicTeX can do, and what I need to do it
with?  Many thanks
-- 
Chris Peckham			cmp2@tower.york.ac.uk
Department of Chemistry
University of York
UK



From owner-mutex  Mon Nov 15 04:22:32 1993
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Date: Mon, 15 Nov 1993 10:26:42 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199311150926.AA00323@sunick.gmd.de>
To: mutex
Subject: Re: Music Tex and Solaris
Precedence: bulk

> What you need is sparctex (or any TeX you like), and
> the musictex.tar.z (new version) from ftp.gmd.de or anywhere else.
> 
> Note, that the TeX-Sources may be in "MSDOS" Style Text-Format
> (additional CR's and ^Z as end-of-file-character).
> You will then have to strip the additional CR's and remove
> everything below the ^Z char in the *.tex, *.mf files.

Not neccessary if you take the Zip-file and the INFO-Zip UNZIP programme
with the -a option. Should I generate muscitex.tar.Z that way?

And another question: should I use gzip (musictex.tar.gz) instead of compress?

Werner

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From: Vasileios Metaftsis <vasileio@cara.maths.heriot-watt.ac.uk>
Subject: <none - added by mutex-owner>
Date: Mon, 15 Nov 93 17:15:29 GMT
Message-Id: <26650.9311151715@cara.ma.hw.ac.uk>
To: mutex
Precedence: bulk

>
>I just got a copy of MusicTeX and I'm trying to install it in a SUNOS system.
>I tried to compile musicdoc.tex and it seems that everything is o.k. 
>But when I try to xdvi or print the file I get the following messages
>
>Can't find font beamn13; using cmr10 instead at 300 dpi
>Can't find font beamn20; using cmr10 instead at 300 dpi
>Can't find font musicn13; using cmr10 instead at 300 dpi
>Can't find font slurn20; using cmr10 instead at 300 dpi
>Can't find font musicn16; using cmr10 instead at 300 dpi
>Can't find font musicn20; using cmr10 instead at 300 dpi
>
>and of cource the print out has nothing to do with music sheet.
>The files I have are 
>
>FAQ           euro92.sty    musicdoc.dvi  musicn20.tfm  slurdd16.mf
>README        euro92.tex    musicdoc.idx  musicnft.log  slurdd16.tfm
>a4report.sty  euromtex.aux  musicdoc.inx  musicnft.tex  slurdu16.mf
>................
>
>Is there anything missing ?
>
>Does anyone know how to correct such a problem (which propably is trivial but
>I don't know how to solve it) ?
>



Thanks everybody for the suggestions, I managed to sort things out.


Vassilis

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Hello. I have recently pulled down the musictex package, musictex-498
and am trying to tex a document i know to be valid. I invariably
get this response:

(musictex.tex Version 4.98 -- October 2nd, 1993
! Font \ppffsixteen=cmbxti10 not loadable: Metric (TFM) file not found.
<to be read again>
                   \font
l.16 \font
          \ppfftwenty=\fonthdg\fonthdge bxti10 scaled \magstep1^^M
?

Now i have looked in the faq and the only blurb pertaining is to check
and see if the ftp was binary,...it was. If tex could
not find this font, why would it not make a substitution?
the faq also mentions that this .tfm is vms related? If this is
a font problem, does anyone have the fonts i need?
Thanks in advance.

-srm

From owner-mutex  Thu Nov 25 00:22:31 1993
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Date:  23-NOV-1993 14:44:59 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  Tugboat 14/3
To: mutex
Precedence: bulk

Subject: Tugboat 14/3

Due to delays between submission and printing, the INTERNET
address to get MusicTeX has changed:

It is now:  rsovax.lps.u-psud.fr
            193.55.39.100

D. Taupin

From owner-mutex  Thu Nov 25 02:22:31 1993
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Date: Thu, 25 Nov 93 08:36:36 +0100
From: hm308ba@unidui.uni-duisburg.de (Mathias Bartsch)
Message-Id: <9311250736.AA28671@unidui.uni-duisburg.de>
To: mutex
Subject: Trying to typeset one staff music with lyrics
Precedence: bulk

Kind MuTeXers,

I intend to typest a booklet with childrens' songs (might not be the
right term...).

The layout should be like this:

One staff for the single voice melody, lyrics for several verses 
underneath, perhaps chord names above. Inter-note space should be large...

The last staff should NOT necessarily fill the whole page width, as it seems
to do per default.

Last but not least I would prefer LaTeX.

Is there some kind soul that would provide me with an illustrative example?
(I spent a few hours on trying to get text under a single staff in a 
nondestroying manner :)  ...)

BTW: Anyone interested in the results (if any  :) ?)

Thanks in advance
Best wishes
Mathias

--
Mathias Bartsch,  Uni-GH-Duisburg,  Lab.f.Festkoerperphysik,  47048 Duisburg
         Lotharstr. 1, tel: (0203) 379-3476, fax: (0203) 379-3163

From owner-mutex  Thu Nov 25 04:22:31 1993
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Date: Thu, 25 Nov 93 10:53:38 +0100
From: hm308ba@unidui.uni-duisburg.de (Mathias Bartsch)
Message-Id: <9311250953.AA13090@unidui.uni-duisburg.de>
To: mutex
Subject: I meant "MusicTeX", not "MuTeX"    Sorry!
Precedence: bulk

I just said

	"Kind MuTeXers"
	....

What I meant to say was:

	"Kind MusicTeXers"
	....

Sorry for that!

Best wishes
Mathias

--
Mathias Bartsch,  Uni-GH-Duisburg,  Lab.f.Festkoerperphysik,  47048 Duisburg
         Lotharstr. 1, tel: (0203) 379-3476, fax: (0203) 379-3163

From owner-mutex  Thu Nov 25 06:22:30 1993
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	(1.37.109.4/16.2) id AA25665; Thu, 25 Nov 93 12:35:48 +0100
Date:  25-NOV-1993 12:33:16 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  lyrics in MusicTeX
To: mutex
Precedence: bulk


The most recent doc (musicdoc.tex, ....ps, .dvi) explains how to deal
with lyrics under MusicTeX.

Get it at version 4.98.

D. Taupin.

From owner-mutex  Thu Nov 25 07:29:46 1993
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Date: Thu, 25 Nov 1993 13:15:19 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199311251215.AA00736@sunick.gmd.de>
To: mutex
Subject: Re: Trying to typeset one staff music with lyrics
Precedence: bulk

> I intend to typest a booklet with childrens' songs (might not be the
> right term...).
> 
> The layout should be like this:
> 
> One staff for the single voice melody, lyrics for several verses 
> underneath, perhaps chord names above. Inter-note space should be large...
> 
> The last staff should NOT necessarily fill the whole page width, as it seems
> to do per default.
> 
> Last but not least I would prefer LaTeX.
> 
> Is there some kind soul that would provide me with an illustrative example?
> (I spent a few hours on trying to get text under a single staff in a 
> nondestroying manner :)  ...)

The kind soul is Daniel Taupin who gave us  ANGESCAX.TEX  and some hints in
the docs. Look for "lyrics".

Another is me who played 'round a little bit (less than one hour avoiding
LaTeX :-):
-----------------------------------------------------------------------
\input musicnft
\input musictex
%\input mymusic ----------------------------------------------------------
% Texte relativ 
ber oder unter dem Notensystem \Text{n}{...} \text{n}{...}
% (n = 0, 1, ...)
\newcount\t@i
\def\Text#1#2{\resetstem\t@i=#1\advance \t@i by 8\raise +\t@i\internote\rlap{#2}}
\def\text#1#2{\resetstem\t@i=#1\advance \t@i by 3\raise -\t@i\internote\rlap{#2}}
%---------------------------------------------------------------------------
\def\nbinstruments{3}\nbporteesi=0\nbporteesii=0
\parindent 0pt\debutextrait\relax
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\finextrait
\vskip 2cm\debutmorceau\relax
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\finmorceau
\vskip 2cm\raggedlinestrue\debutmorceau\relax
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\barre
\NOTes Stock&Hns-&\Text1{C}\qu g\enotes\relax
\NOTes und&chen&\qu e\enotes\relax
\NOTEs Hut&klein&\Text1{Am}\hu e\enotes\relax
\barre
\NOTes stehn&ging&\Text1{F}\qu f\enotes\relax
\NOTes ihm&al-&\qu d\enotes\relax
\NOTes gut&lein&\Text1{Dm}\hu d\enotes\relax
\finmorceau
\bye

-----------------------------------------------------------------------

I didn't find a way to reduce the space between the lines of text.

I found that \interinstrumenti{-...} shortens the barlines vertically.

> BTW: Anyone interested in the results (if any  :) ?)

At least me.

Werner

From owner-mutex  Tue Dec  7 12:22:41 1993
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Date: Tue, 7 Dec 93 17:34:56 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: How to set four quavers with widely varying pitches ?
Precedence: bulk

I have been using musicvbm to typeset groups of four quavers.
I wrote

\def\quadu#1#2#3#4#5% #1 = beam number. #2, #3, #4, #5 are notes
{\Ibu{#1}{#2}{#5}3\qh{#1}{#2#3#4}\tbu{#1}\qh{#1}{#5}}\relax

to set four notes using \Ibu.  This works well, except when
the notes leap around a lot.  \quadu0cjjc, \quadu0cjcj,
\quadu0jcjc and \quadu0cjgc all look rather silly, because the
beam is not high enough to clear the middle notes.

In the music books I have at home the beam is always 3 or more
\Interligne above the end notes, and 2 or more \Interligne above the
middle notes.  So I thought I would write a macro to check if the beam
was high enough and if not, raise the second and third parameters to
\Ibu.

Thus minded I typed

\newcount\myna \newcount\mynb \newcount\mync \newcount\mynd
\def\quadu#1#2#3#4#5% #1 = beam number. #2, #3, #4, #5 are notes
{\getn@i{#2}\myna=\n@i
\getn@i{#3}\mynb=\n@i
\getn@i{#4}\mync=\n@i
\getn@i{#5}\mynd=\n@i
\message{myna is \the\myna}
\Ibu{#1}{\the\myna}{#5}3\qh{#1}{#2#3#4}\tbu{#1}\qh{#1}{#5}}\relax

just to check that I could get started.  With \quadu0cjjc I get the
message myna is -2, which is a good sign, but then tex balks at
\Ibu{#1}{\the\myna} and says "! Dimension too large.".  I tried
changing the definition to \Ibu{#1}{\noexpand\the\myna}, but with no
improvement.  I am puzzled, because \Ibu{#1}{-2} works just fine, and
if myna is -2 then I feel \Ibu{#1}{\the\myna} should work.  Are there
any tex wizzards out there who could tell me what I'm doing wrong. I
really would like to have a general macro which would set four quavers
no matter how much they leap up and down, but I can't even get started
if I can't pass \Ibu the values of my (possibly incremented) count
variables.

Any help or advice gratefully received.

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

From owner-mutex  Wed Dec  8 09:22:41 1993
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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <25606.9312081447@groom>
Subject: Announcing abc2mtex
To: mutex
Date: Wed, 8 Dec 1993 14:47:53 +0000 (GMT)
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*****************************************************************
********** Announcing    version   1.0   of   abc2mtex **********
*****************************************************************

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|[1 dfe dBA:|[2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|[1 dfe dcB:|[2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The tune is then read in by the program and MusicTeX output  gen-
erated (in a matter of seconds). TeX can then be run on this out-
put to "typeset beautiful music".

The package is small (about 60 KByte), easy to use and  features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allow you to typeset them easily too.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need   TeX,
MusicTeX (available  by  ftp  from a number of sources), a C com-
piler and access to a postscript printer.

To  get  a  copy  of  the  package  send  an  email  request   to
C.Walshaw@gre.ac.uk


From owner-mutex  Wed Dec  8 13:25:34 1993


From owner-mutex  Thu Dec  9 10:22:41 1993
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From: jtran@bashful.helios.nd.edu (john tran)
Message-Id: <9312091539.AA04378@bashful.helios.nd.edu>
Subject: lates version of mutex
To: mutex
Date: Thu, 9 Dec 1993 10:39:15 -0500 (EST)
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Can some one please inform
as to where I can get
the lastest version of
mutex?  Preferably a site
that is UNIX based and not
VAX based.

thanks,

-- 
John Tran 
219-277-4391 / e-mail: john.tran@nd.edu

From owner-mutex  Thu Dec  9 19:22:41 1993
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Date: Thu, 9 Dec 93 16:38:11 PST
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From: dsimons@logicon.com
To: mutex
Subject: latest version of mutex
X-Incognito-Sn: 217
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>Can some one please inform
>as to where I can get
>the lastest version of
>mutex?  Preferably a site
>that is UNIX based and not
>VAX based.
>
>thanks,
>
>--
>John Tran
>219-277-4391 / e-mail: john.tran@nd.edu

I got mine by anonymous ftp from stolaf.edu    (directory pub/mutex)

From owner-mutex  Fri Dec 10 07:22:41 1993
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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <27240.9312101224@vogon>
Subject: calling Johan Vromans (re abc2mtex)
To: mutex
Date: Fri, 10 Dec 1993 12:24:45 +0000 (GMT)
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Sorry to use the mailing list like this but ...

After my announcement of abc2mtex I had a request for a copy from
	Johan.Vromans@net.NL
I have tried every possible variation on this address but my
mailer won't recognise it.

	So Johan if you want a copy you can ftp it from
ftp.uni-koeln.de in the directory /tex/misc/abc2mtex or
mail me with an alternative address. Please could you also
mail me to acknowledge that you have seen this message.

	Chris Walshaw

From owner-mutex  Tue Dec 14 07:22:41 1993
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          id <sg.13964-0@eros.britain.eu.net>; Tue, 14 Dec 1993 12:22:14 +0000
From: Don Ward <don@careful.co.uk>
Date: Tue, 14 Dec 93 11:31:23 GMT
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To: mutex
Subject: Highland Bagpipe key signature
Precedence: bulk


I want to typeset some music for the Highland pipes.  The usual practise,
(which is confusing to non pipers) is to set it with no sharps or flats at
all.

Another emerging convention, which is much better, is to have a signature with
2 sharps (C and F) and one natural (G).  It looks like the key of A major but
with the top sharp replaced by a natural to indicate the scale that the
chanter plays.

I think I know how to modify things (for this special case only) but before I
start, has anybody already done it?

Don Ward

don@careful.co.uk				+44 (0) 21 472 1555
Careful Computing Ltd.			Fax	+44 (0) 21 608 3004
80 Witherford Way, Birmingham B29 4AS, United Kingdom.

From owner-mutex  Mon Dec 20 17:22:42 1993
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Date: Mon, 20 Dec 93 17:31:41 -0500
From: richer@CERCA.UMontreal.CA
Message-Id: <9312202231.AA22550@maillet.CERCA.UMontreal.CA>
To: mutex
Subject: MusicTeX on Mac: fontdimen26->bug
Precedence: bulk

Hi,
I have been trying to install MusicTeX on my Mac for
use with Textures.  I had it working last year with OzTeX,
and because of memory limitations, I switched to Textures.
But I can't make it work.

First, I had to compile all the fonts at 72dpi and 300dpi,
to generate the necessary font suitcase and metric files.
These appear to be fine.  At least, I can view the 
bitmaps like any other Mac font, using Font D/A mover, 
for example.

Now, when I try to use them with Textures, either to
print the documentation, or just to dump a new format
for music, TeX invariably jams on the first \fontdimen
statement it hits in file  musicnft.tex.    It
give a capacity exceeded message (too many fonts!)
and print some related numerical value, like [font=8000]..
sorry, I don't remember the exact wording, and I am not
near my mac at the moment.

I tried commenting out the first two \fontdimen's, like:

\font\musictwenty=musicn20
%\fontdimen26\musictwenty=0pt\relax
\font\musicsixteen=musicn16
\font\slurntwenty=slurn20
\font\slurnsixteen=slurn16
\font\musicthirteen=musicn13
\font\musiceleven=musicn11
\font\beamtwenty=beamn20
%\fontdimen50\beamtwenty=0pt\relax
\font\beamsixteen=beamn16
\font\beamthirteen=beamn13
\font\beameleven=beamn11

and TeX proceeded happily to the next one, several lines below.
Has anyone seen this problem before?  Is it something wrong
with the metric files?

P.S.: I used Bluesky Research's METAFONT.
---------------------------------------------------------------------------
 Jacques Richer, Ph.D.                  TEL: (514) 369-5234
 Centre de Recherche en Calcul Applique FAX: (514) 343-3880
 5160, boul. Decarie, bureau 434,       INTERNET: richer@cerca.umontreal.ca
 Montreal, PQ, CANADA  H3X 2H9
---------------------------------------------------------------------------



From owner-mutex  Wed Dec 22 04:22:41 1993
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	(1.37.109.4/16.2) id AA15656; Wed, 22 Dec 93 11:09:49 +0100
Date:  22-DEC-1993 11:08:08 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  Addresses in France
To: mutex, tex-euro@DHDURZ1.bitnet
Precedence: bulk

Dear postmaster: please transmit this message to all the lists depending
on your computing center.
===============================================================================
BITNET disappears from France.

Stating from now (December 1993) all e-mail addresses in France of the BITNET
syntax (i.e. of the form "xxx@FRyyydd.bitnet" where
  --  xxx is a userid up to 8 chars,
  --  yyy is a set of 1 to 4 letters,
  --  dd  is a set of 2 digits)
become obsolete. They will be unreachable in a FEW months.

Starting from now, the only valid e-mail addresses in France are of the form
"xxx@something.fr", "xxx@something.somewhere.fr", etc., i.e. INTERNET addresses
whose last field is ".fr".

Address conversion for messages coming from abroad is provided by node
frmop11.cnusc.fr at least until April 30th 1994, but not later than
June 30th 1994.

THUS: if you have French correspondants whose e-mail address is of the
form "xxx@FRyyydd.bitnet", you must:
  -- either change your personal directory if you know their up-to-date address,
  -- or send them a message and ask them their new e-mail address (maybe they
     do not know, but if they are able to reply, then the "From:" field of
     the answer will give you the answer).

D. Taupin = taupin@rsovax.lps.u-psud.fr (formerly taupin@frups51.bitnet)


From owner-mutex  Mon Jan  3 08:22:51 1994
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	(1.37.109.4/16.2) id AA01066; Mon, 3 Jan 94 14:31:52 +0100
Date:   3-JAN-1994 14:30:40 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  MusicTeX 4.99 and happy new year!
To: mutex
Precedence: bulk

New version 4.99 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes: to make MusicTeX compatible with the french.sty provided by the
GUTenberg (French) association, the handling of \catcode's have been reviewed
to bypass the fact that french.sty makes punctuation marks \active, i.e.
";", ">", "<", ":", "!", "?". In the same way, there is no more incompatibility
between MusicTeX and the use of "&" as a tabulation character.

The updated musicdoc (provided as a DVI and as musicdoc.ps) should be read
carefully.

Last point: happy new year to all of you, folks.

Daniel Taupin


From owner-mutex  Thu Jan  6 13:22:51 1994
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Date: 	Thu, 6 Jan 1994 13:38:22 -0500
From: Jim Service <jservice@rd.hydro.on.ca>
Message-Id: <199401061838.AA25025@jabez.rd.hydro.on.ca>
To: mutex
Subject: Typesetting lyrics
Reply-To: jservice@rd.hydro.on.ca
Precedence: bulk

My after-hours hobby is being a bass-baritone soloist.  One thing I have
used MusicTeX for is to transpose pieces into a singable (for me) key.  Over
the holidays I worked up some macros to insert "note-centred" lyrics.  The
results are attached.  If you would like the postscript or dvi output of the
attached TeX extract, send me email.

--
James (Jim) R.R. Service            Internet: jservice@rd.hydro.on.ca
Ontario Hydro                                 jservice@vis.toronto.edu
800 Kipling Ave. - Room KR132       FAX:   (416) 207-6384
Toronto, Ontario, CANADA  M8Z 5S4   voice: (416) 207-6946

----8<----8<----8<----8<----8<----8<----8<----8<----8<----8<----8<----
% Example lyrics type-setting with MusicTeX
%
\input musicnft
\input musictex
%
% Macros to add lyrics to music set by D. Taupin's MusicTeX macro package.
%
\newdimen\centreskip
\newbox\lyricbox
\catcode`\@=13		% Define @ so it can define the lyric macro later on.
%
% Offset text #2 so as to centre in a dimension of #1 noteskips.
%
\def\centrednotebox[#1]#2% noteskips, text
{\setbox\lyricbox=\hbox{#2}          % make 2nd argument an hbox
\centreskip=#1\noteskip              % first argument is the number of notes
\advance\centreskip by -1.0\noteskip % subtract part of a noteskip
\advance\centreskip by -\wd\lyricbox % subtract width of box
\divide\centreskip by 2              % divide by 2
{\kern\centreskip\box\lyricbox}}
%
% lyric macro: [number of noteskips], lines of text where each line separated 
%              is separated by \cr<space>, uses halign and a template to 
%              centre each line in a vbox.
%
% Example:     @[3]One fine day\cr In the month*
% 
% This will put the text ``One fine day'' and underneath ``In the month'' 
% centred on the next three noteskips.
%
\def@[#1]#2*{\centrednotebox[#1]{\vtop{\halign{\hfil##\hfil\cr#2\cr}}}}
%
% (default) note position of text
%
\def\lyricpitch{c}
%
% Put lyrics at a certain position on the staff.  This will maintain the lyrics
% at a constant pitch position throughout the piece.  Sections of lyrics may be
% moved by enclosing the section in {\def\lyricpitch{N} ... }, for example.
%
% Example: \zlyric{@[3]One fine day\cr In the month*}
%
\def\zlyric#1% lyric text 
{\zcharnote \lyricpitch{#1}}
%
%
Example 1:  Put lyrics on a ``hidden'' staff using the \char`@...*
macro.

\bigskip
%
\def\etwoup% two eighth note run, +ve slope, upper beam
#1% slope
#2% note 1
#3% note 2
{\ibu0{#3}{#1}\qh0{#2}\tbu0\qh0{#3}}
%
\def\nbinstruments{2}
\global\nbporteesii=1\relax
\nbporteesi=0\relax
\global\cleftoksii={{0}{0}{0}{0}}\relax
% turn off automatic bar numbering
\def\freqbarno{9999}
% put a bar number at the beginning of each line
\def\everystaff{\notes&\Uptext{\kern -1.5em\the\barno}\enotes}
%
\generalsignature{1}
\generalmeter{\meterfrac 44}
%
% This extract was taken from Micheal Jackson's song, ``Heal the World''.
%
\debutextrait
\elemskip=3ex
\Notes@[2]lit - tle\cr bet - ter*&\ibu0i{-2}\qh0i\tbu0\qh0h\enotes
\Notes@[2]space,\cr world,*&\hsk\hu h\hsk\enotes
\Notes&\ds\enotes
\Notes@[2]make a\cr make a*&\ibbu0e{-2}\qh0e\tbu0\qh0d\enotes
\barre
\Notes@[2]bet - ter\cr bet - ter*&\ibu0e{-2}\qh0e\tbu0\qh0d\enotes
\Notes@[2]place.\cr world.*&\hsk\hu d\hsk\enotes
\Notes@[3]Heal the*&\hsk\etwoup{2}{d}{e}\hsk\enotes
\barre
\Notes@[1]world,*&\hup g\enotes
\Notes@[3]make it a*&\ibu0i0\qh0i\nbbu0\qh0i\tbu0\qh0i\enotes
\finextrait
%
\bigskip

Example 2:  Put the lyrics below the staff using the $\backslash$zlyric macro.

\bigskip
%
\def\nbinstruments{1}
\global\nbporteesi=1\relax
\def\everystaff{\notes\Uptext{\kern -1.5em\the\barno}\enotes}
\def\lyricpitch{M}
\generalsignature{1}
\generalmeter{\meterfrac 44}
\debutextrait
\elemskip=3ex
\Notes\zlyric{@[2]lit - tle\cr bet - ter*}\ibu0i{-2}\qh0i\tbu0\qh0h\enotes
\Notes\zlyric{@[2]space,\cr world,*}\hsk\hu h\hsk\enotes
\Notes\ds\enotes
\Notes\zlyric{@[2]make a\cr make a*}\ibbu0e{-2}\qh0e\tbu0\qh0d\enotes
\barre
\Notes\zlyric{@[2]bet - ter\cr bet - ter*}\ibu0e{-2}\qh0e\tbu0\qh0d\enotes
\Notes\zlyric{@[2]place.\cr world.*}\hsk\hu d\hsk\enotes
{\def\lyricpitch{K}% move single verse down a bit
\Notes\zlyric{@[3]Heal the*}\hsk\etwoup{2}{d}{e}\hsk\enotes
\barre
\Notes\zlyric{@[1]world,*}\hup g\enotes
\Notes\zlyric{@[3]make it a*}\ibu0i0\qh0i\nbbu0\qh0i\tbu0\qh0i\enotes
}% end of changed \lyricpitch
\finextrait
\bye

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Date: Thu, 6 Jan 94 18:22:31 CST
From: knight@netstar.com (Steven Knight)
Message-Id: <9401070022.AA18008@banzai.netstar.com>
To: mutex
Subject: \zbarre oddness -- no staff lines!
Precedence: bulk

I'm trying to use MusicTeX to prepare a modern edition, without bar
lines, of an early fifteenth-century piece for three voices.  (We
early music types are like that; no bar lines makes it easier to see
how the lines break up into perfections and imperfections.)

Given that I'd still like MusicTeX to perform lines breaks, though, I
thought I'd put \zbarre macros wherever I'd normally put \barre.
This kind of works.  Everything goes along just fine, and then for
some reason MusicTeX decides to print a system (or two or three)
without any staff lines...  The notes are all there, and look just
fine, but there just aren't any staff lines to give you a clue as to
what pitch you're supposed to be singing--which is a slight problem.
(Additionally, these systems without staff lines have no clefs; the
first notes printed line up at far left, where the clefs would be,
which makes a wierd kind of intuitive sense to me.)

I can, myself, detect absolutely no pattern to when it decides to do
this--i.e., there's nothing obvious like "if the last measure of the
previous system contains such-and-such a sequence".  I am, however,
far from either a TeX guru or a MusicTeX guru.  I've tried obvious
things I've read about like scrubbing the file clean of all
extraneous spaces, tried additional magic like enclosing all the text
I want printed in braces, etc.  No luck.

Has anyone out there tried anything like this (pieces with out bar
lines), and been successful?  Any suggested solutions?  Or is there,
perhaps, someone who'd be interested/willing to take a look?

	Steven Knight
	knight@netstar.com

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In-Reply-To: <9401070022.AA18008@banzai.netstar.com> (knight@netstar.com)
Subject: Re: \zbarre oddness -- no staff lines!
Precedence: bulk


> Has anyone out there tried anything like this (pieces with out bar
> lines), and been successful?  Any suggested solutions?  Or is there,
> perhaps, someone who'd be interested/willing to take a look?

Have you tried looking through the source to find out what \barre does, where
it actually writes out the line, and changing it so it does nothing.

From a very cursory inspection, and following, of macro calls, the business
seems to be achieved by a macro called \thinvrule
    \def\thinvrule{\think@vrule{\lthick}}%

Try putting
    \def\thinvrule{}%
in your source and see if it works. If it doesn't, try a custom version of
musictex.tex with the replaced \thinvrule.

Don Ward

don@careful.co.uk				+44 (0) 21 472 1555
Careful Computing Ltd.			Fax	+44 (0) 21 608 3004
80 Witherford Way, Birmingham B29 4AS, United Kingdom.

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Date: Fri, 07 Jan 1994 08:55:31 -0500 (EST)
From: jservice@bart.candu.aecl.ca (Jim Service)
Subject: Re: \zbarre oddness -- no staff lines!
To: mutex
Reply-To: jservice@rd.hydro.on.ca
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> Given that I'd still like MusicTeX to perform lines breaks, though, I
> thought I'd put \zbarre macros wherever I'd normally put \barre.
> This kind of works.  Everything goes along just fine, and then for
> some reason MusicTeX decides to print a system (or two or three)
> without any staff lines...  The notes are all there, and look just
> fine, but there just aren't any staff lines to give you a clue as to
> what pitch you're supposed to be singing--which is a slight problem.
> (Additionally, these systems without staff lines have no clefs; the
> first notes printed line up at far left, where the clefs would be,
> which makes a wierd kind of intuitive sense to me.)

Two things to check come to mind:

1.  Check the "preamble" before the \debutmorceau to be sure you have
defined the correct number of staffs.

2.  If you are adding words, make sure they are enclosed in one of the text
addition macros such as \charnote, \zcharnote, \uptext, etc. And there are
no ``naked'' spaces.  Otherwise I have found that TeX will make a new line
(sometimes with a space you didn't notice) and the next line of music will
be typeset without staff lines.

You might also check that you only have \[nN][oO][tT]es...\enotes groups
after the \debutmorceau.  Any other control sequence has to be terminated
with a % or a \relax so that no extra spaces are accidentally introduced.
For example:

\elemskip = 20pt% <- This % or a \relax must be here.

--Jim

--
James (Jim) R.R. Service    E-mail: jservice@rd.hydro.on.ca        
Mail: Ontario Hydro Technologies/800 Kipling Ave. - Room KR132
      Toronto, Ontario, CANADA  M8Z 5S4   (416) 207-6946



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Cc: mutex@stolaf.edu
In-Reply-To: <9401070022.AA18008@banzai.netstar.com> (knight@netstar.com)
Subject: Re: \zbarre oddness -- no staff lines!
Precedence: bulk


> Has anyone out there tried anything like this (pieces with out bar
> lines), and been successful?  Any suggested solutions?  Or is there,
> perhaps, someone who'd be interested/willing to take a look?

Have you tried looking through the source to find out what \barre does, where
it actually writes out the line, and changing it so it does nothing.

From a very cursory inspection, and following, of macro calls, the business
seems to be achieved by a macro called \thinvrule
    \def\thinvrule{\think@vrule{\lthick}}%

Try putting
    \def\thinvrule{}%
in your source and see if it works. If it doesn't, try a custom version of
musictex.tex with the replaced \thinvrule.

Don Ward

don@careful.co.uk				+44 (0) 21 472 1555
Careful Computing Ltd.			Fax	+44 (0) 21 608 3004
80 Witherford Way, Birmingham B29 4AS, United Kingdom.

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Date: Tue, 11 Jan 1994 16:31:38 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401111531.AA01792@sunick.gmd.de>
To: mutex
Subject: Re: MusicTeX 4.99 and happy new year!
X-Sun-Charset: US-ASCII
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Daniel Taupin has released version 4.99 of MusicTeX. As usual this version
can be retrieved by anonymous ftp from our ftp-server, too:

   ftp.gmd.de    music/musictex/...

As usual I've prepared a "tar.z"-Version of musictex.zip and musicexa.zip.
For use in Un*x-systems CR-LF in text-files should be converted to CR.

As usual I've prepared smaller ZIP-files which contain only the changed
sources. They are in the subdirectory  diff-files  and named foo.498-499.zip.
Normally these files must be renamed to foo.zip to be processed in DOS-systems.

                               -------------

Some of my MusicTeX-sources contain modified MusicTeX-macros (e.g. a writeclef
version which writes a bar-number at the beginning of each line). Because of
the modification in MusicTeX I had to change such sources by adding
  \edef\catcodeat{\the\catcode`\@}\catcode`\@=11
in front of the modified definitions and 
  \catcode`\@=catcodeat
after them. If you have to do the same don't paste the lines I've (mis?-)typed
here; take them e.g. from musictex.tex

                               -------------

Daniel writes:
> 
> Last point: happy new year to all of you, folks.

I wish the same and Merry Xmas, too :-) (I know it's a little bit late;
but my Xmas-present will be late, too: in the next days I'll put both
Mozart Duos for violin & viola (KV 423 and KV 424) onto our ftp-server.
Please wait for a separate e-mail).

Werner Icking

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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <2610.9401131148@vogon>
Subject: Announcing abc2mtex v1.1
To: mutex IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Thu, 13 Jan 1994 11:48:48 +0000 (GMT)
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*****************************************************************
********** Announcing    version   1.1   of   abc2mtex **********
*****************************************************************

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|[1 dfe dBA:|[2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|[1 dfe dcB:|[2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The tune is then read in by the program and MusicTeX output  gen-
erated (in a matter of seconds). TeX can then be run on this out-
put to "typeset beautiful music".

The package is small (about 70 KByte), easy to use and  features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
(widely  available  on Unix machines and also available for PCs),
MusicTeX  (available   by  ftp  from a number of sources such  as
ftp.wustl.edu in /packages/TeX/macros/musictex) and a C compiler.

You can get a copy  of   the   package   by  anonymous  ftp  from
ftp.maths.tcd.ie in /pub/TeX/abc2mtex or  celtic.stanford.edu  in
/pub/tunes/abc2mtex   or    by    sending   an   email    request
to  me (C.Walshaw@gre.ac.uk).

        Chris Walshaw


CHANGES BETWEEN V1.1 & V1.0
^^^^^^^^^^^^^^^^^^^^^^^^^^^

The name of the executable has now been changed  from  format  to
abc2mtex and the name of the code changed to abc2mtex.c.

        NEW FEATURES (see userguide for full details)
        ^^^^^^^^^^^^

The K: field now accepts mixolydian & dorian modes (e.g.  K:AMix,
K:EDor), together with K:HP & K:Hp for highland pipes.

The new P: field can be used to mark parts inside  the  tune  and
the order of playing them in the header.

If the M: field is used to change meter and the change is just to
adjust the default note length (e.g. 4/4 -> 4/4l) then the change
doesn't show up in the printed music.

        BUG FIXES
        ^^^^^^^^^

,G corrected to G, etc. in transpose lists in abc2mtex.c.

        OTHER CHANGES
        ^^^^^^^^^^^^^

The MusicTeX macro * is now used to generate extra space in front
of accidentals and all macros containing O have been taken out of
zmacros.tex. This has halved the size of zmacros.tex  and  allows
the  code  to  cope  with  any  arrangement of accidentals within
beams.

The z marks which generate rests can be `dotted', i.e. z3,  z6  &
z12, to generate two rests, one half the length of the other.

The z's are also recognised by the code to  terminate  beams  (so
that coding such as g3zgz will be treated properly).

There are new macros (from John Walsh) in zmacros.tex for 7  &  8
gracenotes & for acb patterns.

Notes lengths of 1 and of more than one digit (e.g. 12 or 16) are
now possible.


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From: dew@custer.exxon.com (Dennis Willen)
Message-Id: <9401131244.AA14304@custer.exxon.com>
To: mutex
Subject: Midi to MusicTex conversion?
Precedence: bulk

Is there software around to convert midi files to MuTex or MusicTex?
I vaguely remember the mention of something like this, but I have
forgotten where.  

Thanks.

Denny Willen

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Date: Thu, 13 Jan 1994 14:37:20 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401131337.AA04578@sunick.gmd.de>
To: mutex
Subject: Re: Midi to MusicTex conversion?
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> Is there software around to convert midi files to MuTex or MusicTex?
> I vaguely remember the mention of something like this, but I have
> forgotten where. 

It's midi2tex and you - and all those who have forgotten that such
things are on our ftp-server - can get it by anonymous ftp from

   ftp.gmd.de     music/...
                    .../classical   Dave Lampson's Guide to classical music CD
                    .../lists       Koechel-Verzeichnis (Mozart)
                                    Ryom, ... (Vivaldi), ...
                    .../midi2tex    aha!
                    .../musictex    The MusicTeX (copy)
                    .../mutex       musictex predecessor

Werner

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Date: Thu, 13 Jan 1994 16:20:19 -0800
From: mackay@cs.washington.edu (Pierre MacKay)
Subject: <none - added by mutex-owner>
Message-Id: <199401140020.QAA00273@june.cs.washington.edu>
To: mutex
Cc: mutex@stolaf.edu, tex-euro@DHDURZ1.bitnet.washington.edu
In-Reply-To: TAUPIN@rsovax.lps.u-psud.fr's message of 3-JAN-1994 14:30:40 GMT2 <199401031342.FAA16084@june.cs.washington.edu>
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Here is the curious result of my last attempt to get musictex.


     ftp> cd ../tex
     550 file specification syntax error
     ftp> cd tex
     250 "$DISK2:[ANONYMOUS.PUB.TEX]" is current directory
     ftp> ls
     200 PORT Command Accepted.
     150 Data Connection Established: NLST 
     %RMS-E-DNF, directory not found
     226 Transfer complete
     33 bytes received in 0.23 seconds (0.14 Kbytes/s)
     ftp> cd musictex
     250 "$DISK2:[ANONYMOUS.PUB.TEX.MUSICTEX]" is current directory
     ftp> ls
     200 PORT Command Accepted.
     150 Data Connection Established: NLST 
     %RMS-E-DNF, directory not found
     226 Transfer complete
     33 bytes received in 0.19 seconds (0.17 Kbytes/s)
     ftp> mget mu*
     mget %RMS-E-DNF, directory not found? 

Are the directory privileges perhaps too restrictive?

Many thanks

Pierre MacKay


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Date: Fri, 14 Jan 1994 10:10:33 +0000 (   )
From: Alan Robert Clark <clark@YingTongDiddleIPo.ee.wits.ac.za>
Subject: Re: your mail
To: mutex
Cc: mutex mailing list <mutex@stolaf.edu>
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On Thu, 13 Jan 1994, Pierre MacKay wrote:

> Here is the curious result of my last attempt to get musictex.
> 
> Are the directory privileges perhaps too restrictive?

Nope -- you are just dealing with a VAX!!!! I remember *ONCE* succeeding
in getting it from there, and I think I needed to use the quote command to
send the (non-standard) commands to the beast (which you can get to see
via the remotehelp comand). 

Altogether, though, you should be far more successful from 
ftp.gmd.de:/music/musictex which is updated by Werner microseconds after
each release :-)

It also places a lot less load on Daniel's site which has a limited baudrate. 

Alan Robert Clark, Pr Eng     Computational Electromagnetics
Dept Elec Eng                         Wits University
P.O.Wits                   ``Bugs are later known as features''
2050 South Africa                 Ps 110:11; Ps 37/150
Fax (+27 11)403-1929       clark@YingTongDiddleIPo.ee.wits.ac.za(Pref)
Tel (+27 11)716-5404(24hr)      or clark@odie.ee.wits.ac.za
     ***Linux 0.99pl13 - the choice of a GNU generation.***



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	id AA26011; Fri, 14 Jan 94 09:31:54 +0100
Date: Fri, 14 Jan 94 09:31:54 +0100
From: Peter.Vanroose@esat.kuleuven.ac.be
Subject: <none - added by mutex-owner>
Message-Id: <9401140831.AA26011@degas.esat.kuleuven.ac.be>
To: mutex
Cc: mutex@stolaf.edu, tex-euro@DHDURZ1.bitnet.washington.edu
Precedence: bulk

> Here is the curious result of my last attempt to get musictex.
> 
> 
>      ftp> cd ../tex
>      550 file specification syntax error

This is VMS:  ``..'' has no meaning, use [-], thus:
       ftp> cd [-.tex]

>      ftp> cd tex
>      250 "$DISK2:[ANONYMOUS.PUB.TEX]" is current directory

Unlike Unix, VMS accepts any ``current directory'' specification,
even if it does not exist.  See it this way:  "$DISK2:[ANONYMOUS.PUB.TEX]"
is just a string which will be prepended to all subsequent file specifications.

>      ftp> ls
>      200 PORT Command Accepted.
>      150 Data Connection Established: NLST 
>      %RMS-E-DNF, directory not found

Of course: because the directory "$DISK2:[ANONYMOUS.PUB.TEX]"
does not exist. (As you are being told here.)

>      226 Transfer complete
>      33 bytes received in 0.23 seconds (0.14 Kbytes/s)
>      ftp> cd musictex
>      250 "$DISK2:[ANONYMOUS.PUB.TEX.MUSICTEX]" is current directory
>      ftp> ls
>      200 PORT Command Accepted.
>      150 Data Connection Established: NLST 
>      %RMS-E-DNF, directory not found
>      226 Transfer complete
>      33 bytes received in 0.19 seconds (0.17 Kbytes/s)
>      ftp> mget mu*
>      mget %RMS-E-DNF, directory not found? 

At this point, you could have typed 
       ftp> cd [---.tex]
to make the default directory "$DISK2:[ANONYMOUS.TEX]"
(I do not know if this one exists.)

Success!

--                               Peter Vanroose
                                 Electrotechnical Department, ESAT
                                 K.U. Leuven, Belgium.
                                 Peter.Vanroose@esat.kuleuven.ac.be

From owner-mutex  Mon Jan 17 03:22:51 1994
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Date: Mon, 17 Jan 1994 09:27:11 +0100
From: Maurizio Codogno <mau@beatles.CSELT.STET.IT>
Subject: MIDI2MusicTeX on linux?
To: mutex
Cc: KUYKENS@AMC.UVA.NL
Message-Id: <9401170827.AA01135@beatles.cselt.stet.it>
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Hi all!

I have found a MIDI card MPU-401 compatible for my PC at a decent price.
My basic idea is to connect my brother's Yamaha DX-7 (1st series) to the pc and 
play with this setup. The only trouble is that I'd like to do all of this
under Linux 

Does anybody know whether it's simple to set a system lke MIDI2MusicTeX on 
such an environment?

thanks, .mau.

From owner-mutex  Mon Jan 17 08:22:52 1994
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	id AA02761; Mon, 17 Jan 94 11:37:28 +0100
From: deflorio@convex.rob.csata.it (Vincenzo De Florio)
Message-Id: <9401171037.AA02761@convex.rob.csata.it>
Subject: a MusicTeX file
To: mutex
Date: Mon, 17 Jan 1994 11:25:57 +0100 (MET)
X-Mailer: ELM [version 2.4 PL20]
Content-Type: text
Content-Length: 321       
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Hi,
any people interested in a musictex score for piano which I composed
can get it by e-mailing the server
		netlib@asmit.rob.csata.it
specifying 
		send pr.ps from local/muzak
		send pr4.tex from local/muzak
in the body of the message.

Please let me know any comment

	Vincenzo De Florio
	deflorio@convex.rob.csata.it

From owner-mutex  Mon Jan 17 09:22:51 1994
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Date: Mon, 17 Jan 94 14:46:32 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex
Subject: Setting four quavers with widely spaced pitches.
Precedence: bulk

A while ago I was trying to set some music using the Ibu macro
defined in musicvbm.  I was having problems setting groups like
cjgc or chb{^g} because the beam was too close to the middle notes
if I used the outer two notes to define the beam position. I posted
a request for help back in December and Daniel Taupin showed me how
to get round my problem using \transpose.  I am posting the result
here so that others can use the macro if it's any help to them.
If you have any suggestions for improvements or simplifications I
should be pleased to hear them.

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

______________________________________________________________________
\input musicnft
\input musictex
\input musicvbm	% For variable beams
%
\newcount\myna \newcount\mynb \newcount\mync \newcount\mynd
%
\def\blank#1{}\relax % used by \quad
%
% Original quad:-
%
\def\oquadu#1#2#3#4#5% #1 is beam number #2, #3, #4, #5 are notes
{\Ibu{#1}{#2}{#5}3\qh{#1}{#2#3#4}\tbu{#1}\qh{#1}{#5}}\relax
%
\def\oquadl#1#2#3#4#5% #1 beam number #2, #3, #4, #5 notes
{\Ibl{#1}{#2}{#5}3\qb{#1}{#2#3#4}\tbl{#1}\qb{#1}{#5}}\relax
%
% Modified quad:-
%
\def\quadu#1#2#3#4#5% #1 is beam number #2, #3, #4, #5 are notes
{\def\Xna{\blank}\def\Xsh{\blank}\def\Xfl{\blank}
% Use \blank to suppress accidentals during getn@i
\getn@i{#2}\myna=\n@i\getn@i{#3}\mynb=\n@i
\getn@i{#4}\mync=\n@i\getn@i{#5}\mynd=\n@i
\absoluteaccidentals% Restore accidentals
\multiply\mynb by 3
\multiply\myna by -2
\multiply\mynd by -1
\advance\mynb by \myna
\advance\mynb by \mynd
\advance\mynb by -3
\divide\mynb by 3\relax % At this point nb=(3*nb-2*na-nd-3)/3
\divide\myna by 2
\multiply\mynd by 2
\multiply\mync by 3
\advance\mync by \myna
\advance\mync by \mynd
\advance\mync by -3
\divide\mync by 3\relax % At this point nc=(3*nc-2*nd-na-3)/3
\ifnum\mync>\mynb\relax\mynb=\mync\fi
\ifnum\mynb<0\relax\mynb=0\fi
{\transpose=\mynb\relax
\Ibu{#1}{#2}{#5}3}\qh{#1}{#2#3#4}\tbu{#1}\qh{#1}{#5}}\relax
%
\def\quadl#1#2#3#4#5% #1 is beam number #2, #3, #4, #5 are notes
{\def\Xna{\blank}\def\Xsh{\blank}\def\Xfl{\blank}
% Use \blank to suppress accidentals during getn@i
\getn@i{#2}\myna=\n@i\getn@i{#3}\mynb=\n@i
\getn@i{#4}\mync=\n@i\getn@i{#5}\mynd=\n@i
\absoluteaccidentals% Restore accidentals
\multiply\mynb by 3
\multiply\myna by -2
\multiply\mynd by -1
\advance\mynb by \myna
\advance\mynb by \mynd
\advance\mynb by 3
\divide\mynb by 3\relax % At this point nb=(3*nb-2*na-nd+3)/3
\divide\myna by 2
\multiply\mynd by 2
\multiply\mync by 3
\advance\mync by \myna
\advance\mync by \mynd
\advance\mync by 3
\divide\mync by 3\relax % At this point nc=(3*nc-2*nd-na+3)/3
\ifnum\mync<\mynb\relax\mynb=\mync\fi
\ifnum\mynb>0\relax\mynb=0\fi
{\transpose=\mynb\relax
\Ibl{#1}{#2}{#5}3}\qb{#1}{#2#3#4}\tbl{#1}\qb{#1}{#5}}\relax
%
% A few bars to show how it works.
%
\def\nbinstruments{1}
\global\cleftoksi={{0}{0}{0}{0}}%
\generalsignature{0}\relax
\leftline{Old quadu:-}
\debutextrait
\normal
\NOtes\oquadu0cjjc\oquadu0jccj\oquadu0cjcj\oquadu0jcjc%
\oquadu0cjgc\oquadu0cgjc\enotes
\finextrait
\bigskip
\leftline{New quadu:-}
\debutextrait
\normal
\NOtes\quadu0cjjc\quadu0jccj\quadu0cjcj\quadu0jcjc%
\quadu0cjgc\quadu0cgjc\enotes
\finextrait
\bigskip
\leftline{Old quadl:-}
\debutextrait
\normal
\NOtes\oquadl0cjjc\oquadl0jccj\oquadl0cjcj\oquadl0jcjc%
\oquadl0jcgj\oquadl0jgcj\enotes
\finextrait
\bigskip
\bigskip
\leftline{New quadl:-}
\debutextrait
\normal
\NOtes\quadl0cjjc\quadl0jccj\quadl0cjcj\quadl0jcjc%
\quadl0jcgj\quadl0jgcj\enotes
\finextrait
\bye

From owner-mutex  Mon Jan 17 12:22:52 1994
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	(1.37.109.4/16.2) id AA05532; Mon, 17 Jan 94 18:35:29 +0100
Date:  17-JAN-1994 18:33:49 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  Getting musictex from the source
To: mutex
Precedence: bulk

1. The source computer is a VAX
2. On VAXes, cd .. or cd something/another is not valid

After login;, just saty "cd musictex"

By the way: if you get undefined symbols like /\pmediumsize in the
index, say \mediumsize is you use NFSS, or ignore it if you
use old fashioned LaTeWXX.

dt

From owner-mutex  Wed Jan 19 08:22:51 1994
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From: etxcfl@kk.ericsson.se (ETX-T-RE Liden Fredrik)
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To: mutex
Subject: alto-clef in MusicTeX ?
Precedence: bulk


Hi all!

Is there an alto-clef symbol defined for use in MusicTeX?
If so - what's it called?
If not - why?

Thanks !

Fred (new to MusicTeX - but I already love it!)

From owner-mutex  Wed Jan 19 09:22:51 1994
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Date: Wed, 19 Jan 1994 15:43:39 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401191443.AA09437@sunick.gmd.de>
To: mutex
Subject: Re: alto-clef in MusicTeX ?
X-Sun-Charset: US-ASCII
Content-Length: 375
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> Is there an alto-clef symbol defined for use in MusicTeX?
yes
> If so - what's it called?
alto clef
> If not - why?
?

RTFM!  Find "alto" in musicdoc.tex; look for "alto clef" in the index

\cleftoksi{2000} ... \cleftoksi{5000}

> Fred (new to MusicTeX - but I already love it!)

Without having read the manual? Must be a great product! Yes, it is
a great product.

Werner

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Date:  19-JAN-1994 17:52:08 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  Alto clef
To: mutex
Precedence: bulk

Subject: Alto clef.

1. Read the doc
2. In the index, look at the refs to \cleftoks
3. Try \cleftoksi={4444}

DT

From owner-mutex  Thu Jan 20 07:22:51 1994
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From: deflorio@convex.rob.csata.it (Vincenzo De Florio)
Message-Id: <9401201300.AA29651@convex.rob.csata.it>
Subject: other MusicTeX (and PostScript) files
To: mutex
Date: Thu, 20 Jan 1994 13:50:17 +0100 (MET)
Cc: deflorio@convex.rob.csata.it (Vincenzo De Florio)
X-Mailer: ELM [version 2.4 PL20]
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Hi,
any people interested in a musictex score for guitar which I composed
can get it by e-mailing the server
			netlib@asmit.rob.csata.it
specifying 
			send iuvenil.ps from local/muzak
and
			send iuvenil.tex from local/muzak
			send iuven1.tex from local/muzak
			send iuven2.tex from local/muzak
			send iuven3.tex from local/muzak
			send iuven4.tex from local/muzak
in the body of the message.

You likewise can fetch the index of available files by specifying
			send index from local/muzak

Please let me know if you like 'em or not, suggestions and such

Regards,

- Vincenzo De Florio
  deflorio@convex.rob.csata.it


From owner-mutex  Sat Jan 22 01:22:51 1994
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Date: Sat, 22 Jan 94 00:29 CST
From: adriano@seas.smu.edu (Adriano de Carvalho)
To: mutex
Subject: ICSI94
Precedence: bulk

Dear reader,

Due to the wide spectrum of people that might be interested in the
subjects to be discussed during the III International Conference on Systems
Integration, we decided to post this call for papers in your mailing list.

We encourage you to participate in this event as a paper author.

The paper arrival deadline is March 3, 1994.

Please forward this message to whoever you think it might be of interest and we
appreciate your effort to post it.

Thanks,

Prof. Fuad Gattaz Sobrinho <iiisis@ccvax.unicamp.br>
Conference Chairman


    -----------------------------------------------------------------
			   Call for Papers

	The Third International Conference for Systems Integration
			Sao Paulo City - Brazil

		     July 30th - August 6th, 1994
    -----------------------------------------------------------------

The Integration of Society for the Social, Economical, Scientific and
Technological Development. This conference focuses on the integration
of technologies, processes and systems, and the development of mechanisms
and tools enabling solutions to complex multi-disciplinary problems dealing
with agriculture, housing, telecommunications, financing and business,
public services, education and software. The conference will provide an
international and interdisciplinary forum in which researchers, educators,
managers, practitioners and politicians, involved within the production
process, can share novel research and development, education, production,
trading, management and political experiences. Papers should deal with
recent effort in theory, design, implementation, methodology, technics,
tools and experiences of integration. Topics to be addressed include, but
are not limited to:

     Technical and Scientific Aspects:
	- Integration, Modeling, Characterization and Automation of Process
	  and Systems
	- Reengineering and Simplification of Processes
	- Computational Environments and Software Factories for Engineerind,
	  Design, Manufacturing and System Development
	- Rol of Human Engineering in Integration
	- Experiences within National or Continental Software Projects
	- The Implication of Systems Integration for Manpower Skills
	- Quality Control and Certification in Organizational and Process
	  Integration.

     Social, Political and Economical Aspects:
	- Experiences in Modeling, Development, Evolution and Integration
	  of Enterprises
	- Experiences in Management and Identification of Value-Add Chains
	  within Agriculture, Housing, Telecommunications, Financing and
	  Business, Public Services, Education and Software
	- Public Policies and City Management
	- Management of Multi-dimensional Integration.

     Infrastructure Aspects:
	- Qualified Information Resources
	- Education and Training
	- Science and Technology
	- Enterprise Development.

Information and Instructions for Authors: All papers must be in English
or  Portuguese, typed in double spaced format, and may not exceed 6,000
words. Each submission should provide a cover page containing author(s),
affiliation(s), complete address(es), identification of principal author,
and telephone number. Also include SIX copies of complete text with a
title and abstract. Notice of acceptance will be mailed to the principal
author(s) by March 15, 1994. If accepted, the author(s) will prepare the
final manuscript, in English, in time for inclusion in the conference
proceedings and will present the paper at the conference; otherwise, the
author(s) will incur a page charge. Authors of accepted papers must sign
a copyright release form. The proceedings will be published by the IEEE
Computer Society Press.

Send SIX copies of your paper(s) to:

Prof. Peter A. Ng
IIISis - USA Office - New Jersey Institute of Technology
University Heights
Newark, NJ  07102
USA

For Further Information, Contact:

Prof. Peter A. Ng		 Prof. Fuad Gattaz Sobrinho
Fone:(1) (201) 596-3387     OR   Phone:(55)(192) 41-4504
Fax: (1)(201) 596-5777		 Fax:  (55)(192) 41-3098
Email: ng_p@vienna.njit.edu	 Email: iiisis@ccvax.unicamp.br

-------------------------------------------------------------------
>>>>>>>>>> Paper Arrival Deadline: March 3rd, 1994 <<<<<<<<<<<<<<<<
-------------------------------------------------------------------

CONFERENCE COMMITTEE

Conference Chair		Fuad Gattaz Sobrinho
				IIISis
Program Chair			Peter A. Ng
				NJIT
Finance & Business Co-Chair	Alcir A. Calliari
				Banco do Brasil
Agriculture Co-Chair		Ney B. Araujo
				ABAG
European Co-Chair		Herbert Weber
				University of Dortmund
Pac!fic Co-Chair		Fumihiko Kamijo
				IPA
Middle East Co-Chair		Asuman Dogac
				METU
South America Co-Chair		Julio C. S. P. Leite
				PUC/RJ
North America Co-Chair		Bruce Berra
				Syracuse University
Tutorials Co-Chairs		Oscar Ivan Palma Pacheco
				EMBRAPA
				Murat M. Tanik
				SMU
Organization Co-Chairs		Rita de Cassia A. Marchiore
				IIISis
				Carole Poth
				NJIT
Steering Committee Chair	Peter A. Ng
				NJIT
Honorary Advisors		Raymond T. Yeh
				C. V. Ramamoorthy
				Laurence C. Seifert
Honorary Conference Chair	Irma Rossetto Passoni
				Sc&Tech, Info. and Comm. Comission of
				Brazilian Congress.

Sponsored by IIISis - International Institute for Systems Integration,
BB - Banco do Brasil, TELEBRAS, FINEP, CNPq, FBB, with colaboration of
NJIT, SUCESU, EMBRAPA, ABAG, ACM e IEEE Computer Society.

Instituto Internacional de Integracao de Sistemas - IIISis - Brazil.



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Date:  25-JAN-1994 19:07:43 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  Musictex 4.991
To: mutex
Precedence: bulk

New version 4.991 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes: corrections to \sepbarrules and to repeat features.
(Thanks to Stalislav Kneifl from Prague)

Daniel Taupin



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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401261144.AA14958@sunick.gmd.de>
To: mutex
Subject: Bach BWV1001 and a MusicTeX-problem and a solution
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I tried to generate beams in a way Bach they wrote. So I used
combinations like \ibu0 followed by \nbbl0 or \ibl0 followed by
\nbbu0. These didn't work as expected because \nbbl0 and \nbbu0
always adds beams at that side of the existing beams which is
defined by the corresponding \ibbx0.

Now I found a solution using \off:

----------------------------------------------------schnipp----------------
\input musicnft\input musictex\def\nbinstruments{1}

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
\def\qsK{\off{-1\qn@width}}\relax
\def\sK{\off{-1\noteskip}}\relax
\def\hsK{\off{-1\hn@width}}\relax
\catcode`\@=\catcodeat

That's the problem:

\generalmeter{\meterC}\signaturegenerale{-1}\debutextrait\relax
\Notes\ibbu0{`f}{-4}\qhp0g\enotes\relax
\notes\tbbbl0\ITenu0{'d}\qb0{cb}\nbbbl0\qb0c\tten0\tqb0a\enotes\relax
\Notes\ibbl0{'d}4\qbp0b\enotes\relax
\notes\tbbbu0\qh0{`g}\ITenl0g\qh0{'a}\nbbbu0\qh0c\tten0\tqh0b\enotes\relax
\finextrait

And that's my solution:

\generalmeter{\meterC}\signaturegenerale{-1}\debutextrait\relax
\Notes\ibbl0{'f}{-4}\qsK\qhp0{``g}\enotes\relax
\notes\tbbbl0\ITenu0{'d}\qb0{cb}\nbbbl0\qb0c\tten0\tqb0a\enotes\relax
\Notes\qsK\ibbu0{`d}5\qsk\qbp0{''b}\enotes\relax
\notes\tbbbu0\qh0{`g}\ITenl0g\qh0{'a}\nbbbu0\qh0c\tten0\tqh0b\enotes\relax
\finextrait

\bye
----------------------------------------------------schnapp----------------

As a result of this solution I restarted my work on the Solo Sonatas and
Partitas by J.S. Bach (BWV1001-1006) after I finished my work on the two
Duos for violin and viola by W.A. Mozart (KV423/KV424).

Up to now the first movement of the first sonata is complete. There are
two versions; one Urtext and one with my fingering added.

I put this - ps-file and tex-inputs - on our ftp-server:

      ftp.gmd.de     music/scores/bach/bwv1001.zip
      
Whatever comments you have, please let me know. Enjoy  -- Werner

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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401261510.AA15073@sunick.gmd.de>
To: mutex
Subject: Mozart's Duos for violin and viola (KV423/424) with MusicTeX 
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Some time ago I announced a score of Mozart's 1st Duo for violin and viola
(KV423). Now I've finished the score of the 2nd Duo (KV424) by correcting the
last-but-one error :-) (Thanks to some nice people who helped me in proof-playing
by finding at least one error - e.g. Maurice Ling, Rainer Staringer, my daughter 
Ann, ...). In addition I corrected some errors I found in my score of KV423 and 
revised the additional parts for a 2nd violin (instead of a viola). For more 
details I append my notes for those who already got KV423 and who can make 
manual correction - or should fetch it once more.

I used MusicTeX and produced some selfcontained postscript files with the score 
and the parts (and a transposed part for a 2nd violin :-).

You can get the files as ZIP-archives by anonymous ftp from

  ftp.gmd.de [129.26.8.90]     music/scores/mozart/kv4234ps.zip   (KV423+KV424)
                                                   kv423-ps.zip
                                                   kv424-ps.zip   

Enjoy -- Werner

--kv423-readme.prt--------------------------------------------------------------

--Here are the PostScript-files for KV423 - to be printed on A4-size paper
                                                             (210mm x 297mm)
  score.ps  contains the score in landscape
  parts.ps  contains the parts
              pages  1 to 10 for the violin part
              pages 11 to 19 for the viola  part
              pages 21 to 29 for a part for a 2nd violin (octaviated viola)

If you have a printer for A3-size paper (420mm x 297mm) parts can be printed
doublesided from partsa3.tex. Normally the sheets should be cut at the right
side by less than 1.2 cm, binded at the left side and folded at the former
middle of the page. The second sheet should be folded in the middle before
being binded. So you get three parts:

          sheet     back        front    sheet
 Violin                     |Title|Title|  1   3-3-2  means:
            1  |3-1-1|3-1-2||3-1-3|        2   | | +--- page 2 of 
            2         3-2-1||3-2-2|            | +----- 3rd movement of
                      3-3-1||3-3-2|3-3-3|  3   +------- KV42-3
 Viola      3  |blank|blank||Title|Title|  4
            4  |3-1-1|3-1-2||3-1-3|3-2-1|  5
            5  |3-3-1|3-3-2||3-3-3|blank|  6   This sheet may be cutted to A4
 Violin 2   6  |blank|blank||Title|Title|  7
            7  |3-1-1|3-1-2||3-1-3|3-2-1|  8
            8  |3-3-1|3-3-2||3-3-3|blank|  9   This sheet may be cutted to A4
            9  |blank|blank|

Enjoy -- Please report any errors to  Werner.Icking@gmd.de       7. Nov. 1993

Addendum (15. Sep. 1993): If you want to print on letter-size paper you
  can try to insert the following lines into the ps-files just in front
  of the first PostScript commands (/TeXDict ...)
%%-----------------------------------------------------------------snipp-----
/GMD_realshowpage /showpage load def
/GMD_myshowpage { GMD_realshowpage 1.00 0.94 scale 14 49 translate } bind def
/showpage { GMD_myshowpage } bind def
1.00 0.94 scale 14 49 translate
%%-----------------------------------------------------------------snipp-----
Addendum (27. Nov. 1993):
  1.00 0.94 scales ("magnifies") the page in horizontal and vertical direction
    14   49 moves the page in horizontal and vertical direction by 14 resp. 49
            units (of 1/72 inch?). You may need different shifts or factors.
  I include testpage.ps with two pages of output for testing purpose.

Addendum (26. Sep. 1993): I found some errors in the 3rd movement which have
  been corrected in the current version.
  violin: 
   bar 80:                    e #d               (was: e d)
  viola:
   bar 79:                    g e #d e a e #d e  (was: g d #c d a d #c d)
   bar 81:                    e #d               (was: e d)
   bar 149/151, 2nd quarter:  chord g b          (was: chord g c)

  The additional part for a second violin has been revised.

Addendum (17. Oct. 1993): I beautified some beams and slurs and revised the
  the octaviation of the part for a second violin.

Addendum (07. Nov. 1993): I reorganized the a3-paper output

Addendum (28. Nov. 1993): I corrected the violin part 3rd movement bar 170:
  2nd quarter:                =f d b             (was: f d b)
  4th quarter:                =f e f             (was: f e f)
------------------------------------------------------------------------------
Werner Icking        Werner.Icking@gmd.de        (+49 2241) 14-2443     __o
GMD - Gesellschaft fuer Mathematik und Datenverarbeitung mbH          _`\<,_
Schloss Birlinghoven, PO-Box 1316, D-53731 Sankt Augustin, Germany   (_)/ (_)
                             "Der Dativ ist dem Genitiv sein Tod." ~~~~~~~~~~~

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Date:  28-JAN-1994 15:05:58 GMT2
From: TAUPIN@rsovax.lps.u-psud.fr
Subject:  MusicTeX 5.00
To: mutex
Precedence: bulk

Subject: MusicTeX version 5.00
New version 5.00 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes: musicn*.* becomes musikn*.* with corrections due to Andreas Egler
New features:
 - MusicTeX now allows scoring of:  - percussions
                                    - gregorian (plain chant)
 - Staffs may have 1 to 6 lines, not necessarily 5
 - modern clefs may be replaced with other symbols, or with... nothing

Daniel Taupin


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From: smoliar@iss.nus.sg (Stephen Smoliar)
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In-Reply-To: TAUPIN@rsovax.lps.u-psud.fr's message of 28-JAN-1994 15:05:58 GMT2 <9401281403.AA04043@stolaf.edu>
Subject: Which are the new files in MusicTeX 5.00?
Precedence: bulk

Daniel,

My ftp connection to your machine just broke but not before I did some perusing
of the musictex directory.  The only files which seemed to be newer than
January 25 (the date of your last release) which were not music examples
were musicdoc.* and musik*.*, which were font files.  Is it true that there
is no new musictex.tex file?  This struck me as a little bit strange,
particularly since SOME file much be changed to acknowledge the renamed
font files.

Also, I would like to make a minor request in the name of those of us who surf
directories, rather than just copy everything all the time.  Could you create
a subdirectory to hold the music examples?  That way, a straight directory
listing will be less likely to scroll off the screen several times over.
(I would also appreciate being TOLD which are the new files, rather than
having to search for them myself;  but I do not find directory surfing too
great a burden!)

Steve

From owner-mutex  Sun Jan 30 17:22:51 1994
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Date: Mon, 31 Jan 94 06:55:57+080
From: smoliar@iss.nus.sg (Stephen Smoliar)
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To: mutex
In-Reply-To: Dale Gold's message of Mon, 31 Jan 94 09:54:47 PST <9401311754.AA001pf@basso.actrix.gen.nz>
Subject: Which are the new files in MusicTeX 5.00?
Cc: mutex@stolaf.edu
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>
>Hi Stephen, on Jan 29 you wrote:
>
>> The only files which seemed to be newer than
>> January 25 (the date of your last release) which were not music examples
>> were musicdoc.* and musik*.*, which were font files.  Is it true that there
>> is no new musictex.tex file? 
>
>I thought someone else would have jumped in with an answer by now, but I'll
>hazard a guess: the font archives were musicpk*.* and I think that musik*.*
>                                           ^^                          ^
>will contain the new macros.  I haven't had a chance to look yet myself.
>
Dale,

Other than the music examples and musicdoc.* files, these are the files I found
which had dates more recent than January 25:

  -rw-r--r--  1 smoliar       914 Jan 29 08:07 musikd11.mf
  -rw-r--r--  1 smoliar       914 Jan 29 08:07 musikd13.mf
  -rw-r--r--  1 smoliar       914 Jan 29 08:07 musikd16.mf
  -rw-r--r--  1 smoliar       916 Jan 29 08:07 musikd20.mf
  -rw-r--r--  1 smoliar     30549 Jan 29 08:08 musikgen.mf
  -rw-r--r--  1 smoliar       303 Jan 29 08:08 musikn11.mf
  -rw-r--r--  1 smoliar      6144 Jan 29 08:08 musikn11.pk
  -rw-r--r--  1 smoliar      1024 Jan 29 08:09 musikn11.tfm
  -rw-r--r--  1 smoliar       303 Jan 29 08:10 musikn13.mf
  -rw-r--r--  1 smoliar      7168 Jan 29 08:10 musikn13.pk
  -rw-r--r--  1 smoliar      1024 Jan 29 08:11 musikn13.tfm
  -rw-r--r--  1 smoliar       303 Jan 29 08:11 musikn16.mf
  -rw-r--r--  1 smoliar      9216 Jan 29 08:11 musikn16.pk
  -rw-r--r--  1 smoliar      1024 Jan 29 08:11 musikn16.tfm
  -rw-r--r--  1 smoliar       303 Jan 29 08:12 musikn20.mf
  -rw-r--r--  1 smoliar     11776 Jan 29 08:12 musikn20.pk
  -rw-r--r--  1 smoliar      1024 Jan 29 08:12 musikn20.tfm

I do not think will shall find any new macros in these.  I also wonder how
these new files would be "visible" without a modification of the files which
knew about their old names.  (By the way, I am sending a copy of this to the
mailing list to give the rest of the world a better document of my experience.
The file dates, of course, reflect my own host, rather than those on Daniel's
machine.)

Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg	FAX:  +65-473-9897

From owner-mutex  Mon Jan 31 04:22:51 1994
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From: Ralph J. Hangleiter <ralph@venus.isa.cie.uva.es>
Subject: problem with instrument names
To: mutex
Date: Mon, 31 Jan 94 11:04:11 WET
Mailer: Elm [revision: 70.85]
Precedence: bulk


Hi, 

I am a new user of MusicTeX and have some questions. They maybe just occur
because my experience is more with LaTeX then with plainTeX, but anyway:

First problem:
 When setting the following test-piece, I have the problem
that the instrument names overlap with the score (or more precisely with
the bar that joins the human voices). The Contraalto es especially bad.
What can I do to change that?

Second problem:

How do I set 2 (3,4) lines of text between staffs? In the praetori-example
I have seen something like a catcode-change for @ which is then used for
setting text, but that is (in the moment) too much plain TeX for me - 
so any solution here?

By the way, my MusicTeX-Version is 4.99
----------------- test-piece -----------------------
\input musicnft
\input musictex

\font\Enorme=cmbx12 scaled \magstep4
\font\Moyen=cmbx12 scaled \magstep1

\vbox{%
\centerline{\Enorme Salutaris}
\bigskip
\rightline{\Moyen Alguien}
}%

\def\nbinstruments{5}
\def\instrumentv{Soprano}
\def\instrumentiv{Contraalto}
\def\instrumentiii{Tenor}
\def\instrumentii{Bajo}
\def\instrumenti{B.C.}
\nbporteesi=2\relax

\cleftoksii={{6}}
\cleftoksi={{6}{0}{0}{0}}
\generalmeter{\meterfrac 44}
\generalsignature{-2}
\def\lowersonginstrum{2} 
\def\uppersonginstrum{5}
\def\freqbarno{5}
\sepbarrules
\debutmorceau
\normal
\Notes \qu{KHLK}| \qu{abne} | \qu{aede} | \qu{adfg}  \midtwotext{bald} |\qu{khlj} | 
\qu{eaMa} \enotes 
\barre
\Notes \qu{IHLK}| \qu{abne} | \qu{aede} | \qu{opmn}\uptext{this is text} |\qu{khlj}\uptext{texto} | 
\qu{eaMa} \enotes
\barre
\Notes \qu{IHLK}| \qu{abne} | \qu{ae} \zmidtwotext {testing} \qu{de} | \qu{mnmn} |\qu{khlj} | 
\qu{eaMa} \enotes
\barre
\Notes \qu{IHLK}| \qu{abne} | \qu{aede} | \qu{dfls} |\qu{khlj} | 
\qu{eaMa} \enotes
\barre
\Notes \qu{IHLK}| \qu{abne} | \qu{aede} | \qu{opmn}\uptext{this is text} |\qu{khlj}\uptext{texto} | 
\qu{eaMa} \enotes
\barre
\Notes \hu{I}\zmidtwotext{Aqu\'i canto el bajo}\temps\hu{H}| \qu{abne} | \qu{aede} | \qu{opmn}\uptext{this is text} |\qu{khlj}\uptext{texto} | 
\qu{eaMa} \enotes
\barre
\Notes \qu{IHLK}| \qu{abne} | \qu{aede} | \qu{opmn}\uptext{this is text} |\qu{khlj}\uptext{texto} | 
\qu{eaMa} \enotes
\barre
\finmorceau
%\end{music}

\bye
--
  Ralph J. Hangleiter        R.U. Alfonso VIII., hab. 230,C/ Real de Burgos s/n
                             E-47011 Valladolid, SPAIN  Tel.: xx 34 83 42 30 39
  ralph@venus.isa.cie.uva.es  
  ralph@hp9000.uva.es       ralph@cpd.uva.es (X.400) c08f@alf.zfn.uni-bremen.de 

From owner-mutex  Mon Jan 31 08:41:52 1994
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Date: Mon, 31 Jan 1994 15:17:57 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401311417.AA18040@sunick.gmd.de>
To: mutex
Subject: MusicTeX distribution
X-Sun-Charset: US-ASCII
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Hi Steve,

> Also, I would like to make a minor request in the name of those of us who surf
> directories, rather than just copy everything all the time.  Could you create
> a subdirectory to hold the music examples?  That way, a straight directory
> listing will be less likely to scroll off the screen several times over.
> (I would also appreciate being TOLD which are the new files, rather than
> having to search for them myself;  but I do not find directory surfing too
> great a burden!)

Since a long time I prepare zip-files which contain only the changed parts
and I put them onto our anonymous ftp-server. Most of the time I'm able to
present the files very shortly after Daniel announces a new-version.

You find these file on

   ftp.gmd.de       music/musictex/diff-files/...

e.g.   musictex.4991-500.zip; on a PC you have to rename the file during
ftp-ing them e.g.   get musictex.4991-500.zip musictex.500

The complete distribution *is* separated into four pieces if you do not
want all parts:

     musictex.zip   MusicTeX
     musicexa.zip   the examples
     recueill.zip   the TeX'ed examples
     musicpk.zip    the fonts

For the new version 500 it was not possible for me to generate a diff-file
for the pk-files. So you have to fetch: musicpk.zip (which is changed very
seldom) from the musictex-directory and musictex.4991-500 from the
diff-files-directory.

Werner

PS: It's nice of you not to copy always all :-)   I tell that because I
    often find in the log of our server that someone fetched  *all*
    zip-files, *all* tar.Z-files (which contain the same) and sometimes
    the diff-files, too :-(

From owner-mutex  Mon Jan 31 11:46:27 1994
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>From owner-mutex  Mon Jan 31 10:49:39 1994
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Via: uk.ac.birmingham.computer-centre.ibm3090; Mon, 31 Jan 1994 15:10:27 +0000
Date: Mon, 31 Jan 94 15:18:14 GMT
From: Rimmus T Rim <CEN92091@ibm3090.bham.ac.uk>
Subject: Help-installing mutex
To: mutex
Message-ID: <"31_Jan_94_15:18:14_GMT_#3315"@UK.AC.BHAM.IBM3090>
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 Hi there,
       I know that this will be a very basic question but please reply direct t
o me to save digest space.
       I am interested in the possiblility of:-
                 - writing single staff bass clef music (for bass guitar)
                 - writing 2 staff (piano) with lyrics + gutar chords
       I have access to a SUN workstation with Latex.

                       I have looked at the ftp.stolaf.edu site and have found
some mutex and musictex stuff. To begin with I think I only want to use MuTeX i
n order to do single staff bass guitar stuff.

       Which files do I need to download to use MuTex?
       Which need BINARY and which ASCII transfer?
       How do I de .Z and .tar the files and install MuTeX?

    All help gratefully received

                     Tim Sutton

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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9401311804.AA00358@sunick.gmd.de>
To: mutex
Subject: Re: Mozart's KV423 with MusicTeX - Duo for violin and viola
Cc: mutex@stolaf.edu
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When I published the first Mozart Duo for violin and viola I had to
answer often the questions like: 

> Why don't you just distribute the TeX code?

> why not just post your (music)tex sources so people can make ps/lj
> or whatever?

> Would you be able to send along ascii of the MusicTeX files that your 
> postscripts were generated from?  I've always hoped users of our MTeX list
> would start swapping scores in this format after typing them in.. as one can
> theoretically automatically churn out simple renditions via MIDI that way.

> Does this mean you are _not_ making the tex files available?
> Seems a pity, if so.

Ok - here we go:

   ftp.gmd.e   music/scores/mozart/kv423src.zip

contains an *excerpt* of the MusicTeX-sources, the SNOBOL-programme to
select the parts from the score, my MusicTeX-add-ons, ...

It's not the complete source, but so much that one can see how I use
MusicTeX, how I write a score with respect to extracting parts, etc.

And it's not-well-documented. It was your idea to distribute it, not mine :-)

Werner 

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:   1-FEB-1994 15:38:13 GMT2
Subject:  MusicTeX version 5.01 available.
To: mutex
Precedence: bulk

Subject: MusicTeX version 5.01
New version 5.01 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes:
 - 5.01 pretty piano/organ/keyboard braces due to Andreas Egler
 - 5.01 additional ornaments due to Andreas Egler
 - 5.00 musicn*.* becomes musikn*.* with corrections due to Andreas Egler
New features:
 - 5.00 MusicTeX now allows scoring of:  - percussions
                                         - gregorian (plain chant)
 - 5.00 Staffs may have 1 to 6 lines, not necessarily 5
 - 5.00 modern clefs may be replaced with other symbols, or with... nothing

Daniel Taupin


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Subject: Drums
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Hi folks,

i'm playing drums and when i touch the hi-hat i want the following
output:

  ____
  |  |
  |  |
 X  X                           and so on.
----------------------

----------------------

----------------------

----------------------

----------------------
 
Is there an easy way to get an 'X' instead of a note. Thank you.

Andy

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From: Werner.Icking@gmd.de (Werner Icking)
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To: mutex
Subject: alignment of staffs
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1.  I've two pages full with music. I want to aligne both pages such a way,
    that the last line of each page has the same vertical position.

    Is there a simple (and not wrong :-) solution?


2.  I know that there are variables like \topfacteur or \bottomfacteur. Is
    there a way to distribute the remaining space on a page equally on all
    staffs (systems?)?

Werner

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From: Christoph Fuchs <JCF@ibma.ipp-garching.mpg.de>
Subject:      Repeats and Changecontext
To: mutex
Precedence: bulk

I have difficulties using repeats when the context (keys,meters,signs)
changes simultaneously.
\setleftrightrepeat\changecontext works fine in the middle of a line,
but not at a linebreak, whereas \leftrightrepeat or
\leftrightrepeat\updatecontext don't work correct neither in the
middle of a line (e.g. change of sign is not indicated) nor at a
line break (meters are written twice on the new staff).

As a quick-and-dirty solution I defined the macro \leftrightrepeatupdate
(and similar macros for left or right repeats):

\def\leftrightrepeatupdate{\gluebrule\nobreak\discretionary%
{\setrightrepeat\newbar\hbox{\writenewclefs\writenewsignatures%
\writemeters}}%
{\hbox{\portees\writeclefs\everystaff\Writesignatures\l@eftrepeat%
\writemeters}}%
{\setleftrightrepeat\newbar\hbox{\updatecontext}}\save@all}

Is there a better (or easier, or safer) solution to this problem?

Christoph

+--------------------+------------------------------------------------+
| J. Christoph Fuchs | E-Mail:     jcf@ipp-garching.mpg.de            |
|                    | Voice:      +49 89 3299 1730                   |
|                    | Fax:        +49 89 3299 2580                   |
|                    | Mail:       Max-Planck-Institut f. Plasmaphysik|
|                    |             D-85748 Garching b. Muenchen       |
|                    |             Germany                            |
+--------------------+------------------------------------------------+

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:   8-FEB-1994 14:56:24 GMT2
Subject:  drums
To: mutex
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I can implement noteheads with a X instead of a black ellipse.
But a question: if the note replaces a half note or a whole note,
what does the note head look like ?

dt

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To: mutex
Subject: Re: whole note for percussion
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TAUPIN@rsovax.lps.u-psud.fr writes:
 > 
 > I can implement noteheads with a X instead of a black ellipse.
 > But a question: if the note replaces a half note or a whole note,
 > what does the note head look like ?

It looks like a diamond:

/\
\/

Fabio Kon - Computer Science graduate student - Music (percussion) B.A.




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          +0100
Date: Tue, 08 Feb 1994 19:30:24 +0100
From: Eckart Meyer <meyer@ifn.ing.tu-bs.de>
To: mutex
Message-ID: <00979C41.698D716D.16239@ifn.ing.tu-bs.de>
Subject: Can I do ...
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... the following (picture instead of words - I don't know what's in english):


	+--------------------+ +-------------------
	|1.                  | |2.                         <---- Here is it!
_____________________________________________________
_____________________________:|______________________
______________________________|______________________
_____________________________:|______________________
______________________________|______________________


Thank you.

--Eckart

-----------------------------------------------------------------------------
Eckart Meyer                                     Address:  Schleinitzstr.  23
Inst. f. Nachrichtentechnik                                38092 Braunschweig
Technical University of Braunschweig                                  Germany
                                                 Phone:      +49 531 391 2454
E-Mail:   meyer@ifn.ing.tu-bs.de                 FAX:        +49 531 391 5192
VMSmail:  PSI%26245050551130::MEYER (DATEX-P)
-----------------------------------------------------------------------------


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Date:         Tue, 08 Feb 94 18:45:19 HOE
From: Agustin Martin <EPRFIS@vm1.sdi.uam.es>
Organization: Native address: <EPRFIS@EMDUAM11.BITNET>
Subject:      more heads
To: mutex
Precedence: bulk


Replying to:

<>From: dworscha@edv.mpi-stuttgart.mpg.de
<>Date: Mon, 07 Feb 1994 16:13:31 +0100
<>Subject: Drums
<>To: mutex@stolaf.edu
<>Message-id: <9402071513.AA22871@edvux3.mpi-stuttgart.mpg.de>
<>Content-transfer-encoding: 7BIT
<>Precedence: bulk
<>
<>
<>Hi folks,
<>
<>i'm playing drums and when i touch the hi-hat i want the following
<>output:
<>
<>  ____
<>  |  |
<>  |  |
<> X  X                           and so on.
<>----------------------
<>
<>----------------------
<>
<>----------------------
<>
<>----------------------
<>
<>----------------------
<>
<>Is there an easy way to get an 'X' instead of a note. Thank you.
<>
<>Andy

Hi,
With respect to the problem with note heads, I am also coding percussion
and I had the same problem. I solved it by intercepting the
quarter note head definition, substituting this head by other different heads.
To make it work the macro moreheads.tex, that you will find
below after some examples, has to be input

The choose of a x head is made by writing

\xhead{\ql{j}\cu{k}..........}

for the x head , or

\cowbell{...........} for the > symbol for cowbell (not well implemented)
\oxhead{............} for a circled x head

All the quarter note heads within {....} will be substituted by the selected
head. Half note heads and whole note heads are not affected, but
similar definitions can be made. However, I think that is not neccesary.

Here you are the MOREHEADS.TEX file

%******* Changing note heads for specific        *****************
%******* instruments                             *****************
%******* \headcode=1 normal heads                *****************
%*******          =2 x heads                     *****************
%*******          =3 circled x heads             *****************
%*******          =4 > heads (cowbell)           *****************
%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
%
\def\headcode{1}
\def\xhead#1{\def\headcode{2} #1 \def\headcode{1}}
\def\oxhead#1{\def\headcode{3} #1 \def\headcode{1}}
\def\cowbell#1{\def\headcode{4} #1 \def\headcode{1}}
% quarter note heads *********************************************
\def\q@u{\ifcase\headcode%
\or\musicnfont\char33\hss%
\or\musicnfont\char'65\hss%
%\or$\mathrel{\mathop{\circ}\limits{\musicnfont\char'65}}$\hss%
\or\raise -\internote\hbox{$\bigcirc$}\kern -0.8em\musicnfont\char'65\hss%
\or\raise 3\internote\hbox{\musicnfont\char'37}\hss%
\fi}%
%
\catcode`\@=\catcodeat
%
%**************************************************************************


Has anybody get it in a different way, or for other different heads?

Bye,
                               Agustin Martin Domingo

                               Depto. Fisica e Instalaciones
                               ETS Arquitectura Madrid
                               Avda Juan de Herrera, 4
                               E-28040 Madrid SPAIN
                               Tel. (1) 336 6536 Fax (1) 544 2481
                          or
                               Departamento de Fisica de Materiales C-IV
                               Universidad Autonoma de Madrid
                               E-28049 MADRID
                               Tel. (1)397 5028 Fax. (1)397 8579

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From: dsimons@cclink.logicon.com (Simons, Don)
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Subject: Figured bass
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     There are several symbols I sorely miss when using MusicTeX to typeset 
     Baroque chamber music scores.  They pertain to figured bass.  First, 
     the symbols for "sharped 4" (a numeral 4 with a little vertical slash 
     across the horizontal member), and similarly, a "sharped 6" (a numeral 
     6 with a short diagonal slash across the upper extremity).  Is there a 
     way to do these now?  If not, could they somehow be added to the 
     character set?  I don't know which font I'm using...it's the default 
     font that appears when I just say \zcharnote{..}{..}.
     
     The other symbol is a horizontal line (indicating a continuation of 
     the same harmony when the bass note has changed) extending an 
     arbitrary distance to the right from directly below one bass note.  
     I'm sure a TeXpert could make this symbol with a rule of some sort, 
     but I'm not that advanced with the TeX language.  Any help would be 
     appreciated.
     
     Don Simons (dsimons@logicon.com)

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To: mutex
From: "Christopher G. Currie"  <CGCURR@tsrv1.ts.wm.edu>
Date:         8 Feb 94 17:06:43 EDT
Subject:      Re: drums
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> I can implement noteheads with a X instead of a black ellipse.
> But a question: if the note replaces a half note or a whole note,
> what does the note head look like ?

I don't think there is a need for half note or whole x's. If you're
representing percussive sounds, they won't last for any controlable
length of time, so a duration to a drum (or high hat) is meaningless.
In that case, a quarter note folled by an eighth note should suffice.

----------------------------------------------------------------------
                           _____  _____   _____
It's ten o'clock:         /      /       /          Christopher Currie
 do you know where       /      /   __  /           cgcurr@mail.wm.edu
 your process is?       /_____ /_____/ /_____       William   &   Mary

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Subject: Re: Can I do ... 
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             <00979C41.698D716D.16239@ifn.ing.tu-bs.de> 
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From: "Roger Negaret CRI/Univ. Rennes1" <Roger.Negaret@univ-rennes1.fr>
Precedence: bulk

> ... the following (picture instead of words - I don't know what's in english)
:
> 
> 
> 	+--------------------+ +-------------------
> 	|1.                  | |2.                         <---- Here is it!
> _____________________________________________________
> _____________________________:|______________________
> ______________________________|______________________
> _____________________________:|______________________
> ______________________________|______________________
> 
> 
> Thank you.
> 
> --Eckart
> 
I have done this, it works fine, but it's not exactly what you need.
It shows up as the folowing:

         __                     __
 	|1.                    |2.                         <---- Here is it!
 _______|______________________|_______________________
 _______|_____________________:|______________________
 _______|______________________|______________________
 _______|_____________________:|______________________
 _______|______________________|______________________
 

%first/second repeat
\def\repeatone{%
        \gluebrule%
        \rlap{\vdlthick height 1.6\systemheight width \lthick}%
        \global\advance\x@skip by \lthick%
        \raise 1.6\systemheight \rlap{\vrule height 0.6pt depth 0pt width 4mm}%
        \hskip 0.4\Interligne\raise 1.1\systemheight \rlap{1.}%
        \global\advance\barno by 1\relax\message{bar \the\barno}%
        \gluearule}%
\def\repeattwo{%
        \gluebrule%
        \raise 0.06\systemheight \hbox{\bf\musicnorfont\char 126}%
        \rlap{\vdlthick height 1.6\systemheight width \lthick}%
        \global\advance\x@skip by \lthick%
        \raise 1.6\systemheight \rlap{\vrule height 0.6pt depth 0pt width 4mm}%
        \hskip 0.4\Interligne\raise 1.1\systemheight \rlap{2.}%
        \global\advance\barno by 1\relax\message{bar \the\barno}%
        \gluearule}% 



---------------------------------------------------------------------------
Roger Ne'garet       CRI/CICB universite' de Rennes1
Campus de Beaulieu   35042 Rennes Cedex - France          tel : 99 84 71 49
E-mail: Roger.Negaret@univ-rennes1.fr                     fax : 99 84 71 11
X.400 : G=Roger; S=Negaret; O=univ-rennes1; P=cicb; A=atlas; C=fr;

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From: Werner.Icking@gmd.de (Werner Icking)
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To: mutex
Subject: Re: Can I do ...
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> ... the following (picture instead of words - I don't know what's in english):

[picture deleted] it showed what is documented in Musicdoc.dvi on pages 30-...
in the chapter "2.16 Repeats"; in the special case: \setprimavolta ...
\setsecondavolta

Hope this hilft  --  Werner

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To: mutex
Subject: harmonics and other symbols
Precedence: bulk


Hi all MusicTeX users!

I have been hacking a little to get a symbol for typesetting harmonics and
fingered harmonics. The file moreheads.tex below contains such a symbol
which is evoced by \harmonic{\qu{i}...}. The other symbols that were presented
by Agustin Martin Domingo are there as well. To enable setting of fingered
harmonics I have had to create a set of notes in my musictex.tex file. These
are \hrh{..} ; \hrw{..} and \hrq{..} --- they shift the notehead a half step
to the right (to fit with the \harmonic symbol):

\def\hrh#1{\kern 0.5\hd@skip\zh{#1}\kern -0.5\hd@skip}
\def\hrw#1{\kern 0.5\wd@skip\zw{#1}\kern -0.5\wd@skip}
\def\hrq#1{\kern 0.5\qd@skip\zq{#1}\kern -0.5\qd@skip}

If you want to use these you should include them in your musictex.tex file
(after checking that there are no conflicting definitions there).

Here is the moreheads.tex file:

___________________cut here _______________________________________________
%******* Changing note heads for specific        *****************
%******* instruments                             *****************
%******* \headcode=1 normal heads                *****************
%*******          =2 x heads                     *****************
%*******          =3 circled x heads             *****************
%*******          =4 > heads (cowbell)           *****************
%*******          =5 <> heads (harmonic)         *****************
%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
%
\def\headcode{1}
\def\xhead#1{\def\headcode{2} #1 \def\headcode{1}}
\def\oxhead#1{\def\headcode{3} #1 \def\headcode{1}}
\def\cowbell#1{\def\headcode{4} #1 \def\headcode{1}}
\def\harmonic#1{\def\headcode{5} #1 \def\headcode{1}}
% quarter note heads *********************************************
\def\q@u{\ifcase\headcode%
\or\musicnfont\char33\hss%
\or\musicnfont\char'65\hss%
%\or$\mathrel{\mathop{\circ}\limits{\musicnfont\char'65}}$\hss%
\or\raise -\internote\hbox{$\bigcirc$}\kern -0.8em\musicnfont\char'65\hss%
\or\raise 3\internote\hbox{\musicnfont\char'37}\hss%
\or\raise -0.95\internote\hbox{$\diamond$}\kern -0.475em\raise -0.9\internote\hbox{$\diamond$}\kern -0.475em\raise -0.85\internote\hbox{$\diamond$}\kern -0.475em\raise -0.8\internote\hbox{$\diamond$}\hss%
\fi}%
%
\catcode`\@=\catcodeat
%
%
___________________cut here _______________________________________________

here is a short file where these symbols have been used 
(don't try to play it...8^)   :

___________________cut here _______________________________________________
\input musicnft
\input moreheads
\input musictex
\input musicvbm
\input musictrp
\input header
\hoffset -1cm
\hsize 18cm
\def\freqbarno{5}
\font\gros=\fonthdg\fonthdge bx12 scaled \magstep3
\def\instrumenti{Viola}
\parindent 13mm
\musicsize=20
\line{\hfil{\enorme Demo} \hfil {\eightsl by Fred}}\nobreak
\cleftoksi={3000}\barno=0
\generalsignature{-1}\relax
\generalmeter{\meterfrac{2}{4}}\relax
\vskip 1.5cm\debutmorceau
\normal
\notes\hrq{c}\harmonic{\cu{f}}\hrq{c}\harmonic{\cl{f}}\enotes
\barre
\notes\hrh{c}\harmonic{\qu{i}}\hrq{c}\xhead{\ql{k}}\hrq{c}\oxhead{\ql{k}}\enotes
\barre
\notes\hrq{c}\cowbell{\ql{k}}
\enotes
\end
___________________cut here _______________________________________________

Cheers!

Fred

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Date: Wed, 09 Feb 94 09:19:37 PST
From: dsimons@cclink.logicon.com (Simons, Don)
Encoding: 973 Text
Message-Id: <9401097608.AA760814377@cclink.logicon.com>
To: mutex
Subject: RE: drums
content-length: 953
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     Christopher G. Currie writes:
     
     >> I can implement noteheads with a X instead of a black ellipse.
     >> But a question: if the note replaces a half note or a whole
     >>note, what does the note head look like ?
     >
     >I don't think there is a need for half note or whole x's. If you're 
     >representing percussive sounds, they won't last for any controllable 
     >length of time, so a duration to a drum (or high hat) is 
     >meaningless. In that case, a quarter note folled by an eighth note  
     >should suffice.
     
     Fine, if you the typesetter are also the composer.  But if you are 
     transcribing someone else's composition, you shouldn't change what he 
     wrote without consultation and agreement.
     
     But all that aside, any cymbal including a high-hat can be either be 
     allowed to ring or stopped, so it seems a duration would have meaning.
     
     --Don Simons (dsimons@logicon.com)

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To: mutex
Cc: mutex@stolaf.edu
Subject: Re: Can I do ... 
Date: Wed, 09 Feb 1994 17:58:25 +0100
From: Rene Quiniou <Rene.Quiniou@irisa.fr>
Precedence: bulk

In his mail, dated Wed, 09 Feb 1994 09:42:41 +0100, "Roger Negaret CRI/Univ. Rennes1" <Roger.Negaret@univ-rennes1.fr>  wrote:

> %first/second repeat
> \def\repeatone{%
>         \gluebrule%
>         \rlap{\vdlthick height 1.6\systemheight width \lthick}%
>         \global\advance\x@skip by \lthick%
>         \raise 1.6\systemheight \rlap{\vrule height 0.6pt depth 0pt w
idth 4mm}%
>         \hskip 0.4\Interligne\raise 1.1\systemheight \rlap{1.}%
>         \global\advance\barno by 1\relax\message{bar \the\barno}%
>         \gluearule}%
> \def\repeattwo{%
>         \gluebrule%
>         \raise 0.06\systemheight \hbox{\bf\musicnorfont\char 126}%
>         \rlap{\vdlthick height 1.6\systemheight width \lthick}%
>         \global\advance\x@skip by \lthick%
>         \raise 1.6\systemheight \rlap{\vrule height 0.6pt depth 0pt w
idth 4mm}%
>         \hskip 0.4\Interligne\raise 1.1\systemheight \rlap{2.}%
>         \global\advance\barno by 1\relax\message{bar \the\barno}%
>         \gluearule}% 
> 
> 

Salut Roger!

Je vois que tu es un expert en musictex. Aurais-tu par hasard
défini un style de tablatures pour accordéon diatonique?
J'ai toujours dans l'idée de faire un système d'aide à la création
de tablatures pour bouèze qui parte d'une mélodie et te produise
d'abord les accords et ensuite les doigtés. Une sortie grâce à
musictex ferait le meilleur effet. Mais peut-être as-tu déjà tout
ça?

René

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
  QUINIOU Rene                  quiniou@irisa.fr
  INRIA / IRISA                         Phone : +33 99 84 73 19
 Campus Universitaire de Beaulieu       Fax :   99 38 38 32
 35042 RENNES CEDEX - FRANCE            Telex : UNIRISA 950 473F
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

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          +0100
Date: Thu, 10 Feb 1994 00:32:21 +0100
From: Eckart Meyer <meyer@ifn.ing.tu-bs.de>
To: mutex
Message-ID: <00979D34.C2D032AD.16819@ifn.ing.tu-bs.de>
Subject: RE: Can I do ...
Precedence: bulk

O.k, o.k - It's in the manual - of the actual versions. 
Not in mine, I still had 4.93.

Thanks to the many people who responded. I apologize for not using
the newest version.

Just got the new Version this morning.

-- Eckart

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  10-FEB-1994 12:46:31 GMT2
Subject:  percussions in music tex
To: mutex
Precedence: bulk


I think I can implement percussion music with musictex, but
I'm not a percussionist. Therefore I ask to any percussion
addicted musician to MAIL me some examples of percission
scores.

Address: D. Taupin, b\^atiment 510, centre universitaire,
F- 91405 ORSAY

... or fax it (enlarged please) to

33.1.69.41.60.86

with my name in \HUGE letters.

Thanks.
dt

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In-Reply-To: <MAILQUEUE-101.940208170643.256@tsrv1.ts.wm.edu>
	     (from "Christopher G. Currie"  <CGCURR@tsrv1.ts.wm.edu>)
	     (at 8 Feb 94 17:06:43 EDT)
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Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold) (Dale Gold)
To: mutex
Subject: Re: drums
Precedence: bulk

Hi,

Daniel Taupin said:
>> I can implement noteheads with a X instead of a black ellipse.
>> But a question: if the note replaces a half note or a whole note,
>> what does the note head look like ?
>
On Feb 8 Christopher Currie (cgcurr@mail.wm.edu) wrote:
 
> I don't think there is a need for half note or whole x's. If you're
> representing percussive sounds, they won't last for any controlable
> length of time, so a duration to a drum (or high hat) is meaningless.
> In that case, a quarter note folled by an eighth note should suffice.

I disagree.  Daniel should not implement percussion notation based on
what you or I think, but on whatever is standard for percussionists.

- The X-shaped note heads are used mostly in music for drum kits,
and longer durations are indicated with diamond-shaped note heads.
This style is used occasionally in 'classical' music.

- In orchestral music, duration *is* an important issue, and there are
long and short cymbal crashes, for instance.  In these cases, normal
note heads are used, although they may be printed on a single line
percussion staff.

- X-shaped note heads are used occasionally in contemporary string
music to indicate percussive effects, and Diamond-shaped heads have
always been standard for notating harmonics, so their inclusion in
MusicTeX would be a very good thing.

Actually, I've found the diamond character already in the TeX math
fonts useful for harmonics.  For example, here's an artificial
harmonic with a normal note head plus a diamond head:

\Notes\zcharnote{g}{$\diamond$}\qu d\enotes


Cheers,
Dale

- dgold@basso.actrix.gen.nz
- Korokoro, New Zealand


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To: mutex
Subject: Won't find fonts
Date: Fri, 11 Feb 94 17:24:45 +1300
Precedence: bulk


Hi,

Can someone please point where the following is going wrong.
I have downloaded the musictex.zip, musicpk.zip and musicexa.zip
files from some server (I forget which), and unzipped all.
All lie in a directory I affectionately call /MusicTex.
This directory listing is as follows:

examples/  musictex/

the directory examples/ contains the unzipped musicexa.zip

the directory musictex/ is as follows:

a4report.sty   howtoget.tex   musicgen.mf    musictex.tex   pk/
beamd20.mf     lines.tex      musicn11.mf    musictex.zip   screatim.tex
beamn11.mf     musicadd.tex   musicn11.pk    musictrp.sty   slurdd16.mf
beamn11.pk     musicbra.mf    musicn11.tfm   musictrp.tex   slurdd16.tfm
beamn11.tfm    musicbra.pk    musicn13.mf    musicvbm.sty   slurdu16.mf
beamn13.mf     musicbra.tfm   musicn13.pk    musicvbm.tex   slurdu16.tfm
beamn13.pk     musicbrg.mf    musicn13.tfm   musikd11.mf    slurgen.mf
beamn13.tfm    musicd11.mf    musicn16.mf    musikd13.mf    slurn16.mf
beamn16.mf     musicd13.mf    musicn16.pk    musikd16.mf    slurn16.pk
beamn16.pk     musicd16.mf    musicn16.tfm   musikd20.mf    slurn16.tfm
beamn16.tfm    musicd20.mf    musicn20.mf    musikgen.mf    slurn20.mf
beamn20.mf     musicdef.mf    musicn20.pk    musikn11.mf    slurn20.pk
beamn20.pk     musicdoc.aux   musicn20.tfm   musikn11.pk    slurn20.tfm
beamn20.tfm    musicdoc.bat   musicnft.tex   musikn11.tfm   slurud16.mf
beamngen.mf    musicdoc.dvi   musicpk.zip    musikn13.mf    slurud16.tfm
beamq20.mf     musicdoc.idx   musicpln.tex   musikn13.pk    sluruu16.mf
beamt20.mf     musicdoc.inx   musicpos.tex   musikn13.tfm   sluruu16.tfm
beamv20.mf     musicdoc.log   musicpre.tex   musikn16.mf    sortindx.exe
bigmusic.sty   musicdoc.ps    musicref.dvi   musikn16.pk    sortindx.for
euromtex.aux   musicdoc.tex   musicref.log   musikn16.tfm
euromtex.dvi   musicdoc.toc   musicref.tex   musikn20.mf
euromtex.tex   musicext.tex   musicsty.tex   musikn20.pk
extras.tex     musicg16.mf    musictex.sty   musikn20.tfm

where these files are the unzipped musictex.zip, and the pk/
directory within this, contains the unzipped musicexa.zip files,
ie. the pk/ directory listing is:

dpi100/  dpi118/  dpi240/  dpi300/  dpi600/

So far so good??

Anyway, I first tried to xdvi musicdoc.dvi from within the MusicTex/musictex
directory (I'm using an X-windows terminal) and it read out the following
garbage:

Can't find font cmbxsl10 at 432 dpi; using 300 dpi instead.
Can't find font musikn20; using cmr10 instead at 300 dpi
Can't find font musicbra; using cmr10 instead at 300 dpi
Can't find font beamn20; using cmr10 instead at 300 dpi
Can't find font cmsltt10 at 329 dpi; using 300 dpi instead.
Can't find font slurn20; using cmr10 instead at 300 dpi
Can't find font cmbxsl10 at 329 dpi; using 300 dpi instead.
Can't find font musikn13; using cmr10 instead at 300 dpi
Can't find font beamn13; using cmr10 instead at 300 dpi
Can't find font musikn16; using cmr10 instead at 300 dpi

Then it displayed the document, but all music became riddled with exclaimation
marks and brackets and suchlike. I then went to my .envrc file, and made the
following adjustments:

setenv TEXINPUTS  .:/usr/local/lib/tex/inputs:$home/lib/tex/inputs:/usr/local/lib/tex/contrib/inputs:.
setenv TEXFONTS .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:.
setenv TEXPKS  .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:.

became:

setenv TEXINPUTS  .:/usr/local/lib/tex/inputs:$home/lib/tex/inputs:/usr/local/lib/tex/contrib/inputs:~/gthorpe/MusicTex/musictex:.
setenv TEXFONTS .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:~/gthorpe/MusicTex/musictex:.
setenv TEXPKS  .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:~/gthorpe/MusicTex/musictex/pk:.

After re-booting, and retrying, I got the same problem.

Please help!!!!,
Geoff Thorpe

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  11-FEB-1994 11:42:12 GMT2
Subject:  Font problems with MusicTeX
To: mutex
Precedence: bulk


DO NOT forget to put the pk's in the correct directories, ACCORDING
to YOUR personal naming of font directories !

Otherwise, your driver will not find them and replace them with
cmr10 scaled anything!

D. Taupin


From owner-mutex  Fri Feb 11 06:22:52 1994
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Date: Fri, 11 Feb 1994 16:01:18 +1000 (EST)
From: Murray Chapman <muzzle@erebus.cs.uq.oz.au>
Subject: Re: Won't find fonts
To: mutex
Cc: mutex@stolaf.edu
In-Reply-To: <199402110424.AA29665@kauri.vuw.ac.nz>
Message-Id: <Pine.3.88.9402111620.A8129-0100000@erebus>
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On Fri, 11 Feb 1994 Geoff.Thorpe@vuw.ac.nz wrote:

> Can't find font musikn20; using cmr10 instead at 300 dpi
> Can't find font musicbra; using cmr10 instead at 300 dpi
> Can't find font beamn20; using cmr10 instead at 300 dpi
> Can't find font cmsltt10 at 329 dpi; using 300 dpi instead.
> Can't find font slurn20; using cmr10 instead at 300 dpi
> Can't find font cmbxsl10 at 329 dpi; using 300 dpi instead.

> After re-booting, and retrying, I got the same problem.

You need to modify the XDVIFONTS environment variable:

XDVIFONTS=/usr/local/lib/tex/fonts/tfm:/usr/local/lib/tex/fonts/pk300:/usr/local/lib/tex/fonts/pk120:/usr/local/lib/tex/fonts:/homes/muzzle/Erebus/misc/musictex:/usr/local/lib/tex/fonts/pspk300:/homes/muzzle/Erebus/misc/musictex/dpi300

for example


Murray

-- Murray Chapman                               Zheenl Punczna            --
-- muzzle@cs.uq.oz.au                           zhmmyr@pf.hd.bm.nh        --
-- University of Queensland                     Havirefvgl bs Dhrrafynaq  --
-- Brisbane, Australia                          Oevfonar, Nhfgenyvn       --


From owner-mutex  Fri Feb 11 06:45:19 1994
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From: "MARKUS BUEHL" <MGS212@eo-nwfs-1.ku-eichstaett.de>
Organization:  Katholische Universitaet Eichstaett
To: mutex
Date:          Fri, 11 Feb 1994 08:39:22 CET
Subject:       Re: Can I do ...
X-Pmrqc:       1
Priority: normal
X-Mailer:     PMail v3.0 (R1a)
Precedence: bulk

> ... the following (picture instead of words - I don't know what's in english):
> 
> 
>     +--------------------+ +-------------------
>     |1.                  | |2.                         <---- Here is it!
> _____________________________________________________
> _____________________________:|______________________
> ______________________________|______________________
> _____________________________:|______________________
> ______________________________|______________________
> 
> 
> Thank you.
> 
> --Eckart
 
Well, generally yes; since V 4.98 (or so) there is a "\setprimavolta"- 
and a "\setsecondavolta"-macro; they put the lines and numbers atop 
the music;
The only problem: it isn't working exactly the way in your picture. 
They can only appear together with a real "\barre" (or "\___repeat"), 
but not in the middle of a bar. It doesn't even work with a "\zbarre".

Maybe this is Eckart's problem, if not, it is my problem, because I 
tried to do so, and the only way was to type the whole bar, which 
wasn't very satisfying...


mgs212@ku-eichstaett.de
Markus Buehl
Tel.: Germany - (0)841 - 37267

From owner-mutex  Fri Feb 11 07:04:21 1994
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Date: Fri, 11 Feb 94 09:15:53 +0100
Message-Id: <9402110815.AA08161@degas.esat.kuleuven.ac.be>
To: mutex
Subject: Re: Won't find fonts
Precedence: bulk

> setenv TEXINPUTS  .:/usr/local/lib/tex/inputs:$home/lib/tex/inputs:/usr/local/lib/tex/contrib/inputs:~/gthorpe/MusicTex/musictex:.
> setenv TEXFONTS .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:~/gthorpe/MusicTex/musictex:.
> setenv TEXPKS  .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:~/gthorpe/MusicTex/musictex/pk:.
> 

This suggests me you are on Unix.

Then, font files are normally called 
beamn11.300pk
musicn13.300pk
etc.
instead of
beamn11.pk

You can check this by looking for the file cmbxsl10.*pk
[which it apparently finds at magnification 300dpi:]
> Can't find font cmbxsl10 at 432 dpi; using 300 dpi instead.

So, I would suggest you doing the following:
mv beamn11.pk beamn11.300pk
end so on,
and finally moving them to the correct directory/ies;
see where the font files such as cmr10.300pk and cmbxsl10.300pk
and maybe also cmr10.360pk cmr10.432pk ... are located.

Usually, on Unix, you do not need subdirectories
> dpi100/  dpi118/  dpi240/  dpi300/  dpi600/
of the pk/ directory, but just one pk/ directory for all .*pk files.
 
By the way, you will probably have to change
setenv TEXPKS  .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:~/gthorpe/MusicTex/musictex/pk:.
to
setenv TEXPKS  .:/usr/local/lib/tex/fonts:/usr/local/lib/tex/contrib/fonts:$home/lib/tex/fonts:$HOME/gthorpe/MusicTex/musictex/pk:.

Hope this helps you out!

--                               Peter Vanroose
                                 Electrotechnical Department, ESAT
                                 K.U. Leuven, Belgium.
                                 Peter.Vanroose@esat.kuleuven.ac.be

From owner-mutex  Fri Feb 11 08:22:52 1994
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Date: Fri, 11 Feb 94 07:25:20 -0500
From: barrett@gleep.cs.umass.edu (Daniel Barrett)
Message-Id: <9402111225.AA00224@gleep.cs.umass.edu>
To: mutex
Cc: mutex@stolaf.edu
Subject: About unsubscribing!
References: <199402110604.WAA06962@netcomsv.netcom.com>
Precedence: bulk


Don Steiny writes:
>unsubscribe

Jason L Sturges writes:
>Please unsubscribe

	Yo, FOLKS!!  Unsubscribe by writing to

		mutex-request@stolaf.edu

and NOT to

		mutex@stolaf.edu

This info is right in the introductory "subscription" letter for this
mailing list.  There's no reason to send your "unsubscribe" request to
everybody on the "mutex" list.  Six of these in 3 days is enough!!!

							Dan

From owner-mutex  Fri Feb 11 09:13:41 1994
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To: mutex
cc: mutex@stolaf.edu
Subject: Re: Won't find fonts
In-reply-to: Your message of "Fri, 11 Feb 94 17:24:45 +1300." <199402110424.AA29665@kauri.vuw.ac.nz>
Date: Fri, 11 Feb 94 09:30:54 +0000
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|> [...]
|> ie. the pk/ directory listing is:
|> 
|> dpi100/  dpi118/  dpi240/  dpi300/  dpi600/

And the dpi*/ directories all contain .pk files?

|> So far so good??
|> 
|> Anyway, I first tried to xdvi musicdoc.dvi from within the MusicTex/musictex
|> directory (I'm using an X-windows terminal) and it read out the following
|> garbage:
|> 
|> Can't find font cmbxsl10 at 432 dpi; using 300 dpi instead.
|> [...]
|> 
|> Then it displayed the document, but all music became riddled with exclaimation
|> marks and brackets and suchlike. I then went to my .envrc file, and made the
|> following adjustments:
|> 
|> [...]
|> setenv TEXPKS  .:
                  /usr/local/lib/tex/fonts:
                  /usr/local/lib/tex/contrib/fonts:
                  $home/lib/tex/fonts:.
|> [wrapped for clarity]
|>
|> became:
|> 
|> [...]
|> setenv TEXPKS .:
                 /usr/local/lib/tex/fonts:
                 /usr/local/lib/tex/contrib/fonts:
                 $home/lib/tex/fonts:
                 ~/gthorpe/MusicTex/musictex/pk:.

xdvi is failing to find your pk files -- and --
you exhibit a path that doesn't include any directory that has .*pk files
  in it -- and --
you say you're surprised?

hmmm.

1) Look in (say) /usr/local/lib/tex/fonts; the files there will (probably)
be of the form xyz<nn>.<mmm>pk; in such names, `xyz' is the name of the
font, `nn' is its design size, and `mmm' is `dpi of printer *
magnification'

(thus 10-point computer modern roman at magstep 1 for a 300 dpi printer is
cmr10.360pk)

2) find out the resolution of your printer - say `pres'

3) rename all the pk/dpi`pres'/*.pk files as pk/*.`pres'pk

However - Note that there are difficulties here; different installations
may set up xdvi with different rules for finding pk files.  You may need
an extra environment variable XDVIFONTS, which should be the same as your
(revised) TEXPKS.  Or your endeavour may fail completely, in which case
ask the person who installed your TeX and xdvi how _your_ xdvi finds its
fonts.  Ask again on this list _after_ that, if necessary.

R
--
Robin (Campaign for Real Radio 3) Fairbairns       rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK

From owner-mutex  Fri Feb 11 09:22:54 1994
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To: mutex
Subject: reminder on how to unsubscribe
Date: Fri, 11 Feb 1994 09:00:41 -0600
From: Craig D Rice <cdr>
Precedence: bulk


In recent days, there have been a lot of unsubscription requests
posted to the mutex list.  A reminder: to unsubscribe, send email
containing the word "unsubscribe" to "mutex-request@stolaf.edu"

Thanks for your attention,
Craig
--
Craig D. Rice		UNIX Systems Specialist/Network Analyst
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA

From owner-mutex  Fri Feb 11 09:46:49 1994
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Date:         Fri, 11 Feb 94 13:06:00 HOE
From: Agustin Martin <EPRFIS@vm1.sdi.uam.es>
Organization: Native address: <EPRFIS@EMDUAM11.BITNET>
Subject:      Corrected moreheads
To: mutex
Precedence: bulk


Hi, folks

Some days ago I posted to the network a macro to change note heads
called MOREHEADS.TEX as an answer to a question in the network. There
were some problems of extra white space when using it under beams. I am
posting now a corrected version of it which I hope will work well. Some
corrections have also been made to the \oxhead for alignement, although
it still uses the same circle for both music sizes, and a new
head due to Liden Fredrik has been added.

There is a problem with my EBCDIC/ASCI filter and it put strange
characters instead of the sharp symbol (also called numsign). It
usually puts a tilded N, but today it uses a underline character on
my screen. I have no idea about what you will receive instead, but
anything strange before an 1 is probably a sharp symbol.
%
% This is the new MOREHEADS.TEX
%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
% Some previous definitions from Liden Fredrik
\def\hrh¬1{\kern 0.5\hd@skip\zh{¬1}\kern -0.5\hd@skip}
\def\hrw¬1{\kern 0.5\wd@skip\zw{¬1}\kern -0.5\wd@skip}
\def\hrq¬1{\kern 0.5\qd@skip\zq{¬1}\kern -0.5\qd@skip}
%
% and the corrected moreheads.tex by A. Martin
%
%******* Changing note heads for specific        *****************
%******* instruments                             *****************
%******* \headcode=1 normal heads                *****************
%*******          =2 x heads                     *****************
%*******          =3 circled x heads             *****************
%*******          =4 > heads (cowbell)           *****************
%*******          =5 <> heads (harmonic)         *****************
\def\headcode{1}
\def\xhead¬1{\def\headcode{2}¬1\def\headcode{1}}
\def\oxhead¬1{\def\headcode{3}¬1\def\headcode{1}}
\def\cowbell¬1{\def\headcode{4}¬1\def\headcode{1}}
\def\harmonic¬1{\def\headcode{5}¬1\def\headcode{1}}
% quarter note heads *********************************************
\def\q@u{\ifcase\headcode\relax%
\or\musicnfont\char33\hss\relax%
\or\musicnfont\char'65\hss\relax%
\or\kern -0.2em\raise -\internote\hbox{$\bigcirc$}\kern -0.8em\musicnfont\char'6
5\hss\relax
\or\raise 3\internote\hbox{\musicnfont\char'37}\hss%
% with a harmonic feature from Linden Fredrik
\or\raise -0.95\internote\hbox{$\diamond$}\kern -0.475em\raise%
 -0.9\internote\hbox{$\diamond$}\kern -0.475em\raise%
 -0.85\internote\hbox{$\diamond$}\kern -0.475em\raise%
 -0.8\internote\hbox{$\diamond$}\hss%
\fi}%
%
\catcode`\@=\catcodeat
%------------------------------------------------------
I hope this will work fine,
Cheers

                               Agustin Martin Domingo

                               Depto. Fisica e Instalaciones
                               ETS Arquitectura Madrid
                               Avda Juan de Herrera, 4
                               E-28040 Madrid SPAIN
                               Tel. (1) 336 6536 Fax (1) 544 2481
                          or
                               Departamento de Fisica de Materiales C-IV
                               Universidad Autonoma de Madrid
                               E-28049 MADRID
                               Tel. (1)397 5028 Fax. (1)397 8579

From owner-mutex  Sun Feb 13 18:22:53 1994
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From: Geoff.Thorpe@vuw.ac.nz
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To: mutex
Subject: XDVI not finding files
Date: Mon, 14 Feb 94 12:49:24 +1300
Precedence: bulk



Thanks for all the replies and help guys&guyesses. A couple of people
independently pointed out the problem that all my pk files were stored
as musikn20.pk instead of musikn20.300pk etc.
I have done a hell of a lot of renaming files and now everything seems
to be running without a hitch.

I hope to be fluent in MusicTex very shortly, and will let you know
when the masterpieces are ready!!!


Thanks again,
Geoff Thorpe

From owner-mutex  Tue Feb 15 02:22:52 1994
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From: deflorio@convex.rob.csata.it (Vincenzo De Florio)
Message-Id: <9402150755.AA04087@convex.rob.csata.it>
Subject: change of address
To: mutex
Date: Tue, 15 Feb 1994 08:44:59 +0100 (MET)
Cc: deflorio@convex.rob.csata.it (Vincenzo De Florio)
X-Mailer: ELM [version 2.4 PL20]
Content-Type: text
Content-Length: 917       
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Hi,
some time ago I announced the availability of some MusicTeX and PostScript files
in the host asmit.rob.csata.it
The mail address for that host has changed: now it is

			    cremisi.rob.csata.it
				138.66.27.11

I beg your pardon for problems connecting this host.

	- Vincenzo


---------------------------------------------------------------------
| Vincenzo De Florio                          Phone: +39 80 8770265 |
| School for Advanced Studies in Industrial and Applied Mathematics |
| SASIAM Tecnopolis Novus Ortus                Fax : +39 80 8770266 |
| strada prov. per Casamassima, km.3                                |
| I-70010 VALENZANO (Ba)                                            |
|                                                                   | 
| E-Mail:                               na.DeFlorio@na-net.ornl.gov |
---------------------------------------------------------------------


From owner-mutex  Tue Feb 15 16:22:56 1994
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Date: Tue, 15 Feb 94 15:52:40 CST
From: dgp@atlas (Don Porter)
Message-Id: <9402152152.AA01327@atlas.wustl.edu>
To: mutex
Subject: Send me moreheads, please?
Precedence: bulk


OK, I scanned the recent talk about getting x heads for percussion,
and saw some neat implementations, but I didn't save them.  Now I 
need them, and it's not just a pleasant idea; I want the code!
Someone please send it to me.  Thanks!

Don Porter
dgp@atlas.wustl.edu

From owner-mutex  Wed Feb 16 05:22:53 1994
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Date: Wed, 16 Feb 1994 12:24:57 GMT
From: muh@cc.gazi.edu.tr (Mühendislik)
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To: mutex
Subject: signoff
Precedence: bulk


please leave our name from this list

From owner-mutex  Wed Feb 16 10:22:55 1994
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To: mutex
From: "Know-Nothing Bozo, the Non-Wonder Dog"  <CGCURR@tsrv1.ts.wm.edu>
Date:         16 Feb 94 10:22:02 EDT
Subject:      Distribution packages
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I've just recently downloaded a file called musictex-498.tar.Z, but
the server that I downloaded it from had half a dozen other files,
some marked musictex, some musicexa, etc. What's the difference, and
which one(s) do I really need?
----------------------------------------------------------------------
                           _____  _____   _____
Time is an illusion;      /      /       /          Christopher Currie
 Lunchtime, doubly so.   /      /   __  /           cgcurr@mail.wm.edu
   --Ford Prefect       /_____ /_____/ /_____         (804) 229-3557

From owner-mutex  Thu Feb 17 15:22:52 1994
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To: mutex
From: "Know-Nothing Bozo, the Non-Wonder Dog"  <CGCURR@tsrv1.ts.wm.edu>
Date:         17 Feb 94 15:30:44 EDT
Subject:      Kudos...
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to all who sent me mail about the disrtibution. You we're all very
helpful.

::He runs off with a wild look to his eye:: "It works, it works! Hah
hah hah hah ........"

From owner-mutex  Thu Feb 24 14:22:54 1994
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To: mutex
From: "Know-Nothing Bozo, the Non-Wonder Dog"  <CGCURR@tsrv1.ts.wm.edu>
Date:         24 Feb 94 14:06:02 EDT
Subject:      Figured bass
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Is there a specific way to put figured bass symbols beneath the
chords in a staff? Superscript can work fine for just V7 chords, but
what about IV64 (IV in 2nd inversion) or augmented or diminished
chords?

From owner-mutex  Thu Feb 24 18:23:43 1994
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Date: Thu, 24 Feb 94 16:00:16 PST
From: dsimons@cclink.logicon.com (Simons, Don)
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Subject: Figured Bass
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     "Know-Nothing Bozo, the Non-Wonder Dog"  <CGCURR@tsrv1.ts.wm.edu> 
     wrote:
     >Is there a specific way to put figured bass symbols beneath the 
     >chords in a staff? Superscript can work fine for just V7 chords, but 
     >what about IV64 (IV in 2nd inversion) or augmented or diminished 
     >chords?
     
     You can use \zcharnote{#1}{#2} to put any text symbol at any vertical 
     position and the current horizontal position, as explained in the 
     manual. BTW, the first argument can be a number (as _not_ explained in 
     the manual), counting the bottom line of the staff as 0.  With 20-pt 
     staves, -4 seems to put the default font about the right distance 
     below the bottom line, for a single digit or upper case letter. For 
     another symbol directly below that, try -8.  If your composite symbol 
     involves some combination of horizontal and vertical offsets, then 
     getting the horizontal position right could be a bit tricky.  Not 
     being a TeXpert, I would experiment with things like \kern or 
     \hphantom.
     
     On a related topic, about a month ago I posted a query about the 
     availability of special characters used in continuo-type figured bass, 
     viz. those for sharped 4 and sharped 6, which look like the basic 
     numeral but with a little slash superimposed.  There was no response 
     from anyone.  I have been making do with "#4" and "#6" (actually using 
     the sharp symbol with \zcharnote) but it sure would be nice to have 
     the real thing.  If anyone reading this has any ideas or guidance, I 
     would certainly appreciate it.
     
     --Don Simons (dsimons@logicon.com)

From owner-mutex  Fri Feb 25 12:23:44 1994
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From: David Perkinson <perkinso@math.uio.no>
To: mutex
Cc: perkinso@math.uio.no
Subject: help!
Precedence: bulk

I have been spending several hours trying to get MusicTeX running.  Any 
advice would be greatly appreciated.  I have a macintosh powerbook 170 
running the latest version of OzTeX. When I try to tex the file:
-----

\input musicnft.tex
\input musictex.tex
\input musicvbm.tex
\end

-----

I get the error message:

-----

This is TeX, Version 3.141, with extended memory (no format preloaded)
**&Plain diagnostic.tex
(diagnostic.tex (musicnft.tex Version 5.01 -- February 1st, 1994) 
(musictex.tex
 Version 5.01 -- January 31st, 1994
Runaway argument?
! Paragraph ended before \loop was complete.
<to be read again> 
                   \par 
\n@loop ...instrument =0\relax \loop \par 
                                          \ifnum \noinstrument <\nbin...
\savemeter ->\n@loop 
                     \global \metertoks ={{}{}{}{}}\repeat 
l.4489 ...ments{\maxinstruments}\savemeter
                                          
? x
No pages of output.
-----

Something seems to be wrong with the musictex.tex file.  I have tried various 
versions of musictex.tex, from various sites, and the only one I can get to 
work is version 4.4, January '92.  This version, however, lacks several 
features I would like to use.  Any advice?

Thanks,
David Perkinson

e-mail: perkinso@math.uio.no


From owner-mutex  Fri Feb 25 17:23:43 1994
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From: David Perkinson <perkinso@math.uio.no>
To: mutex
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My previous call for help can be disregarded.  The problem has been fixed (it 
must of had to do with my ftp).

David


From owner-mutex  Sat Feb 26 16:23:44 1994
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From: Petr Plechac <petr@cara.ma.hw.ac.uk>
Date: Sat, 26 Feb 94 21:23:10 GMT
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help

From owner-mutex  Sun Feb 27 13:23:43 1994
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From: wself@viking.emcmt.edu (Will Self)
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Subject: Re:  help
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Take two aspirin and call me in the morning.


From owner-mutex  Mon Feb 28 11:23:44 1994
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Date:  28-FEB-1994 18:13:52 GMT2
Subject:  Bugs corrected in musictex
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Version 5.02 available at rsovax.lps.u-psud.fr, ftp anonymous,
directory [anonymous.musictex].

Corrected: file musicadd.tex
D. Taupin

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From: John Fiskio-Lasseter <johnl@math.earlham.edu>
Subject: Automatic handling of accidentals
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Hi.  I was pointed to this list by someone on comp.music who thought I might be  
able to find an answer to my question here.  Hope so.  Here goes:

I am working on a software project that involves translation of MIDI files into  
MusicTeX-compatible format.  What I need to know is this:  Is there a way to  
have MusicTeX automatically remove spurious accidentals from a score?  For  
example, in the key of G, can I get it to remove all of the F-sharps that are  
not returning from another modification (say, F-natural)?  If MusicTeX has this  
capability, can I suppress it?

If MusicTeX cannot do it, have any of you ever tried to write such an  
algorithm, and if so, would you care to share how you did it?  (No, this is not  
going to be a commercial product.  It is a class project, which is due at the  
end of this week.)

See, it makes a tremendous to the "pretty-print" part of our program -- If  
MusicTeX cannot do this automatically, then I want to implement it in our  
software.  I am worried, however, that if I implement this and MusicTeX also  
does it by default, the notation of pitch is going to be a mess.

Thanks for any help you can give.

Slainte,
--John
+--------------------------------------------------------+
|John Howard Eli Fiskio-Lasseter                         |
|e-mail: johnl@math.earlham.edu                          |
+--------------------------------------------------------+
| "Well...over the butt and around the front.  It's      |
|  simply contained and fairly explanatory."             |
|				--Raising Arizona        |
+--------------------------------------------------------+

From owner-mutex  Wed Mar  9 06:23:43 1994
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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <14919.9403091126@vogon>
Subject: A program to play tunes in abc format.
To: mutex@stolaf.edu.IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Wed, 9 Mar 1994 11:26:17 +0000 (GMT)
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Don Ward has asked me to publicise his program playabc which he describes
below.

He is currently working both in Britain & Germany and you can contact
him at don@careful.co.uk or in Germany at ca104@fim.uni-erlangen.de,
but he cannot fix anything until he gets back to the UK.

Chris Walshaw
<C.Walshaw@gre.ac.uk>

================================================================================
Subject: A program to play tunes in abc format.

I have been working on a program to play tunes (which are written in the abc
format defined by Chris Walshaw's abc2tex package) on the built in speaker of
a Sparc workstation.

The program is available by ftp from celtic.stanford.edu
in the file /pub/tunes/playabc-1.0.tar.Z

In case of difficulty, Chris Walshaw <C.Walshaw@gre.ac.uk> has kindly agreed
to email the program to people.

An extract from the userguide is appended below.

Don Ward

don@careful.co.uk				+44 (0) 21 472 1555
Careful Computing Ltd.			Fax	+44 (0) 21 608 3004
80 Witherford Way, Birmingham B29 4AS, United Kingdom.

------------------------------ snip snip ------------------------------

PlayABC is a package to play tunes written in abc format on the speaker of a
Sparc workstation.  abc format is the notation used in the ABC2MTeX program
written by Chris Walshaw to typeset music using MusicTeX.  Chris summarises
his program as follows:
    ABC2MTeX is a package designed to notate tunes stored in an ascii format
    or abc notation. It was designed primarily for folk and traditional
    tunes of Western European origin (such as Irish, English and Scottish)
    which can be written on one stave in standard classical notation.

PlayABC does not need ABC2MTeX to play tunes written in abc format but, to get
the full benefit of seeing the dots on the stave as well as hearing them, you
will need it as well as MusicTeX (which itself requires TeX).

The package consists of two programs playabc and tune. playabc analyses the
abc notation and issues a sequence of sound commands to tune, which converts
the commands into the sound file format required by the audio device.  To play
a tune (or series of tunes) in file mytunes, issue the command
    playabc < mytunes | tune | play

The tune program may also be invoked under the name `drone' when it will add a
simple drone underneath the tune. eg.
    playabc < mytunes | drone G | play

The playabc program is not dependent on the audio device and should be
portable to a variety of machines.  The tune program will probably need to be
modified for a different machine (although, interestingly, I can play sound
files generated by a NeXT machine on a Sparc and vice versa).

All of the facilities described in ABC2MTeX version 1.1 are implemented with
two exceptions described in the user guide.  This means that grace notes,
rolls, staccato notes, accidentals, triplets, repeats, first and second time
bars are all possible.  Extensions to the abc notation give control of tempo
and allow the playing of several parts in harmony.

The program is intended to be used in a `proofhearing' mode, enabling errors
in the tune to be quickly corrected.  The sound is adequate for this purpose,
but falls short of the standard required for it to be mistaken for a musical
instrument.


From owner-mutex  Sun Mar 13 15:23:43 1994
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From: Petr Plechac <petr@cara.ma.hw.ac.uk>
Date: Sun, 13 Mar 94 20:50:12 GMT
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Subject: midi2tex for SUN ?
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Hi 

I remember there is a preprocessor from the MIDI
file to the MusicTeX source. However I found only PC
and Atari version.
Is there any version of midi2tex
for SUN machines ? or another convertor from MIDI to
the MusicTeX file ?

Petr Plechac
(petr@cara.ma.hw.ac.uk)


From owner-mutex  Mon Mar 21 05:23:44 1994
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Date: Mon, 21 Mar 1994 11:17:56 +0100
From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Subject: Using MusicTeX to write scores
To: mutex@stolaf.edu
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Hi all!
Yesterday I decided to start using MusicTeX to write some pop score, and I 
ran into some problem. Is there a "simple" solution? (I was still using
version 4.95, btw, as I had that one at home).

- I have both chords above the staff and text below it. Chords are added 
with something like 

\zcharnote p{\tensf E}

and they look fine, but text (added with &blah) is not centered with respect to 
the note and has no space between words in consecutive notes.

- Which is the best way to leave a little more apart the staffs?

- I'd like to have a beam with text under each note. Is it possibile? 

- And what about having *two* beam sets, one standard and one tiny?

thanks to all! .mau.

From owner-mutex  Tue Mar 22 06:23:43 1994
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  22-MAR-1994 12:26:11 GMT2
Subject:  MusicTeX version 5.02
To: mutex@stolaf.edu
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Subject: MusicTeX version 5.02
New version 5.02 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes:
 - 5.02 fonts musikn* changed for one character
 - 5.01 pretty piano/organ/keyboard braces due to Andreas Egler
 - 5.01 additional ornaments due to Andreas Egler
 - 5.00 musicn*.* becomes musikn*.* with corrections due to Andreas Egler
New features:
 - 5.02 specific note heads for percussion scores
 - 5.00 MusicTeX now allows scoring of gregorian (plain chant)
 - 5.00 Staffs may have 1 to 6 lines, not necessarily 5
 - 5.00 modern clefs may be replaced with other symbols, or with... nothing

Daniel Taupin


From owner-mutex  Tue Mar 22 14:23:44 1994
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Date: Tue, 22 Mar 1994 20:36:43 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9403221936.AA01570@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: MusicTeX version 5.02
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Daniel Taupin announced:

> Subject: MusicTeX version 5.02
> New version 5.02 of MusicTeX available at anonymous ftp:
>   rsovax.lps.u-psud.fr = 193.55.39.100
>   directory [anonymous.musictex]

Thanks Daniel! And as usual the files are available on

  ftp.gmd.de    /music/musictex/...

too. And also the tar-files as:   music..-502.tar.Z
     and also the delta-files in: .../delta-files/musictex.501-502.zip   etc.

But NOT as usual: Do not wonder if you do not find  <xyz>.tar.Z  but
<xyz>.tar.gz instead. We are moving our ftp-server in the next days
to another machine; the name remains  ftp.gmd.de

We've installed new software, so that you do not have to know what
.gz means. If you request  musictex-502.tar  you will get this file
although it does not exist on the server. We'll uncompress the file
for you on the fly.

If you know what g(un)zip is, you should request  musictex-502.tar.gz
(in binary mode, too), because this file is much smaller. Then you
have to use "gunzip" to uncompress the file or "tar -xzf ..." to
uncompress and unpack it.

Hope this hilft -- Werner

PS: You want to test our ftp-server already now? Ok! refer to omega.gmd.de
PPS: You cannot access our (new) server? Please drop me an e-mail.

From owner-mutex  Wed Mar 23 04:23:44 1994
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From: SETTELS@amc.uva.nl
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Date: Wed, 23 Mar 1994 10:37:17 +0100 (MET)
Subject: MIDI2TeX vs. MusicTeX 5.01 problem
To: mutex@stolaf.edu
Message-id: <01HAB40O2AFS00026W@amc.uva.nl>
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Hello MusicTeX users,

    MIDI2TeX by default inputs four files in the header. Among them 
musictex,musictrp, musicadd. This worked fine for MusicTeX version 4.97.
However after installing version 5.01 processing stopped after hitting
\debutmorceau. I'va been looking at the example file included with 5.01
and found out that the only way to get the file processed was by inserting
musicsty in the header and skipping the others (except fro muscitex, of
coyrse). 

I checked the manual of 5.01 but could not find any  new info on the
header. Can anybody give me a hint what is going on ????


greetings : Hans Kuykens

PS.   The C-source of MIDI2TeX has been developed and will be released
      soon. I will spread the message through this discussion group.


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From: stevej@swanson.com (Steve Jones)
Date: Thu, 24 Mar 1994 11:12:31 -0500
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To: mutex@stolaf.edu
Subject: Initial trivial MuTeX attempts
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I have only recently subscribed to this list; it's very
quiet isn't it?  The reason for this post is that, upon
attempting to typeset very simple eighth notes, the 'flag'
(what's that thing called anyway?) does not appear unless I
combine several such notes with a beam; i.e., my eighth
notes (and sixteenth notes, etc...) look just like my
quarter notes..  Also, there are instances where beams
don't work either.  Are there any common difficulties in
this regard?

Thanks

-- 

/*
 *
 *	Steve Jones
 *	Tools and Procedures Group - QA Dept.
 *	stevejones@swanson.com
 *	Swanson Analysis Systems, Inc.
 *	Phone: (412) 746-330
 *	FAX: (412) 746-9494
 * 
 */

#include <std_disclaimer.h>

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Date: Thu, 24 Mar 1994 17:53:07 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9403241653.AA03926@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Initial trivial MuTeX attempts
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> I have only recently subscribed to this list; it's very
> quiet isn't it?  The reason for this post is that, upon
> attempting to typeset very simple eighth notes, the 'flag'
> (what's that thing called anyway?) does not appear unless I
> combine several such notes with a beam; i.e., my eighth
> notes (and sixteenth notes, etc...) look just like my
> quarter notes..  Also, there are instances where beams
> don't work either.  Are there any common difficulties in
> this regard

No :-)  The only difficulty I see is that you ask questions
we cannot answer if you do not tell us a little bit more on
your input :-(

Is it possible that you use  \qh... or \qb instead of \cl or \cu
\qh and \qb make "beam"-notes independent of 1/8th, 1/16th ...
\cl and \cu generate 1/8th with flags (with one flag)
\ccl ... 1/16th                             two flags
...

The list is quiet as long as nobody asks a question or
makes an announcment. Most people on the list like that.

If you have more questions on beams, flags, ...: RTFM
or ask the list (after reading Taupin's fine manual).

Werner

PS: You're welcome :-)

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From: stevej@swanson.com (Steve Jones)
Date: Thu, 24 Mar 1994 13:35:28 -0500
In-Reply-To: QASET <sj2393@qa730>
       "" (Mar 24,  1:19pm)
X-Mailer: Mail User's Shell (7.2.5 10/14/92)
To: mutex@stolaf.edu
Subject: Re: Initial trivial MuTeX attempts
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On Mar 24,  5:53pm, Werner Icking wrote:
} Subject: Re: Initial trivial MuTeX attempts
> > I have only recently subscribed to this list; it's very
> > quiet isn't it?  The reason for this post is that, upon
> > attempting to typeset very simple eighth notes, the 'flag'
> > (what's that thing called anyway?) does not appear unless I
> > combine several such notes with a beam; i.e., my eighth
> > notes (and sixteenth notes, etc...) look just like my
> > quarter notes..  Also, there are instances where beams
> > don't work either.  Are there any common difficulties in
> > this regard
> 
> No :-)  The only difficulty I see is that you ask questions
> we cannot answer if you do not tell us a little bit more on
> your input :-(
> 
> Is it possible that you use  \qh... or \qb instead of \cl or \cu
> \qh and \qb make "beam"-notes independent of 1/8th, 1/16th ...
> \cl and \cu generate 1/8th with flags (with one flag)
> \ccl ... 1/16th                             two flags
> ...
> 
> The list is quiet as long as nobody asks a question or
> makes an announcment. Most people on the list like that.
> 
> If you have more questions on beams, flags, ...: RTFM
> or ask the list (after reading Taupin's fine manual).
> 
> Werner
> 
> PS: You're welcome :-)
}-- End of excerpt from Werner Icking

Here is the file I'm trying to process:

\beginsong{\vio}{\C}%
\meter{4}/{4}%
\a{5}
\a{4}
\a{3}
\a{2}
\endsong
\bye

The result I get is that the C and B, with the stems down,
look like quarter notes rather than eighth notes as they
should.  The A and the G, with the upward stems,  are
correctly represented.

Thanks once more for your consideration,
s

 




-- 

/*
 *
 *	Steve Jones
 *	Tools and Procedures Group - QA Dept.
 *	stevejones@swanson.com
 *	Swanson Analysis Systems, Inc.
 *	Phone: (412) 746-330
 *	FAX: (412) 746-9494
 * 
 */

#include <std_disclaimer.h>

From owner-mutex  Mon Mar 28 15:23:43 1994
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From: Werner.Icking@gmd.de (Werner Icking)
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To: mutex@stolaf.edu
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I asked some time ago:
> 
> 1.  I've two pages full with music. I want to aligne both pages such a way,
>     that the last line of each page has the same vertical position.

This question has a similar answer as the next:
>  
> 2.  I know that there are variables like \topfacteur or \bottomfacteur. Is
>     there a way to distribute the remaining space on a page equally on all
>     staffs (systems?)?

\def\atnextline{\vfill}  works pretty good. The only problem is that
each "nextline" resets \atnextline to {}. Therefor it would be great
to have an additional \(at)everyline; and some similar "exit" before
and after the "eject" forced by "linesinpage >= maxlinesinpage".
I know how easy I could do it by myself but maybe it could be a
good feature for MusicTeX.
> 
> Werner

From owner-mutex  Fri Apr  1 16:23:42 1994
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:   2-APR-1994 00:11:45 GMT2
Subject:  MusiocTeX version 5.03 aavailable
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Subject: MusicTeX version 5.03
New version 5.03 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes:
 - 5.03 fonts musikn* changed for two characters
 - 5.01 pretty piano/organ/keyboard braces due to Andreas Egler
 - 5.01 additional ornaments due to Andreas Egler
 - 5.00 musicn*.* becomes musikn*.* with corrections due to Andreas Egler
New features:
 - 5.03 more specific note heads for percussion scores and violin harmonics
 - 5.00 MusicTeX now allows scoring of gregorian (plain chant)
 - 5.00 Staffs may have 1 to 6 lines, not necessarily 5
 - 5.00 modern clefs may be replaced with other symbols, or with... nothing

Daniel Taupin


From owner-mutex  Wed Apr  6 06:23:44 1994
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From: SETTELS@amc.uva.nl
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Date: Wed, 06 Apr 1994 12:57:34 +0100 (MET)
Subject: MIDI2TeX V. C1.1 + source uploaded
To: mutex@stolaf.edu
Message-id: <01HAUT7G0G0I000116@amc.uva.nl>
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Hello MIDI2TeX and MusciTeX users,

MIDI2TeX translates MIDI data files into MusicTeX source code.
We have uploaded a new version of this pakcage : C 1.1.
This version is a port from the original Pascal code to C.
The C source of this version is also available and we were able to
compile it on several platforms including VAX, HP-UNIX, PC, Mac.

We have uploaded executables of this version for the PC and the Mac.
For the ST we advice to keep using the older version 1.1 (Pascal).

The complete package (PC, Mac and source) is available on ftp site

Host       ftp.gmd.de
Location: /music/musictex/software/midi2tex

The file midi2tex.txt contains some general information about the package.

I encourage everybody to transfer the package to other ftp sites.
If you do, please inform us where you uploaded it and in what
directory.


                                        Hans Kuykens
                                        Ad Verbruggen

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From: Piet van Oostrum <piet@cs.ruu.nl>
Message-Id: <199404061200.AA29437@alchemy.cs.ruu.nl>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
Subject: Re: MIDI2TeX V. C1.1 + source uploaded
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>>>>> SETTELS@amc.uva.nl (S) writes:

S> I encourage everybody to transfer the package to other ftp sites.
S> If you do, please inform us where you uploaded it and in what
S> directory.

I copied it to ftp.cs.ruu.nl:/pub/TEX/MUSIC/midi2tex, where it can also be
obtained by mailserver:

How to get midi2tex.txt (and similar for the others) from the archive at
	Dept. of Computer Science, Utrecht University:

NOTE: In the following I have assumed your mail address is john@highbrow.edu.

    Of course you must substitute your own address for this. This should be
    a valid internet or uucp address. For bitnet users name@host.BITNET
    usually works.  

by FTP: (please restrict access to weekends or evening/night (i.e. between
about 20.00 and 0900 UTC).

    ftp ftp.cs.ruu.nl [131.211.80.17]
    user name: anonymous or ftp
    password: your own email address (e.g. john@highbrow.edu)
      Don't forget to set binary mode if the file is a tar/arc/zoo archive,
      compressed or in any other way contains binary data.
    get pub/TEX/MUSIC/midi2tex/midi2tex.txt

(or first cd to the directory, and then get the local filename part, to
avoid "permission denied" on your system)

by mail-server:

send the following message to
mail-server@cs.ruu.nl (or uunet!mcsun!sun4nl!ruuinf!mail-server):

    begin
    path john@highbrow.edu (PLEASE SUBSTITUTE *YOUR* ADDRESS)
    send TEX/MUSIC/midi2tex/midi2tex.txt
    end

NOTE: *** PLEASE USE VALID INTERNET ADDRESSES IF POSSIBLE. DO NOT USE
ADDRESSES WITH ! and @ MIXED !!!! BITNETTERS USE USER@HOST.BITNET ***

The path command can be deleted if we receive a valid from address in your
message. If this is the first time you use our mail server, we suggest you
first issue the request:
    send HELP
--
Piet* van Oostrum, Dept of Computer Science, Utrecht University,
Padualaan 14, P.O. Box 80.089, 3508 TB Utrecht, The Netherlands.
Telephone: +31 30 531806   Uucp:   uunet!mcsun!ruuinf!piet
Telefax:   +31 30 513791   Internet:  piet@cs.ruu.nl   (*`Pete')


--
Piet van Oostrum <piet@cs.ruu.nl>

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Subject: Midi2TeX: Amiga Port (V1.1)
To: mutex@stolaf.edu
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Hi

> ****************************************************************
> ************** README File for the MIDI2TeX translator *********
> **************             V.1.1                       *********
> ****************************************************************
>
>
> This is the first non-test release of MIDI2TeX, a MusicTeX preprocessor.

> This software was designed to translate standard type 1 MIDI files
> into MusicTeX source code. See the manual for further details about
> the function and use.

> The manual needs MusicTeX characters. So the platform that you
> want to process this file on should have the MusicTeX files installed
> (musicn20.tfm, musicn20.pk ...). If TeX complains that it cannot find
> the files than delete the note macros at the start of the
> manual: (\def\whole{\ .... \def\sixtyfourth{\ ...  \end{picture} } )
> and the new font definition : \newfont{\mus}{musicn20\magstep1}
> In addition, you should delete these macros in the quantization time
> table. I added the refman.sty file to the package which
> the manual uses as it is not standard.
>
>
> This version of MIDI2TeX may be copied freely on a non-commercial basis
> (see manual for license info). I hope that those of you who will use
> this software are kind enough to supply me with some feedback 
> about your findings in exchange for it. Bugs, wishes, complaints
> or more happy  messages are welcome at my e-mail address : 
>
>                    kuykens@amc.uva.nl.
>

                Amiga Port of Midi2TeX V1.1
                ===========================

This is the Amiga port of Midi2TeX. Actually, I needn't do any changes
to the source code :-). I only added a small makefile to simplify the
compiling prozess. The compiler I used was SAS/C 6.51. 

Included in this archive is the full C source code, the original pascal
source code and the pc executables, and of course the LaTeX-Docs.

I have tested the program with the included example file and had no
problems with it, so I hope it will work for you.

If you have any questions regarding the amiga port, send a mail to me, 
all questions concerning the program itself, send to the adress in
the read.me-file.

I have not converted the PC-ASCII-files to Amiga-ASCII-Files except the
manualc.tex-file and the read.me. If you want to do this, use an utility
like CrossDos to convert it.

My EMAIL Adress: suamor@student.uni-tuebingen.de, 

Reinhard Katzmann.

P.S.: I've uploaded the port to aminet, you should be able to find
it there soon! The archive name is Midi2TeX.lha and you can finf it
in the directorz mus/midi


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From: SETTELS@amc.uva.nl
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Date: Mon, 11 Apr 1994 10:43:47 +0100 (MET)
Subject: MIDI2TeX V C.1.2 uploaded
To: mutex@stolaf.edu
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Hello MIDI2TeX and MusciTeX users,

MIDI2TeX translates MIDI data files into MusicTeX source code.
We have uploaded a new version of this pakcage : C 1.2.
This version is a port from the original Pascal code to C.
The C source of this version is also available and we were able to
compile it on several platforms including VAX, HP-UNIX, PC, Mac, Amiga.

We have uploaded executables of this version for the PC and the Mac.
For the ST we advice to keep using the older version 1.1 (Pascal).

The complete package (PC, Mac and source) is available on ftp site

Host       ftp.gmd.de
Location: /music/musictex/software/midi2tex

The file midi2tex.txt contains some general information about the package.

I encourage everybody to transfer the package to other ftp sites.
If you do, please inform us where you uploaded it and in what
directory.


                                        Hans Kuykens
                                        Ad Verbruggen

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Date: Tue, 12 Apr 94 07:25:28 PDT
From: palomino!edward@uunet.UU.NET (Edward Maros)
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To: mutex@stolaf.edu
Subject: [Q] Can one place guitar cords into sheets ....
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I am a newbie to MusicTeX and also to guitar playing. I am currently taking
some of the songs that I am using to practice with and trying to create
actual music sheets for them since most are words with the cords printed
above. Why am I doing this? Simply to get the timing right as I am trying
to play the songs. I am hoping to also have the guitar cords printed above
so I don't have to refer to my cord book as frequently. Any help?
Thanks,
ed
---
Edward Maros				edward@dii.com
Member Technical Staff			uunet!dii.com!edward
Data Integration			Voice:	(310) 313 9173
11965 Venice Bld. Suite 305		Fax:	(310) 313 9151
Los Angeles, CA 90066-3954

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From: stevej@swanson.com (Steve Jones)
Date: Tue, 12 Apr 1994 16:01:44 -0400
In-Reply-To: palomino!edward@uunet.UU.NET (Edward Maros)
       "[Q] Can one place guitar cords into sheets ...." (Apr 12,  7:25am)
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To: mutex@stolaf.edu
Subject: Re: [Q] Can one place guitar cords into sheets ....
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On Apr 12,  7:25am, Edward Maros wrote:
} Subject: [Q] Can one place guitar cords into sheets ....
> 
> I am a newbie to MusicTeX and also to guitar playing. I am currently taking
> some of the songs that I am using to practice with and trying to create
> actual music sheets for them since most are words with the cords printed
> above. Why am I doing this? Simply to get the timing right as I am trying
> to play the songs. I am hoping to also have the guitar cords printed above
> so I don't have to refer to my cord book as frequently. Any help?
> Thanks,
> ed
> ---
> Edward Maros				edward@dii.com
> Member Technical Staff			uunet!dii.com!edward
> Data Integration			Voice:	(310) 313 9173
> 11965 Venice Bld. Suite 305		Fax:	(310) 313 9151
> Los Angeles, CA 90066-3954
}-- End of excerpt from Edward Maros

I don't know much about MuTeX or MusicTeX, but on the
hardware side, do you have a guitar midi controller?  That
would seem necessary.  With such a guitar you could produce
midi files which I assume could be typeset with midi2tex
and MusicTeX.  I paid about $800 for mine about 5 years
ago.  I think they should have become less expensive and,
hopefully, technically better since then.


-- 

/*
 *
 *	Steve Jones
 *	Tools and Procedures Group - QA Dept.
 *	stevejones@swanson.com
 *	Swanson Analysis Systems, Inc.
 *	Phone: (412) 746-330
 *	FAX: (412) 746-9494
 * 
 */

#include <std_disclaimer.h>

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Date:  13-APR-1994 09:58:49 GMT2
Subject:  Musictex 5.03 (little bug)
To: mutex@stolaf.edu
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Subject: MusicTeX 5.03
If your computer requires musicbrb as a font, use musicbra instead.
To be corrected soon...
dt

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From: goddijn@fgbbs.iaf.nl (Frans Goddijn)
Date: 18 Apr 94 16:11:07 +0100
Subject: -a at compile of musictex file
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Since a few weeks, I am using the 4allTeX fully menu driven emTeX version for
DOS & OS/2 users. It has a musicTeX as an optional install package, and this
works fine. Here's a suggestion that may help others using the same 4allteX
program:

I took a latest version of musicTeX from a BBS, unpacked it, and tried to
install it in 4allTeX simply by plopping the files to where they seemed to be
happy to be (like .MF files in a dir where lots of similar files already were
having fun). And it worked!

Now, when compiling and trying to print the main manual file from musicTeX, I
got a funny DVIPS error, saying "!NO MEMORY". I did not get this with much
bigger files from outside musicTeX so I suppose it is the music making DVIPS
worry.

After consulting another user (Henk de Haan) on this, he came with the
sugestion to use the Option-menu and choose the -a option, saving memory at the
cost of speed, which went as fine as it went speedy!

So this may be a helpful suggestion to others as well.

Met hartelijke groet!
 
                          FG 

From owner-mutex  Fri Apr 22 19:23:43 1994
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Date: Sat, 23 Apr 94 07:45:14+080
From: smoliar@iss.nus.sg (Stephen Smoliar)
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To: mutex@stolaf.edu
Subject: MIDI2TeX for the Macintosh
Cc: ahv@DIMES.TUDelft.NL
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This is a brief report on installing MIDI2TeX on a Macintosh.  It turns out
that the initial version up-loaded to ftp.gmd.de was defective.  Thanks to
the patience and persistence of Ad Verbruggen, lots of exchanges of electronic
mail, and a little bit of down-and-dirty experimentation, things seems to have
been straightened out;  and the file at the GMD site now seems ready to fly.
I have also sent copies of it to both SUMEX and the University of Michigan,
although I do not know if they have been installed at either archive yet.

So far I have only gotten as far as printing the manual.  Ad told me that, in
preparing the manual, I should just proceed through a warning about musicn20.
Apparently, the manual was written before the update to MusicTeX which changed
the names of the font files;  so, being a bit more intolerant of warning
messages, I decided to change "musicn20" to "musik20" to see if this had
any effect.  Ultimately, it did, but only after a couple of more steps which
may reveal how long I have been away from MusicTeX.  I am hoping that more
seasoned users can explain what happened to me.

The warning I received from my OzTeX was that it could not find the TFM file
"musik201200."  Now when I upgraded MusicTeX at the beginning of this month,
I installed a new copy of the file musik20.tfm;  but none of my TFM files have
that "1200" suffix.  Taking an "if that's what you want" attitude, I tried
renaming musik20.tfm to musik201200.tfm;  and this was enough to make OzTeX
happy.

This, however, was only half the solution.  A similar problem arose during
viewing and printing, this time in referencing the 300 folder in PK-files.
The PK file which the dvi code wanted to see was musik201200 (which sort of
makes sense).  The one I down-loaded was called "musik20.pk," although the last
time I tried to do anything with MusicTeX under OzTeX, I discovered that I had
to rename it to "musik20.300pk."  In any event renaming this file to
"musik201200" enabled me to print out the note heads in the table which
was part of the documentation, although the thirty-second and sixty-fourth
notes did not fit in their boxes very well.

I pass this all on as guidelines to others who plan to print this manual.  I
have not yet played with MIDI2TeX itself yet.  This may be the motivation I
need to try working with MusicTeX again.  (Since OzTeX allows me to incorporate
PICT files, I have done most of my work by inserting screens captured from
Finale.  I am not so much interested in printing manuscripts as in
incorporating music examples in music theory papers.)  I certainly
look forward to reports from others who try to use this system.

Stephen W. Smoliar; Institute of Systems Science
National University of Singapore; Heng Mui Keng Terrace
Kent Ridge, SINGAPORE 0511
Internet:  smoliar@iss.nus.sg	FAX:  +65-473-9897

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Via: uk.ac.heriot-watt.maths.cara; Mon, 25 Apr 1994 12:26:12 +0100
From: Petr Plechac <petr@cara.ma.hw.ac.uk>
Date: Mon, 25 Apr 94 12:24:57 BST
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To: mutex@stolaf.edu
Subject: Midi2TeX on SUN, problem
Precedence: bulk


Hello all,

I have tried to compile and run Midi2TeX on Sun platform, however
I haven't been able to compile the code successfully so far.

The problems I have already resolved:

the header file must be added: #include <unistd.h>
  (defines eg. SEEK_SET )

however some other minor changes should be done because of other
C libraries than for TC compiler, I guess. 
So the following question is mainly for authors of the C version,
since I am not going to understand the code at all.

Here there is an error message from gcc compiler:


Music/Midi2TeX 14> gcc -c -DSUN *.c
tp_m2t16.c: In function `InitFilePosns':
tp_m2t16.c:1319: `fpos_t' undeclared (first use this function)
tp_m2t16.c:1319: (Each undeclared identifier is reported only once
tp_m2t16.c:1319: for each function it appears in.)
tp_m2t16.c:1319: parse error before `OldPos'
tp_m2t16.c:1322: `OldPos' undeclared (first use this function)


also the function 'fgetpos' doesn't seem to exist.

Please could send me some hints how to fix those problems ?

thanks

Petr Plechac
(petr@cara.ma.hw.ac.uk)

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From: Petr Plechac <petr@cara.ma.hw.ac.uk>
Date: Mon, 25 Apr 94 12:58:13 BST
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          Mon, 25 Apr 94 12:58:13 BST
To: mutex@stolaf.edu
Subject: both sided prints from TeX
Precedence: bulk

Hello all,
this question may belong to a general TeX group,  but perhaps
someone could give me a quick answer.

I'd like to print copies, that are double-sided,
from a .dvi or .ps file with a single side print. 
I wouldn't like to make any changes in the
original TeX file like incorporate a TeX macro, LaTeX style etc.
The standard driver dvips allows printing odd and even pages
separately, so it could be a solution, HOWEVER sometimes the
text is not centered on the page ......

So the question is:

- is there any tool for PostScript printers which could handle
  that problem ? i.e. which could separate odd and even pages
  from an input stream of pages and set up a proper offset to get
  a double-sided print-out ? such that  one can simply print odd/even pages
  then turn pages and print again ?
  I have only a standard PostScript printer SUN Sparcprinter
  and I haven't been able to find any ps macros to do that. 
- it should be user's friendly since I'm an ignorant about Postscript



Thanks

Petr Plechac
(petr@cara.ma.hw.ac.uk)

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Date: Tue, 26 Apr 94 10:36:39 JST
From: shpark@nttvdt.ntt.jp (S.H.Park)
To: mutex@stolaf.edu
Subject: Re: Midi2TeX on SUN, problem
Reply-To: shpark@nttvdt.ntt.jp
Precedence: bulk


Hello,

I've got the same problem when compling midi2tex... 

I found that there are some "include" files under
/usr/local/lib/g++-include in my computer, which contains the
information what you want.

iostdio.h:#define fgetpos _IO_fgetpos
iolibio.h:extern int _IO_fgetpos _PARAMS((_IO_FILE*, _IO_fpos_t*));
iolibio.h:extern int _IO_fsetpos _PARAMS((_IO_FILE*, const _IO_fpos_t *));

But, I am sorry that I could not succeed in installing midi2tex on
SUN. The strange thing is that my g++ libirary files do not have several
functions midi2tex used.

Both of "libg++.a" and "libiostream.a" contain the functions: 
iofgetpos.o
iofsetpos.o

So I inserted the following sentences in 'tp_m2t16.c":
#define fpos_t  long
/*
#define fgetpos iofgetpos
#define fsetpos iofsetpos
extern int fgetpos (FILE *, long *);
#include <iostdio.h>
#include <iolibio.h>



At below is the error message I got after I maked.

gcc -o midi2tex tp_debug.o  tp_heap1.o  tp_m2tf4.o  tp_misc.o   tp_decl.o    tp_m2t16.o  tp_midi.o -I/share/local/lib/g++-include -L/share/local/lib/gcc-lib/sparc-sun-sunos4.1.3/2.5.8/include -lg++ -lm -liostream
ld: Undefined symbol 
   _iofsetpos 
   _atexit 
   _iofgetpos 
collect2: ld returned 2 exit status
*** Error code 1
make: Fatal error: Command failed for target `midi2tex'

-------
I guess that my gcc is not a full set...
I could not find out the function "atexit" from any library files.
I hope that these hints help you to fix the problems.


Bye.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Seop Hyeong Park 
   NTT in Japan:  shpark@nttvdt.ntt.jp          (Now I am here.)
   KT in Korea:   seoppark@fruits.kotel.co.kr
NTT Human Interface Labs / Yokosuka        TEL +81(0)468-59-3382
Visual Media Lab.        / Japan           FAX +81(0)468-59-2829
After Work Hours:                          TEL +81(0)468-47-0161
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~


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From: David Thomas <David.Thomas@brunel.ac.uk>
Message-Id: <2771.9404261646@molnir.brunel.ac.uk>
Subject: Help understanding spacing needed
To: mutex@stolaf.edu
Date: Tue, 26 Apr 1994 17:46:40 +0100 (BST)
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Can anyone help me get a better understanding of spacing, please ?
==================================================================

I'm having a bit of difficulty getting control of the spacing in
the examples I have typeset with MusicTex and wonder if anyone
can help me understand better the spacing implications of \temps
and the other spacing macros and the \barre macro.

I can best explain what I don't understand by reference to a
couple of examples in the manual: the Mozart in para. 1.2 on page
7 (version 4.98) and the four bars of Cs in para. 2.5.1 on page
15-16.

My lack of understanding 1.   \temps
------------------------------------
In the 2.5.1 example the \temps seems to be essential to space
out the Cs. Without it the notes overlap. Yet in the Mozart the
3 \temps seem to do nothing and I get the same output if I remove
them.
When I added \temps in my own examples (on the beat, between 
\notes...\enotes pairs) to try and add extra space between some 
beamed groupings that were too close nothing changed.
Why is this ?


My lack of understanding 2.  \barre
-----------------------------------
The barlines in the C notes example (2.5.1) have more space after them
than before them. Can this spacing be equalised ?
The Mozart looks better in this respect. I can't see anything
special about the coding to explain this.


Thanks

David Thomas
Brunel University 
Uxbridge
Middlesex
UB8 3PH

david.thomas@brunel.ac.uk


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To: mutex@stolaf.edu
From: brug@optica.tn.tudelft.nl (Dr. Hedser van Brug)
Subject: mutex output
Precedence: bulk

Hi MuTeXers,

I just obtained MuTeX and created all the .tfm and .pk files needed (from
the .mf files) using MacMetafont. The problem is that in the output from
the demo file each note (actually all symbols) are shown with a box around
them. What did I do wrong?
Things you might need to know: I am working on a Macintosh using OzTeX.

Thanks in advance,

Hedser van Brug
================================================================================

Hedser van Brug
Delft University of Technology
Dept. of Applied Physics, Optics Research Group
Lorentzweg 1, 2628 CJ Delft, the Netherlands
e-mail: brug@optica.tn.tudelft.nl
fax: +31-15-788105
tel: +31-15-784288



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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <8327.9405050943@vogon>
Subject: FREE MUSIC NOTATION SOFTWARE: announcing abc2mtex v1.2
To: mutex@stolaf.edu.IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Thu, 5 May 1994 10:43:02 +0100 (BST)
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*****************************************************************
********** Announcing    version   1.2   of   abc2mtex **********
*****************************************************************

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|[1 dfe dBA:|[2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|[1 dfe dcB:|[2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The tune is then read in by the program and MusicTeX output  gen-
erated (in a matter of seconds). TeX can then be run on this out-
put to "typeset beautiful music".

The package is small (about 150 KByte), easy to use and features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
(widely  available  on Unix machines and also available for PCs),
MusicTeX  (available   by  ftp  from a number of sources such  as
ftp.wustl.edu in /packages/TeX/macros/musictex) and a C compiler.

You can get a copy of the package by anonymous ftp from:
	celtic.stanford.edu in /pub/tunes/abc2mtex1.2
or	ftp.gmd.de	    in /music/musictex/software/abc2mtex1.2.tar.gz
or	ftp.maths.tcd.ie    in /pub/TeX/abc2mtex

or by sending an email request to me (C.Walshaw@gre.ac.uk).

        Chris Walshaw


CHANGES BETWEEN V1.2 & V1.1
^^^^^^^^^^^^^^^^^^^^^^^^^^^

	NEW FEATURES (see userguide for full details)
	^^^^^^^^^^^^

A brand new all-singing,  all-dancing  search  facility  to  look
through your database and find your favourite tunes. Plus new fa-
cilities to allow the indexing of the tunes in any way  the  user
chooses. A new document index.tex deals with these topics.

Improved error handling.

There is now limited support for chords of  two,  three  or  four
notes on a single stem, although not within a beam.

New section in the userguide on customising the output,  together
with an example file.

Introduction of the L: field to change the default  note  length.
This  supercedes  the  use  of  the  s  & l meter modifiers (e.g.
M:4/4l) although these features will still be supported.

Any meter can now be used.

The default meter is no longer required at top of  file  (M:C  is
default).  Also  the default meter can be changed anywhere in the
tune file (between two tunes).

Introduction of default O: and   R:  fields   into   tune   files
(which work the same way as the default meter).

Introduction   of   the   H:   field   to   put   in   multi-line
stories/anecdotes.

Documentation of  the  A:  (area/region)  and  W:  (words/lyrics)
fields  (which  existed  before  but  somehow got left out of the
manual).

Introduction of the B: (book/bibliography), D: (discography)  and
G: (group) fields for archiving.

The T: field can now appear inside a tune to allow for naming  of
parts, such as in Breton suites.

Additional notation for first & second repeats - |1  &  |2.  This
will run alongside the existing [1 & [2.

Ties within bars now supported.

Input files can now be specified  on  the  command   line,   e.g.
abc2mtex x XE:1-3,7,9- XIJ:-10

If an input file has the extension .abc this does not need to  be
explicitly typed in.

	BUG FIXES
	^^^^^^^^^

Due to some changes in MusicTeX, abc2mtex v1.1 & v1.0 are  incom-
patible  with MusicTeX v4.99 onwards. This bug has been fixed for
abc2mtex v1.2 .

Bug in eval_beam fixed (uninitialised variable "median").

	OTHER CHANGES
	^^^^^^^^^^^^^

Default note length for 5/4 changed to quaver (1/8th note).

New meters 2/2 & 5/8.


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Subject: FREE MUSIC NOTATION SOFTWARE: announcing abc2mtex v1.2
To: mutex@stolaf.edu.IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Thu, 5 May 1994 10:43:06 +0100 (BST)
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*****************************************************************
********** Announcing    version   1.2   of   abc2mtex **********
*****************************************************************

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|[1 dfe dBA:|[2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|[1 dfe dcB:|[2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The tune is then read in by the program and MusicTeX output  gen-
erated (in a matter of seconds). TeX can then be run on this out-
put to "typeset beautiful music".

The package is small (about 150 KByte), easy to use and features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
(widely  available  on Unix machines and also available for PCs),
MusicTeX  (available   by  ftp  from a number of sources such  as
ftp.wustl.edu in /packages/TeX/macros/musictex) and a C compiler.

You can get a copy of the package by anonymous ftp from:
	celtic.stanford.edu in /pub/tunes/abc2mtex1.2
or	ftp.gmd.de	    in /music/musictex/software/abc2mtex1.2.tar.gz
or	ftp.maths.tcd.ie    in /pub/TeX/abc2mtex

or by sending an email request to me (C.Walshaw@gre.ac.uk).

        Chris Walshaw


CHANGES BETWEEN V1.2 & V1.1
^^^^^^^^^^^^^^^^^^^^^^^^^^^

	NEW FEATURES (see userguide for full details)
	^^^^^^^^^^^^

A brand new all-singing,  all-dancing  search  facility  to  look
through your database and find your favourite tunes. Plus new fa-
cilities to allow the indexing of the tunes in any way  the  user
chooses. A new document index.tex deals with these topics.

Improved error handling.

There is now limited support for chords of  two,  three  or  four
notes on a single stem, although not within a beam.

New section in the userguide on customising the output,  together
with an example file.

Introduction of the L: field to change the default  note  length.
This  supercedes  the  use  of  the  s  & l meter modifiers (e.g.
M:4/4l) although these features will still be supported.

Any meter can now be used.

The default meter is no longer required at top of  file  (M:C  is
default).  Also  the default meter can be changed anywhere in the
tune file (between two tunes).

Introduction of default O: and   R:  fields   into   tune   files
(which work the same way as the default meter).

Introduction   of   the   H:   field   to   put   in   multi-line
stories/anecdotes.

Documentation of  the  A:  (area/region)  and  W:  (words/lyrics)
fields  (which  existed  before  but  somehow got left out of the
manual).

Introduction of the B: (book/bibliography), D: (discography)  and
G: (group) fields for archiving.

The T: field can now appear inside a tune to allow for naming  of
parts, such as in Breton suites.

Additional notation for first & second repeats - |1  &  |2.  This
will run alongside the existing [1 & [2.

Ties within bars now supported.

Input files can now be specified  on  the  command   line,   e.g.
abc2mtex x XE:1-3,7,9- XIJ:-10

If an input file has the extension .abc this does not need to  be
explicitly typed in.

	BUG FIXES
	^^^^^^^^^

Due to some changes in MusicTeX, abc2mtex v1.1 & v1.0 are  incom-
patible  with MusicTeX v4.99 onwards. This bug has been fixed for
abc2mtex v1.2 .

Bug in eval_beam fixed (uninitialised variable "median").

	OTHER CHANGES
	^^^^^^^^^^^^^

Default note length for 5/4 changed to quaver (1/8th note).

New meters 2/2 & 5/8.


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From: "Frank'OSWL'Heyder" <heyder@kirk.fmi.uni-passau.de>
Message-Id: <199405060538.AA10574@kirk.fmi.uni-passau.de>
Subject: Misplaced alignment tab character
To: mutex@stolaf.edu
Date: Fri, 6 May 1994 07:38:43 +0200 (MET DST)
X-Face: 
	 "w*qupod3S((F01C&IGGHRDINJ]FO@+^r]sL!{c/}dt1NV|{pTks;@O!@~#b7}lDdh!vO&_
	 4Ka]SE/Z2BZ4xo&W^fnpcE)WO^yvXc1o45nRtP~#)Pz{kd2+S;+lDCNtU;6I%L,Qwy'{{>jUl:.`(.
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-----BEGIN PGP SIGNED MESSAGE-----

Hi!

I'm using MusicTeX 5.02 since Monday and I tried to set some choir-scores,
but I failed to get the "tenor clef" example in section 2.17.4 of the
documentation working. Here is the source I tried:
\input musicnft
\input musictex
\def\nbinstruments{4}
\generalmeter{\meterfrac{4}{4}}
\generalsignature{1}
\cleftoksi={6000}
\cleftoksii={0000}
\cleftoksiii={0000}
\cleftoksiv={0000}
\font\eightfig=cmr8
\normal
\def\everystaff{\notes&\zcharnote{-6}{\eightfig
  \kern -1.4\Interligne 8}&\zcharnote{-6}{\eightfig
  \kern -1.4\Interligne 8}\enotes}
\debutmorceau
\notes
	\hl A&\hl a&\hl a&\hl a
\enotes

\bye

and this is what I got:

SANDY:/mnt/home/heyder/tex 504 > tex test.tex 
This is TeX, C Version 3.141
(test.tex (/usr/TeX/lib/tex/macros/musicnft.tex
Version 5.02 -- March 20th, 1994) (/usr/TeX/lib/tex/macros/musictex.tex
Version 5.02 -- March 20th, 1994)
! Misplaced alignment tab character &.
\everystaff ->\notes &
                      \zcharnote {-6}{\eightfig \kern -1.4\Interligne 8}&\zc...

\piece@beginb ->\writeclefs \everystaff 
                                        \writesignatures \writemeters \save@...

\debutmorceau ...emaxskip minus .5pt\piece@beginb 
                                                  \setnormalhyphen 
l.15 \debutmorceau
                  
? 

Has anyone a clue ?

Thanks in advance,
			Frank
- -- 
Frank 'OSWL' Heyder                                        Universitdt Passau
Lehrstuhl f|r Theoretische Informatik,         Prof. Dr. Franz J. Brandenburg
E-Mail: heyder@fmi.uni-passau.de          WWW:http://www.uni-passau.de/~heyder


-----BEGIN PGP SIGNATURE-----
Version: 2.3a

iQCVAgUBLcnX2vm/G/iKtLNtAQHHjAQAwal34nRlnBMa82nxk+R/g4qL59o9eqsT
TD8H5ZfW7SWfd0yRDO6arujSSDCbaaOjWubCqllq2wSJY3Jo0IeblphzlaQMp2QN
v/BpsZ/BlLpG2xCCnd77NBbRkw4gKfJpkOY/vY1REr372bKJL3B5Ozj/mWj3xtXi
m6bKHPdnD90=
=+sYu
-----END PGP SIGNATURE-----

From owner-mutex  Sat May 14 15:23:52 1994
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From: goddijn@fgbbs.iaf.nl (Frans Goddijn)
Date: 14 May 94 20:20:05 +0100
Subject: midi to TeX with 4allTeX... it works!
Message-Id: <196_9405142029@fgbbs.iaf.nl>
Organization: TeX, LaTeX & 4allTeX on FGBBS [31] 85-217041 
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Yesterday, I managed to get a first success in creating some home made musicTeX
print!

I have three files together which explain what I did and how I did it and what
problems I had. I put them in an uuencoded .arj file. Would anyone mind if I
sent it to this list as message text body? 

here's the infotext in the .uue file:


14 may 1994

These three files are:

fgidiot.mid   the midi file punched in at the PC keyboard using a `sequencer'
fgidiot.tex   the musicTeX file created by midi2tex.exe from fgidiot.mid
fgidiot.ps    the postscript file after compilation through TeX

The purpose was to try if I could type in a midi file, listen to parts
of it during the typing, then convert this to a typeset music notation
page.

I am learning to play the clarinet, I think most music examples in
music-learning books are utterly boring and I want to do something
creative with my SoundBlaster hardware instead of just playing tons
of ready made midi files and watch the staffs and piano roll graphs
in bafflement.

This, and my fondness for the great composer Frank Zappa led to these
first files, which are probably full of clumsiness. The midi file could
sound much better, but I want to waste little time at punching in info
that may pose problems for midi2tex.exe, which is a neat little utility
with not many capacities. What I should have done but forgot to do every
time I worked on this first file, is after loading the file to make sure
I had the tone pitch two notches down, so as to make sure the G sounds
the same on the PC as the G on my B-flat clarinet. I think I neglected
this and therefore I had to do some less elegant up-transposing (of
three nothes... strange, hope to be more orderly next time...) in the
editing of the .tex file.

In the .tex file I commented out these lines:

%\input musicadd
%\input musictrp

which were put there by midi2tex, but which prevent proper compilation
on my system.

I use 4allteX, a Public Domain typesetter program with a deluxe shell
menu built around it.

Frans Goddijn
goddijn@fgbbs.iaf.nl

From owner-mutex  Thu May 19 10:23:53 1994
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 Thu, 19 May 1994 11:10:59 EST
Date: Thu, 19 May 1994 11:10:59 -0500 (EST)
From: Glenn Corson <GLEC1@db1.cc.rochester.edu>
Subject: Musictex Font Problem
To: mutex@stolaf.edu
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Greetings!

	I've recently installed Musictex on our Vax cluster.
It seems to be working well (after the usual amount of horsing
around) except for the musicbra font. I needed to run all the
.pk files through a metafont utility for uniformity with the
other fonts in our installation. They all translated well, except
for musicbra. All the other fonts ended up with a filename like
musikn20.300pk, but musicbra translated to musicbra.100pk for
some reason and won't work with our print driver (is this a
screen font?). I've tried a few tricks and keep coming up with 
the same results. Where braces should appear I get either 'fi'
or '-', the rest of the notation is just fine.
	Any thoughts? Please send mail, I'm not subscribed to 
the group (yet).
	Thanks for any and all suggestions.

Glenn Corson
Computing Center
University of Rochester


From owner-mutex  Mon May 23 21:23:53 1994
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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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Why don't I just send you a copy of the pk file?  Shall I uuencode it?
I don't think I can mail you the binary data.

					--Col. George Sicherman
					  gls@hrcms.att.com

From owner-mutex  Tue May 24 12:23:53 1994
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From: goddijn@fgbbs.iaf.nl (Frans Goddijn)
Date: 24 May 94 12:36:03 +0100
Subject: barre numero un est deux
Message-Id: <66e_9405241830@fgbbs.iaf.nl>
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I am having GREAT fun with MusicTeX, since I got the combination with a MIDI
sequencer and Hans Kuykens' MIDI2TEX.EXE rigged up.

Now there are some minor problems I encounter, partly as a result of the
manuals for these things being written for the more intelligent human being.
Fort instance, a reference is made to the numbering of barres with no _example_
of how a stupid person like me can safely pull it off.

I get my music scores with barre number one empty. Did I cause this error
telling my sequencer wrong, or telling midi2tex wrong, or did I do somethjing
to musicTeX to get the first barre numbered two?

An example:


%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%    MIDI2TeX C-version V 1.1 translation
%           of MIDI file :
%          idiotcla.mid
%
%   Written by Hans Kuykens, Ad Verbruggen
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\input musicnft
\input musictex
%\input musicadd (% needed in my current version, else hangs)
\input musictrp
\normal
\hsize 160mm \vsize 260mm %  needed, else too much empty space on bottom
                          %  and rest of score next page, now pagenumber 
                          %  is too low off the page. 
\musicsize=20
\elemskip=10pt%
\def\nbinstruments{1}
\generalsignature{0}\relax
\def\thename{Idiot Bastard Son}   % title
\centerline{\enorme FRANK ZAPPA}  % composer
\medskip\centerline{\moyen \thename}
\rightline{translation for CLARINET by MIDI2TeX
from a midi file sequenced by Frans Goddijn
}
\rightline{midi2tex created by H.J.P. Kuykens}
\def\date{\number\day -\number\month -\number\year}
\headline={\ifnum\pageno>1 \otherpage \else\frontpage\fi}
\def\frontpage{\hfil \tenrm\date}
\def\otherpage{\tenrm \thename \hfil \tenrm\date}
%
%\def\barno{0} seems not to be the way to prevent the first bar
% to be wrongly numbered 2
%\autolines{4}{7}{12} gets more on page but deletes vertical lines
%\musicsize=16
%
\transpose=1
\generalmeter{\meterfrac{3}{4}}%
\relativeaccidentals
\debutmorceau
%measure 1
\signaturegenerale{0}\changecontext%
\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
%measure 2
\barre
\NOtes\qu g\enotes\relax
\temps\NOtes\hl j\enotes\relax
%measure 3
\barre
\NOtes\qu g\enotes\relax
\temps\NOtes\hu h\enotes\relax
%measure 4
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 5
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 6
\alaligne
\NOtes\qu d\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 7
\barre
\NOtes\qu c\enotes\relax
\temps\NOtes\itenu0a\hu a\enotes\relax
%measure 8
\barre
\NOtes\tten0\hup a\enotes\relax
%measure 9
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 10
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 11
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 12
\barre
\NOtes\qu c\enotes\relax
\temps\NOtes\itenu0a\hu a\enotes\relax
%measure 13
\alaligne
\NOtes\tten0\hup a\enotes\relax
%measure 14
\barre
\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
%measure 15
\barre
\NOtes\qu g\enotes\relax
\temps\NOtes\hl j\enotes\relax
%measure 16
\barre
\NOtes\qu g\enotes\relax
\temps\NOtes\hu h\enotes\relax
%measure 17
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 18
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 19
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 20
\alaligne
\NOtes\qu c\enotes\relax
\temps\NOtes\itenu0a\hu a\enotes\relax
%measure 21
\barre
\NOtes\tten0\hup a\enotes\relax
%measure 22
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 23
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 24
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 25
\barre
\NOtes\qu c\enotes\relax
\temps\NOtes\itenu0a\hu a\enotes\relax
%measure 26
\barre
\NOtes\tten0\hup a\enotes\relax
%measure 27
\alaligne
\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu h\enotes\relax
%measure 28
\barre
\NOtes\qu g\enotes\relax
\temps\NOtes\itenu0j\hl j\enotes\relax
%measure 29
\barre
\NOtes\tten0\ql j\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 30
\barre
\NOtes\ql k\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu d\enotes\relax
%measure 31
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 32
\barre
\NOtes\ql l\enotes\relax
\temps\NOtes\ql i\enotes\relax
\temps\NOtes\qu d\enotes\relax
%measure 33
\alaligne
\NOtes\qu e\enotes\relax
\temps\NOtes\itenu0b\hu b\enotes\relax
%measure 34
\barre
\NOtes\tten0\itenu1b\hup b\enotes\relax
%measure 35
\barre
\NOtes\tten1\qu b\enotes\relax
\temps\NOtes\qu {^M}\enotes\relax
\temps\NOtes\qu {^c}\enotes\relax
%measure 36
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\qu e\enotes\relax
\temps\NOtes\qu {^c}\enotes\relax
%measure 37
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\itenu1{_b}\hu {_b}\enotes\relax
%measure 38
\barre
\NOtes\tten1\hu {_b}\enotes\relax
\temps\NOtes\qu a\enotes\relax
%measure 39
\barre
\NOtes\qu {_b}\enotes\relax
\temps\NOtes\qu c\enotes\relax
\temps\NOtes\qu a\enotes\relax
%measure 40
\alaligne
\NOtes\qu {_b}\enotes\relax
\temps\NOtes\itenu1{^M}\hu {^M}\enotes\relax
%measure 41
\barre
\NOtes\tten1\qu {^M}\enotes\relax
\temps\NOtes\qu M\enotes\relax
\temps\NOtes\qu N\enotes\relax
%measure 42
\barre
\NOtes\qu {_a}\enotes\relax
\temps\NOtes\itenu1{=a}\hu {=a}\enotes\relax
%measure 43
\barre
\NOtes\tten1\qu a\enotes\relax
\NOtes\ibu0N{0}\qh0{^M}\qh0N\enotes\relax
\NOtes\qh0L\tbu0\qh0M\enotes\relax
%measure 44
\barre
\NOtes\ibu0L{0}\qh0K\qh0L\enotes\relax
\NOtes\qh0J\tbu0\qh0K\enotes\relax
\temps\NOtes\qu H\enotes\relax
%measure 45
\alaligne
\NOtes\ibu0N{0}\qh0{^M}\qs \tbbu0\tbu0\qh0N\enotes\relax
\temps\NOtes\qu a\enotes\relax
\temps\NOtes\qu a\enotes\relax
%measure 46
\barre
\NOtes\qu N\enotes\relax
\temps\NOtes\hu c\enotes\relax
%measure 47
\barre
\NOtes\qu N\enotes\relax
\temps\NOtes\itenu1a\hu a\enotes\relax
%measure 48
\barre
\NOtes\tten1\qu a\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 49
\barre
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 50
\barre
\NOtes\qu d\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu e\enotes\relax
%measure 51
\alaligne
\NOtes\qu c\enotes\relax
\temps\NOtes\hu h\enotes\relax
%measure 52
\barre
\NOtes\ql i\enotes\relax
\temps\NOtes\hl j\enotes\relax
%measure 53
\barre
\NOtes\ql i\enotes\relax
\temps\NOtes\hl k\enotes\relax
%measure 54
\barre
\NOtes\ibl0i{0}\qb0j\qs \tbbl0\tbl0\qb0i\enotes\relax
\temps\NOtes\hu h\enotes\relax
%measure 55
\barre
\NOtes\ql i\enotes\relax
\temps\NOtes\ql j\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 56
\barre
\NOtes\ql i\enotes\relax
\temps\NOtes\hu h\enotes\relax
%measure 57
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu h\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 58
\alaligne
\NOtes\qu e\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu {^f}\enotes\relax
%measure 59
\barre
\NOtes\hu d\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 60
\barre
\NOtes\qu h\enotes\relax
\temps\NOtes\hu e\enotes\relax
%measure 61
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu f\enotes\relax
%measure 62
\barre
\NOtes\hu d\enotes\relax
\temps\NOtes\qu g\enotes\relax
%measure 63
\barre
\NOtes\qu h\enotes\relax
\temps\NOtes\hu e\enotes\relax
%measure 64
\barre
\NOtes\qu {^f}\enotes\relax
\temps\NOtes\qu g\enotes\relax
\temps\NOtes\qu f\enotes\relax
%measure 65
%\alaligne
\NOtes\itenu1d\hup d\enotes\relax
%measure 66
\barre
\NOtes\tten1\hu d\enotes\relax
\temps\NOtes\itenu2h\qu h\enotes\relax
%measure 67
\barre
\NOtes\tten2\cu h\qup h\enotes\relax
\temps\NOtes\itenu1h\qu h\enotes\relax
%measure 68
\barre
\NOtes\tten1\cu h\qup g\enotes\relax
\temps\NOtes\itenu2j\ql j\enotes\relax
%measure 69
\barre
\NOtes\tten2\itenu1j\hlp j\enotes\relax
%measure 70
\barre
\NOtes\tten1\hlp j\enotes\relax
\finmorceau
\bye

That's it. Any suggestions?


Met hartelijke groet!
 
                          FG 

From owner-mutex  Tue May 24 13:23:53 1994
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Date: Tue, 24 May 1994 20:14:17 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9405241814.AA27932@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: barre numero un est deux
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Content-Length: 613
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> I get my music scores with barre number one empty. Did I cause this error
> telling my sequencer wrong, or telling midi2tex wrong, or did I do somethjing
> to musicTeX to get the first barre numbered two?
> 
> An example: [...]
> %measure 1
> \signaturegenerale{0}\changecontext%
                       ^^^^^^^^^^^^^^
> \NOtes\qu h\enotes\relax
> \temps\NOtes\qu h\enotes\relax
> \temps\NOtes\qu h\enotes\relax
> %measure 2
> \barre
> \NOtes\qu g\enotes\relax
> [...]

\changecontext terminates the 1st empty bar numbered 1 andd creates a
barline which does not correspond to regular typesetting notes.

Werner

From owner-mutex  Tue May 24 20:23:52 1994
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Date: Tue, 24 May 1994 19:29:52 -0500
From: stewart james <nigel@uxa.cso.uiuc.edu>
Message-Id: <199405250029.AA16511@uxa.cso.uiuc.edu>
To: mutex@stolaf.edu
Subject: Re: musicbra
Precedence: bulk

	OK, we can try that or you could put the file where I could ftp it.  


From owner-mutex  Wed May 25 13:23:54 1994
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From: goddijn@fgbbs.iaf.nl (Frans Goddijn)
Date: 25 May 94 09:50:03 +0100
Subject: Re: barre numero un est deux
Message-Id: <6e2_9405251830@fgbbs.iaf.nl>
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said Werner Icking to All:

 WI> \changecontext terminates the 1st empty bar numbered 1 andd
 WI> creates a barline which does not correspond to regular
 WI> typesetting notes. 

Thanks! I guess I told something wrong to midi2tex.exe causing it to write that
code there, then.

Met hartelijke groet!
 
                          FG 

From owner-mutex  Sat May 28 10:23:53 1994
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From: dsmith@erich.triumf.ca
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Date: Sat, 28 May 1994 07:40:19 PST
To: mutex@stolaf.edu
Message-ID: <0097F185.460F744A.4@erich.triumf.ca>
Subject: Use of Musictex on Macintosh machines.
Precedence: bulk


Hello-

I was wondering if anyone out there has tried to do this, run musictex on
a machintosh machine.  I can run Tex, LaTex, and input macros and styles
but the problem comes with the fonts.  I can't get the program to read the
TFM files.  I don't know enough about how these files are set up to make
them readable my the mac.  I actually don't know anything about how the
mac font files are set up, so I can't translate them.

Does anyone out there know about the mac fonts and the use of the musictex
fonts to make use of them?

Douglas Smith
Dsmith@erich.triumf.ca


From owner-mutex  Mon May 30 04:23:56 1994
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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9405300837.AA00364@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Use of Musictex on Macintosh machines.
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> I was wondering if anyone out there has tried to do this, run musictex on
> a machintosh machine.  I can run Tex, LaTex, and input macros and styles
> but the problem comes with the fonts.  I can't get the program to read the
> TFM files.  I don't know enough about how these files are set up to make
> them readable my the mac.  I actually don't know anything about how the
> mac font files are set up, so I can't translate them.
> 
> Does anyone out there know about the mac fonts and the use of the musictex
> fonts to make use of them?

I had no servere problems with OzTeX. The pk-files for 300 dpi had to be
renamed from "xyz.pk" to "xyz" and put into a folder named "300". The 
tfm-files kept their names and had to be put into a separate folder
like the tfm-s for LaTeX etc.

Some config files had to be changed to reflect this new status; eg. a
list of folders with tfm-files had to be extended by the name of the
new folder.

If you do not run OzTeX have a look where your TeX stores TFM-files and
PK-Files. If you do not find such files look for a programme or function
to import such files to your TeX.

Hope this hilft -- Werner

From owner-mutex  Wed Jun  1 06:23:54 1994
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To: mutex@stolaf.edu
Subject: Midi2Tex on sun
Date: Wed, 01 Jun 94 12:19:27 +0200
From: Menno van Zaanen <mmzaanen@galjas.cs.vu.nl>
Message-ID:  <9406011219.aa16612@galjas.cs.vu.nl>
Precedence: bulk

Hi,

I was wondering, does someone have a running version of midi2tex ?
I've tried to compile it, but it didn't work, when I replaced all
the (for my compiler) nonexisting calls, the program started, but
when I tried it with a midi-file, I got a segmentation fault.

So, where can I get a working version, or how do I get it working.
----------------------------------------------------------------------------
Menno van Zaanen
mmzaanen@cs.vu.nl
tweeq@dds.hacktic.nl
----------------------------------------------------------------------------
Once you eliminate the impossible, what remains is the solution,
no matter improbable it may seem.

From owner-mutex  Mon Jun  6 21:23:52 1994
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     Is there anyone out there saving all the mails about 
     mutex/musictex?
     I used to do that a year ago and I lost that mbox(mail box file).
     I would really appreciate if someone send me your mbox for me 
     since I am trying to learn mutex again. My goal is trying to 
     print scores with English lyrics then with Korean lyrics after 
     sucessfully finding and installing the Korean font which I heard 
     that I can get from Kaist Korea.
     
     Thanks in advance
     
     Andrew Kim

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Subject: REQUEST: makefile or Bourne/C shell script for build MusicTeX
To: mutex@stolaf.edu
Date: Wed, 15 Jun 1994 18:43:24 -0600 (MDT)
From: "Richard Ryan" <ryanr@ellingtn.ftc.scs.ag.gov>
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Hello,

Is there a makefile or Bourne/C shell script for building MusicTeX from 
the tarred up distribution?

Thank you,
Ricard Ryan.

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Date: Thu, 16 Jun 1994 13:20:58 +0200
From: Jens Cornelius Olsen <jco@daimi.aau.dk>
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To: mutex@stolaf.edu
Subject: Problems with chords.
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 Hi out there. This is my first mail to this list and since I am a novice
  both to MusicTex and abc2mtex AND to setting music at all I may ask silly
  questions, but here we go:

  - Chords like +F6F6+ is okay but +F8F8+ is not. Why ? TeX says
        Undefined control sequence.
         \notes\ZuApp
                     {f}{h}\Zutie ...
  - I want chords within a beam. Why is this impossible (according to the
        userguide of abc2mtex) ?

 Any help appreciated.
--Jens.

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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To: mutex@stolaf.edu
Subject: makefile?
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	Subject: REQUEST: makefile or Bourne/C shell script for build MusicTeX
	Date: Wed, 15 Jun 1994 18:43:24 -0600 (MDT)
	From: "Richard Ryan" <ryanr@ellingtn.ftc.scs.ag.gov>

	Is there a makefile or Bourne/C shell script for building MusicTeX from 
	the tarred up distribution?

I don't think so.  The TeX files can be used just as they are, in whatever
directory your $TEXPATH points to, or in your current directory.  As for
the metafonts, with any luck you'll have a dvi translator that compiles
them for you.  If not, all that needs to be done is to run "mf" with the
proper parameters, then gftopk to interpret and pack the font.  Write if
you hit a snag.

						Col. G. L. Sicherman
						gls@hrcms.ATT.COM

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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <3096.9406161340@deepthought>
Subject: Re: Problems with chords.
To: mutex@stolaf.edu
Date: Thu, 16 Jun 1994 14:40:56 +0100 (BST)
Cc: C.Walshaw@greenwich.ac.uk () ()
In-Reply-To: <199406161120.AA17742@banon.daimi.aau.dk> from "Jens Cornelius Olsen" at Jun 16, 94 01:20:58 pm
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> 
> 
>  Hi out there. This is my first mail to this list and since I am a novice
>   both to MusicTex and abc2mtex AND to setting music at all I may ask silly
>   questions, but here we go:
> 
>   - Chords like +F6F6+ is okay but +F8F8+ is not. Why ? TeX says
>         Undefined control sequence.
>          \notes\ZuApp
>                      {f}{h}\Zutie ...

	Sorry I hadn't defined the macro for this. You should add the
following lines to zmacros.tex

\def\ZuApp#1#2{\zw{#1}\wh{#2}}%
\def\ZlApp#1#2{\zw{#1}\wh{#2}}%

>   - I want chords within a beam. Why is this impossible (according to the
>         userguide of abc2mtex) ?
> 

	It isn't impossible - again I just haven't defined the macros
(basically because there are too many possibilities). You could write
your own, e.g.

\def\ZlAbbAbb#1#2#3#4{\Ibl0{#1}{#3}1\zq{#1}\qb0{#2}\zq{#3}\tqb0{#4}}%
\def\ZuAbbAbb#1#2#3#4{\Ibu0{#1}{#3}1\zq{#1}\qh0{#2}\zq{#3}\tqh0{#4}}%

for two chords of eighth notes in a beam and I can supply a little modification
to the program to make it work.

	Eventually I intend to change the code so that the zmacros won't be
necessary and then this should work fine. But don't hold your breath ...

	Chris Walshaw


Chris Walshaw,				email:	C.Walshaw@gre.ac.uk
School of Maths, Stats and Computing,	Tel:	081-316 8746
The University of Greenwich.		FAX:	081-316 8665


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Date: Thu, 16 Jun 1994 16:31:20 +0200
From: Bjorn F Langoren <bfl@efixdb.efi.sintef.no>
Message-Id: <199406161431.AA04065@efixdb.efi.sintef.no>
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>    Is there anyone out there saving all the mails about 
>    mutex/musictex?

I have about 150 musictex messages (about 350 Kbytes) stored here.
They are saved in Emacs BABYL format. The oldest one is from 
November 1993.

If you haven't had any other response, I can mail them to you.
( I probably will need to split and uuencode them first)

If I don't hear anything from you, I'll assume you have gotten
the stuff elsewhere.

---
bfl@efi.sintef.no

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From: wc0zxr <C.Walshaw@greenwich.ac.uk>
Message-Id: <6462.9406171022@deepthought>
Subject: Re: problems with changesignature
To: mutex@stolaf.edu
Date: Fri, 17 Jun 1994 11:22:53 +0100 (BST)
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P.S. I am using MusicTeX 5.03

Chris Walshaw

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Subject: problems with changesignature
To: mutex@stolaf.edu
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	Can somone tell me why the second change of signature doesn't
show up in the following example ... am I doing something wrong?
I have another example, much more compilcated, where it doesn't show up
after a couple of lines of output, but this is the simplest one I could
find.

	Chris Walshaw

-----------------------8<--cut here--8<-----------------------------

\input musicnft
\input musictex
\input musicvbm
\input musictrp

\def\nbinstruments{1}\relax
\generalsignature{3}\relax
\generalmeter{\meterfrac{4}{4}}\relax
\normal\relax
\debutmorceau\relax
\notes\wh h\enotes\relax
\leftrepeat\relax
\generalsignature{2}\relax
\changesignature\relax
\notes\wh h\enotes\relax
\barre\relax
\generalsignature{3}\relax
\changesignature\relax
\notes\wh h\enotes\relax
\rightrepeat\relax

\generalsignature{3}\relax
\generalmeter{\meterfrac{4}{4}}\relax
\normal\relax
\debutmorceau\relax
\notes\wh h\enotes\relax
\leftrepeat\relax
\generalsignature{2}\relax
\changesignature\relax
\notes\wh h\enotes\relax
\generalsignature{3}\relax
\changecontext\relax
\notes\wh h\enotes\relax
\rightrepeat\relax

\end

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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To: mutex@stolaf.edu
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	From: wc0zxr <C.Walshaw@greenwich.ac.uk>
	Subject: problems with changesignature
	To: mutex@stolaf.edu
	Date: Fri, 17 Jun 1994 11:21:55 +0100 (BST)

		Can somone tell me why the second change of signature doesn't
	show up in the following example ... am I doing something wrong?

I can reproduce the error.  Looks like a bug!  The manual says to use
\changecontext rather than \changesignature after a bar, but that makes
it worse--two bars appear in place of one.

Sorry, I don't have a bugfix or a workaround.

						--Col. George Sicherman
						  gls@hrcms.ATT.COM

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Date: Mon, 20 Jun 94 11:51:10 JST
From: shpark@nttvdt.ntt.jp (S.H.Park)
To: mutex@stolaf.edu
Subject: Re: problems with changesignature
Reply-To: shpark@nttvdt.ntt.jp
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Though I am a novice in musictex, I also think that is's a bug !

> \input musicnft
> \input musictex
> \input musicvbm
> \input musictrp
> 
> \def\nbinstruments{1}\relax
> \generalsignature{3}\relax
> \generalmeter{\meterfrac{4}{4}}\relax
> \normal\relax
> \debutmorceau\relax
> \notes\wh h\enotes\relax
> \leftrepeat\relax
> \generalsignature{2}\relax
> \changesignature\relax
> \notes\wh h\enotes\relax
> \barre\relax
> \generalsignature{3}\relax % If you change the number *3* into 
                             % another number except 3, it will show up.
> \changesignature\relax
> \notes\wh h\enotes\relax
> \rightrepeat\relax
> \end
>

I just tried to comiple the above source codes with modified
'musictex.tex' file, of which the modified lines are at below.

Before modification:

\def\writesigni{\selectinstr\def\o@test{999}\w@ritenewsigni}%
\def\writenewsigni{\selectinstr\def\o@test{\o@sign}\w@ritenewsigni}%
\def\w@ritenewsigni{{\p@loop
  \n@portee
  \ifnum\o@test=\sign\relax\else
    \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}%
    \setbox\toks@box=\hbox{\kern 0.4\Internote\get@ref\compnwsign
         \kern 0.4\Internote}%
    \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi
    \raise\altportee\rlap{\box\toks@box}%
  \fi
\repeat}%
}%


After modification:

\def\writesigni{\selectinstr\def\o@test{999}\w@ritenewsigni}%
\def\writenewsigni{\selectinstr\def\o@test{\o@sign}\w@ritenewsigni}%
\def\w@ritenewsigni{{\p@loop
  \n@portee
%  \ifnum\o@test=\sign\relax\else   %!!!!! Comment mark is inserted !!!!
    \edef\get@ref{\noexpand\get@refs\the\cleftoks{}{}{}{}}%
    \setbox\toks@box=\hbox{\kern 0.4\Internote\get@ref\compnwsign
         \kern 0.4\Internote}%
    \ifdim\sign@skip<\wd\toks@box \global\sign@skip=\wd\toks@box\fi
    \raise\altportee\rlap{\box\toks@box}%
%  \fi                              %!!!!! Comment mark is inserted !!!!
\repeat}%
}%

What I have done is only to delete two lines with comment marks !!!
Then the sencond \changesignature will work well.
But I am afraid this will cause another error.
I hope this will be answered by other real experts in musictex or the
author.

I hope this helps.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Seop Hyeong Park 
   NTT in Japan: (Now I am here)   shpark@nttvdt.ntt.jp 
   KT(Korea Telecom) in Korea:     seoppark@fruits.kotel.co.kr
NTT Human Interface Labs           TEL +81(0)468-59-3382
Visual Media Lab., Yokosuka Japan  FAX +81(0)468-59-2829
After Work Hours:                  TEL +81(0)468-47-0161
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

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From: Tomas Valter Vanhala <vanhala@cc.helsinki.fi>
Message-Id: <199406200932.MAA17538@karhu.Helsinki.FI>
Subject: FAQ enhancements
To: mutex@stolaf.edu
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Regarding the FAQ for MusicTeX and MuTeX dated 930127:

The TeX archive at ymir.claremont.edu no longer exists, so please remove
the lines
    ymir.claremont.edu  [anonymous.tex.music.mtex]
    ymir.claremont.edu  [anonymous.tex.music.musictex].
from the answer to question 02.

The ftp site for the most up to date version of musictex is no longer
    rsovax.ups.circe.fr directory [anonymous.musictex]
It is now
    rsovax.lps.u-psud.fr (193.55.39.100) in the directory [anonymous.musictex]


It might also be a good idea to add the following info about the
CTAN archives:


A good place to get the MuTeX or MusicTeX package is one of the CTAN
archives. CTAN is an acronym for Comprehensive TeX Archive Network. 
Participating hosts in the CTAN and their root CTAN directories include:

       ftp.shsu.edu  [192.92.115.10]     /tex-archive
       ftp.tex.ac.uk [134.151.44.19]     /tex-archive
       ftp.dante.de  [128.69.1.12]       /tex-archive

Files uploaded to any of the participating hosts are automatically
copied to the other CTAN archives, so the contents of all the CTAN
archives are the same.  In order to reduce network load, it is
recommended that you use the CTAN host which is located in the
closest proximity to your site. 



Add to the MuTeX site listing:

     CTAN    /tex-archive/macros/mtex

and to the MusicTeX site listing:

     CTAN    /tex-archive/macros/musictex

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Date: Tue, 21 Jun 94 10:12:24 +0300
From: teklara@tekla.fi (Perttu Raivio)
Message-Id: <9406210712.AA17565@xelnet.tekla.fi>
To: mutex@stolaf.edu
Subject: Polyrythms in MusicTeX
Precedence: bulk


	Is it possible to write polyrythms with brackets in MusicTeX?
This would make it easier to visualize more complicated rhythms, like
the following examples. In the latter example the "d" is a half note.



	|--- 3 --|
	|        |
	 _____________
	 |---|---|   |
	 |   |   |   |
	 |   |   |   |
	=|  =|  =|  =|



	                  
	|--------- 2 : 3 d ---------------|
	|                                 |

	|--- 3 --|        |------ 5 ------|
	|        |        |               |
	 _________        _________________
	 |   |   |        |   |   |   |   |
	 |   |   |        |   |   |   |   |
	=|  =|  =|       =|  =|  =|  =|  =|



	Actually what would help would be a method to write arbitary 
length brackets with the specified text somewhere in the middle of the
bracket.

							Perttu


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Date: Tue, 21 Jun 1994 10:58:14 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9406210858.AA10875@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Polyrythms in MusicTeX
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> 	Is it possible to write polyrythms with brackets in MusicTeX?

Yes, it is. Have a look at the docs e.g. chapter 2.21 (rtfm :-)

Another help may be the following example from my "fundus":

\def\nbinstruments{1}\relax
\debutextrait\transpose=7\relax
      \Notes\xtuplet3e\ibl0c0\qb0{cc}\tbl0\qb0c\enotes\relax
      \Notes\xtuplet7e\ibl0c0\qb0{cccccc}\tbl0\qb0c\enotes\relax
      \Notes\ibl0c0\qb0{cccccc}\tbl0\qb0c\xtuplet7e\enotes\relax
      \transpose=0\Notes\ibl0j0\triolet M\qb0{jk}\tbl0\qb0j\enotes
\finextrait
\bye

The macros triolet, xtuplet, ... show how such problems may be solved.

Werner

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  21-JUN-1994 14:27:40 GMT2
Subject:  Problems of signature in MusicTeX
To: mutex@stolaf.edu
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Subject: MusicTeX problems in \changesignature

There was a bug whose correction is:

\def\changesignature{\n@skmb\termskip\nobreak\zglu\nobreak
   \skip@b\writenewsignatures\savesignature}%
.............................^^^^^^^^^^^^^^


D. Taupin


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Date:  21-JUN-1994 15:43:22 GMT2
Subject:  MusicTeX 5.04
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Subject: MusicTeX version 5.04
New version 5.04 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]

Changes:
 - 5.04 bug corrected in \changesignature; doc upgraded
 - 5.03 fonts musikn* changed for two characters
New features:
 - 5.03 more specific note heads for percussion scores and violin harmonics

Daniel Taupin


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From: Werner.Icking@gmd.de (Werner Icking)
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> From: TAUPIN@rsovax.lps.u-psud.fr
> Date:  21-JUN-1994 15:43:22 GMT2
> 
> New version 5.04 of MusicTeX available [...]

Ok folks, ftp.gmd.de  has been updated, too. I.e. tar-files have been
generated in music/musictex/ and zip-files stored into music/musictex/diff-files
which contain the modified files. You should get these files if you have
already Version 5.03 and if you are able to tex musicdoc.tex to generate
the slightly modified documentation.

The new ftp-server on ftp.gmd.de is able to uncompress the .gz files
for you. That's done if you request  musictex-504.tar  instead of
musictex-504.tar.gz

musikpk.zip has not been modified; therefor there is no new musicpk-archive.

There are some new files on ftp.gmd.de /music/...  e.g. a Naxos-CD-catalog,
a string-quartet-list bei Heimeran, a Piano-Trio by Jeff Harrington, ...

Enjoy - Werner

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From: teklara@tekla.fi (Perttu Raivio)
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To: mutex@stolaf.edu
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>>>> Ac dixit "Werner" == Werner Icking:
Werner> 
Werner> The macros triolet, xtuplet, ... show how such problems may be solved.

	In principle, yes, but these don't add brackets over the
tuplet and the bracket macros in musicext.tex add continuous brackets.
What I want are brackets with text in the middle of them.

							Perttu


From owner-mutex  Mon Jun 27 13:23:53 1994
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Subject: Re: mbox 
In-reply-to: Your message of Thu, 16 Jun 1994 16:31:20 +0200.
             <199406161431.AA04065@efixdb.efi.sintef.no> 
Date: Mon, 27 Jun 1994 13:14:43 -0500
From: Craig D Rice <cdr>
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> >    Is there anyone out there saving all the mails about 
> >    mutex/musictex?



03	Where are the archives of the MuTeX mailing list?

Archives for the MuTeX mailing list are available via anonymous FTP from:
	ftp.stolaf.edu:/pub/mutex/archive       

They are also available via Gopher (gopher.stolaf.edu/Internet
Resources/St. Olaf Sponsored Mailing Lists)

Craig
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA

From owner-mutex  Wed Jun 29 11:23:54 1994
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From: nijhof@th.rug.nl (Jeroen Nijhof)
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To: mutex@stolaf.edu
Subject: FAQ Q.15: would abc2mtex qualify?
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Question 15 of the FAQ is: Are there any user interfaces to MusicTeX?
I'd say Chris Walshaw's abc2mtex 
(available from celtic.stanford.edu:/pub/tunes/abc2mtex1.2)
would qualify as such.

(By the way, when compiling abc2mtex on an Atari ST with gcc,
I had to use fixstk to to get abc2mtex.ttp running)

Yours,

Jeroen Nijhof

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Date: Fri, 1 Jul 94 18:47 MET DST
From: jv@NL.net (Johan Vromans)
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
Subject: Re: FAQ Q.15: would abc2mtex qualify?
References: <9406291535.AA08295@rugth4.th.rug.nl>
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[Quoting Jeroen Nijhof, on June 29 1994, 17:35, in "FAQ Q.15: would abc2"]
> 
> Question 15 of the FAQ is: Are there any user interfaces to MusicTeX?
> I'd say Chris Walshaw's abc2mtex 
> (available from celtic.stanford.edu:/pub/tunes/abc2mtex1.2)
> would qualify as such.

I have a program to generate musictex from ascii notated music. Simple
scores (one voice with chords and text).
I haven't been able to turn it into a good package, but it works and
may be of use.

     ftp: ftp.nl.net:/pub/users/jv/mcom.tar.Z

------------------------------------------------------------------------------
Johan Vromans                   jv@nl.net                 Johan.Vromans@NL.net
NLnet, the Internet in the Netherlands                   Phone: +31 20 6639366
Kruislaan 413, 1098 SJ Amsterdam, The Netherlands          Fax: +31 20 6655311
http://www.nl.net/~jv                                        http://www.nl.net
------------------------ "Arms are made for hugging" -------------------------

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From: palomino!edward@uunet.UU.NET (Edward Maros)
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To: mutex@stolaf.edu
Subject: Please help
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Currently I am using songbook.sty to format some music. The individual
for whom I am doing the work has requested several alterations which
I have been able to do. Some of the alterations I have not been able
to figure out and thought maybe someone here could help.

	1. Double space between words.
	2. All caps (Could type it this way but hoping not too).
	3. Use helvitica(sp?) font.

Number 2 could be trivial if I had a helvitica font definition in which
I could map all the lower case letters to upper case. Thanks for all help.

Ed
---
Edward Maros				edward@dii.com
Member Technical Staff			uunet!dii.com!edward
Data Integration			Voice:	(310) 313 9173
11965 Venice Bld. Suite 305		Fax:	(310) 313 9151
Los Angeles, CA 90066-3954

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From: "christopher (c.j.) rath" <crath@BNR.CA>
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In message "Please help", 'palomino!edward@uunet.UU.net' writes:

>Currently I am using songbook.sty to format some music. The individual
>for whom I am doing the work has requested several alterations which
>I have been able to do. Some of the alterations I have not been able
>to figure out and thought maybe someone here could help.
>
>	1. Double space between words.

This is a general LaTeX problem.  If you can solve it for LaTeX then
that solution should work for the SongBook style as well.

>	2. All caps (Could type it this way but hoping not too).

See the note on #1.

>	3. Use helvitica(sp?) font.

This can be done by re-defining the fonts.  See the overhead.sty file in
the SongBook version 2.3 package for an example of what you have to do.
In overhead.sty I re-define most of the fonts to use TeX's sans serif
font.  If you're not using version 2.3 of the songbook style then I can
send it to you.

>
>Number 2 could be trivial if I had a helvitica font definition in which
>I could map all the lower case letters to upper case. Thanks for all help.

I don't have answers for either #1 or #2.  I suggest that you post to
comp.text.tex asking these questions as general LaTeX questions.  The
answers you receive should work with the SongBook style.

Christopher

 === Christopher Rath ===== crath@bnr.ca ===== (613) 765-3141 ===
  Bell-Northern Research |
  Box 3511, Station `C'  | ``Hydrogen is a colourless, odourless
  Ottawa, ON    K1Y 4H7  | gas which, given enough time, turns
  FAX: (613) 763-4101    | into people.'' --- Henry Hiebert

From owner-mutex  Wed Aug 17 20:23:53 1994
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From: dsmith@erich.triumf.ca
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Hello,

I have Metafont 066, for the Mac.  I am using it to create font files for
Textures on the Mac for MusicTex.  The instructions in both MusicTex and
Metafont tell me that this should work, but there is a problem.  Metafont
runs out of memory on the musikgen.mf file, and on other *gen.mf files.
I allocate five Meg worth of memory to the program, but it still doesn't
work.  The program crashes at 1 Meg memory used.  Is there a way to tell
Metafont to use more memory?  I have lots of memory of the machine that I
am using, so this is not a problem.  Is there a newer version of Metafont
which will work better?

Douglas Smith


From owner-mutex  Thu Aug 18 11:23:58 1994
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Date: Thu, 18 Aug 94 12:14:08 -0400
From: dane@tsunami.dt.navy.mil (Dane Hendrix)
Message-Id: <9408181614.AA07906@tsunami.dt.navy.mil>
To: mutex@stolaf.edu
Subject: Interportee question
Precedence: bulk

I am a beginer with MusicTeX and a novice with TeX so this is probably a
very simple question:

I am trying to use \Interportee to increase the distance between staffs.

What is the exact syntax for changing this dimension and where should the 
change be placed in the .tex file?

Thanks,
 Dane

Dane Hendrix, Code 542                    | email: hendrix@dt.navy.mil 
David Taylor Model Basin                  |  or hendrix@nas.nasa.gov
Carderock Division Headquarters           |  or just reply
Naval Surface Warfare Center              | phone: (301)227-1340
Bethesda, MD 20084-5000                   | FAX:   (301)227-4589


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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9408221725.AA11784@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: BWV1001 Sei solo a Violino ... -- Score available by ftp
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The following I announced in rec.music.classical.performing,rec.music.classical

The list of my music-editions has been increased by one item. I've
finished the first of the six sonatas and partitas for violin solo
by J.S. Bach "Sei solo a Violino senza Basso accompagnato. Libro 
primo da Joh. Seb. Bach ao. 1720".

My edition contains a printed version which is as close as possible
to the autograph (incl. errors, linebreaking, moved G-clef in the
2nd movement, ...), and a "normalized" version ready for playing.

Imho this edition is of interest not only for advanced violin players
but for those of you too, who are able to read music while listening
to this great music.

You may access the files either by anonymous ftp 

directly:      ftp.gmd.de   music/scores/bach/...
or by WWW:     ftp://ftp.gmd.de/music/...

The directory contains the 2nd page of Bach's autograph as GIF
(bwv1001.gif) so that you may compare my edition and the ori-
ginal handwriting of Bach.

bwv1001.ps.gz  contains the compressed postscript file; our ftp-
               server is so kind to un-compress the file for you if 
               you request "bwv1001.ps" instead of "bwv1001.ps.gz" 
bwv1001.zip    contains the MusicTeX-source of the first movement
               for all those of you who are interested MusicTeX
               for typesetting music.
readme         tells a little bit more about the files in the
               directory and in the Zip-archive *and* how the
               postscript-file may be printed on letter-size paper.

Enjoy -- Werner

PS: I've to thank etxcfl@kk.ericsson.se (ETX-T-RE Liden Fredrik)
    and Jay Hosler <jay@mozart.aux.apple.com> - and may be some
    others - for their help during proof-reading and -playing
    and Daniel Taupin for his wonderful MusicTeX (which steals
    so much of my time :-)

From owner-mutex  Wed Aug 24 05:23:53 1994
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  24-AUG-1994 11:41:30 GMT2
Subject:  MusicTeX distrib updated
To: mutex@stolaf.edu
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Subject: MusicTeX distrib updated

1. Noting new in the core, still version 5.03

2. The doc has been reviewed, using makeindex rather than a local sorting

3. tfm, pk, examples, mf are in separate directories

4. The doc (musicdoc) has been checked to work with latex2e

--> CTAN managers, please update.

D. Taupin

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From: Tamas Maray <maray@ftp.sztaki.hu>
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Subject: nbinstruments
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Hello MusicTeX experts,

Is there any way with MusicTeX to have more than 9 instruments
at the same time? I would like to typeset 6 voice choral works,
each voice with text. That means 12 instruments.
I tried to modify musicadd.tex but without success.

Thanks for your suggestions,

Tamas MARAY
<maray@fsz.bme.hu>
Technical University of Budapest

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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Subject: centering text in MusicTeX
To: mutex@stolaf.edu
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I'd like to write a pop song with MusicTeX, and I have problems in writing
chords names (above the staff) and lyrics (below it). For the former, I
just defined

\def\Chord#1{\zcharnote p{\tensf #1}}

and the result is rather fine. Text is however more difficult, because the 
alternatives I have (\charnote, \zcharnote and \lcharnote) justifies either
to left or to right, but not centered.

Given that I don't mind to have to move by hand notes to avoid clashes between
text, which is the best way in TeX to create a \hbox to 0pt whose text is
centered?

ciao, .mau.

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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Subject: Re: lyrics
Precedence: bulk

You just write the lyrics as a second instrument with no staff.  If
you have more than one stanza, you can use a little vbox macro to
set the words for each note vertically by stanza.  I'll mail you an
example with chords, single-line lyrics, and double-line lyrics.

						--Col. G. L. Sicherman
						  gls@hrcms.att.com

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From: Bernard Treves Brown <MCNBJTB@fs4.in.umist.ac.uk>
Organization: DIAS, UMIST
To: mutex@stolaf.edu
Date: Mon, 12 Sep 1994 17:17:59 GMT
Subject: Re: centering text in MusicTeX
Priority: normal
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Message-ID: <10796700420@fs4.in.umist.ac.uk>
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Maurizio,

Re. your question.

> I'd like to write a pop song with MusicTeX, and I have problems in writing
> chords names (above the staff) and lyrics (below it). For the former, I
> just defined
> 
> \def\Chord#1{\zcharnote p{\tensf #1}}
> 
> and the result is rather fine. Text is however more difficult, because the 
> alternatives I have (\charnote, \zcharnote and \lcharnote) justifies either
> to left or to right, but not centered.

This is not the only problem. You also have to worry about bar lines 
and text running across bar lines.

> Given that I don't mind to have to move by hand notes to avoid clashes between
> text, which is the best way in TeX to create a \hbox to 0pt whose text is
> centered?

If you want to go this route, then something akin to the definition 
of \llap and \rlap will do. (TeXBook p.82) 
I think the following will do the job (but I have not tried it)
\def\lyric#1{\hbox to 0pt{\hss#1\hss}}

Otherwise, my approach appears at the foot of this note.
Jim Service submitted a similar approach to the group in January of 
this year, which you should be able to find in the list archive.

Best Wishes,
Bernard

-------- Start of TeX code.

\newbox\lyricbox
\newdimen\lyriclen
\newdimen\oldlyriclen
\oldlyriclen=0pt%
\newif\ifhyphen
\hyphenfalse
\def\lyric#1#2{\setbox\lyricbox=\hbox{#1}%
  \lyriclen=\wd\lyricbox
  \divide\lyriclen by 2%
  \advance\lyriclen by -3pt%
  \ifhyphen
      \advance\oldlyriclen by 6pt%
      \zmidtwotext{\kern\oldlyriclen
                 \advance\oldlyriclen by -\lyriclen
                 \advance\oldlyriclen by -6pt%
                 \hbox to-\oldlyriclen{\hfil {-}\hfil\box\lyricbox}}%
    \else
      \zmidtwotext{\kern-\lyriclen\box\lyricbox}%
    \fi
\global\oldlyriclen=\lyriclen    
\global\advance\oldlyriclen by -\noteskip
% This must be done here, in case \noteskip changes before the next 
part
% of the word.
\if#2-%
    \global\hyphentrue
  \else
    \global\hyphenfalse
  \fi}  
%
% Here \barre must be redefined to clear any lyric hyphen before 
% giving a
% bar line
%

\let\a=\barre
\def\barre{\ifhyphen\notes\zmidtwotext{-}\enotes\hyphenfalse\fi\a}

Bernard J. Treves Brown
Department of Instrumentation and Analytical Science,
UMIST, P.O. Box 88, Manchester. M60 1QD  UK
Email: MCNBJTB@FS4.IN.UMIST.AC.UK
Tel:   061-200 4899  (Outside UK +44 61 200 4899) 
Fax:   061-200 4911  (Outside UK +44 61 200 4911)

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From: Mr CD Reed <reedcd@sun1.bham.ac.uk>
Message-Id: <9409121718.AA25764@sun1.bham.ac.uk>
Subject: getting started
To: mutex@stolaf.edu
Date: Mon, 12 Sep 1994 18:18:04 +0100 (BST)
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This is probably somewhere in the documentation, but unfortunately, I can't
find it, or if I have, I don;t understand it.  I got MusicTeX from ftp.gmd.de
and have every file that came with it in a separate directory on a Sun.  Now
what do I do?  I'm new to SunOS (unix), and very new to TeX and MusicTeX.
How do I actually get started.  The sun already has TeX and LaTeX, if that 
helps.

-- 
+--------------------------------------------------------------------+
| Colin D. Reed                          Telephone:(UK)-021-414 4437 |
| Birmingham Polymer Group                     Fax:(UK)-021-414 4403 |
| School of Chemistry                  E-mail:reedcd@sun1.bham.ac.uk |
| The University of Birmingham                  :C.D.Reed@bham.ac.uk |
| PO Box 363                       Phone (Evening):(UK)-021-454 5729 |
| Birmingham B15 2TT   UK                                            |
+--------------------------------------------------------------------+

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To: mutex@stolaf.edu
Subject: Typesetting musicdoc in 8.5x11 from scratch
Precedence: bulk

Dear MusicTeX community,
I am having trouble typesetting  musicdoc  from scratch:
I can't get it to generate a proper index table.

I wanted to generate it without the A4 option, so I deleted
all the auxilliary files (.idx, .aux, .toc, etc..), and tried
to redo it from musicdoc.tex alone.   I used LaTeX 2.09, and
makeindex version 2.11 in the usual way.  The source file seems to
require using makeindex with special options or with some 
unspecified style file.  The .idx file generated by the first 
LaTeX run contains lines like  

  \indexentry{zq=\tty \bslash zq}{6}

where I expected the more standard form

  \indexentry{zq@{\tty \bslash zq}}{6}
  
Then 'makeindex musicdoc' turns this into

\begin{theindex}

  \item *, 27
  \item \, 65
  \item \&, 65

  \indexspace

  \item a4wide, 65
  \item absoluteaccidentals=\tty \bslash absoluteaccidentals, 30
  \item active=\tty \bslash active, 9
  \item acute accent, 29


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Date: Mon, 12 Sep 1994 20:46:16 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9409121846.AA27169@sunick.gmd.de>
To: mutex@stolaf.edu
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> what do I do?  I'm new to SunOS (unix), and very new to TeX and MusicTeX.
                                                         ^^^^^
that's hard!

> How do I actually get started.  The sun already has TeX and LaTeX, if that 
> helps.

That helps a lot!

You got either musictex.zip oder musictex....tar.z

Put all pk-files into a seperate directory; into that directory
where your TeX-installation expects PK-files for 300dpi resolution
printers. If you may not put them into that directory create a
directory for that purpose and set an appropriate environment variable.
It's possible that you have to rename the files from xyz.pk to xyz.300pk.
Have a look at something like  .../tex/lib/texmf/fonts/pk ... how these
files must be named.

When this has been done your dviview, xdvi, ... should be able to
print musicdoc.dvi. It may be easier for you to look at musicdoc.ps.

Similar things - except renaming - should be done for the files 
ending with .tfm, .mf, (.tex, .sty)

Are there more files :-( ?

Hope this hilft -- Werner

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Date: Mon, 12 Sep 94 10:44:00 PDT
From: Barry Gold <barryg@sparc.SanDiegoCA.NCR.COM>
Message-Id: <9409121744.AA14237@sv303.SanDiegoCA.ncr.com>
To: mutex@stolaf.edu
Subject: trouble with font metric file
Precedence: bulk

I'm trying to set a song (one lead line, with chords above and lyrics
below the staff), but TeX can't seem to find my metric file (I
carefully regenerated all my font metrics using mf, =and= set TEXFONTS
to $CWD, where my musictex TFM files are located).  Can anyone
suggest what I'm doing wrong?

Here's the start of my input:

-------------------------------------------------------------

% musictex input
% Enterprise, w&m Joe Ellis
\input musicnft
\input musictex

\begin{music}

%	music layout parameters
\parindent 1cm
\musicsize=20	% 16 is also possible

% setup for chords + notes + lyrics
% chords ("instrument 1/i") and lyrics ("instrument 3/iii") have
% no staff (portee, in French).
\def\nbinstruments{3}
\nbporteesi=0%
\nbporteesiii=0%

-----------------------------------------------------------------------

and here's the output from TeX:

-----------------------------------------------------------------------
This is TeX, C Version 3.14t3 (format=plain 93.2.2)  31 AUG 1994 16:32
**enterprise
(enterprise.tex (musicnft.tex Version 5.01 -- February 1st, 1994
! Font \cmmi=cmmi10 scaled 1200 not loadable: Metric (TFM) file not found.
<to be read again> 
                   \relax 
l.12 \font\cmmi=cmmi10 scaled \magstep1
                                       
? X
No pages of output.
-----------------------------------------------------------------------

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Date: Tue, 13 Sep 94 09:58:21 +0200
From: nijhof@th.rug.nl (Jeroen Nijhof)
Message-Id: <9409130758.AA27939@rugth4.th.rug.nl>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
In-Reply-To: <9409121744.AA14237@sv303.SanDiegoCA.ncr.com> (message from Barry Gold on Mon, 12 Sep 94 10:44:00 PDT)
Subject: Re: trouble with font metric file
Precedence: bulk

> I'm trying to set a song (one lead line, with chords above and lyrics
> below the staff), but TeX can't seem to find my metric file (I
> carefully regenerated all my font metrics using mf, =and= set TEXFONTS
> to $CWD, where my musictex TFM files are located).  Can anyone
> suggest what I'm doing wrong?
> 

> This is TeX, C Version 3.14t3 (format=plain 93.2.2)  31 AUG 1994 16:32
> **enterprise
> (enterprise.tex (musicnft.tex Version 5.01 -- February 1st, 1994
> ! Font \cmmi=cmmi10 scaled 1200 not loadable: Metric (TFM) file not found.
> <to be read again> 
>                    \relax 
> l.12 \font\cmmi=cmmi10 scaled \magstep1

cmmi10 is a standard TeX font, which can be found in a standard directory.
So you must _append_ the current directory to TEXFONTS, in stead
of replacing TEXFONTS by the current directory.
You might try not to do anything to TEXFONTS first, since usually
the current directory is part of the standard TEXFONTS.

Yours,
Jeroen Nijhof

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To: mutex@stolaf.edu
From: GERARD@sundae.tlse.marben.fr (Gerard Mittaux-Biron)
Subject: Before getting started...
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 I am a very, very new comer in Mutex world.
 The only things I know, came from mail.
 So my (first) questions are:
  - What is it and what does it do ?
  - How and where could I get it ?
  - What do I need to make it work ?



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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9409131021.AA27577@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Before getting started...
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>  I am a very, very new comer in Mutex world.
>  The only things I know, came from mail.

The (zeroth) answer is: forget MuTeX; think about MusicTeX it's successor

>  So my (first) questions are:
>   - What is it and what does it do ?

It's a TeX add-on and may be used to typeset music -- if you do have some
TeX-knowlegde and in typesetting music.

>   - How and where could I get it ?

one of the servers you may use to get it by anonyous ftp is:

  ftp.gmd.de     music/musictex/...

There is an out-of-date FAQ

>   - What do I need to make it work ?

Adapt it to your TeX-installation; feed it with your MusicTeX-input and
drop the results to   ftp.gmd.de music/scores/mittaux-biron/...   :-)
(if the copyright-rules allow it to do so).

On ftp.gmd.de you can find some tools which may help you to generate
MusicTeX input, too.

Hope this hilft -- Werner 







> 
> 

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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: trouble with font metric file
In-reply-to: Your message of "Mon, 12 Sep 1994 10:44:00 PDT." <9409121744.AA14237@sv303.SanDiegoCA.ncr.com>
Date: Tue, 13 Sep 1994 09:38:12 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Barry Gold writes:
> I'm trying to set a song (one lead line, with chords above and lyrics
> below the staff), but TeX can't seem to find my metric file (I
> carefully regenerated all my font metrics using mf, =and= set TEXFONTS
> to $CWD, where my musictex TFM files are located).  Can anyone
> suggest what I'm doing wrong?

TEXFONTS (if it's set) is the path to find *all* font metrics.  TeX,
of course, has a built-in value for it, which will include (inter
alia) the metrics for cmmi10 (TeX maths italic).  Even though *you*
may not make any use of cmmi10 in your score, the nature of the
`plain' macro package that MusicTeX is built on requires cmmi10.

If you're using a current version of TeX, simply setting TEXFONTS to

   $CWD:

will be enough (the trailing colon says "use what you have built in,
now").  Give that a try.  Otherwise, you need to learn from your
sysadmin what the built-in value is, and set TEXFONTS to

   $CMD:<built-in value>
--
Robin (Campaign for the Third Programme) Fairbairns  rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Private page: http://www.cl.cam.ac.uk/users/rf/robin.html


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From: dmelcher@echnaton.usf.Uni-Osnabrueck.DE
Subject: Re: Some basic questions about typesetting musical scores
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Hello  everybody,

I am new at this mailing list. I've read Taupin's musicdoc manual
and installed the package and the demos. The high quality of the demo
scores is really impressive.

Does anybody know how musical scores are `normally' formatted? Is it
made by hand or are there sophisticated programs and if, what kind of
programs?

How much time do I have to consider to learn musictex (as a LaTeX but
*not* TeX user) and how much time does an experiemced musictex-user
need for typesetting one (averge complicated page) of a musical piece?


Bye,

  Dirk

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To: mutex@stolaf.edu
From: GERARD@sundae.tlse.marben.fr (Gerard Mittaux-Biron)
Subject: MusicTex porting
Precedence: bulk

        Is there any port of MusicTex on other OS than Unix ? On MacOS, for
instance.



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From: Werner.Icking@gmd.de (Werner Icking)
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>         Is there any port of MusicTex on other OS than Unix ? On MacOS, for
> instance.

MusiCTeX is a TeX-macro package. It's mainly source. So all you need is a 
complete TeX installation. Nothing to port.

On a Mac you may use OzTeX as MusicTeX's base.

Werner

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                   Hello !
  Please remove me from your MuTex list.
 I don't intrested in this any more!
 Sorry... and thanks.
   ,  _
   Sarunas and Rimgaudas

P. S.  If you want any information about Lithuania,
 please send us a message!


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From: Klaus Knopper <knopper@unix-ag.uni-kl.de>
Message-Id: <9409131854.AA19880@pizza.unix-ag.uni-kl.de>
Subject: Who would like typeset pieces?
To: mutex@stolaf.edu
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Hi, all!

I'm composing for 10 years now, and started to typeset some of my pieces
with MusicTeX from Version 3.x.

Composing in a more or less contemporary style just for myself i'm curious
if someone would be interested in the postscripted versions of my pieces
for Piano and Organ. Two of them were already published in Ken Rich's 
ZUM experimental Music Magazine.

Can someone please tell me where to put them, or if there is even interest?

Greets

	-Klaus Knopper (knopper@unix-ag.uni-kl.de)

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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9409140859.AA28129@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Some basic questions about typesetting musical scores
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> I am new at this mailing list. I've read Taupin's musicdoc manual

Why did you do *that*? Most people don't :-(

> and installed the package and the demos. The high quality of the demo
> scores is really impressive.
> 
> Does anybody know how musical scores are `normally' formatted? Is it
> made by hand or are there sophisticated programs and if, what kind of
> programs?

The answer to the 1st question is "yes"; someone knows.
The answer to the 2nd question is "yes" or "42" - whatever fits better.

> How much time do I have to consider to learn musictex (as a LaTeX but
> *not* TeX user) and how much time does an experiemced musictex-user
> need for typesetting one (averge complicated page) of a musical piece?

"My" Mozart (Duo for violin an viola, KV 423)(*) needed 15 to 20 minutes
per bar, from deciphering Mozarts hand-writing up to the last minimal 
changes to make it look well on A3-paper. I could do KV424 much quicker.
My last MusicTeX-opus (Psalm100 by Schuetz) was ready for playing after
approx. 12 hours for 75 bars string-orchestra partitura with four
voices plus the 300 bars for the parts. may be that I invested some
more hours for the final make-up.

With some experience simple one page pieces can be ready in less than an
hour.

But I key in the music directly as TeX-source and you may use other
techniques like abc2mtex, midi2tex, ... (*)

Your milage may vary                                         -- Werner

(*) all available on  ftp.gmd.de  music/...

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From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9409140830.AA28121@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Who would like typeset pieces?
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> Hi, all!

Hallo Klaus, alleine.
> 
> Can someone please tell me where to put them, or if there is even interest?

I can. Upload your masterpieces to  ftp.gmd.de  incoming/music  *and* drop me
an e-mail. It may show up soon in  music/scores/knopper (in the middle between
harrington and mozart :-)   

Und ich schreibe mir seit langem die Finger wund, dass unser ftp-server solche
Sachen meistens gerne nimmt. Schau mal auf

   ftp.gmd.de    music/scores/...

ob Du da hingehoerst. Wenn ja upload nach ftp.gmd.de incoming/music *und*U:eine
e-mail an mich oder per E-mail schicken oder ... Ich habe bis jetzt noch nichts
gekriegt, was ich nicht geknackt gekriegt habe. Eine kleine Beschreibung, was es
ist (wie in music/scores/harrington) kann nicht schaden. Ein Problem gibt's immer
wieder: wenn moeglich sollte das Zeug (... Entschuldigung ...) auch auf letter
zu drucken sein; sonst s. music/scores/bach/bwv1001... 

Ansonsten schreibst Du etwas von MusicTeX 3.x? Wenn es das mal gegeben hat, ist
es "outest-of-datest"; 5.04 ist seit langem aktuell und natuerlich auf 
ftp.gmd.de  music/musictex/...


Hope this hilft -- Werner

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From: C.Walshaw@greenwich.ac.uk
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Subject: Re: Some basic questions about typesetting musical scores
To: mutex@stolaf.edu
Date: Wed, 14 Sep 1994 12:05:51 +0100 (BST)
Reply-To: C.Walshaw@greenwich.ac.uk
In-Reply-To: <9409140859.AA28129@sunick.gmd.de> from "Werner Icking" at Sep 14, 94 10:59:16 am
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> 
> > How much time do I have to consider to learn musictex (as a LaTeX but
> > *not* TeX user) and how much time does an experiemced musictex-user
> > need for typesetting one (averge complicated page) of a musical piece?
> 
> "My" Mozart (Duo for violin an viola, KV 423)(*) needed 15 to 20 minutes
> per bar, from deciphering Mozarts hand-writing up to the last minimal 
> changes to make it look well on A3-paper. I could do KV424 much quicker.
> My last MusicTeX-opus (Psalm100 by Schuetz) was ready for playing after
> approx. 12 hours for 75 bars string-orchestra partitura with four
> voices plus the 300 bars for the parts. may be that I invested some
> more hours for the final make-up.
> 
> With some experience simple one page pieces can be ready in less than an
> hour.
> 
> But I key in the music directly as TeX-source and you may use other
> techniques like abc2mtex, midi2tex, ... (*)

	Just a quick note about abc2mtex: It is designed to handle
folk/traditional music and as such can only do single stave notation ...
 but it only takes about 10 minutes to typeset one 32 bar tune.
Currently it's not much use to yer average musictex-er because it has
its own set of macros. However, I can reveal that abc2mtex 1.3 (which
I expect to be ready around the beginning of November) will output *raw*
musictex (using the \Ib... macros) - so you should be able to do most
of the formatting in abc and just edit the resulting musictex file.

	You can find it by anonymous ftp to celtic.stanford.edu in
/pub/tunes/abc2mtex1.2 or if you've got a WWW browser look at
http://celtic.stanford.edu/pub/tunes/abc2mtex1.2/INTRO.html

	Chris Walshaw
	C.Walshaw@gre.ac.uk


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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Subject: \interinstrumenti
To: mutex@stolaf.edu
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I have got some macro to put text under the score of a song, but there is way
too space between notes and text. The manual  hints at redefining 
\interinstrumenti , but writing \def\interinstrumenti{-17pt} results in 
the barre being very short. Same happens with \interinstrument .

Which is the right approach?

thanks, .mau.

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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	Date: Wed, 14 Sep 1994 10:30:13 --100
	From: Werner.Icking@gmd.de (Werner Icking)

	I can. Upload your masterpieces to  ftp.gmd.de  incoming/music
	*and* drop me an e-mail. It may show up soon in music/scores/
	knopper (in the middle between harrington and mozart :-)

Does this repository welcome only classical music?  I've found MusicTeX
well suited for rags--mainly because they lack slurs!

	Ansonsten schreibst Du etwas von MusicTeX 3.x? Wenn es das mal
	gegeben hat, ist es "outest-of-datest"; 5.04 ist seit langem
	aktuell und natuerlich auf ftp.gmd.de  music/musictex/...

Until last spring I was using the 1990 version.  Agony!

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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From: Bernard Treves Brown <MCNBJTB@fs4.in.umist.ac.uk>
Organization: DIAS, UMIST
To: mutex@stolaf.edu
Date: Wed, 14 Sep 1994 15:42:07 GMT
Subject: Re: \interinstrumenti
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> I have got some macro to put text under the score of a song, but there is way
> too space between notes and text. The manual  hints at redefining 
> \interinstrumenti , but writing \def\interinstrumenti{-17pt} results in 
> the barre being very short. Same happens with \interinstrument .
> 
> Which is the right approach?
> 
> thanks, .mau.

You could try changing interportee. My standard set up for lyrics and
music has:

% Space between clefs: \interportee is \interfacteur\Interligne
% (see Manual p. 35) so change \interfacteur
\def\interfacteur{18}%

Bernard



Bernard J. Treves Brown
Department of Instrumentation and Analytical Science,
UMIST, P.O. Box 88, Manchester. M60 1QD  UK
Email: MCNBJTB@FS4.IN.UMIST.AC.UK
Tel:   061-200 4899  (Outside UK +44 61 200 4899) 
Fax:   061-200 4911  (Outside UK +44 61 200 4911)

From owner-mutex  Wed Sep 14 11:23:54 1994
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From: Klaus Knopper <knopper@unix-ag.uni-kl.de>
Message-Id: <9409141550.AA08725@pizza.unix-ag.uni-kl.de>
Subject: Pieces uploaded.
To: mutex@stolaf.edu
Date: Wed, 14 Sep 1994 17:50:06 +0200 (MET DST)
In-Reply-To: <9409140830.AA28121@sunick.gmd.de> from "Werner Icking" at Sep 14, 94 10:30:13 am
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Hello, again!

Ok, the first two pieces (perhaps the most difficult ones i ever wrote
*giggles*) should be on ftp.gmd.de soon. For the others which are more
classical-styled or even more avantgarde i need some time to get the
Readme files ready.

Thanks for all the replies, i would be happy to hear your opinions, maybe
even someone manages to play those pieces, i can only play Piano Piece 2
so far, "Skorpion" is too difficult for me... *blushes*

I suggested Postscript because i sometimes like to use Fonts which are not
in the common TeX Distribution, or even graphics, and 300dpi Postscript
should work on most printers.

Thanks to Daniel Taupin for his wonderful MusicTeX Package! :)

I wish someone would write a PD X-Windows Interface some day.
I still need more than half a day for only writing down one single page
(well, i'm not much faster with pencil and paper, admittedly.. ;)

What about a WWW-Page for Internet Composition topics, for distributing
scores? Or am i already out-of-date here? There are lots of Music archives,
but i did not find a real Composer's page yet.

Greets
		-Klaus

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Date: Wed, 14 Sep 94 13:15:53 PDT
From: Barry Gold <barryg@sparc.SanDiegoCA.NCR.COM>
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In-Reply-To: <"swan.cl.cam.:038350:940913083850"@cl.cam.ac.uk> (message from Robin Fairbairns on Tue, 13 Sep 1994 09:38:12 +0100)
Subject: Re: trouble with font metric file
Reply-To: Barry.Gold@SanDiego.NCR.COM
Precedence: bulk

Now I'm back to it not being able to find the musictex Font metric:



{barryg@ws315:1996} setenv TEXFONTS "$cwd":
{barryg@ws315:1997} !te
tex enterpri*.tex
This is TeX, C Version 3.14t3
(enterprise.tex (musicnft.tex Version 5.01 -- February 1st, 1994
! Font \musictwenty=musikn20 not loadable: Metric (TFM) file not found.
<to be read again>
                   \fontdimen
l.34 \fontdimen
               35\musictwenty=0pt\relax
? X

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From: dmelcher@echnaton.usf.Uni-Osnabrueck.DE (Dirk Melcher)
Message-Id: <9409150746.AA15086@echnaton>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu, mutex@stolaf.edu
In-Reply-To: <9409142015.AA09666@sv303.SanDiegoCA.ncr.com> (message from Barry Gold on Wed, 14 Sep 94 13:15:53 PDT)
Subject: Re: trouble with font metric file
Precedence: bulk



I think the best way to solve the problems with the TeX-Paths is to
put the appropriate variables in the .cshrc or .bashrc file (dependend
on the shell you use). There are three environment variables which are
used by TeX and one by xdvi (in case you use this previewer). There
names are TEXINPUTS, TEXFONTS, TEXPKS and XDVIFONTS respectively. They
are probably already set. You can check it out by typing for example
"echo $TEXFONTS". If you have the tfm-Fonts in a private subdirectory
which is not the directory where the standard tfm-files are resident
you have to add the name of that directory to the variable
TEXFONTS. If you use the bourne shell ("sh") or bash shell you do this
by adding the following line to your file .bashrc or .profile
(residing in your home directory) if you use bash:

TEXINPUTS=$TEXINPUTS:<complete path of your `private' tfm-files>


if you use the c-shell you add the following line to your .cshrc file:

set TEXINPUTS=($TEXINPUTS":<complete path of your `private' tfm-files>")

The other variables are set in the same way. Remember that you have to
start a new shell, otherwise the variables keep there old contents.

Hope that helps!

  Dirk

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To: mutex@stolaf.edu
Subject: instructions to unsubscribe
Date: Thu, 15 Sep 1994 09:15:42 -0500
From: Craig D Rice <cdr>
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There have been several requests to unsubscribe posted to the mutex
mailing list.  Please do not clutter the mutex list with such
postings; direct them instead to:

	mutex-request@stolaf.edu

Thank you for your attention,
Craig
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA

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From: krausep@verdi.sra.com (Paul Krause x7816)
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In-Reply-To: <199409151415.JAA21161@nic.stolaf.edu> (message from Craig D Rice on Thu, 15 Sep 1994 09:15:42 -0500)
Subject: Re: instructions to unsubscribe
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>  Date: Thu, 15 Sep 1994 09:15:42 -0500
>  From: Craig D Rice <cdr@stolaf.edu>
>  Precedence: bulk
>  
>  
>  There have been several requests to unsubscribe posted to the mutex
>  mailing list.  Please do not clutter the mutex list with such
>  postings; direct them instead to:
>  
>  	mutex-request@stolaf.edu
>  
>  Thank you for your attention,
>  Craig

Does anyone monitor this address?  I also would like to be removed
from the list, but have gotten tired of asking to be removed.  Soon,
when my account goes away, it won't matter any more.

Paul F. Krause		Systems Research and Applications Corporation
(703) 558-7816		Intelligent Information Systems
 FAX  558-4723		2000 15th Street North, Arlington, VA 22201
Internet: krause@sra.com-----Uucp: uunet!uupsi5!sraopus!verdi!krausep


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From: HOUSER@bms.com
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Date: 15 Sep 1994 14:16:52 -0500 (EST)
Subject: How can I get thin slanted lines?
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I am trying to use MusicTeX to typeset some ancient Italian lute tableture. 
Yes, I know that this is not what MusicTeX was really designed for, but it
is working quite well. The one think I don't know how to do is to draw a
slanted line about the thickness of a note stem line.  I have tryed to read 
the musictex.tex file to figure out how \ibu and \tbu work; but I've not
gotten very far since I am new to TeX.  

The ideal solution would be two macros. One that I would specify the note 
position that the line should start from, and the other one that would specify 
the note position where the line should stop.

Does anyone know how to do something similar to this? 

Thanks.


Bill Houser
houser@bms.com

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	     (from HOUSER@bms.com)
	     (at 15 Sep 1994 14:16:52 -0500 (EST))
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: How can I get thin slanted lines?
Precedence: bulk

HOUSER@bms.com (Bill Houser) said he wants to:

> ... draw a
> slanted line about the thickness of a note stem line.  I have tryed to read 
> the musictex.tex file to figure out how \ibu and \tbu work; but I've not
> gotten very far since I am new to TeX.  

Since \ibu..\tbu are beams that connect existing stems, I think the
macros might be overly complicated, if not useless for your purposes.
But, you could use characters directly from the beam* fonts (though
I'd think they might be a bit thick, and not steep enough for you..)
For something thinner, you might try TeX's own standard line10 fonts.

> Does anyone know how to do something similar to this? 

Well, here's an artificial harmonic which takes a character from
the math fonts and aligns it with a MusicTeX note:

	\Notes\zcharnote{g}{$\diamond$}\qu d\enotes

To put a slanted line somewhere, you might do something like this:

	\font\foo=beamn20
	\Notes\zcharnote{g}{\foo a}\enotes

I haven't tested the 2nd, and have a plane to catch, but I hope it
might get you started.  There are other ways of inserting a single
character which might be more correct or useful.  Check the TeXbook.

A more elaborate and flexible solution would be to use a program
called bm2font to convert a .gif or .iff picture into a font
character.  With bm2font, you should be able to draw anything you need
at any size and pop it in where you like.

Cheers,
Dale

- dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand
- Principal Double Bass, New Zealand Symphony Orchestra
- http://www.actrix.gen.nz/users/dgold

From owner-mutex  Thu Sep 15 19:23:53 1994
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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
Message-Id: <9409152348.AA20838@cnvnja.jazz.att.com>
To: mutex@stolaf.edu
Subject: all natural
Precedence: bulk

In the middle of a piece, I'm switching from 3 flats to 0.  What I need
is a key signature of 3 naturals.

I can do it explicitly by setting big naturals on the staffs.  But this 
isn't sensitive to line breaks; what I'd like is a macro that does for
naturals what \changesignature does for sharps and flats.

One idea that I've had is to change to 3 sharps - after temporarily
defining \bigsh as \bigna!  But this looks a little dangerous; any
other ideas?

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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          id <04912-0@sirius.brunel.ac.uk>; Fri, 16 Sep 1994 09:24:39 +0100
From: David Martland <David.Martland@brunel.ac.uk>
Date: Fri, 16 Sep 94 09:23:51 +0100
Message-Id: <8916.9409160823@rita.brunel.ac.uk>
To: mutex@stolaf.edu
Subject: instructions to unsubscribe
Precedence: bulk

>Date: Thu, 15 Sep 1994 09:15:42 -0500
>From: Craig D Rice <cdr@stolaf.edu>
>Precedence: bulk
>
>
>There have been several requests to unsubscribe posted to the mutex
>mailing list.  Please do not clutter the mutex list with such
>postings; direct them instead to:
>
>        mutex-request@stolaf.edu
>
>Thank you for your attention,
>Craig
>--
>Craig D. Rice           UNIX Systems Specialist
>cdr@stolaf.edu          Academic Computing Center, St. Olaf College
>+1 507 646-3631         1510 St. Olaf Avenue
>+1 507 646-3096 FAX     Northfield, MN  55057-1097   USA

Perhaps this could be explained by the sudden very rapid increase in mail
from this mail group which I suspect we have all received in 
the last few days, which has been swamping our mailboxes. 

Anyway, thanks for letting us know
how to solve the problem!

Dave


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Date: Fri, 16 Sep 94 07:37:47 +0200
From: jcf@ipp-garching.mpg.de (Christoph    Fuchs          E1  )
Message-Id: <9409160537.AA03864@spl6n1.aug.ipp-garching.mpg.de>
To: mutex@stolaf.edu
Subject: Re: all natural
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> In the middle of a piece, I'm switching from 3 flats to 0.  What I need
> is a key signature of 3 naturals.

Try the following:
\generalsignature{-3}
.....(first part of piece) .....
\generalsignature{0}
\changecontext
......(second part).....


Christoph Fuchs
jcf@ipp-garching.mpg.de

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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Subject: bug in MusicTeX?
To: mutex@stolaf.edu
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When I TeX the following excerpt, the first bequadro (how is it called in
English) is typeset in small size. The one in the second bar is fine.
I am using MusicTeX 5.04 with TeX 3.1415. It's just a nuisance, of course,
but it's better to show it! .mau.

\input musicnft
\input musictex
\font\tensf=cmss10 % sans serif 
\def\Chord#1{\uptext{\tensf #1}}
\def\nbinstruments{2}
\nbporteesi=0\relax
\nbporteesii=1\relax
\generalmeter{\allabreve}
\generalsignature 4\relax
\debutmorceau
% bar 1
\Notes~&~\enotes
\NOtes~&\Chord{E7}\qu e\enotes
\NOTes~&\hl i\enotes
\notes~&\qu {=d}\enotes
\barre
% bar 2
\NOtes~&\Chord{A7}\qup c\enotes
\NOTes~&\cu e\enotes
\NOtes~&\ibu0i{-1}\qh0i\enotes
\NOtes~&\tbu0\qh0h\enotes
\Notes~&\qu {=g}\enotes
\barre
\finmorceau
\bye

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Message-Id: <9409200721.AA18242@pizza.unix-ag.uni-kl.de>
Subject: Re: bug in MusicTeX?
To: mutex@stolaf.edu
Date: Tue, 20 Sep 1994 09:21:05 +0200 (MET DST)
In-Reply-To: <9409190656.AA29254@beatles> from "Maurizio Codogno" at Sep 19, 94 08:56:29 am
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> When I TeX the following excerpt, the first bequadro (how is it called in
> English) is typeset in small size. The one in the second bar is fine.
> I am using MusicTeX 5.04 with TeX 3.1415. It's just a nuisance, of course,
> but it's better to show it! .mau.

[...]

> \notes~&\qu {=d}\enotes

\notes obviously switches to \smallaccid. (I was annoyed by this, too,
but it makes sense when the distance between note heads gets to small).

Simply change the line to

\notes~&\bigaccid \qu {=d}\enotes

Greets

	-Klaus Knopper (knopper@unix-ag.uni-kl.de)

From owner-mutex  Fri Sep 23 13:23:53 1994
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From: Mr CD Reed <reedcd@sun1.bham.ac.uk>
Message-Id: <9409231815.AA03192@sun1.bham.ac.uk>
Subject: Ties and slurs
To: mutex@stolaf.edu
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Should be an easy question.  How do you terminate a tie that you have
started with iten?  I can't find anything in Musicdoc, it just says
that it must be termintated before the note is written, like with beams.
I tried tten , for terminate tenuto, but this didn't work.  Can't think
of anything else to do really :-)

-- 
+--------------------------------------------------------------------+
| Colin D. Reed                          Telephone:(UK)-021-414 4437 |
| Birmingham Polymer Group                     Fax:(UK)-021-414 4403 |
| School of Chemistry                  E-mail:reedcd@sun1.bham.ac.uk |
| The University of Birmingham                  :C.D.Reed@bham.ac.uk |
| PO Box 363                       Phone (Evening):(UK)-021-454 5729 |
| Birmingham B15 2TT   UK                                            |
+--------------------------------------------------------------------+

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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	From: Mr CD Reed <reedcd@sun1.bham.ac.uk>
	Subject: Ties and slurs
	Date: Fri, 23 Sep 1994 19:15:18 +0100 (BST)

	Should be an easy question.  How do you terminate a tie that you have
	started with iten?  I can't find anything in Musicdoc, it just says
	that it must be termintated before the note is written, like with beams.
	I tried tten , for terminate tenuto, but this didn't work. ...

You use \tten without a suffix.  For example, \itenu{0}{h} ... \tten{0}. 
In this example the braces are unnecessary; you can write \tten0.

And you can't have an \itenu0 and an \itenl0 active at the same time.
One of them must use a different index.

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

From owner-mutex  Tue Sep 27 14:23:54 1994
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Date: 27 Sep 94 17:47:00 GMT
To: mutex@stolaf.edu
Subject: TeX bombs on \changecontext
Precedence: bulk

I've been trying to use \changecontext to alter the key signature in
the middle of a piece.  TeX bombs out, calling for a missing number.
This is with MusicTeX 5.03.

Here's the source, as simple as I can make it:

\input musicnft
\input musictex
\def\nbinstruments{1}%
\generalmeter{\meterfrac{4}{4}}%
\signaturegenerale{0}% C major
\nbporteesi=2%
\cleftoksi={{6}{0}}
\debutmorceau\normal
\Notes\ibu3J{-1}\qh3{J}\tbu3\qh3{I}|\soupir\enotes%
\generalsignature{-3}
\changecontext
\Notes\hu{I}|\ibu0i0\qh0{ghk}\tbu0\qh0{g}\enotes%
\finmorceau%
\end

And here's the log.  I don't know why "\selbrace=\count35" is printing.

This is TeX, C Version 3.0 (format=plain 90.8.18)  27 SEP 1994 13:41
**&plain TEST
(TEST.tex (musicnft.tex Version 5.03 -- March 31st, 1994
\selbrace=\count35
) (musictex.tex
Version 5.02 -- March 20th, 1994) bar 1
! Missing number, treated as zero.
<to be read again> 
                   \relax 
\newsingleclef ...n@iii =#1\relax \n@ii =#2\relax 
                                                  \ifnum \n@ii =\n@iii \rela...

\writenewclefp ...ase \n@i \newsingleclef {#2}{#6}
                                                  \or \newsingleclef {#3}{#7...

\body ...setbox \toks@box =\hbox {\w@call {}{}{}{}
                                                  }\ifdim \clef@skip <\wd \t...

\iterate ->\body 
                 \let \next \iterate \else \let \next \relax \fi \next 
\writenewclefi ...ox \toks@box }\n@portee \repeat 
                                                  }
...
l.11 \changecontext
                   
? x
No pages of output.

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From: Klaus Knopper <knopper@unix-ag.uni-kl.de>
Message-Id: <9409280258.AA10605@pizza.unix-ag.uni-kl.de>
Subject: Re: TeX bombs on \changecontext
To: mutex@stolaf.edu
Date: Wed, 28 Sep 1994 03:58:57 +0100 (MET)
In-Reply-To: <9409271813.AA26946@ig1.att.att.com> from "gls@hrcms.att.com" at Sep 27, 94 05:47:00 pm
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> I've been trying to use \changecontext to alter the key signature in
> the middle of a piece.  TeX bombs out, calling for a missing number.
> This is with MusicTeX 5.03.
> 
> Here's the source, as simple as I can make it:
> 
> \input musicnft
> \input musictex
> \def\nbinstruments{1}%
> \generalmeter{\meterfrac{4}{4}}%
> \signaturegenerale{0}% C major
> \nbporteesi=2%
> \cleftoksi={{6}{0}}
                    ^here is it, where evil lurks!
                     (\cleftoksi expects 4 parameters!)

Change it to \cleftoksi={{6}{0}{}{}}
and the following works fine! :)

> \debutmorceau\normal
> \Notes\ibu3J{-1}\qh3{J}\tbu3\qh3{I}|\soupir\enotes%
> \generalsignature{-3}
> \changecontext
> \Notes\hu{I}|\ibu0i0\qh0{ghk}\tbu0\qh0{g}\enotes%
> \finmorceau%
> \end

Have fun!

		-Klaus Knopper

From owner-mutex  Wed Oct  5 15:23:53 1994
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From: crawford richard <u600256@rho.LANL.GOV>
Message-Id: <9410051935.AA42102@rho>
To: mutex@stolaf.edu
Subject: Beam problem
Precedence: bulk

Hi, gang.

I'm not yet enrolled on the mutex mailing list.  If this is an adequate
medium to achieve that, please add me.  If not, please advise me how to
do so.

I'm writing because I've encountered an odd problem with beams.  I've
included the code below.  The upshot of the problem is that I've
defined a macro to create a beamed sixteenth/dotted eighth pair, but
the macro only works if the pair is descending.  The error that occurs
is an input stack overflow: on my system the input stack size is 200.
When the offending command below is commented out, only 12 positions
on the input stack are used.

Any assistance anyone can provide would be most welcome.

Dick Crawford
rcrawford@logicon.com

-------------------------------------------------------------------

\input musicnft
\input musicvbm
\musicsize=20\relax
\input musictex
\input musicsty
\tracingstats=2\relax
\special{hp: xy 12mm 18mm}%
\hsize=185mm
\vsize=270mm
\font\dyn=\fonthdg\fonthdge bxti10 scaled \magstep1% 
\font\triplet=\fonthdg\fonthdge mi8% 
\font\bells=\fonthdg\fonthdge b10% 
\def\goback{\off{-\noteskip}}
\def\titremorceau{Test}
\csname titremorceautoc\endcsname
\def\outmorc{\shipout\vbox to 270mm{\vss\pagecontents\vss\line{%
\ifodd\pageno\sl \titremorceau\ \hss \number\pageno
\else\rm\number\pageno\hss\sl \titremorceau\ \fi}}%
\global\advance\count0 by 1\relax
 \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
\output{\outmorc}%
\parindent 13mm
\def\nbinstruments{2}
\global\cleftoksi={{6}{0}{0}{0}}%
\global\cleftoksii={{0}{0}{0}{0}}%
\nbporteesi=1\relax%
\nbporteesii=1\relax%
\signaturegenerale{0}\relax
\generalmeter{\meterC}%
\def\gluemaxskip{7pt}%
%
% **************** HERE IS THE OFFENDING MACRO *********************
\def\motivDu#1#2{\Ibbu0{#1}{#2}0\rlap{\qsk\tbbu0}\qh0{#1}\tbu0\qhp0{#2}\sk\sk}
%
\debutmorceau
\linesinpage=0\relax
\advance\linesinpage by 1
\hyphenpenalty -50\relax
\autolines{16}34%
\notes&\motivDu{l}{g}\motivDu{g}{g}%
%
% **************** HERE IS THE OFFENDING LINE *********************
%\motivDu{f}{g}%
%
\enotes
\barre\notes&\motivDu{o}{l}\motivDu{o}{l}\enotes
\finmorceau
\rightline{\sl\aujourdhui}\eject
\bye

From owner-mutex  Thu Oct  6 04:23:53 1994
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Date: Thu, 6 Oct 1994 10:11:15 --100
From: Werner.Icking@gmd.de (Werner Icking)
Message-Id: <9410060911.AA12682@sunick.gmd.de>
To: mutex@stolaf.edu
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> Hi, gang.
Hi member,
> 
> I'm not yet enrolled on the mutex mailing list.  If this is an adequate
> medium to achieve that, please add me.  If not, please advise me how to
> do so.

send your request to  mutex-request@stolaf.edu
the request should be subscribe or unsubscribe 
> 
> I'm writing because I've encountered an odd problem with beams. [...]

> % **************** HERE IS THE OFFENDING MACRO *********************
> \def\motivDu#1#2{\Ibbu0{#1}{#2}0\rlap{\qsk\tbbu0}\qh0{#1}\tbu0\qhp0{#2}\sk\sk}
                                ^^^ this does not match the definition of Ibu.
It results in a loop because anything multiplied by 0 remains 0 ... until the
stack is filled.

> \notes&\motivDu{l}{g}\motivDu{g}{g}%

a further hint: you should select different \notes ... \NOTES for different notes :-)
That makes printed music look nice ... and using MusiCTeX difficult :-(

Werner

From owner-mutex  Thu Oct  6 12:23:56 1994
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From: crawford richard <u600256@rho.LANL.GOV>
Message-Id: <9410061704.AA01398@rho>
To: mutex@stolaf.edu
Subject: Re(2): Beam problem
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Thanks to those of you who wrote to correct my error (final parameter of
an Ib.. was 0 instead of 1).  I must say that I have no idea why it worked
for descending notes, but it did.  As a raw beginner, there are several 
other "features" of MusicTeX that I do not understand.  For example, if I 
define macros before "debutmorceau" the first score looks ok, but if I
define the macros between "debutmorceau" and the first "notes/enotes" pair,
there is about 2 noteskips of blank space between the clef/key signature/meter
and the first notes.  This makes no sense to me.  But at least I know how to
get around it.

Thanks again.

Dick Crawford, aka rccrawford@lanl.gov

From owner-mutex  Sat Oct  8 00:23:53 1994
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Date:     Sat, 8 Oct 1994 00:32 EST
From: 157763091@UCIS.VILL.EDU (James J. Marshall)
To: mutex@stolaf.edu
Subject:  Help Installing MusicTeX?
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Hello all!  This is my first attempt mailing to this list and I haven't
subscribed to it yet, so I hope it works.  I am having lots of trouble
trying to install MusicTeX on my computer.  I have a PCTeX for Windows
(PC) program, and Plain TeX, LaTeX, and AMSTeX have already been installed
on it.  However, I can't find any instructions or guides on how to install
other macros using the INITeX method besides the few mentioned in the help
file (which does not include MusicTeX).  I haven't had to install another
macro before, so I really don't know what to do.  If someone could help me
out and send me some instructions on how to get MusicTeX installed, I would
really appreciate it.  I'm hoping to get this up and running so that I can
use it to print out a song I am writing for my college music theory class.
It will look much nicer than handwriting the music, but until I get this
macro installed, I can't do anything.  If anyone could help me out, I'd
really appreciate the help.  Thanks in advance.

					-- James Marshall
					157763091@ucis.vill.edu

From owner-mutex  Wed Oct 12 06:23:52 1994
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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Subject: two questions: \generalmeter and \autolines
To: mutex@stolaf.edu
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(a) I have to add a 2/4 bar in a 4/4 partiture. The approach I used:

\doublebarre
\generalmeter{\meterfrac 24}\writemeters

leaves way too much space before the new meter indication. Is there a better 
way to do it?


(b) My understanding is that \autolines is great when you have classical scores,
as often there is a regular frame and you know how many notes there are in a
bar. I am writing down pop music, and the notes-per-bar distribution is not
constant by any means. I'd like to have the equivalent od \raggedright while
writing down the piece, so that I can look at the adjustment to be made?

ciao, .mau.

From owner-mutex  Wed Oct 12 07:23:53 1994
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From: Werner.Icking@gmd.de (Werner Icking)
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To: mutex@stolaf.edu
Subject: Re: two questions: \generalmeter and \autolines
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> (a) I have to add a 2/4 bar in a 4/4 partiture. The approach I used:
> 
> \doublebarre
> \generalmeter{\meterfrac 24}\writemeters
> 
> leaves way too much space before the new meter indication. Is there a better 
> way to do it?

try  \generalmeter{meterfrac24}\Changecontext - don't know, but I assume it 
works better because Daniel Taupin made it just for this purpose (rtfm).

> (b) My understanding is that \autolines is great when you have classical scores,
> as often there is a regular frame and you know how many notes there are in a
> bar. I am writing down pop music, and the notes-per-bar distribution is not
> constant by any means. I'd like to have the equivalent od \raggedright while
> writing down the piece, so that I can look at the adjustment to be made?

\autolines is great - but a pain!
\notes, \Notes, ..., \NOTES is (more) important - but a pain!

And (imho) it's more pain with classical music than with pop-music. For
classical music I know it. Have a look at the sources I put onto our ftp-
server  ftp.gmd.de  /music/scores/bach or mozart.

A solution for your problem may be to start with \noautolines. If the 
masterpiece is nearly finished you may influence the spacing by \etroit
or by selecting another \elemskip (BUT ONLY ONCE AT THE VERY BEGINNING).
If you like the result, but not the accumulated space at the end of the
bars you may follow the proposed line breaking and insert \autolines for
each line - a lot of work as I did it in my scores. And in addition I
made an own version of \autolines with a ten times higher resolution
---- and much more work to guess(!) the first parameter :-(

I would like if there could be a more flexible solution :-)

Werner

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To: mutex@stolaf.edu
Subject: How to get GIF from MusicTeX DVI file?
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To the mutex list:

   I just got MusicTeX and created a DVI file.  I can convert it to 
PostScript fine with dvips.  Is there a way to go from DVI to GIF or from 
PS to GIF?

   I'm on an RS6000 running AIX.  I have Ghostscript which I've heard can 
create GIF's, but its man page doesn't say anything about it.   


   I'd appreciate any advice.



Tim Cheney ( tcheney@mcneil.sas.upenn.edu )
Tenor in Abington, PA Chapter SPEBSQSA
Maintainer of Barbershop Gopher Server on timc.pop.upenn.edu, port 70
and Web Server on timc.pop.upenn.edu, port 80


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	From: "Timothy P. Cheney" <tcheney@lexis.pop.upenn.edu>
	To: mutex@stolaf.edu
	Subject: How to get GIF from MusicTeX DVI file?

	   I just got MusicTeX and created a DVI file.  I can convert it to 
	PostScript fine with dvips.  Is there a way to go from DVI to GIF or
	from PS to GIF?

	   I'm on an RS6000 running AIX.  I have Ghostscript which I've heard
	can create GIF's, but its man page doesn't say anything about it.   

The doc does, and so does "gs -?".  Use the options -sDEVICE=gifmono
and -sOutputFile=yourfile.

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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From: Peter.Vanroose@esat.kuleuven.ac.be
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To: mutex@stolaf.edu
Subject: Re: How to get GIF from MusicTeX DVI file?
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>    I just got MusicTeX and created a DVI file.  I can convert it to 
> PostScript fine with dvips.  Is there a way to go from DVI to GIF or from 
> PS to GIF?
> 
>    I'm on an RS6000 running AIX.  I have Ghostscript which I've heard can 
> create GIF's, but its man page doesn't say anything about it.   


Two remarks:
- You have to pass through an intermediate format (e.g. Postscript) to GIF.
  But in my opinion, it is better to use a dot `matrix printer' format
  as intermediate, because this saves you twice a lot of conversion work
  (I mean calculation time, but probably also accumulated roundoff errors
   in the conversions).  Ghostscript is a bit of an overkill in your case.
  
  I have no idea which DVI to dot convertors there are available for AIX (+).
  When using, e.g., emTeX on DOS, you could just use DVIDOT.
  IMPORTANT REMARK:  be sure to use the resolution that you want your GIF
  file to be, already in this first step!  The conversion from dot to GIF
  format is then a `trivial' one.  (Use, e.g., the PBMPlus tools (*),
  e.g. pcxtoppm (or epsontopbm or rawtopgm or ljtopbm) followed by ppmtogif.)
  
- GIF is not really the best possible format for storing bitmapped (black-white)
  images like text or music!  But I guess it has become a de facto standard
  for certain applications (esp. color images).  I am afraid, however, that
  the quality of the GIF output will be far below what you would expect from
  a high-quality system like TeX!

Of course it is possible to convert Postcript files to other formats using
Ghostscript, but as I said this is an overkill for DVI-to-GIF conversion.
If Ghostscript has no GIF output, you can do as in step two above, using the
PBMPlus tools.


  

(+) You maybe have dvilj. (If not, I can send you a copy.)
    Then use ljtopbm and ppmtogif in the second step.  

  
(*) From the pictures-faq:
  
PBMPlus tool kit        Maintained by Jef Poskanzer (jef@well.sf.ca.us).  Very
                        nearly a de-facto standard for converting between many
                        different formats.  Includes "utility" tools to scale,
                        quantize, crop, flip, rotate, and many other graphics
                        operations.
        Available via anonymous FTP from EXPORT:pbmplus*.tar.Z and from
        ftp.ee.lbl.gov (128.3.112.20) as /pbmplus*.tar.Z.  Visit the newsgroup
        alt.graphics.pixutils for more details, discussion of usage, etc.
        

--                               Peter Vanroose
                                 Electrotechnical Department, ESAT
                                 K.U. Leuven, Belgium.
                                 Peter.Vanroose@esat.kuleuven.ac.be

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          Tim Cheney asked about using Ghostscript to convert a
          PostScript file to a GIF file.  He runs AIX on an RS6000.

          While I admit that I have never done file conversion with
          Ghostscript, I have the source for Ghostscript on the RS6000
          that I use.  So, after poking around a bit, I have found
          that the commandline option should look like

          gs -sDEVICE=xxx file.ps

          where file.ps is the PostScript file and xxx is "gif8" or
          "gifmono" for 8-bit color or monochrome.

          Ghostscript must be built with the appropriate driver turned
          on.

          I assume that the output file will be named "file.gif", but
          I don't know that for certain.

          I hope this helps somewhat.

          Dick Crawford, aka rcrawford@logicon.com


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          Tim Cheney asked about using Ghostscript to convert a
          PostScript file to a GIF file.  He runs AIX on an RS6000.

          While I admit that I have never done file conversion with
          Ghostscript, I have the source for Ghostscript on the RS6000
          that I use.  So, after poking around a bit, I have found
          that the commandline option should look like

          gs -sDEVICE=xxx file.ps

          where file.ps is the PostScript file and xxx is "gif8" or
          "gifmono" for 8-bit color or monochrome.

          Ghostscript must be built with the appropriate driver turned
          on.

          I assume that the output file will be named "file.gif", but
          I don't know that for certain.

          I hope this helps somewhat.

          Dick Crawford, aka rcrawford@logicon.com


From owner-mutex  Fri Oct 14 22:23:53 1994
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Date: Fri, 14 Oct 1994 23:09:06 -0400 (EDT)
From: "Timothy P. Cheney" <tcheney@lexis.pop.upenn.edu>
To: mutex@stolaf.edu
Subject: Thanks for GIF advice and another question
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  Thanks to all that responded.

  My problem was due to having an old version of GS (2.5.2) which was a
precompiled version from harpo.seas.ucla.edu (a popular ftp site for
RS6000 binaries) which did not have any devices other than X11 built in.

  I got version 3.1.2 from ftp.cs.wisc.edu and managed to compile and
install it fairly easily.  While I was there I got the OS/2 version
for my PC and that works OK too.  I guess I'll get TeX for the OS/2
machine, too and see which platform is best to work on, although
I have to believe that the horsepower of the RS/6000 will outweigh
interface advantages of OS/2.

  I will check out DVIDOT and PBMPlus.  It definitely sounds more
efficient.
    
  This is my first brush with TeX as well as MusicTeX.  The music I am
working with has four voices, two in the treble clef (tenor and lead) and
two in the bass clef (baritone and bass).  It would make things much
easier if I can make two instruments share the same staff.  Is this
possible in a simple way?  I can write a preprocesser in perl to ravel 2
voices into sequences of spacing/non-spacing note tokens, but I think it
would be less complicated to handle it in TeX.

  Thanks again


Tim Cheney ( tcheney@mcneil.sas.upenn.edu )
Tenor in Abington, PA Chapter SPEBSQSA
Maintainer of Barbershop Gopher Server on timc.pop.upenn.edu, port 70
and Web Server on timc.pop.upenn.edu, port 80
--- Barbershop in Cyberspace:The Cutting Edge of Anachronism



From owner-mutex  Wed Oct 19 04:23:53 1994
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Subject: MusicTeX for Macintosh
To: mutex@stolaf.edu
From: Juan Jose Nuo Ballestero <nuno@mac.uv.es>
Date: Wed, 19 Oct 94 08:58:40 +0100
Message-Id: <941019.085840.21437@mac.uv.es>
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Does anyone know if there is an implementation of MusicTeX
for the Macintosh?

Best wishes,

    J.J. Nu~no.
Juan J. Nun~o Ballesteros
Dept. de Geometria i Topologia
Universitat de Valencia
Campus de Burjasot
46100 Burjasot (Valencia) 
SPAIN
e-mail: nuno@mac.uv.es

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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@stolaf.edu
Subject: Re: MusicTeX for Macintosh
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> Does anyone know if there is an implementation of MusicTeX
> for the Macintosh?

All you need is TeX, e.g. OzTeX. Then musictex may be installed.
One problem may be that some files have to be renamed. e.g. the font
file xyz.pk must be renamed to xyz and put into a folder named 300
(if the resolution of the printer is 300dpi).

Werner

PS: The archived mails of this mailing list contains more info info
    on Mac&MusiCTeX. The archive may be at stolaf.edu? oder cs.uwp.edu?
    or abc.def.edu? :-) 

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Date: Wed, 19 Oct 94 11:33:08 CET  
From: "Wolf Wolfswinkel" <W.Wolfswinkel@pobox.ruu.nl>
Sender: W.Wolfswinkel@pobox.ruu.nl
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To: mutex@stolaf.edu
Subject: Bars and one-line staffs
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  Hi,

  I just joined this list, so I hope this message goes the right way...

  At the moment I am trying to code a few lines of single-instrument
percussion music with MusicTeX, and I would like to use one-line staffs for
it. So I code '\def\stafflinesnbi{1}'.

But how do I get proper bars ? When I code '\barre' the bar disappears
because of the way MusicTeX seems to handle bars. (a vertical line from the
top to the bottom line of the staff, which are the same for one-line
staffs.)

I would like to have a vertical line centred over the staff. ----|----
Does anyone know how to do this ?

Greetings,

Wolf Wolfswinkel

From owner-mutex  Wed Oct 19 14:23:56 1994
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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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To: mutex@stolaf.edu
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	Date: Wed, 19 Oct 94 11:33:08 CET  
	From: "Wolf Wolfswinkel" <W.Wolfswinkel@pobox.ruu.nl>
	Subject: Bars and one-line staffs

	  At the moment I am trying to code a few lines of single-instrument
	percussion music with MusicTeX, and I would like to use one-line staffs
	for it. So I code '\def\stafflinesnbi{1}'.

	But how do I get proper bars ? When I code '\barre' the bar disappears
	because of the way MusicTeX seems to handle bars. (a vertical line from
	the top to the bottom line of the staff, which are the same for one-line
	staffs.)

	I would like to have a vertical line centred over the staff. ----|----
	Does anyone know how to do this ?

You'll probably have to bang on MusicTeX.  Here's the physical definition
of a bar in 5.03:

\def\think@vrule@f#1{\raise\altplancher\hbox{\vdlthick height\systemheight width
 #1}\global\advance\x@skip by #1}%

For your piece, "\systemheight" is zero.  Replace it with a positive dimension,
and diminish the "\raise" value by half that amount (or add a \lower clause).
I haven't tried this but it may work.

						Col. G. L. Sicherman
						gls@hrcms.att.com

From owner-mutex  Thu Oct 20 13:23:54 1994
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Date: Thu, 20 Oct 1994 13:34:48 -0400 (EDT)
From: "Timothy P. Cheney" <tcheney@lexis.pop.upenn.edu>
To: mutex@stolaf.edu
Subject: Swipes in MusicTeX
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  I have a need to create swipes (i.e. non-horizontal ties.)  I need them 
to be able to cross over bars, as well.  They can't get too long because 
they would only connect consecutive notes.

  I've been trying to figure out if it is possible to implement these 
even with superhuman effort.  MusicTeX is my first exposure to TeX but 
after a week I am beginning to get a glimmer of an understanding.  

For the moment assume that we don't have to cross bars:

  Suppose I design a font of swipes designed to cover a given vertical 
interline distance.  Would I be able to scale them horizontally to a 
given distance (the difference between the start and finish) while 
holding the vertical distance and line thickness constant?

Is glue used at the \barres, but not between notes within a measure 
(assuming one never uses \temps)?  
  
 If I designed a pseudo-bar macro that didn't terminate space accounting, 
could I then use a font swipe to cross those bars?  What if I gave up 
glue altogether, and broke all lines myself, implemented space accounting 
by line, and at each line end calculated how much space to insert between 
each note based on what was needed to make the right end flush?

 If I do all that am I just working to circumvent the whole point of TeX 
in the first place, and would be just as well off redesigning something 
in another language such as PostScript? 

   
 Cheers,

  Tim



From owner-mutex  Thu Oct 20 19:35:09 1994
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 "Timothy P. Cheney" <tcheney@lexis.pop.upenn.edu> writes

>  I have a need to create swipes (i.e. non-horizontal ties.)  

Interesting terminology.  I've never seen it before.

>I need them 
>to be able to cross over bars, as well.  They can't get too long because 
>they would only connect consecutive notes.

>  I've been trying to figure out if it is possible to implement these 
>even with superhuman effort. 
>
>[snip]
>
> If I do all that am I just working to circumvent the whole point of TeX 
>in the first place, and would be just as well off redesigning something 
>in another language such as PostScript? 

     I have a serious mental block about TeX programming.  Besides, I figured 
that if nice-looking ties and slurs were at all feasible in TeX, Mr. Taupin 
would have put them in (since EVERYTHING else in MusicTeX looks so nice). So I 
have taken the following approach to make arbitrary, nice-looking ties and 
slurs:
     1. Create a MusicTeX document without any ties or slurs.
     2. Make a .dvi file
     3. Make a postscript file.
     4. Using my own FORTRAN program
        (a) Locate all the staves and note heads in the Postscript
        (b) Make a scrollable screen image of (a)
        (c) Cursor around the screen, selecting notes that need ties
        (d) Create a derivative Postscript file which has all the original      
            stuff, plus the ties and slurs I've added.

Don't get me wrong, it was a LOT of work to implement step 4.  But it works fine
for me.  I'd be glad to share the source or executable with anyone who wants it.
These are the main caveats:
     1. I use a PC running DOS.
     2. The notehead-location schemes may be peculiar to the particular         
        postscript driver I use (PTIPS)
     3. The graphical parts of the FORTRAN code assume VGA graphics, and are    
        implemented using Microsoft FORTRAN. (I tried doing this without a      
        graphical interface, and it was almost impossible.)

If anyone has produced or is producing a better solution, I'd be very interested
as well.

--Don Simons (dsimons@logicon.com)


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From: dak@POOL.informatik.rwth-aachen.de (David Kastrup)
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
In-Reply-To: <Pine.A32.3.90.941020130012.10758A-100000@lexis.pop.upenn.edu> (tcheney@lexis.pop.upenn.edu)
Subject: Re: Swipes in MusicTeX
Precedence: bulk

   Posted-Date: Thu, 20 Oct 1994 13:34:48 -0400 (EDT)
   Date: Thu, 20 Oct 1994 13:34:48 -0400 (EDT)
   From: "Timothy P. Cheney" <tcheney@lexis.pop.upenn.edu>

   I have a need to create swipes (i.e. non-horizontal ties.)  I need
   them to be able to cross over bars, as well.  They can't get too
   long because they would only connect consecutive notes.
MuTeX has those. MuTeX produces typesetting with better quality slurs.
Apart from that, it cannot set more than single-staff music, docs and
real usage differ a bit, it is not really maintained and basically an
abondoned project (as far as I know). So it mainly serves as an
example of possibility.

   I've been trying to figure out if it is possible to implement these
   even with superhuman effort.  MusicTeX is my first exposure to TeX
   but after a week I am beginning to get a glimmer of an
   understanding.

   For the moment assume that we don't have to cross bars:

   Suppose I design a font of swipes designed to cover a given
   vertical interline distance.  Would I be able to scale them
   horizontally to a given distance (the difference between the start
   and finish) while holding the vertical distance and line thickness
   constant?
Scaling is the wrong expression. You can, however, design a set of
sweeps with different horizontal sizes (it will not really matter that
much whether a slur is slightly too long or too short, the latter
being even more tolerable), and let TeX select the right size for
itself. The cheapest mechanism here would be to let TeX typeset those
as a \mathaccent. In that case, it will select the best horizontally
fitting glyph depending on the length of the box it is supposed to
"accent".

   Is glue used at the \barres, but not between notes within a measure
   (assuming one never uses \temps)?

   If I designed a pseudo-bar macro that didn't terminate space
   accounting, could I then use a font swipe to cross those bars?
Bars are discretionary matter (at least I presume so...), so it should
be possible to fuddle different slurs into all three parts of that
discretionary.
   What if I gave up glue altogether, and broke all lines myself,
   implemented space accounting by line, and at each line end
   calculated how much space to insert between each note based on what
   was needed to make the right end flush?
Much fun. Unfortunately, I know no way to let TeX work automagically,
*then* finding out where everything moved. As TeX is really eager not
to let you know *any* results of its glue calculations and stretchings
(as those are floating point, thus considered implementation
dependant), you simply cannot get the information from TeX. If you
could, Knuth would probably consider it a bug.

   If I do all that am I just working to circumvent the whole point of
   TeX in the first place, and would be just as well off redesigning
   something in another language such as PostScript?
I do not know postscript well enough. It might be, however, an idea to
insert postscript specials into TeX code, so that postscript will just
insert appropriate slurs between, say,
\special{ps:highslurbegin 1} and \special{ps:highslurend 1}
In short, let postscript fill in all things whose dimensions really
depend on TeX's glue mechanism, but keep the rest inside of MusicTeX.

This is all from one reading the list, but not really having used
MusicTeX, so take it with a grain of salt.

David Kastrup, Goethestr. 20, D-52064 Aachen        Tel: +49-241-72419
  Email: dak@pool.informatik.rwth-aachen.de         Fax: +49-241-79502

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From: Colin "D." Reed <reedcd@sun1.bham.ac.uk>
Message-Id: <9410241539.AA02406@sun1.bham.ac.uk>
Subject: printing parts
To: mutex@stolaf.edu
Date: Mon, 24 Oct 1994 15:39:13 +0000 (GMT)
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Once I have printed a score using MusicTeX, can I print out the individual
parts?  I have 5 parts, and I always use five staves, so cello is always
instrument 1, violin II always instrument 3 etc.
-- 
+--------------------------------------------------------------------+
| Colin D. Reed                          Telephone:(UK)-021-414 4437 |
| Birmingham Polymer Group                     Fax:(UK)-021-414 4403 |
| School of Chemistry                  E-mail:reedcd@sun1.bham.ac.uk |
| The University of Birmingham                  :C.D.Reed@bham.ac.uk |
| PO Box 363                       Phone (Evening):(UK)-021-454 5729 |
| Birmingham B15 2TT   UK                                            |
+--------------------------------------------------------------------+

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Date: Mon, 24 Oct 1994 17:58:23 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199410241658.AA04324@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: printing parts
X-Sun-Charset: US-ASCII
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> Once I have printed a score using MusicTeX, can I print out the individual
> parts?  I have 5 parts, and I always use five staves, so cello is always
> instrument 1, violin II always instrument 3 etc.

I've a programme which reads a musictex source and makes two outputs out of it.
One which contains the common parts and instrument I - and one which contains
the common parts and instruments II to IX (or whatever the last instrument is).

But this is not sufficient. Because some things shall not be printed into the
score but only in the voices this must be coded "hidden" in the source of the
score. Another problem is that the spacing for the score is different from the
spacing for the parts. E.g. a whole note for the cello and a lot of eigths for
the viola can be coded in the score as:

   \Notes\wh C&\ibu1c0\qh1{ccc}\tqh1c\ibu1c0\qh1{ccc}\tqh1c\enotes

but it would look ugly if the parts would be:

 Cello  \Notes\wh C\enotes
 Viola  \Notes\\ibu1c0\qh1{ccc}\tqh1c\ibu1c0\qh1{ccc}\tqh1c\enotes

Therefore I code in the score

   \Notes\NOTEn\wh C&\ibu1c0\qh1{ccc}\tqh1c\ibu1c0\qh1{ccc}\tqh1c\enotes

which will be converted to  \NOTEs\wh C\enotes   for the Cello.

I put an example for this coding onto our ftp-server

   ftp.gmd.de   /music/scores/mozart/kv423src.zip

The programmes are written in SNOBOL. The source or DOS-Executes are available on
reuqest.

I've described the procedures already earlier in this mailing list. If you
look into an archive of the mailing list you should find something with the
subject "score".

Hope this hilft -- Werner

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  26-OCT-1994 14:14:00 +0100
Subject:  Musictex version 5.06 available
To: mutex@stolaf.edu, ehlerabk@rubb.rz.ruhr-uni-bochum.de
Precedence: bulk

Subject: MusicTeX version 5.06
New version 5.06 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex] and  [anonymous.musictex.examples]

Changes:
 - 5.06 some more controls on slurs and ties
 - 5.06 \general[***] and \save[***] commands also update non active
        instruments to be opened in further score text.
 - 5.05 examples given in a separate directory
 - 5.04 bug corrected in \changesignature; doc upgraded
 - 5.03 fonts musikn* changed for two characters
New features:
 - 5.06 some additional features for compatibility with MusiXtex (not in doc)
 - 5.03 more specific note heads for percussion scores and violin harmonics

Daniel Taupin


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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199410261543.AA06477@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Musictex version 5.06 available
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> From: TAUPIN@rsovax.lps.u-psud.fr
> Date:  26-OCT-1994 14:14:00 +0100

> New version 5.06 of MusicTeX available at anonymous ftp [...]

... and as usual at  ftp.gmd.de /music/musictex/musictex.zip
                                                musicexa.zip

For those who do not like Zip-Files:        .../musictex.506.tar.gz
                                            .../musicexa.506.tar.gz

For those who only need the different parts, are able to generate musicdoc.dvi
or musicdoc.ps, and do not like to transport more data than neccessary: 

                                            .../diff-files/musictex.504-506.zip
                                                       .../musicexa.504-506.zip

Downloading tools can be found on ftp.gmd.de too (rf. /bootstrap)

WWW-Fans may inspect    ftp://ftp.gmd.de/music/README.html


Ceterum censeo: FAQ needs revision!                                -- Werner


PS: Thank you, Daniel!

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Date: Thu, 27 Oct 1994 12:42:49 -0400 (EDT)
From: Sonneck Society for American Music <monty@access.digex.net>
To: mutex@stolaf.edu
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u.arknet.edu>, 
    Karl Kroeger <kroeger_kd@cubldr.colorado.edu>, 
    Marie Kroeger <mkroeger@diana.cair.du.edu>, Don Krummel <donkay@uiuc.edu>, 
    Douglas Lee <leed@ctrvax.vanderbilt.edu>, Gene Leonardi <gwl@uncecs.edu>, 
    Nancy Lindley <lindley@cs.umd.edu>, Paul Machlin <psmachli@colby.edu>, 
    James Manheim <james.m.manheim@um.cc.umich.edu>, 
    Brian Mann <mann@vassar.edu>, Martin Marks <mmmarks@mit.edu>, 
    Portia Maultsby <maultsby@indiana.edu>, 
    Frank McCarty <mccartyf@iris.uncg.edu>, 
    Anne McLucas <amclucas@oregon.uoregon.edu>, 
    Donald Meyer <meyer@charles.ucdavis.edu>, 
    Terry Miller <tmiller1%kentvm.bitnet@cunyvm.cuny.edu>, 
    Caroline Moseley <cmose@phoenix.princeton.edu>, 
    Kay Norton <knorton@vax1.umkc.edu>, Anne O'Conner <anneo@delphi.com>, 
    Joan O'Conner <sfcmlibr@class.org>, 
    John Ogasapian <ogasapiaj@woods.uml.edu>, 
    Ronald Pen <rapen01@ukcc.uky.edu>, 
    Melva Peterson <libmp%ccny.bitnet@cunyvm.cuny.edu>, 
    Guthrie Ramsey <guthrie.ramsey@dartmouth.edu>, 
    Robert Rast <robbr@uxl.cso.uiuc.edu>, 
    Michael Rogan <rogan@binah.cc.brandeis.edu>, 
    "Deane L. Root" <dlr+@pitt.edu>, 
    Emanuel Rubin <erubin@titan.ucc.umass.edu>, 
    Homer Rudolf <Rudolf@urvax.urich.edu>, 
    Steven Saunders <sesaunde@colby.edu>, 
    Lois Schultz <lois@iliad.lib.duke.edu>, 
    Marjorie Shapiro <mms@cunyvms1.gc.cuny.edu>, 
    Stephen Siek <ssiek%wittenbg.bitnet@cunyvm.cuny.edu>, 
    Larry Starr <lstarr@u.washington.edu>, 
    Warren Steel <mudws@vm.cc.olemiss.edu>, 
    Greg Steinke <00gasteinke@leo.bsuvc.bsu.edu>, 
    William Summers <william.summers@dartmouth.edu>, 
    Cheryl Taranto <ctaranto%ua1vm.bitnet@cunyvm.cuny.edu>, 
    Timothy Taylor <taylort@cc.denison.edu>, 
    Frank Tirro <ftirro@yalevm.ycc.yale.edu>, 
    Allison Welch <awbm@ccwf.cc.utexas.edu>, 
    Paul Wells <pfwells@knuth.mtsu.edu>, Ron Wiecki <wiecki@macc.wisc.edu>, 
    Bruce Wilson <bw15@umail.umd.edu>, 
    Robert Winans <rwinans@cc.gettysburg.edu>, 
    Josephine Wright <jwright@acs.wooster.edu>, 
    Andrew Zinck <azinck@epas.utoronto.ca>
Subject: Correction of Announcement on American Music Network
Message-ID: <Pine.SUN.3.91.941027122947.17719B-100000@access4.digex.net>
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Content-Type: TEXT/PLAIN; charset=US-ASCII

Please correct email address given in previous announcement.

     Questions on the American Music Network may be sent to:
          Bill Everett, Chair, Public Relations Committee
          Sonneck Society for American Music
          email: <zzever@acc.wuacc.edu>
 



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        Aaron Appelstein <appelsteinac@conted1.uwex.edu>,
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        Carol Baron <cbaron@ccmail.sunysb.edu>,
        Elizabeth Bergman <ekb3@cunixa.cc.columbia.edu>,
        Edward Berlin <eabqb@qb001.bitnet>,
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        Karen Carter <klcart01@ukcc.uky.edu>,
        Frank Cipolla <muscipol@ubvms.cc.buffalo.edu>,
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        Dale Cockrell <cockrell@mark.mwa.org>,
        Susan Cook <scook@macc.wisc.edu>, Lenore Coral <lfc1@cornell.edu>,
        Liane Curtis <lcurtis@husc.harvard.edu>,
        Laura Danker <cwmulad@music.loyno.edu>,
        Mary Davidson <smmd@uhura.cc.rochester.edu>,
        Mary DuPree <mdupree@uidaho.edu>,
        William Everett <zzever@acc.wuacc.edu>,
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        Jean Geil <geilj@vmd.cso.uiuc.edu>,
        Steven Gilbert <steveng@csufresno.edu>,
        Alan Gillmor <alan_gillmor@carleton.ca>,
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        Gary Greene <mugreene@merlin.nlu.edu>,
        Paul Heiser <pmhg9636@uxa.cso.uiuc.edu>,
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        JoAnn Hunt <hunt@acavax.lynchburg.edu>,
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u.arknet.edu>, 
    Karl Kroeger <kroeger_kd@cubldr.colorado.edu>, 
    Marie Kroeger <mkroeger@diana.cair.du.edu>, Don Krummel <donkay@uiuc.edu>, 
    Douglas Lee <leed@ctrvax.vanderbilt.edu>, Gene Leonardi <gwl@uncecs.edu>, 
    Nancy Lindley <lindley@cs.umd.edu>, Paul Machlin <psmachli@colby.edu>, 
    James Manheim <james.m.manheim@um.cc.umich.edu>, 
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    Portia Maultsby <maultsby@indiana.edu>, 
    Frank McCarty <mccartyf@iris.uncg.edu>, 
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    Donald Meyer <meyer@charles.ucdavis.edu>, 
    Terry Miller <tmiller1%kentvm.bitnet@cunyvm.cuny.edu>, 
    Caroline Moseley <cmose@phoenix.princeton.edu>, 
    Kay Norton <knorton@vax1.umkc.edu>, Anne O'Conner <anneo@delphi.com>, 
    Joan O'Conner <sfcmlibr@class.org>, 
    John Ogasapian <ogasapiaj@woods.uml.edu>, 
    Ronald Pen <rapen01@ukcc.uky.edu>, 
    Melva Peterson <libmp%ccny.bitnet@cunyvm.cuny.edu>, 
    Guthrie Ramsey <guthrie.ramsey@dartmouth.edu>, 
    Robert Rast <robbr@uxl.cso.uiuc.edu>, 
    Michael Rogan <rogan@binah.cc.brandeis.edu>, 
    "Deane L. Root" <dlr+@pitt.edu>, 
    Emanuel Rubin <erubin@titan.ucc.umass.edu>, 
    Homer Rudolf <Rudolf@urvax.urich.edu>, 
    Steven Saunders <sesaunde@colby.edu>, 
    Lois Schultz <lois@iliad.lib.duke.edu>, 
    Marjorie Shapiro <mms@cunyvms1.gc.cuny.edu>, 
    Stephen Siek <ssiek%wittenbg.bitnet@cunyvm.cuny.edu>, 
    Larry Starr <lstarr@u.washington.edu>, 
    Warren Steel <mudws@vm.cc.olemiss.edu>, 
    Greg Steinke <00gasteinke@leo.bsuvc.bsu.edu>, 
    William Summers <william.summers@dartmouth.edu>, 
    Cheryl Taranto <ctaranto%ua1vm.bitnet@cunyvm.cuny.edu>, 
    Timothy Taylor <taylort@cc.denison.edu>, 
    Frank Tirro <ftirro@yalevm.ycc.yale.edu>, 
    Allison Welch <awbm@ccwf.cc.utexas.edu>, 
    Paul Wells <pfwells@knuth.mtsu.edu>, Ron Wiecki <wiecki@macc.wisc.edu>, 
    Bruce Wilson <bw15@umail.umd.edu>, 
    Robert Winans <rwinans@cc.gettysburg.edu>, 
    Josephine Wright <jwright@acs.wooster.edu>, 
    Andrew Zinck <azinck@epas.utoronto.ca>
Subject: American Music Network
Message-ID: <Pine.SUN.3.91.941027115826.16270B-100000@access4.digex.net>
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                                        October 27 1994

SONNECK SOCIETY FOR AMERICAN MUSIC ANNOUNCES THE AMERICAN MUSIC NETWORK

     The Sonneck Society for American Music announces the establishing of 
the American Music Network on the Internet.  The Network can be accessed 
by the following commands:  
          gopher gopher.tmn.com.
          select #5 Arts Wire
          select #6 American Music Network.
     The Network has been established as a service to the public and 
interested organizations to promote the performance and study of 
American Music.
     There are currently 2 databases available on-line.  These are:
          Coming Events in American Music
          American Music Week Events
     Several other databases are being developed for access by the 
public.  These are:
          Speaker's/Performer's Bureau for American Music
          Important Dates in American Music History
     Members of the Sonneck Society may submit data to be added to any 
of the databases.  Members of the public may search and read any of the files
using gopher or other Internet tools.  A dial-up line is planned to be
installed for public access to the American Music Network in the future.  It
is also planned to establish a mailing list (listserv) for American Music
in the future.
     Any organizations sponsoring events as part of American Music Week,
normally the first week in November (November 6-13 1994), may submit their
events directly to the Network. Information on format for submittals
and membership is available on-line at gopher gopher.tmn.com, 
as described above.
     It is hoped that this Network will become a clearinghouse for all
areas of American Music.  Performers will be able to offer their talents 
to the public, worldwide.  There is no charge for the service, other than
membership in the Sonneck Society ($50/year).  Promoters and program
managers will be able to find performers or events of interest on
American Music.  The public and media will be able to find events on 
American Music easily and conveniently.
     Questions on the American Music Network may be sent to:
          Bill Everett, Chair, Public Relations Committee
          Sonneck Society for American Music
          email: <zzever@acc.wvacc.edu>
 

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        music-@prg.oxford.research.ac.uk, MUSIC-ED@UMINN1.BITNET,
        mutex@stolaf.edu, NOTMUS-L@UBVM.BITNET, OPERA-L@BRFAPESP.BITNET,
        orchestralist@hubcap.clemson.edu, Pipes@sunapee.dartmouth.edu,
        PIPORG-L@ALBANY.BITNET, RMUSIC-L@GITVM1.BITNET, ROCK@TRITU.BITNET,
        rocklist@kentvm.kent.edu, SavoyNet@CESCC.Bridgewater.edu,
        SEMLA-L@UGA.BITNET, SERAVES@AUVM.BITNET, SOCHIST@VM.USC.EDU,
        SYNTH-L@AUVM.BITNET, TML-L@IUBVM.BITNET, tuba-l@vtvm2.bitnet,
        uk-dance@orbital.demon.co.uk, UPNEWS@vm.MARIST.edu,
        VW5EARN@AWIWUW11.BITNET, WIML-L@IUBVM.BITNET,
        Aaron Appelstein <appelsteinac@conted1.uwex.edu>,
        Andre Barbera <70674.324@compuserve.com>,
        Carol Baron <cbaron@ccmail.sunysb.edu>,
        Elizabeth Bergman <ekb3@cunixa.cc.columbia.edu>,
        Edward Berlin <eabqb@qb001.bitnet>,
        Marsha Berman <eir8ber@mvs.oac.ucla.edu>,
        Bob & Kitty Keller <monty@access.digex.com>,
        Philip Bohlman <boh6@midway.uchicago.edu>,
        Clyde Brockett <brockett@powhatan.cc.cnc.edu>,
        Michael Broyles <broyles@umbc.edu>, Gary Busch <buschgd@potsdam.edu>,
        Victor Cardell <ecz5pop@oac.ucla.edu>,
        Norbert Carnovale <carnova@whale.st.usm.edu>,
        George Carr <gcarr@magnus.acs.ohio-state.edu>,
        Karen Carter <klcart01@ukcc.uky.edu>,
        Frank Cipolla <muscipol@ubvms.cc.buffalo.edu>,
        Wilma Cipolla <uldwrc@ubvm.cc.buffalo.edu>,
        Bunker Clark <bclark@ukanvm.bitnet>,
        Dale Cockrell <cockrell@mark.mwa.org>,
        Susan Cook <scook@macc.wisc.edu>, Lenore Coral <lfc1@cornell.edu>,
        Liane Curtis <lcurtis@husc.harvard.edu>,
        Laura Danker <cwmulad@music.loyno.edu>,
        Mary Davidson <smmd@uhura.cc.rochester.edu>,
        Mary DuPree <mdupree@uidaho.edu>,
        William Everett <zzever@acc.wuacc.edu>,
        Margot Fassler <fassler@binah.cc.brandeis.edu>,
        Jean Geil <geilj@vmd.cso.uiuc.edu>,
        Steven Gilbert <steveng@csufresno.edu>,
        Alan Gillmor <alan_gillmor@carleton.ca>,
        Sharon Graf <grafshar@student.msu.edu>,
        Gary Greene <mugreene@merlin.nlu.edu>,
        Paul Heiser <pmhg9636@uxa.cso.uiuc.edu>,
        John Hench <bm.aah@rlg.bitnet>, Karen Howell <khowell@macc.wisc.edu>,
        JoAnn Hunt <hunt@acavax.lynchburg.edu>,
        David Joyner <jhprof@vaxb.acs.unt.edu>, George Keck <keck@ob
%%% end overflow headers %%%

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Subject: Where is Ross Mitchell ?
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Hi,

I need very urgent contact to Ross Mitchell (author of MuFlex). Perhaps he
reads this message, or someone know his email-adress (or his neighbour).

Thanks, Andreas Egler

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From: C.Walshaw@greenwich.ac.uk
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Subject: some questions
To: mutex@stolaf.edu
Date: Mon, 31 Oct 1994 18:02:14 +0000 (GMT)
Cc: C.Walshaw@greenwich.ac.uk () ()
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	Can anyone (Daniel are you listening) help me with the following:

1).	How do I put, say, a double dotted quaver (1/8th note) followed by
a demi-semi quaver (1/32nd note) under the same beam? I would like the
following to work, but it doesn't.

\notes\Ibu0{h}{h}2\ppt h\qh0{h}\qsk\tbbbu0\tbbu0\tbu0\qh0{h}\enotes

2).	Instead of coding \pt h\qu h, it is possible to code \qup h.
However, the macros \ccup, \cccup, etc. do not seem to exist
(and these may be necessary for metronomic indicators).

3).	Is there any easy way of getting the white space around a note
to reflect the length of that note; e.g so that a crotchet takes up twice
the space of a quaver. (I suspect the answer is no).


	Chris Walshaw

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From: C.Walshaw@greenwich.ac.uk
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Subject: Re: some questions
To: mutex@stolaf.edu
Date: Tue, 1 Nov 1994 12:08:16 +0000 (GMT)
Reply-To: C.Walshaw@greenwich.ac.uk
In-Reply-To: <9411011128.AA01891@sun1.bham.ac.uk> from "Colin "D." Reed" at Nov 1, 94 11:28:35 am
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> 
> > 	Can anyone (Daniel are you listening) help me with the following:
> > 
> > 1).	How do I put, say, a double dotted quaver (1/8th note) followed by
> > a demi-semi quaver (1/32nd note) under the same beam? I would like the
> > following to work, but it doesn't.
> > 
> > \notes\Ibu0{h}{h}2\ppt h\qh0{h}\qsk\tbbbu0\tbbu0\tbu0\qh0{h}\enotes
> Don't know, but can't you use \pt h\pt h\ instead of ppt h?

	How does that help?
> > 
> > 2).	Instead of coding \pt h\qu h, it is possible to code \qup h.
> > However, the macros \ccup, \cccup, etc. do not seem to exist
> > (and these may be necessary for metronomic indicators).
> > 
> True, these macros don't exist.  You have to put the point in.  Same with
> dotted rests.

	Yes but you can't do

\notes\Uptext{\metron{\pt\ccu}{200 bpm}}\enotes

> > 3).	Is there any easy way of getting the white space around a note
> > to reflect the length of that note; e.g so that a crotchet takes up twice
> > the space of a quaver. (I suspect the answer is no).
> > 
> This is done by \notes\Notes\NOtes\NOTes\NOTEs\NOTES.  The more capital
> letters the larger the space.  I use Notes for quavers, NOtes for crotchets,
> etc.

	That's not quite what I meant by easy.

	Chris Walshaw


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	     (from C.Walshaw@greenwich.ac.uk)
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From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: some questions
Precedence: bulk

Chris Walshaw said:
>>> 3).	Is there any easy way of getting the white space around a note
>>> to reflect the length of that note; e.g so that a crotchet takes up twice
>>> the space of a quaver. (I suspect the answer is no).
>>> 
>> This is done by \notes\Notes\NOtes\NOTes\NOTEs\NOTES.  The more capital
>> letters the larger the space.  I use Notes for quavers, NOtes for crotchets,
>> etc.
> 
> 	That's not quite what I meant by easy.

What you asked for is not necessarily good music typesetting either!
Your demisemi-quavers (32nds) are going to be very crowded with such
a system, and music printing places very demanding constraints on the
contents of one line.  It might be possible to come up with better
default spacings for different rhythms for MusicTeX (and it gives you
the power to do that yourself!), but the \notes...\NOTES idea works
pretty well once you decide to take responsibility for the overall
appearance of your music.  I agree that MusicTeX rarely offers an easy
solution to our problems :-)

Orchestral parts printed by Finale with no adjustment by the composer
often have extremely poor spacing - sometimes to a degree that they
are confusing for expert professional performers.  It may well offer
better defaults, but as a performer, I feel that non-intervention by
the typesetter is a bad thing.

Cheers,
Dale

    - dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand -
    - Principal Double Bass, New Zealand Symphony Orchestra -
  <a href="http://www.actrix.gen.nz/users/dgold/">My Home Page</a>
<a href="http://www.actrix.gen.nz/users/dgold/nzso.html">NZSO Page</a>

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To: mutex@stolaf.edu
Subject: double dotted, etc.
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	From: C.Walshaw@greenwich.ac.uk
	Date: Mon, 31 Oct 1994 18:02:14 +0000 (GMT)


	1).	How do I put, say, a double dotted quaver (1/8th note) followed
	by a demi-semi quaver (1/32nd note) under the same beam? I would like
	the following to work, but it doesn't.

	\notes\Ibu0{h}{h}2\ppt h\qh0{h}\qsk\tbbbu0\tbbu0\tbu0\qh0{h}\enotes

It's a bug, or at least an omission.  Dangling \tbbbu0 works only after
an \ibbu.  You may be able to hack something up by adding a \n@bu to the
definition of \t@bbbu.

	2).	Instead of coding \pt h\qu h, it is possible to code \qup h.
	However, the macros \ccup, \cccup, etc. do not seem to exist

You can easily roll your own by analogy with the definitions of \qup ....
I used to do it with \lqp, \rqp, etc.

	3).	Is there any easy way of getting the white space around a note
	to reflect the length of that note; e.g so that a crotchet takes up
	twice the space of a quaver.

No inherent way, but you can define \Qu, \Ql, etc., as the corresponding
macros \qu, \ql, ... followed by a \sk.  It helps if you know TeX.

					Col. G. L. Sicherman
					gls@hrcms.att.com

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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: double dotted, etc.
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> 	From: C.Walshaw@greenwich.ac.uk
> 
> 	1).	How do I put, say, a double dotted quaver (1/8th note) followed
> 	by a demi-semi quaver (1/32nd note) under the same beam? I would like
> 	the following to work, but it doesn't.
> 
> 	\notes\Ibu0{h}{h}2\ppt h\qh0{h}\qsk\tbbbu0\tbbu0\tbu0\qh0{h}\enotes
> 
> It's a bug, or at least an omission.  Dangling \tbbbu0 works only after
> an \ibbu.  You may be able to hack something up by adding a \n@bu to the
> definition of \t@bbbu.

I don't think that's an omission if I look at the doc's (section 2.6.1). Using
the examples there my solution is:

   \NOtes\Ibu0ii2\ppt h\qh0h\qsK\nbbu0\qsk\enotes\notes\tqh0h\enotes
                         
\qsK is a private macro spacing one notehead backwards (\off{-1\qn@width});
there I start two additional beams and return to the old position by \qsk.
\tqh... terminates all active beams. Usage of \NOtes, \notes is the generic
solution for problem 3. If this isn't an easy solution, would it be easy enough
by redefining: \def\ncc{\notes}\def\nc{\Notes}\def\nq{\NOtes}\def\nh{\NOTes}
\def\nw{\NOTEs} ... \def\en\enotes? Then the solution would be:
  
   \nq\Ibu0ii2\ppt h\qh0h\qsK\nbbu0\qsk\en\ncc\tqh0h\en

There could be defined other spacings e.g. for 1/16th, dotted 1/16th, 1/8th,
dotted 1/8th, ... ---- as I've been told by a MusiCTeX-pert praising the
so called Gomberg-spacing.

(Using Ibuii.. instead of  Ibuhh.. takes into account that there will follow
additional beams.) 

>[...] 
> 	3).	Is there any easy way of getting the white space around a note
> 	to reflect the length of that note; e.g so that a crotchet takes up
> 	twice the space of a quaver.
> 
> No inherent way, but you can define \Qu, \Ql, etc., as the corresponding
> macros \qu, \ql, ... followed by a \sk.

I don't think that this is good solution; it's fighting against the concept
of \elemskip vs. \noteskip.

>                                          It helps if you know TeX.

:-)

There's no easy way for high-quality typesetting music :-(           (*)

Werner

(*) have a look at  ftp.gmd.de  /music/scores/...  to see the output quality
    of other professional "click&drag&drop" products. Especially the spacing
    is much worse than that of not-easy but obedient usage of MusicTeX

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Date: Thu, 3 Nov 1994 13:57:28 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199411031257.AA11574@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Where is Ross Mitchell ?
X-Sun-Charset: US-ASCII
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> From: ehlerabk@rubb.rz.ruhr-uni-bochum.de
> Date: Mon, 31 Oct 1994 18:25:09 +0100 (CET)
> 
> I need very urgent contact to Ross Mitchell (author of MuFlex). Perhaps he
> reads this message, or someone know his email-adress (or his neighbour).

I ask the net-services and got the following - may be that that's that the Ross
Mitchel in question:
---------------------------------------------------------------------------------
Date: Thu, 3 Nov 1994 07:25:50 -0500
From: NRI Directory Services <kis@CNRI.Reston.VA.US>
To: mutex@stolaf.edu
Subject: kis results

Welcome to the new KIS mail server at CNRI.

-- for version information and the latest changes 
   use the command "news"

kis input >> netaddress Ross Mitchell

Connected to KIS server (V1.0). Copyright CNRI 1990. All Rights Reserved.

Trying whois at ds.internic.net...

The ds.internic.net whois server is being queried:

No match for "MITCHELL and ROSS"

The rs.internic.net whois server is being queried:

Mitchell, Ross (RM234)		rm@WORLD.STD.COM
   Circadian Technologies, Inc.
   1 Alewife Center, Suite 420
   Cambridge, MA 02140
   (617) 492-5060

The nic.ddn.mil whois server is being queried:

No match for name "MITCHELL,ROSS".
Trying mcimail at cnri.reston.va.us...
Trying ripe at whois.ripe.net...
Trying whois at whois.lac.net...
whois: connect: Connection refused
---------------------------------------------------------------------------------
> Thanks, Andreas Egler

Hope this hilft -- Werner (Herr Icking :-)

PS: MuFlex?

From owner-mutex  Sat Nov  5 10:23:55 1994
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Date: Sat, 5 Nov 94 11:17:08 -0500
From: dane@tsunami.dt.navy.mil (Dane Hendrix)
Message-Id: <9411051617.AA25319@tsunami.dt.navy.mil>
To: mutex@stolaf.edu
Subject: CResc
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How do I place \CResc under (or over) notes?
It seems to cause MusicTex to space.  I expect that there is an easier
way of doing this than to use \z notes and manually space them.

Thanks,
 Dane

Dane Hendrix, Code 542                    | email: hendrix@dt.navy.mil 
David Taylor Model Basin                  |  or hendrix@nas.nasa.gov
Carderock Division Headquarters           |  or just reply
Naval Surface Warfare Center              | phone: (301)227-1340
Bethesda, MD 20084-5000                   | FAX:   (301)227-4589


From owner-mutex  Mon Nov  7 19:23:54 1994
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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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	Date: Sat, 5 Nov 94 11:17:08 -0500
	From: dane@tsunami.dt.navy.mil (Dane Hendrix)
	To: mutex@stolaf.edu

	How do I place \CResc under (or over) notes?
	It seems to cause MusicTex to space.  I expect that there is an easier
	way of doing this than to use \z notes and manually space them.

I don't know of one.  The example below (MusicTeX 5.03) uses \zcharnote.

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

% bar 18
\barre
\elemskip=11pt%
\Notes\qup{F}\sk\sk\Itenu1M\cl{M}|\ibu1h0\zcharnote o{\huslur{5.5\noteskip}}%
\qh1{_e_ie}\tbu1\Itenl0h\qh1{h}\sk\enotes%
\Notes\tten1\cl{M}|\tten0\cu{h}\enotes%
\Notes\zcharnote g{\Cresc}\zcharnote a{\huslur{5\noteskip}}%
\ibu0F1\qh0{F^F}\tbu0\qh0G|\ds\qsk\soupir\enotes%
%bar 19
\barre%
\Notes\hu{_H}|\ds\ibu0h0\qh0{_ej}\tbu0\qh0{e}\enotes%
\Notes\hu{G}|\cu{d}\ql{i}\sk\cu{^d}\enotes%
%bar 20
\barre%
\Notes\zmidtwotext{\Dimin}\qup{C}\sk\sk\itenl0J\cu{J}|%
\ibu0h0\qh0{ejd}\tbu0\itenl1i\qh0{_i}\enotes%
\Notes\tten0\cu{J}\Ilegu4b\ibu0C2\qh0{C^C}\tbu0\qh0{D}|%
\tten1\cu{i}\ds\soupir\enotes%

From owner-mutex  Thu Nov 10 12:23:53 1994
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From: gls@hrcms.att.com
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Date: 10 Nov 94 16:33:00 GMT
To: mutex@stolaf.edu
Subject: real slurs made easy
Precedence: bulk

I have hacked up a new package called SLURP.  SLURP offers a painless method
of obtaining slanted slurs in MusicTeX.  But it has limitations:

- You can't break them with line breaks.
- The method works only with dvips output, though somebody may be able to
  adapt it to other forms of output.
- Its reliability is uncertain at best.

Here's how it works.  You add these two lines to the beginning of your
MusicTeX file:

\def\huslurp#1#2{\rlap{\tt SlUrP#2}\huslur{#1}\rlap{\tt sLuRp}}
\def\hdslurp#1#2{\rlap{\tt SlUrP#2}\hdslur{#1}\rlap{\tt sLuRp}}

In your file, use \huslurp and \hdslurp as you would use \huslur and
\hdslur, but with a second argument that gives the slope of the slur:

\Notes\llap{\zmidtwotext{~~{\ppff f}~~{\it con pedale}}}\sk\hu{C}|
\Uptext{\moyen Adagio}\sk\ds\zcharnote o{\qsk\huslurp{4.1\noteskip}{-0.1}}
\ibu0h0\qh0{ej}\tbu0\qh0{e}\enotes\NOtes\hu{J}|\cu{_e}\qlp{_i}\enotes

Run TeX with dvips to produce PostScript output.  Before viewing the
output, filter it through this Lex program:

%{
/*
 *	SLURP - Slur processor for dvips output from MusicTeX.
 *	Col. G. L. Sicherman (gls@hrcms.att.com).  1994.
 */
%}
%%
\(SlUrP[-.0-9]+\)[- \t\n0-9]*[a-z]+	{
			int i;
			for (i=1; i<yyleng; i++) if (yytext[i]==')') break;
			printf(" currentpoint /slurpY X /slurpX X\n");
			printf("() %.*s slurpX slurpY moveto\n",
				yyleng-i-1, yytext+i+1);
			printf("gsave [ 1 %.*s neg 0 1 0 0 ] concat\n",
				i-6, yytext+6);
			}
\(sLuRp\)[- \t\n0-9]*[a-z]+	{
				printf("() %.*s\n", yyleng-7, yytext+7);
				printf("currentpoint /slurpY X /slurpX X\n");
				printf("grestore slurpX slurpY moveto\n");
			}

Your output should now have slanted slurs.

The value of the slope should usually be small, like 0.1 or 0.05.  Too
great a slope may look forced and give you an ugly curve.  If you specify
an invalid slope, only PostScript will complain.

Write me at gls@hrcms.att.com if it gives you any trouble.

From owner-mutex  Thu Nov 17 14:23:54 1994
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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Message-Id: <199411171934.UAA03606@siskin.pst.informatik.uni-muenchen.de>
Subject: How do I change the distance between 2 staffs?
To: mutex@stolaf.edu
Date: Thu, 17 Nov 1994 20:34:39 +0100 (MET)
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Hello,

well I read the manual, and know I must change interportee or interfacteur.  
The question is how do I change these?

What's the best way to make more space between staffs?

I'm writing music for guitar and need extra space for chords,
fret position, fingering indication and so on.

Thanx,

Dimitris

P.S.  Is there anybody out there also writing for guitar?
      We could share some experience or even typeset pieces.



From owner-mutex  Fri Nov 18 06:23:53 1994
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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Date: Fri, 18 Nov 1994 13:08:00 +0100
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Subject: Re: How do I change the distance between 2 staffs?
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  Hello,
 

  I would like to Frank Barnes for his help on my problem. 

  One must change \bottomfacteur.
  Ex.
  	\def\bottomfacteur{9}

  gives a distance of about 2.2cm (so Frank).
  

  Ciao, Dimitris

From owner-mutex  Fri Nov 18 07:23:52 1994
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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Date: Fri, 18 Nov 1994 13:22:38 +0100
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Subject: How do I avoid the mess of accidentals in a chord
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  Hello,
  

  though the subject tells all, I will give two examples in a small score:
 

\input musicnft
\input musictex
\def\nbinstruments{1}
\debutextrait
\NOTes
\sk\zh{=e}\lh{=i}\hl{^j}%  Ex 1
\zh{=a^e}\hl{^i}%          Ex 2
\enotes
\finextrait
\bye
  

  

  Typeset this with tex to see what I mean.
  How can I handle these cases?
  

  Thanx 4 any help
  

  Dimitris

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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Date: Fri, 18 Nov 1994 14:31:44 +0100
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Subject: Not supported? Rests under or over the staffs
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 Hi,
 

 well one more question. (You see I'm on typesettingof a piece).
 

 How do I make a rest (for example a \hapause) appear "correctly"
 under a staff?
 I need it at the height of c so I write
 

 \raise -7\internote\hpause
 

 but what appears does not differ from \pause (No reference line).
 

 Does MusicTeX support this or is there a tricky solution?
 

 Dimitris

From owner-mutex  Fri Nov 18 11:23:54 1994
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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Subject: Re: Not supported? Rests under or over the staffs
To: mutex@stolaf.edu
Date: Fri, 18 Nov 1994 18:03:15 +0100 (MET)
In-Reply-To: <199411181331.OAA27893@phaethon.pst.informatik.uni-muenchen.de> from "Dimitris Dranidis" at Nov 18, 94 02:31:44 pm
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Hi,

OK I found it in the manual :-).
Sorry for the mail.
The manual is big, some things are being forgotten
after the first read.

Dimitris

From owner-mutex  Wed Nov 30 15:23:57 1994
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Date: Wed, 30 Nov 1994 01:17:04 -0800
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Subject: leftrepeatsymbol at end of line
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Hi,

I'm typesetting a piece with lots of leftrightrepeatsymbols.
When I use a \rightrepeatsymbol at the end of a line (which I stop with
\zalaligne) the lines of the bar continue one or two mm after the repeat
symbol.
How can I prevent his?

Thanks in advance,

Greetings,

-- 
********************************************************************************
DeJean                     Vrije Universiteit Brussel                    Belgium      



From owner-mutex  Thu Dec  1 03:23:53 1994
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Date: Thu, 1 Dec 1994 10:19:02 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199412010919.AA11891@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: leftrepeatsymbol at end of line
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> I'm typesetting a piece with lots of leftrightrepeatsymbols.
> When I use a \rightrepeatsymbol at the end of a line (which I stop with
> \zalaligne) the lines of the bar continue one or two mm after the repeat
> symbol.
> How can I prevent his?

\setrightrepeat\alaligne

May be that you should add  "\advance\barno by -1" in front of \alaligne.

That's the problem I had in Mozart's KV424. These repeat are something like
special bar-rules. On the other hand they appear at places where normally no
barrules are written. Some time ago this problem was confusing me so far
that I proposed \zrightrepeat whithout noticing that that again is in "conflict"
with \zbarre, which is something like a \barre *without* barrule.

Werner

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In-Reply-To: Werner Icking <Werner.Icking@gmd.de>
        "Re: leftrepeatsymbol at end of line" (Dec  1, 10:19am)
References: <199412010919.AA11891@sunick.gmd.de>
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On Dec 1, 10:19am, Werner Icking wrote:
> Subject: Re: leftrepeatsymbol at end of line
> > I'm typesetting a piece with lots of leftrightrepeatsymbols.
> > When I use a \rightrepeatsymbol at the end of a line (which I stop with
> > \zalaligne) the lines of the bar continue one or two mm after the repeat
> > symbol.
> > How can I prevent his?
>
> \setrightrepeat\alaligne

Thanks! You could as well have said "RTFM" cause I found the explanation in the
manual. ;-)

> May be that you should add  "\advance\barno by -1" in front of \alaligne.

I don't have problems with the bar-numbering. I'm just puzzling out now how I
can move the numbering from the start of a line to the left-repeat symbol.

 3------>
|-----||-----
|-----||-----
|-----||:----
|-----||-----
|-----||-----





-- 
********************************************************************************
DeJean                     Vrije Universiteit Brussel                    Belgium      



From owner-mutex  Thu Dec  1 08:23:54 1994
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From: zc7t1122@rpool1.rus.uni-stuttgart.de (Enno Baars)
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Subject: Trouble: heavy bar at end of line
To: mutex@stolaf.edu
Date: Thu, 1 Dec 1994 14:35:09 +0100 (MEZ)
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Hello,

Jan Doumen writes:

> I'm typesetting a piece with lots of leftrightrepeatsymbols.
> When I use a \rightrepeatsymbol at the end of a line (which I stop with
> \zalaligne) the lines of the bar continue one or two mm after the repeat
> symbol.
> How can I prevent his?

I just installed the new version 5.06 of MusicTeX and I'm now facing a 
similar problem. When I put a heavy bar at the end of a line using
\finmorceau, the lines of the bar also continue a few mm after the symbol.

Any clues?

Thanks,
         Enno.

/-----------------------------------------------------------------------\
|  Enno Baars                            baars@studbox.uni-stuttgart.de |
|  Student of Physics, 3rd year                                         |
|  University of Stuttgart, Germany                                     |
|                                                                       |
|        Time flies like an arrow - fruit flies like a banana.          |
\-----------------------------------------------------------------------/

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From: alison.mcmillan@eng.ox.ac.uk (Alison McMillan)
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Hi,
can anyone tell me if there is a version of mutex for the NeXT
computer, and if so, where can I get it from?
Thank you
Alison McMillan

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cc: mutex@stolaf.edu
Subject: Re: mutex sources
In-reply-to: Your message of "Thu, 08 Dec 1994 16:48:12 GMT." <9412081648.AA00322@sun1.eng>
Date: Thu, 08 Dec 1994 17:55:54 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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MuTeX is a TeX macro package, so that you can install it over the TeX
you already have on your NeXT.

I wouldn't recommend it, though: MuTeX has long been superseded by
MusicTeX by Daniel Taupin (the sources of MuTeX have acknowledged
problems, quite apart from the fact that MusicTeX is more powerful).

MusicTeX is available from ftp.gmd.de:/music/musictex
MuTeX is available from ftp.gmd.de:/music/mutex

(They should be available from ftp.tex.ac.uk, but are out of date
there; I'm dealing with that problem.)

Robin Fairbairns

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From: zc7t1122@rpool1.rus.uni-stuttgart.de (Enno Baars)
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Subject: Problems with \Iten... and \ITen...
To: mutex@stolaf.edu
Date: Tue, 20 Dec 1994 17:55:42 +0100 (MEZ)
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Hello,

Using Version 5.06 of Daniel Taupin's MusicTeX, I encountered a problem
with ties that extend over a \barre.
The beginning symbol is linked correctly to the \hrule, but not the ending symbol
of the tie. In fact, the ending symbol is in the right place but the \hrule is
too long.
This looks rather ugly, escpecially when using \ITen... .
It looks like MusicTeX doesn't adapt the size of the \hrule correctly when
using a bigger font for the \Iten... and \ITen... . 
The \iten.. command works correctly but these ties really do not look very nice...

Does anybody know a way of correcting this fault?
Or is there something wrong with my installation of MusicTeX?

Thanks!

Enno.
s
-- 
/-----------------------------------------------------------------------\
|  Enno Baars                            baars@studbox.uni-stuttgart.de |
|  Student of Physics, 3rd year                                         |
|  University of Stuttgart, Germany                                     |
|                                                                       |
|        Time flies like an arrow - fruit flies like a banana.          |
\-----------------------------------------------------------------------/

From owner-mutex  Wed Dec 21 02:24:13 1994
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From: "Jan Doumen" <jan@ultr6.vub.ac.be>
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Date: Wed, 21 Dec 1994 08:17:13 +0100
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Hi,

I'm trying to tuse \tremolord as:

\wh f\tremolord h\wh m

this gives me an undefined control sequence.

What am I doing wrong?

Thanks in advance,

Greetings,


-- 
******************************************************************************
DeJean                    Vrije Universiteit Brussel                   Belgium
              Instituut voor Moleculaire Biologie en Biotechnologie
                       http://www.vub.ac.be/IMOL/IMOL.html


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From: pal@sappho.rl.af.mil (Philip La Follette)
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To: mutex@stolaf.edu
Cc: mutex@stolaf.edu, icking@zsv.gmd.de
In-Reply-To: <9412210817.ZM12365@ultr6> (jan@ultr6.vub.ac.be)
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Did you remember to use:
   \input musicper

--Phil La Follette
  ARCON Corp.
  260 Bear Hill Road
  Waltham, MA 02154

email:  pal@sappho.rl.af.mil or pal@arcon.com
voice:  (617) 377-2065
fax:    (617) 377-2563

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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	From: "Jan Doumen" <jan@ultr6.vub.ac.be>
	Date: Wed, 21 Dec 1994 08:17:13 +0100
	To: mutex@stolaf.edu
	Subject: tremolord problem

	I'm trying to tuse \tremolord as:

	\wh f\tremolord h\wh m

	this gives me an undefined control sequence.

It's defined in musicper.tex.  Just add "\input musicper".

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

From owner-mutex  Fri Dec 23 15:24:13 1994
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
To: mutex@stolaf.edu
Subject: Question:  TeX/Latex on IBM PC/XT
Precedence: bulk

This may be ridiculous to ask but... does any free version of
MusicTeX (via TeX) run on the IBM PC/XT??  Is anything else
available for preparing score on such a small machine?

I was given a PC/XT (640K Ram, 20 meg HD, etc..) and have
it running at home, connected to an HP DeskJet 520 printer.

I realize that this would absolutely NOT support big applications,
but sometimes I have need of a few lines of music score, and 
have wondered if there was such a thing as I mentioned in the
first line.  (Someday I will purchase a big machine, I'm sure,
but the budget doesn't have enough room right now.)

I also have a midi-capable Keyboard (Kawai MK20) and have
wondered if there are any PC/XT compatible interface cards
that might allow for some obsolete experimentation.

Never say die!!  (Anything is better than my music penmanship.)

Thanks, in advance,

Joel Hunsberger
hunsberg@sqa1.si.com

From owner-mutex  Wed Dec 28 09:24:13 1994
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From: HOUSER@bms.com
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Date: 28 Dec 1994 10:02:15 -0500 (EST)
Subject: MusicTeX Beaming Problem
To: mutex@stolaf.edu
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% I have an unusual set of beams that I am trying to typeset.        
% Do I have somthing wrong in my installation?
% This is what I get:
%        _______________   
%        |______|      |      _______________
%        |______|______|______|______|______|
%        |      |      |      |      |      |
%        |      |      |      |      |      |
%        |      |      |      |      |      |
%       x|     x|.    x|     x|.    x|     x|
%
%  note 1      2      3      4      5      6
% 
% But, this is what I want:
%        _______________      _______________
%        |______|      |      |___   |   ___|
%        |___   |      |      |      |   ___|
%        |      |      |      |      |      |
%        |      |      |      |      |      |
%        |      |      |      |      |      |
%       x|     x|.    x|     x|.    x|     x|
%
%  note 1      2      3      4      5      6
%
% Here is what I've tried:
%
\input /emtex/musictex/musicnft
\input /emtex/musictex/musictex
\def\nbinstruments{1}\relax
\raggedlinestrue\relax
\debutmorceau\relax%
\NOtes\relax%
\ibbbu0l{+0}\rlap{\qsk\tbbbu0}\qh0l\relax%            note 1
\tbbu0\pt{l}\qh0l\relax%                              note 2
\tbu0\qh0l\relax%                                     note 3
\pt{l}\ibbu0l{+0}\rlap{\qsk\tbbu0}\qh0l\relax%        note 4
\qh0l\relax%                                          note 5
\tbbbu0\tbbu0\tbu0\qh0l\relax%                        note 6
\enotes\relax%
\finmorceau%
\bye%
%
%  Thanks for your help.
%
%Bill Houser. (houser@bms.com)

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To: mutex@stolaf.edu
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	From: HOUSER@bms.com
	Date: 28 Dec 1994 10:02:15 -0500 (EST)
	Subject: MusicTeX Beaming Problem

	% ... This is what I get:
	%        _______________   
	%        |______|      |      _______________
	%        |______|______|______|______|______|
	%        |      |      |      |      |      |
	%        |      |      |      |      |      |
	%       x|     x|.    x|     x|.    x|     x|
	% 
	% But, this is what I want:
	%        _______________      _______________
	%        |______|      |      |___   |   ___|
	%        |___   |      |      |      |   ___|
	%        |      |      |      |      |      |
	%        |      |      |      |      |      |
	%       x|     x|.    x|     x|.    x|     x|
	%
	% Here is what I've tried:
	...
	\NOtes\relax%
	\ibbbu0l{+0}\rlap{\qsk\tbbbu0}\qh0l\relax%            note 1
	\tbbu0\pt{l}\qh0l\relax%                              note 2
	\tbu0\qh0l\relax%                                     note 3
	\pt{l}\ibbu0l{+0}\rlap{\qsk\tbbu0}\qh0l\relax%        note 4
	\qh0l\relax%                                          note 5
	\tbbbu0\tbbu0\tbu0\qh0l\relax%                        note 6

You have two problems here.  One is the running beam; you can fix that
by using different beam numbers.  Using number 0 for two beams within
the same \notes group never works right.

The other is the double hanging beam at the end.  In MusicTeX the number
of beams cannot jump by two or more.  Of course you can hack around the
problem.  It's not too hard to clone a version of \tbbbu that will add
two hanging beams instead of one.

					--Col. G. L. Sicherman
					  gls@hrcms.ATT.COM

From owner-mutex  Wed Jan  4 14:24:15 1995
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From: jpetree@jimmy.harvard.edu (Jean Petree)
Message-Id: <9501041941.AA13905@jimmy.harvard.edu>
Subject: How do I get metric.tfm?
To: mutex@stolaf.edu
Date: Wed, 4 Jan 1995 14:41:11 -0500 (EST)
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I have been attempting to get started on musictex, but so far I can't
run anything because (it tells me) "needs metric.tfm file" to produce
the fonts.

Does anyone know where I can obtain this file?  I tried an archie search
for it, but nothing turned up.

Thank you.

Jean Petree
jpetree@jimmy.harvard.edu

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
Message-Id: <9501042213.AA19950@cnvnja.jazz.att.com>
To: mutex@stolaf.edu
Subject: metric.tfm
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	From: jpetree@jimmy.harvard.edu (Jean Petree)
	Subject: How do I get metric.tfm?
	To: mutex@stolaf.edu
	Date: Wed, 4 Jan 1995 14:41:11 -0500 (EST)

	I have been attempting to get started on musictex, but so far I can't
	run anything because (it tells me) "needs metric.tfm file" to produce
	the fonts.

	Does anyone know where I can obtain this file?  I tried an archie search
	for it, but nothing turned up.

This makes no sense to me.  Usually it's the DVI translator that calls
for a .tfm file, because it finds a reference to the corresponding font
in the DVI file.  This sounds as if the DVI file refers to a font called
"metric".  There's no such font in MusicTex.

What version of TeX are you using, and what computer and operating system?
You might check your source text for stray references to "metric".

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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From: Lars Venema <Lars.Venema@rivm.nl>
Subject: some macros for strings
To: mutex@stolaf.edu
Date: Thu, 5 Jan 95 10:24:59 MET
Mailer: Elm [revision: 70.85]
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The periods when I tried to set music parts for chamber music, I encountered
omissions when setting the string parts. The main problem was connected
with bowing directives (up and down) and tremolos or fixed repeated notes.
The newer versions of musicTeX contain more and more fancy characters and
possibilities, but these are still missing. The newest set macros for
percussion contain shakers, but these are special forms of the tremolo
figures for strings.
I made some very primitive macros which serve my purpose quite well and
I decided to make them available for everybody who tried to typeset tremolos
but did not produce a satisfactory solution to the problem.
I hope it helps and serves its purpose.

Lars

-------------------------cut here--------------------------------------------
%
% THIS is Strijker (dutch word for the player of a violin, cello or contrabas)
\message{Version 1.01 -- January 2nd, 1995}%
%
% switch possibility to use @ in macro on
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
%
% definitions for strings
%
\def\down#1{\zcharnote{#1}{$\sqcap$}}%
\def\up#1{\zcharnote{#1}{$\vee$}}%
% The cap for \down is not very nice, as it should have a bold top, but
% the intention is clear.
%
% definitions for tremolo-figure
% the distance between note and beams is a little too large, the best result
% is achieved when the beam is told that the note is a 'terts' or 'quart'
% lower than it actually is.
%
\def\itu#1#2#3{\kern 0.5\hd@skip\advance\locx@skip by -\hd@skip\relax\ibu{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbu{#1}\advance\locx@skip by -0.5\hd@skip\relax
\kern -0.5\hd@skip}%
\def\ittu#1#2#3{\kern 0.5\hd@skip\advance\locx@skip by -\hd@skip\relax\ibbu{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbu{#1}\advance\locx@skip by -0.5\hd@skip\relax
\kern -0.5\hd@skip}%
\def\itttu#1#2#3{\kern 0.5\hd@skip\advance\locx@skip by -\hd@skip\relax\ibbbu{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbu{#1}\advance\locx@skip by -0.5\hd@skip\relax
\kern -0.5\hd@skip}%
%
% also for lower beams....
%
\def\itl#1#2#3{\kern \hd@skip\advance\locx@skip by -0.5\hd@skip\relax\ibl{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbl{#1}\advance\locx@skip by -\hd@skip\relax
\kern -\hd@skip}%
\def\ittl#1#2#3{\kern \hd@skip\advance\locx@skip by -0.5\hd@skip\relax\ibbl{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbl{#1}\advance\locx@skip by -\hd@skip\relax
\kern -\hd@skip}%
\def\itttl#1#2#3{\kern \hd@skip\advance\locx@skip by -0.5\hd@skip\relax\ibbbl{#1}{#2}{#3}\relax
\advance\locx@skip by 1.5\hd@skip\tbl{#1}\advance\locx@skip by -\hd@skip\relax
\kern -\hd@skip}%
% 
% tremolos on notes which are already 'beamed' together
% this implementation is rather sloppy, the old number of beams is not
% saved, so the user should keep track of it. Could be improved using
% register b@n.
%
\def\nttu#1{\kern 0.5\hd@skip\advance\locx@skip by -\hd@skip\relax\nbbu{#1}\relax
\advance\locx@skip by 1.5\hd@skip\tbbu{#1}\advance\locx@skip by -0.5\hd@skip\relax
\kern -0.5\hd@skip}%
\def\nttl#1{\kern \hd@skip\advance\locx@skip by -0.5\hd@skip\relax\nbbl{#1}\relax
\advance\locx@skip by 1.5\hd@skip\tbbl{#1}\advance\locx@skip by -\hd@skip\relax
\kern -\hd@skip}%
% for the time being as long as register b@n is not used...
\def\ntttu#1{\kern 0.5\hd@skip\advance\locx@skip by -\hd@skip\relax\nbbbu{#1}\relax
\advance\locx@skip by 1.5\hd@skip\tbbu{#1}\advance\locx@skip by -0.5\hd@skip\relax
\kern -0.5\hd@skip}%
\def\ntttl#1{\kern \hd@skip\advance\locx@skip by -0.5\hd@skip\relax\nbbbl{#1}\relax
\advance\locx@skip by 1.5\hd@skip\tbbl{#1}\advance\locx@skip by -\hd@skip\relax
\kern -\hd@skip}%
%
%
\catcode`\@=\catcodeat
% restore old TeX meaning for the @ symbol
\endinput
-----------------------cut here----------------------------------------------
EXAMPLE:
%
% each call is not really the same type of trem, but as shorthand...
%
\def\tremeightu#1#2#3#4{\ibu0{#2}0\nttu0\qh0{#1}\nttu0\qh0{#2}\nttu0\relax
\qh0{#3}\nttu0\tbu0\qh0{#4}}%
\def\ttremeightu#1#2#3#4{\ibu0{#1}0\ntttu0\qh0{#1}\ntttu0\qh0{#2}\ntttu0\relax
\qh0{#3}\ntttu0\tbu0\qh0{#4}}%
%
%
\Notes\ttremeightu{a}{b}{c}{b}\itttu0M4\qu a\enotes

================================================================================
L.B. Venema
Laboratory of Radiation Research (pb 33)
National Institute of Public Health and Environmental Protection
Postbus 1
3720 BA  Bilthoven
the Netherlands
tel: (0)30- 74.2707
E-mail : lars.venema@rivm.nl

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From: jpetree@jimmy.harvard.edu (Jean Petree)
Message-Id: <9501051518.AA25502@jimmy.harvard.edu>
Subject: Font files in musictex (fwd)
To: mutex@stolaf.edu
Date: Thu, 5 Jan 1995 10:18:56 -0500 (EST)
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jpetree writes
Subject: Font files in musictex
To: mutex@stolaf.edu
Date: Thu, 5 Jan 1995 10:17:55 -0500 (EST)
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With your help I solved my .tfm problem by moving all the musictex .tfm
files into the tex .tfm directory.  However, However, I'm still not
getting the fonts!  I tried moving the musictex
font files into the pctex/textfms directory, but from a little bit of
reading I did here in a pctex user manual, pctex seems to expect the
fonts themselves to be embedded in the .tfm files!  Does that sound
likeP
a possibility?  Or is there a way I can link the font files with the
.tfm?

Jean


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From: jpetree@jimmy.harvard.edu (Jean Petree)
Message-Id: <9501062032.AA10232@jimmy.harvard.edu>
Subject: MusicTeX font files in Windows
To: mutex@stolaf.edu
Date: Fri, 6 Jan 1995 15:32:21 -0500 (EST)
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I've gotten so far as to have found the following pieces of info:

1. PCTeX "wants" to look for the font files in a pixel directory;
2. The pull-down menus in the Windows PCTex have an option to list
alternative sources for font files.

However, when I try to ask the program to do just that, it gives an
error message which says it's darn well going to use the Windows fonts,
no matter what.  Does this mean I must edit some PCTeX file which has
the instructions for looking for font files?

I appreciate your input.

Jean Petree

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From: kendall thomason shaw <kshaw@shell.portal.com>
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To: mutex@stolaf.edu
Subject: Sorry but, how do I make a musictex format file
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Hello,
	I've gotten musictex and figured out where to put the files I'm
pretty sure, and it says it would be good to make a musictex format
file. So, I've tried to run tex386 -i -8 musictex.tex (I have emtex),
to which tex says missing { inserting blah blah blah. The first
non-comment line in the file is \message{Version 5.06 --- etc.}. If
some one can help me I'm willing to write say 4 or 5 lines of
instructions on how to install musictex and recommend it being put in
a file called install.

thanks


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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
Message-Id: <9501100852.AA14617@beatles.cselt.stet.it>
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To: mutex@stolaf.edu
Subject: Re: Sorry but, how do I make a musictex format file
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% Hello,
% 	I've gotten musictex and figured out where to put the files I'm
% pretty sure, and it says it would be good to make a musictex format
% file. So, I've tried to run tex386 -i -8 musictex.tex (I have emtex),

Well, provided youy really want a format file, I believe you should run
initex (I dunno if tex386 -i is the same). then

\input plain
\input musicnft
\input musictex 
\dump

now you should rename plain.fmt into musictex.fmt and and so on...

.mau.

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From: kendall thomason shaw <kshaw@shell.portal.com>
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CC: mutex@stolaf.edu, mutex@stolaf.edu
In-reply-to: <9501100852.AA14617@beatles.cselt.stet.it> (mau@beatles.cselt.stet.it)
Subject: Re: Sorry but, how do I make a musictex format file
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First of all thanks to people for making their creativity free for me
and everyone.

>>>>> "M" == Maurizio Codogno <mau@beatles.cselt.stet.it> writes:

    M> Well, provided youy really want a format file, I believe you
    M> should run initex (I dunno if tex386 -i is the same). then

    M> \input plain 
	M> \input musicnft 
	M> \input musictex 
	M> \dump

    M> now you should rename plain.fmt into musictex.fmt and and so
    M> on...

Thank you. I now have a musictex.fmt file. I hope I did it
correctly. I've attempted to compile adagio.tex and did not have one
of the fonts. It said unknown font cmbx12 magnification 859.bunch of
numbers or something to that effect. running matexpk (maketexp with
McDos): maketexp 300 300 858.9482304 (something like that) produced a
6589dpi font. So assuming that I just don't know how to generate a pk
file, so far it seems the installation instructions are:

For emtex:

Step Giraffe: 

get musictex.zip
	musicpk.zip
	musicexa.zip
	recueil.zip

Step Tuna:

unzip musictex.zip somwhere and move the files into this structure:

tmp/aa_readm.tex (or whatever directory you want documentation in)
tmp/euromtex.aux
tmp/euromtex.dvi
tmp/euromtex.tex
tmp/musicdoc.aux
tmp/musicdoc.bat
tmp/musicdoc.dvi
tmp/musicdoc.idx
tmp/musicdoc.ilg
tmp/musicdoc.ind
tmp/musicdoc.inx
tmp/musicdoc.ist
tmp/musicdoc.log
tmp/musicdoc.ps
tmp/musicdoc.tex
tmp/musicdoc.toc
emtex/mfinput/beamd20.mf
emtex/mfinput/beamn11.mf
emtex/mfinput/beamn13.mf
emtex/mfinput/beamn16.mf
emtex/mfinput/beamn20.mf
emtex/mfinput/beamngen.mf
emtex/mfinput/beamq20.mf
emtex/mfinput/beamt20.mf
emtex/mfinput/beamv20.mf
emtex/mfinput/musicbra.mf
emtex/mfinput/musicbrb.mf
emtex/mfinput/musicbrg.mf
emtex/mfinput/musicbrh.mf
emtex/mfinput/musicd11.mf
emtex/mfinput/musicd13.mf
emtex/mfinput/musicd16.mf
emtex/mfinput/musicd20.mf
emtex/mfinput/musicdef.mf
emtex/mfinput/musicg16.mf
emtex/mfinput/musicgen.mf
emtex/mfinput/musicn11.mf
emtex/mfinput/musicn13.mf
emtex/mfinput/musicn16.mf
emtex/mfinput/musicn20.mf
emtex/mfinput/musikd11.mf
emtex/mfinput/musikd13.mf
emtex/mfinput/musikd16.mf
emtex/mfinput/musikd20.mf
emtex/mfinput/musikgen.mf
emtex/mfinput/musikn11.mf
emtex/mfinput/musikn13.mf
emtex/mfinput/musikn16.mf
emtex/mfinput/musikn20.mf
emtex/mfinput/slurdd16.mf
emtex/mfinput/slurdu16.mf
emtex/mfinput/slurgen.mf
emtex/mfinput/slurn16.mf
emtex/mfinput/slurn20.mf
emtex/mfinput/slurud16.mf
emtex/mfinput/sluruu16.mf
emtex/texinput/musicadd.tex
emtex/texinput/musicext.tex
emtex/texinput/musicnft.tex
emtex/texinput/musicper.tex
emtex/texinput/musicpln.tex
emtex/texinput/musicpos.tex
emtex/texinput/musicpre.tex
emtex/texinput/musicref.tex
emtex/texinput/musicsty.tex
emtex/texinput/musictex.tex
emtex/texinput/musictrp.tex
emtex/texinput/musicvbm.tex
emtex/texinput/screatim.tex
emtex/texinput/a4report.sty
emtex/texinput/bigmusic.sty
emtex/texinput/musicper.sty
emtex/texinput/musictex.sty
emtex/texinput/musictrp.sty
emtex/texinput/musicvbm.sty
emtex/texinput/euromtex.tex
emtex/texinput/extras.tex
emtex/texinput/howtoget.tex
emtex/texinput/lines.tex
texfonts/tfm/beamn11.tfm
texfonts/tfm/beamn13.tfm
texfonts/tfm/beamn16.tfm
texfonts/tfm/beamn20.tfm
texfonts/tfm/musicbra.tfm
texfonts/tfm/musicbrb.tfm
texfonts/tfm/musicn11.tfm
texfonts/tfm/musicn13.tfm
texfonts/tfm/musicn16.tfm
texfonts/tfm/musicn20.tfm
texfonts/tfm/musikn11.tfm
texfonts/tfm/musikn13.tfm
texfonts/tfm/musikn16.tfm
texfonts/tfm/musikn20.tfm
texfonts/tfm/slurdd16.tfm
texfonts/tfm/slurdu16.tfm
texfonts/tfm/slurn16.tfm
texfonts/tfm/slurn20.tfm
texfonts/tfm/slurud16.tfm
texfonts/tfm/sluruu16.tfm
texfonts/pixel.lj/300dpi/
texfonts/pixel.lj/300dpi/beamn11.pk
texfonts/pixel.lj/300dpi/beamn13.pk
texfonts/pixel.lj/300dpi/beamn16.pk
texfonts/pixel.lj/300dpi/beamn20.pk
texfonts/pixel.lj/300dpi/musicbra.pk
texfonts/pixel.lj/300dpi/musicbrb.pk
texfonts/pixel.lj/300dpi/musicn11.pk
texfonts/pixel.lj/300dpi/musicn13.pk
texfonts/pixel.lj/300dpi/musicn16.pk
texfonts/pixel.lj/300dpi/musicn20.pk
texfonts/pixel.lj/300dpi/musikn11.pk
texfonts/pixel.lj/300dpi/musikn13.pk
texfonts/pixel.lj/300dpi/musikn16.pk
texfonts/pixel.lj/300dpi/musikn20.pk
texfonts/pixel.lj/300dpi/slurn16.pk
texfonts/pixel.lj/300dpi/slurn20.pk


Step Yoghurt:

assuming you have DVIDRVFONTS set to \texfonts

pkunzip -d musicpk.zip in some temporary directory, and move
musictex\pk\*.* to this structure

texfonts/pixel.lj/100dpi/beamn16.pk
texfonts/pixel.lj/100dpi/beamn20.pk
texfonts/pixel.lj/100dpi/slurdd16.pk
texfonts/pixel.lj/100dpi/slurdu16.pk
texfonts/pixel.lj/100dpi/slurn16.pk
texfonts/pixel.lj/100dpi/slurn20.pk
texfonts/pixel.lj/100dpi/slurud16.pk
texfonts/pixel.lj/100dpi/sluruu16.pk
texfonts/pixel.lj/100dpi/beamn11.pk
texfonts/pixel.lj/100dpi/beamn13.pk
texfonts/pixel.lj/100dpi/musikn11.pk
texfonts/pixel.lj/100dpi/musikn13.pk
texfonts/pixel.lj/100dpi/musikn16.pk
texfonts/pixel.lj/100dpi/musikn20.pk
texfonts/pixel.lj/100dpi/musicbra.pk
texfonts/pixel.lj/100dpi/musicbrb.pk
texfonts/pixel.lj/240dpi/beamn16.pk
texfonts/pixel.lj/240dpi/beamn20.pk
texfonts/pixel.lj/240dpi/slurdd16.pk
texfonts/pixel.lj/240dpi/slurdu16.pk
texfonts/pixel.lj/240dpi/slurn16.pk
texfonts/pixel.lj/240dpi/slurn20.pk
texfonts/pixel.lj/240dpi/slurud16.pk
texfonts/pixel.lj/240dpi/sluruu16.pk
texfonts/pixel.lj/240dpi/beamn11.pk
texfonts/pixel.lj/240dpi/beamn13.pk
texfonts/pixel.lj/240dpi/musikn11.pk
texfonts/pixel.lj/240dpi/musikn13.pk
texfonts/pixel.lj/240dpi/musikn16.pk
texfonts/pixel.lj/240dpi/musikn20.pk
texfonts/pixel.lj/240dpi/musicbra.pk
texfonts/pixel.lj/240dpi/musicbrb.pk
texfonts/pixel.lj/300dpi/beamn16.pk
texfonts/pixel.lj/300dpi/beamn20.pk
texfonts/pixel.lj/300dpi/slurdd16.pk
texfonts/pixel.lj/300dpi/slurdu16.pk
texfonts/pixel.lj/300dpi/slurn16.pk
texfonts/pixel.lj/300dpi/slurn20.pk
texfonts/pixel.lj/300dpi/slurud16.pk
texfonts/pixel.lj/300dpi/sluruu16.pk
texfonts/pixel.lj/300dpi/beamn11.pk
texfonts/pixel.lj/300dpi/beamn13.pk
texfonts/pixel.lj/300dpi/musikn11.pk
texfonts/pixel.lj/300dpi/musikn13.pk
texfonts/pixel.lj/300dpi/musikn16.pk
texfonts/pixel.lj/300dpi/musikn20.pk
texfonts/pixel.lj/300dpi/musicbra.pk
texfonts/pixel.lj/300dpi/musicbrb.pk
texfonts/pixel.lj/118dpi/beamn16.pk
texfonts/pixel.lj/118dpi/beamn20.pk
texfonts/pixel.lj/118dpi/slurdd16.pk
texfonts/pixel.lj/118dpi/slurdu16.pk
texfonts/pixel.lj/118dpi/slurn16.pk
texfonts/pixel.lj/118dpi/slurn20.pk
texfonts/pixel.lj/118dpi/slurud16.pk
texfonts/pixel.lj/118dpi/sluruu16.pk
texfonts/pixel.lj/118dpi/beamn11.pk
texfonts/pixel.lj/118dpi/beamn13.pk
texfonts/pixel.lj/118dpi/musikn11.pk
texfonts/pixel.lj/118dpi/musikn13.pk
texfonts/pixel.lj/118dpi/musikn16.pk
texfonts/pixel.lj/118dpi/musikn20.pk
texfonts/pixel.lj/118dpi/musicbra.pk
texfonts/pixel.lj/118dpi/musicbrb.pk
texfonts/pixel.lj/600dpi/musikn11.pk
texfonts/pixel.lj/600dpi/musikn13.pk
texfonts/pixel.lj/600dpi/musikn16.pk
texfonts/pixel.lj/600dpi/musikn20.pk
texfonts/pixel.lj/600dpi/beamn11.pk
texfonts/pixel.lj/600dpi/beamn13.pk
texfonts/pixel.lj/600dpi/beamn16.pk
texfonts/pixel.lj/600dpi/beamn20.pk
texfonts/pixel.lj/600dpi/slurn16.pk
texfonts/pixel.lj/600dpi/slurn20.pk
texfonts/pixel.lj/600dpi/musicbra.pk
texfonts/pixel.lj/600dpi/musicbrb.pk

Step Yoghurt and one half:

then unzip example files from musicexa.zip and recueil.zip somewhere.

Step Acidophilus:

then create a file of some name other than plain etc.:

somefile.tex:

\input plain 
\input musicnft 
\input musictex 
\dump

and tex386 -i somefile.tex

then in the directory pointed to by BTEXFMT rename somefile.fmt to
musictex.fmt.

Step Acidophilus and one half:

if you like, create a file called musictex.bat:

@tex386 &musictex %1 %2 %3 %4 %5 %6 %7 %8 %9

Is this right? If anyone who puts things in the distribution is
reading this, I generally find it convenient to see a file called
"install" for example, that has simple instructions of this sort. Also
it's convenient to have files that need to go into some directory tree
to be zipped with a directory structure intact. The musicpk.zip file
has a directory structure, but it's different than what is recommended
by my version of emtex anyway (though I much prefer pk to pixel.<mode>).

Now I get to read documentation and maybe then I'll have more
interesting questions. I guess I won't ask if there's any update in
the slur department (oops I did).

thanks

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Date:        Tue, 10 Jan 95 08:23:41 EST
From: Cap Bromley <CBROMLEY@NVMUSIC.VCCS.EDU>
To: mutex@stolaf.edu
Subject: MusicTeX on Mainframe Computers
X-Mailer: MUSIC/SP V3.1.1
Precedence: bulk

I have gotten the MusicTeX distribution and I want to add MusicTeX
to my TeX implementation under VM/CMS on our mainframe computer.
Does anyone have any ideas on this?  I seem to have some font
problems.  My TeX information is next to nill, but I appear to
have a fairly good TeX system.

Cap Bromley

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* Cap Bromley                            CBROMLEY@NVMUSIC.VCCS.EDU  *
* Computer Systems Engineer                                         *
* Northern Virginia Community College         Voice (703) 323-3278  *
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From: palomino!edward@uunet.UU.NET (Edward Maros)
Message-Id: <9501110206.AA01478@dii.com>
To: mutex@stolaf.edu
Subject: Help getting songbook words in all caps
Cc: edward@uunet.UU.NET
Precedence: bulk

I am currently in the midst of writing some macros to complement songbook.sty.
One person requested the words of the songs be in uppercase. Since I
try to stay off the caps lock (usually use vi), I was hoping to use the
\uppercase macro. Anyone have some suggestions? Below are two samples: the
first one shows what I was hoping to write. The second, shows what works.
This second definition won't do since I need to place these macros inside
some macro definitions.
---
Edward Maros				edward@dii.com
Member Technical Staff			uunet!dii.com!edward
Data Integration			Voice:	(310) 313 9173
11965 Venice Bld. Suite 305		Fax:	(310) 313 9151
Los Angeles, CA 90066-3954

%-------------- Samples ----------------- Samples --------------------------
%
% Something like this is what I desire
%

\documentstyle{article}
\newenvironment{allcaps}{\uppercase\bgroup}{\egroup}
\begin{document}
\begin{allcaps}
lower case text
\endd{allcaps}
\end{document}

%
% This works, but only in this sample. I need to be able to use these
%	environments in within other macro definitions. It is only
%	provided as a sample of the output I desire
%	NOTE: The '}' is removed from the environment end clause and
%		directly placed in the code.
%

\documentstyle{article}
\newenvironment{allcaps}{\uppercase\bgroup}{}
\begin{document}
\begin{allcaps}
lower case text
}\end{allcaps}		% NOTE: curly brace is needed to complete \bgroup
\end{document}

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From: Piet van Oostrum <piet@cs.ruu.nl>
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Date: Wed, 11 Jan 1995 11:59:04 +0100
Message-Id: <199501111059.LAA25365@stego.cs.ruu.nl>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
Subject: Re: Help getting songbook words in all caps
In-Reply-To: <9501110206.AA01478@dii.com>
References: <9501110206.AA01478@dii.com>
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>>>>> palomino!edward@uunet.uu.net (Edward Maros) (EM) writes:

EM> I am currently in the midst of writing some macros to complement songbook.sty.
EM> One person requested the words of the songs be in uppercase. Since I
EM> try to stay off the caps lock (usually use vi), I was hoping to use the
EM> \uppercase macro. Anyone have some suggestions? Below are two samples: the
EM> first one shows what I was hoping to write. The second, shows what works.
EM> This second definition won't do since I need to place these macros inside
EM> some macro definitions.

EM> \documentstyle{article}
EM> \newenvironment{allcaps}{\uppercase\bgroup}{\egroup}
EM> \begin{document}
EM> \begin{allcaps}
EM> lower case text
EM> \end{allcaps}
EM> \end{document}

This does not work as the matching { and } or \bgroup\egroup for the
\uppercase command must be present while reading, not while expanding.

You could do a thing similar to the verbatim environment by defining

\def\allcaps#1\end#2{\uppercase{#1}\end{#2}}

But that only works if there are no other environments inside the
allcaps. You could of course try to match up the nested begins with the
ends, but note that a nested \begin{xxxx} would be translated into
\begin{XXX} by the \uppercase, probably not what you want.

The only REALLY good solution would be to have an all caps font and switch
to that (you can do this with virtual fonts, so no need to run metafont).
-- 
Piet van Oostrum <piet@cs.ruu.nl>

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Date:        Wed, 11 Jan 95 09:02:55 EST
From: Cap Bromley <CBROMLEY@NVMUSIC.VCCS.EDU>
To: mutex@stolaf.edu
Subject: MusicTeX on Mainframe, continues
X-Mailer: MUSIC/SP V3.1.1
Precedence: bulk

Hello:

Thanks for all the response to my question about fonts.  The
problem seems to be in character translation between the PC
version and the mainframe character set.  Does anyone have MusicTex
running on a machine that uses the EBCIDIC character set?

To the person responding who suggested that I see the "systems people",
I am the "systems people".

Cap

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
* Cap Bromley                            CBROMLEY@NVMUSIC.VCCS.EDU  *
* Computer Systems Engineer                                         *
* Northern Virginia Community College         Voice (703) 323-3278  *
* Annandale, Virginia  22003                    FAX (703) 323-3796  *
* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199501111449.AA02757@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: MusicTeX on Mainframe, continues
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> Thanks for all the response to my question about fonts.  The
> problem seems to be in character translation between the PC
> version and the mainframe character set.  Does anyone have MusicTex
> running on a machine that uses the EBCIDIC character set?

A long time ago I had MuTeX (or MusicTeX) on a BS2000-System and
saw MuTeX on an IBM mainframe. Imho neither TeX nor MuTeX nor MusicTeX
is character-dependent. If you have the solution to run TeX (plain, LaTeX, ...)
on your mainframe the same solution should be valid for Mu(sic)TeX.
That means neccessarily that you have to convert the TeX-sources (and
all ASCII-files in this context) to that sort of EBCDIC your TeX expects.
Sometimes the binary-files must be converted, too; I remember that in 
early days of TeX some binary files on a mainframe were organized
in 32-bit words each holding one byte (8 bit) of TeX-information. But
importing binary MusicTeX-files (.pk, .tfm) should follow the same
rules than importing "quite normal" binary TeX-files.

> To the person responding who suggested that I see the "systems people",
> I am the "systems people".

Ask your colleague :-)

May be you can find an experienced TeX-user who has already imported other
TeX-packages consisting of makros, fontfiles, metricfiles, ...

If you have a well functioning ftp you may try to get the real ASCII-files
in ASCII mode e.g. from Daniel Taupins ftp-server. There the complete
package is available as single files. FTP should know how ASCII-files
have to be translated into EBCDIC.

Werner

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To: mutex@stolaf.edu
Cc: uunet!stolaf.edu!mutex@uunet.UU.NET, edward@uunet.UU.NET
Subject: Re: Help getting songbook words in all caps 
In-Reply-To: Your message of "Wed, 11 Jan 95 11:59:04 +0100."
             <199501111059.LAA25365@stego.cs.ruu.nl> 
Date: Wed, 11 Jan 95 09:04:46 -0800
Precedence: bulk

> The only REALLY good solution would be to have an all caps font and switch
> to that (you can do this with virtual fonts, so no need to run metafont).
> -- 
> Piet van Oostrum <piet@cs.ruu.nl>

Thank you for taking the time to respond to my posting. As I am new
to TeX and LaTeX, would you be so kind as to explain how I could set
up a virtual font such that all the lowercase characters get mapped
to uppercase?

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Message-Id: <2008aeef.c4444-dgold@basso.actrix.gen.nz>
In-Reply-To: <9501100852.AA14617@beatles.cselt.stet.it>
	     (from mau@beatles.cselt.stet.it (Maurizio Codogno))
	     (at Tue, 10 Jan 1995 09:52:10 --100)
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: Sorry but, how do I make a musictex format file
Precedence: bulk

mau@beatles.cselt.stet.it (Maurizio Codogno) wrote:

> Well, provided youy really want a format file, I believe you should run
> initex (I dunno if tex386 -i is the same). then
> 
> \input plain
> \input musicnft
> \input musictex 
> \dump
> 
> now you should rename plain.fmt into musictex.fmt and and so on...

Unfortunately, that writes over the *real* plain format file!  If you
put those lines in a file called music.tex, you can then type:

initex music

Cheers,
Dale
    - dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand -
    - Principal Double Bass, New Zealand Symphony Orchestra -
  <a href="http://www.actrix.gen.nz/users/dgold/">My Home Page</a>
<a href="http://www.actrix.gen.nz/users/dgold/nzso.html">NZSO Page</a>

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	     (from palomino!edward@uunet.UU.NET (Edward Maros))
	     (at Tue, 10 Jan 95 18:06:11 PST)
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Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: Help getting songbook words in all caps
Precedence: bulk

Hi Edward, on Jan 10 you wrote:

> I am currently in the midst of writing some macros to complement songbook.sty.
> One person requested the words of the songs be in uppercase. Since I
> try to stay off the caps lock (usually use vi), I was hoping to use the
> \uppercase macro.

I don't use LaTeX much, so you will probably find the problem quicker
than I could.  The 1st macro is trying to work, and probably fails
because of the order in which TeX is reading things and expanding your
macros.

I don't seem to have songbook.sty, so I'm not sure if it defines any
fonts for you.  But how about this:

\font\smallcaps=cmcsc10

That font came with my TeX. It turns capital letters into a larger
character, which may or may not look good to you.

Good luck,
Dale
    - dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand -
    - Principal Double Bass, New Zealand Symphony Orchestra -
  <a href="http://www.actrix.gen.nz/users/dgold/">My Home Page</a>
<a href="http://www.actrix.gen.nz/users/dgold/nzso.html">NZSO Page</a>

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From: "christopher (c.j.) rath" <crath@BNR.CA>
Sender: "christopher (c.j.) rath" <crath@BNR.CA>
Message-ID:  <"18319 Wed Jan 11 15:57:12 1995"@bnr.ca> 
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
Subject:  re:Help getting songbook words in all caps 
Precedence: bulk

While writing songbook.sty, I also had a request for this ``feature.''
However, I was unable to find a solution.  I think that Piet's solution
of referencing an all uppercase font is probably the correct one.  I
say this because you will probably NOT want the chords to appear all
in upper case, and this makes a solution (such as you presented) more
difficult to write.

In my own situation, I managed to convince those asking for upper case
that making the font larger would accomplish the same purpose.  This
was because the requestors only wanted upper case on the overhead
transparencies and not in the printed books.  I believe everyone is
happier with the mixed case font, now that they have been in use for a
couple of years.

BTW, which version of the songbook.sty are you using.  The current
release is version 2.3.  I would be happy to send you the latest 
version, if you want it.

Cheers,
Christopher

 === Christopher Rath ===== crath@bnr.ca ===== (613) 765-3141 ===
  Bell-Northern Research |
  Box 3511, Station `C'  | ``Hydrogen is a colourless, odourless
  Ottawa, ON    K1Y 4H7  | gas which, given enough time, turns
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To: mutex@stolaf.edu
Subject: musictwenty dimension too large?
Precedence: bulk

Hello,
	I'm not very clear on what files are used for what. I have
attempted to compile a rather simple blerb, and while running TeX I
get the errormessage Dimension too large ... musictwenty. I do not
specify \musicsize in my file. I see \font\musictwenty=musikn20 in
musicnft.tex, and I have put the original musikn20.tfm file in the
directory pointed to by my TFM variable, just in case I've done
something, and I've also tried running mf \mode=localfont; input
musikn20 and gftopk musikn20.300 and moved the tfm and pk files to the
right places... Now that I think about it I didn't try replacing the
mf file with the one from the distribution, but that shouldn't have
changed right? I don't understand how maketexpk works. I'm supposed
to give it a resolution and a base resolution, I don't know what the
difference is. In fact I don't know what a base is. The metafont book
says I'm supposed to ask my local computer hacker. I tried asking
myself but there was no reply. Any help would be appreciated.



From owner-mutex  Sat Jan 14 11:24:18 1995
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Date: Fri, 13 Jan 1995 22:49:21 -0800
From: kendall thomason shaw <kshaw@shell.portal.com>
Message-Id: <199501140649.WAA26386@jobe.shell.portal.com>
To: mutex@stolaf.edu
Subject: Smooshed together stuff
Precedence: bulk


Hi,
    This learning musictex involes learning to write music also for
me, so part of my confusion might come from inexperience with written
music... In my first attempt I end up with notes squished together
either left or right:

   \input musicnft
   \input musictex
   \font\hdrfn=cmr12\centerline{\hdrfn Blah blah blaha!}
   \font\shdrfn=cmr10\centerline{\shdrfn (blah)}
   %\parindent 2cm\relax
   \def\nbinstruments{1}\relax % when do I need to use \relax?
   %\def\instrument1{Guitar}%  % didn't print, so I've commented it out
   \nbporteesi=2\relax
   \generalmeter{\allabreve}
   \debutmorceau\relax
   \normal\relax
   \Notes\hpause\temps\soupir\temps\zq c\qu j\itenl0c\itenl1j\relax
       |\pause\enotes\relax    % this is pushed all the way left
   %                           % the lower staff has the tie extending
   %                           % into the previous quarter rest,
   %                           % and the last quarter note squished left.
   \barre
   \Notes\tten0\tten1\zw{cj}\hpause\soupir\zq e\qu j\relax
       |\soupir\zq j\ql n\zh j\hl l\enotes
   %                            % squish ville
   \barre
   \Notes\zh N\zq e\pt j\hu j\zq b\qu d\zq{La}\qu e\zq{Mc}\qu f\relax
       |\temps\pause\temps\enotes
   %                            % lower staff squished left
   %                            % upper staff squished right (equals out)
   \barre
   \Notes\zw N\wh b\relax
       |\wh d\soupir\zq g\ql k\zq g\qu i\zq f\rqu g\enotes
   %                            % squishey
   \finmorceau\relax
   \bye

Also, how do people write a non-spaced note with a quarter rest above
it? I fiddled with \raise 6pt \hbox{\soupir}, and I think it
complained... Is this something that people want to see in written
music?

Also, how do you specify how much silence there is between consecutive
chords, in written music. Do you just add a comment in english? If
it's a briefer silence than I can accurately indicate with I don't
know 64th notes or whatever.

Also, in the third bar here the first chord is a half note, a quarter
note, and a dotted half note. The low note sustains, the middle note
is suppossed to follow a phrase, and the top note sustains longer than
the bottom note. Is this okay? Should I add a raised quarter note to
match the dotted half note?

Also there are a variety of symbols I'm not familiar with, e.g.:

    breve/semi-breve note
    accidentals above the note
    mordant
    pince, Pince, Lpince, Pincesw, Pincene, Pincenw
    \PAuse, \PAUse

If it's inappropriate for me to ask too many music questions, let me know.

From owner-mutex  Tue Jan 17 08:24:13 1995
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Date: Tue, 17 Jan 1995 15:20:04 GMT+200
From: Cecil Churms <CHURMS@srvnac1.nac.ac.za>
Subject: Teeny Weeny Brackets
To: mutex@stolaf.edu
Message-id: <MAILQUEUE-101.950117152004.352@srvnac1.nac.ac.za>
Organization: National Accelerator Center
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I have installed MusicTeX 5.06, and now the brackets which
join the staffs of an instrument, come out as teeny
weeny, little ones.

I want the nice big brackets which come out in the
documentation, and which were there in my previous
version, I am sure.

What have I done wrong?  --  I notice the fonts have
been modified, but am not quite sure where to set
th switch.

Thanks



Maranatha

Cecil
---------------------------------------------------------------------
Cecil Churms                                Internet:CHURMS@NAC.AC.ZA
Van de Graaff Group                         Tel: +27 24 843-3820
National Accelerator Centre                 Fax: +27 24 843-3543
P.O. Box 72                                 18 Keurboom Avenue
FAURE 7131                                  SOMERSET WEST
South Africa                                South Africa
---------------------------------------------------------------------

From owner-mutex  Tue Jan 17 11:26:54 1995
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From: Klaus Knopper <knopper@unix-ag.uni-kl.de>
Message-Id: <9501171711.AA01001@pizza.unix-ag.uni-kl.de>
Subject: Re: Teeny Weeny Brackets
To: mutex@stolaf.edu
Date: Tue, 17 Jan 1995 18:11:07 +0100 (MET)
In-Reply-To: <MAILQUEUE-101.950117152004.352@srvnac1.nac.ac.za> from "Cecil Churms" at Jan 17, 95 03:20:04 pm
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> 
> I have installed MusicTeX 5.06, and now the brackets which
> join the staffs of an instrument, come out as teeny
> weeny, little ones.
> 
> I want the nice big brackets which come out in the
> documentation, and which were there in my previous
> version, I am sure.
> 
> What have I done wrong?  --  I notice the fonts have
> been modified, but am not quite sure where to set
> the switch.
>
> Cecil Churms                                Internet:CHURMS@NAC.AC.ZA
> Van de Graaff Group                         Tel: +27 24 843-3820
> National Accelerator Centre                 Fax: +27 24 843-3543
> P.O. Box 72                                 18 Keurboom Avenue
> FAURE 7131                                  SOMERSET WEST
> South Africa                                South Africa
> ---------------------------------------------------------------------

It seems that the bracket-font included in the package (musicbra.pk)
was generated with a wrong resolution. Recompile it with Metafont for
your printer's resolution, and the output will be fine.


-- 
	-Klaus Knopper  knopper@unix-ag.uni-kl.de
	                http://www.unix-ag.uni-kl.de/~knopper

From owner-mutex  Wed Jan 18 10:24:14 1995
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Date: Wed, 18 Jan 1995 16:25 +0100
From: Rob Lahaye <LAHAYE@AMOLF.AMOLF.NL>
Subject: leftrepeatsymbol
To: mutex@stolaf.edu
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I am using MusicTeX 5.07 (according to the manual musucdoc.ps in the
musictex.zip). I use it as a package together with LaTeX2e.

1) In this release 5.07 I only have to put musictex.sty in the
   emtex/texinput directory (NO musictex.tex, musicpos.tex or
   musicfnt.tex anymore needed). Am I right?

2) With this release, I get an error when I use \begin{music} and
   \end{music}.

3) In the middle of a bar I want to use a leftrepeatsymbol.
   The dots at this repeat symbol are not on the right place, but shifted
   upwards a little bit. This looks ugly. What can I do about it?

   Here is (a part of) my code:

   \musicsize=12
   \def\freqbarno{9999}
   \sepbarrules
   \def\nbinstruments{1}\relax
   \generalsignature{2}
   \nbporteesi=1\relax
   \generalmeter{\meterC}\relax
   \autolines{5}{2}{6}

   \debutmorceau

   \temps\notes\ccl{'f}\enotes
   \leftrepeatsymbol
   \notes .... \enotes
       .
       .
       .
   \suspmorceau


Rob Lahaye (lahaye@amolf.nl)

     ******************************************
     ****       Rob Lahaye                 ****
     ****       FOM Institute for atomic   ****
     ****            and molecular phisics ****
     ****       Kruislaan 407              ****
     ****       1098 SJ  Amsterdam         ****
     ****       Netherlands                ****
     ****                                  ****
     ****       phone: (020) 6081251       ****
     ****       fax:   (020) 6684106       ****
     ****       email: lahaye@amolf.nl     ****
     ****       telex: 18109 amolf nl      ****
     ******************************************

From owner-mutex  Sat Jan 21 02:24:14 1995
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Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: The MusicTeX mailing list
Precedence: bulk

As a result of some talks with Hope Ehn <ehn@world.std.com>, who is
working on an update to her book on Internet resources for musicians,
I have given her Werner's instructions (I believe) for subscribing to
this list:

	send request to  mutex-request@stolaf.edu
	the request should be subscribe or unsubscribe 

Is this correct?  I know that some incorrect instructions have been
spread around the Internet in the past, but I guess I've been on the list
too long to have the current subscription instructions on hand.

If this information is correct, you needn't reply to me.  If it is
incorrect, please let me know as soon as possible, and I will send
the correct info to Hope.

Cheers,
Dale

PS Has the keeper of our FAQ left us?  I haven't seen an update, or a
pointer, for ages.  Does it matter?
    - dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand -
    - Principal Double Bass, New Zealand Symphony Orchestra -
  <a href="http://www.actrix.gen.nz/users/dgold/">My Home Page</a>
<a href="http://www.actrix.gen.nz/users/dgold/nzso.html">NZSO Page</a>

From owner-mutex  Thu Jan 26 13:24:04 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  26-JAN-1995 19:40:38 +0100
Subject:  Musictex 5.07
To: mutex@stolaf.edu
Precedence: bulk

Subject: musictex 5.07

It seems that the distrib in the CTAN is not correct
(an error from mine): CTAN managers, please update.

(rsovax.lps.u-paud.fr, directory [anonymous.musictex])
D. Taupin

From owner-mutex  Thu Jan 26 19:24:04 1995
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cc: mutex@stolaf.edu
In-reply-to: Your message of "26 Jan 1995 19:40:38 +0100." <199501261834.MAA08826@nic.stolaf.edu>
Date: Fri, 27 Jan 1995 00:38:59 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Daniel writes:
> Subject: musictex 5.07
> 
> It seems that the distrib in the CTAN is not correct
> (an error from mine): CTAN managers, please update.
> 
> (rsovax.lps.u-paud.fr, directory [anonymous.musictex])
              ^^^^^^ is this really right?

We no longer mirror from any french machine.  When I was putting
together the UK TUG FAQ, I found that our machine (ftp.tex.ac.uk) was
wildly out of date; this proved to be because we were still mirroring
from the `old' rsovax address.  I corrected the mirror to point at
what I had from this list for Daniel's ftp, but that failed.  I
therefore now mirror ftp.tex.ac.uk from ftp.gmd.de (the directories
maintained by Werner Icking); I presumably also had the wrong email
address for Daniel, because he didn't respond to my queries about why
we couldn't connect to his ftp machine.

The upshot is that all the CTANs now mirror (directly or indirectly)
from gmd; dante and shsu did all along, and we did from November 1994.

Things will all come to rights when Werner updates gmd.

From owner-mutex  Fri Jan 27 00:24:04 1995
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From: palomino!edward@uunet.UU.NET (Edward Maros)
Message-Id: <9501270506.AA13835@dii.com>
To: mutex@stolaf.edu
Subject: Question with \uppercase and \lowercase
Cc: edward@uunet.UU.NET
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% ---------------------------------------------------------------------------
%  Below is a sample piece of code which I believe indicates a problem with
%  the TeX system. I ran into this as I was trying to figure out how to
%  produce some code in which I could automatically produce upper case
%  for the words of songs.
%
%  If the lccode is changed by the program, then the behavior of \uppercase
%  and \lowercase changes. My goal was to defined all lccodes to be unchanged
%  by either the method of \lowermix or \lowermixz. After redefining the
%  lccode, \uppercase now takes the output of \lowercase and processes it.
%  If I do not redefine the lccodes, then \uppercase does not convert the
%  results of \lowercase. I do not understand why changing the lccode values
%  change the behavior of \uppercase and \lowercase.
%
%  As a side note, I conceived of this idea after looking and trying problem
%  7.8 in "The TeXbook" by Donald E. Knuth. I have reduced the problem to
%  its simplest form where all it needs is plain TeX. If this is beyond the
%  scope of this group, would some kind person suggest another e-mail arena
%  to obtain an answer.
% ---------------------------------------------------------------------------

\def\lowermix{\lccode`A=`A \lccode`a=`a}
\def\lowermixz{\lccode`A=0 \lccode`a=0}

% \lowermix
\lowermixz

\lowercase{AaBb}		% Shows \lowercase impact

\uppercase{\lowercase{AaBb}}	% Shows \uppercase impact

\lowercase{\uppercase{AaBb}}	% Shows \uppercase impact

\end

From owner-mutex  Fri Jan 27 05:24:04 1995
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From: C.Walshaw@greenwich.ac.uk
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Subject: A program to play tunes in abc format.
To: mutex@stolaf.edu.IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Fri, 27 Jan 1995 10:22:49 +0000 (GMT)
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Don Ward has asked me to publicise his program playabc which he describes
below.

Chris Walshaw
<C.Walshaw@gre.ac.uk>


-----------------announcement-----------------------------------

Subject: A program to play tunes in abc format.

I have been updating a program to play tunes (which are written in the abc
format defined by Chris Walshaw's abc2tex package) on the built in speaker of
a Sparc workstation.

The program is available by ftp from celtic.stanford.edu
in the file /pub/tunes/playabc-1.1.tar.Z

In case of difficulty, Chris Walshaw <C.Walshaw@gre.ac.uk> has kindly agreed
to email the program to people.

An extract from the userguide is appended below.

Don Ward

don@careful.co.uk				+44 (0) 121 472 1555
Careful Computing Ltd.			Fax	+44 (0) 121 608 3004
80 Witherford Way, Birmingham B29 4AS, United Kingdom.

------------------------------ snip snip ------------------------------

PlayABC is a package to play tunes written in abc format on the speaker of a
Sparc workstation.  abc format is the notation used in the ABC2MTeX program
written by Chris Walshaw to typeset music using MusicTeX.  Chris summarises
his program as follows:
    ABC2MTeX is a package designed to notate tunes stored in an ascii format
    or abc notation. It was designed primarily for folk and traditional
    tunes of Western European origin (such as Irish, English and Scottish)
    which can be written on one stave in standard classical notation.

PlayABC does not need ABC2MTeX to play tunes written in abc format but, to get
the full benefit of seeing the dots on the stave as well as hearing them, you
will need it as well as MusicTeX (which itself requires TeX).

The package consists of two programs playabc and tune. playabc analyses the
abc notation and issues a sequence of sound commands to tune, which converts
the commands into the sound file format required by the audio device.  To play
a tune (or series of tunes) in file mytunes, issue the command
    playabc < mytunes | tune | play

The tune program may also be invoked under the name `drone' when it will add a
simple drone underneath the tune. eg.
    playabc < mytunes | drone G | play

The playabc program is not dependent on the audio device and should be
portable to a variety of machines.  The tune program will probably need to be
modified for a different machine (although, interestingly, I can play sound
files generated by a NeXT machine on a Sparc and vice versa).

All of the facilities described in ABC2MTeX version 1.3 are implemented with
a few exceptions described in the user guide.  This means that grace notes,
rolls, staccato notes, accidentals, triplets, repeats, first and second time
bars are all possible.  Extensions to the abc notation give control of tempo
and allow the playing of several parts in harmony.

The program is intended to be used in a `proofhearing' mode, enabling errors
in the tune to be quickly corrected.  The sound is adequate for this purpose,
but falls short of the standard required for it to be mistaken for a musical
instrument.



From owner-mutex  Fri Jan 27 07:24:04 1995
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From: Piet van Oostrum <piet@cs.ruu.nl>
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Cc: mutex@stolaf.edu, edward@uunet.UU.NET
Subject: Re: Question with \uppercase and \lowercase
In-Reply-To: <9501270506.AA13835@dii.com>
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>>>>> palomino!edward@uunet.uu.net (Edward Maros) (EM) writes:

EM> % ---------------------------------------------------------------------------
EM> %  Below is a sample piece of code which I believe indicates a problem with
EM> %  the TeX system. I ran into this as I was trying to figure out how to
EM> %  produce some code in which I could automatically produce upper case
EM> %  for the words of songs.
EM> %
EM> %  If the lccode is changed by the program, then the behavior of \uppercase
EM> %  and \lowercase changes. My goal was to defined all lccodes to be unchanged
EM> %  by either the method of \lowermix or \lowermixz. After redefining the
EM> %  lccode, \uppercase now takes the output of \lowercase and processes it.
EM> %  If I do not redefine the lccodes, then \uppercase does not convert the
EM> %  results of \lowercase. I do not understand why changing the lccode values
EM> %  change the behavior of \uppercase and \lowercase.
EM> %
EM> %  As a side note, I conceived of this idea after looking and trying problem
EM> %  7.8 in "The TeXbook" by Donald E. Knuth. I have reduced the problem to
EM> %  its simplest form where all it needs is plain TeX. If this is beyond the
EM> %  scope of this group, would some kind person suggest another e-mail arena
EM> %  to obtain an answer.
EM> % ---------------------------------------------------------------------------

EM> \def\lowermix{\lccode`A=`A \lccode`a=`a}
EM> \def\lowermixz{\lccode`A=0 \lccode`a=0}

EM> % \lowermix
EM> \lowermixz

EM> \lowercase{AaBb}		% Shows \lowercase impact

EM> \uppercase{\lowercase{AaBb}}	% Shows \uppercase impact

EM> \lowercase{\uppercase{AaBb}}	% Shows \uppercase impact

These commands do exactly what they are supposed to do (not
surprisingly). But \uppercase and \lowercase have a very confusing
semantics. They are NOT expandable, and that is probably what has confused
you.

If you have something like \uppercase{\lowercase{text}} the behaviour is
NOT what you may intuitively think: first apply \lowercase to the text and
then apply \uppercase to the result.

Rather the following happens:

\uppercase takes the (unexpanded) token list that is its argument (in this
case "\lowercase{text}" and converts any character with a non-zero \uccode
to its uppercase form (as indicated by the \uccode). Al other tokens remain
unchanged. The result is a new token list. This token list is then again
processed by TeX.

\lowercase is similar with \lccode rather than \uccode.

Now let us look at the examples with \lccode`A=0:

\uppercase{\lowercase{AaBb}}	=> 
           \lowercase{AABB} (\uccode applied to a,b) =>
                      AAbb  (\lccode applied to B, but not to A)


\lowercase{\uppercase{AaBb}}	=>
           \uppercase{Aabb} (\lccode applied to B, but not to A) =>
                      AABB  (\uccode applied to a,b)

-- 
Piet van Oostrum <piet@cs.ruu.nl>

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Date: Fri, 27 Jan 1995 18:31 +0100
From: Rob Lahaye <LAHAYE@AMOLF.AMOLF.NL>
Subject: ftp adress for new musictex
To: mutex@stolaf.edu
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Dear Musictex users,

The ftp-site mentioned by Daniel Taupin in his recent email is unaccessible,
as I also heard via the musictex usergroup today by email from other users.

But in the "old" documentation (January 5th) in musicdoc.(ps, dvi, or tex)
is written on page 9 ("How to get it") the ftp site:

                  rsovax.lps.u-psud.fr (193.55.39.100)

This ftp site works and has musictex from the day befor yesterday, so it
is updated by Taupin.

Good luck,

Rob Lahaye.

From owner-mutex  Fri Jan 27 17:24:03 1995
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Subject: Re: A program to play [morris] tunes in abc format
To: mutex@stolaf.edu
Date: Fri, 27 Jan 1995 14:34:24 -0800 (PST)
Cc: mutex@stolaf.edu
In-Reply-To: <9501272023.AB06902@lick.UCSC.EDU> from "Chris Walshaw" at Jan 27, 95 10:22:49 am
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Chris Walshaw [author of abc2mtex] wrote:

> Don Ward has asked me to publicise his program playabc which he describes

For those interested in morris I'll add that there is a library of more
than 65 morris tunes plus variants online on the World Wide Web at
the URL listed in my .sig

The tunes are stored in the abc format.
WWW browsers can be configured to use Chris Walshaw's and Don Ward's
programs to transfer a few hundred bytes over the net and convert that
into typeset musical score and/or sound played thru the computer.

--  --  --  --  --  --  --  --  --  --  --  --  --  --  --  --  --  --  --  --
Steve Allen          UCO/Lick Observatory       Santa Cruz, CA 95064
sla@lick.ucsc.edu    Voice: +1 408 459 3046     FAX: +1 408 454 9863
<a href=http://ucowww.ucsc.edu/~sla/morris/sms.html>Seabright Morris & Sword</a>

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Date: Fri, 27 Jan 95 16:11:28 CST
From: "Dan Zelterman" <dan@muskie.biostat.umn.edu>
Message-Id: <9501272211.AA24731@muskie.biostat.umn.edu>
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To: mutex@stolaf.edu
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Hi - 

   I'm just getting to learn about MuTeX and I am having 
problems starting up.  Can you help?

   I'm very fluent with LaTeX but I don't know where to begin...

   1)  The manual .dvi files print the staff lines, beams, and 
       vertical thingies but not notes' dots, clefs, sharps, or 
       flat signs.

   2)  I am unable to recompile the manuals using LaTeX or TeX.  
       There are zillions of errors.  Is there a euro92.sty file
       that TeX can't find?  

   3)  I am able to compile the musicref.tex file using TeX but
       my preview program dies and the printed output is missing
       the notes' dots.


    I am very grateful for your time and answers !



              Dan                \     /
              Zelterman            o-o


              (I play bassssoooooooooon!)





From owner-mutex  Sat Jan 28 12:24:03 1995
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From: C.Walshaw@greenwich.ac.uk
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Subject: ANNOUNCE: Free music notation software - abc2mtex v1.3
To: mutex@stolaf.edu.IRTRAD-L@IRLEARN.UCD.IE, MORRIS@suvm.acs.syr.edu
Date: Fri, 27 Jan 1995 10:20:10 +0000 (GMT)
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*****************************************************************
**************  Announcing abc2mtex  version 1.3  ***************
*****************************************************************


This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The abc notation is then read in by the program  and  a  MusicTeX
file  generated  (in a matter of seconds). TeX can then be run on
this output to "typeset beautiful music".

The package is small (about 165 KByte), easy to use and features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
(freeware widely  available  on Unix machines and also  available
for  PCs), MusicTeX  (freeware available   by  ftp  from a number
of sources such  as
	celtic.stanford.edu/pub/tunes/Music.TeX/
	ftp.wustl.edu/packages/TeX/macros/musictex
	ftp.gmd.de/music/musictex/
and a C compiler.

You can get a copy of the package by anonymous ftp from:
	celtic.stanford.edu/pub/tunes/abc2mtex/
	ftp.gmd.de/music/musictex/software/abc2mtex/
	ftp.maths.tcd.ie/pub/TeX/abc2mtex

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	celtic.stanford.edu/pub/tunes/abc2mtex/README
tells you how to set it up.
 
If you just wish to find out about the notation have a look at
	celtic.stanford.edu/pub/tunes/abc2mtex/abc.txt

or to find out more about how to use the package look at
	celtic.stanford.edu/pub/tunes/abc2mtex/usrguide.ps

There are also at least  two  collections  of  abc-notated  tunes
available  on the internet. There is a large collection of mostly
Irish stuff in

and a library of morris dance tunes at
	http://ucowww.ucsc.edu/~sla/morris/music/abclib.html
from Steve Allen of Seabright Morris & Sword.

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.3 & V1.2
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Note that some of the code file names have now  changed.  Roughly
speaking fields.c was output.c and abc.c & tex.c were abc2mtex.c.
The file zmacros.tex has gone  and  zHp-begin.tex  &  zHp-end.tex
have been incorporated in header.tex.


	NEW FEATURES (see userguide for full details)
	~~~~~~~~~~~~

The code now outputs raw MusicTeX and the zmacros have been elim-
inated.  This is far more flexible and allows for new notation to
be built in more easily and complicated grace note  and/or  chord
combinations  to be used without the need for handwritten macros.
TeX should also process the output slightly faster.

The way in which the information fields are  displayed  before  a
tune  can  now be customised (in header.tex). This makes the com-
mand "abc2mtex x" superfluous and so only  "abc2mtex  m"  is  now
available.

By default abc2mtex no longer limits the number  of  notes  in  a
beam but it will still do this if called with the -c option.

The program abc2mtex now accepts TeX commands within a .abc  file
(not just within tunes) and writes them to music.tex.

Transposed abc code is now put in the file transpose.abc and  the
transposition values can be specified on the command line.

Transposition can also be specified by interval.

The programs abc2mtex and sort_in can now read the standard input
(so that, for example, the output of search can now be piped in).

The program abc2mtex now checks bar lengths and outputs  warnings
about overlong or overshort bars.

The program abc2mtex will now attempt to prevent beams  and  note
heads colliding.

The program search can now read the search fields on the  command
line. It can also search for a range of tune numbers - i.e.
search -i X:1,6,9-11 -abc XE.abc.

Introduction of the Q: field to specify tempo.

Comments can now be added to the abc notation with a % symbol.

Note lengths can now be halved - e.g. 'A/2' and broken or  dotted
rhythms more easily notated with '<' & '>'.

The default note length can now be set to L:1/32 (for  demi-semi-
quavers).

The symbol * forces a right-justified line-break. Also use ** for
the last line of a tune.

Support for chords within beams.

Tuplets of any length (up to 9) can now be used - i.e. "(2ab"  or
"(7abcdefg".

Double and triple dotted notes are now possible (with note multi-
pliers 7 & 14 - double and 15 - triple).

The letters "U" & "V" can be used to denote up-bow & down-bow.

Guitar chords can now be notated by enclosing them  in   inverted
commas.

The double bar symbol now generates a thick line and   thin  line
rather than two thin lines.

Default note length for 3/2 changed to quaver (1/8th note).

W: field no longer allowed in tune header.

	BUGS FIXED
	~~~~~~~~~~

The program search does not now ignore the final field before  K:
when searching *.abc files. It also closes each file after use.

The function bar_count now counts rests as having a length.

The program abc2mtex will again accept TeX input  at  the  prompt
"select tunes:". This was a bug introduced into 1.2.


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Date: Mon, 30 Jan 1995 11:25:22 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199501301025.AA16686@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: MusicTeX 5.07, CTAN and ftp.gmd.de
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Hi Robin, you write

> > (rsovax.lps.u-paud.fr, directory [anonymous.musictex])
>               ^^^^^^ is this really right?

It's a typo, as you could see from Daniel's e-mail address in "From:"
> 
> We no longer mirror from any french machine.  When I was putting
                               ^^^^^^? Ahem! 
> together the UK TUG FAQ, I found that our machine (ftp.tex.ac.uk) was
> wildly out of date;

as most MusicTeX archives are although I complaint by the ftp-masters

>                     this proved to be because we were still mirroring
> from the `old' rsovax address.  I corrected the mirror to point at
> what I had from this list for Daniel's ftp, but that failed.  I
> therefore now mirror ftp.tex.ac.uk from ftp.gmd.de (the directories
> maintained by Werner Icking);

... and therefore you got the erroneous version :-)
> 
> Things will all come to rights when Werner updates gmd.

The zip-files and tar-files at ftp.gmd.de were updated some minutes after 
Daniels announcement; the delta-files took a little bit longer. So may be the
other sites have mirrored the new versions over night. In addition I removed
a lot of old-versions and old delta-files.

Daniel didn't announce 5.07 (dated 5.1.95). Nevertheless I upgraded ftp.gmd.de
to this version, because some e-mails talked about this version. So it's partly
my fault to push that unannounced version.

Werner

PS: can someone tell me by e-mail the easiest way to upgrade my emTeX to LaTeX2e?
    I normally only use MusiCTeX without LaTeX.

From owner-mutex  Mon Jan 30 07:24:03 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu, Robin.Fairbairns@cl.cam.ac.uk
Subject: Re: MusicTeX 5.07, CTAN and ftp.gmd.de
In-reply-to: Your message of "Mon, 30 Jan 1995 11:25:22 +0100." <199501301025.AA16686@sunick.gmd.de>
Date: Mon, 30 Jan 1995 10:55:16 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:158160:950130105704"@cl.cam.ac.uk>
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> PS: can someone tell me by e-mail the easiest way to upgrade my emTeX to LaTeX2e?
>     I normally only use MusiCTeX without LaTeX.

To start with, you need a big TeX to do this; if you have a 386 or
better processor, wiith a decent amount of memory, upgrade to the
emtex beta-release tex386 CTAN tex-archive/systems/msdos/
emtex/betatest/texb12.zip

ftp to ftp.dante.de

 ftp> cd tex-archive/macros/latex
 ftp> get unpacked.zip
 ftp> cd packages
 ftp> get tools.zip

unzip unpacked into an appropriate directory, cd to that directory and
type:

 tex /i latex.ltx

move the .fmt to the BTEXFMTS directory

move the .tex (apart from *guide.tex), .sty, .cls, .clo, .def, and .fd
files to an appropriate directory on your input path (I use a separate
directory for 2e inputs).  Adjust the emtex search path directory to
take in this new directory (preferably avoiding the old latex
directory at the same time).

then unzip tools.zip, and process tools.ins in that package.  Move the
.sty files to the relevant directory on your input path

And you're away.

The *guide.tex files in the unpacked directory are documentation
giving details of the features changed from the old LaTeX (2.09)

Best of luck

Robin

From owner-mutex  Mon Jan 30 08:24:03 1995
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To: mutex@stolaf.edu
cc: Robin.Fairbairns@cl.cam.ac.uk, mutex@stolaf.edu
Subject: Re: MusicTeX 5.07, CTAN and ftp.gmd.de
In-reply-to: Your message of "Mon, 30 Jan 1995 11:25:22 +0100." <199501301025.AA16686@sunick.gmd.de>
Date: Mon, 30 Jan 1995 10:44:56 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:153330:950130104545"@cl.cam.ac.uk>
Precedence: bulk

> > We no longer mirror from any french machine.  When I was putting
>                                ^^^^^^? Ahem! 
> > together the UK TUG FAQ, I found that our machine (ftp.tex.ac.uk) was
> > wildly out of date;
> 
> as most MusicTeX archives are although I complaint by the ftp-masters

But the difference is that _we_ mirror from you now, because I (as a
maintainer of ftp.tex.ac.uk) noticed the problem.

> >                     this proved to be because we were still mirroring
> > from the `old' rsovax address.  I corrected the mirror to point at
> > what I had from this list for Daniel's ftp, but that failed.  I
> > therefore now mirror ftp.tex.ac.uk from ftp.gmd.de (the directories
> > maintained by Werner Icking);
> 
> ... and therefore you got the erroneous version :-)

I don't understand.  Are you telling me I'm mirroring the wrong thing
from you?  If that's the case, I'm happy to change, though I've yet to
have any success in getting any access whatever to Daniel's ftp site.
(Perhaps the mirror run, at 0300 GMT, would have better luck; I'm
rarely active at that time of day, and I've never felt the need to try
ftp when awake through insomnia...)

> > Things will all come to rights when Werner updates gmd.
> 
> The zip-files and tar-files at ftp.gmd.de were updated some minutes after 
> Daniels announcement; the delta-files took a little bit longer. So may be the
> other sites have mirrored the new versions over night. In addition I removed
> a lot of old-versions and old delta-files.

We only mirror the current-version directory and the diffs directory,
but I note that the .diff file 5.06-5.07 is the same as musictex.zip.

> Daniel didn't announce 5.07 (dated 5.1.95). Nevertheless I upgraded ftp.gmd.de
> to this version, because some e-mails talked about this version. So it's partly
> my fault to push that unannounced version.

I remain confused.  If I can be assured that I can get access to
Daniel's machine, I'm happy to mirror from there, and try to persuade
the other CTANs to do the same (or to mirror from me).  Until that
time I shall continue to mirror from ftp.gmd.de

> PS: can someone tell me by e-mail the easiest way to upgrade my emTeX to LaTeX2e?
>     I normally only use MusiCTeX without LaTeX.

I'll mail separately about this.

From owner-mutex  Mon Jan 30 09:24:03 1995
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Date: Mon, 30 Jan 1995 16:14:32 +0100
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@stolaf.edu
Subject: Re: MusicTeX 5.07, CTAN and ftp.gmd.de
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Sorry for any confusion.

All CTAN servers I looked at have the correct MusicTeX-version 5.07
as it was mirrored from ftp.gmd.de. diff-files/musictex.506-507.zip
is OK, too. It is much smaller than musictex.zip; it may be used
to upgrade from 5.06 to 5.07.

Werner

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From: "SIMONS, DON" <dsimons@logicon.com>
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     Flush with success at modifiying some attributes of MusicTeX and 
adding a few of my own, I'm ready to undertake a new effort to define 
a some new symbols, either by adding them to the existing fonts or 
creating some of my own.  (The symbols include a double 45-degree 
slash used by some baroque composers as a sharp, a backwards "C" with 
a vertical line through it as a time signature, etc.)  Could one of 
you TeXperts out there get me pointed in the right direction?  I'm 
running TeX on an IBM clone PC.
     On a possibly related matter, I've heard mention of a program 
called METAFONT.  Will I need it to do what I want to do?  What does 
it do?
     Thanks in advance.

--Don Simons (dsimons@logicon.com)


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Date: Thu, 2 Feb 1995 08:13:36 GMT+200
From: Cecil Churms <CHURMS@srvnac1.nac.ac.za>
Subject: Re: Adding new symbols
To: mutex@stolaf.edu
Message-id: <MAILQUEUE-101.950202081335.448@srvnac1.nac.ac.za>
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> From:           "SIMONS, DON" <dsimons@logicon.com>

> a some new symbols, either by adding them to the existing fonts or 
> creating some of my own.  (The symbols include a double 45-degree 

Obviously, it would be easier to re-define a symbol which none of
your music uses - with the possible repercussions when you need it
in the future.  An alternative might be to make a copy of an existing
font with a new name, and load it explicitly when you want your
baroque symbols or whatever.  That sounds to me to be the best 
solution.

>      On a possibly related matter, I've heard mention of a program 
> called METAFONT.  Will I need it to do what I want to do?  What does 
> it do?

METAFONT generates a font (eg. a .PK file) at any required size using
a whole language of pen drawing primitives - only to be tried by the
bold and the not-so-busy!  If you want your changes to be generally
useable by others - this is the way to go.

I would suggest that the quick (and dirty) way is to use a PKEDIT 
program to manually change the pixels within a few characters of
a .PK file.  EMTeX has a nice one in its distribution, and a
presentation manager one if you are one of the lucky few having
the pleasure of running OS/2!

Let me know if I should mail you a DOS or OS/2 version I have from
the EMTeX distribution.

Maranatha

Cecil
---------------------------------------------------------------------
Cecil Churms                                Internet:CHURMS@NAC.AC.ZA
Van de Graaff Group                         Tel: +27 24 843-3820
National Accelerator Centre                 Fax: +27 24 843-3543
P.O. Box 72                                 18 Keurboom Avenue
FAURE 7131                                  SOMERSET WEST
South Africa                                South Africa
---------------------------------------------------------------------

From owner-mutex  Fri Feb  3 04:24:04 1995
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Reply-To: Nigel Warner <nwarner@sprogins.win-uk.net>
To: mutex@stolaf.edu
Date: Fri, 03 Feb 1995 09:01:04
Subject: Re: Adding new symbols
From: Nigel Warner <nwarner@sprogins.win-uk.net>
Precedence: bulk

Attached file: MFFB.TEX

 
>     Flush with success at modifiying some attributes of MusicTeX and 
>adding a few of my own, I'm ready to undertake a new effort to define 
>a some new symbols, either by adding them to the existing fonts or 
>creating some of my own.  (The symbols include a double 45-degree 
>slash used by some baroque composers as a sharp, a backwards "C" with 
>a vertical line through it as a time signature, etc.)  Could one of 
>you TeXperts out there get me pointed in the right direction?  I'm 
>running TeX on an IBM clone PC.
>     On a possibly related matter, I've heard mention of a program 
>called METAFONT.  Will I need it to do what I want to do?  What does 
>it do?
>     Thanks in advance.
>
>--Don Simons (dsimons@logicon.com)
>
>

        You will, as you have heard no doubt by now, need metafont.
I enclose a short, getting started chunk of text about same.  


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!"@T*
 
end

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Thanks to all for your responses.  I've downloaded both metafont and 
pkedit.  The latter seems to be much simpler and probably adequate for 
my current needs, but METAFONT look interesting and powerful, if not 
just as complex as TeX itself.

Andreas Egler wrote
>For what stands the backward "C" with a line ? 

I'm typesetting some pieces by Nicola Matteis, a late 17th C Italian 
living in London, whose "Ayres for Violin" comprise a sorely neglected 
masterpiece.  In the facsimile of one of the volumes he describes his 
scheme for metrical indications:

"This Marke C signifies slow Time that is called common Time.
This other [C with vertical slash] Faster.  This other [backward C 
with vertical slash] very swift that is call'd Retort.
This Mark 3 or that [3/4, vertical fraction] slow Triple.
This Mark [3/2] slower except it be thus Bar'd [3/2 with vertical 
slash] which goes quick according to French curr't [courante?] Time.
  [but I thought French courantes were not fast ???]
This mark [3 with vertical slash] swift.  This other [6/8 w/ vert. 
slash] or that [3/8 w/ vert. slash] very swift."


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From: ryanr@ellingtn.ftc.nrcs.usda.gov (Richard Anthony Ryan)
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Subject: Q: Extensions of MusicTeX for guitar
To: mutex@stolaf.edu
Date: Fri, 3 Feb 1995 15:10:38 -0700 (MST)
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Hello,

Does anyone know of any MusicTeX macros that have been created for the
purpose of typesetting classical guitar music?

Thank you,
Richard Ryan.

From owner-mutex  Sun Feb  5 22:24:04 1995
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Subject: \begin{music} problem
To: mutex@stolaf.edu
Date: Sun, 5 Feb 1995 22:47:43 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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Hi,
I just finished setting up Musictex (kind of) and copied the example from 
the manual to try it out.
I get a problem when I run it in Latex of an 'Environment music not defined'
at the line '\begin{music}'

Does anyone know what I'm doing wrong?
thanks
Felipe

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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: \begin{music} problem
In-reply-to: Your message of "Sun, 05 Feb 1995 22:47:43 EST." <199502060347.WAA27672@blue.seas.upenn.edu>
Date: Mon, 06 Feb 1995 09:26:14 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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We can't really answer that one without more information.  One could
guess that you've not included some necessary file into your LaTeX,
but beyond that it's hard to say.

Post the start of your LaTeX document (up to \begin{document}) and we
might get somewhere.  Are you using 2.09 or 2e?  (Probably not
relevant, but it's just possible.)

Robin



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Date: Mon,  6 Feb 1995 12:03:09 UTC+0100
From: Santiago Vila Doncel <sanvila@ba.unex.es>
Subject: About one-line staffs
To: mutex@stolaf.edu
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Hello MusicTeXers:

I started using MusicTeX last Sunday.
I used a one-line staff for a percussion instrument.
However, I wanted to put a double points repetition symbol at the end of the 
piece. It didn't display well for the percussion instrument, because it is 
adjusted to fit well in the third line of a five-lines staff.
Is there a possibility of making MusicTeX think that the only line of a
one-line staff is really a "third" line?

Please, write me directly, as I am not subscribed to this list.

Regards.

Santiago Vila. Departamento de Matematicas. 
Universidad de Extremadura. Spain.

From owner-mutex  Mon Feb  6 07:24:04 1995
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Date: Mon, 06 Feb 1995 14:12 +0100
From: Rob Lahaye <LAHAYE@AMOLF.AMOLF.NL>
Subject: problem with \begin{music} ?
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Dear Musictex users,

If anybody has a problem with \begin{music} (like "environment music not
defined"), then install the newest musictex release, e.g. from site:

   rsovax.lps.u-psud.fr (193.55.39.100)

login as anonymous and go to directory

cd [.musictex]

There you find all the musictex zip files.

Rob Lahaye.

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Date: Mon,  6 Feb 1995 12:03:09 UTC+0100
From: Santiago Vila Doncel <sanvila@ba.unex.es>
Subject: About one-line staffs
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Hello MusicTeXers:

I started using MusicTeX last Sunday.
I used a one-line staff for a percussion instrument.
However, I wanted to put a double points repetition symbol at the end of the 
piece. It didn't display well for the percussion instrument, because it is 
adjusted to fit well in the third line of a five-lines staff.
Is there a possibility of making MusicTeX think that the only line of a
one-line staff is really a "third" line?

Please, write me directly, as I am not subscribed to this list.

Regards.

Santiago Vila. Departamento de Matematicas. 
Universidad de Extremadura. Spain.

From owner-mutex  Mon Feb  6 10:24:05 1995
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Subject: \begin{music} problem
To: mutex@stolaf.edu
Date: Mon, 6 Feb 1995 11:03:19 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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Before the '\begin{music}' I have

\input musicnft
\input musicsty
\input musitex

or something like that.  I know there are three that I \input

Felipe

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From: MARKUS GAIDA <markus.gaida@ins.uni-stuttgart.de>
Subject: grace notes
To: mutex@stolaf.edu
Date: Tue, 7 Feb 95 15:04:05 MET
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Dear Musictex users,

I want to typeset a tiny grace note 'G using the violin key.
Here is what I tried:

\notes\tinynotesize\grcu{'G}\normalnotesize\enotes

This results in an ugly long upwards stem.
(The same effect occurs with the downwards stem of a grace note
at pitch ''d using the violin key.)

Does anyone know how to get nice grace notes at this pitches?

Thank you in advance.

Markus

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	From: MARKUS GAIDA <markus.gaida@ins.uni-stuttgart.de>
	Subject: grace notes
	To: mutex@stolaf.edu
	Date: Tue, 7 Feb 95 15:04:05 MET

	\notes\tinynotesize\grcu{'G}\normalnotesize\enotes

	This results in an ugly long upwards stem.
	(The same effect occurs with the downwards stem of a grace note
	at pitch ''d using the violin key.)
	Does anyone know how to get nice grace notes at this pitches?

I've encountered this too.  (It's especially bad for me because the
overlong stem crosses a tie.)  I haven't tried to fix it yet, but here is
a suggestion.  Set the grace note properly on the staff--say, an octave
away from its intended place--and use \raise{+-3.5\interligne}\hbox{Your Note}
to displace it to where it belongs.  MusicTeX will give the note a decently
short stem ... hoffentlich.

The long-term fix is to suppress stem-lengthening for \grcu and \grcl.
Computers have no common sense at all!

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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Date: Tue, 7 Feb 1995 17:46:14 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199502071646.AA05458@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: grace notes
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> I want to typeset a tiny grace note 'G using the violin key.
> [...]
> This results in an ugly long upwards stem.

Some time ago I had the same problem and found a solution (s. below).
It's possible that with the newer version of MusicTeX there may be
better solution.

You should look whether the first two re-\def-initions are compatible
with those currently used in MusicTeX and whether the other look like
those for normal notes.

Werner

%
% Upper or lower stems for very low or very high notes have a stem at
% least up or down to the middle of the system -- except if multiple voices
% are written in one system.
%
% This adds std-stem notes to MusicTeX - Version 4.77 -- September 21th, 1992
% Std-stem note-names start with an Uppercase letter e.g. Qu, zQu, ...
%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
%
\newif\ifstdstem\stdstemtrue
\def\minst@bot{\global\advance\st@bot by -\altportee
  \ifstdstem\ifdim\st@bot>2\Interligne \global\st@bot=2\Interligne\fi
  \else\stdstemtrue\fi
  \global\advance\st@bot by \altportee}
\def\maxst@top{\global\advance\st@top by -\altportee
  \ifstdstem\ifdim\st@top<2\Interligne \global\st@top=2\Interligne\fi
  \else\stdstemtrue\fi
  \global\advance\st@top by \altportee}
%
\def\Qu{\advancetrue\stdstemfalse\qu@z}%
\def\Qup{\advancetrue\stdstemfalse\qup@z}%
\def\Qupp{\advancetrue\stdstemfalse\qupp@z}%
\def\Quppp{\advancetrue\stdstemfalse\quppp@z}%
% noire queue en haut sans avance
\def\zQu{\advancefalse\stdstemfalse\qu@z}%
\def\zQup{\advancefalse\stdstemfalse\qup@z}%
\def\zQupp{\advancefalse\stdstemfalse\qupp@z}%
\def\zQuppp{\advancefalse\stdstemfalse\quppp@z}%
% noires queue en base
\def\Ql{\advancetrue\stdstemfalse\ql@z}%
\def\Qlp{\advancetrue\stdstemfalse\qlp@z}%
\def\Qlpp{\advancetrue\stdstemfalse\qlpp@z}%
\def\Qlppp{\advancetrue\stdstemfalse\qlppp@z}%
\def\zQl{\advancefalse\stdstemfalse\ql@z}%
\def\zQlp{\advancefalse\stdstemfalse\qlp@z}%
\def\zQlpp{\advancefalse\stdstemfalse\qlpp@z}%
\def\zQlppp#1{\advancefalse\stdstemfalse\qlppp@z}%
%
% croches, doubles croches, triples croches, quadruple croches queue en
% haut et en bas
%
\def\Clp{\advancetrue\stdstemfalse\mclp1}\def\Cup{\advancetrue\stdstemfalse\mcup1}%
\def\Clpp{\advancetrue\stdstemfalse\mclpp1}\def\Cupp{\advancetrue\stdstemfalse\mcupp1}%
\def\Clppp{\advancetrue\stdstemfalse\mclppp1}\def\Cuppp{\advancetrue\stdstemfalse\mcuppp1}%
%
\def\zClp{\advancefalse\stdstemfalse\mclp1}\def\zCup{\advancefalse\stdstemfalse\mcup1}%
\def\zClpp{\advancefalse\stdstemfalse\mclpp1}\def\zCupp{\advancefalse\stdstemfalse\mcupp1}%
\def\zClppp{\advancefalse\stdstemfalse\mclppp1}\def\zCuppp{\advancefalse\stdstemfalse\mcuppp1}%
%
\def\Cu{\advancetrue\stdstemfalse\mcu1}\def\Ccu{\advancetrue\stdstemfalse\mcu2}
\def\Cccu{\advancetrue\stdstemfalse\mcu3}\def\Ccccu{\advancetrue\stdstemfalse\mcu4}%
\def\Cl{\advancetrue\stdstemfalse\mcl1}\def\Ccl{\advancetrue\stdstemfalse\mcl2}
\def\Cccl{\advancetrue\stdstemfalse\mcl3}\def\Ccccl{\advancetrue\stdstemfalse\mcl4}%
%
\def\zCu{\advancefalse\stdstemfalse\mcu1}\def\zCcu{\advancefalse\stdstemfalse\mcu2}%
\def\zCccu{\advancefalse\stdstemfalse\mcu3}\def\zCcccu{\advancefalse\stdstemfalse\mcu4}%
\def\zCl{\advancefalse\stdstemfalse\mcl1}\def\zCcl{\advancefalse\stdstemfalse\mcl2}%
\def\zCccl{\advancefalse\stdstemfalse\mcl3}\def\zCcccl{\advancefalse\stdstemfalse\mcl4}%
% blanche avec queue
\def\Hu#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hu}\def\n@sym{\h@a}\g@hu}%
\def\Hup#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hup}\def\n@sym{\h@ap}\g@hu}%
\def\Hupp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hupp}\def\n@sym{\h@app}\g@hu}%
\def\Huppp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@hu}%
% blanche avec queue sans avance
\def\zHu#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hu}\def\n@sym{\h@a}\g@zhu}%
\def\zHup#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hup}\def\n@sym{\h@ap}\g@zhu}%
\def\zHupp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hupp}\def\n@sym{\h@app}\g@zhu}%
\def\zHuppp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\huppp}\def\n@sym{\h@appp}\g@zhu}%
% blanches queue en bas
\def\Hl#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hl}\def\n@sym{\h@a}\g@hl}%
\def\Hlp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlp}\def\n@sym{\h@ap}\g@hl}%
\def\Hlpp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlpp}\def\n@sym{\h@app}\g@hl}%
\def\Hlppp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlppp}\def\n@sym{\h@appp}\g@hl}%
\def\zHl#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hl}\def\n@sym{\h@a}\rlap{\g@zhl}}%
\def\zHlp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlp}\def\n@sym{\h@ap}\rlap{\g@zhl}}%
\def\zHlpp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlpp}\def\n@sym{\h@app}\rlap{\g@zhl}}%
\def\zHlppp#1{\getn@i{#1}\stdstemfalse\def\n@fon{\hlppp}\def\n@sym{\h@appp}\rlap{\g@zhl}}%
% grace notes (croches barrees)
\def\Grcu#1{\getn@i{#1}\stdstemfalse\def\n@sym{\q@u}\def\n@fon{\grcu}\n@raiseq
  \h@linesqn\global\stem@skip=\qd@skip
  \def\s@tem{\d@gru}\pl@symssq\fi}%
\def\Grcl#1{\getn@i{#1}\stdstemfalse\def\n@sym{\q@u}\def\n@fon{\grcl}\n@raiseq	
  \h@linesqn\def\s@tem{\p@gru}\pl@symssq\fi}%

\catcode`\@=\catcodeat

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Subject: \begin{music} again
To: mutex@stolaf.edu
Date: Tue, 7 Feb 1995 20:01:12 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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I forgot to mention in my last post that the error message I get when 
using '\documentstyle{musictex}' '\begin{music}' is: 'missing 
\begin{document}'

The version of musictex.tex I have is from 5 Jan 1995 which I downloaded 
from bla.bla.bla.fr as advised.

Felipe


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Subject: MIDI to TeX?
To: mutex@stolaf.edu
Date: Tue, 7 Feb 1995 19:55:05 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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I know this is a long shot, but is there a program that can convert midi 
files to MusicTeX format so I can play with the output?

I use Midisoft Recording Studio on the PC and it shows you the notes once 
you've loaded the MIDI file, but there is no way to print it out or to 
display it in a page format.

thanks
Felipe

PS.  I still can't get '\begin{music}' to work, I use Latex 2.09 and have 
tried including '\documentstyle{musictex}'



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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: MIDI to TeX?
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> I know this is a long shot, but is there a program that can convert midi 
> files to MusicTeX format so I can play with the output?

The subject tells it already: midi2tex

   ftp.gmd.de   /music/musictex/software/midi2tex/...

Werner

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Subject: Re: MIDI to TeX?
In-reply-to: Your message of "Tue, 07 Feb 1995 19:55:05 EST." <199502080055.TAA26862@blue.seas.upenn.edu>
Date: Wed, 08 Feb 1995 09:35:07 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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The MIDI2TeX stuff is on CTAN in directory
tex-archive/support/midi2tex

I've been proofreading an article about it just recently; one thing I
hadn't realised is that it's shareware.

Robin (Dark fibre to every home) Fairbairns      rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Private page: http://www.cl.cam.ac.uk/users/rf/robin.html

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From: Santiago Vila Doncel <sanvila@ba.unex.es>
Subject: Where is Andreas Egler?
To: mutex@stolaf.edu
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Hello Andreas Egler.
Sorry, I don't know your e-mail address.
Could you please tell me where to write you?
Thanks.

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Subject: Re: \begin{music} again
In-reply-to: Your message of "Tue, 07 Feb 1995 20:01:12 EST." <199502080101.UAA27832@blue.seas.upenn.edu>
Date: Wed, 08 Feb 1995 09:31:32 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Well, if you got `missing \begin{document}', did you _have_
\begin{document} in your score?

musictex.sty doesn't save you from the requirement to structure a
LaTeX document like a LaTeX document.  If you'ld rather use musictex
as a package on top of plain TeX, then you shouldn't be running LaTeX
in the first place.

Robin (Dark fibre to every home) Fairbairns      rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Private page: http://www.cl.cam.ac.uk/users/rf/robin.html

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From: Rob Lahaye <LAHAYE@AMOLF.AMOLF.NL>
Subject: 600dpi fonts
To: mutex@stolaf.edu
Message-id: <DB3B7EF580403449@AMOLF.AMOLF.NL>
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Hello (Music)TeX users,

I want to use 600dpi fonts. I have the pk files for the notes (all in
the musicpk.zip).
But where can I get the "normal" fonts with 600dpi. According to the
dvi-preview document (DVIDRV.DOC) from EmTeX, I need the ljh fonts.
Where are these fonts?

Thanks,

Rob Lahaye.

     ******************************************
     ****       Rob Lahaye                 ****
     ****       FOM Institute for atomic   ****
     ****            and molecular phisics ****
     ****       Kruislaan 407              ****
     ****       1098 SJ  Amsterdam         ****
     ****       Netherlands                ****
     ****                                  ****
     ****       phone: (020) 6081251       ****
     ****       fax:   (020) 6684106       ****
     ****       email: lahaye@amolf.nl     ****
     ****       telex: 18109 amolf nl      ****
     ******************************************

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Subject: \begin{music} SOLVED!
To: mutex@stolaf.edu
Date: Wed, 8 Feb 1995 09:45:31 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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I solved the begin music problem by 

\documentstyle[musictex]{article}

thanks to everyone who helped!
Felipe

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From: goddijn@fgbbs.iaf.nl (Frans Goddijn)
Date: 08 Feb 95 14:18:05 +0100
Subject: MIDI to TeX?
Message-Id: <408_9502081450@fgbbs.iaf.nl>
Organization: TeX, LaTeX on FGBBS [31] 85-217041
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said "Felipe R B Jordao"  to All:

 "RBJ> I know this is a long shot, but is there a program that can
 "RBJ> convert midi  files to MusicTeX format so I can play with
 "RBJ> the output?

Yes, several programs do that. In the NTG magazine MAPS there was a good
article about it recently. A program called MIDI2TEX.


 Met hartelijke groet!
 
                          FG 

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No, don't have it yet, but have seen msgs re it. Hope to try it.

-Jim

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Subject: \raisebox problem
To: mutex@stolaf.edu
Date: Wed, 8 Feb 1995 17:29:35 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
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Hi all,

I'm trying to do something and I'm getting a problem but the logic seems 
right.

I'm trying to write this

		            |\
		            | \
		------------O--|------
		---------------|------
		---------------O------
		------------}--O------
		----------------------   where } is a quarter rest

I use \raisebox{-.3cm}{\soupir} between the \ibu0{n}{-2} and \tbu 0
commands and I get this

		           |
		           |
		-----------O--|------- 
		--------------|-------
		--------------O-------
		-----------}--O-------
		----------------------

without the bar on top
If I omit the \raisebox command but leave the \soupir, the bar comes out 
but the rest is too high and touches the top note.  Does anyone know 
what's going on?  How can I fix this

thanks
Felipe

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From: MARKUS GAIDA <markus.gaida@ins.uni-stuttgart.de>
Subject: grace notes OK!
To: mutex@stolaf.edu
Date: Thu, 9 Feb 95 9:35:21 MET
Cc: markus.gaida@ins.uni-stuttgart.de (Markus Gaida)
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Dear Musictex users,

Thanks for your suggestions to get rid of the 
ugly long grace note stems.
With my  Musictex version 5.04 the solution 
from Werner Icking, which I tried first, work fine,
so I didn't try the possible solution from
G. L. Sicherman - thanks anyway.

Markus

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Date: Thu, 9 Feb 1995 10:33:48 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199502090933.AA07089@sunick.gmd.de>
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> I'm trying to write this
> 		            |\
> 		            | \
> 		------------O--|------
> 		---------------|------
> 		---------------O------
> 		------------}--O------
> 		----------------------   where } is a quarter rest

I cannot answer your question, why your solution does not work, but I've
a solution and it works :-)

\def\Qp#1{\raise #1\internote\qp}
\def\Ds#1{\raise #1\internote\ds}
\def\Qs#1{\raise #1\internote\qs}
%
\def\ttqb#1{\tten#1\tqb#1}\def\ttqh#1{\tten#1\tqh#1}
%
\def\nbinstruments{1}\debutextrait
\Notes\ibu0{'e}{-2}\Qp{-6}\off{-1\noteskip}\qh0f\zq b\tqh0{`g}\enotes
\finextrait
%
\musicsize=16\def\staffspacingi{0.6}
\def\nbinstruments{1}\debutextrait
\Notes\ibu0{'e}{-2}\Qp{-6}\off{-1\noteskip}\qh0f\zq b\tqh0{`g}\enotes
\finextrait\bye

I'm not sure whether this is "the correct solution"(tm) because my first
approach was to use \Interligne  instead of \internote(*). You should read
musicdoc.tex (.dvi, .ps) esp. what there is written on \internote, \Internote,
... pt, cm, ...

Werner

(*) as it is used in  ftp.gmd.de /music/scores/bach/bwv1001.zip

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Subject: \raisebox problem solved
To: mutex@stolaf.edu
Date: Thu, 9 Feb 1995 09:48:50 -0500 (EST)
From: "Felipe R B Jordao" <fjordao@eniac.seas.upenn.edu>
Organization: HAC
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thanks for the replies,

I solved the raisebox problem by using \zcharnote{}{} as suggested.
Felipe

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  13-FEB-1995 14:45:10 +0100
Subject:  musictex 5.08
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New version 5.08 of musictex available at rsovax.lps.u-psud.fr

Correction: percussion doc and example.

CTAN managers, please update
dt

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Date:  13-FEB-1995 17:43:08 +0100
Subject:  MusiXXXXXtex
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Subject: MusiXTeX

MusiXTeX is a new - completely new - version of music typesetting using TeX.
It is due to Ross Mitchell and Andreas Egler, with a big part of the TeX
macros borrowed from Daniel Taupin's MusiCTeX.

The main difference is that it is a three pass system: 
 1. Texing roughly
 2. Computing the slurs accurate sizes (by a C program, musixflx)
 3. Re-Texing beautifully.

It is a free copy software (their posting in CTANs is wished), but you
are not allowed to spread modified versions of it without the consents
of the three authors (of course changing font resolution is not a
"modification").

The distribution has the same layout as MusiCTeX and it is available at
anonymous ftp: rsovax.lps.u-psud.fr, directory [anonymous.musixtex] (beware
of the X instead of the C). Included is a 75 page doc, also provided as a
DVI and a postscript file. A "musixtex.bat" file is provided for PC, but you
can easily convert it for unix systems.

Examples are provided (mainly the same as in MusiCTeX). In some respect,
MusiXTeX is harder than MusiCTeX (less tolerant) but, once you have started,
you get beautiful scores in an easier way. As Andreas Egler said, its aim
is to provide professional typesetting quality.

                                        Daniel Taupin
                                     taupin@lps.u-psud.fr
                                     February 13th,  1995

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Date: Mon, 13 Feb 1995 18:54:13 +0100
From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199502131754.AA27143@sesostris.meteo.fr>
To: mutex@stolaf.edu
Subject: MusicTeX preprocessor for several staves?
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Since abc2mtex1.3 seems to handle only one stave music, and Miguel Filgueiras'
SceX is not available yet, I searched in the list archives for what the SceX
doc mentioned as previous notations, and the only thing I found is about SCOT:
On Fri, 16 Apr 93 17:07:31 PDT, igor@charles.ucdavis.edu writes:
> It doesn't have direct to TeX that I know of, but does have MIDI
> converting utility, and there is MIDI<->TeX

SCOT comes with MIT's Csound at ftp://cecelia.media.mit.edu/pub/Csound/,
but there does not seem to be such a converting utility in the Unix package
(even in csbeta/), would it exist only for Macintoshes? (MIDItoCsound.hqx)

So is there any preprocessor to MusicTeX for several staves music, transforming
to MusicTeX (or MIDI) some kind of a notation easier to read and edit than
MusicTex input?

Thanks:

-- Olivier

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______________________________ Reply Separator _________________________________
Subject: MusicTeX preprocessor for several staves?
Author:  CLARY Olivier <Olivier.CLARY@meteo.fr> at INTERNET-MAIL
Date:    2/13/95 5:37 PM


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CLARY Olivier <Olivier.CLARY@meteo.fr> writes:
>...So is there any preprocessor to MusicTeX for several staves music, 
>transforming
>to MusicTeX (or MIDI) some kind of a notation easier to read and edit than
>MusicTex input?

I have written such a program for my own use in FORTRAN.  It takes ASCII input 
for up to 5 single lines, and produces a TeX file.  It uses an input format I 
made up myself but much simpler than TeX.  It will not permit any meter changes,
and requires the correct number of beats in every bar except the first.  
Internally and transparently, it uses a rather complex algorithm to decide where
beaming is appropriate, and if so, what the altitude and slope of the beams 
should be.  I run it on a PC under DOS, but I think the FORTRAN would work on 
other platforms.  It requires two passes, because I justify the entire score to 
fit in a specified number of systems, and generate the appropriate \autolines 
parameters to do so.  It doesn't do ties or slurs..I have another program to do 
that, but it would only run on a PC with VGA graphics, and probably only with 
the PTIPS dvi-to-postscript printer driver.  I haven't distributed any of this 
yet to anyone, but have used it myself to set in excess of 100 pages of music. 
If there is any interest I'd be willing to polish it up a bit and write some 
instructions.


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To: mutex@stolaf.edu
Subject: Administrivia
Date: Tue, 14 Feb 1995 12:34:12 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:202540:950214123429"@cl.cam.ac.uk>
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The mailings to this list are archived in file ftp://ftp.stolaf.edu/
pub/mutex/archive, which is a _good thing_

What (imho) is a less good thing, is that that's just one file for the
entire lifetime of the list.  Is there any way that the file can be
split into bite-sized chunks?  I accidentally deleted a recent
message, and retrieving a 1461928-byte file over a transatlantic link
isn't my idea of fun...

Craig Rice -- are you still there?

Robin Fairbairns
Univ. of Cambridge

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To: mutex@stolaf.edu
Subject: Musixtex preprocessor (for musictex)
Date: Tue, 14 Feb 1995 14:56:22 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:266300:950214145653"@cl.cam.ac.uk>
Precedence: bulk

I have installed Musixtex on ftp.tex.ac.uk.  It will propagate to the
other CTAN sites as and when they can get network bandwidth to get it
from us.

Daniel Taupin announced the package a little while ago:

  MusiXTeX is a new - completely new - version of music typesetting using TeX.
  It is due to Ross Mitchell and Andreas Egler, with a big part of the TeX
  macros borrowed from Daniel Taupin's MusiCTeX.
  
  The main difference is that it is a three pass system: 
   1. Texing roughly
   2. Computing the slurs accurate sizes (by a C program, musixflx)
   3. Re-Texing beautifully.
  
  It is a free copy software (their posting in CTANs is wished), but you
  are not allowed to spread modified versions of it without the consents
  of the three authors (of course changing font resolution is not a
  "modification").

Robin Fairbairns

From owner-mutex  Tue Feb 14 10:24:04 1995
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To: mutex@stolaf.edu
Cc: mutex
Subject: Re: Administrivia 
In-reply-to: Your message of Tue, 14 Feb 1995 12:34:12 +0000.
             <"swan.cl.cam.:202540:950214123429"@cl.cam.ac.uk> 
Date: Tue, 14 Feb 1995 09:58:02 -0600
From: Craig D Rice <cdr>
Precedence: bulk


> What (imho) is a less good thing, is that that's just one file for the
> entire lifetime of the list.  Is there any way that the file can be
> split into bite-sized chunks?  I accidentally deleted a recent
> message, and retrieving a 1461928-byte file over a transatlantic link
> isn't my idea of fun...

True.  A better way of retrieving MuTeX mailing list messages,
however, would be to access the archive through our Gopher
server. This provides by-message and searchable purusal.

Our gopher server is: 	gopher.stolaf.edu
and MuTeX is located:	Internet Resources
			St. Olaf Sponsored Mailing Lists
			MuTeX

It is also available on the Web:  http://www.stolaf.edu/network/

Craig
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA
URL:  http://www.stolaf.edu/people/cdr/

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	Subject: Musixtex preprocessor (for musictex)
	Date: Tue, 14 Feb 1995 14:56:22 +0000
	From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>

	Daniel Taupin announced the package a little while ago:

	  MusiXTeX is a new - completely new - version of music
	  typesetting using TeX.  It is due to Ross Mitchell and Andreas
	  Egler, with a big part of the TeX macros borrowed from Daniel
	  Taupin's MusiCTeX.
	  
	  The main difference is that it is a three pass system: 
	   1. Texing roughly
	   2. Computing the slurs accurate sizes (by a C program, musixflx)
	   3. Re-Texing beautifully.

But is it compatible with Slurp?

(For newcomers:  Slurp is a set of macros and a PostScript postprocessor
for getting slanted slurs out of MusicTeX.)


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From: "Jin S. Choi" <jsc@gwar.mit.edu>
Message-Id: <199502141900.AA08324@gwar.mit.edu>
To: mutex@stolaf.edu
Subject: MusicTeX vs. CMN
Precedence: bulk


Has anyone on this list seen Common Music Notation? It's a batch music
notation package written in Common Lisp that does what I think is a
very good job. I haven't worked very much with MusicTeX, but to my eye
CLM looks a little better, although that could just be the font (CLM
uses the Adobe Sonata postscript font, which I much prefer to the
MusicTeX font; look at the treble clefs for example) and the slurs.

Anyway, if anyone's used both systems, could they give me an idea for
the strengths and weaknesses of both? Or provide pointers to
exceptional examples of MusicTeX use?

Thanks.


From owner-mutex  Thu Feb 16 14:24:06 1995
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Date: Thu, 16 Feb 1995 12:39:42 -0600 (CST)
From: Douglas Allen <doallen@comp.uark.edu>
To: mutex@stolaf.edu
Subject: MusicTeX and PCTeX
Message-ID: <Pine.SOL.3.91.950216123716.5773B-100000@comp>
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Is anyone out there using PCTeX with MusicTeX?  If so, how in the world 
did you get PCTeX to recognize and use the MusicTeX Fonts? (i.e. 
musikn20, etc.)

Any help would be greatly appreciated.

Sincerely yours,
Douglas S. Allen

From owner-mutex  Thu Feb 16 18:24:05 1995
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Date: Thu, 16 Feb 95 15:47:28 PST
From: "SIMONS, DON" <dsimons@logicon.com>
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Douglas Allen <doallen@comp.uark.edu> writes:

>Is anyone out there using PCTeX with MusicTeX?  If so, how in the world 
>did you get PCTeX to recognize and use the MusicTeX Fonts? (i.e. 
>musikn20, etc.)

I do, but not the WINDOWS version.  You didn't say if your problem is in Windows
or DOS.  I spent lots of time trying to get the WINDOWS version to show the 
music stuff on screen, but never succeeded.  I think the problem has something 
to do with the way Windows generates screen fonts, in that it may need some sort
of special file for each font to do so.  But I gave up on running under Windows.
So I run the TeX processor (tex386b.exe) under DOS, and use an old viewer 
(dvi2scr) to look at the results. As long as the .tfm and .pk files are in the 
right directories, I don't think I did anything else special for tex386b.  You 
do have to explicitly tell this viewer where the .pk files are, and you do that 
with a command line argument.  If you're working in DOS and want to get into 
more details, feel free to contact me by email.

--Don Simons (dsimons@logicon.com)


From owner-mutex  Mon Feb 20 22:24:05 1995
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In response to literally two or three requests, I've written up some 
instructions and am just about ready to make the package available.  
If someone out there would be willing to let me use his/her ftp site 
for this purpose, that would be very helpful.  Otherwise, if I don't 
get any ftp offers in the next day or two, I'll email it to those who 
have requested it.  

Don Simons (dsimons@logicon.com)


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To: mutex@stolaf.edu
cc: dsimons@logicon.com, veittes@rrz.Uni-Koeln.DE, maray@fsz.bme.hu,
        Olivier.CLARY@meteo.fr, HOUSER@bms.com,
        ehlerabk@rubc.rz.ruhr-uni-bochum.de,
        Peter.Vanroose@esat.kuleuven.ac.be, mig@ncc.up.pt,
        hjbortol@Medusa.mat.puc-rio.br, mst@mhcnet.att.com,
        dag.lohse@Mathematik.TU-Chemnitz.DE, crath@BNR.CA
Subject: The pmtex musictex pre-processor
Date: Wed, 22 Feb 1995 18:07:44 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:123710:950222180927"@cl.cam.ac.uk>
Precedence: bulk

DON SIMONS (dsimons@logicon.com) has submitted to CTAN the pmtex
program that he talked about some time ago in the mutex mailing list.
I installed it as directory support/pmtex on SHSU, and it's propagated
here at least.

The program is available as two fortran files and various support
stuff (I have unzipped Don's original file; those who want a .zip file
of the entire directory should say

  ftp> cd tex-archive/support
  ftp> get pmtex.zip

the archive will zip it up for you).

pmtex.txt says:

				 PMTeX
		      A Preprocessor for MusicTeX
		  by Don Simons (dsimons@logicon.com)
  
  INTRODUCTION       
       PMTeX will generate MusicTeX code for multi-staff scores with up to 
  five staves (or voices) per system.  Once it makes a .tex file for you, 
  you will probably want or need to change a few things manually.  This is 
  because (a) PMTeX only has a small subset of the capabilities of 
  MusicTeX, and (b) PMTeX is not perfect.  But it can save a LOT of time 
  with the grunge work involved in setting up notes...enotes groupings, 
  defining beams, justifying lines, and spreading the entire piece evenly 
  over a specified number of systems.

Thanks, Don, for the contribution

Robin Fairbairns
(For the CTAN team)

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Date: Wed, 22 Feb 1995 20:38:59 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199502221938.AA17264@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Dice music - Wuerfel Menuet
X-Sun-Charset: ISO-8859-1
Precedence: bulk

The list of my music-editions has been increased by one item. I've
typeset and programmed a dice music: Wuerfel Menuet by J.P. Kirnberger.

Whenever you call the programme a new menuet is generated which can be
made ready for printing by MusiXTeX.

As usual the "product" is stored on

   ftp.gmd.de  /music/scores/kirnberger/README
                                        menuet.zip
                                        menuet.ps.gz

so that you may access the ps-file via www. An easy starting point is

    <A HREF=ftp://ftp.gmd.de/music/README.html>Music </A> on ftp.gmd.de

Enjoy -- Werner

PS: Don't be afraid that README is a binary-file as it is reported by less:
    it contains only two u-umlauts coded with ISO-8859-1

--- README -------------------------------------------------------------

W|rfel-Menuet is a dice music by Johann Philipp Kirnberger.

This package contains the following files packed in menuet.zip:
 readme      This file
 menuet.all  TeX-input to process menuet.dat and menuet.nxt
 menuet.dat  All bars making up the W|rfel-Menuet
 menuet.nxt  One example of a diced menuet overwritten each time
              menuet.bat is run

 menuet.tex  TeX-input to process a diced menuet

 menuet.bat  A DOS-batchfile which calls minuet.exe to generate menuet.nxt,
              calls tex to process menuet.nxt with MusiXTeX using menuet.tex,
              runs musixflx and calls tex again for the 2nd and 3rd pass of
              MusiXTeX, and which views the result. Normally this file
              must be customized for your system.
 minuet.spt  A SNOBOL (spitbol) programme which reads menuet.dat, dices
              and generates menuet.nxt 
 minuet.exe  minuet.spt compiled for DOS
 minuet.sun  minuet.spt compiled for Sun ("pure SPARC executable")

and a seperate file 

 menuet.ps   Postscript-file generated from menuet.dvi, which has been
              generated by calling  menuet.bat  with parameter all. The
              file may be compressed with gzip and is then named
              menuet.ps.gz - the file requires A4 size paper.

In addition to these files you need MusiXTeX which is available by
anonymous ftp on a lot of well-known ftp-servers.

Unpack all files into a seperate DOS-directory. Customize menuet.bat.
"menuet all" processes all bars and one diced menuet
"menuet"     generate a new dice-menuet and processes it with MusiXTeX
If there is a second parameter "noview" (e.g. menuet next noview) the
resulting DVI-file is not displayed.

If you do not have DOS you have to replace menuet.bat by your script to
do a similar processing. For Sun you may use minuet.sun as executable. 
If you do not have SPITBOL but another SNOBOL-interpreter you have to
adapt minuet.spt. If you do not have any SNOBOL-interpreter re-write
"minuet.exe" on the basis of the comments in minuet.spt with your
favourite programming language.

Please be so kind and send the execution-script and exec-file for your
system to me, so that I may add it to this package.

1995-02-16                                         Werner.Icking@gmd.de
=======================================================================
If you want to print on letter-size paper you can try to insert the follow-
ing lines into the ps-files at a convenient place :-). That may be just af-
ter "%%EndSetup" and before "%%Page: 1 1" or may be just after the 1st line.
%%-----------------------------------------------------------------snipp-----
/GMD_realshowpage /showpage load def
/GMD_myshowpage { GMD_realshowpage 1.00 0.94 scale 14 49 translate } bind def
/showpage { GMD_myshowpage } bind def
1.00 0.94 scale 14 49 translate
%%-----------------------------------------------------------------snipp-----

(c) 1995, Werner Icking

Any non-commercial usage of this package is welcome. You may make those
modification which are neccessary to run it on your computer. You may
put this package on ftp-servers or BBS provided it is free of charge
for the users. In the same way this package may be copied. Only complete
copies may be given away. Additions not made by me must be declared so. 

I didn't do anything that these programmes or data may damage your
computer, but I can give no waranty that it doesn't do that. 

From owner-mutex  Wed Feb 22 16:24:06 1995
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From: "SIMONS, DON" <dsimons@logicon.com>
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Olivier Clary <Olivier.CLARY@meteo.fr> wrote this to me:

> the only thing I had to do is put the "\input pmtex" between
> "\edef\catcodeat{\the\catcode`\@}\catcode`\@=11" and 
> "\catcode`\@=\catcodeat"

I did not need these to make it work with my version of TeX.  But a 
colleague down the hall did, and obviously so did Olivier.  So this 
will be in the next revision.  Meanwhile, if you're having this 
problem, instead of putting these lines in the .tex file, you could 
put them as the first and last lines of pmtex.tex, and not need to 
worry about it any more.

--Don (dsimons@logicon.com)


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Date: Wed, 22 Feb 1995 20:16:25 -0800
From: kendall thomason shaw <kshaw@shell.portal.com>
Message-Id: <199502230416.UAA02726@jobe.shell.portal.com>
To: mutex@stolaf.edu
Subject: Musixtex fonts
Precedence: bulk

Hello,

I've downloaded musixtex from CTAN (ftp.shsu.edu).  (I continue to be baffled
by why it is so rare to find a file called "INSTALL", or the like,
in TeX related stuff. A task which would require probably 30 seconds to
accomplish!) I am not able to read the file musixdoc.dvi because I do
not have the appropriate fonts. I have tried to run metafont on the mf files
and metafont complains about a value of some sort being too large, and
hangs. I have not learned to write metafont programs yet. So, I was hoping
that I've simply found some damaged files or something simple. Any help
would be appreciated.


From owner-mutex  Thu Feb 23 07:24:04 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: Musixtex fonts
In-reply-to: Your message of "Wed, 22 Feb 1995 20:16:25 PST." <199502230416.UAA02726@jobe.shell.portal.com>
Date: Thu, 23 Feb 1995 12:26:42 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:127570:950223122720"@cl.cam.ac.uk>
Precedence: bulk

kendall thomason shaw writes:

> I've downloaded musixtex from CTAN (ftp.shsu.edu).  (I continue to be baffled
> by why it is so rare to find a file called "INSTALL", or the like,
> in TeX related stuff. A task which would require probably 30 seconds to
> accomplish!)

It's not as simple as that.  Mostly, these things are done by
amateurs, who couldn't write a multi-platform installation script if
they tried, and professionals like myself just don't have the time to
run round after everyone else.

Even things that do have installation scripts of sorts (e.g., emTeX,
gTeX, web2c, LaTeX2e) have mailing lists of their own, effectively
devoted to dealing with installation problems only, *and* still crop
up regularly in comp.text.tex

>              I am not able to read the file musixdoc.dvi because I do
> not have the appropriate fonts. I have tried to run metafont on the mf files
> and metafont complains about a value of some sort being too large, and
> hangs. I have not learned to write metafont programs yet. So, I was hoping
> that I've simply found some damaged files or something simple. Any help
> would be appreciated.

A quick checklist:

1. do you have the .tfm and .pk files from CTAN in places where they
   can be picked up by your previewer/printer?
2. have you read the c.t.t FAQ or the UKTUG FAQ (respectively, in
   tex-archive/help/TeX-FAQ and tex-archive/usergrps/tug/faq/newfaq.ps
   [standard paper] or lettterfaq.ps [North American paper])
3. Have you read Geoff Tobin's intro?
   (tex-archive/info/metafont-for-beginners.tex)

If none of this helps, try posting to c.t.t -- there are plenty of
people there who can help.

Robin

Robin (Campaign for Real Radio 3) Fairbairns     rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Private page: http://www.cl.cam.ac.uk/users/rf/robin.html

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	Date: Wed, 22 Feb 1995 20:16:25 -0800
	From: kendall thomason shaw <kshaw@shell.portal.com>
	To: mutex@stolaf.edu
	Subject: Musixtex fonts

	I've downloaded musixtex from CTAN (ftp.shsu.edu).  (I continue
	to be baffled by why it is so rare to find a file called
	"INSTALL", or the like, in TeX related stuff. A task which
	would require probably 30 seconds to accomplish!) ...

TeX still has a lot of old-fashioned values; maybe this is another one.

	                                              ... I am not able
	to read the file musixdoc.dvi because I do not have the
	appropriate fonts. ...

I could read it only from musixdoc.ps.  The LaTeX file seemed to have
many peculiar styles, and even a \documentstyle was lacking--it used
"\documentclass" instead, which seems strange.  Maybe our TeX isn't
recent enough; we use version 3.141 and LaTeX 2e from last June.

At least the MusiXTeX package works!  All I had to do was edit out
the CR characters for Unix.

					--Col. G. L. Sicherman
					  gls@hrcms.att.com

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Date: Thu, 23 Feb 1995 12:50:06 -0700 (MST)
From: "Christian G. Allred" <allredcg@cs.byu.edu>
To: mutex@stolaf.edu
Subject: Installation of MusicTeX
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I read the FAQ, but it is rather dated, and I am still unable to figure
out exactly how to install MusicTeX.  I've never installed a macro package
before, and I don't have any idea where to start.  Besides, what
installation instructions there are seem to be targeted towards an MS-DOS
audience.  

I run Linux (Slackware 2.1), with the NTeX distribution, and have 
downloaded musictex-508.tar.gz and musicexa-508.tar.gz.  What exactly do 
I do with the contents of these files?

I s'pose that this is an old question, so personal replies are welcome. :)

Thanks in advance.

_______________________________________________________
Christian G. Allred         allredcg@bert.cs.byu.edu   | Time is the fire 
Brigham Young University    Christian_Allred@byu.edu   | in which we burn.
http://bert.cs.byu.edu/~allredcg/allredcg.html         |    --Dr. Soren


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From: kendall thomason shaw <kshaw@shell.portal.com>
Message-Id: <199502240430.UAA21236@jobe.shell.portal.com>
To: mutex@stolaf.edu
CC: mutex@stolaf.edu
In-reply-to: <"swan.cl.cam.:127570:950223122720"@cl.cam.ac.uk> (message from Robin Fairbairns on Thu, 23 Feb 1995 12:26:42 +0000)
Subject: Re: Musixtex fonts
Precedence: bulk

>>>>> "R" == Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk> writes:

    R> kendall thomason shaw writes:
    >> (I continue
    >> to be baffled by why it is so rare to find a file called
    >> "INSTALL", or the like, in TeX related stuff. A task which
    >> would require probably 30 seconds to accomplish!)

    R> It's not as simple as that.  Mostly, these things are done by
    R> amateurs, who couldn't write a multi-platform installation
    R> script if they tried, and professionals like myself just don't
    R> have the time to run round after everyone else.

Naturally, I'm very grateful to everyone for doing all the work they
do.  I don't mean to sound demanding. I imagine an INSTALL file (not a
script) to read something like:

   This is the blah blah distribution consisting of these files:

   <list of files>

   This distribution does not contain blahblah, so you will need to do
   blahblah before you start.  More detailed instructions are contained
   in the file blahblah.dvi (or blahblah.ps, if you have a feasible way
   to view or print n pages of postscript). In order to render the dvi
   file you will need these files <list of files> which are avaiable at
   (place (if not in distribution)). Put these files <list of files) in a
   place your TeX recognizes and use your equivelent of (appropriate
   utility as per "standard" dviware or whatever, e.g. MakeTeXPK), to
   generate the fonts which the documentation file requires. Then immediately
   destroy this document lest it fall into the wrong hands.

See, I'm actually not sure that I have all the required files and that
all I'm suppossed to do is put the TFM and MF files where emTeX finds
them and run maktexp and/or metafont.

    R> A quick checklist:

    R> 1. do you have the .tfm and .pk files from CTAN in places where
    R> they can be picked up by your previewer/printer?  2. have you
    R> read the c.t.t FAQ or the UKTUG FAQ (respectively, in
    R> tex-archive/help/TeX-FAQ and
    R> tex-archive/usergrps/tug/faq/newfaq.ps [standard paper] or
    R> lettterfaq.ps [North American paper]) 3. Have you read Geoff
    R> Tobin's intro?  (tex-archive/info/metafont-for-beginners.tex)

thanks


From owner-mutex  Fri Feb 24 06:24:03 1995
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From: Stephanie da Silva <arielle@bonkers.taronga.com>
Message-Id: <199502241144.FAA08219@bonkers.taronga.com>
Subject: Re: Musixtex fonts
To: mutex@stolaf.edu
Date: Fri, 24 Feb 1995 05:44:13 -0600 (CST)
In-Reply-To: <199502240430.UAA21236@jobe.shell.portal.com> from "kendall thomason shaw" at Feb 23, 95 08:30:12 pm
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How does one get off this list? 

I did not subscribe.  I was auto-subscribed when I sent a query to the
contact address.  All efforts to unsubscribe to the same address have 
been met with no tangible results whatsoever.

From owner-mutex  Fri Feb 24 18:24:04 1995
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Date: Sat, 25 Feb 1995 00:31:02 +0100
From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199502242331.AA19016@sesostris.meteo.fr>
To: mutex@stolaf.edu
Subject: Installing MusiXTeX
Organization: CNRM/Meteo-France, Toulouse
Precedence: bulk

MusiXTeX works well and makes nice slurs! (well, except for short slurs
extending vertically more than 8 internotes - I hope it will be fixed)
It also works with preprocessors abc2mtex and pmtex, with rather few
things to change in the .tex file produced by the preprocessor (I do it
with a small Unix script). Since there are questions about installation
of Musi{c,X}TeX, here is a short description of what I did for MusiXTeX:

1.  gcc -o musixflx musixflx.c , put musixflx to a place inside my $PATH

2.  put .tex et .sty files (except musixdoc.*) to a place inside $TEXINPUTS:
musixadd.tex  musixcpt.tex  musixgre.tex  musixltx.tex  musixsty.tex
musixbbm.tex  musixdat.tex  musixgui.tex  musixmad.tex  musixtex.sty
musixblx.tex  musixdia.tex  musixhou.tex  musixper.tex  musixtex.tex
musixbm.tex   musixeng.tex  musixinv.tex  musixpoi.tex  musixtri.tex
musixcho.tex  musixext.tex  musixlit.tex  musixref.tex

3.  use mf (ie: mf '\mode=localfont;' input $1.mf) and gftopk on .mf files,
    put resulting .tfm and .300pk files to a place in $TEXFONTS, resp. $TEXPKS:
musix11.tfm   musix20.tfm   xhsld20.tfm   xsld16.tfm    xslu20.tfm
musix13.tfm   musixsps.tfm  xhslu16.tfm   xsld20.tfm    xslz20.tfm
musix16.tfm   xhsld16.tfm   xhslu20.tfm   xslu16.tfm    xtie20.tfm
and same *.300pk files

4. write a small shell script to:
     * set the path variables TEXINPUTS, TEXFONTS, TEXPKS
     * run tex, then musixflx, then tex again
     * dvips -O 0cm,-1.5cm   (not leave 1in at top but 1cm)
     * ghostview

5. use it!
   problems found when processing musixdoc.tex and .sty (using latex):
     * multicol.sty not found, answer: null
     * in order to get the index: makeindex musixdoc, then latex again
         gives a few errors concerning "theindex", just answer: R
         and the resulting index seems to be OK

-- Olivier

From owner-mutex  Tue Feb 28 15:24:05 1995
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From: dean@solen.gac.edu (Dean Kelley)
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Date: Tue, 28 Feb 1995 15:02:35 -0600
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Subject: Installing MusixTeX
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Hello,  


The bulk of what follows is a message that I sent originally to  
taupin@lps.u-psud.fr but which  bounced back to me.  It concerns  
installing MusixTeX and getting it to run under emtex on my PC.  Any  
help would be highly appreciated.


I downloaded MusixTeX shortly after it was announced and struggled  
through the installation but apparently messed something up.

I typed up the file listed on page 8 of the users manual (section1.2, a  
simple example) and ran it through musixtex.  I got an error on the  
\begin{music} line (the first line).  Eventually I removed that line and got  
an error on the 4th from the last line (\notes\tbu0\qb0g| etc).  Eventually  
I removed THAT line and got an error on the very last line (\end{music})  
which I converted to say only \end.  This resulted in something that  
musixtex could digest but the output was a .dvi file NOT a .mx1 file.   
The .dvi file viewed ok (I had built the fonts earlier) except for the  
missing notes.

Here's my questions:

Why didn't I get a .mx1 file?

Were the errors I got with the 'simple example' file expected....i.e.,
   SHOULD I have gotten them?

When building musixtex I used the following file
          \input plain
          \input musixtex
          \def\fmtname{musixtex}\def\fmtversion{0.34}
         \dump
   initially initex balked because I hadn't built the .tfm files so I created
   them and retried, apparently successfully. Did I mess up something
   here when I built musixtex?

When building the .tfm files I first built a mf base file...somehow, I can't
   remember the exact sequence that I went through.....I built 15 .tfm
   files.  These were the ones for the fonts listed as 'needed' in chapter
   3 (installation).  What about the other files (there are 19 .mf files in
   all)?

I am using emtex on a 486.  The emtex is 3c-beta11.  I use LaTeX a lot  
but am not particularly fluent in TeX.  At one time I had MusicTeX  
installed and working but that was a long time ago and it's no longer on  
my machine.  



dean kelley

From owner-mutex  Wed Mar  1 11:23:52 1995
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Date: Wed, 1 Mar 1995 16:16:55 +0100
From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199503011516.AA15260@sesostris.meteo.fr>
To: mutex@stolaf.edu
Cc: dean@solen.gac.edu (Dean Kelley)
Subject: Re: Installing MusixTeX
Precedence: bulk

> I typed up the file listed on page 8 of the users manual (section1.2, a  
> simple example) and ran it through musixtex.  I got an error on the  
> \begin{music} line (the first line).  Eventually I removed that line and got  
> an error on the 4th from the last line (\notes\tbu0\qb0g| etc).  Eventually  
> I removed THAT line and got an error on the very last line (\end{music})  
> which I converted to say only \end.  This resulted in something that  
> musixtex could digest but the output was a .dvi file NOT a .mx1 file.   
> The .dvi file viewed ok (I had built the fonts earlier) except for the  
> missing notes.

Now if you remove everything... :-)

The documentation musixdoc is in LaTeX, you can do the latex - musixflx -
latex sequence with at the beginning:
     \documentstyle[musixtex]{report}
     \begin{document}
     \startmuflex
and at the end:
     \endmuflex
     \end{document}
But of course what you want is to do it the normal way with TeX, so remove
the \begin and \end commands, use at the beginning:
     \input musixtex
     \startmuflex
and at the end:
     \endmuflex
     \end
and now it will be a valid MusiXTeX source for a tex - musixflx - tex sequence.
(\input musixtex for standard TeX, without your .fmt from unitex - see below)

> Here's my questions:
> 
> Why didn't I get a .mx1 file?

Because you did not ask for one :-)  (\startmuflex)

> Were the errors I got with the 'simple example' file expected....i.e.,
>    SHOULD I have gotten them?

The error on the \notes\tbu0 line is unexpected, but it might be due to
the other errors.

> When building musixtex I used the following file
>           \input plain
>           \input musixtex
>           \def\fmtname{musixtex}\def\fmtversion{0.34}
>          \dump
>    initially initex balked because I hadn't built the .tfm files so I created
>    them and retried, apparently successfully. Did I mess up something
>    here when I built musixtex?

This seems to be right.

> When building the .tfm files I first built a mf base file...somehow, I can't
>    remember the exact sequence that I went through.....I built 15 .tfm
>    files.  These were the ones for the fonts listed as 'needed' in chapter
>    3 (installation).  What about the other files (there are 19 .mf files in
>    all)?

Right, 15 .mf files to be mf-ed, the other ones are input data, mf shows
their name when it reads them like TeX when reading \input files.

-- Olivier

From owner-mutex  Wed Mar  1 13:23:44 1995
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From: Curt Malouin <malouin@engin.umich.edu>
Message-Id: <199503011746.MAA13335@azure.engin.umich.edu>
To: mutex@stolaf.edu
Subject: Csound->MusicTeX?
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Does anyone know of a program that converts Csound .sco files
to MusicTeX files?

thanks in advance,

	-curt

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Date: Wed, 1 Mar 1995 19:01:38 -0600 (CST)
From: Douglas Allen <doallen@comp.uark.edu>
To: mutex@stolaf.edu
Subject: emTeX
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I am new to the world of TeX, and I have gained much interest in 
MusicTeX.  This interest has led me to believe that many of you are using 
emTeX with MusicTeX.  I, along with several associates, are currently 
working to get emTeX operational at my University as part of a special 
topics class I am currently taking.  We have somewhat successfully 
installed emTeX, but we are having trouble getting the screen/printer 
drivers to work properly.  It seems that currently, when we use emTeX 
screen driver, our machine "locks up."  I guess what I am really after is 
some help just simply getting emTeX installed.  If anyone can be of any 
assistance whatsoever, you will be greatly appreciated by my class and 
you will have gained a friend for life.

Thanks in advance!

Douglas S. Allen
University of the Ozarks
Clarksville, AR  72830

doallen@comp.uark.edu

From owner-mutex  Wed Mar  1 21:23:43 1995
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Date: Wed, 01 Mar 1995 18:33:33 -0800
To: mutex@stolaf.edu
From: dedmunds@sfu.ca (dedmunds@sfu.ca)
Subject: installation of musictex fonts?
Precedence: bulk


I'm having problems getting MusicTex installed on my system and would
appreciate some help.  My system is a 486-66 DOS box with the latest
version of emTeX (3.1415..) installed.  I am able to use LaTeX 2.09 and 2e
without difficulty.

I've unzipped MusicTeX into a separate directory c:\emtex\musictex and 
placed the style files into my texinput directory.  The zip I downloaded had 
a few sample dvi files.  Currently though, I can't view these.  I receive 
the following error from my viewer:

	C:\EMTEX\MUSICTEX>v musicref
	dviscr -- Version 1.4d -- Copyright (c) 1988-1990 by Eberhard Mattes

	' TeX output 1994.01.01:1025'
	Loading font cmbx12 scaled 2074
	Loading font cmbx12 scaled 1200
	Loading font musicn20 scaled 1000
	Warning 1205:
	font musicn20 [c:\emtex\texfonts\pixel.lj\$rdpi\musicn20<300>] not found

So it can't find the fonts.  My zip archive came with all the fonts in tfm, 
pk, and mf formats.  Do I somehow need to place all the necessary fonts into 
a library pixel.fli in the proper directory?  If so, how do I use the 
fontlib program to do this?  Do I need to be concerned with printer fonts 
(HP LJ IIp) or does the printer driver simply convert the dvi file to a 
raster image?

Any help you can provide is much appreciated.  (I posted this to comp.text.tex
but received no responses.  I have also been unable to find a musictex faq
on either usenet or the web.)
Darran Edmundson
dedmunds@sfu.ca


From owner-mutex  Thu Mar  2 02:32:01 1995
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From: dmelcher@echnaton.usf.Uni-Osnabrueck.DE (Dirk Melcher)
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In-Reply-To: <199503020228.SAA08327@whistler.sfu.ca> (dedmunds@sfu.ca)
Subject: Re: installation of musictex fonts?
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< Currently though, I can't view these.  I receive 
<  the following error from my viewer:
<
<	   C:\EMTEX\MUSICTEX>v musicref
<	   dviscr -- Version 1.4d -- Copyright (c) 1988-1990 by Eberhard Mattes
<
<	   ' TeX output 1994.01.01:1025'
<	   Loading font cmbx12 scaled 2074
<	   Loading font cmbx12 scaled 1200
<	   Loading font musicn20 scaled 1000
<	   Warning 1205:
<	   font musicn20 [c:\emtex\texfonts\pixel.lj\$rdpi\musicn20<300>] not found

<   So it can't find the fonts.  


Hi Daran,

if I remember correctly you should create a directory

  c:\emtex\texfonts\pixel.lj\300dpi

  or

  c:\emtex\texfonts\pixel.lj\300

(I can't remember which of these variants is the right one) and put
your pk-files in that directory. This is already indicated by the
error message of dviscr. $rdpi is a variable that stands for the correct
resolution of you pk files, so it is assumed that you pk files do have
a resolution of 300 dpi (which is probably the case). You have also to
consider that the UNIX names for the pk-files differ from the DOS
names: UNIX files have names like `musicn20.300pk' while DOS files
have names like `musicn20.pk'. This means that you have to rename your
files if they caome from the UNIX world (which is probably not the
case because you mention a ZIP archieve which is generally DOS based).

  Hope that helps,


 Dirk


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From: Peter.Vanroose@esat.kuleuven.ac.be
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To: mutex@stolaf.edu
Subject: Re: installation of musictex fonts with emTeX
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> 	C:\EMTEX\MUSICTEX>v musicref
> 	dviscr -- Version 1.4d -- Copyright (c) 1988-1990 by Eberhard Mattes
> 
> 	' TeX output 1994.01.01:1025'
> 	Loading font cmbx12 scaled 2074
> 	Loading font cmbx12 scaled 1200
> 	Loading font musicn20 scaled 1000
> 	Warning 1205:
> 	font musicn20 [c:\emtex\texfonts\pixel.lj\$rdpi\musicn20<300>] not found



As you see, the font musicn20 is searched for in the directory
c:\emtex\texfonts\pixel.lj\$rdpi\
and dviscr looks for a 300dpi font.
$r stands for the resolution, 300, so actually you have to create the directory
c:\emtex\texfonts\pixel.lj\300dpi\
and put the font files musicn20.pk (and all other .pk files in the
distribution musictex.zip) there.  These .pk files are all 300dpi fonts.
If you also have musicpk.zip, then you should put, e.g., the file
musictex/pk/dpi600/musikn11.pk
in that .zip file into the directory
c:\emtex\texfonts\pixel.lj\600dpi\
[which is probably not very helpful in your case].

Alternatively, you could add these .pk files to one of the .fli files
that you are using, but this is not mandatory.  [See the manual of fontlib
for details on how to add fonts to a library.]

--                               Peter Vanroose
                                 Electrotechnical Department (ESAT/MI2)
                                 K.U. Leuven, Belgium.
                                 Peter.Vanroose@esat.kuleuven.ac.be
                                 tel.    +32 16 321707

                                 Departement Electrotechniek (ESAT/MI2)
                                 K.U. Leuven
                                 Kard. Mercierlaan 94, B--3001 Heverlee



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cc: mutex@stolaf.edu
Subject: Re: emTeX
In-reply-to: Your message of "Wed, 01 Mar 1995 19:01:38 CST." <Pine.SOL.3.91.950301185645.23804A-100000@comp>
Date: Thu, 02 Mar 1995 09:22:33 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:201520:950302092242"@cl.cam.ac.uk>
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> I am new to the world of TeX, and I have gained much interest in 
> MusicTeX.  This interest has led me to believe that many of you are using 
> emTeX with MusicTeX.  I, along with several associates, are currently 
> working to get emTeX operational at my University as part of a special 
> topics class I am currently taking.  We have somewhat successfully 
> installed emTeX, but we are having trouble getting the screen/printer 
> drivers to work properly.  It seems that currently, when we use emTeX 
> screen driver, our machine "locks up."  I guess what I am really after is 
> some help just simply getting emTeX installed.  If anyone can be of any 
> assistance whatsoever, you will be greatly appreciated by my class and 
> you will have gained a friend for life.

Well, ...

You don't really give us much to go on.  (1) can you show us the set
of variables you've set in autoexec.bat (2) which version of emtex are
you using (3) have you got printer drivers working (4) have you read
CTAN (e.g. ftp.shsu.edu) tex-archive/info/installing-emtex.txt and
tex-archive/info/setting-up-emtex.tex 

(The latter may be problematic, unless your printer drivers are
working or you have access to a previewer or printer elsewhere)

Another good place to ask about these things is info-tex@shsu.edu or
(if you can get at Usenet) comp.text.tex

R

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199503020944.AA23015@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: installation of musictex fonts with EmTeX (DOS)
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> I've unzipped MusicTeX into a separate directory c:\emtex\musictex [...]

> 	font musicn20 [c:\emtex\texfonts\pixel.lj\$rdpi\musicn20<300>] not found
                                                  ^^^^^
                                                  vvvvv
Put the .pk-files into c:\emtex\texfonts\pixel.lj\300\...  e.g. musicn20.pk

> So it can't find the fonts.  My zip archive came with all the fonts in tfm, 
> pk, and mf formats.  Do I somehow need to place all the necessary fonts into 
> a library pixel.fli in the proper directory?  If so, how do I use the 
> fontlib program to do this?

You may do so. Doing so save for this small number of fonts very little space
and very little time. The OS/2-procedures  ilf_lj.cmd  and  fli_lj.cmd  will 
help you. They may be run under DOS after renaming them to  ilf_lj.bat ...

The tfm-files may be put into c:\emtex\tfm\
     mf-                               \mfinput\  unless you put them
into seperate directories *and* modify the environment variables 
(TEXTFM, MFINPUT) accordingly.
 
>                             Do I need to be concerned with printer fonts 
> (HP LJ IIp) or does the printer driver simply convert the dvi file to a 
> raster image?

It's the other way 'round. The screen driver uses the pk-files which are 
made for the printer. The printer driver normally generates output in the 
printer's command language.

Hope this hilft -- Werner

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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: installation of musictex fonts?
In-reply-to: Your message of "Wed, 01 Mar 1995 18:33:33 PST." <199503020228.SAA08327@whistler.sfu.ca>
Date: Thu, 02 Mar 1995 10:27:43 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:237150:950302102754"@cl.cam.ac.uk>
Precedence: bulk

Darran Edmundson wrote:

> [...]
> 	C:\EMTEX\MUSICTEX>v musicref
> 	dviscr -- Version 1.4d -- Copyright (c) 1988-1990 by Eberhard Mattes
> 
> 	' TeX output 1994.01.01:1025'
> 	Loading font cmbx12 scaled 2074
> 	Loading font cmbx12 scaled 1200
> 	Loading font musicn20 scaled 1000
> 	Warning 1205:
> 	font musicn20 [c:\emtex\texfonts\pixel.lj\$rdpi\musicn20<300>] not found
> 
> So it can't find the fonts.

Right.  One of the options you give the driver is to tell it where it
may find fonts.  I took all the .pk files out of the .zip and made a
separate library of them; I then updated the emtex config to reflect
that (sorry, I'm afraid I don't do emtex at work, but if you're still
having problems after searching this out in the docs, mail me direct
and I'll get my home files in here somehow or other).

When you get to writing your own musictex sources, you'll also need
access to the .tfm files; there is a directory under the emtex root
that contains all this stuff; simply move the ones from the .zip into
it.

>                              My zip archive came with all the fonts in tfm, 
> pk, and mf formats.  Do I somehow need to place all the necessary fonts into 
> a library pixel.fli in the proper directory?  If so, how do I use the 
> fontlib program to do this?  Do I need to be concerned with printer fonts 
> (HP LJ IIp) or does the printer driver simply convert the dvi file to a 
> raster image?

The normal way is for dvi* to convert all the stuff into rasters,
though there are techniques that can be used to deal with resident
fonts if you need them.

From owner-mutex  Thu Mar  2 15:23:46 1995
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From:	ENP%"MAILER-DAEMON@lps.u-psud.fr" 28-FEB-1995 22:18:32.25
To:	TAUPIN
CC:	
Subj:	Returned mail: Cannot send...

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Subject: Returned mail: Cannot send message for 3 days
To: mutex@stolaf.edu

   ----- Transcript of session follows -----
421 stolaf.edu (tcp)... Deferred: Connection timed out during user open with mx2.stolaf.edu
<@hprib:owner-mutex@stolaf.edu>... Deferred: Connection timed out during user open with mx2.stolaf.edu

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Date:  25-FEB-1995 22:16:48 +0100
From: TAUPIN@rsovax.lps.u-psud.fr
Subj:  RE: Musixtex fonts
To: mutex@stolaf.edu

1. The musixdoc is provided as a postscript file: musixdoc.ps, insinde the
    distribution

2. The fonts are givent in the muisxpk.zip file for several resolutions,
   especially 300 and 600 dpi.

3. There is no INSTALL file, but there is a RZEADME file.
dt

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From: ea241@fim.uni-erlangen.de (Dr. Christof Hesse)
To: mutex@stolaf.edu
Subject: musixtex, font musixsps
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Until now, Iwas unable to generate the font musixsps.300pk with
mfjob and a dc- font- format. The *.tfm- file is available. What
mistake did I make? Regards Christof

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From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199503031557.AA24527@sesostris.meteo.fr>
To: mutex@stolaf.edu
Cc: ea241@fim.uni-erlangen.de (Dr. Christof Hesse)
Subject: Re: musixtex, font musixsps
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> Until now, Iwas unable to generate the font musixsps.300pk with
> mfjob and a dc- font- format.

Only musixtex-0341 did not include all 300 dpi .tfm and .pk files in the
distribution, musixtex-0342 does (it arrived on CTAN machines under
support/musixtex just a few days after 0341).

-- Olivier

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From: "SIMONS, DON" <dsimons@logicon.com>
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Subject: True-type fonts for MusicTeX or MusiXTeX?
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For those of us adventurous enough to try running TeX under Windows, 
is is possible to generate true-type versions of the music fonts 
(standard suffixes are .fot and .ttf)?  As I understand it, this would 
eliminate the need for have separate font files for each resolution.

--Don Simons (dsimons@logicon.com)


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cc: mutex@stolaf.edu
Subject: Re: True-type fonts for MusicTeX or MusiXTeX?
In-reply-to: Your message of "Mon, 06 Mar 1995 12:04:42 PST." <9502067945.AA794522389@cclink.logicon.com>
Date: Tue, 07 Mar 1995 01:13:45 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> For those of us adventurous enough to try running TeX under Windows, 
> is is possible to generate true-type versions of the music fonts 
> (standard suffixes are .fot and .ttf)?  As I understand it, this would 
> eliminate the need for have separate font files for each resolution.

The man to approach about that is Vasily Malyshev (strangely enough, I
had already suggested it to Seb Rahtz, who knows him, in the context
of typesetting an article for the UK TUG mag about Midi2TeX).
Malishev has the wherewithal to do the job in a whole range of formats
-- see CTAN directory tex-archive/fonts/cm/ps-type1/bakoma.  (It's all
black magic to me...)

I still haven't run MusiXTeX for myself; how do the fonts differ from
MusicTeX?

R

Robin (Campaign for Real Radio 3) Fairbairns     rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Private page: http://www.cl.cam.ac.uk/users/rf/robin.html

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Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk> wrote

>I still haven't run MusiXTeX for myself; how do the fonts differ from
>MusicTeX?

Well, I've barely run it myself, but enough to find that at least one font 
(musix20) has more than 128 characters, and that causes problems for _both_ my 
normal (DOS) screen viewer and postscript driver.  That's why I started looking 
at this WINDOWS version we had around the office, which nobody else had the 
tenacity to get working.  It has some other mysterious problems, but it seems 
less bothered by fonts with >128 characters.

--Don (dsimons@logicon.com)


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Date: Tue, 7 Mar 1995 11:41:17 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199503071041.AA26423@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Re[2]: True-type fonts for MusicTeX or MusiXTeX?
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> Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk> wrote
> 
> >I still haven't run MusiXTeX for myself; how do the fonts differ from
> >MusicTeX?
> 
> Well, I've barely run it myself, but enough to find that at least one font 
> (musix20) has more than 128 characters, and that causes problems for _both_ my 
> normal (DOS) screen viewer and postscript driver.  That's why I started looking 
> at this WINDOWS version we had around the office, which nobody else had the 
> tenacity to get working.  It has some other mysterious problems, but it seems 
> less bothered by fonts with >128 characters.

I didn't have any problems running emTeX's tex386 (in a DOS-Box) under windows
after I found that you only need to put  rsx.exe  into \emtex. There were
no problems running emTeX's dvi-drivers in a DOS-Box under windows. DVIWIN
(Version 2.9/16) by H.Sendoukas didn't make any problems with the musixtex-
fonts.

The only problem I didn't solve up to now is making mf386 run under windows;
instead I use mf286.exe (automagically called by dvidrv via mfjob).

What I never heard of is converting  TeX-fonts to True-Type fonts. Does that
make sense if you do not want to use the fonts outside TeX?

Werner

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cc: mutex@stolaf.edu
Subject: Re: Re[2]: True-type fonts for MusicTeX or MusiXTeX?
In-reply-to: Your message of "Tue, 07 Mar 1995 11:41:17 +0100." <199503071041.AA26423@sunick.gmd.de>
Date: Tue, 07 Mar 1995 11:57:49 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:120210:950307115845"@cl.cam.ac.uk>
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Werner writes:

> [...]
> The only problem I didn't solve up to now is making mf386 run under windows;
> instead I use mf286.exe (automagically called by dvidrv via mfjob).

On my portable, I've installed gtex; the mf that comes with that runs
with no problems at all under windows (I don't ever run emtex under
windows).

> What I never heard of is converting  TeX-fonts to True-Type fonts. Does that
> make sense if you do not want to use the fonts outside TeX?

The value of installing a scaleable font isn't really to do with using
them outside TeX; it's to do with printer-independence.  Sebastian
Rahtz and I produce the UKTUG mag.  He prints on a 300dpi Laserjet and
I print on a 600dpi Laserjet for proof-reading; I print on a 600dpi
docutech for production.  Since we use scalable fonts, we don't need
multiple sets of raster files, which is a great convenience...

There are at least two people who claim to be able to convert to
TrueType -- Vasilli Malyshev and Richard Kinch (there's been some
acrimonious discussion on comp.text.tex between them).  Malyshev's
versions have the great advantage that they come free...

R


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Date: Thu, 9 Mar 1995 18:31:47 -0600 (CST)
From: Douglas Allen <doallen@comp.uark.edu>
To: mutex@stolaf.edu
Subject: MusixTeX pk font files
Message-ID: <Pine.SOL.3.91.950309183019.14309A-100000@comp>
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Can anyone out there tell me is there exists pk's for musixtex, and if 
so, where do I find them, and if not, will the pk's from musictex work?

Sincerely yours,

Douglas S. Allen

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Subject: Re: MusixTeX pk font files
In-reply-to: Your message of "Thu, 09 Mar 1995 18:31:47 CST." <Pine.SOL.3.91.950309183019.14309A-100000@comp>
Date: Fri, 10 Mar 1995 09:27:28 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:165870:950310092805"@cl.cam.ac.uk>
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They're in the musixtex.* files on CTAN; there's a .tar.gz (for
Unices) and a .zip (for everyone else).  The latest version (0.36) is
sitting on Dante's /incoming, but the installation hasn't happened yet
despite there having been a flurry of installations at Dante yesterday.

The directory is tex-archive/support/musixtex


CTAN archives are ftp.shsu.edu (presumably your nearest) ftp.tex.ac.uk
(my site) and ftp.dante.de.

The files are also available in ftp.gmd.de:/music/musixtex/, but they
may not get updated on account of some curious objection of Egler's.

Robin Fairbairns

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  10-MAR-1995 14:41:10 +0100
Subject:  pk's for musixtex
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Subject: pk's for musixtex

ftp rsovax.lps.u-psud.fr
user: anonymous
password: <your e-mail>
ftp> cd musixtex
ftp> binary
ftp> get musixpk.zip

Resolutions provided: 300, 600, 240, and smaller.

D. Taupin

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From: Gast Rzpcmos1 <gast@rzpcmos1.rz.tu-bs.de>
Message-Id: <199503101754.SAA12655@rzpcmos1.rz.tu-bs.de>
Subject: unimportant remarks
To: mutex@stolaf.edu
Date: Fri, 10 Mar 1995 18:54:37 +0100 (MET)
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Hello,

I've got few mails, because my curiose and strange mail depending gmd.de
The solution is very simple, because

"I give silly answers.
 I am mad.
 I am mean.
 I lie.
 I am ungrateful.
 I am unfair.
 I am bad and ... (kleinkariert)
 I have no heart... (Herzensbildung)
 I misunderstand.
 I have no education.
 I have no character."

What behavior do you expect from such a person like me?

The remainder in german, because it depends only german:

> [...] Ich persoenlich wuerde GMD raten, Deinen ausdruecklichen Wunsch zu
> respektieren. [...]

a) Danke, das du genau diese Formulierung (respektieren) gebraucht hast; 
ich dachte schon, ich laege voellig daneben.

b) Du machst den gleichen Fehler wie ich; es gibt Personen, deren
Selbstherrlichkeit und Selbstgerechtigkeit grenzenlos sind und die sich durch
nichts --- durch GARNICHTS --- beeindrucken lassen. (Schau doch mal nach GMD.)

(vom 6.2.1995)
>> [...] Ich untersage Ihnen(Werner Icking) jegliches Kopieren, Benutzen und
>> Verbreitung ueber ftp.gmd.de (zumindest solange Sie sysop sind). [...]

(Ich habe eh nur wenige, kleine lokale Aenderungen vorgenommen und doch 
gibt es so etwas wie Urheberschutz...)

Da dies meine letzte Nachricht an diese Liste ist, zum Abschluss noch eine
Begebenheit ueber die ich mich damals koestlich amuesiert habe.
Heute kann ich darueber nur noch leicht gequaelt schmunzeln.

Im Anschluss an eine Fussballuebertragung wurde der Trainer (es ist schon
etwas laenger her und ich meine es waere 'Schlappi' gewesen) der Mannschaft,
die verloren hatte, vom Reporter gefragt, ob es nicht besser gewesen waere,
das und das... Darauf entgegnete der Trainer: "Ein vollbesetztes Stadion,
50000 Zuschauer, im ganzen Stadion gibt es nur zwei Menschen, die 
*UEBERHAUPT NICHTS* von Fussball verstehen: die beiden Trainer." Der Trainer
drehte sich um und ging.

In diesem Sinn --- Andreas Egler

P.S.: Don't try to reply, I don't use mine adress (I've lost my account and
more serious: my last mails).

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Subject: Re: unimportant remarks
In-reply-to: Your message of "Fri, 10 Mar 1995 18:54:37 +0100." <199503101754.SAA12655@rzpcmos1.rz.tu-bs.de>
Date: Sat, 11 Mar 1995 00:56:53 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:023770:950311005706"@cl.cam.ac.uk>
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Andreas Egler writes (on the MuTeX list):

> I've got few mails, because my curiose and strange mail depending gmd.de
> The solution is very simple, because
> 
> "[various terrible assertions]

I have responded on the matter of MusiXTeX to the list.  I believe
that I responded in good faith.  I haven't had time to use MusiXTeX,
but I've read some of the manual, and I like what I read.  I am
assured by those who've used it that the ideas are good, and it
deserves the support of the community.

My rather brief communications with Herr Egler himself have been
hampered by the fact that his written english is not good.
Unfortunately my written german is probably even worse (I haven't
formally studied german since 1963...), and we've not met face to
face.

When Daniel Taupin requested that MusiXTeX be installed on CTAN, I
installed it as soon as a copy became available on the site from which
CTAN normally mirrors MusicTeX-related things (ftp.gmd.de).  Herr
Egler responded to say that he didn't want the ftp.gmd.de copy to be
used, and subsequently submitted the next release at ftp.dante.de;
since I don't have controlling access at ftp.dante.de (I do have such
access at my own site, of course, and at ftp.shsu.edu), the latest
release hasn't yet been installed anywhere for anonymous ftp (unless
Daniel Taupin's site has it -- I wouldn't know, since all attempts
I've made to mirror from that machine have failed).

I hope that we will soon be able to offer the latest release, MusiXTeX
0.36, to the general public.  I believe that the ideas it embodies are
good ideas, and that they will lead to a general improvement in the
quality of music typesetting in our community.

I further hope that Herr Egler will accept this assertion, on my part,
of my good faith in attempting to make his software available to you
all.

Robin Fairbairns                                 rf@cl.cam.ac.uk
(Writing on my own behalf, but working as part of the CTAN team)

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From: "SIMONS, DON" <dsimons@logicon.com>
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Here are two remarks about MusiXTeX for the developers:

1.  It would be useful to be able to specify at the outset exactly the 
number of systems over which to spread the entire piece, rather than 
having to TeX the file first, then adjust \mulooseness.  At the same 
time, and for the same reason, it would be useful to be able to 
specify the total number of pages, and have MusiXTeX compute the 
appropriate \topfacteur, \interfacteur, \bottomfacteur.

2.   For reasons I'll be glad to explain if asked, I'm trying to run 
MusiXTeX (v.3.41) in a mode where I manually control the number of 
bars on each line.  So I've tried using \xbar for non-line-breaking 
bars and \alaligne to force a line break.  Can't seen to get it to 
work.  The following file makes it through the first pass, but on 
running musixflx I get the message 

       This shouldn't happen ! Forgotten \bar ?

If I remove one bar from the first system the error goes away.

Here's the file:
_______________________________

\input musixtex%
\input musixcpt%
\musicsize=20%
\tracingstats=2\relax
\hsize=185mm%
\vsize=270mm%
\def\nbinstruments{1}%
\global\cleftoksi={{6}{0}{0}{0}}%
\nbporteesi=1\relax%
\startmuflex%
\debutmorceau%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\xbar%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\xbar%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\xbar%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\xbar%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\alaligne%
\NOTEs\wh G\wh G\wh G\wh G\enotes%
\finmorceau\endmuflex\bye
----------------------------------------

With another more complex file I got a floating point exception when 
trying to do the same thing.  Am I breaking any rules?

--Don Simons (dsimons@logicon.com)



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Earlier today, I wrote

>For reasons I'll be glad to explain if asked, I'm trying to run 
>MusiXTeX (v.3.41) in a mode where I manually control the number of 
>bars on each line.  So I've tried using \xbar for non-line-breaking 
>bars and \alaligne to force a line break.  Can't seen to get it to 
>work.  The following file makes it through the first pass, but on 
>running musixflx I get the message 
>
>       This shouldn't happen ! Forgotten \bar ?
>
>If I remove one bar from the first system the error goes away.

Since then, I've found that I can force linebreaks by \inputting musixcpt.tex, 
using the normal bar separator \bar, and entering autolines macros with very 
large values of the first parameter.  This seems to be justifying the (enforced)
number of bars on each line as desired.  It works, but I'd rather find a more 
elegant way to do this, and one that doesn't require musixcpt.

Don Simons (dsimons@logicon.com)


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Date: Mon, 13 Mar 1995 10:43:43 +0100
From: Rainer Schoepf <schoepf@uni-mainz.de>
Message-Id: <199503130943.KAA11172@balu.zdv.Uni-Mainz.DE>
To: mutex@stolaf.edu
Cc: Gast Rzpcmos1 <gast@rzpcmos1.rz.tu-bs.de>, mutex@stolaf.edu
Subject: Re: unimportant remarks
In-Reply-To: <"swan.cl.cam.:023770:950311005706"@cl.cam.ac.uk>
References: <"swan.cl.cam.:023770:950311005706"@cl.cam.ac.uk>
Organization: Johannes Gutenberg-Universitaet Mainz
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Robin Fairbairns writes:

 > I hope that we will soon be able to offer the latest release, MusiXTeX
 > 0.36, to the general public.  I believe that the ideas it embodies are
 > good ideas, and that they will lead to a general improvement in the
 > quality of music typesetting in our community.

I will install it as soon as I (a) understand where to put it, and (b)
have time to do so. Sorry for that, but my time for doing work on the
Dante archive is currently very limited, and the confusion about
MusixTeX has stopped me from installing it earlier.

Rainer

-- 
   Rainer Schoepf
   Zentrum fuer Datenverarbeitung          A point of view can be a dangerous
    der Universitaet Mainz                 luxury when substituted for insight
   Anselm-Franz-von-Bentzel-Weg 12         and understanding.
   D-55099 Mainz
   Germany                                  Herbert Marshall McLuhan:
   <Schoepf@uni-mainz.de>                          The Gutenberg Galaxy

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From: CLARY Olivier <Olivier.CLARY@meteo.fr>
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To: mutex@stolaf.edu
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"SIMONS, DON" <dsimons@logicon.com>:
>\input musixtex%
>\input musixcpt%
>\musicsize %
>\tracingstats=2\relax
>[...]
>Am I breaking any rules?

Yes, musicsize is a count. You also do not need musixcpt:
\input musixtex
\normalmusicsize
then use nbstaffsi/startpiece/endpiece instead of nbporteesi/debutmorceau/
finmorceau, and it works.

-- Olivier

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From: Dean Kelley <dean@gac.edu>
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Subject: Help with MusixTeX
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Hello .... I'm trying to learn to use MusixTeX and can't seem to get things
to happen correctly.  


In the following I need to use 7 ties in the place 

I've indicated (I'm using sslur's for most of the 7).  Since you can only use
slur identifiers in the range [0,5] I've added "\input musixadd."  Doing so
causes an error on the line "\startpiece" where I'm told there's a missing 

number.

I'd also like to have more space between the staffs but can't seem to under-
stand how to do that from the documentation.

Any help would be highly appreciated!

Thanks,

Dean Kelley
Dept. of Mathematics and Computer Science
Gustavus Adolphus College
dean@gac.edu


==============================================

\input musixtex
\input musixcpt
\input musixadd
\startmuflex
\hsize=100mm
\parindent 35pt
\def\nbinstruments{1}%
\def\instrumenti{PIANO}%
\nbstaffsi=2 %
\cleftoksi={6000}%
\generalmeter\meterC
\signi=-1%
\startpiece
\Notes\islurd2D\zq {D}\zcharnote A{\PED}\usfz c\issluru 1K\qu {K}|\usfz l\itied 0d\qu d\en
\Notes\ibl0D6\tslur2D\zq {D}\tsslur1K\ql {K}|\ibl1d6\ttie 0\ql d\en
\notes\zcharnote G{\qs}|\zcharnote g{\qs}\en
\notes\zql d\zq f\tbbl 0\tbl 0\qb 0h|\zq r\zq m\zq o\tbbl 1\tbl 1\qb 1k\en% 

%Need 7 ties on the following
\Notes\itied0d\zq d\issluru1f\zq f\isluru2h\usf h\ql h|\isslurd3k\zq
k\isslurd4m\zq m\issluru5o\zq o\issluru6r\usf r\ql r\en
\Notes\ttie0\zq d\zcharnote A{\DEP}\tsslur1f\zq f\tslur2h\ql
h|\tsslur3k\zq k\tsslur4m\zq m\tsslur5o\zq o\tsslur6r\ql r\en
\endpiece
\endmuflex
\end


From owner-mutex  Tue Mar 14 21:23:43 1995
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Date: Tue, 14 Mar 95 17:31:35 PST
From: "SIMONS, DON" <dsimons@logicon.com>
Encoding: 99 Text
Message-Id: <9502147952.AA795231342@cclink.logicon.com>
To: mutex@stolaf.edu
Subject: Re[2]: MusiXTeX features
content-length: 2981
Precedence: bulk

 Olivier CLARY<Olivier.CLARY@meteo.fr> wrote 

>"SIMONS, DON" <dsimons@logicon.com>:
>>\input musixtex%
>>\input musixcpt%
>>\musicsize %
>>\tracingstats=2\relax
>>[...]
>>Am I breaking any rules?
>
>Yes, musicsize is a count. You also do not need musixcpt:
>\input musixtex
>\normalmusicsize
>then use nbstaffsi/startpiece/endpiece instead of nbporteesi/debutmorceau/
>finmorceau, and it works.

I've tried Olivier's suggestions on the original file and it does work.

In the original file, the third line was '\musicsize=20', i.e., I did not omit 
the '20'.  I still don't see what's wrong with that.  Was the '20' missing from 
the copy Olivier received? 

I've tried a similar conversion on a more complicated excerpt (see file below). 
I get the original error, i.e., first pass works fine, but musixflx gives an 
error.

A separate question: In the example file below, if I put '\normalmusicsize' 
immediately after '\input musixtex' instead of where it now is, I can't even get
through the first pass of TeX.  Is there a restriction on where this command can
be placed?

--Don Simons (dsimons@logicon.com)
----------------------------------------------------------
\input musixtex%
\tracingstats=2%
\hsize=185mm%
\vsize=270mm%
\def\nbinstruments{2}%
\def\interfacteur{9}%
\def\bottomfacteur{7}%
\global\cleftoksi={6000}%
\global\cleftoksii={0000}%
\nbstaffsi=1%
\nbstaffsii=1%
\generalsignature{-1}%
\generalmeter{\meterfrac34}%
\startmuflex\normalmusicsize%
\startpiece%
\advance\barno by -1%
%% Pickup bar
\NOtes\hup 4&%
\Ibu2115\qb{2}{-1}\qb{2}1\qb23\qb21\shake o\qb20\tbu2\qb2{-1}\enotes%
\xbar%
% bar  1
\NOtes\hlp a\sk\sk\sk\sk\sk\hlp 4&\sh c%
\Ibu2115\qb2c\qb2e\qb2h\qb2g\shake o\qb2f%
\tbu2\qb2e\Ibu2115\qb2d\qb2f\qb2h\qb2c\shake o%
\qb2b\tbu2\qb2a\enotes%
% bar  2
\xbar%
\NOtes\hlp b\sk\sk\sk\sk\sk\hlp M&\Ibu2115\qb2b\qb2d\qb2h%
\qb2b\shake o\qb2a\tbu2\qb2N\Ibu2445\qb2a\qb2f%
\qb2j\qb2k\qb2h\tbu2\qb2j\enotes%
% bar  3
\alaligne%
\NOtes\hl N\sk\sk\sk\ql L\sk\hlp M&\Ibu2335\qb2N%
\qb2f\qb2i\qb2e\qb2j\tbu2\qb2i\Ibu2335\qb2c%
\qb2f\qb2h\sh i\qb2i\qb2j\tbu2\qb2h\enotes%
% bar  4
\xbar%
\NOtes\hlp N\sk\sk\sk\sk\sk%
\hup 3&\Ibu2225\qb2N\qb2f\sh i%
\qb2i\qb2f\fl e\shake o\qb2e\tbu2\qb2d%
\Ibu2335\qb2N\fl e\qb2e\qb2j\fl e\qb2e\shake p%
\qb2d\tbu2\qb2c\enotes%
% bar  5
\xbar%
\NOtes\hlp N\sk\sk\sk\sk\sk\hup G&\Ibu2335\qb2N%
\qb2e\qb2j\qb2j\shake p\qb2i\tbu2\qb2h%
\Ibu2335\qb2N\qb2d\qb2i\qb2d\qb2e\tbu2\qb2f%
\enotes%
% bar  6
\alaligne%
\NOtes\hup J\sk\sk\sk\sk\sk\hlp M&\Ibu2335\qb2N\qb2e\qb2j%
\qb2i\shake p\qb2h\tbu2\qb2g\Ibl2445\qb2f\qb2h%
\qb2m\fl l\qb2l\shake o\qb2k\tbl2\qb2j\enotes%
% bar  7
\xbar%
\NOtes\hu I\sk\sk\sk\qu J\sk%
\hup K&\Ibu2445\qb2b\qb2f\qb2k%
\qb2i\shake q\qb2h\tbu2\qb2g\Ibu2115\qb2c\sh f\qb2f%
\qb2h\qb2c\shake o\qb2b\tbu2\qb2a\enotes%
% bar  8
\xbar%
\NOtes\hup G\sk\sk\sk\sk\sk\hup H&%
\Ibu2115\qb2b\qb2d\qb2g\qb2f\shake o\qb2e%
\tbu2\qb2d\sh c\Ibu2115\qb2c\qb2e\qb2h\qb2g\shake o%
\qb2f\tbu2\qb2e\enotes%
\endpiece\endmuflex\bye%


From owner-mutex  Wed Mar 15 13:23:43 1995
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Date: Wed, 15 Mar 1995 19:26:47 +0100
From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199503151826.AA20873@sesostris.meteo.fr>
To: mutex@stolaf.edu
Cc: "SIMONS, DON" <dsimons@logicon.com>
Subject: musixflx with \xbar and \alaligne (was Re[2]: MusiXTeX features)
Precedence: bulk

The last example file by "SIMONS, DON" <dsimons@logicon.com>, an
automatically produced MusiXTeX file with only \xbar and \alaligne as bar
separators, makes musixflx unhappy: "This shouldn't happen ! Forgotten \bar ?"
though it works OK when cut into smaller pieces. It probably needs someone
with some musixflx knowledge (the authors?) to answer that question.

Now I answer the easier questions:

>In the original file, the third line was '\musicsize=20', i.e., I did not
>omit the '20'.  I still don't see what's wrong with that.  Was the '20'
>missing from the copy Olivier received? 

Sorry about that (included text was thought to be Mime quoted-printable so
that '=20' became a space...). Anyway, \normalmusicsize is the thing to do,
it also sets things like \elemskip.

>A separate question: In the example file below, if I put '\normalmusicsize'
>immediately after '\input musixtex' instead of where it now is, I can't even
>get through the first pass of TeX.
>[...]
>\input musixtex%

If you put a '%' after the file name, TeX finds the end of the name only
when it sees the command immediately after, so it executes the command
before the file is input...

-- Olivier

From owner-mutex  Wed Mar 15 15:23:45 1995
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Date: Wed, 15 Mar 1995 21:23:23 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199503152023.AA03012@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: musixflx with \xbar and \alaligne (was Re[2]: MusiXTeX features)
Cc: dsimons@logicon.com
X-Sun-Charset: US-ASCII
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> The last example file by "SIMONS, DON" <dsimons@logicon.com>, an
> automatically produced MusiXTeX file with only \xbar and \alaligne as bar
> separators, makes musixflx unhappy: "This shouldn't happen ! Forgotten \bar ?"
> though it works OK when cut into smaller pieces. It probably needs someone
> with some musixflx knowledge (the authors?) to answer that question.
> 
> Now I answer the easier questions:

Same for me. I assume that Don's approach to make the linebreaking by himself
and then let do musixflx the work already done, makes musixflx really unhappy.
I tried it the other way around. I assumed that all "\alaligne" really are
ment as: there must be a line break. So I converted all "\xbar" to "\bar"
and processed the file with MusiXTeX. Now musixflx was happy - but I think
Don would be unhappy because his line 2 and 3 were line 2, 3, 4 and 5. But
that's an easy problem for musixflx to make Don (and others) happy:

Insert \mulooseness=-1 in front of the 2nd "\alaligne" and in front of
"\endpiece". That should be the solution for Don.

I'm a little bit unhappy because some bars have 6 quarters insetad of 3 as
announced. But maye that's Don's problem.

> Sorry about that (included text was thought to be Mime quoted-printable so
> that '=20' became a space...). [...]

:-)     damned good error-analysis!
 
> >A separate question: In the example file below, if I put '\normalmusicsize'
> >immediately after '\input musixtex' instead of where it now is, I can't even
> >get through the first pass of TeX.
> >[...]
> >\input musixtex%
> 
> If you put a '%' after the file name, TeX finds the end of the name only
> when it sees the command immediately after, so it executes the command
> before the file is input...

I've been told by a MusiXTeX-pert that I should
 - write \input ... on separate lines without any additional termination
 - terminate every line which ends in a TeX-macro-parameter with "%"
     (e.g. ".....\qb0a%"  or  ".....\generalmeter{\meterfrac34}%")
 - do not add "%" if a line ends with a TeX-macro without parameter
     (e.g. ".....\en"  or  ".....\bar"  or  ".....\startpiece")

This eats all CR/CR-LF/LF as well as leading blanks.

Hope this hilft -- Werner

From owner-mutex  Thu Mar 16 11:23:42 1995
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From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199503161643.AA11254@sesostris.meteo.fr>
To: mutex@stolaf.edu
Cc: Werner.Icking@gmd.de, dsimons@logicon.com
Subject: Re: musixflx with \xbar and \alaligne (was Re[2]: MusiXTeX features)
Precedence: bulk

I had a try with what Werner suggested on the list: every \xbar changed to
\bar, \mulooseness=-1 just before the 2nd \alaligne and the \endpiece; indeed
the result is as wanted. Then Werner suggested privately (and allowed me to
quote it):
>Imho, musixflx is overstressed; this can be seen if you replace \NOtes
>by \Notes. But I do not know whether this can be a solution for you.
>Another test is to insert \elemskip 5pt (or less) just in front of \startpiece
>(instead of ~6pt which is the default). Then everything is ok.

Yes, just forgetting about \mulooseness and about changing every \xbar,
the result is OK with either:
 - putting "\elemskip 5pt" before \startpiece
 - or changing every \NOtes to \Notes (I feel a little responsible for that:
   I think I told Don about using "bigger" macros like \NOtes after pmtex
   was announced, as an incident remark about the size of accidentals, but
   my reasoning was totally wrong so just ignore that, Don)
and both are pretty equivalent, as can be seen in musixdoc paragraph 2.3.2: 
"smaller" macros make the spacing a smaller number of \elemskip, which is
equivalent to keeping the macro \NOtes with a smaller \elemskip. These
spacings are relevant only before musixflx, to make it work OK, since
musixflx's job is to set \elemskip for the second pass (paragraph 1.3).

>[...] So it may be possible that you, Don, may use "\elemskip 1pt" if you
>really want to force all line breaks.
>But maybe that \elemskip will be removed from the concepts of MusiXTeX.
>Then you possibly may use another feature like \def\scalenoteskip{0.2}.

(Yes, musixdoc paragraph 2.3.2 mentions that.)
For Don's purposes (pmtex precompiler for MusiXTeX, forcing all line breaks),
\elemskip 1pt or \def\scalenoteskip{0.2} is OK, but with \afterruleskip 2pt
(thus reduced in about the same proportion: default is \afterruleskip 8pt
and \scalenoteskip defined to 1).

-- Olivier

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From: zzever@acc.wuacc.edu (everett bill)
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        zzever@acc.wuacc.edu
Subject: Sonneck_Society_Conference
Precedence: bulk


SONNECK SOCIETY FOR AMERICAN MUSIC TO MEET APRIL 5-9 IN MADISON, WI


The Sonneck Society for American Music will hold its 21st Annual
Conference on April 5-9, 1995, in Madison, WI, hosted by the School of
Music of the University of Wisconsin.

Among the special events scheduled as part of the conference are the
following:

Wednesday, April 5--Concert: Music of William Grant Still, UW School of
	Music Opera Workshop

Thursday, April 6--Research on Gender and American Music Interest Group:
	Session with literary critic Susan Friedman; Workshop: "Higher
	Ground--Exploring Gospel Music" with Jonathan Overby; Concert:
	Wisconsin Brass Quintet; Interest Group and Paper Sessions

Friday, April 7--Recital: Chamber Music of William Grant Still by the
	Sierra Winds (University of Nevada--Las Vegas); American Popular
	Music Interest Group: Session with Martha Bayles, author of
	_Hole in Our Soul_; Gala screening
	of Charlie Chaplin's classic film _The Circus_, with its 	
	original score conducted by Sonneck Society President
	Gillian B. Anderson; Interest Group and Paper Sessions

Saturday, April 8--Plenary Session with film music scholars Claudia
	Gorbman and Philip Tagg and film composer David Raskin;
	Workshop on Native American Music and Dance; Paper Sessions

Sunday, April 9--Interest Group and Paper Sessions

Many diverse topics are included on the program, including discussions of
Janis Joplin, Duke Ellington, Jay Hawkins, Grunge, Musical
Theater, Ruth Crawford Seeger, film music, and William Grant Still.


For more information on this exciting conference, please contact Susan C.
Cook, Local Arrangements Chair, at 608-263-4926 (phone), 608-262-8876
(fax), sccook@facstaff.wisc.edu (e-mail) or University of Wisconsin,
Department of Music, 3561 Humanitites Building, 455 North Park Street,
Madison, WI  53706.  One day registration is available.



----William Everett
    Chair, Public Relations Committee
    Sonneck Society for American Music
    zzever@acc.wuacc.edu



                           #@#@#@#@#@#@#@#@#@

                         William ("Bill") Everett
                           Department of Music
                           Washburn University
                          Topeka, Kansas  66621

                        (913) 231-1010, ext. 1519

                       e-mail: zzever@acc.wuacc.edu

           @#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@#@







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From: wc06 <C.Walshaw@greenwich.ac.uk>
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Subject: Re: MusiXXXXXtex
To: mutex@stolaf.edu
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Cc: C.Walshaw@greenwich.ac.uk () ()
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Hi all,

I have some questions about MusiXTeX:

	1) How does \xtuplet work.

	2) When I use \upbow or \downbow it puts the symbols in the middle
of the staff, not above it.

	3) I want to get a key signature with F#, C# and Gnatural. I can
do this in MusicTeX by hacking in

	\def\savesignature{\m@loop\o@sign=3\repeat}%

or in MusiXTeX 0.341 by

	\def\sav@signs{\m@loop\o@s=3\repeat}%

but I can't work out how to do with MusiXTeX 0.36

	Any ideas anyone?

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  20-MAR-1995 12:03:39 +0100
Subject:  Errors and bugs in musixtex 0.36
To: mutex@stolaf.edu
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>From: Dean Kelley <dean@gac.edu>
>
>Hello .... I'm trying to learn to use MusixTeX and can't seem to get things
>to happen correctly.  
>
>
>In the following I need to use 7 ties in the place 
>
>I've indicated (I'm using sslur's for most of the 7).  Since you can only use
>slur identifiers in the range [0,5] I've added "\input musixadd."  Doing so
>causes an error on the line "\startpiece" where I'm told there's a missing 
>
>number.
>
>I'd also like to have more space between the staffs but can't seem to under-
>stand how to do that from the documentation.
>
>Any help would be highly appreciated!
>
>Thanks,
>
>Dean Kelley
>Dept. of Mathematics and Computer Science
>Gustavus Adolphus College
>dean@gac.edu
>
Musixadd and musixcpt are being corrected for small bugs.
Available March 21st at rsovax.lps.u-psud.fr (version 0.361)

>
>==============================================
>
>\input musixtex
>\input musixcpt
>\input musixadd
>\startmuflex
>\hsize=100mm
>\parindent 35pt
>\def\nbinstruments{1}%
>\def\instrumenti{PIANO}%
>\nbstaffsi=2 %
=============> not standard nor documented: use \setstaffs{1}{2} or
=============> \nbporteesi=2
>\cleftoksi={6000}%
>\generalmeter\meterC
>\signi=-1%
>\startpiece
>\Notes\islurd2D\zq {D}\zcharnote A{\PED}\usfz c\issluru 1K\qu {K}|\usfz l\itied 0d\qu d\en
>\Notes\ibl0D6\tslur2D\zq {D}\tsslur1K\ql {K}|\ibl1d6\ttie 0\ql d\en
>\notes\zcharnote G{\qs}|\zcharnote g{\qs}\en
>\notes\zql d\zq f\tbbl 0\tbl 0\qb 0h|\zq r\zq m\zq o\tbbl 1\tbl 1\qb 1k\en% 
>
============> this empty line causes a \par resulting in diags!!!!
>%Need 7 ties on the following
>\Notes\itied0d\zq d\issluru1f\zq f\isluru2h\usf h\ql h|\isslurd3k\zq
>k\isslurd4m\zq m\issluru5o\zq o\issluru6r\usf r\ql r\en
>\Notes\ttie0\zq d\zcharnote A{\DEP}\tsslur1f\zq f\tslur2h\ql
>h|\tsslur3k\zq k\tsslur4m\zq m\tsslur5o\zq o\tsslur6r\ql r\en
>\endpiece
>\endmuflex
>\end
>
>
D. Taupin


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Date:  20-MAR-1995 16:01:10 +0100
Subject:  musiXtex
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Subject: musiXtex

Version 0.361 of musiXtex is posted at rsovax.lps.u-psud.fr,
directory musixtex (do "cd musixtex", not "cd MUSIXTEX.DIR")

Some small bugs of 0.36 corrected (musixcpt and musixadd), doc
also corrected.

CTAN managers, please update. Thanks.
dt

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To: mutex@stolaf.edu
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Subject: Re[2]: musixflx with \xbar and \alaligne (was Re[2]: MusiXTe
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To Olivier, Werner, and anyone else who may have been following this saga...

     It is not for lack of interest that I've been silent in the recent 
discussion on this subject.  I have been away from the office since March 15, 
taking time off to produce, rehearse, and present a chamber music concert in my 
home (the 4th annual Bach Birthday Bash), and to host the musicians who played 
with me.  There simply was no time to read the messages, much less to think 
about the content.  But now I'm back in the normal routine, and very soon will 
be able to continue pursuing the perfect music typesetting system.  Thank you 
for your interest.

--Don Simons (dsimons@logicon.com)


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Olivier CLARY <Olivier.CLARY@meteo.fr> wrote
>...
>For Don's purposes (pmtex precompiler for MusiXTeX, forcing all line breaks),
>\elemskip 1pt or \def\scalenoteskip{0.2} is OK, but with \afterruleskip 2pt
>(thus reduced in about the same proportion: default is \afterruleskip 8pt
>and \scalenoteskip defined to 1).

This method works!  But only after recognizing that 

 \elemskip 1pt\afterruleskip 2pt

must come AFTER 

 \normalmusicsize

since \normalmusicsize seems to set \elemskip and \afterruleskip.  

Armed with this knowledge, I'll be proceeding with developing pmXTeX, including 
slurs.  

--Don Simons (dsimons@logicon.com)


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From: C.Walshaw@greenwich.ac.uk
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Subject: abc2mtex v1.4 - notes for users
To: mutex@stolaf.edu, MORRIS@suvm.acs.syr.edu
Date: Thu, 23 Mar 1995 10:58:31 +0000 (GMT)
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CHANGES BETWEEN V1.4 & V1.3
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Version 1.4 is not a major release and if you are happy using 1.3
with MusicTeX and single stave output, there is not much point in
getting it. However 1.4 does contain  two  important  extensions.
Firstly,  the  code  can  also be compiled to output MusiXTeX (an
extension of MusicTeX with some nice new features). Secondly  the
code  contains  limited  support for multi-stave output - so that
abc2mtex can be used as a fast preprocessor for classical music.


	NEW FEATURES (see userguide for full details)
	~~~~~~~~~~~~

Slurs can now be coded (MusiXTeX only) with an  S  to  start  and
terminate.

The code will now transpose accidentals (thanks to Jeroen Nijhof)
and  will  put transposed guitar chords into music.tex as well as
transpose.abc.

The E: field now accepts decimals.

Rolls are now done using ile and own. The old versions (using lur
and  lur)  are available by uncommenting the lines in header.tex,
but are not compatible with MusiXTeX.

	BUGS FIXED
	~~~~~~~~~~

In draw_tie, lower tie works for pitch "A,".

In draw_group, beam length enclosed in brackets to allow for more
than 10 notes.



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Subject: ANNOUNCE: Free music notation software - abc2mtex v1.4
To: mutex@stolaf.edu, MORRIS@suvm.acs.syr.edu
Date: Thu, 23 Mar 1995 10:55:45 +0000 (GMT)
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*****************************************************************
**************  Announcing abc2mtex  version 1.4  ***************
*****************************************************************


This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it should be extendible  to
many other types of music.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The abc notation is then read in by the program  and  a  MusicTeX
file  generated  (in a matter of seconds). TeX can then be run on
this output to "typeset beautiful music".

The package is small (about 170 KByte), easy to use and features,
amongst   other  things,  the ability to transpose both music and
abc notation. It will also create an index of all the  tunes  you
have transcribed and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

You can get a copy of the package by anonymous ftp from:
	"http://celtic.stanford.edu/pub/tunes/abc2mtex"
	"ftp.gmd.de/music/musictex/software/abc2mtex"
	"ftp://ftp.shsu.edu/tex-archive/support/abc2mtex"
	"ftp://ftp.dante.de/tex-archive/support/abc2mtex"
	"ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	"celtic.stanford.edu/pub/tunes/abc2mtex/README"
tells you how to set it up.
 
If you just wish to find out about the notation have a look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/abc.txt"

or to find out more about how to use the package look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/usrguide.ps"

There are also at least  two  collections  of  abc-notated  tunes
available  on the internet. There is a large collection of mostly
Irish stuff in
	"celtic.stanford.edu/pub/tunes/abc.tunes"

and a library of morris dance tunes at
	"http://ucowww.ucsc.edu/~sla/morris/music/abclib.html"
from Steve Allen of Seabright Morris & Sword.

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
- freeware available by ftp from a number of sources such as  the
Complete TeX Archive Network (CTAN) in
	"ftp://ftp.shsu.edu/tex-archive"
	"ftp://ftp.tex.ac.uk/tex-archive"
	"ftp://ftp.dante.de/tex-archive"
You will also need MusicTeX (also available from CTAN:
	"ftp://ftp.shsu.edu/tex-archive/macros/musictex"
	"ftp://ftp.tex.ac.uk/tex-archive/macros/musictex"
	"ftp://ftp.dante.de/tex-archive/macros/musictex"
and a C compiler.

PC users can shortcut all of this by getting the contents of
	"ftp://celtic.stanford.edu/pub/tunes/dvi"
and abc2mtex executables from Ceolas.

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.4 & V1.3
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Version 1.4 is not a major release and if you are happy using 1.3
with MusicTeX and single stave output, there is not much point in
getting it. However 1.4 does contain  two  important  extensions.
Firstly,  the  code  can  also be compiled to output MusiXTeX (an
extension of MusicTeX with some nice new features). Secondly  the
code  contains  limited  support for multi-stave output - so that
abc2mtex can be used as a fast preprocessor for classical music.


	NEW FEATURES (see userguide for full details)
	~~~~~~~~~~~~

Slurs can now be coded (MusiXTeX only) with an  S  to  start  and
terminate.

The code will now transpose accidentals (thanks to Jeroen Nijhof)
and  will  put transposed guitar chords into music.tex as well as
transpose.abc.

The E: field now accepts decimals.

Rolls are now done using ile and own. The old versions (using lur
and  lur)  are available by uncommenting the lines in header.tex,
but are not compatible with MusiXTeX.

	BUGS FIXED
	~~~~~~~~~~

In draw_tie, lower tie works for pitch "A,".

In draw_group, beam length enclosed in brackets to allow for more
than 10 notes.


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Message-Id: <199503241452.PAA02894@stego.cs.ruu.nl>
To: mutex@stolaf.edu
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Subject: ANNOUNCE: EuroTeX'95 Conference
Path: piet
Newsgroups: comp.text.tex
From: piet@cs.ruu.nl (Piet van Oostrum)
Subject: ANNOUNCE: EuroTeX'95 Conference
Reply-To: piet@cs.ruu.nl (Piet van Oostrum)
Organization: Dept of Computer Science, Utrecht University, The Netherlands
Precedence: bulk

The EuroTeX conference 1995, including tutorials, will take place from

                       September 4th until September 8th

in the Netherlands. The conference will be held at Papendal, near the city of
Arnhem.

Papendal is located in one of the most beautiful areas of the Netherlands.
Right in the middle of the vast woods of the province of Gelderland. About
eight kilometers west of Arnhem. Tucked away under the lee of the green
Veluwe-fringe.

The conference starts on September 4th in the afternoon and runs until
September 7th noon.
Thursday afternoon and Friday September 8th are reserved for courses and/or
tutorials.

The theme of the conference is:

			     The TeX Toolbox

Wherever we talk about `TeX' we mean TeX and a format, such as plain, LaTeX,
AMSTeX, etc.

We would like to have talks that deal with topics such as:

   * the integration of TeX in the working environment, or using TeX in full
     (bidirectional) co-operation with all kinds of other applications;
   * conversion to and from TeX;
   * dissemination of typeset material (PostScript, Acrobat);
   * importing text and/or data from other applications (spreadsheets,
     databases) into TeX documents;
   * how to add value to documents by using TeX, so that they can not only be
     easily typeset, but can also be turned into `active' hyperdocuments, by
     translating them into SGML/HTML or Acrobat, or be used as data for
     database searches;
   * multi-discipline, multi-language aspects of TeX;
   * `novel' uses of TeX such as bi/multi-lingual translations/dictionaries,
     legal texts, poetry,...

We would also like to offer courses and/or tutorials on any of the following
topics:

   * introduction to using LaTeX;
   * LaTeX for package and class file writers;
   * Making PostScript (Truetype) fonts available for use in TeX documents;
   * database publishing with (La)TeX;
   * (La)TeX and hypertexts, HTML, SGML, hyperTeX.

If you feel qualified to teach one of these subjects or think other topics
should be covered, please send us your proposal.

Please notice the following (preliminary) deadlines:

April 10th  : date when abstracts should be received
April 20th  : date to tell authors their abstract has been accepted/rejected
May 15th    : date to receive full papers (using LaTeX or EuroTeX style)
June 15th   : date the reviews should be finished
June 25th   : date to receive the final paper

Your abstracts and proposals can be sent to eurotex-papers@cs.ruu.nl

If you have no access to e-mail you can send your contribution to:

     EuroTeX'95 program committee
     Kooienswater 62
     2715 AJ Zoetermeer
     The Netherlands

In such a case we would ask you to submit your paper in electronic form on a
(MS-DOS compatible) floppy disk.

------------------------------------------------------------------------
For additional information you may e-mail to eurotex-info@cs.ruu.nl.
Up-to-date information can also be found at the URL:
   http://www.cs.ruu.nl:~piet/eurotex/


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From: Piet van Oostrum <piet@cs.ruu.nl>
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Unfortunately the WWW address at the end had a typo:

It should be:
    http://www.cs.ruu.nl/~piet/eurotex/

-- 
Piet van Oostrum <piet@cs.ruu.nl>
http://www.cs.ruu.nl/~piet

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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  27-MAR-1995 10:59:45 +0100
Subject:  midi2tex
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Subject: midi2tex

 My opinion has been asked about a paper for the French Tex User Group (GUT)
in next June, bout conversion of midifiles to MusicTeX. Obviously the
tentative authors ignore midi2tex.

 Therefore I ask to all people using/knowing midi2tex (including the
original author) to e-mail their docs/experiences to:

 mbeig@emse.fr      or   girardot@emse.fr

Thanks to all of you.

D. Taupin

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****

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From: prw-b@ugrad.cs.york.ac.uk
Date: Wed, 29 Mar 95 22:00:45
Message-ID: <swordfish.796511492@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Question about MusiXTeX
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I am returning to do some typesetting using MusicTeX (having not done any for
about 2 years). I would like to ask the following questions ...

What is MusiXTeX .... ??
Is there an available asthetics guide for music typesetting?
What are the rules for the positioning of stems within piano music?
	Do high notes stem-down and low notes stem-up?
	What happens to middle-ish notes/chords?
	What happens within (for example) high-low-high arpegios.
Is their an example of a piano work _with_ footnotes and style guidance?

Thanks in advance,

Regards,

Peter Wainwright.


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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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Subject: style in music
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	From: prw-b@ugrad.cs.york.ac.uk
	Date: Wed, 29 Mar 95 22:00:45

	Is there an available asthetics guide for music typesetting?

Yes.  When I was a boy I saw a very good one at the public library,
but I can't remember the author's name.

	What are the rules for the positioning of stems within piano music?
		Do high notes stem-down and low notes stem-up?
		What happens to middle-ish notes/chords?
		What happens within (for example) high-low-high arpegios.

As a rule, notes below the middle line have upward stems; notes on or
above it have downward stems.  Notes on the middle line may point upward
on the least provocation.  For beams you use whichever direction pre-
dominates.  The slope of the beam should equal the slope from the first
note head to the last--unless the stems point in opposite directions.
Of course a trill or simple alternation, especially if repeated, often
looks better with a horizontal beam.

The only other rule I remember is that the note heads in squashed chords
are placed starting at the head end and working toward the stem end, with
a head going on the wrong side of the stem only if the previous head
is a single step away on the right side.  This holds even with whole notes,
which are placed along the stem that they would have if they were half
notes.  An example follows.

						--Col. G. L. Sicherman
						  gls@hrcms.att.com

% MusicTeX 1.0
\input musicnft%
\input musictex%
\input musicadd%
% ----- General-purpose definitions:
\let\beginpiece=\debutmorceau
\let\susppiece=\suspmorceau
\let\endpiece=\finmorceau
\let\nstavesi=\nbporteesi
\let\nstavesii=\nbporteesii
%
\def\nbinstruments{1}%
\generalmeter{\meterfrac{4}{4}}%
\signaturegenerale{3}% F-sharp minor
\nstavesi=2%
\cleftoksi={{6}{0}}
% \def\wbarno{\relax}% Suppress bar-numbering.
\beginpiece\normal
% bar 1
\temps
\Notes\llap{\rmidtwotext{\ppff ff}}\sk\zw{F}\wh{M}|%
\Uptext{\moyen Liberamente}\sk\sh{d}\rw{dg}\zw{cf}\wh{h}\enotes
% bar 2
\barre
\Notes\wh{M}|\rw{g}\zw{^dfh}\wh{j}\enotes
%bar 3
\barre
\Notes\qsk\wh{F}{\rmidtwotext{\rlap{\it diminuendo}}}|%
\sh{i}\qsk\rw{gi}\zw{fh}\wh{^k}\enotes
%bar 4
\barre
\Notes\qsk\qsk\wh{M}|\sh{g}\qsk\dsh{f}\sh{k}\qsk\zw{gk}\lw{fj}\wh{m}\enotes
%bar 5
\barre
\Notes\qsk\qsk\wh{f}|\na{m}\sh{h}\qsk\sh{k}\qsk\lw{hm}\zw{ik}\wh{n}\enotes%
%bar 6
\barre
\Notes\qsk\qsk\wh{M}|%
\sh{e}\qsk\sh{h}\qsk\dsh{f}\sh{i}\rw{fi}\zw{eh}\wh{l}\enotes%
%bar 7
\barre%
\Notes\qsk\wh{F}|\sh{h}\qsk\rw{g}\zw{>fhj}\wh{^l}\enotes%
%bar 8
\barre%
\Notes{\transpose=-7\relax\qsk\qsk\wh{F}}|%
\sh{d}\qsk\sh{h}\qsk\sh{i}\rw{i}\zw{d>fh}\wh{j}\enotes%
%bar 9
\barre%
\Notes\qsk{\transpose=-7\relax\wh{=G}}|%
\sh{d}\qsk\sh{i}\rw{i}\zw{dfh}\wh{b}\enotes%
%bar 10
\barre%
\Notes\qsk\wh{=G}|%
\sh{h}\qsk\dsh{f}\sh{i}\rw{fi}\zw{hj}\wh{e}\enotes%
\susppiece
\end

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From owner-mutex  Thu Mar 30 07:23:44 1995
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From: carvalho@laas.fr (Himilcon Carvalho)
Message-Id: <199503301145.AA17056@babar.laas.fr>
To: mutex@stolaf.edu
Subject: midi2tex compilation problem.
Reply-To: carvalho@laas.laas.fr (Himilcon Carvalho)
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Hello all,

I've down loaded the C sources for "midi2tex" and tried to
compile then under UNIX using the GNU gcc compiler. I've had
some troubles with  the functions:

	memmove, fsetpos, fgetpos 
	(at linking time, "ld: Undefined symbol" error)

and a not defined typedef: 
	
	fpos_t (that I think could be a "long")

Has someone successfully compiled those sources?

Thanks,

Himilcon

-- 
===================================================================
Himilcon CARVALHO	 	  |  LAAS  -  Laboratoire d'Analyse 
Email: carvalho@laas.laas.fr	  |  et d'Architecture des Systemes
Fax: (33) 61.55.35.77 		  |  7, Avenue du Colonel Roche
Tel: (33) 61.33.62.95		  |  31077 TOULOUSE  CEDEX - FRANCE
===================================================================

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Date: Thu, 30 Mar 1995 13:49:43 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199503301149.AA14126@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: style in music
Cc: gls@cnvnja.jazz.att.com, prw-b@ugrad.cs.york.ac.uk
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> 	From: prw-b@ugrad.cs.york.ac.uk
> 	Date: Wed, 29 Mar 95 22:00:45
> 
> 	Is there an available asthetics guide for music typesetting?
> 
> Yes.  When I was a boy I saw a very good one at the public library,
> but I can't remember the author's name.

I use (here in Germany) a book by Chlapik, but it's in German. But 
there are many books on this topic with a lot of rules, which are 
often contradictory (?) in the same book.

The book I like most is  "K. Hader, Aus der Werkstatt des Notenstechers,
Wladheim-Eberle Verlag, Wien 1948" -- it's in German, too. It's 
available in public music library here in Bonn and I would like
if it were mine :-(

In addition each publisher has own rules.

But there is always a last rule: it must look nice or beautiful. 
And this rule is sometimes in conflict with others.

> 	What are the rules for the positioning of stems within piano music?
> 		Do high notes stem-down and low notes stem-up?
> 		What happens to middle-ish notes/chords?
> 		What happens within (for example) high-low-high arpegios.
> 
> As a rule, notes below the middle line have upward stems; notes on or
> above it have downward stems.  Notes on the middle line may point upward
> on the least provocation.

MusiXTeX can handle this automatically if you use \ha, \qa, \ca ... instead
of \hl or \hu ... This can be important if you typeset the same music for
different clefs as I did e.g. in the dice-music by Kirnberger (ftp,gmd.de
/music/scores/kirnberger/...).

> For beams you use whichever direction pre-
> dominates.  The slope of the beam should equal the slope from the first
> note head to the last--unless the stems point in opposite directions.

I prefer beams with a slope less than the slope of the note heads e.g.

\def\nbinstruments{1}%
\debutextrait\NOtes\ibu0f1\qh0{def}\tbu0\qh0g%
                \ibu0g{-1}\qh0{gfe}\tbu0\qh0d\enotes\finextrait
\debutextrait\NOtes\ibu0e3\qh0{ceg}\tbu0\qh0{'c}%
                \ibu0b{-3}\qh0{c`ge}\tbu0\qh0c\enotes\finextrait\bye

Werner

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From: sigcsj@EB.se (Christer Sjoberg)
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SIGNOFF mutex

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Reply-To: Nigel Warner <nwarner@sprogins.win-uk.net>
To: mutex@stolaf.edu
Date: Fri, 31 Mar 1995 11:19:45
Subject: Re: midi2tex compilation problem.
From: Nigel Warner <nwarner@sprogins.win-uk.net>
Precedence: bulk

 
>Hello all,
>
>I've down loaded the C sources for "midi2tex" and tried to
>compile then under UNIX using the GNU gcc compiler. I've had
>some troubles with  the functions:
>
>       memmove, fsetpos, fgetpos 
>       (at linking time, "ld: Undefined symbol" error)
>

For general information, I have compiled these sources under TC++
3.0. They run but do not work, ie: they will not process the
example files that come with the kit !.


        Regards, 
        
                Nigel Warner. 


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From: Marcin Gierdalski <baclofen@nencki.gov.pl>
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To: mutex@stolaf.edu
Subject: Ancient notations
In-Reply-To: <46@sprogins.win-uk.net>
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Hello all,
I am interesting in more ancient music notations, particularly in 
gregorian "notae quadratae". As stated in documents included in MusicTex 
gregorian notes represented there are very poor and, I suppose, not 
allowing to construct all these, quite complicated, composed groups in
melismata. Do you have any experience in building such prints using
MusicTex? Please, help.
Thanks in advance

Marcin Gierdalski

baclofen@nencki.gov.pl

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Date: Tue, 4 Apr 95 13:48:36 EST
From: robert@alfred.anu.edu.au (Robert Mahony)
Message-Id: <9504040348.AA09081@barton.anu.edu.au>
To: mutex@stolaf.edu
Subject: formatting and line breaking in abc2mtex
Precedence: bulk


Hi, 

I have a couple of (I hope) easy questions that some guru out there may be 
able to answer in a trice. 

I'm using abc2mtex V 1.4 as a preprocessor to produce tex code for 
MusiXteX.  My questions are:


Q. How do you insert verticle space.  The old musictex macro's from 
abc2mtex 
	\qsk \medskip and \bigskip 
dont seem to work with musixtex.  Primarily, I'd like to put extra spaces 
between some staves, i.e. separate variations from tunes etc. 

Q. How do you deliberately terminate the end of each line.  I want to 
ensure there are 4 bars (or more if there are 1st and 2nd time bars) 
per line so that the natural phrasing of the folk tunes I'm typesetting 
are easier to read.  The old abc2mtex system of a carrige return doesn't 
appear to operate with musixtex.   I have tried placeing \alaligne on a new 
line at the end of each line.  This works ok except it seems to create 
an extra bar with no music in it appearing at the start of the next line.  
The command \zalaligne removes the previous bar line which I still want to 
appear at the end of the previous line. 

If anybody can help with these questions I'd be very thankful.  

Rob. 

P.S.  I'd also like to say a) how impressed I am with the quality of the 
music typesetting programmes musictex and musixtex and b) how impressed I 
am with the ease of understanding (and using) the programme abc2mtex. 






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From: J Scott Stewart <scotts@orbit.Colorado.EDU>
Subject: ? setting up MusicTeX
To: mutex@stolaf.edu
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Hi,

I have (I believe) successfully uncompressed the files for version 5.02
of musictex.  I cannot seem to get the TeX program to work with the new
note fonts, however.  I try to 'tex', for instance, the file musicdoc.tex
and can't get any notes, slurs, etc.  I have tried copying the *.mf, *.tfm,
and *.pk files to (/usr/local/TeX/lib)/mf/inputs, ()/fonts/tfm, and
()/fonts/pk since they seemed to belong there, but that didn't work
either.

I'm not much of a TeX expert, and certainly have never tried to create
my own fonts.  In fact, I usually just use LaTeX, and even then just
try to modify existing template files.

Am I missing something obvious about installing MusicTeX?  Even xdvi-ing
the *.dvi files that come with the release causes the viewer to substitute
the cmr20 font for any (presumably) notational font it can't find.

Thanks in advance for any assistance!

-Scott


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From: "SIMONS, DON" <dsimons@logicon.com>
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Marcin Gierdalski <baclofen@nencki.gov.pl> wrote

>I am interesting in more ancient music notations, particularly in 
>gregorian "notae quadratae". As stated in documents included in MusicTex 
>gregorian notes represented there are very poor and, I suppose, not 
>allowing to construct all these, quite complicated, composed groups in
>melismata. Do you have any experience in building such prints using
>MusicTex? Please, help.
>Thanks in advance

I'm not sure exactly what you're looking for, but have you checked out MusiXTeX?
It has pretty exotic stuff, including square- and diamond-shaped notes, 4-line 
staffs, and a special Gregorian alto clef.

Don Simons (dsimons@logicon.com)


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From: prw-b@ugrad.cs.york.ac.uk
Date: Wed, 5 Apr 95 19:35:28
Message-ID: <swordfish.797107229@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Musixtex
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Realising that Musixtex is still in beta form, to whom do I send suggestions
and comments.

Peter Wainwright.


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Subject: Re: Musixtex
In-reply-to: Your message of "Wed, 05 Apr 1995 19:35:28." <swordfish.797107229@ugrad.cs.york.ac.uk>
Date: Thu, 06 Apr 1995 00:33:36 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Peter Wainwright writes:

> Realising that Musixtex is still in beta form, to whom do I send suggestions
> and comments.

I've recently had mail from Herr Andreas Egler saying that "the
problem" is "solved" since he's not working on it any more.  (FWIW, I
think this is a very sad thing, since there's good work in the package
that would probably be best progressed by the original author.)

I guess the best that you can do is to mail comments to the list; with
a bit of luck some public-spirited person will collect them and
undertake work on the package (sadly I already have *far* too much on
my plate to do the work).

Even if no-one does collect them, we're assured that the messages on
the list are archived, so it will be a reasonable job to retrieve them
if someone accepts the challenge later.

Robin Fairbairns

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From: pinard@iro.umontreal.ca (François Pinard)
To: mutex@stolaf.edu
CC: mutex@stolaf.edu
In-reply-to: <"swan.cl.cam.:222340:950405233344"@cl.cam.ac.uk> (message from Robin Fairbairns on Thu, 06 Apr 1995 00:33:36 +0100)
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   > Realizing that Musixtex is still in beta form, to whom do I
   > send suggestions and comments.

   I've recently had mail from Herr Andreas Egler saying that "the
   problem" is "solved" since he's not working on it any more.
   [...]  with a bit of luck some public-spirited person will
   collect them and undertake work on the package [...]

Just a few thoughts.  I did not study MusiXTeX yet, but I and a few
other persons have been interested for a long while in programming
works related to score editing.  I have some other pressing duties
to accomplish first, but it looks plausible to me to involve myself
in that direction one day.  It would also seem natural to me that
Daniel Taupin be himself interested in MusiXTeX.

On the other end, I (and presumably others) would fear involving
themselves in a package without clear copyright conditions.  If I
read correctly, the author prohibits some distribution channels
and allows others.  He may have other hidden desires, or agenda.
If he does not like his/her successors work, he has all rights
to pull the rug under their feet.  A magnetic copyright in some
distributed source does not necessarily bind the publisher, it
is more a warning to the user than anything else.  Maybe I'm too
cautious, but I'm now used to copyrights being assigned to the FSF
or being disclaimed in writing, and got the feeling this is a safe
attitude for work designed to be available in a long lasting way.

-- 
François Pinard        ``Vivement GNU!''        pinard@iro.umontreal.ca
About the League for Programming Freedom?  Email me or lpf@uunet.uu.net

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From: pinard@iro.umontreal.ca (François Pinard)
To: mutex@stolaf.edu
Subject: The current MusiXTeX situation
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Hi, people.  One more note.  In this MusiXTeX announcement:

   From: TAUPIN@rsovax.lps.u-psud.fr
   Date:  13-FEB-1995 17:43:08 +0100
   Subj:  MusiXXXXXtex
   To: mutex@stolaf.edu.info-tex@shsu.edu, mutex@stolaf.edu

   Subject: MusiXTeX

Daniel writes:

   It is a free copy software (their posting in CTANs is wished), but
   you are not allowed to spread modified versions of it without the
   consents of the three authors (of course changing font resolution
   is not a "modification").

A software which I cannot merely improve and pass on to others is
not really free to my eyes.  It is free in that particular meaning
that no money is involved, but not free as in `freedom'.

For example, I maintain a few packages which others *may* modify
and pass on.  The main reason people return to me is that I (try
to) do good maintenance.  If I ever fail to do so, the packages
I maintain will not die with me.  Anyone doing a better job can
take the torch over, with or without my consent.  Most users which
already have confidence in me will stick to my development lines,
but they are *free* to switch over elsewhere if they want to.

I think MusiXTeX should be set free before being developed further
for and by the community.  This requires that *all* authors agree and
collaborate to this.  An email message would not have legal value.
Disclaimers should be sent *in writing*, somewhere, maybe to Daniel.

On the other end, even if we like Daniel a lot and it is sad to
say, Daniel is no more eternal than any of us.  It would be more
wise to use an organism, like the Free Software Foundation, meant
to survive its members, for saving those written disclaimers.

-- 
François Pinard        ``Vivement GNU!''        pinard@iro.umontreal.ca
About the League for Programming Freedom?  Email me or lpf@uunet.uu.net

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From: khan@informatik.fh-hamburg.de
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To: mutex@stolaf.edu
Subject: trouble with notes 
Date: Thu, 06 Apr 95 19:53:38 +0200
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Hello,

Can anyone point me in the rigth direction ?

When i start latex (on the musidoc.tex) it says something like :

! Undefined control sequence.
\theindex ...} \parindent \z@ \parskip \z@ \@plus
                                                  .3\p@ \relax \let \item \@...
l.2  \begin{theindex}

then i make run.



after that with xdvi musidoc.dvi it says :
Can't find font cmcsc10 at 270 dpi; using 300 dpi instead.
Can't find font musicbrb; using cmr10 instead at 300 dpi
Can't find font beamn13; using cmr10 instead at 300 dpi
Can't find font beamn20; using cmr10 instead at 300 dpi
Can't find font musikn13; using cmr10 instead at 300 dpi
Can't find font slurn20; using cmr10 instead at 300 dpi
Can't find font musikn16; using cmr10 instead at 300 dpi
Can't find font musikn20; using cmr10 instead at 300 dpi


But i've installed all these fonts.
Any hints ?

-----------------------------
Ronald Ali-Khan 
khan@informatik.fh-hamburg.de

Hamburg, Germany

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Date: Thu, 6 Apr 1995 20:36:23 +0200
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@stolaf.edu
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> after that with xdvi musidoc.dvi it says :
[...]
> But i've installed all these fonts.
> Any hints ?

xdvi sounds like you have to rename the *.pk files to *.300pk

(or maybe take the 600dpi *.pk files and rename them to *.600pk)

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From: joel@wam.umd.edu (Joel M. Hoffman)
To: mutex@stolaf.edu
Subject: Abc2mtex bug
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[I hope this is the right place to post about abc2mtex]

I tried using the n-tuple feature of abc2mtex today, and found a bug.
In 4/4, there's no way to get quarter note triplets.  I tried and
abc2mtex complains about there not being enough notes in the ntuplet.

And while on the topic, dotted rythem doesn't work in grace notes, but
I can live with that.

-Joel
(joel@wam.umd.edu)

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cc: mutex@stolaf.edu
Subject: Re: trouble with notes
In-reply-to: Your message of "Thu, 06 Apr 1995 19:53:38 +0200." <9504061753.AA24389@froggy>
Date: Thu, 06 Apr 1995 22:20:00 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:171540:950406212007"@cl.cam.ac.uk>
Precedence: bulk

> 
> Hello,
> 
> Can anyone point me in the rigth direction ?
> 
> When i start latex (on the musidoc.tex) it says something like :
> 
> ! Undefined control sequence.
> \theindex ...} \parindent \z@ \parskip \z@ \@plus
>                                                   .3\p@ \relax \let \item \@...
> l.2  \begin{theindex}
> 
> then i make run.

I don't understand this last remark.

> after that with xdvi musidoc.dvi it says :
> Can't find font cmcsc10 at 270 dpi; using 300 dpi instead.

A self-respecting installation of xdvi would generate it.

> Can't find font musicbrb; using cmr10 instead at 300 dpi
> Can't find font beamn13; using cmr10 instead at 300 dpi
> Can't find font beamn20; using cmr10 instead at 300 dpi
> Can't find font musikn13; using cmr10 instead at 300 dpi
> Can't find font slurn20; using cmr10 instead at 300 dpi
> Can't find font musikn16; using cmr10 instead at 300 dpi
> Can't find font musikn20; using cmr10 instead at 300 dpi
> 
> But i've installed all these fonts.
> Any hints ?

It's kind of difficult to give hints, when you give us essentially
none.

You don't tell us what version LaTeX you're using, you don't tell us
what sort of system you're running, and so on.  It's plain that you
haven't installed the fonts somewhere that xdvi can see them, but the
reasons that this might be happening are legion.  Tell us about your
configuration, tell us about where the .pk files are, and so on.

Robin


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From: khan@informatik.fh-hamburg.de
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Cc: Werner.Icking@gmd.de
Subject: SUMMARY: trouble with notes 
Date: Fri, 07 Apr 95 11:25:31 +0200
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Thanks to all who responded !

I wrote :

>> ..
>> after that with xdvi musidoc.dvi it says :
>> Can't find font cmcsc10 at 270 dpi; using 300 dpi instead.
>> Can't find font musicbrb; using cmr10 instead at 300 dpi
>> ..


Werner Icking <Werner.Icking@gmd.de>
Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
answered.

I hope, i've forgotten nobody, because I had trouble, with my mail,
this morning.

First, sorry for this informations, but i were naiv, asking
questions with only a few informations.

In spite of this, Werner wrote :

> xdvi sounds like you have to rename the *.pk files to *.300pk
> (or maybe take the 600dpi *.pk files and rename them to *.600pk)

I did this, and it was excactly the solution for my Problem.
xdvi looked for the *300pk Paked Fonts, but found only the above.
After copying it, worked well. I now have Problems with dvips, but
I think I do a little more work on this.

THANKS A LOT, Werner !!!

Some background :
I installed the web2c-6.1 Package on Tuesday on an
Digital Alpha 3000/600, running under OSF/1 v3.0 with
96 MB Main memory.
It needed only a few corrections in the source (due to the 64 bit 
addressing mode of the alpha), and it made no Problems
except for those many enviroment variables, pointing to this and that.
Yesterday, I installed MusicTex on that.

I am playing as a hobby Ziehharmonika (distonic Accordeon)
and (of course Guitar). Now i can type my notes, and my
transpositions from music notation to the special
diatonic Accordeon notation.

See you, your Ronald

-----------------------------
Ronald Ali-Khan 
khan@informatik.fh-hamburg.de

Hamburg, Germany

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From: prw-b@ugrad.cs.york.ac.uk
Date: Sun, 9 Apr 95 16:18:15
Message-ID: <swordfish.797440816@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: macro question
Precedence: bulk


A couple of questions for the TeX gurus out there ...

[1]	Is it possible to create a macro, whose arguments are separated 
	by a divider of some sort.

	Eg. beam-u abcde|f|a|f|6
	To produce a 6 note beam ... [abcdef] with a sloping beam from a to f

	I find this format easy to read. I think I saw parameter separating in 
	some latex code once, but can't rmember how it was done.

[2]	Is there a macro to tell me now many notes are defined within 
	braces {} ?

Regards,

Peter Wainwright.


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From: prw-b@ugrad.cs.york.ac.uk
Date: Mon, 10 Apr 95 21:37:58
Message-ID: <swordfish.797546456@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Newsgroup ....
Precedence: bulk


Is there a possibility of a musictex/musixtex newsgroup being 
formed (Comp.text.tex.music) ?
Is there enough demand for it ?
Has this been though about before ?

Just askin' ...

Peter Wainwright.


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Subject: Re: Newsgroup ....
In-reply-to: Your message of "Mon, 10 Apr 1995 21:37:58." <swordfish.797546456@ugrad.cs.york.ac.uk>
Date: Tue, 11 Apr 1995 00:22:10 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:116310:950410232220"@cl.cam.ac.uk>
Precedence: bulk

One of the criteria for creating a new mainstream group from a mailing
list is that it should have significant traffic.  I couldn't put my
hand on my heart and make that claim for this list...

R


From owner-mutex  Mon Apr 10 21:23:43 1995
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From: prw-b@ugrad.cs.york.ac.uk
Date: Tue, 11 Apr 95 01:22:59
Message-ID: <swordfish.797560270@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Re: Newsgroup ....
Cc: mutex@stolaf.edu
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> One of the criteria for creating a new mainstream group from a mailing
> list is that it should have significant traffic.  I couldn't put my
> hand on my heart and make that claim for this list...
> 
> R

Would the creation of a group promote more mtex traffic ??
I think more people would contribute to a newsgroup than 
a mailing list. This is almost certainly good for the cause.
As for low usage, I'm sure it wouldn't be the lowest used group ...
alt.fan.ok-soda + alt.spleen possibly :)

Just an idea ...

Peter Wainwright.


From owner-mutex  Tue Apr 11 09:23:43 1995
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Date: Mon, 10 Apr 95 03:10:07 PDT
From: auk@pro-pete.cts.com (Jimi Sterling)
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To: mutex@stolaf.edu
Subject: re: Csound->MusicTeX?
Precedence: bulk

 >Date: Wed, 1 Mar 1995 12:46:40 -0500
 >From: Curt Malouin <malouin@engin.umich.edu>
 >Message-Id: <199503011746.MAA13335@azure.engin.umich.edu>
 >Subject: Csound->MusicTeX?
 >
 >Does anyone know of a program that converts Csound .sco files
 >to MusicTeX files?
 >
 >thanks in advance,
 >
 >        -curt
 >
 >
 
    This area has interested me greatly over the long duration I was
previously subscribed to this superb list.  Unfortunately my account
was mercilessly obliterated (without warning!) a few monthes ago, and
I'm just now re-subscribed so I've missed whatever has developed since,
but here are my observations:
 
        There exists Midi2Tex (I might be slightly off on exact names,
as my mutex archives went the way of the bitbucket, and I don't have gopher
/ftp access with which to look them up, so please bear with me..)  or is it
Midi2MusicTeX, the program by a fine member of the mutex list which
converts midi files to MusicTeX so that one can play something on their
MIDI'd instrument and see what it looks like in score.  We also have
abc2mtex, another excellent contribution from a list subscriber, which
provides for text-based scoring not as cumbersome and technical as
TeX code itself.  When that was in it's conceptual stages of development,
I remember making a case to the programmer (a chap in the uk, if I
remember correctly) that perhaps Csound's  SCOre Translator (SCOT)  format
should be adopted/supported, but it seems my case wasn't presented
explicitly enough.  The big incentive to go the SCOT-format route was so
that one could hear, via Csound, text-based compositions and also print
them out via MusicTeX.  The last version of abc2mtex that I was aware of
has a format similar to SCOT, so that with some tweaking here & there
someone (I'll have at it if no one else has by the time I get a UNIX box)
should be able to modify/enhance abc2mtex toward this end.
        What does this have to do with .sco files?  Well, SCOT is a front
end
for the writing of .sco files, so perhaps you could be using SCOT to
generate the types of .sco files you're dealing with (but this assumes you
didn't know about SCOT.  Maybe you aren't using it because of its
complexity
limitations.)  If so, all you need is the hypothetically upgraded version
of
abc2mtex, which would be more precisely described as scot2mtex, and you'd
have your conversion to MusicTex as well as your Csound-able .scot files.
        In the case of .sco files being the format in which you're nec-
cessitated to work, you could do the trick with what should be a pretty
simple bit of programming--  a .sco->MIDI converter.   This is where I
personally feel consternation, because many years ago when I was learning
Csound 1.0 in electronic music class, I saw the need and set out to write
utilities for Csound->MIDI as well as MIDI->Csound conversion.  For some
reason I completed the more difficult directin first:  midi->.sco  ...
only to never get around to finishing my .sco->midi converter.  Time
passed,
and sure as Murphy, MIT comes out with Csound v2, which has MIDI routines!
Yay!  But upon inspection one finds that there exist only functions for
reading midi files into Csound, with the simpler scorefile->midifile
operation not accomodated.   So now I have my own kludged midi2sco code
as well as MIT's full-featured routines, but zilch with which to convert
in the other direction.  Again, I've been away from all this for awhile,
so if they've finally released a Csound update which does this simple task,
someone please correct me!
        Of course I've envisioned, all along, something along the lines of
Sox but for musical score formats such as midi, .sco, .scot, Musictex, ..
dmcs, cakewalk, .wav.... some way to merge the functins of Csound and Sox,
with extended support for some of the many funky formats out there, would
sure be awesome.  Anyone have ideas on what basic structure to build from?
 
        In other words, Curt, "No, unless someone's written .sco->midi
routines, which could be combined with midi2mtex to pull it off."
 
auk@pro-pete.cts.com                    (formerly igor@charles.ucdavis.edu)

From owner-mutex  Tue Apr 11 15:23:47 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA15392; Tue, 11 Apr 95 20:01:41 +0200
Date:  11-APR-1995 19:09:24 +0100
Subject:  MusiXTeX, version 0.374 available
To: mutex@stolaf.edu, icking@gmd.de
Precedence: bulk

Subject: MusiXTeX version 0.374
New version 0.374 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" avec ftp anonymous login)

Changes:
 - 0.374 MusiXtex.sty updated to facilitate titles and headings
 -       doc updated
 -       MusiXtex.ins file provided to build a MusiXTeX format
 - 0.373 few small bugs corrected

Daniel Taupin


From owner-mutex  Tue Apr 11 17:23:44 1995
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From: prw-b@ugrad.cs.york.ac.uk
Date: Tue, 11 Apr 95 18:13:19
Message-ID: <swordfish.797620877@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Newsgroups
Precedence: bulk


OK, having received a plethora :) of mail about newsgroups, mailing lists, 
advantages and disadvantages, compare and contrast etc ... Here is my 
penny's worth (for those who asked) ...

I personally much prefer reading articles and their responses in a threaded 
newsreader environment. It is much easier (IMHO) to follow a thread, 
view previous articles, and therefore post coherent followups. 

I mentioned that possibly a NG would promote more flow of information.
It was pointed out to me that this may also produce more flow of junk.
I do not think this would be that much of a problem; I can't see 
comp.text.tex.music really inspiring the junk merchants on the net into
a frenzy of producing obscure and offensive postings :). Quite the opposite.
In my University, I am lead to believe that MusicTeX is going to be 
installed soon for use by a number of Music-Technology/Music/
Computer Science students + staff. Under these circumstances, I believe 
a NG would provide a better service than a ML (and possibly be more 
economical on disk-space and bandwidth).

Out of interest, is there anybody out there who would not prefer to 
browse with their favorite newsreader, as opposed to their favorite 
mailreader.

Somebody mentioned the possibility of a WWW site, with examples, help,
advice, and possibly even audio samples of the music shown .....
(what next .. netwide interactive cyber composition ;])

Anyway, it may be that this ML does not warrent a newsgroup all of 
its own. Please post any feedback to this list, and not just to me.

Regards,

Peter Wainwright.

--------------------------------------------------------------------------
|        ___        | Peter Robert Wainwright                            |
|      /'   `\      | c/o Goodricke College                              |
|     | O _ O |     | University of York                                 |
|     /  \_/  \     | York YO1 5DD                                       |
|   .' /     \ `.   | England                                            |
|  / _|       |_ \  |                                                    |
| (_/ |       | \_) | Email : prw-b@minster.cs.york.ac.uk                |
|     \       /     |         prw4@unix.york.ac.uk                       |
|    __\_>-<_/__    | http  : http://Student1.cs.york.ac.uk:8001/~prw-b/ |
|    ~;/     \;~    -----------------------------------------------------| 
|                    "I hate wearing penguin suits!"                     |
--------------------------------------------------------------------------


From owner-mutex  Tue Apr 11 23:23:45 1995
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From: griffiab@elec.canterbury.ac.nz
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I would like to put my vote in for a Newsgroup, as I feel the threading
system would make the posts a lot easier to follow.  Anthony

From owner-mutex  Wed Apr 12 01:02:55 1995
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cc: mutex@stolaf.edu
Subject: Re: Newsgroups
In-reply-to: Your message of "Tue, 11 Apr 1995 18:13:19." <swordfish.797620877@ugrad.cs.york.ac.uk>
Date: Wed, 12 Apr 1995 00:54:05 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:122000:950411235423"@cl.cam.ac.uk>
Precedence: bulk

Peter Wainwright writes that he thinks he would get better value from
a newsgroup than he does a mailing list.  There have been regular
proposals from the readership that comp.text.tex should be split, and
they've always, finally, died an entirely appropriate death (IMHO, at
least).

comp.text.tex is a big newsgroup, sure, but by the standards of these
things it's not all _that_ large; when groups of similar size have
split in the past, they've typically been terribly bogged down by
crossposting.  That's not a problem for Peter (or for me) -- we both
use decent threaded newsreaders, but for the majority cross posting is
the bane of their life (these are the users who dial up: there are 25
000 hosts in the demon.co.uk domain, for example, the biggest single
domain in the UK ... goodness knows *how* many people there are on AOL
-- they're not all spammers).

One parochial UK point, Peter: we are hopelessly short of
transatlantic bandwidth at the moment.  The news gateways into the UK
are in a chronic state (as you would realise if you read comp.text.tex
for any extended period).  The thread structure as evidenced here is
so chaotic as to be almost incomprehensible; I saw today an original
post whose answers (from Ireland and Germany) had arrived a week and a
half before the original.  In short, a comp.text.tex.music would *not*
be a panacea for you, whatever it might do for the people out there in
the rest of the (real) world...

Robin Fairbairns
CTAN co-admin, general nosey parker, and so on...

From owner-mutex  Wed Apr 12 05:23:43 1995
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Date: Wed, 12 Apr 1995 11:58:33 +0100
To: mutex@stolaf.edu
From: spahaut@ulb.ac.be (Serge J. Pahaut)
Subject: approval of threaded presentation
Precedence: bulk

Peter R. Wainright says

>It is much easier (IMHO) to follow a thread,
>view previous articles,
>and therefore post coherent followups.

This is true.
Does the MAIL option DIGEST exist on our listserv?



_________________________________________________________
Serge Pahaut
Universit'e Libre de Bruxelles (CP 231)
Campus Plaine, Boulevard du Triomphe
B-1050 Bruxelles, Belgique
_________________________________________________________
Phone 32-2-647 02 75
Fax     32-2 650 57 67
E-mail spahaut@ulb.ac.be
_________________________________________________________



From owner-mutex  Wed Apr 12 09:23:45 1995
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Subject: Re: approval of threaded presentation 
In-reply-to: Your message of Wed, 12 Apr 1995 11:58:33 +0100.
             <v01510109abb162408346@[164.15.125.86]> 
Date: Wed, 12 Apr 1995 08:56:13 -0500
From: Craig D Rice <cdr>
Precedence: bulk

> This is true.
> Does the MAIL option DIGEST exist on our listserv?
 
Sorry, but the MuTeX mailing list is not run on LISTSERV software...
We do not support "DIGEST"... 

Craig
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA
URL:  http://www.stolaf.edu/people/cdr/

From owner-mutex  Wed Apr 12 11:23:44 1995
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From: frank_barnes@wellfleet.com (Frank Barnes)
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I usually try to avoid getting into these discussions, but there
are a few points I would like to raise.

First of all, I think a mailing list is the right thing for 
the music(x)tex interested parties. The volume of traffic
is such that aids like a threaded newsreader give very little
benefit (How long does it take to sort 2 or 3 messages a week?).
I personally like the mailing list simply because it sends mail.
For me this is an 'interrupt' driven system which keeps me up to
date on new releases and problem areas. If it all goes in a newsgroup
it means polling, which I very often dont have time to do.

Second, I think the mailing list keeps the information pure. If we 
have a newsgroup it will inevitably lead to cross posting of 
more TeX related issues which are better handled in c.t.t

There may be a time when a newsgroup is an appropriate means
of handling the topic, but I dont think we have reached that poit yet.

-Frank
fbarnes@wellfleet.com

From owner-mutex  Wed Apr 12 13:15:03 1995
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From: pinard@iro.umontreal.ca (François Pinard)
To: mutex@stolaf.edu
CC: mutex@stolaf.edu
In-reply-to: <9504120057.AA21719@elec.canterbury.ac.nz> (griffiab@elec.canterbury.ac.nz)
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   I would like to put my vote in for a Newsgroup, as I feel the
   threading system would make the posts a lot easier to follow.

A Newsgroup is comfortable to many people.  On the other, for various
reasons, it might happen to the News flow gets interrupted and
restarted, that articles are expired when one goes out for a few
weeks, and other kinds of incidents.

Some people, like maintainers and code developers, may not submit
themselves to these hazards.  My opinion is that the best approach
would be to keep the mailing list for submissions, and *also* to
have a Newsgroup, and to gateway the mailing list into the Newsgroup.

Gatewaying the other way might be desirable, but more difficult to
achieve technically, if we want nothing to be duplicated or lost.
This is why the Newsgroup might be directly used for informal
exchanges, but the mailing list would ought to be used for formal
reports or suggestions.

-- 
François Pinard         ``Vivement GNU!''       <pinard@iro.umontreal.ca>
Email lpf@uunet.uu.net for info about the League for Programming Freedom.

From owner-mutex  Thu Apr 13 04:23:43 1995
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Date:  13-APR-1995 10:23:38 +0100
Subject:  0.375 of musiXtex
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusiXTeX version 0.375
New version 0.375 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" avec ftp anonymous login)

Changes:
 - 0.375 few small bugs corrected
 -       string notations for bow motion added
 - 0.374 MusiXtex.sty updated to facilitate titles and headings
 -       doc updated
 -       MusiXtex.ins file provided to build a MusiXTeX format

Daniel Taupin


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Date: Thu, 13 Apr 1995 12:19:08 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199504131019.AA27356@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: 0.375 of musiXtex
X-Sun-Charset: US-ASCII
Precedence: bulk

You may save some bandwidth if you already have an older version
and get only the modified parts. These are available for anonymous
ftp as usual on

   ftp.gmd.de  /music/musixtex/diff-files/musixexa.0374-0375.zip
                                          musixtex.0374-0375.zip

and will be mirrored soon to CTAN.

These files do *not* contain musixdoc.dvi, .ps, .lj  which may be
generated by yourself.

If your system does not support long filenames (e.g. DOS) you may 
either rename the files when getting them with ftp
       e.g.   get musixexa.0374-0375.zip msxexa37.zip
or telling  unzip  the complete, but shortened filename
       e.g.   unzip musixexa.037

Easy access to ftp.gmd.de via WWW:

     ftp://ftp.gmd.de/music/README.html

Hoep this hilft -- Werner

From owner-mutex  Fri Apr 14 06:23:45 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  14-APR-1995 11:34:28 +0100
Subject:  MusiX
To: mutex@stolaf.edu
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Subject: MusiXTeX version 0.376
New version 0.376 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" avec ftp anonymous login)

Changes:
 - 0.375 few small bugs corrected
 - 0.376 few small bugs corrected
 -       string notations for bow motion added
 - 0.374 MusiXtex.sty updated to facilitate titles and headings
 -       doc updated
 -       MusiXtex.ins file provided to build a MusiXTeX format

Daniel Taupin


From owner-mutex  Mon Apr 17 11:23:44 1995
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From: prw-b@ugrad.cs.york.ac.uk
Date: Mon, 17 Apr 95 16:59:05
Message-ID: <swordfish.798134435@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: a4 paper
Precedence: bulk


Con anybody tell me the correct commands to give musictex to use a4 paper.
Cheers,

Peter.


From owner-mutex  Tue Apr 18 05:23:43 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  18-APR-1995 11:24:10 +0100
Subject:  MusiXTeX 0.38 available 
To: mutex@stolaf.edu, info-tex@shsu.edu
Precedence: bulk

Subject: MusiXTeX version 0.38
New version 0.38 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - 0.38  bug in small staff slurs corrected
 - 0.376 few small bugs corrected
 -       string notations for bow motion added
 - 0.374 MusiXtex.sty updated to facilitate titles and headings
 -       doc updated
 -       MusiXtex.ins file provided to build a MusiXTeX format

Daniel Taupin


From owner-mutex  Tue Apr 18 09:23:45 1995
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Date: Tue, 18 Apr 1995 14:26:34 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199504181226.AA00451@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: a4 paper
X-Sun-Charset: US-ASCII
Precedence: bulk

Hello Peter,

I type the following from memory/screen without testing it - I hope there 
aren't too many errors in it.

> Can anybody tell me the correct commands to give musictex to use a4 paper.
                          ^^^^^^^

What does that mean: correct? A4 is 210 x 297 mm so you can TeX:

\hsize=210mm\hoffset=0mm\advance\hsize by -2in
\vsize=297mm\voffset=0mm\advance\vsize by -2in

if you consider that most dvi-drivers assume a 1 inch margin on left and top.

Music needs a lot of space; so I normally use 10mm margins:

\hsize=210mm\hoffset=-15.4mm\advance\hsize by -20mm
\vsize=297mm\voffset=-15.4mm\advance\vsize by -20mm
    
If I want to typeset music which fits on A4 *and* on letter I use
assuming 10mm margins:

\hsize=210mm\hoffset=-15.4mm\advance\hsize by -20mm % horizontal A4
\vsize= 11in\voffset=-15.4mm\advance\vsize by -20mm % vertical letter

To take a footline into account it is sometimes advisable to add:

\advance\vsize by -24pt  % or whatever high you footline is

If I need all pixels my old HP-Laserjet may print on A4 I use:

\hoffset=-21.16666666mm\hsize=197.95066666mm
\voffset=-20.32nn      \vsize=286.93533333mm

Hope this hilft -- Werner

From owner-mutex  Wed Apr 19 13:23:44 1995
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From: ehlerabk@rubc.rz.ruhr-uni-bochum.de
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To: mutex@stolaf.edu
Subject: RE: The current MusiXTeX situation
Precedence: bulk

In message Thu, 6 Apr 95 10:37 EDT,
  pinard@iro.umontreal.ca (Fran!ois Pinard)  writes:

> Subject: MusiXTeX
>
> Daniel writes:
>
> It is a free copy software (their posting in CTANs is wished), but
> you are not allowed to spread modified versions of it without the
> consents of the three authors (of course changing font resolution
> is not a "modification").

Hi, Daniel. How about YOUR nose ?

> A software which I cannot merely improve and pass on to others is
> not really free to my eyes.  It is free in that particular meaning
> that no money is involved, but not free as in `freedom'.

Correct.

Some misunderstandings:

a) MusiXTeX is a beta-test Version and only dedicated for those, who wants
   to work with and - more important - to work on. I provide, that you have
   some experience installing TeX-packages.

b) MusiXTeX is not an enhancement to MusicTeX, which enables nice slurs.
   The nice slurs and other enhancements are only a side-effect.
   The real new is, that MusiXTeX works without glue. This is only possible
   using a two-pass system and an external executable. *AND* this efforts
   a different input. Although there is a file which tries to hold up
   compatibility, it is not recommended to use and will be not supported.
   I have only build it up, because I've got a lot of 'morally killing
   messages'.

   If you don't like the new names, then make suggestions. Today it
   is no problem to change the names.

   (For compiler-authors: If you build up the
     jobname.mx2 on your own, then you save one pass of TeXing.)

c) MusiXTeX is neither freeware nor free to copy. There was
   another announcement before, but this was done without my agreement.
   This restriction depends only one person, namely Werner Icking.
   (A legal proceedings will be in next future, because an indictment for
    larceny.)

   The rest of the world is invited to use and to copy MusiXTeX
   (but think of point a).

   Fran!ois, if you don't like it, don't use it.

Andreas Egler

From owner-mutex  Tue Apr 25 04:23:53 1995
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From: clange@TechFak.Uni-Bielefeld.DE (Christian Lange)
Message-Id: <9504251055.ZM22582@kauz.TechFak.Uni-Bielefeld.DE>
Date: Tue, 25 Apr 1995 10:55:09 +0200
X-Mailer: Z-Mail (2.1.5 09aug93)
To: mutex@stolaf.edu
Subject: Font-Problem with Musictex
Precedence: bulk

Because my Printer needs 180 x 360 dpi Fonts I tried to comput
them with metafont and the *.MF Files. That worked nearly good, 
but the rests of 1/16 1/32 and shorter caused problems. The part,
what is added to the 1/8 rest to get the other rests is placed with 
a wrong heigth. It seems to be twice as high as it should be. 
I think someone used the y-Resolution instead of the x-Resolution.
I think this is in the file MUSICEN.MF, but I do not understand the 
Metafont-language. 
Perhaps my file is very old and you have already the correct version,
or you know how to change the file.
Please MAIL to me how to repair the file, or MAIL the repaired file, 
because I can't use FTP to get a new file.

Thanks 
          Christian Lange

email: clange@techfak.uni-bielefeld.de


 

From owner-mutex  Tue Apr 25 06:23:54 1995
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Date: Tue, 25 Apr 1995 12:54:05 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199504251054.AA05765@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Font-Problem with Musictex
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> Perhaps my file is very old and you have already the correct version,
> or you know how to change the file.

Which version do you have? Which timestamp do the *.mf-files have?

> Please MAIL to me how to repair the file, or MAIL the repaired file, 
> because I can't use FTP to get a new file.

The *.mf *.tfm *.tex files belong together. So it possibly makes no sense
to send new mf-files which do not belong to the other files.

If you cannot use FTP you may use ftp-mailers z.B. :-)

 #N ftpmail@dante.de
 #H help im Textbody
 #G 1200MB / 40000 Dateien
 #S Alles was es an TeX-Software gibt
 #M ftpmail-1.19 von lmjm@doc.ic.ac.uk
 #A ftpmail-adm@dante.de
 #R Einer der drei CTAN (Comprehensive TeX Archive Network) Server in
 #R der Welt.

 #N RFC-konforme Mailadresse des Mailservers/FTP-Mailers
 #H Wie erhalte ich Hilfe ? / Wie gross ist der Index ?
 #G Groesse des Softwarearchivs / Anzahl der Dateien
 #S Angebotene Software
 #M Name und Version des Mailservers/FTP-Mailers
 #A Namen und M

(from the newsgroup:  de.admin.archiv  Liste deutscher Mailserver und FTP-
                                       Mailer Version 2.70)

Sometimes the personal mail-server  Werner.Icking@gmd.de  may help.

Werner

From owner-mutex  Tue Apr 25 15:23:54 1995
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From: C.Walshaw@greenwich.ac.uk
Via: uk.ac.greenwich; Tue, 25 Apr 1995 14:00:46 +0100
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          id <14900-0@odin.greenwich.ac.uk>; Tue, 25 Apr 1995 14:00:23 +0100
Message-Id: <3984.9504251300@wight>
Subject: Re: formatting and line breaking in abc2mtex
To: mutex@stolaf.edu
Date: Tue, 25 Apr 1995 14:00:15 +0100 (BST)
Cc: mutex@stolaf.edu, C.Walshaw@greenwich.ac.uk () ()
Reply-To: C.Walshaw@greenwich.ac.uk
In-Reply-To: <9504040348.AA09081@barton.anu.edu.au> from "Robert Mahony" at Apr 4, 95 01:48:36 pm
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> 
> 
> Q. How do you insert verticle space.  The old musictex macro's from 
> abc2mtex 
> 	\qsk \medskip and \bigskip 
> dont seem to work with musixtex.  Primarily, I'd like to put extra spaces 
> between some staves, i.e. separate variations from tunes etc. 
> 

	I don't know how to do this - I'd be interested to learn.

> Q. How do you deliberately terminate the end of each line.  I want to 
> ensure there are 4 bars (or more if there are 1st and 2nd time bars) 
> per line so that the natural phrasing of the folk tunes I'm typesetting 
> are easier to read.  The old abc2mtex system of a carrige return doesn't 
> appear to operate with musixtex.   I have tried placeing \alaligne on a new 
> line at the end of each line.  This works ok except it seems to create 
> an extra bar with no music in it appearing at the start of the next line.  
> The command \zalaligne removes the previous bar line which I still want to 
> appear at the end of the previous line. 
> 

	This isn't possible with the current version of abc2mtex - I'm
still learning about MusiXTeX. Currently you'd have to edit the music.tex
file by replacing the appropriate \bar with \alaligne. I have a fix
which I will put in the next version, but if you want to change your copy
in the meantime you'll have to edit tex.c and (at about line 764) change:

#ifdef MUSIX
        new_bar = 1;
#else
        if (justify == 1) {
                (void) fprintf(Out,"\\alaligne%% bar no %d\n",++bar_no);
                justify = 0;
                new_line = 0;
        } else if (justify == 2) {
                (void) fprintf(Out,"\\suspmorceau%% bar no %d\n",++bar_no);
                justify = 0;
                new_line = 0;
        } else
                (void) fprintf(Out,"\\barre%% no %d\n",++bar_no);

to:

        if (justify == 1) {
                (void) fprintf(Out,"\\alaligne%% bar no %d\n",++bar_no);
                justify = 0;
                new_line = 0;
#ifdef MUSIX
                new_bar = 0;
#endif
        } else if (justify == 2) {
#ifdef MUSIX
                new_bar = 1;
#else
                (void) fprintf(Out,"\\suspmorceau%% bar no %d\n",++bar_no);
#endif
                justify = 0;
                new_line = 0;
        } else
#ifdef MUSIX
                new_bar = 1;
#else
                (void) fprintf(Out,"\\barre%% no %d\n",++bar_no);
#endif

	Then in the abc code, using a single '*' at the end of a line
will force a line break. E.g.

abcd|efga:|*
abcd|dcba||

	will produce two lines of music.

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


From owner-mutex  Fri May  5 15:23:54 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA10784; Fri, 5 May 95 20:37:42 +0200
Date:   5-MAY-1995 19:46:30 +0100
Subject:  MusiXTeX version T.39
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusiXTeX version T.39
New version T.39 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.39  tie/slur handling enhanced for weird staff spacings
 -       \setvolta command corrected
 -       MusiXtex.sty updated to provide varioux text font sizes
 -       doc updated
 - 0.374 MusiXtex.ins file provided to build a MusiXTeX format

Daniel Taupin


From owner-mutex  Sat May  6 11:23:54 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA11737; Sat, 6 May 95 17:45:18 +0200
Date:   6-MAY-1995 17:47:29 +0100
Subject:  MusicTeX 5.11 available
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusicTeX version 5.11
New version 5.11 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)

Changes:
 - 5.11 a few correction for compatibility with MusiXTeX
 -      doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


From owner-mutex  Sat May  6 13:23:53 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA11932; Sat, 6 May 95 19:17:35 +0200
Date:   6-MAY-1995 19:19:43 +0100
Subject:  MusixTeX version T.391 available...
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusiXTeX version T.391
New version T.39 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.391 \changeclefs / \zchangeclefs updated
 -       doc updated
 -       musixslu.tex removed
 - T.39  tie/slur handling enhanced for weird staff spacings
 -       \setvolta command corrected
 -       MusiXtex.sty updated to provide various text font sizes
 - 0.374 MusiXtex.ins file provided to build a MusiXTeX format


Daniel Taupin


From owner-mutex  Sun May  7 13:23:52 1995
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Hi,

Can anyone explain the difference to me. I will install one or the other ...

Thanks,
Geoff
***********************************************************************
*         GEOFF THORPE  BSc(1st class hons) - Mathematics             *
*                Email: Geoff.Thorpe@vuw.ac.nz                        *
*                                         --------------------------  *
* Guitar teacher/performer               | "A TOAST" - Peter Blake  | *
* President NZ Juggling Association '95  | as the Kiwi's drink from | *
* MSc Student - Mathematics (Analysis)   | the America's cup .....  | *
*                                         --------------------------  *
***********************************************************************


From owner-mutex  Mon May  8 02:23:53 1995
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% Can anyone explain the difference to me. I will install one or the other ...

In two (well, two dozen) words, MusiXTeX has a better (albeit not TeX, but C)
way to compute internote spacing.

.mau.

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 Geoff.Thorpe@vuw.ac.nz (Geoff Thorpe) wrote

>Can anyone explain the difference to me. I will install one or the other ...

The developers may differ, but I believe from a user's standpoint there are two 
significant differences:

1. MusiXTeX makes very nice ties and slurs, while MusicTeX usually doesn't.
2. MusiXTeX is where future support will be focussed; MusicTeX will soon go the 
way of MuTeX. 

The effort to make MusiXTeX backwardly compatible with MusicTeX is only partly 
successful.  I suggest installing MusiXTeX.

Don Simons (dsimons@logicon.com)


From owner-mutex  Tue May  9 03:23:52 1995
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Thanks to all those replied (and there were quite a few of you!),

The unanimous vote was to start in with MusiXteX, and this I will do!

Regards,
Geoff
***********************************************************************
*         GEOFF THORPE  BSc(1st class hons) - Mathematics             *
*                Email: Geoff.Thorpe@vuw.ac.nz                        *
*                                         --------------------------  *
* Guitar teacher/performer               | "A TOAST" - Peter Blake  | *
* President NZ Juggling Association '95  | as the Kiwi's drink from | *
* MSc Student - Mathematics (Analysis)   | the America's cup .....  | *
*                                         --------------------------  *
***********************************************************************


From owner-mutex  Tue May  9 13:23:55 1995
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Can someone tell me if the postings to this mailing list are archived? 

If so, how can I access the archive?  Thanks.

--Don Simons (dsimons@logicon.com)


From owner-mutex  Wed May 10 05:23:54 1995
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From: Werner Icking <Werner.Icking@gmd.de>
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> Can someone tell me if the postings to this mailing list are archived? 

Look into the archive and you find that it is archived :-)

> If so, how can I access the archive?  Thanks.

Easy access by WWW (gopher) with search facilities:
  
  gopher://gopher.stolaf.edu/11/Internet%20Resources/St.%20Olaf%20Sponsored%20Mailing%20Lists/MuTeX

or easier:  http://www.stolaf.edu/network/
     where you find "Sponsored ... Mailing Lists" and below "MuTeX"

or by anonymous ftp:

  ftp.stolaf.edu /pub/mutex/archive     (one big file)

Werner

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199505101254.AA01717@sunick.gmd.de>
To: mutex@stolaf.edu
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Johan Vromans wrote to me:

> rsovax.lps.u-psud.fr appears to be rejecting connections.

Robin Fairbairns and I have tried to get the newest stuff. We
both tried to reach Daniel Taupin by e-mail. None succeeded.
They seem to have some problems.

As soon as I come through I'll upload to ftp.gmd.de whatever
D.T. announced the last weekend. From there it spreads auto-
magically to CTAN and a lot of other sites.

> Any other places to get the musi*tex stuff??

Don't know. If someone already has, what DT announced, please
upload it to   ftp.gmd.de /incoming/music  *and* drop me an e-mail.

Hope this hilft -- Werner

From owner-mutex  Thu May 11 04:23:53 1995
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199505110855.AA02438@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: MusicTex - MusiXTeX??  AND  MusiXTeX T.391
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> 1. MusiXTeX makes very nice ties and slurs, while MusicTeX usually doesn't.

MusicTeX makes nice slurs; you don't remember the slurs it made when
it was new :-)   (but MusiXTeX makes them very nice).

But there are more differences between C and X e.g. "flex".

> 2. MusiXTeX is where future support will be focussed; MusicTeX will soon go the 
> way of MuTeX. 

But there is a major difference: MusicTeX is 1% MuTeX plus 99% "DT",
and MusiXTeX *is* MusicTeX + ... + ...
> 
> The effort to make MusiXTeX backwardly compatible with MusicTeX is only partly 
> successful.  I suggest installing MusiXTeX.

That's quite right for a beginner because we can expect that beta-test
MusiXTeX is similar stable as the beta-test emTeX which a of lot us use.

Nevertheless it is good to have a well functioning MusicTeX with some 
minor maintenance for the older sources *and* musixcpt.tex which 
allows a smart upgrade of older sources. Let's thank all those
who provided us which such a user-friendly solution.

===

Don Simon had already got the new MusiXTeX version from Daniel Taupin's
site which seems to be down. He kindly uploaded it to ftp.gmd.de from
where it now spreads to CTAN and others.

As usual the subdirectory  /diff-files  contains   musixtex.038-T0391.zip
for those who need only those files which are different in 0.38 and T.391
and who are able to process musixdoc.tex.

Werner

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Subject: Re: MusicTex - MusiXTeX?? AND MusiXTeX T.391
In-reply-to: Your message of "Thu, 11 May 1995 10:55:54 +0200." <199505110855.AA02438@sunick.gmd.de>
Date: Thu, 11 May 1995 11:31:52 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Werner writes:

> As usual the subdirectory  /diff-files  contains   musixtex.038-T0391.zip
> for those who need only those files which are different in 0.38 and T.391
> and who are able to process musixdoc.tex.

This hasn't propagated to European CTANs yet, and is not likely to
propagate automatically to SHSU for some time.

I shall investigate whether I can alter SHSU's mirroring, but what
with the bandwidth limitations between us and SHSU, and the limited
privileges I have there, I'm not terribly hopeful.

Robin

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              Dept. of Mathematics & Computer Science,
              The Netherlands
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Subject: Help with MusicTeX
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I am working for some time with musictex. I have two small questions.

1. Is it possible to use quarter notes without stems? Defining 
   \stemfactor equal to 0pt is not a solution. You get very weird results.

2. Is it possible to write words below a staff such that the words
   are exactly below beamed notes in the staff? I succeeded more or less 
   by using \qsk\qsk\qsk between the notes in the staff.

example:

\input musicnft
\input musictex
\input musicadd
\def\nbinstruments{2}\relax
\nbporteesi=0\relax
\cleftoksii={0000}\generalsignature{-1}
\bigskip
\debutmorceau
\def\wbarno{}
\generalmeter{\meterfrac{4}{4}}\relax
\temps\Notes {\bf Laat}   &\qu h\enotes
\temps\Notes {\bf de}     &\qu h\enotes
\temps\Notes {\bf woor~- den} &\ibu0h0\qh0h\qsk\qsk\qsk\qsk\tbu0\qh0h\enotes
\temps\Notes {\bf van mijn}    &\ibu0h0\qh0h\qsk\qsk\tbu0\qh0h\enotes
\finmorceau
\bye


Thanks in advance,
Jaap

=======================================================================

Dr. J.A. van de Griend
Department of Mathematics and Computer Science 
Leiden University                      Phone: +31 (0)71 27 7142
P.O. Box 9512                          Fax: +31 (0)71 27 6985
2300 RA Leiden                         Email: vdgriend@wi.leidenuniv.nl

=======================================================================

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This is not actually a Musi(c/X)TeX question, but I have been unable to get
any useful answer from any other source, such as local TeXperts. I
have gained the impression that there is some way of using Truetype fonts
with (La)TeX---this is confirmed by seeing this topic on the agenda of a
TeX conference advertised recently (through this channel?). Does anybody
know about doing this? Can they point me in the right direction (other
than suggesting going to the conference)?  

Simon Wassermann

From owner-mutex  Fri May 12 04:23:54 1995
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In-reply-to: Your message of "Fri, 12 May 1995 09:11:37 MDT." <199505120911387360.@euclid.maths.gla.ac.uk>
Date: Fri, 12 May 1995 10:15:04 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Simon Wasserman asks about truetype fonts in TeX:

Various of the commercial vendors (I know that Kinch does, for
example) permit use of TrueType.  Kinch is certainly speaking on the
subject at TUG'95 (though he's not yet sent me a copy of his paper ...)

I don't know of any PD/shareware TeXery that will do it, I'm afraid.

Robin Fairbairns

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The original message was received at Fri, 12 May 1995 09:17:13 +0100
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From: <@euclid.maths.gla.ac.uk>
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This is not actually a Musi(c/X)TeX question, but I have been unable to get
any useful answer from any other source, such as local TeXperts. I
have the impression that there is some way of using Truetype fonts
with (La)TeX---this is confirmed by seeing this topic on the agenda of a
TeX conference advertised recently (through this channel?). Does anybody
know about doing this? Can they point me in the right direction (other
than suggesting going to the conference)?  

Simon Wassermann

From owner-mutex  Fri May 12 11:23:56 1995
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Simon Wassermann (<@euclid.maths.gla.ac.uk@maths.gla.ac.uk> at INTERNET-MAIL)
wrote
> I
>have gained the impression that there is some way of using Truetype fonts
>with (La)TeX---this is confirmed by seeing this topic on the agenda of a
>TeX conference advertised recently (through this channel?). Does anybody
>know about doing this? 

The WINDOWS version of TeX marketed by Personal TeX, Inc. (pti@crl.com) uses 
TrueType fonts in some way.  I don't know whether it can use fonts from other 
suppliers, but I think it has a tfm generator so maybe it can.

On a related subject, some months back I posted a query whether anyone knew how 
to _convert_ the MusiXTeX fonts to TrueType.  I got a few leads, but none panned
out.  

--Don Simons


From owner-mutex  Tue May 16 21:23:55 1995
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Date: Tue, 16 May 1995 18:32:52 -0700
From: Rich.Burridge@Eng.Sun.COM (Rich Burridge)
Message-Id: <9505170132.AA08042@stard.Eng.Sun.COM>
To: mutex@stolaf.edu
Subject: Problems running MusicTex from abc2mtex output.
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Hi,

I'm not on this mailing list so I'd appreciate a direct reply.

I've also never used TeX before. We have it installed on our local
network servers. I simply ran it from there.

I grabbed a copy of the abc2mtex, playabc and Music.TeX distributions 
off of celtic.stanford.edu. I compiled up abc2mtex and it generated 
a sample music.tex file using one of the sample .abc files provided.

I unpacked the Music.TeX.5.02.tar.gz file and setup four environment
variables as suggested in the abc2mtex user guide:

setenv TEXFONTS  $TEXFONTS\:/usr/richb/working/abc2mtex/musictex
setenv TEXINPUTS $TEXINPUTS\:/usr/richb/working/abc2mtex/musictex
setenv TEXPKS    $TEXPKS\:/usr/richb/working/abc2mtex/musictex
setenv XDVIFONTS $XDVIFONTS\:/usr/richb/working/abc2mtex/musictex

I then tried to run tex (our shell script wrapper for the TeX environment)
on the music.tex file:

stard[176] tex music.tex

	Attempting to run tex in BCP mode.....
		
This is TeX, C Version 3.14
(music.tex (/usr/richb/working/abc2mtex/musictex/musicnft.tex
Version 5.02 -- March 20th, 1994)
(/usr/richb/working/abc2mtex/musictex/musictex.tex
Version 5.02 -- March 20th, 1994
! Font \ppffsixteen=cmbxti10 not loadable: Metric (TFM) file not found.
<to be read again> 
                   \font 
l.34 \font
          \ppfftwenty=\fonthdg\fonthdge bxti10 scaled \magstep1^^M
? 

Any pointers on what I'm doing wrong would be most appreciated.

This is on an SS10 running Solaris 2.4.

Running latex on the index.tex file in the abc2mtex distribution outputted:

stard[178] latex index.tex

	Attempting to run latex in BCP mode.....
		
This is TeX, C Version 3.14
(index.tex
LaTeX Version 2.09 <7 Dec 1989>
(/usr/dist/share/tex/tex-inputs/LaTeX/article.sty
Document Style `article' <16 Mar 88>.
(/usr/dist/share/tex/tex-inputs/LaTeX/art10.sty)) (index.aux) [1] [2] [3]
[4] [5] (index.aux) )
Output written on index.dvi (5 pages, 17840 bytes).
Transcript written on index.log.

So it would appear that it has no problems converting that .txt file to
a .dvi one.

Thanks.

----

The contents of /usr/richb/working/abc2mtex/musictex is:

stard[163] ls -F
a4report.sty   howtoget.tex   musicdoc.tex   musicref.dvi   musikn16.tfm
beamd20.mf     lines.tex      musicdoc.toc   musicref.log   musikn20.mf
beamn11.mf     musicadd.tex   musicext.tex   musicref.tex   musikn20.pk
beamn11.pk     musicbra.mf    musicg16.mf    musicsty.tex   musikn20.tfm
beamn11.tfm    musicbra.pk    musicgen.mf    musictex.sty   screatim.tex
beamn13.mf     musicbra.tfm   musicn11.mf    musictex.tex   slurdd16.mf
beamn13.pk     musicbrb.mf    musicn11.pk    musictrp.sty   slurdd16.tfm
beamn13.tfm    musicbrb.pk    musicn11.tfm   musictrp.tex   slurdu16.mf
beamn16.mf     musicbrb.tfm   musicn13.mf    musicvbm.sty   slurdu16.tfm
beamn16.pk     musicbrg.mf    musicn13.pk    musicvbm.tex   slurgen.mf
beamn16.tfm    musicbrh.mf    musicn13.tfm   musikd11.mf    slurn16.mf
beamn20.mf     musicd11.mf    musicn16.mf    musikd13.mf    slurn16.pk
beamn20.pk     musicd13.mf    musicn16.pk    musikd16.mf    slurn16.tfm
beamn20.tfm    musicd16.mf    musicn16.tfm   musikd20.mf    slurn20.mf
beamngen.mf    musicd20.mf    musicn20.mf    musikgen.mf    slurn20.pk
beamq20.mf     musicdef.mf    musicn20.pk    musikn11.mf    slurn20.tfm
beamt20.mf     musicdoc.aux   musicn20.tfm   musikn11.pk    slurud16.mf
beamv20.mf     musicdoc.bat   musicnft.tex   musikn11.tfm   slurud16.tfm
bigmusic.sty   musicdoc.dvi   musicper.sty   musikn13.mf    sluruu16.mf
euromtex.aux   musicdoc.idx   musicper.tex   musikn13.pk    sluruu16.tfm
euromtex.dvi   musicdoc.inx   musicpln.tex   musikn13.tfm   sortindx.exe
euromtex.tex   musicdoc.log   musicpos.tex   musikn16.mf    sortindx.for
extras.tex     musicdoc.ps    musicpre.tex   musikn16.pk

There are no bxti10 fonts around anywhere as far as I can tell.

From owner-mutex  Wed May 17 03:23:54 1995
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From: Peter.Vanroose@esat.kuleuven.ac.be
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To: mutex@stolaf.edu
Subject: Re: Problems running MusicTex from abc2mtex output.
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Dear Rich,

You seem to have unpacked MusicTeX correctly.
TeX finds the MusicTeX files where you put them:
> This is TeX, C Version 3.14
> (music.tex (/usr/richb/working/abc2mtex/musictex/musicnft.tex
> (etc.)

But apparently, your TeX system misses the (standard) cmbxti10 font.
You could do one of the following three things:

(1) Modify lines 33 and 34 of musictex.tex so that it no longer calls for
    the cmbxti10 font, but for (e.g., depending on availability at your
    site) cmbxit10, cmbxsl10, cmbxti12, dcbxti10, cmti10, cmbx10 ...
    This cmbxti10 font is probably the only missing one.

(2) Ask the system manager responsible for the network TeX to install this font.

(3) Install it yourself, e.g. in your directory ~/working/abc2mtex/musictex/,
    like you have done (or will have to do) with the MusicTeX fonts beamn* ...

The needed fonts (for solutions 2 and 3) can be found at any CTAN ftp site,
e.g. ftp.tex.ac.uk (128.232.1.87) or ftp.shsu.edu (192.92.115.10), in the
directory /tex-archive/fonts/cm/

By the way, you will probably have to rename the .pk files in your
musictex directory to .300pk in order to process the .dvi files that TeX
will produce.  This depends on your TeX installation, so check for, e.g.,
the file cmr10.pk or cmr10.300pk in any of the directories in $TEXPKS,
$XDVIFONTS or $XDVITEXFONTS, and use the same conventions.

Hope this helps,

--                               Peter Vanroose
                                 Electrotechnical Department (ESAT/MI2)
                                 K.U. Leuven, Belgium.
                                 Peter.Vanroose@esat.kuleuven.ac.be

From owner-mutex  Wed May 17 07:23:54 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  17-MAY-1995 14:08:49 +0100
Subject:  MusiCTeX, version 5.11
To: mutex@stolaf.edu
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Subject: MusicTeX version 5.11
New version 5.11 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)

Changes:
 - 5.11 a few correction for compatibility with MusiXTeX
 -      doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


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Date:  17-MAY-1995 14:52:02 +0100
Subject:  MusiXTex version T.394
To: mutex@stolaf.edu
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Subject: MusiXTeX version T.394
New version T.394 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.394 musixcpt.tex corrected (\zbarre), \breath removed => \cbreath
 -       MusiXsty.tex updated/corrected to provide various text font sizes
 -       doc updated
 - T.391 \changeclefs / \zchangeclefs updated
 -       musixslu.tex removed
 - T.39  tie/slur handling enhanced for weird staff spacings
 -       \setvolta command corrected

Daniel Taupin


From owner-mutex  Sun May 21 15:23:52 1995
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To Whom It may concern,
	I am a graduate student at Vanderbilt University School of Nursing 
in Nashville, Tennessee and am interested in joining this line of e-mail 
discussion group regarding music research.  I am a nurse who is interested 
in music therapy because I am also a professional musician. Please let me in 
on the cutting edge of music research.  Thanks a lot!

Sincerely,

Darrell Alexander, RN
alexandr

From owner-mutex  Mon May 22 13:23:53 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA25088; Mon, 22 May 95 19:59:20 +0200
Date:  22-MAY-1995 20:01:53 +0100
Subject:  MusiXtex T.395 available at 2 sites
To: mutex@stolaf.edu
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Subject: MusiXTeX version T.395
New version T.395 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)
or
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.395 musixadd.tex corrected
 - T.394 musixcpt.tex corrected (\zbarre), \breath removed => \cbreath
 -       MusiXsty.tex updated/corrected to provide various text font sizes
 -       doc updated
 - T.391 \changeclefs / \zchangeclefs updated

Daniel Taupin


From owner-mutex  Wed May 24 21:23:53 1995
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From: "SIMONS, DON" <dsimons@logicon.com>
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I want to change meters and ensure there is NO line break.  The 
following seems to work:

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
\generalmeter{\meterfrac34}%
\n@wbar\writ@newclefs\advance\barsinlin@\@ne%
\wbarno@x\Writ@newsigns%
\Writ@meters\addspace\afterruleskip%
\catcode`\@=\catcodeat

I got this by looking at the definition of changecontext and removing 
the test for the end of a line.  I suppose if I only want to change 
meters I could leave out writ@newclefs and Writ@newsigns, but I 
haven't tested that yet.  But this is messy.  Is there a better way?  
Wouldn't it be useful to define '\xchangecontext' in musixtex.tex?

2nd question:  In the above construction, the meter symbol comes out 
very close to the bar line.  I can remedy this somewhat by replacing

\Writ@meters\addspace\afterruleskip%

with

\addspace{0.3\afterruleskip}\Writ@meters\addspace{0.7\afterruleskip}%

However, the total spaces must add up to 1.0\afterruleskip; if they 
don't, then I get an overfull box on the third pass.  How can I add an 
arbitrary amount of space here?

--Don


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From: "SIMONS, DON" <dsimons@logicon.com>
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Note--apologies if this appears more than once--local mail problems.

I want to change meters and ensure there is NO line break.  The 
following seems to work:

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
\generalmeter{\meterfrac34}%
\n@wbar\writ@newclefs\advance\barsinlin@\@ne%
\wbarno@x\Writ@newsigns%
\Writ@meters\addspace\afterruleskip%
\catcode`\@=\catcodeat

I got this by looking at the definition of changecontext and removing 
the test for the end of a line.  I suppose if I only want to change 
meters I could leave out writ@newclefs and Writ@newsigns, but I 
haven't tested that yet.  But this is messy.  Is there a better way?  
Wouldn't it be useful to define '\xchangecontext' in musixtex.tex?

2nd question:  In the above construction, the meter symbol comes out 
very close to the bar line.  I can remedy this somewhat by replacing

\Writ@meters\addspace\afterruleskip%

with

\addspace{0.3\afterruleskip}\Writ@meters\addspace{0.7\afterruleskip}%

However, the total spaces must add up to 1.0\afterruleskip; if they 
don't, then I get an overfull box on the third pass.  How can I add an 
arbitrary amount of space here?

--Don


From owner-mutex  Fri May 26 04:23:54 1995
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Date: Fri, 26 May 1995 10:39:24 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
Sender: ehlerabk@rubc.rz.ruhr-uni-bochum.de
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To: mutex@stolaf.edu
Subject: MusiXTeX V0.42
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Dear beta-tester,

Last changes:
- music fonts are changed to run with different horizontal/vertical
  resolutions (e.g 360/180DPI for some needle printers)
- (long) slur fonts are changed for 'nicer' outlook
- new beam features (mainly for beams of higher order)
- \sectionlines (similar to \mulooseness, but absolute instead relative)
- introduced first test version of musixtab.tex (6-string-guitar-tabulature)
- bug fixing and optimizing

For closer informations read history.txt and docmusix.tex

Available at official TeX-server (today ftp.tex.ac.uk, tomorrow ftp.dante.de
and ftp.shsu.edu)

Andreas Egler

From owner-mutex  Sat May 27 04:23:53 1995
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Date: Sat, 27 May 1995 10:53:35 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
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Hi,

need urgent additional information to typeset 6-string-guitar-tabulature(??)

There was a suggestion to rename all down stemmed notes to 'd', means,
instead '\ql' -> '\qd' (like slurs and ties)
How about ?

Thanks in advance,

Andreas Egler

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From: gls@cnvnja.jazz.att.com (G. L. Sicherman)
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To: mutex@stolaf.edu
Subject: tablature
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	Date: Sat, 27 May 1995 10:53:35 +0100 (CET)
	From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
	To: mutex@stolaf.edu
	Subject: tabulature

	need urgent additional information to typeset 6-string-guitar-
	tabulature(??)

	There was a suggestion to rename all down stemmed notes to 'd', means,
	instead '\ql' -> '\qd' (like slurs and ties)
	How about ?

1. As a speaker of English I find "d" more intuitive than "l", but I don't
   want to change my MusicTeX files.  It would be a lot of work.  Most
   people feel the same, I expect.

   I haven't seen your proposed notation for guitar "tabs."  Does it 
   conflict with established MusicTeX notation?

2. An unrelated matter:  It would be helpful to offer a dot ("point")
   that is displaced to the right, for an \rq (a head on the wrong side
   of the upstem) and for a \zq whose dot would otherwise fall on an \rq.
   The first case can be coded as \rq{.h}, but the second case currently
   requires surgery.

					--Col. George Sicherman
					  gls@hrcms.att.com

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From: auk@pro-pete.cts.com (Jimi Sterling)
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To: mutex@stolaf.edu
Subject: re: Csound->MusicTeX?
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Date: Thu,  6 Apr 95 10:50:40 PDT
From: auk@pro-pete.cts.com (Jimi Sterling)
X-Mailer: ProLine Mail 3.0
To: mutex@stolaf.edu
Subject: re: Csound->MusicTeX?

 >Date: Wed, 1 Mar 1995 12:46:40 -0500
 >From: Curt Malouin <malouin@engin.umich.edu>
 >Message-Id: <199503011746.MAA13335@azure.engin.umich.edu>
 >Subject: Csound->MusicTeX?
 >
 >Does anyone know of a program that converts Csound .sco files
 >to MusicTeX files?
 >
 >thanks in advance,
 >
 >        -curt
 >
 >
 
    This area has interested me greatly over the long duration I was
previously subscribed to this superb list.  Unfortunately my account
was mercilessly obliterated (without warning!) a few monthes ago, and
I'm just now re-subscribed so I've missed whatever has developed since,
but here are my observations:
 
        There exists Midi2Tex (I might be slightly off on exact names,
as my mutex archives went the way of the bitbucket, and I don't have gopher
/ftp access with which to look them up, so please bear with me..)  or is it
Midi2MusicTeX, the program by a fine member of the mutex list which
converts midi files to MusicTeX so that one can play something on their
MIDI'd instrument and see what it looks like in score.  We also have
abc2mtex, another excellent contribution from a list subscriber, which
provides for text-based scoring not as cumbersome and technical as
TeX code itself.  When that was in it's conceptual stages of development,
I remember making a case to the programmer (a chap in the uk, if I
remember correctly) that perhaps Csound's  SCOre Translator (SCOT)  format
should be adopted/supported, but it seems my case wasn't presented
explicitly enough.  The big incentive to go the SCOT-format route was so
that one could hear, via Csound, text-based compositions and also print
them out via MusicTeX.  The last version of abc2mtex that I was aware of
has a format similar to SCOT, so that with some tweaking here & there
someone (I'll have at it if no one else has by the time I get a UNIX box)
should be able to modify/enhance abc2mtex toward this end.
        What does this have to do with .sco files?  Well, SCOT is a
front-end
for the writing of .sco files, so perhaps you could be using SCOT to
generate the types of .sco files you're dealing with (but this assumes you
didn't know about SCOT.  Maybe you aren't using it because of its
complexity
limitations.)  If so, all you need is the hypothetically upgraded version
of
abc2mtex, which would be more precisely described as scot2mtex, and you'd
have your conversion to MusicTex as well as your Csound-able .scot files.
        In the case of .sco files being the format in which you're nec-
cessitated to work, you could do the trick with what should be a pretty
simple bit of programming--  a .sco->MIDI converter.   This is where I
personally feel consternation, because many years ago when I was learning
Csound 1.0 in electronic music class, I saw the need and set out to write
utilities for Csound->MIDI as well as MIDI->Csound conversion.  For some
reason I completed the more difficult directin first:  midi->.sco  ...
only to never get around to finishing my .sco->midi converter.  Time
passed,
and sure as Murphy, MIT comes out with Csound v2, which has MIDI routines!
Yay!  But upon inspection one finds that there exist only functions for
reading midi files into Csound, with the simpler scorefile->midifile
operation not accomodated.   So now I have my own kludged midi2sco code
as well as MIT's full-featured routines, but zilch with which to convert
in the other direction.  Again, I've been away from all this for awhile,
so if they've finally released a Csound update which does this simple task,
someone please correct me!
        Of course I've envisioned, all along, something along the lines of
Sox but for musical score formats such as midi, .sco, .scot, Musictex, ..
dmcs, cakewalk, .wav.... some way to merge the functins of Csound and Sox,
with extended support for some of the many funky formats out there, would
sure be awesome.  Anyone have ideas on what basic structure to build from?
 
        In other words, Curt, "No, unless someone's written .sco->midi
routines, which could be combined with midi2mtex to pull it off."
 
auk@pro-pete.cts.com                    (formerly igor@charles.ucdavis.edu)
---- End Forwarded Message ----


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Subject: EuroTeX'95
Precedence: bulk

============
 EuroTeX'95
============

September 4-8
Arnhem, The Netherlands


Conference information
========================================================================


The TeX Toolbox


The EuroTeX conference 1995, including tutorials, will take place from
September 4th until September 8th in the Netherlands. The conference
will be held at Papendal, near the city of Arnhem.

Papendal is located in one of the most beautiful areas of the
Netherlands. Right in the middle of the vast woods of the province of
Gelderland. About eight kilometers west of Arnhem. Tucked away under
the lee of the green Veluwe-fringe.

The conference starts on September 4th in the afternoon and runs until
September 7th noon. Thursday afternoon and Friday September 8th are
reserved for tutorials.

The theme of the conference is: The TeX Toolbox.
                                ---------------


Preliminary program
-------------------

(Items marked `*' are not confirmed yet)

------------------------------------------------------------------------
Monday a.m.


Welcome Reception and registration of conference attendants.

------------------------------------------------------------------------
Monday p.m. (14:00-18:30)


Theme: I) Fonts

VFComb -- a program for design of virtual fonts
   S. Turtia, A.Berdikov

The Conversion of the Euler Metafont sources to PostScript Type1
   E.J. Vens

EC and DC fonts
   J. Knappen

EC math fonts, fontinst
   A. Jeffrey*


Theme: II) Multiple languages

A package for Church Slavonic type-setting
   A.F. Slepuhin

A Russian style for Babel: problems and solutions
   O. Lapko, I. Makhovaya

ScholarTeX
   Y. Haralambous

Status of Babel
   J. Braams

------------------------------------------------------------------------
Tuesday a.m. (9:00-12:30)


Theme: Graphics and packages

Graphics in TeX: a new implementation
   A.V. Astrelin

TeX Plotter -- program for creating 2D and 3D pictures
   S. Turtia, A. Berdikov

Packages for typesetting Commutative Diagrams
   G. Feruglio

Package for typesetting chemical diagrams
   J. Hagen

MusixTeX, a package for typesetting music
   D. Taupin*

------------------------------------------------------------------------
Tuesday p.m.


>From 13:30-14:30: NTG meeting.

Theme: Electronic documents

Presentation of Acrobat
   W. Tierie

Producing electronic books? -- all you need is TeX!
   J. Hagen

SGML, a practical introduction
   M. Goossens

>From LaTeX to HTML, and back
   M. Goossens

Style sheets (DSSSL,... )
   J. Andre

SGML, Acrobat, LATEX, HyperTeX
   S. Rahtz*

Panel discussion.

------------------------------------------------------------------------
Wednesday a.m.


Theme: Tools I

DaTeX, TeX macros for storing and retrieving data
   R. Koning, S. Kliffen, A. Lenstra

TeX: an unsuitable language for document markup
   P. Taylor

Blue's Data Bases
   K. van der Laan

Occam's razor and macro management
   L. Siebenmann

Formating Pascal using TeX
   P. Palao, M. Nunez

------------------------------------------------------------------------
Wednesday p.m.


Theme: General developments in TEX and LATEX

LaTeX3
   C. Rowley*

eTEX
   P. Taylor

NTS
   P. Taylor

Omega
   Y. Haralambous

tds
   *

Panel discussion.

>From 16:00-???: the social event, still a secret...

------------------------------------------------------------------------
Thursday a.m.


Theme: Tools II

\csname undefined \endcsname = relax: feature or flaw
   P. Taylor

Atomic fonts and electronic archiving of scientific documents
   L. Siebenmann

Duplex: a LaTeX based Cooperative Editing Environment
   F. Pacull

The W96 Environment
   A. Strejc

Indexing with `Any'TeX
   K. van der Laan

Metafont as generator of EPS graphics
   B. Jackowski

------------------------------------------------------------------------
Thursday p.m. and Friday


Theme: Tutorials

Parallel sessions.

Sweet-TeX tutorial
   L. Siebenmann

Page layout in LaTeX
   P. van Oostrum

TeXing Paradigms
   K. van der Laan

BLU TeX
   K. van der Laan

Metafont/Metapost
   B. Jackowski

eTEX tutorial
   P. Taylor

Workshop on Acrobat and electronic document delivery
   M. Goossens & S. Rahtz



------------------------------------------------------------------------
Meeting costs


The resistration fee includes the Welcome Reception on Monday, all lunches
from Monday to Thursday, all dinners from Monday to Wednesday and one copy
of the proceedings. One tutorial (1/2 day) is included in the conference
fee.  Extra tutorials cost Hfl 70 each. Lunch on Friday is Hfl 15.

The conference fee also includes the `social event' on Wednesday
afternoon and evening.

Conference rates:
- members of TUG or Local TEX User Groups (please specify): Hfl 350
- others: Hfl 425

Reservations of hotel rooms at the conference site can only be done by
the EuroTeX organisation committee. Papendal offers the following
accomodation:

- single rooms Hfl 90 per day per person
- double rooms Hfl 75 per day per person
- quadruple rooms Hfl 50 per day per person
(breakfast included).

Accomodation is limited, so register as soon as possible.


------------------------------------------------------------------------
How to get there


Papendal is located just outside the city of Arnhem. From Arnhem it can
be reached by bus or taxi in approximately 15 minutes. There is a train
going from Amsterdam airport (Schiphol) to Arnhem every 30 minutes.

The address is:

Papendal Nationaal Sport Centrum
fax +31 8308 21853
tel +31 8308 37911
P.O. Box 484
6800 AL Arnhem
The Netherlands


People coming from Russia, Poland or ... may be interested in the
EuroTeX Bus Project. On September 2nd a TeX bus will drive from Brest,
through Warsaw, through ...  to Arnhem, where it will arrive on Sunday
in the afternoon. Taking the bus will be extremely cheap. However,
seats are limited so register as soon as possible.


------------------------------------------------------------------------
Bursary fund


There is a Bursary Fund available for those who require financial
support to attend the meeting. While we cannot guarantee all requests
will be fulfilled, we will do our best to support as many as we can.

We encourage all conference attendants to contribute a small amount of
money to the Bursary Fund along with their registration fee.

More information about contributing to or applying to the Bursary Fund
can be obtained from the Dutch TeX Users Group, by e-mail
ntg@nic.surfnet.nl, or by post: P.O. Box 394, 1740 AJ Schagen, The
Netherlands.


------------------------------------------------------------------------
Further information


Updates of this information will be sent to all known electronic TeX
related mailing lists and to all Local TeX User Groups. If you have
access to a WWW browser you can go to
http://www.cs.ruu.nl/piet~/eurotex. There you can find the latest news,
a registration form and other useful information.
-- 
Piet van Oostrum <piet@cs.ruu.nl>
http://www.cs.ruu.nl/~piet

From owner-mutex  Tue May 30 15:23:53 1995
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Date: Tue, 30 May 1995 16:08:16 -0400
To: mutex@stolaf.edu
From: james@curly.sed.stel.com (James Stafford)
Subject: Using PCTeX for Windows with MusicTeX
Precedence: bulk

Does anyone else use PCTeX for Windows.  It is put out by Personal TeX,
Inc., Mill Valley, CA.  I cannot get it to properly display or print my .dvi
files.  My old .dvi driver, ptiview.exe from PCTeX for DOS works just great,
as does my old printer driver ptihp.exe.  So anytime I want to typeset
musict, I've got to go back to my old software.  By the way, is there any
public-domain TeX software for Windows out there?  

James Stafford  


From owner-mutex  Wed May 31 11:23:53 1995
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Date: Wed, 31 May 1995 18:03:29 +0200
Message-Id: <199505311603.SAA01922@stego.cs.ruu.nl>
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Subject: EuroTeX'95 corrections
Precedence: bulk

Here are some (mainly typographical corrections to the EuroTeX'95
announcement:
< lines are original, > are the replacements, the numbers are the
linenumbers.
Especially note the incorrect WWW address.

135c135
< TeX: an unsuitable language for document markup
---
> TeX: an unsuitable language for document markup?
156c156
< eTEX
---
> e-TeX: A 100%-compatible successor to TeX.
159,160c159,160
< NTS
<    P. Taylor
---
> NTS*
>    P. Taylor*
178c178
< \csname undefined \endcsname = relax: feature or flaw
---
> \csname u n d e f i n e d \endcsname = relax: feature or flaw?
219,220c219,220
< eTEX tutorial
<    P. Taylor
---
> e-TeX tutorial
>    P. Taylor*
304c304
< http://www.cs.ruu.nl/piet~/eurotex. There you can find the latest news,
---
> http://www.cs.ruu.nl/~piet/eurotex. There you can find the latest news,
-- 
Piet van Oostrum <piet@cs.ruu.nl>
http://www.cs.ruu.nl/~piet

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Date: Wed, 31 May 95 10:54:39 PST
From: "SIMONS, DON" <dsimons@logicon.com>
Encoding: 43 Text
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Subject: Re: Using PCTeX for Windows with MusicTeX
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james@curly.sed.stel.com (James Stafford) wrote

>Does anyone else use PCTeX for Windows.  It is put out by Personal TeX,
>Inc., Mill Valley, CA.  I cannot get it to properly display or print my .dvi
>files.  My old .dvi driver, ptiview.exe from PCTeX for DOS works just great,
>as does my old printer driver ptihp.exe.  So anytime I want to typeset
>musict, I've got to go back to my old software.  By the way, is there any
>public-domain TeX software for Windows out there?  

     I have been using it, with qualifications.  You haven't said what problems 
you have in the display or printing.  Here's my experience:

     I do remember having lots of trouble getting it set up in the first place 
(paths to fonts and tfm's, etc.)  But I don't remember doing anything special to
get it right, just persistence.  Be sure under Settings you tell it to search PK
fonts first.

     For some reason I never uncovered, the display driver worked for everything
in MusicTeX except solid noteheads.  All the other symbols in the music fonts 
displayed just fine.  I have switched to MusiXTeX (as should everyone!), whose 
fonts are all displayed correctly.  However, long slurs, whose processing by 
MusiXTeX remains a mystery to me, do not display correctly.  On the other hand, 
the WINDOWS display driver can deal with 256-character fonts (as in MXT), while 
my older DOS driver pti2scr (Aurion Technologies) cannot.  So I now do use the 
WINDOWS screen driver.  It's kind of klunky in moving around the screen, but if 
you use arrow keys and Pg-up/down rather than the mouse-driven slider bars, it 
works a little better.

     In PCTeX/WIN the postscript printer output is processed through WINDOWS.  
As such, the files generated are (to the best of my recollection) correct, but 
HUGE, so they take a very long time to print.  A public-domain screen/printer 
driver (I forget the name) also made huge ps files.  No experience with HP 
printer.  Again, 256-character fonts are OK in WIN, but not in the older ptips. 
I broke down and bought an upgrade from PTI (I think it was about $30).  So I 
have to shell out to DOS for printing.  PTI's drivers create postscript files 
about one-fifth the size of WINDOW's, and they print very fast.  I haven't seen 
the recently release version 2.0; it might have improved this situation.

     PTI's technical help is excellent, although not toll-free.  They have an 
email address: pti@crl.com, but I've never used it and I don't know if they'll 
do technical help that way.  Give it a try and let me know.     

--Don Simons (dsimons@logicon.com)


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Date: Thu, 1 Jun 1995 19:36:35 +0100
To: mutex@stolaf.edu
From: gmarrash@chattanooga.net (george marrash)
Subject: signoff
Precedence: bulk



George Marrash              Heaven help the man who is not
The McCallie School
500 Dodds Ave.              Scottish and hears the pipes.
Chattanooga, TN 37404
(615) 493-5875
(615) 493-5656 (fax)



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Date: Thu, 1 Jun 1995 15:53:55 +0200
To: mutex@stolaf.edu
From: victor@comcon.kiev.ua (Victor V. Sovetov)
Subject: Re: MusiXTeX V0.42
Precedence: bulk

>Dear beta-tester,
>
>Last changes:
>- music fonts are changed to run with different horizontal/vertical
>  resolutions (e.g 360/180DPI for some needle printers)
>- (long) slur fonts are changed for 'nicer' outlook
>- new beam features (mainly for beams of higher order)
>- \sectionlines (similar to \mulooseness, but absolute instead relative)
>- introduced first test version of musixtab.tex (6-string-guitar-tabulature)
>- bug fixing and optimizing
>
>For closer informations read history.txt and docmusix.tex
>
>Available at official TeX-server (today ftp.tex.ac.uk, tomorrow ftp.dante.de
>and ftp.shsu.edu)
>
>Andreas Egler

Hi!

This is MusiXTeX directory on src.doc.ic.ac.uk ( mirror of ftp.tex.ac.uk ):

ncftp>ls -l
total 10862
-r--r--r--   1 root     root         1060 May 29 04:30 00Contents
-r--r--r--   1 root     root          295 May 29 04:42 00Description
-r--r--r--   1 root     root          228 May 11 11:53 README
drwxr-xr-x   2 root     root         1024 May 24 01:17 diff-files/
-r--r--r--   1 root     root        37047 Apr 13 06:54 musixexa-0375.tar.gz
-r--r--r--   1 root     root        41472 Apr 13 06:54 musixexa.zip
-r--r--r--   1 root     root      1395583 Apr 14 07:35 musixpk-0376.tar.gz
-r--r--r--   1 root     root      1766282 May  5 21:00 musixpk-T391.tar.gz
-r--r--r--   1 root     root      1773056 May  5 21:00 musixpk.zip
-r--r--r--   1 root     root         2680 Mar 21 15:12 musixstr.ref
-r--r--r--   1 root     root      1191959 Apr 18 07:59 musixtex-038.tar.gz
-r--r--r--   1 root     root      1167128 May  5 21:00 musixtex-T391.tar.gz
-r--r--r--   1 root     root      1203289 May 17 11:19 musixtex-T394.tar.gz
-r--r--r--   1 root     root      1203025 May 22 16:45 musixtex-T395.tar.gz
-r--r--r--   1 root     root      1241600 May 22 16:45 musixtex.zip
phoenix.doc.ic.ac.uk:/computing/document/formatting/TeX/uk-tex/macros/musixtex
ncftp>

Where is MusiXTeX V0.42 ?? I see 0.395 only... Pity !!!

Sincerely Yours,


                Victor Sovetov
                Head of ComCon Guardian Group
                victor@comcon.kiev.ua


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Subject: TUG meeting in Florida -- May update
To: mutex@stolaf.edu.emtex-user@physik.tu-berlin.de, typo-l@irlearn.ucd.ie
Date: Thu, 1 Jun 95 18:02:22 EDT
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                 Annual Meeting of the TeX Users Group

                             July 24--28


                             MAY UPDATE 
                       =======================


BIGGEST NEWS!!!!
================
Prof. Donald E. Knuth will be attending this, the 16th annual meeting
of the TeX Users Group. For those with a mathematical bent -- this is
of course the 2^{2^{2^{2^0}}}* meeting, and as such, the significance
speaks for itself! 

[*These should be carets, not tildes ... in case your gateway does
  interesting translations.]


WHERE TO GET REGISTRATION INFORMATION AND FORMS:
===============================================
We've of course got it all on CTAN! And to make things easier, we've
built a new subdirectory just for the conference:

                  tex-archive/usergrps/tug/tug95

The /tug95 subdirectory contains .tex, .dvi and/or .ps files for the
registration form, the general conference documentation (including
info on courses), the conference poster, and of course the conference
program. 


If you want to travel the Web, we've got a Web site as well -- you can
register on-line if you want, you can browse through the information
about the conference -- even look at some pictures of the hotel. And
there are links to general information about TUG as well. 

                  http://www.scri.fsu.edu/~mimi/tug95/tug95.html

[Note: another possible translation error may replace the `tilde-mimi'
 sequence in the above address to a percent sign.]



SLOTS FOR DEMONSTRATIONS AND POSTER SESSIONS STILL AVAILABLE:
============================================================
This conference will be different from ones in the past: instead of a
crowded program of intellectual formal talks about TeX, we want to
encourage some more extended, practical, sessions where people explain
how to do something (i.e., with a computer there, running TeX!). We
still have space for some of these.

If you feel able and willing to explain to others what its like in
practice? You don't have to be the author of a package to be a good
person to explain its use: maybe you fight with AMSLaTeX, or
Makeindex, or eplain, or seminar, or wordperfect-to-latex, or ...
every day, and could help others? many people know about good
TeX-related packages or programs, and have read the papers, but they
need a nice detailed example to get it all making sense.

Volunteers? Contact Sebastian Rahtz as soon as you can: 

                  s.rahtz@elsevier.co.uk


HOTEL FAX service for guests:
============================
If you want to receive FAXes while staying at the TradeWinds Hotel,
use the following FAX number:

                  1-813-367-7496 (in St Petersburg, Florida)

Be sure to clearly mark the name of the guest on the FAX cover sheet
and include a line that says the guest is part of the TeX Users Group
meeting.

Note that this is *NOT* for making reservations or asking about your
rooms. This number is purely for the convenience of guests at the
hotel who may need to receive FAXes from their companies, their
bosses, their spouses ... whoever ;-)


COURSE UPDATES:
==============
Due to initial low enrolment, the following courses will not be
offered. However, if there are immediate and loud and insistent
requests that these courses be held, we will see if new arrangements
can be made. 

Course title:            Originally scheduled:
------------             --------------------
OzTeX                    22 -- 23 July
4AllTeX                  29 -- 30 July
Virtual Fonts            Will be done as a workshop during meeting
Intensive LaTeX          31 July -- 3 August
 

One course outline not available at the time of printing the
conference documents was Wietse Dol's course on 4AllTeX, the NTG's TeX
plug-and-play CD-ROM. We include it here, even though at present, it
has insufficient numbers:

     The course is for both users and installers/maintainers of TeX,
     and will run from learning to install from the CD-ROM (including
     Frequently Asked Questions), to using its menus, special 
     functions, graphics and fonts, and then looking ``under the 
     hood''. The course will include short introductions,
     demonstrations and hands-on training. 


Courses still scheduled:
-----------------------
Doing More with LaTeX           2 -- 4 August   
PostScript and Graphics         31 July -- 1 August



NOTE: This file will be stored in tex-archive/usergrps/tug/tug95 as:

                  news-may.asc


%% END OF FILE


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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: MusiXTeX V0.42
In-reply-to: Your message of "Thu, 01 Jun 1995 15:53:55 +0200." <v01510100abf37617a840@comconua>
Date: Fri, 02 Jun 1995 00:03:38 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:282890:950601230344"@cl.cam.ac.uk>
Precedence: bulk

Victor Sovetov writes:

> Where is MusiXTeX V0.42 ?? I see 0.395 only... Pity !!!

Sorry folks -- this is my fault.  During the course of Thursday I
finally got TeX 3.14159, Metafont 2.718 and the new CM fonts out to a
waiting world; I hadn't realised it was going to take me so long when
I agreed to post the new MusiXTeX for Andreas Egler.

We now have the MusiXTeX T39* set arriving from Daniel Taupin, and
he's agreed to ensure that all future releases that he produces will
be numbered T*; I'll make sure that Andreas' versions are `bare'
numbered.

This may prove confusing, in which case I'll make separate directories
on CTAN at a later date.

I have a certain amount of preparatory work to do before I install
Andreas' new stuff (I must make sure that the mirrors between the
CTANs are all pointing in the right direction so that the files don't
immediately get deleted again, for example) but they should appear on
ftp.tex.ac.uk later today.  (Note that src.doc.ic.ac.uk mirrors
ftp.tex.ac.uk, so it will appear there some time in the small hours of
tomorrow.)

Sorry again that people's expectations have been so sorely confused.

Robin Fairbairns
(For the CTAN team).

From owner-mutex  Fri Jun  2 11:23:54 1995
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To: mutex@stolaf.edu
cc: Robin.Fairbairns@cl.cam.ac.uk
Subject: MusiXTeX installation
Date: Fri, 02 Jun 1995 17:02:57 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:162550:950602160322"@cl.cam.ac.uk>
Precedence: bulk

I have (at last) installed Andreas Egler's latest version of (his path
of) MusiXTeX.  As I noted in the small hours of this morning in a post
to the <mutex> mailing list, a problem arises because both Andreas and
Daniel Taupin are (independently) developing MusiXTeX; I have no wish
publicly to step into this situation.

I have therefore installed a new README file in the directory, whose
content is:

=====================================================================
  Please note, two of the original authors are working independently on
  MusiXTeX at present.
  
  Daniel Taupin, the originator of MusicTeX, is developing the versions
  in the series musixtex-T* and musixpk-T* (the latest of which are
  always also present as musixtex.zip and musixpk.zip).
  
  Andreas Egler, who first put MusiXTeX together, is developing the
  versions in the series musix0* and {600,300}pk0* (these files are only
  present as .zip archives).
  
  I apologise for any confusion this situation may cause some users, but
  I am not qualified (or willing) to step into any arguments that may
  exist between the (three or more) earliest workers on MusiXTeX.
  
  If users so demand, I could modify the directory structure so that
  Egler's and Taupin's versions exist on different directories of the
  archive.  Personally I would prefer that the developers restart
  working together, as my life would become easier, but while we're in
  the present situation, I will do my best to ensure that everything
  that may be useful to anyone is available.
=====================================================================

The installation was done at ftp.tex.ac.uk; since Andreas Egler's
announcement of his version 0.42, he has put a further version (0.43)
into my incoming directory, so the files I have installed are:

  -rw-r--r--   1 ctan     TeX         1064 Jun 02 16:57 README
  -rw-r--r--   1 ctan     TeX       334522 May 30 17:31 musix043.zip
  -rw-r--r--   1 ctan     TeX       246928 May 26 09:32 300pk042.zip
  -rw-r--r--   1 ctan     TeX       541733 May 30 17:29 600pk042.zip

The installation is in the same directory
  tex-archive/macros/musixtex
as are all other musixtex releases at present.

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From: Matthias Ssykor <ssykor@cs.tu-berlin.de>
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Subject: Bogus New Version of PKZIP - Watch out! (fwd)
To: mutex@stolaf.edu
Date: Tue, 6 Jun 1995 10:13:31 +0200 (MET DST)
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----------------------------Original message----------------------------


This was sent as a warning to Future Culture; I don't know the truth
of it, but felt compelled to pass it on. (I would name the sender, but
he seemed to be passing on the info as well.)

Alan


     RE:  Bogus New Version of PKZIP - Watch out!

     FYI - files PKZ300B.EXE and PKZ300B.ZIP are currently being
     distributed.  These files are NOT a version of PKZIP and will try
     to erase your harddrive when used.  The most recent version is
     2.04G.

     Please tell all your friends and favorite BBS stops about this
     hack.

     Thank You.







<---- End Included Message ---->


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From: TAUPIN@rsovax.lps.u-psud.fr
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	(1.37.109.4/16.2) id AA15620; Tue, 6 Jun 95 12:27:25 +0200
Date:   6-JUN-1995 12:30:17 +0100
Subject:  MusiCTeX 5.12 posted
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusicTeX version 5.12
New version 5.12 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)
and
  hprib.lps.u-psud.fr
  directory pub/musictex

Changes:
 - 5.12 a small bug corrected
 - 5.11 a few correction for compatibility with MusiXTeX
 -      doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


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From: cthiele@ccs.carleton.ca (Christina Thiele)
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Subject: TUG'95 REMINDER
To: mutex@stolaf.edu.emtex-user@physik.tu-berlin.de, typo-l@irlearn.ucd.ie,
        astex@univ-orleans.fr
Date: Wed, 7 Jun 95 15:28:42 EDT
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We forgot to add one item to the ``May Update'' message about the
upcoming TeX Users Group Meeting in Florida:


TradeWinds Hotel Arrangements:
=============================

A reminder that hotel arrangements must be made by *JUNE 15*.

After that date, the hotel will no longer keep any rooms aside for TUG
attendees -- which means you may have to stay at another site away
from the conference hotel. 

Hotel arrangements can be made via FAX, phone or Telex:

Phone: 1-800-808-9833

FAX:   1-813-367-4567

TELEX: 523423

Conference rate for rooms: 85.00/night (TradeWinds itself)
                           75.00/night (Sandpiper -- annex to TradeWinds)

Two people may share for the same rate; a third person costs an
additional 15.00/night.

===================

%% END OF FILE


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From: prw-b@ugrad.cs.york.ac.uk
Date: Thu, 8 Jun 95 23:40:52
Message-ID: <swordfish.802652020@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Typesetting question.
Precedence: bulk


With overlapping notes in a chord, which note note is shifted?

eg.	With {ceghj} is the g or the h shifted?
	The shift direction obviously depends on whether the stem is up/down.

Thanks in advance,

Peter Wainwright.

--------------------------------------------------------------------------
|        ___        | Peter Robert Wainwright                            |
|      /'   `\      | c/o Goodricke College                              |
|     | O _ O |     | University of York                                 |
|     /  \_/  \     | York YO1 5DD                                       |
|   .' /     \ `.   | England                                            |
|  / _|       |_ \  |                                                    |
| (_/ |       | \_) | Email : prw-b@minster.cs.york.ac.uk                |
|     \       /     |         prw4@unix.york.ac.uk                       |
|    __\_>-<_/__    | http  : http://Student1.cs.york.ac.uk:8001/~prw-b/ |
|    ~;/     \;~    -----------------------------------------------------| 
|                    "I hate wearing penguin suits!"                     |
--------------------------------------------------------------------------


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From: prw-b@ugrad.cs.york.ac.uk
Date: Fri, 9 Jun 95 04:51:46
Message-ID: <swordfish.802670412@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: BUGS in Musixtex
Precedence: bulk

To whom it may concern,

Two possible bugs in musixtex ;_
[1]	When using Setvolta, the produced line doesn't seem to continue
	across a line break.

[2]	If a \leftrepeat appears at the start of a new line, it seems to 
	produce an overful hbox error.

Regards,

Peter Wainwright.

------------------------------------------------------------------------------
UNIX hackers do it with standard output connected to standard input by a pipe.
------------------------------------------------------------------------------


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From: gls@atpsol.jazz.att.com (George Sicherman)
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To: mutex@stolaf.edu
Subject: shifted notes
Precedence: bulk

	From: prw-b@ugrad.cs.york.ac.uk
	Date: Thu, 8 Jun 95 23:40:52
	To: mutex@stolaf.edu
	Subject: Typesetting question.

	With overlapping notes in a chord, which note note is shifted?

	eg.	With {ceghj} is the g or the h shifted?
		The shift direction obviously depends on whether the stem is
	up/down.

As I recall, the rule is to start placing the heads at the head end of
the stem and work towards the tail end, setting each head on the usual
side of the stem unless it would overlap the head you placed previously.
With {ceghj} on the treble staff I presume you would use an upstem, so...

	1. c on the left side
	2. e on the left side
	3. g on the left side
	4. h on the right side so it doesn't overlap g
	5. j on the left side

If you use a downstem, the positions of g and h remain the same:

	1. j on the right side
	2. h on the right side
	3. g on the left side so it doesn't overlap h
	4. e on the right side
	5. c on the right side

As I said, this is from memory.  But I have a piece that's full of
second intervals and it looks dead right when set by this rule.
The same rule applies to whole notes, relative to the stem that they
*would* have if they were half or quarter notes.  As for two notes
of the *same* pitch on the same stem (for 3 or more voices), put
one on each side and try not to use the adjacent pitches on that stem!
Two whole notes of the same pitch are usually set overlapping slightly
so they don't look like two notes in succession.

					--Col. George Sicherman
					  gls@hrcms.att.com

From owner-mutex  Fri Jun  9 03:23:53 1995
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Subject: stemless notes
To: mutex@stolaf.edu
Date: Fri, 9 Jun 1995 09:47:52 +0200 (MDT)
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Can someone send me a copy of the message to mutex about stemless notes?
I deleted that message by accident.
With kind regards,
Jaap

=======================================================================

Dr. J.A. van de Griend
Department of Mathematics and Computer Science 
Leiden University                      Phone: +31 (0)71 27 7142
P.O. Box 9512                          Fax: +31 (0)71 27 6985
2300 RA Leiden                         Email: vdgriend@wi.leidenuniv.nl

=======================================================================

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vdgriend@WI.LeidenUniv.NL (Dr. J.A. van de Griend) wrote

>Can someone send me a copy of the message to mutex about stemless notes?
>I deleted that message by accident.
>With kind regards,

I don't have the message, but (a little-know fact) if you have access to the 
web, the entire archive of the mailing list is _very conveniently_ accessible at

gopher://gopher.stolaf.edu:70/1m/Internet%20Resources/St.%20Olaf%20Sponsored%20M
ailing%20Lists/MuTeX/archive

--Don Simons (dsimons@logicon.com)


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 gls@atpsol.jazz.att.com (George Sicherman) wrote

> From: prw-b@ugrad.cs.york.ac.uk
> Date: Thu, 8 Jun 95 23:40:52
> To: mutex@stolaf.edu
> Subject: Typesetting question.

>> With overlapping notes in a chord, which note note is shifted?
>>
>> eg. With {ceghj} is the g or the h shifted?
>>  The shift direction obviously depends on whether the stem is
>> up/down.

>As I recall, the rule is to start placing the heads at the head end of
>the stem and work towards the tail end, setting each head on the usual
>side of the stem unless it would overlap the head you placed previously.
>...

This posting re-emphasizes an interesting question that has come up several 
times in several different quises on this list:  What are the rules of style for
music typesetting?  Is there as set of standard used by commercial typesetters? 
I've been working on PmXTeX, a preprocessor for MusiXTeX, and have had to answer
numerous stylistic questions, such as

     1.  How much relative horizontal space should be assigned 
         to each note value?

     2.  Which notes should be beamed together?

     3.  What is the proper starting height and angle for a beam?

     4.  How much extra space is proper before and after accidentals, 
         barlines, new time signatures?

     5.  How much vertical space should separate systems? 
         Voices within a system?

I've made my own decisions on these, and implemented them into general purpose 
algorithms.  But I have often wondered if there is a good reference that 
discusses the general subject and the specifics of music typesetting style.  Is 
anyone aware of such a reference?

Don Simons (dsimons@logicon.com)


From owner-mutex  Fri Jun  9 23:23:54 1995
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From: wself@viking.emcmt.edu (Will Self)
Message-Id: <9506100243.AA01725@viking.emcmt.edu>
To: mutex@stolaf.edu
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Don Simons asks for a good reference that 
discusses the general subject and the specifics of music typesetting style.

I have _Preparing Music Manuscript_ by Amsco Music Publishing Company,
Everybody's Favorite Series No. 130.  It's a bit old (1963), but maybe it
or another edition is available.

Amsco Music Publishing Co.
33 West 60th Street
New York NY 10023

Will Self

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From: prw-b@ugrad.cs.york.ac.uk
Date: Sun, 11 Jun 95 21:22:47
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Subject: Question
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Using MusiXTeX, how do I enter (and space correctly) a piano passage in 
which the right hand plays 12 notes/bar whilst the left has 8 notes/bar.

Thanks in advance,

Peter Wainwright.


From owner-mutex  Mon Jun 12 04:23:55 1995
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Date: Mon, 12 Jun 1995 10:15:38 +0200
From: Miguel Filgueiras <mig@ncc.up.pt>
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To: mutex@stolaf.edu
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In-Reply-To: "SIMONS, DON"'s message of Fri, 09 Jun 95 12:35:33 PST <9505098027.AA802727562@cclink.logicon.com>
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You wrote

> algorithms.  But I have often wondered if there is a good reference
> that discusses the general subject and the specifics of music
> typesetting style.  Is anyone aware of such a reference?

> Don Simons (dsimons@logicon.com)

In 1993, Werner Icking gave me a precious reference: a German book
which in spite of being in German can be used by people not reading
German (like myself):

> The Chlapik has a lot of examples with "right"/"wrong". So it may be
> possible to read it without knowing the language. Here's the
> reference:
> Chlapik, Herbert: Die Praxis des Notengraphikers. 1987. 100 S.  -
> 27,5 x 19,5 cm. 'Doblinger' Br DM 32,- (OS 224,-) (ISBN
> 3-900035-96-2)

Miguel Filgueiras

From owner-mutex  Mon Jun 12 05:23:58 1995
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From: Werner Icking <Werner.Icking@gmd.de>
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> Using MusiXTeX, how do I enter (and space correctly) a piano passage in 
> which the right hand plays 12 notes/bar whilst the left has 8 notes/bar.

Maybe that following looks nice enough:

\instrumentnumber2\startextract
\def\eightwelfe{\Notes
    \ibu0f0\qb0f\roff{\tbu0\qb0f}&\ibl1{'e}0\qb1{ee}\tbl1\qb1e\en}
\eightwelfe\eightwelfe\eightwelfe\eightwelfe\bar
\eightwelfe\eightwelfe\eightwelfe\eightwelfe
\endextract\startextract
\def\eightwelfe{\Notes
    \ibl0{'e}0\qb0e\roff{\tbl0\qb0e}&\ibu1f0\qb1{ff}\tbu1\qb1f\en}
\eightwelfe\eightwelfe\eightwelfe\eightwelfe\bar
\eightwelfe\eightwelfe\eightwelfe\eightwelfe
\endextract\bye

If not, replace \roff e.g. by \roffset{1.3}.

Werner

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Date: Mon, 12 Jun 1995 11:30:41 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199506121530.LAA101718@poe.acc.Virginia.EDU>
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To: mutex@stolaf.edu
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On Jun 8, 22:54, George Sicherman wrote:

> As I recall, the rule is to start placing the heads at the head end of
> the stem and work towards the tail end, setting each head on the usual
> side of the stem unless it would overlap the head you placed previously.
> With {ceghj} on the treble staff I presume you would use an upstem, so...
> 
> 	1. c on the left side
> 	2. e on the left side
> 	3. g on the left side
> 	4. h on the right side so it doesn't overlap g
> 	5. j on the left side
> 
> If you use a downstem, the positions of g and h remain the same:
> 
> 	1. j on the right side
> 	2. h on the right side
> 	3. g on the left side so it doesn't overlap h
> 	4. e on the right side
> 	5. c on the right side

This rule works fine.  Another consideration, however, is the intended
harmony.  The notes of a C major chord with an added sixth should appear
with the notes of the triad (c, e, g) on one side of the stem and the
added sixth (the note a) on the other.  If the harmony is A minor 7 in
the 1st inversion, then the notes of the A minor triad (c, e, a) should
appear on one side and the 7th (the note c) on the other.  The sound is 
the same, but this arrangement of the notes makes the harmony clearer.

/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
\_________________________________________________________________________/

From owner-mutex  Mon Jun 19 09:23:53 1995
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From: C.Walshaw@greenwich.ac.uk
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Subject: Triplets
To: mutex@stolaf.edu
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Cc: C.Walshaw@greenwich.ac.uk () ()
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Hi all,

	Here's a challenge for MusiXTeX hackers:

I would like to write triplets (in the normal way) as three
notes with a slur around them and a 3 above the slur. The
trouble is that I can't position the 3 next to the slur until
I have finished everything else, as changing the layout
of the notes can affect the height of the slur. What I would
really like is a slur which I can attach the 3 (or any other
number). E.g.

\setslurtext{3}\isluru0{a}

Anyone think they can do this?

	Chris
	C.Walshaw@gre.ac.uk

From owner-mutex  Tue Jun 20 13:23:54 1995
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From: prw-b@ugrad.cs.york.ac.uk
Date: Tue, 20 Jun 95 01:23:45
Message-ID: <swordfish.803608230@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: Style footnotes
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How do I use footnotes with musixtex ??
The \footnote{1}{Comment} does not work within music, neither does it seem to
work with the \[zlc]midstaff commands.

Also, is there any macro written to automatically handle advancing 
footnote numbers?

If I get this working, I might put Von-Bulo (sic?) style commentary 
into my compositions.

Thanks in Advance,

Peter Wainwright.


From owner-mutex  Tue Jun 20 15:23:55 1995
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From: prw-b@ugrad.cs.york.ac.uk
Date: Tue, 20 Jun 95 01:33:23
Message-ID: <swordfish.803608872@ugrad.cs.york.ac.uk>
To: mutex@stolaf.edu
Subject: volta lines
Precedence: bulk


How can I raise the height of volta lines so that they do not
clash with high notes.

Regards,

Peter Wainwright.


From owner-mutex  Wed Jun 21 05:23:53 1995
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From: Erwin Hugo Achermann <acherman@inf.ethz.ch>
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To: mutex@stolaf.edu
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Hi guys,

is it possibly true, that there is no email address in the
distribution of musix.tex?

I am wondering wheter I could/should/may engage myself a little bit in
this project. But how to electronically contact D. Taupin or
R. Mitchell or anybody, who is interested in improvements of the
musixtex Package?

Thanx
Erwin

-- 
Erwin Achermann
Institute for Scientific Computing                        Tel:      ++41 1 632 74 40
IFW C29.2                                                 FAX:      ++41 1 632 11 72
CH-8092 Zuerich						email: achermann@inf.ethz.ch
------>Kapitulation ja, Resignation nie, Optimismus ungern, Zuversicht immer!<------

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From: CLARY Olivier <Olivier.CLARY@meteo.fr>
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Erwin Hugo Achermann <acherman@inf.ethz.ch>:
>I am wondering wheter I could/should/may engage myself a little bit in
>this project. But how to electronically contact D. Taupin or
>R. Mitchell or anybody, who is interested in improvements of the
>musixtex Package?

Daniel Taupin <taupin@physol.lps.u-psud.fr>
              <taupin@rsovax.lps.u-psud.fr>
Ross Mitchell <rmitchel@orbit4i.nesdis.noaa.gov>
Andreas Egler <ehlerabk@rubc.rz.ruhr-uni-bochum.de>

-- Olivier

From owner-mutex  Wed Jun 21 15:23:52 1995
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From: "SIMONS, DON" <dsimons@logicon.com>
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Erwin Hugo Achermann <acherman@inf.ethz.ch> wrote:

>is it possibly true, that there is no email address in the
>distribution of musix.tex?

There were some addresses on the cover of the manual, last time I printed it 
out.

>I am wondering wheter I could/should/may engage myself a little bit in
>this project. 

You should, just to get familiar with some very fine software.

>But how to electronically contact D. Taupin or
>R. Mitchell or anybody, who is interested in improvements of the
>musixtex Package?

I have been sending my suggestions to this mailing list.  Maybe I've been too 
subtle (e.g., 'Couldn't we use \xchangecontext?', rather than 'We NEED 
\xchangecontext')--but for whatever reason, none of my suggestions seems to have
had any effect.  But that doesn't change the fact that MusiXTeX is a fine piece 
of work.

--Don Simons (dsimons@logicon.com) 



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From: "Peter Zimmermann" <RZA003@eo-nwfs-1.ku-eichstaett.de>
Organization:  Katholische Universitaet Eichstaett
To: mutex@stolaf.edu
Date:          Wed, 21 Jun 1995 17:00:28 MET
Subject:       MusicTeX 5.11-5.12 diff-files
Priority: normal
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Hallo to the creator of  the
  musictex.511-512.zip
diff-file:  the musicdoc.tex-file is missing - please add this file 
to the zip-file.
Thanks for Your work
Peter Zimmermann
(e-mail: rza003@ku-eichstaett.de)

From owner-mutex  Fri Jun 23 09:23:53 1995
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Date:        Thu, 22 Jun 95 14:39:13 EDT
From: James Fay <NVFAYXJ@NVMUSIC.VCCS.EDU>
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Subject: signoff
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signoff mutex


JAMES FAY, MUSIC DEPARTMENT
NORTHERN VIRGINIA COMMUNITY COLLEGE
ANNANDALE, VA 22003 (W) 703 323-3177, FAX (703) 323-3796
INTERNET: NVFAYXJ@NVMUSIC.VCCS.EDU


From owner-mutex  Fri Jun 23 11:23:54 1995
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From: taupin@lps.u-psud.fr
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Subject: musixtex + musictex
To: mutex@stolaf.edu
Date: Fri, 23 Jun 95 18:09:25 METDST
Mailer: Elm [revision: 70.85]
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The distributions of both musictex and musixtex have been updated
at "rsovax.lps.u-psud.fr" and "hprib.lps.u-psud.fr". No changes, but
missing documentation files are now present in the zip files.
D. Taupin

From owner-mutex  Mon Jun 26 06:23:54 1995
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Subject: MusiXteX and MusicTeX updated (doc and zips updated)
To: mutex@stolaf.edu
Date: Mon, 26 Jun 95 12:25:25 METDST
Mailer: Elm [revision: 70.85]
Precedence: bulk

MusiXTeX version T.395b and MusicTeX version 5.12:
both are available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex] or [anonymous.musixtex]
  (simply say "cd musixtex" or "cd musixtex" after ftp anonymous login)
or
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex and pub/musictex

Changes:
  No changes in macros, but doc updated to explain how to handle footnotes
with music...

Daniel Taupin


From owner-mutex  Tue Jun 27 03:23:52 1995
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Date: Tue, 27 Jun 1995 09:33:18 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199506270733.AA18201@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: MusicTeX 5.11-5.12 diff-files
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>   musictex.511-512.zip
> diff-file:  the musicdoc.tex-file is missing - please add this file 
> to the zip-file.

It hasn't been changed; so it's not missing.  diff-files/musicxxx.nnn-mmm.zip
contain only those files which have been changed. If the big files (musicdoc.dvi,
musicdoc.ps, ...) have been changed they are *not* packed into the archives
to keep them small. These files can be generated using the others.

Werner

PS: You have to rename musicxxx.nnn-mmm.zip to musicxxx.zip e.g. during
    transfer if your system does not support other file names as 8+3-names.

From owner-mutex  Fri Jun 30 01:23:53 1995
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To: mutex@stolaf.edu
Subject: Please help with Overfull hbox in MusiXTeX 0.43 ...
From: "Andrew J. Korty" <korty@physics.purdue.edu>
Reply-To: korty@physics.purdue.edu
X-Mailer: MH 6.8.3 #6[UCI] (london.physics.purdue.edu)
Date: Thu, 29 Jun 1995 23:33:27 -0500
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I've tried for months to fix two "Overfull hbox" warnings in a score
I've written using MusiXTeX 0.43 to no avail.  I've followed all of
the suggestions in the manual and posted to comp.text.tex with no
success.  It may be a bug, but I'm no TeXpert, so I've probably made a
subtle mistake.  Would you mind taking a look at my source and helping
me out?  I would be *extremely* grateful!

Andy

From owner-mutex  Fri Jun 30 11:23:54 1995
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Message-Id: <199506301613.LAA08041@london.physics.purdue.edu>
To: mutex@stolaf.edu
Subject: Re: Please help with Overfull hbox in MusiXTeX 0.43 ... 
X-Mailer: MH 6.8.3 #6[UCI] (london.physics.purdue.edu)
X-Followup-to: My message of "Thu, 29 Jun 1995 23:33:27 -0500."
Date: Fri, 30 Jun 1995 11:13:09 -0500
From: "Andrew J. Korty" <korty@physics.purdue.edu>
Precedence: bulk

I received so many replies asking for my source code, I decided to
post it to the list.  I hope this does not inconvenience anyone ...

One person suggested that I try to isolate the problem and send only
the offensive bit of code.  However, in a quantum mechanical sort of
way, when I try to confine the problem to one area, it moves to
another.  :-)  So here's the whole enchilada:

% The Lord is Kind and Merciful
% Music by Andrew J. Korty
% Music Copyright 1995 by Andrew J. Korty
% Source code for MusiXTeX 0.44 Copyright 1995 by Andrew J. Korty
% Format: musixcho
%\input musixcho
\centerline{\BIGfont The Lord is Kind and Merciful}%
\medskip
\line{\hss Music by Andrew J. Korty}%
\generalsignature{1}%
\sepbarrules
\instrumentnumber{3}%
\setstaffs1{2}%
\setclef1\bass
\setclef2\bass
\interstaff{10}%
\setinterinstrument2{4\Interline}%
\songtop3\songbot2
\setname3{\vbox{\hsize\parindent\centerline{Soprano}\centerline{Alto}}}%
\setname2{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bass}}}%
\setname1{Piano}%
\parindent12.5mm
\startmuflex
\generalmeter{\meterfrac44}%
\startbarno=0%
\nobarnumbers
\startpiece
\Notes\qsk\ds|\qsk\ca f&\qsk\ds&\qsk\ds\enotes\bar
%%% 1
\systemnumbers
\Notes\Dqbu GK|\Uptext{G}\zq{.b}\qa{.g}\enotes
\Notes\Dqbl NK|\sk\zq d\ca f\enotes
\Notes\Dqbu CG|\Uptext{C}\zq{.e}\qa{.g}\enotes
\Notes\Dqbu JI|\sk\zq d\ca h\en\atnextbar{\znotes&\centerpause&\centerpause\en}\bar
%%% 2
\Notes\Dqbu AE\Dqbu HJ|\Uptext{Am7}\zh c\ha g\enotes
\Notes\Dqbu DH\Dqbl KM|\Uptext{D}\zh a\hu f\en\atnextbar{\znotes&\centerpause&\centerpause\en}\bar
%%% 3
\Notes\Dqbu EI\Dqbu LI|\Uptext{E}\zq{.^N.b}\qa{.e}\sk\sk\zq e\cu{^g}\enotes
\Notesp|\downtrio a20\zq g\qu i\zq f\qu h\zq e\qu g\bsk\enotes
\NOtes\bsk\bsk\qsk\ql{EE}\enotes\atnextbar{\znotes&\centerpause&\centerpause\enotes}\bar
%%% 4
\NOtesp\qa{.D}|\zh b\hu{=g}&\hpause&\Uptext{G/D}\hpause\enotes
\Notes\ca K\enotes
\NOtes\ha D|\zq{.a}\qu{.f}&\qp&\qp\enotes
\Notes|\ca{*f}&\ds\zcl K\cu a&\Uptext{D}\ds\tx The*\zcl d\cu f\en\leftrepeat
%%% 5
\Notes\Dqbu GK|\zq{.b}\qa{.g}&\zql{.G}\qu{.b}&\Uptext{G}\tx Lord*\zql{.d}\qu{.g}\en
\Notes\Dqbl NK|\sk\zq d\ca f&\sk\zcl{G}\cu{a}&\sk\Uptext{D}\tx is*\zcl{d}\cu{f}\en
\Notes\Dqbu CG|\zq{.e}\qa{.g}&\zql{.J}\qu{.c}&\Uptext{C}\tx kind*\zql{.e}\qu{.g}\en
\Notes\Dqbu JI|\sk\zq d\ca f&\sk\zcl{I}\cu{a}&\sk\Uptext{Bmin7}\tx and*\zcl{d}\cu{h}\en\bar
%%% 6
\Notes\Dqbu AE\Dqbu HJ|\zh c\ha g&\zhl{H}\hu{c}&\Uptext{Am7}\rtx mer~~~~~~-*\zhl{e}\hu{g}\en
\Notes\Dqbu DH\Dqbl KM|\zh a\hu f&\zhl{K}\hu{a}&\Uptext{D}\rtx ci~~~~~~~~~-*\zhl{d}\hu{f}\en\Setvolta1\bar
%%% 7
\Notes\Dqbu EI\Dqbu LI|\zq{.^N.b}\qa{.e}\sk\sk\zq e\cu{^g}&\zhl{.L}\hu{.^N}&\uptext{E}\tx ful.*\zhl{.b}\hu{.e}\en
\Notesp|\downtrio a20\zq g\qu i\zq f\qu h\zq e\qu g\bsk\en
\NOtes\bsk\bsk\qsk\ql{EE}&\bsk\qp&\bsk\qp\en\bar
%%% 8
\NOtesp\qa{.D}|\zh b\hu{=g}&\hpause&\uptext{G/D}\hpause\en
\Notes\ca K\enotes
\NOtes\ha D|\zq{.a}\qu{.f}&\qp&\qp\enotes
\Notes|\ca{*f}&\ds\zcl K\cu a&\uptext{D}\ds\tx The*\zcl d\cu f\en\setvolta2\endvoltabox\rightrepeat
%%% 9
\Notes\zh E\ha L|\itieu0e\zhu e\Dqbl{^N}{a}\itieu3b\cl b\itieu1b\ttie3\zq b\itied2N\cl N&\zhl{.L}\hu{.^N}&\tx{ful.}*\zhl{.b}\zhu{.e}\uptext{E}\en
\Notes\Dqbu LI\qa E|\ttie0\zqu{.e}\ttie1\zql{.b}\ttie2\ql{.N}&\sk\sk\qp&\sk\sk\ds\en
%%% Verses
\generalsignature{2}%
\znotes&&\kernm2em\Drtx 1.|~*\en
\Notes|\ca e&&\Dtx Let|~*\ca e\en\leftrepeat
%%% 10
\Notes\Dqbu DH\Dqbl KL|\zh{.d}\hu{.f}&&\Uptext{D}\Dtx all|Lord*\qu{.f}\sk\sk\Dtx your|your*\ca f\en
\Notes\Dqbl Ma\Dqbl ML|\sk\sk\zq c\qu e&&\Dtx works|words*\qa h\sk\Dtx give|are*\ca f\Dtx you|~*\ca e\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 11
\Notes\zql{.G}\wh N|\zql{.b}\qu{.d}&&\Uptext{G}\Dtx thanks,|faith*\cu e\Dtx O|~*\ca d\en
\Notes\cl{*G}\ql{G*G}|\sk\zcl b\cu f\zql b\Dqbu hg\ibl1b0\zqb1b\ibu0d{-2}\qb0d\tbl1\zqb1b\tbu0\qb0b&&\Dtx\irule{Lord;}|\irule{-~ful,}*\itied0d\ha{d}\sk\sk\sk\ttie0\ca d\Dtx\trule{The}|\trule{Your}*\ca d\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 12
\Notes\Dqbu{=C}{G}\Dqbu{=J}{K}|\zq{.=c}\qu{.e}\sk\sk\zq c\cu e&&\Uptext{C}\Dtx faith|\irule{ways}*\cu e\Dtx\irule{-~ful}|~*\itied0e\ca e\ttie0\zqu{e}\multnoteskip\tinyvalue\tinynotesize\hsk\hqsk\cl e\Dtx~|\trule{sin-}*\cl e\en
\Notes\qa L|\zq c\qu e&&\Dtx\trule{sing}|cere*\zqu{.e}\multnoteskip\tinyvalue\tinynotesize\hsk\qsk\ql e\en
\Notes\qa K|\zq c\qu e&&\multnoteskip\tinyvalue\tinynotesize\Dtx~|\irule{and}*\itied1d\cl d\multnoteskip\normalvalue\normalnotesize\Dtx your|~*\ttie1\ca d\qsk\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 13
\NOtesp\zql{.E}\wh L|\zq{.^Nb}\qu{.e}&&\Uptext{E}\Dtx praise;|just;*\wh{e}\en
\Notes\cl E\ql{E*E}|\zq e\cu{^g}\zq g\ibu0i{-2}\qb0i\zq f\tbu0\qb0h\zq e\ibu0g{-2}\qb0g\zq d\tbu0\qb0f\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 14
\Notes\Dqbu{=C}{G}\Dqbu JK|\zq e\ibu0g2\qb0{=g}\zq e\tbu0\qb0h\zh e\hu i&&\Uptext{C}\Dtx Let|Rais*\cu g\Dtx them|-~~ing*\ca h\Dtx speak|up*\ha i\en
\Notes\Dqbl LN\Dqbl LJ|\sk\sk\zq a\qu g&&\sk\sk\Dtx of|those*\ca h\Dtx your|who've*\ca g\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 15
\Notes\zql{.G}\wh N|\zq{.b}\qu{.d}&&\Uptext{G}\Drtx\irule{glo-ry,}|\irule{fall-en}*\cu e\itied0d\ca d\ttie0\itied1d\ha d\en
\Notes\cl G|\zq d\cu g\en
\NOtes\ql G|\zq h\qu c\en
\Notes\ql G|\zq g\qu i&&\ttie1\ca d\Dtx\trule{The}|\trule{You}*\ca d\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 16
\Notes\Dqbu{=F}{=J}\Dqbl{=M}{N}|\zq{=f}\ibu0h2\qb0h\zq g\tbu0\qb0i\zq h\ibu0j{-2}\qb0{=j}\zq g\tbu0\qb0i&&\Uptext{F}\Drtx\irule{glo-ry}|O~~~-*\cu{=f}\itied0e\ca f\Dtx~|\irule{pen}*\ttie0\qa{f}\en
\NOtes\ql a|\zq f\qu h&&\Dtx\trule{of}|~*\zqu{.f}\multnoteskip\tinyvalue\tinynotesize\hsk\hqsk\ql f\en
\Notes\ql H|\zq e\qu g&&\Dtx~|your*\multnoteskip\tinyvalue\tinynotesize\itied0e\cl e\normalnotesize\Dtx your|~*\ttie0\ca e\qsk\en\atnextbar{\znotes&\centerpause\en}\bar
%%% 17
\NOtesp\qa{.D}|\zq{.^f}\qu{.h}&\hpause&\Uptext{D}\Dtx reign.|hand.*\itied0d\hu{.d}\en
\Notes\ca H|\zq e\cu g\en
\NOtes\qa K|\zq{.d}\qu{.f}&\qp\en
\generalsignature{1}%
\Notes\qa M|\cu{*d}&\ds\zcl K\cu a&\ttie0\cu d\tx The*\zcl d\cu f\en\Changecontext\zbar
%%% 18
\Notes\Dqbu GK|\zq{.b}\qa{.g}&\zql{.G}\qu{.b}&\Uptext{G}\tx Lord*\zql{.d}\qu{.g}\en
\Notes\Dqbl NK|\sk\zq d\ca f&\sk\zcl{G}\cu{a}&\sk\Uptext{D}\tx is*\zcl{d}\cu{f}\en
\Notes\Dqbu CG|\zq{.e}\qa{.g}&\zql{.J}\qu{.c}&\Uptext{C}\tx kind*\zql{.e}\qu{.g}\en
\Notes\Dqbu JI|\sk\zq d\ca f&\sk\zcl{I}\cu{a}&\sk\tx and*\Uptext{Bmin7}\zcl{d}\cu{h}\en\bar
%%% 19
\Notes\Dqbu AE\Dqbu HJ|\zh c\ha g&\zhl{H}\hu{c}&\Uptext{A7}\rtx mer~~~~~~-*\zhl{e}\hu{g}\en
\Notes\Dqbu DH\Dqbl KM|\zh a\hu f&\zhl{K}\hu{a}&\Uptext{D}\rtx ci~~~~~~~~~-*\zhl{d}\hu{f}\en\Setvolta{1.-2}\bar
%%% 20
\Notes\zh E\ha L|\itieu0e\zhu e\Dqbl{^N}{a}\itieu3b\cl b\itieu1b\ttie3\zq b\itied2N\cl N&\zhl{.L}\hu{.^N}&\tx{ful.}*\uptext{E}\zhl{.b}\hu{.e}\en
\generalsignature{2}%
\Notes\Dqbu LI|\ttie0\zqu{.e}\ttie1\zql{.b}\ttie2\ql{.N}\en
\Notes\qa E|&\qp&\ds\en
\znotes&&\kernm2em\rtx 2.*\en
\Notes&&\tx O*\ca e\en\changecontext\generalsignature{1}\setvoltabox3\endvoltabox\rightrepeat
%%% 21
\Notes\zh E\ha L|\itieu0e\zhu e\Dqbl{^N}{a}\itieu3b\cl b\itieu1b\ttie3\zq b\itied2N\cl N&\zhl{.L}\hu{.^N}&\tx{ful.}*\zhl{.b}\zhu{.e}\uptext{E}\en
\Notes\Dqbu LI|\ttie0\zqu{.e}\ttie1\zql{.b}\ttie2\ql{.N}\en
\Notes\qa E|\qa N&\qp&\qp\en\bar
%%% 22: Third verse
\znotes&&\kernm2em\tx 3.*\en
\Notes&\tx I*\zql{.J}\cu{cc}\hu c&\Uptext{C}\tx I*\zcl e\cu{^g}\tx will*\zcl{d}\cu f\tx praise*\zhl{c}\hu e\en
\Notes&\tx will*\cl J\en
\NOtes&\tx praise*\ql J\tx your,*\zql{K}\qu a&\sk\Uptext{D7}\tx your*\zql c\qu f\en\bar
%%% 23
\NOtesp&\tx I*\zql{.L}\wh{^N}&\Uptext{E}\tx name;*\zw b\wh e\en
\Notes&\tx will*\cl L\en
\NOtes&\tx praise*\ql L\tx your,*\ql I\en\bar
%%% 24
\Notes&\tx gen*\zql{.G}\cu{NN}\tx -*\hu N&\Uptext{G6}\tx gen*\zcl b\cu{g}\tx -~er*\zcl b\cu f\tx -~a*\zhl b\hu e\en
\Notes&\tx er*\cl G&\tx -*\en
\NOtes&\tx -~a~-*\ql G\en
\Notes&\tx tions*\zql H\cu{Nb}&\Uptext{D/A}\tx tions*\zcl b\cu e\tx ac~-*\zcl{d}\cu f\en\bar
%%% 25
\Notes&\tx bless*\zql{.J}\cu{cc}\hu c&\Uptext{C}\tx claim*\zcl e\cu{g}\tx your*\zcl{d}\cu f\tx works*\zcl{c}\cu e\en
\Notes&\tx your*\cl J\en
\NOtes&\tx ho~-*\ql J\tx ly,*\zql I\qu a&\sk\Uptext{Bmin7}\tx and*\zql c\qu f\en\bar
%%% 26
\NOtesp&\tx bless*\zql{.H}\qu{.c}&\Uptext{Am7}\tx bless*\zql{.e}\qu{.g}\en
\Notes&\tx your*\zcl H\cu c&\tx your*\zcl d\cu f\en
\NOtes&\tx ho~-*\zql H\qu c\tx ly*\zql H\qu c&\tx ho~-*\zql c\cu e\tx ly*\zql d\qu f\en\bar
%%% 27
\NOTEs&\tx name!*\zw K\wh a&\Uptext{D}\tx name!*\zw d\wh h\en
\mulooseness=2%
\Stoppiece
\centerline{\copyright 1995 by Andrew J. Korty}
\endmuflex
\end

From owner-mutex  Mon Jul  3 05:23:53 1995
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Subject: Eurotex'95 registration form
From: eurotex-org@cs.ruu.nl
Reply-To: eurotex-org@cs.ruu.nl
Errors-To: eurotex-err@cs.ruu.nl
Precedence: bulk

This is the Eurotex'95 registration form in ASCII. The other files
mentioned below may take a day or so to arrive at their location, so if you
don't find them, please try again tomorrow.
===========================================================================
EuroTeX'95, Sept 4-8, 1995  Registration Form

Papendal Nationaal Sport Centrum
Arnhem, The Netherlands

Email: eurotex@cs.ruu.nl
http://www.cs.ruu.nl/"piet/eurotex

This form also available in Postscript from CTAN:
tex-archive/usergrps/info/eurotex95-form.ps or from
http://www.cs.ruu.nl/~piet/eurotex

All payments must be made in Dutch guilders (f = Dfl)

Payment Options:

 __ 
|__|    Bank Transfer (preferred)
	Postbank (Giro)
	Account Number 6799186
	NTG inzake EuroTeX
	Eindhoven, The Netherlands.


Credit Card
 __ 
|__|    VISA
 __ 
|__|    Eurocard
 __ 
|__|    Mastercard


              
Card #       ______________________________________________________________

Expiry       ______________________________________________________________



Signature     ______________________________________________________________

 __ 
|__|    International cheque or money order enclosed (add f 15)
        payable to NTG, Eindhoven

Mail to:

    EuroTeX registration
    Ruud H. Koning
    Liendenhof 137
    1108 HH Amsterdam ZO
    The Netherlands
    tel/fax +31 20 6917260
    Email: rhkoning@xs4all.nl


One form per registrant.  If you need additional registration forms,*
please copy this form or contact the EuroTEX'95 committee.  Please check
the appropriate boxes and return this form plus payment to the EuroTeX
registration at the address above.

The registration fee includes the welcome reception, all lunches from Monday
to Thursday, all dinners from Monday to Wednesday, the `social event' on
Wednesday, breaks, one half-day tutorial and one copy of the proceedings.


Name: _______________________________________________________________________

Affiliation: ________________________________________________________________

Address:    _________________________________________________________________

            _________________________________________________________________

            _________________________________________________________________

Phone: ____________________________________ FAX: ____________________________

E-mail: _____________________________________________________________________


Special Dietary Needs: ______________________________________________________

Other Special Requirements: _________________________________________________

Choice of free tutorial: ____________________________________________________

Other tutorials: ____________________________________________________________
 __
|__|  East European TEX bus pickup at: ______________________________________


Registration Fees:  TUG or TEX user group member              f 375 _________
		   						   
                       Group: ___________________________	   
		   						   
                    Non-member                                f 450 _________
								   
Additional Tutorials:                                        @ f 70 _________

 __ 
|__|   Lunch on Friday:                                        f 15 _________
 __ 							     	    
|__|   Additional copies of proceedings: #   ________        @ f 20 _________

Voluntary donation: Contribution to the Bursary Fund                _________

                                                Meeting Subtotal f  _________

                                     __ 
Hotel Accommodation                 |__| single (f 90)
    __                               __        
   |__| double (f 75 per person)    |__| quadruple (f 50 per person)


   share with: _____________________________________________________

   # nights ________   arrive: ____________   depart: ____________  _________


Payment by cheque:                                          f 15    _________


                                                  Total Payment   f _________

From owner-mutex  Mon Jul  3 06:23:52 1995
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Date: Mon, 3 Jul 1995 13:11:14 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199507031111.AA22984@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Please help with Overfull hbox in MusiXTeX 0.43 ...
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> %%% Verses
> \generalsignature{2}%
> \znotes&&\kernm2em\Drtx 1.|~*\en
> \Notes|\ca e&&\Dtx Let|~*\ca e\en\leftrepeat
> %%% 10

Imho you have to signal that you've changed the signature;
\setleftrepeat\changecontext or a similar construct should 
solve the problem.

I couldn't test your source with the version T395 I'm using because there 
are a lot of incompatibilities. So I can only hope that this analysis
is ok.

Werner

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To: mutex@stolaf.edu
cc: Robin.Fairbairns@cl.cam.ac.uk, Daniel Taupin <taupin@rsovax.lps.u-psud.fr>,
        Werner Icking <Werner.Icking@gmd.de>
Subject: Musixtex directory split
Date: Mon, 03 Jul 1995 16:34:05 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:290430:950703153418"@cl.cam.ac.uk>
Precedence: bulk

For some time, CTAN has carried two copies of MusiXTeX, one
originating from Daniel Taupin and the other from Andreas Egler.

Two weeks ago, following a mirroring error here, Andreas Egler's copy
got deleted from CTAN; since I was ill at the time, nothing happened
for several days; fortunately, when I got back to work, Andreas had
supplied me with a new version...

I have therefore decided that the only safe way to proceed is to move
the two parts into separate directories -- 

  macros/musixtex/taupin  which is mirrored (indirectly) into CTAN
                          from Daniel's site
  macros/musixtex/egler   which is installed on CTAN by me as and when
                          Andreas sends me a new version

(The directories continue to be accessible as support/musictex/<whatever>,
for historical reasons.)

If either of the two active authors have any direct comment on the
present CTAN layout, they are welcome to mail me; I can (for example)
cross-link such things as examples files if necessary.

For safety's sake, however, I will not revert to the previous
situation of having both versions in the same directory, whatever the
authors think; losing files in this way tends to lead to
disproportionate amounts of work from the CTAN team and the systems
staff of the machines on which the archives are hosted, and I am
unwilling to leave us exposed in this way.

Robin Fairbairns
For the CTAN team

From owner-mutex  Tue Jul  4 21:23:53 1995
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From: cthiele@ccs.carleton.ca (Christina Thiele)
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Subject: TUG'95 conference schedule -- update
To: mutex@stolaf.edu.emtex-user@physik.tu-berlin.de, typo-l@irlearn.ucd.ie,
        ling-tex@ifi.uio.no, astex@univ-orleans.fr
Date: Tue, 4 Jul 95 15:07:22 EDT
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Below please find an updated program schedule for the TUG'95 meeting
in Florida. The program schedule in both .asc and .ps formats will
also be available on CTAN shortly, in tex-archive/usergrps/tug/tug95.

Christina

==================

%%%%%%%%%%%
%% schedule.asc   -- should print 4 pages
%%%%%%%%%%%

    _______
   |       |                     16th Annual Meeting
   | T e X |
   | Users |                      July 24--28, 1995
   | Group |
   |_______|                St. Petersburg Beach, Florida 


                             R e a l   W o r l d   T e X


Conference Schedule:
===================

                         Monday, July 24, 1995
                         ---------------------

Morning: TeX Tools and Techniques

  9:00--9:30     Welcome! 
  9:30--10:00    Jiri Zlatuska
                    When METAFONT Does It Alone
 10:00--10:30    Richard J Kinch
                    METAFOG: Converting METAFONT Shapes to Contours

 10:30--11:00            --- Refreshment break ---

 11:00--11:30    Alan Hoenig
                    Poetica: A Virtual Font Project
 11:30--12:00    Bart Childs and Deborah Dunn
                    Teaching CS/1 Courses in a Literate Manner
 12:00--12:30    Wlodek Bzyl
                    Literate plain.tex Source is Available! 

 12:30--2:00       --- Lunch and Birds-of-a-Feather Sessions ---


Afternoon: TeX Practical Workshops I

  2:00--2:30     (presented by Sebastian Rahtz)
                    PSTricks, the package to access almost all the power
                       of PostScript from within TeX
  2:30--3:30     Jerry Marsden
                    FASTEX ---Keyboard Shortcuts for TeX

  3:30--3:45              --- Refreshment break ---

  3:45--4:15     Dennis Kletzing
                    Multienumerate---Complicated List Handling
  4:15--5:00     Jon Stenerson
                    Scientific Word Style Sheets

  5:00--6:00     Gerard van Nes
                 Editors' workshop -- producing user group publications, part 1 


                         Tuesday, July 25, 1995
                         ----------------------

Morning: TeX Past, Present and Future

  9:00--10:30    Donald Knuth 
                    Question & Answer Session

 10:30--11:00            --- Refreshment break ---

 11.00--11.40    John Hobby
                    MetaPost Practical Demonstration
 11:40--12:40    Various Discussions 
                    -- Omega, the 16-bit \TeX{ with sophisticated
                       input/output filters, with the complementary
                       Unicode font project
                    -- the NTS project, a projected replacement for TeX
                    -- the e-TeX extended TeX

 12:40--1:30             --- Lunch ---


       --- Afternoon Free for an Exciting Outing! ---


                         Wednesday, July 26, 1995
                         ------------------------

Morning: Real World TeX

  9:00--9.30     Matthew Swift
                    Modularity in LaTeX
  9:30--10:00    Bart Wage
                    Real-World Electronic Journals Production at
                       Elsevier Science
 10:00--10:30    Gabriel Valiente Feruglio
                    Modern Catalan Typographical Conventions

 10:30--11:00            --- Refreshment break ---

 11:00--11:30    Petr Sojka
                    Notes on Compound Word Hyphenation in TeX
 11:30--12:00    Sebastian Rahtz
                    Another Look at LaTeX to SGML Conversion

 12:00--1:30       --- Lunch and Birds-of-a-Feather Sessions ---


Afternoon: TeX Standards

  1:30--2:30     Norm Walsh 
                    The TeX Directory Structure Report, and discussion
                       of organising TeX distributions and archives 
  2:30--3:45     Mike Sofka
                    Standards for \special Support in DVI Drivers
                 Art Ogawa
                    Proposals on Portable \special Commands

  3:45--4:00              --- Refreshment break ---

  4:00--5:00     T.V. Raman
                    TeX for the Disabled: a practical demonstration of 
                    AsTeR, and a report from the Technical Working Group

  5:00--6:00     Gerard van Nes
                    Editors' workshop -- part 2 

  7:00--9:00              --- Banquet ---



                         Thursday, July 27, 1995
                         -----------------------

Morning: Portable Document Futures

  9:00--9:30     T.V. Raman
                    An Audio View of LaTeX Documents --- part II
  9:30--10:00    Sebastian Rahtz and Yannis Haralambous
                    LaTeX, HTML and PDF, or the entry of TeX into the
                       world of hypertext 
 10:00--10:30    Michel Goossens
                    Practical LaTeX2HTML

 10:30--11:00            --- Refreshment break ---

 11:00--11:30    Mark Doyle
                  The HyperTeX Approach to Publishing Academic Papers 

 12:00--1:30            --- Lunch ---


Afternoon: TeX Practical Workshops II

  1:30--2:30     Wietse Dol\Windows
                    4AllTeX, the first (and only!) plug'n'play TeX
                       system for DOS on a CD, with unrivaled features
                       and fun  
  2:30--3:30     Michel Goossens
                    An Introduction to SGML and HTML

  3:30--3:45             --- Refreshment break ---

  3:45--4:15     Chris Hamlin
                    Working with ReVTeX

  4:15--6:00     TeX Users Group Annual Meeting, and the chance to meet
                    the board members


                         Friday, July 28, 1995
                         ---------------------

Morning: TeX and Font Fun

  9.00--9.20   Jonathan Fine
                 New Perspectives in TeX Macros
  9:20--9:50   Sergey Lesenko
                 T1Part (Type1 Partial)
  9:50--10:30  Jeremy Gibbons
                 Dotted and Dashed Lines in METAFONT

 10:30--11:00            --- Refreshment break ---

 11:00--11.30  Robin Fairbairns 
                 Using Adobe Multiple Master Fonts with TeX

 11:30         Closing Ceremonies, and Awarding of Prizes! 



  2:00--4.30  Alan Hoenig
                 A Short Course on Virtual Fonts 

%% END OF FILE



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Date: Tue, 4 Jul 1995 22:33:27 -0400
From: gls@atpsol.cvu.att.com (George Sicherman)
Message-Id: <9507050233.AA19848@atpsol.cvu.att.com>
To: mutex@stolaf.edu
Subject: tricky page break
Precedence: bulk

I've been trying to code this in MusicTeX without much luck:

	A change of signature after a double bar, followed by a
	forced page break, with a paragraph indent and a left repeat
	on the next page.

Can it be done without tears?


From owner-mutex  Wed Jul  5 04:23:53 1995
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Date: Wed, 5 Jul 1995 10:29:23 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199507050829.AA24536@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: tricky page break
X-Sun-Charset: US-ASCII
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> I've been trying to code this in MusicTeX without much luck:
> 
> 	A change of signature after a double bar, followed by a
> 	forced page break, with a paragraph indent and a left repeat
> 	on the next page.
> 
> Can it be done without tears?


No tears, but "tierisch" - enjoy my newest opus starting in C-Major and
ending in Eb-minor. To be played very slow with much "anima" :-)

\def\nbinstruments{1}\debutmorceau
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\generalsignature{-6}\Changecontext\zsuspmorceau
\eject
\debutmorceau
\leftrepeatsymbol
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes\barre
\NOTes\qu{ffff}\enotes
\finmorceau
\bye


No copyright   -- Werner

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X-NUPop-Charset: English
Date: Fri, 7 Jul 1995 17:46:27 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
Sender: ehlerabk@rubc.rz.ruhr-uni-bochum.de
Message-Id: <63989.ehlerabk@rubc.rz.ruhr-uni-bochum.de>
To: mutex@stolaf.edu
Subject: Re: Please help with Overfull hbox in MusiXTeX 0.43 ...
Precedence: bulk

>> %%% Verses
>>   \generalsignature{2}%
>>   \znotes&&\kernm2em\Drtx 1.|~*\en
>>   \Notes|\ca e&&\Dtx Let|~*\ca e\en\leftrepeat

Well --- when I remember correct --- there is a warning in the doc.
Something like never use \hskip or \kern with exception of 'zero'-boxes.
Try:

\znotes&&\Drtx\kernm2em 1.|~*\en

ae

From owner-mutex  Fri Jul  7 13:23:53 1995
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          with SMTP (PP-6.5) to cl; Fri, 7 Jul 1995 18:15:30 +0100
To: mutex@stolaf.edu
cc: ehlerabk@rubc.rz.ruhr-uni-bochum.de
Subject: Andreas Egler's MusiXTeX v0.45
Date: Fri, 07 Jul 1995 18:15:26 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:126430:950707171536"@cl.cam.ac.uk>
Precedence: bulk

Andreas has supplied me with v0.45 of his version of MusiXTeX

I have installed it as tex-archive/macros/musixtex/egler/musix045.zip
here at ftp.tex.ac.uk; it should propagate to the other CTANs soon.

Robin Fairbairns
For the CTAN team

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Date: Fri, 7 Jul 1995 19:19:01 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
Sender: ehlerabk@rubc.rz.ruhr-uni-bochum.de
Message-Id: <69542.ehlerabk@rubc.rz.ruhr-uni-bochum.de>
To: mutex@stolaf.edu
Subject: MusiXTeX V0.45
Precedence: bulk

Dear beta-tester,

MusiXTeX V0.45 will be available next days at CTAN-server.

Changes since last pronounce:

- introduced stemless notes, free definable signatures \customflat...,
  more easy input and enhancements for slurs and ties,
  collective coding for duration points, \stemcut for flags,
  \xchangecontext, \setslurtext, and some other (see history.txt)

Some people have asked for musical typesetting rules. There is a good
collection in the diploma of Schofer/Steinbach free available. There is only
one drawback. It's in german. I have started to extract the rules. If
anybody is interested to do the translation, please reply.

Regards
Andreas

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To: mutex@stolaf.edu
cc: Robin.Fairbairns@cl.cam.ac.uk
Subject: Copying of announcements to ctan-ann
Date: Sun, 09 Jul 1995 18:41:20 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:219240:950709174126"@cl.cam.ac.uk>
Precedence: bulk

Every time I post to ctan-ann (which, as a CTAN maintainer, I do
rather often), I get a mesage from an object that calls itself "L-Soft
list server at CSBRMU11 (1.8b)" (I wonder what they call it at home?)
saying that my message has been distributed to the mutex list.

But I typically *don't* get the message itself via the mutex list.

Do other people on this list get all these messages (the latest one
was about the Camel system)?  Would they prefer not to?  Would the
REAL L-Soft list server as CSBRMU11 stand up, please, and tell me what
he's up to?  Surely, those who want to read ctan-ann can do so by
subscribing to ctan-ann?

Robin Fairbairns

From owner-mutex  Mon Jul 10 03:23:52 1995
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CC: Robin.Fairbairns@cl.cam.ac.uk, Daniel Taupin <taupin@rsovax.lps.u-psud.fr>,
        Werner Icking <Werner.Icking@gmd.de>
Subject: Musixtex directory split
Date: Mon, 03 Jul 1995 16:34:05 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Reply-To: CTAN-Ann@SHSU.edu
Message-ID: <"swan.cl.cam.:290430:950703153418"@cl.cam.ac.uk>
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ReSent-From: "R. Allan Reese" <R.A.Reese@computer-centre.hull.ac.uk>
ReSent-To: Alex Sharaz <a.sharaz@computer-centre.hull.ac.uk>
ReSent-Message-ID: <Pine.SUN.3.91.950710091150.20578A@humus> 
Precedence: bulk

For some time, CTAN has carried two copies of MusiXTeX, one
originating from Daniel Taupin and the other from Andreas Egler.

Two weeks ago, following a mirroring error here, Andreas Egler's copy
got deleted from CTAN; since I was ill at the time, nothing happened
for several days; fortunately, when I got back to work, Andreas had
supplied me with a new version...

I have therefore decided that the only safe way to proceed is to move
the two parts into separate directories -- 

  macros/musixtex/taupin  which is mirrored (indirectly) into CTAN
                          from Daniel's site
  macros/musixtex/egler   which is installed on CTAN by me as and when
                          Andreas sends me a new version

(The directories continue to be accessible as support/musictex/<whatever>,
for historical reasons.)

If either of the two active authors have any direct comment on the
present CTAN layout, they are welcome to mail me; I can (for example)
cross-link such things as examples files if necessary.

For safety's sake, however, I will not revert to the previous
situation of having both versions in the same directory, whatever the
authors think; losing files in this way tends to lead to
disproportionate amounts of work from the CTAN team and the systems
staff of the machines on which the archives are hosted, and I am
unwilling to leave us exposed in this way.

Robin Fairbairns
For the CTAN team


From owner-mutex  Tue Jul 11 05:23:53 1995
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Date: Tue, 11 Jul 1995 10:25:11 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@stolaf.edu
Subject: Problem with \footline
Precedence: bulk

I have just upgraded my copy of MusicTeX from 4.50 to 5.12 (I tend not to
do upgrades unless I really want some new feature - in this case the
font for harmonic notes).  I am having problems with \footline.  I used
to put things like \footline={Music $\copyright$ McIlroy\hfil Composed 1981}
and it all worked fine.  Now all I get is a double bracket () at the
bottom-left, and the page number at the bottom right.  Am I doing something
stupid ?

If you could tell me how to get footlines I should really appreciate it.

Many thanks,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From owner-mutex  Wed Jul 12 05:23:53 1995
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From: ian@indi4.eatchip.eurocontrol.be (Ian Davies)
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Subject: MusicTex previewer
To: mutex@stolaf.edu
Date: Wed, 12 Jul 95 12:03:56 MDT
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Hello there,

I guess this should be in the faq, but
does there exist a MusicTex 'pre-hearer'
that is, something that can translate the MusicTex
to say a MIDI format?

thanks in advance
Ian Davies.
-------------------------------------------------
Internet: ian@indi4.eatchip.eurocontrol.be


From owner-mutex  Thu Jul 13 05:23:54 1995
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From: ian@indi4.eatchip.eurocontrol.be (Ian Davies)
Message-Id: <9507130918.AA14497@indi4.eatchip.eurocontrol.be>
Subject: midi->midi2tex->MusicTex
To: mutex@stolaf.edu
Date: Thu, 13 Jul 95 11:18:49 MDT
Cc: ian@indi4.eatchip.eurocontrol.be
X-Mailer: ELM [version 2.3 PL0]
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Hello there,
I would be gratful of any help anyone can give me as
regards the path
midi->midi2tex->Musictex

my aim is to write and hear scores for simple melodies
which I know by heart prior to printing them for
playing by my wife on her flute.
I can create midi files which sound fine when sent to 
my soundcard,
but I have a problem with the output of midi2tex.
To begin with, texing the output gives:
-----------------------------------------------------------
This is TeX, Version 3.1415 (C version 6.1)
(tune.TEX (/home/ian/src/texmf/tex/music/musicnft.tex
Version 5.06 -- October 26th, 1994) (/home/ian/src/texmf/tex/music/musictex.tex
 Version 5.06 -- October 26th, 1994)
(/home/ian/src/texmf/tex/music/musicadd.tex
Version 5.02 -- February 28th, 1994)
(/home/ian/src/texmf/tex/music/musictrp.tex)
! Undefined control sequence.
\newbar ->\barvrule 
                    \def \barvrule {\thinvrule }\message {bar \the \barno }\...

\n@barre ->\gluebrule \newbar 
                              \gluearule 
l.29 \barre
-----------------------------------------------------------
then I hit return, and it continues to completion.

then the first line of music had no stave,
which was remedied by manual insertion of:

\debutmorceau
\normal

in  the appropriate place in the .TEX

after that, It looks nearly OK, with correct pitches, bar
lines in the right places, basic note lengths,
but many of the notes have double dots after them.
(does this mean that the notes would
be lengthened by .. 0.75 ? or is it 1.0 ? beats,
either way, I don't think the dots should be there)
I suspect that the problem is due to my lack of understanding of
the relationship between
the relative time's I set between the notes in the midi file,
the division attribute of the file, and the meter fraction.

Any enlightenment would be appreciated,

Ian Davies.
-------------------------------------------------
Internet: ian@indi4.eatchip.eurocontrol.be


From owner-mutex  Thu Jul 13 09:23:52 1995
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From: TAUPIN@rsovax.lps.u-psud.fr
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Date:  13-JUL-1995 14:46:02 +0100
Subject:  musixtex T.396
To: mutex@stolaf.edu
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Subject: MusiXTeX version T.396
New version T.396 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)
or
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.396 musixsty.tex corrected
 - T.395 musixadd.tex corrected
 - T.394 musixcpt.tex corrected (\zbarre), \breath removed => \cbreath
 -       MusiXsty.tex updated/corrected to provide various text font sizes
 -       doc updated
 - T.391 \changeclefs / \zchangeclefs updated

Daniel Taupin


From owner-mutex  Thu Jul 13 11:23:53 1995
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Date:  13-JUL-1995 14:45:10 +0100
Subject:  musictex 5.13
To: mutex@stolaf.edu
Precedence: bulk

Subject: MusicTeX version 5.12
New version 5.13 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)
and
  hprib.lps.u-psud.fr
  directory pub/musictex

Changes:
 - 5.13 a small bug corrected in musicsty.tex
 - 5.12 a small bug corrected
 - 5.11 a few correction for compatibility with MusiXTeX
 -      doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


From owner-mutex  Fri Jul 14 05:23:54 1995
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To: mutex@stolaf.edu
Subject: EuroTeX'95 Revised Program
From: eurotex-org@cs.ruu.nl
Reply-To: eurotex-org@cs.ruu.nl
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============
 EuroTeX'95		The TeX Toolbox.
============

For more info on registration, ftp to CTAN, tex-archive/usergrps/info, WWW
to http://www.cs.ruu.nl/~piet/eurotex, or email to eurotex-info@cs.ruu.nl.


(Items marked `*' are not confirmed yet)

------------------------------------------------------------------------
Monday a.m.

Welcome Reception and registration of conference attendants.

------------------------------------------------------------------------
Monday p.m. (14:00-18:30)

Theme: I) Fonts

 VFComb -- a program for design of virtual fonts
    S. Turtia, A.Berdikov

 The Conversion of the Euler Metafont sources to PostScript Type1
    E.J. Vens

 EC and DC fonts
    J. Knappen

Theme: II) Multiple languages

 A package for Church Slavonic type-setting
    A.F. Slepuhin

 A Russian style for Babel: problems and solutions
    O. Lapko, I. Makhovaya

 ScholarTeX
    Y. Haralambous

 Status of Babel
    J. Braams

------------------------------------------------------------------------
Tuesday a.m. (9:00-12:30)

Theme: Graphics and packages

 Graphics in TeX: a new implementation
    A.V. Astrelin

 TeX Plotter -- program for creating 2D and 3D pictures
    S. Turtia, A. Berdikov

 Typesetting Commutative Diagrams
    G. Feruglio

 Package for typesetting chemical diagrams
    J. Hagen

 MusixTeX, a package for typesetting music
    D. Taupin

------------------------------------------------------------------------
Tuesday p.m.

  13:30-14:30: NTG meeting.

Theme: Electronic documents

 Presentation of Acrobat
    W. Tierie

 Producing electronic books? -- all you need is TeX!
    J. Hagen

 SGML, a practical introduction
    M. Goossens

 From LaTeX to HTML, and back
    M. Goossens

 SGML, Acrobat, LATEX, HyperTeX
    S. Rahtz*

 Panel discussion.

------------------------------------------------------------------------
Wednesday a.m.

Theme: Tools I

 DaTeX, TeX macros for storing and retrieving data
    R. Koning, S. Kliffen, A. Lenstra

 TeX: an unsuitable language for document markup?
    P. Taylor

 Blue's Data Bases
    K. van der Laan

 Occam's razor and macro management
    L. Siebenmann

 Formating Pascal using TeX
    P. Palao, M. Nunez

------------------------------------------------------------------------
Wednesday p.m.

Theme: General developments in TEX and LATEX

 LaTeX3
    C. Rowley*

 e-TeX: A 100%-compatible successor to TeX.
    P. Taylor

 Omega
    Y. Haralambous

 tds
    Joachim Schrod

 Panel discussion.

   16:00-???: the social event, still a secret...

------------------------------------------------------------------------
Thursday a.m.

Theme: Tools II

 \csname u n d e f i n e d \endcsname = \relax: feature or flaw?
    P. Taylor

 Atomic fonts and electronic archiving of scientific documents
    L. Siebenmann

 The W95 Environment
    A. Strejc

 Indexing with `Any'TeX
    K. van der Laan

 Metafont as generator of EPS graphics
    B. Jackowski

------------------------------------------------------------------------
Thursday p.m. and Friday

Theme: Tutorials

 Parallel sessions.

 Sweet-TeX tutorial
    L. Siebenmann

 Page layout in LaTeX
    P. van Oostrum

 TeXing Paradigms
    K. van der Laan

 BLU TeX
    K. van der Laan

 Metafont
    B. Jackowski

 e-TeX tutorial
    P. Taylor

 Workshop on Acrobat and electronic document delivery
    M. Goossens & S. Rahtz
-- 
Piet van Oostrum <piet@cs.ruu.nl>
http://www.cs.ruu.nl/~piet

From owner-mutex  Fri Jul 14 06:23:53 1995
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Date: Fri, 14 Jul 1995 11:43:17 +0200
Message-Id: <199507140943.LAA12559@stego.cs.ruu.nl>
To: mutex@stolaf.edu
Subject: EuroTeX'95 Revised Program
From: eurotex-org@cs.ruu.nl
Reply-To: eurotex-org@cs.ruu.nl
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% EuroTeX'95 announcement
\documentclass{article}
\usepackage{multicol}
\usepackage{times}
\usepackage{a4}

\parindent0pt
\parskip1mm

\def\Theme#1{\vskip2mm{\bf Theme: #1}\vskip2mm}
\def\Day#1{\vskip 6mm\hrule\vskip1mm
           \centerline{\bf#1}\vskip1mm}
\def\Paper#1#2{\par\hangindent5mm\textbf{#2} -- #1\par}
\def\Head{\centering\Large\bf
          Euro\TeX'95\\
          September 4--8\\
          Arnhem, The Netherlands\\
          Conference information\\~\\
          \hrule}

\begin{document}

%% \begin{multicols}{2}[\Head]
%% 
%% \section*{The \TeX\ Toolbox}
%% 
%% The Euro\TeX\ conference 1995, including tutorials, will take place from
%% \textit{September 4th until September 8th} in the Netherlands. The
%% conference will be held at Papendal, near the city of Arnhem.
%% 
%% Papendal is located in one of the most beautiful areas of the
%% Netherlands. Right in the middle of the vast woods of the province of
%% Gelderland. About eight kilometers west of Arnhem. Tucked away under the
%% lee of the green Veluwe-fringe.
%% 
%% The conference starts on September 4th in the afternoon and runs until
%% September 7th noon. Thursday afternoon and Friday September 8th are
%% reserved for tutorials.
%% 
%% The theme of the conference is: The \TeX\ Toolbox.
%% 
%% \section*{Preliminary program}
%% 
%% (Items marked `*' are not confirmed yet)

\Day{Monday a.m.}

Welcome Reception and registration of conference attendants.

\Day{Monday p.m. (14:00--18:30)}

\Theme{I) Fonts}

\Paper{S. Turtia, A.Berdikov}
      {VFComb -- a program for design of virtual fonts}
\Paper{E.J. Vens}
      {The Conversion of the Euler Metafont sources to PostScript Type1}
\Paper{J. Knappen*}
      {EC and DC fonts}

\Theme{II) Multiple languages}

\Paper{A.F. Slepuhin}
      {A package for Church Slavonic type-setting}
\Paper{O. Lapko, I. Makhovaya}
      {A Russian style for Babel: problems and solutions}
\Paper{Y. Haralambous}
      {Scholar\TeX}
\Paper{J. Braams*}
      {Status of Babel}

\Day{Tuesday a.m. (9:00--12:30)}

\Theme{Graphics and packages}

\Paper{A.V. Astrelin}
      {Graphics in \TeX: a new implementation}
\Paper{S. Turtia, A. Berdikov}
      {\TeX\ Plotter -- program for creating 2D and 3D pictures}
\Paper{G. Feruglio}
      {Packages for typesetting Commutative Diagrams}
\Paper{J. Hagen}
      {Package for typesetting chemical diagrams}
\Paper{D. Taupin}
      {Musix\TeX, a package for typesetting music}

\Day{Tuesday p.m.}

 From 13:30--14:30: NTG meeting.

\Theme{Electronic documents}

\Paper{W. Tierie}
      {Presentation of Acrobat}
\Paper{J. Hagen}
      {Producing electronic books? -- all you need is \TeX!}
\Paper{M. Goossens}
      {SGML, a practical introduction}
\Paper{M. Goossens}
      {From \LaTeX\ to HTML, and back}
\Paper{S. Rahtz*}
      {SGML, Acrobat, \LaTeX, Hyper\TeX}

Panel discussion.

\Day{Wednesday a.m.}

\Theme{Tools I}

\Paper{R. Koning, S. Kliffen, A. Lenstra}
      {Da\TeX, \TeX\ macros for storing and retrieving data}
\Paper{P. Taylor}
      {\TeX: an unsuitable language for document markup?}
\Paper{K. van der Laan}
      {Blue's Data Bases}
\Paper{L. Siebenmann}
      {Occam's razor and macro management}
\Paper{P. Palao, M. N\'u\~nez}
      {Formating Pascal using \TeX}

\Day{Wednesday p.m.}

\Theme{General developments in \TeX\ and \LaTeX}

\Paper{C. Rowley*}
      {\LaTeX3}
\Paper{P. Taylor}
      {$\varepsilon$-\TeX}
\Paper{Y. Haralambous}
      {Omega}
\Paper{Joachim Schrod}
      {tds}

Panel discussion.

 16:00--???: the social event, still a secret\ldots

\Day{Thursday a.m.}

\Theme{Tools II}

\Paper{P. Taylor}
      {$\backslash$csname u n d e f i n e d $\backslash$endcsname = 
        $\backslash$relax: feature or flaw?}
\Paper{L. Siebenmann}
      {Atomic fonts and electronic archiving of scientific documents}
\Paper{A. Strejc}
      {The W95 Environment}
\Paper{K. van der Laan}
      {Indexing with `Any'\TeX}
\Paper{B. Jackowski}
      {Metafont as generator of EPS graphics}

\Day{Thursday p.m. and Friday}

\Theme{Tutorials}

Parallel sessions.

\Paper{L. Siebenmann}
      {Sweet-\TeX\ tutorial}
\Paper{P. van Oostrum}
      {Page layout in \LaTeX}
\Paper{K. van der Laan}
      {\TeX ing Paradigms}
\Paper{K. van der Laan}
      {BLU \TeX}
\Paper{K. van der Laan}
      {Plain \TeX\ Macro writing, why?}
\Paper{B. Jackowski}
      {Metafont}
\Paper{P. Taylor}
      {$\varepsilon$-\TeX\ tutorial}
\Paper{M. Goossens \& S. Rahtz}
      {Workshop on Acrobat and electronic document delivery}

%% \section*{Meeting costs}
%% 
%% The registration fee includes the Welcome Reception on Monday, all
%% lunches from Monday to Thursday and all dinners from Monday to Wednesday.
%% One tutorial ($\frac12$ day) is included in the conference fee.
%% Extra tutorials cost Hfl~70 each. Lunch on Friday is Hfl~15.
%% 
%% The conference fee also includes the `social event' on Wednesday
%% afternoon and evening.
%% 
%% Conference rates:\\
%% -- members of TUG or Local \TeX\ User Groups (please specify): Hfl~375\\
%% -- others: Hfl~450
%% 
%% Reservations of hotel rooms at the conference site can only be done
%% by the Euro\TeX\ organisation committee. Papendal offers the following
%% accomodation:
%% 
%% -- single rooms Hfl~90 per day per person\\
%% -- double rooms Hfl~75 per day per person\\
%% -- quadruple rooms Hfl~50 per day per person\\
%% (breakfast included).
%% 
%% Accomodation is limited, so register as soon as possible.
%% 
%% \section*{How to get there}
%% 
%% Papendal is located just outside the city of Arnhem. From Arnhem it can
%% be reached by bus or taxi in approximately 15 minutes. There is a
%% train going from Amsterdam airport (Schiphol) to Arnhem every 30
%% minutes.
%% 
%% The address is:
%% 
%% Papendal Nationaal Sport Centrum\\
%% fax +31 8308 21853 \\
%% tel +31 8308 37911 \\
%% P.O. Box 484\\
%% 6800 AL Arnhem\\
%% The Netherlands\\
%% 
%% 
%% People coming from Russia, Poland or ... may be interested in the
%% Euro\TeX\ Bus Project. On September 2nd a \TeX\ bus will drive from
%% Brest, through Warsaw, through ... to Arnhem, where it will arrive on
%% Sunday in the afternoon. Taking the bus will be extremely cheap, thanks
%% to sponsoring by ...
%% However, seats are limited so register as soon as possible.
%% 
%% 
%% \section*{Bursary fund}
%% 
%% There is a Bursary Fund available for those who require financial
%% support to attend the meeting. While we cannot guarantee all requests
%% will be fulfilled, we will do our best to support as many as we can.
%% 
%% We encourage all conference attendants to contribute a small amount of
%% money to the Bursary Fund along with their registration fee.
%% 
%% More information about contributing to or applying to the Bursary Fund
%% can be obtained from ...
%% 
%% \section*{Further information}
%% 
%% Updates of this information will be sent to all known electronic \TeX\
%% related mailing lists and to all Local \TeX\ User Groups. If you have
%% access to a WWW browser you can go to
%% {\small\texttt{http://www.cs.ruu.nl/piet\~\ /eurotex}}. There you can
%% find the latest news, a registration form and other useful information.
%% 
%% \end{multicols}
\end{document}


From owner-mutex  Sat Jul 15 11:23:53 1995
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From: taupin@lps.u-psud.fr
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Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA06606; Sat, 15 Jul 1995 16:37:11 +0200
Subject: MicroEmacs for 386/486 with djgpp/gcc
To: mutex@stolaf.edu.info-tex@shsu.edu (info-tex@shsu.edu),
        tex-euro@dhdurz1.bitnet (tex-euro@dhdurz1.bitnet)
Date: Sat, 15 Jul 95 16:37:11 METDST
Cc: mutex@stolaf.edu (mutex@stolaf.edu)
Mailer: Elm [revision: 70.85]
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MicroEmacs 3.12 for 386/486 computers
=====================================
     Daniel Taupin and Art Kagel
    
This is a 386 version of MicroEmacs 3.12, written by Daniel M. Lawrence,
based on code by Dave G. Conroy.

This version is taken from the source C by Daniel M. Laurence, slightly
modified to be correctly compiled by the "djgpp/GCC" compiler by D.J.
Delorie. Therefore, while the TurboC version of MicroEmacs is bound to
approximately 600 kbytes of working memory, the Kagel/Taupin version can
handle very big files, since it works with 32 bit addressing and is
practically limited by the core memory of your 386/486, usually 4-8
Mbytes.

The character handling routine "char.c" has been updated by D. Taupin to
consider Western European accented letters as letters, and to be able to
uppercase/lowercase them with the usual MS-DOS 850 character coding.

To get it: anonymous ftp at "hprib.lps.u-psud.fr",
directory "pub/pc/microemacs386". 

First read "install.txt", then get the "memac*.exe" self-expanding routines
for MS-DOS.


From owner-mutex  Fri Jul 21 11:23:54 1995
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Message-Id: <199507211420.QAA08928@stego.cs.ruu.nl>
To: mutex@stolaf.edu
From: phons@EI.ELE.TUE.NL
Subject: Announcement 4allTeX CD-ROM version 3
Precedence: bulk

=======================ANNOUNCEMENT======================
4allTeX: NTG's TeX distribution for DOS and OS/2 machines
===================Version 3=Version 3===================

The THIRD version of the NTG cdrom and the floppy distibution
is now available!
And we have STILL the FIRST PLUG and PLAY TeX distribution for MSDOS
PCs. Our CD's also run on OS/2, and large parts of them are useful for
other platforms like Unix.

A TWO-CD release with on the first CD-ROM the complete 4TeX/4allTeX
workbench, based on emTeX. 'You name it, we have it' (more or less..)
And the 4TeX workbinch nicely integrates everything.
The second CD-ROM is loaded with TeX documentation: back issues of MAPS,
Baskerville, TeXHAX....

Find out more about it on the WWW server of the NTG (dutch TeX users group)

     http://ei0.ei.ele.tue.nl/ntg/

Included is an order form for the CD-ROMS. Shipping will start after the
TUG conference of Jul 24 to Jul 28.
The price of the CDROM includes an extensive 170 page users manual,
and includes shipping and handling, it is set on

     60 dutch guilders (present exchange rate USD 39)

=========================================================

The DISKETTE version of 4allTeX is part of the NTG 4allTeX CD-ROM,
but also works as a stand-alone system. Only one diskette is needed to start,
we offer a MODULAR and ready to run emTeX setup for DOS machines.

A ready to run emTeX is packed on 1 (ONE) high density diskette.

The system can be extended with a series of extension disks, which also
contain popular extensions like dvips, GhostScript, AMSpell and a series of
extensions to LaTeX and METAFONT. Note: Our floppy series does NOT
incorporate the FULL emTeX distribution. It is however compatible with its
directory structure.

New features:
* emTeX official release as of 4-Jul-95
* New directory structure according to emTeX structure.
* LaTeX2e Jul95 pl 1.
* updates to lots of other programs.

How to recognize:
Version 3 : ZIP archives, ZIP comment **** 4allTeX version 3 archive ****
Version 2 : ZIP archives. (which is a *obsolete* beta test version)
Version 1 : ARJ archives.

Info: http://ei0.ei.ele.tue.nl/ntg

Where to get:
  ftp.urc.tue.nl:/pub/tex/4alltex

please do not slurp everything at once:
it has a reason why we made the effort to create a modular system......

  CTAN:/systems/msdos/4alltex  (in a short while)

-----------------------------------------------------------------------------
--
-----------------------------------------------------------------------------
Phons Bloemen                                 http://ei0.ei.ele.tue.nl/~phons
Information & Communication Theory group   Eindhoven University of Technology
Word(t) Klein Zacht Raampje Perfect voor '95?  Stap over! TeX & LaTeX & Linux

From owner-mutex  Sat Jul 22 01:23:53 1995
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From: Calmacr@aol.com
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Message-Id: <950722011619_120360891@aol.com>
To: mutex@stolaf.edu
Subject: Bagpipe Drumming in MusicTEX
Precedence: bulk

I understand that there is a MusicTEX that can write Pipe Band drum scores.
 It has the ability to do single line "drum clef" scores for snare, bass, and
tenor, and has most of the pipe band drum score notations.

Can anyone tell which MusicTEX file would have the above and how I can get
it?

Thanks,

Cal MacRitchie
East Peoria, IL

From owner-mutex  Mon Jul 24 05:23:53 1995
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X-NUPop-Charset: English
Date: Mon, 24 Jul 1995 11:48:58 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
Sender: ehlerabk@rubc.rz.ruhr-uni-bochum.de
Message-Id: <42540.ehlerabk@rubc.rz.ruhr-uni-bochum.de>
To: mutex@stolaf.edu
Subject: MusiXTeX V0.46
Precedence: bulk

Dear beta-tester,

MusiXTeX V0.46 soon available at CTAN-server.

Last Changes:

- fixed some restrictions for custom signatures
- several sizes for dynamic markings
- more easy solution for tenor violin clef
- bug fixing

Regards, Andreas
ntroduced stemless notes, free definable signatures \customflat...,
  more easy input and enhancements for slurs and ties,
  collective coding for duration points, \stemcut for flags,
  \xchangecontext, \setslurtext, and some other (see history.txt)

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Date: Mon, 24 Jul 1995 11:29:07 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199507241529.LAA149918@poe.acc.Virginia.EDU>
X-Mailer: Mail User's Shell (7.2.3 5/22/91)
To: mutex@stolaf.edu
Subject: MusiXTeX fonts
Precedence: bulk

I'm a TeX novice, so please excuse my ignorance.  I hope that someone
can help me get started running MusiXTeX.  I'd like to run it on an 
IBM RS6000.  I've got TeX, of course, and I've ftp'd the MusiXTeX
distribution and unzipped it, etc.  placing everything in one big
directory.  I've created environment variables which point TeX to
this directory for fonts, etc.  Anyway, I've run TeX against several
of the .tex files and everything seemed to work.  However, when I tried
to run dvips to convert to a postscript file for viewing, it
complains that it can't find any .300pk fonts.  dvips does the
best it can, so I get all the staff lines, but the notes/symbols are
gibberish.  Are there additional fonts that are not included in the 
distribution?  Or have I just not set everything up properly?  This 
is my first experience with TeX, so if you can help I'd be very grateful.

Thanks,

/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
\_________________________________________________________________________/

From owner-mutex  Tue Jul 25 03:23:52 1995
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From: eleonore@limsi.fr (Eleonore Brun)
Message-Id: <9507250747.AA20965@m7>
To: mutex@stolaf.edu
Subject: Re:  MusiXTeX fonts
Precedence: bulk

do you have METAFONT, so that dvips can automatically make the
foonts that it doesn't find ? I think it would help.

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Date: Tue, 25 Jul 1995 11:11:56 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199507250911.AA10862@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: MusiXTeX fonts
X-Sun-Charset: US-ASCII
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> Date: Mon, 24 Jul 1995 11:29:07 -0400
> From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
> 
> I'm a TeX novice, so please excuse my ignorance.  I hope that someone
> can help me get started running MusiXTeX.  I'd like to run it on an 
> IBM RS6000. [...]
> complains that it can't find any .300pk fonts.  [...]

It looks like that you've to rename the 300dpi-fonts *.pk to *.300pk
as it is normally required for TeX on Unix-like systems.
Maybe that you've to set some environment variables to point at
the corresponding directory.

Another possibility is to instruct your TeX-system so, that the fonts
are automagically generated from the METAFONT source *.mf

Werner

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Date: Tue, 25 Jul 1995 15:57:41 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199507251957.PAA44829@poe.acc.Virginia.EDU>
X-Mailer: Mail User's Shell (7.2.3 5/22/91)
To: mutex@stolaf.edu
Subject: Re:MusiXTeX fonts
Precedence: bulk


A great BIG thank you to all those who replied to my plea for
help installing MusiXTeX and getting the fonts right.  The
suggestion to rename the .pk files to .300pk worked.

/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
\_________________________________________________________________________/


From owner-mutex  Wed Jul 26 01:23:54 1995
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From: "Machane, Werner Dr." <Werner.Machane@vs.siemens.de>
To: mutex@stolaf.edu
Subject: MusicTeX vs. MusiXTeX (Taupin) vs. MusiX
Date: Wed, 26 Jul 95 08:18:00 PDT
Message-Id: <30165E2B@VSGWSMTP.ZFE.SIEMENS.DE>
Encoding: 32 TEXT
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Hi all,

I am a MusiXTeX novice, so please excuse me for my ignorance for the case 
that the following questions have  been asked again and again  (maybe there 
is a MusiXTeX FAQ list, but I could not find it ...) :

1. Can someone tell me the differences between MusicTeX, MusiXTeX by Daniel 
Taupin and
    MusiXTeX by Andreas Egler ? Has the development of MusicTeX been 
stopped, the
    successors being the MusiXTeX versions by Taupin and Egler ? What are 
the differences
   between these three versions regarding the contents ?

2. Is there any MusiXTec(X)-FAQ ? Where ?

3. Is there any archive of the so-far asked 
Music(X)TeX-Mailinglist-Questions (and of course answers :-)) ?

Thank you for any hint and advice,

WM

*****************************************************************************
*  Dr. Werner Machane        Phone          :  +49-89-722-28267          *
*  Siemens AG                Fax            :  +49-89-780-24649          *
*  81359 Munich              Internet-Mail  :  Werner.Machane@vs.siemens.de 
*
*  Germany                   WWW-Homepage   :  http://www.scn.de/~machane 
  *
*****************************************************************************

From owner-mutex  Wed Jul 26 04:23:52 1995
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Date: Wed, 26 Jul 1995 11:15:59 +0200
From: CLARY Olivier <Olivier.CLARY@meteo.fr>
Message-Id: <199507260915.AA00636@sesostris.meteo.fr>
To: mutex@stolaf.edu
Subject: Archive (was Re: MusicTeX vs. MusiXTeX (Taupin) vs. MusiX)
Precedence: bulk

"Machane, Werner Dr." <Werner.Machane@vs.siemens.de> :
> 3. Is there any archive of the so-far asked 
> Music(X)TeX-Mailinglist-Questions (and of course answers :-)) ?

gopher://gopher.stolaf.edu:70/1m/Internet Resources/St. Olaf Sponsored Mailing Lists/MuTeX/archive

-- Olivier

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Date: Wed, 26 Jul 95 12:49 BST
From: os10000@cus.cam.ac.uk (Oliver Seidel)
To: mutex@stolaf.edu
Subject: Where can I find ...
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Hi,

I'm looking for a nice MuTeX version of "Fuer Elise" by L v Beethoven.
I didn't dare sending this to the complete mailing list, but please do
forward it to the list if you believe this is a proper use.

I've been through rec.mus.class, ftp.tex.ac.uk, cs.uwp.edu (the music archive)
and I couldn't find it (the music archive has guitar notes as ASCII file).

Thanks a lot,

Oliver

From owner-mutex  Tue Aug  8 04:23:53 1995
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Date: Tue, 8 Aug 1995 10:42:14 GMT+200
From: Erik Frambach <E.H.M.Frambach@eco.RUG.NL>
Subject: EuroTeX'95 registration
To: mutex@stolaf.edu.mutex@stolaf.edu, INFO-TeX@SHSU.EDU, dante@dante.DE,
        4TeX@nic.SURFNET.NL, cyrtug@mir.msk.su, saar@aai.ee,
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To those who want to attend EuroTeX'95 but have not yet registered,

In order to make an estimate of the people who will attend
and arrange hotel rooms we would like you to register 
*as* *soon* *as* *possible*!

In order to garantee hotel accomodation we need to know how many
people are coming and what accomodation they need, so please.

If you have access to WWW, load the EuroTeX'95 page
  http://www.cs.ruu.nl/people/piet/eurotex/index.html
There you will find all information and a registration form.

You can also send an e-mail to
  eurotex-info@cs.ruu.nl
You will get an automatic reply describing how to get information
and how to register.

In case you have other questions regarding the conference, send
e-mail to the EuroTeX'95 Organizing Committee:
  eurotex-org@cs.ruu.nl
  
Erik Frambach
EuroTeX'95 Organizing Committee

From owner-mutex  Fri Aug 11 11:25:09 1995
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From: "SIMONS, DON" <dsimons@logicon.com>
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Using MusiXTeX, I would like to have one system (actually the last in 
the piece) end short of the right margin, leaving a blank space into 
which I can put some text.  I tried 

\endpiece\hsize450pt\contpiece

before the last system, and it did shorten the lines in the staves, 
but still spread out everything else over the original width.

Can anyone help? Also, once I do get the system the right width, how 
do I put the text to the right of it?

--Don Simons (dsimons@logicon.com)


From owner-mutex  Tue Aug 15 07:23:53 1995
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From: simon roberts <spxscr@thor.cf.ac.uk>
Message-Id: <7483.9508151130@thor.cf.ac.uk>
Subject: MusicTeX within text
To: mutex@stolaf.edu
Date: Tue, 15 Aug 1995 12:30:31 +0100 (BST)
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Please could someone advise me about using MusicTeX to insert short
excerpts of music within a line of text or a table in LaTeX.

I'm currently just about managing to achieve this by neglecting a \debut
command (extrait or morceau) in the music environment, so no default
layout is specified.  Luckily I don't need to initialise a staff or use
the pitch dimension as I'm only concerned with rhythm, and consequently
only need note durations.  Here's an example of what I've used:

A waltz within
\begin{music}
\def\nbinstruments{1}\relax
\nbporteesi=0\relax 
\normal
\notes\hu e\sk\qu e\enotes
\end{music} \space
text.

However, if I use \debutextrait at some point, then any subsequent
within-text music (that is without \debutextrait) is subjected to the
\debutextrait layout.  I've overcome this by keeping all my
\debutextrait excerpts separate from any text, converting them to
PostScript and re-inserting them as figures using epsf.  This seems like
a long way round.

Another problem is writing triplets.  Are there any relevant commands
for this?  Currently I'm using \zcharnote to write a "3" above the
beam(s), but this can only be used if you can specify a pitch - thus
requiring a \debut... command.  So I can't write triplets within text.
(\uptext is too high.)

So I'm just about managing at the moment - but the music positioning
seems very uncertain.

Are there any other methods for inserting music within a line of text
which is more robust?  Can such a method enable the writing of triplets?

Thanks in advance.

Simon <spxscr@thor.cf.ac.uk>

From owner-mutex  Mon Aug 21 13:23:53 1995
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From: David Thomas <David.Thomas@brunel.ac.uk>
Message-Id: <26494.9508211630@molnir.brunel.ac.uk>
Subject: font trouble with 5.13 and emtex
To: mutex@stolaf.edu
Date: Mon, 21 Aug 1995 17:30:35 +0100 (BST)
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I had a rush of blood to the head , in our UK summer heatwave and
updated musictex from 4.98 to 5.13 _and_ emtex to the latest release
(from 1992 beta), and now I'm in trouble :-)

when i try and display my dvi files with dviscr or print with dvihplj I
get messages like:

cmbx10<360> replaced by cmbx10<360> /r

and it wants metafont to create cmbx10 1.2 
(I've not got metafont working -  I never needed it before !)

(this particular error affected the dots after note heads, everything
else was perfect).

Can anyone help or hint at what's gone wrong ?
With the new directory structure for emtex, where should I put the
musictex files, or can I keep them separate and just point to them
with variables ?

thanks

David Thomas
brunel university library
Uxbridge
UK


From owner-mutex  Tue Aug 29 11:23:55 1995
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From: taupin@lps.u-psud.fr
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Subject: musix048.zip in CTANs
To: mutex@stolaf.edu
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I tried to retrieve musix048.zip from ctan (ftp.loria.fr) in
macros/musixtex/egler: the zip file is wrong (while other zip's are
significant): CTAN managers, please advise...

D. Taupin

From owner-mutex  Tue Aug 29 15:14:45 1995
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Subject: Re: musix048.zip in CTANs
In-reply-to: Your message of "Tue, 29 Aug 1995 16:25:37 +0700." <199508291426.JAA15250@nic.stolaf.edu>
Date: Tue, 29 Aug 1995 18:24:17 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Daniel Taupin writes:

> I tried to retrieve musix048.zip from ctan (ftp.loria.fr) in
> macros/musixtex/egler: the zip file is wrong (while other zip's are
> significant): CTAN managers, please advise...

The file is corrupt on all three of the CTAN servers -- not just
ftp.tex.ac.uk which loria mirrors from.  The likelihood is that it was
corrupted in transit here; since I was already so late installing it,
I have to confess I didn't check it before installing.

I have now rebuilt musix048.zip from the .tar.gz file, and reinstalled
it here.

Note that while it will probably propagate to ftp.dante.de, there's no
telling whether (or when) it'll make it to SHSU...

Robin Fairbairns
(For the CTAN team)

From owner-mutex  Wed Aug 30 13:23:54 1995
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From: taupin@lps.u-psud.fr
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Subject: musixtex T.397
To: mutex@stolaf.edu
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Subject: MusiXTeX version T.397
New version T.397 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)
or
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.397 more compatibility with Egler's modified proc names
 -       doc updated
 -       musixgre.tex updated
 - T.396 musixsty.tex corrected
 - T.395 musixadd.tex corrected
 - T.394 musixcpt.tex corrected (\zbarre), \breath removed => \cbreath
 -       MusiXsty.tex updated/corrected to provide various text font sizes

Daniel Taupin


From owner-mutex  Wed Aug 30 15:23:53 1995
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199508301939.AA02348@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: musixtex T.397 on ftp.gmd.de et.al.
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As usual the new musixtex version is available on ftp.gmd.de, too,
from where it will spread to CTAN tonight - as I hope.

  ftp.gmd.de   music/musixtex/musixtex.zip
                             /musixtex-T397.tar.gz
                             /diff-files/musixtex.T396-T397.zip

The last file contains only those files which have been changed
from T396 to T397 (approx. 120 k). It does *not* contain the
tex-ed documentation (musixdoc.dvi, .ps, .lj). You may get this file
e.g. by   get musixtex.T396-T397.zip musix397.zip  - don't forget
to switch to "binary" before getting the file - and then process it
as quite normal zip-file. The complete musixtex.zip is approx. 1.5 MB.

musixtex-T397.tar.gz is a compressed tar-file and it contains some
directory structure. If you cannot deal with ".gz" (gzip-compressed)
you may request   get musixtex-T397.tar   which will cause our server
to uncompress the file for you before tranferring it. Use "binary", too!

If you like to access ftp.gmd.de by WWW you may start at

    ftp://ftp.gmd.de/music/README.html

Werner

From owner-mutex  Fri Sep  1 06:23:54 1995
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From: taupin@lps.u-psud.fr
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Subject: musiXtex, new version
To: mutex@stolaf.edu
Date: Fri, 1 Sep 95 12:58:33 METDST
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Subject: MusiXTeX version T.398
New version T.398 of MusiXTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex] and subdirectories
  (simply say "cd musixtex" after ftp anonymous login)
or
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.398 added \nq and \nh features (standalone stemless quarter and half notes)
 - T.397 more compatibility with Egler's modified proc names
 -       doc updated
 -       musixgre.tex updated
 - T.396 musixsty.tex corrected
 - T.395 musixadd.tex corrected

Daniel Taupin


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From: taupin@lps.u-psud.fr
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Subject: MusicTeX new release
To: mutex@stolaf.edu
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Subject: MusicTeX version 5.14
New version 5.14 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)
and
  hprib.lps.u-psud.fr
  directory pub/musictex

Changes:
 - 5.14 added \nq and \nh features (standalone stemless quarter and half notes)
 - 5.13 a small bug corrected in musicsty.tex
 - 5.12 a small bug corrected
 - 5.11 a few correction for compatibility with MusiXTeX
 -      doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


From owner-mutex  Mon Sep  4 11:23:53 1995
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From: "Stanislav Kneifl" <SKNE1334@barbora.mff.cuni.cz>
Organization:  MFF, Charles University, Prague
To: mutex@stolaf.edu
Date:          Mon, 4 Sep 1995 16:45:08 +0200
Subject:       I need Andreas Egler's address...
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Is there anyone who knows the address of Mr. Andreas Egler? I have a 
lot of things to say about MusiXTeX and my address of Mr. Taupin does 
not work any more...

Many thanks.

Stanislav Kneifl,

SKNE1334@barbora.mff.cuni.cz

From owner-mutex  Wed Sep  6 05:23:53 1995
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199509060956.LAA07632@calvyn.puk.ac.za>
Subject: NTeX version of musixtex?
To: mutex@stolaf.edu
Date: Wed, 6 Sep 1995 11:56:32 +0200 (GMT+0200)
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I'm running the NTeX distribution on Linux.  Its major defect is that
it doesn't have Music(x)tex, so I was grateful to find a 
musixtex-T398.tar.gz file in the archives.  Alas, it is not a genuine
Unix .tar.gz file at all, merely another version of the MSDOS/EMTEX
installation also available as a zip file, but compressed in a different way.
I'm finding it hard to install musixtex into NTeX, so what I'm hoping for
is that one of you has already done it, and can tell me how.

Dirk

From owner-mutex  Wed Sep  6 06:23:53 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: I need Andreas Egler's address...
In-reply-to: Your message of "Mon, 04 Sep 1995 16:45:08 +0200." <19990DB0913@barbora.mff.cuni.cz>
Date: Wed, 06 Sep 1995 11:43:45 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:088800:950906104404"@cl.cam.ac.uk>
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> Is there anyone who knows the address of Mr. Andreas Egler? I have a 
> lot of things to say about MusiXTeX and my address of Mr. Taupin does 
> not work any more...

AFAIK, Daniel reads this list, so that he may (or may not) get in
touch with you direct; last time I mailed him, the mail was delayed
and I kept getting messages from a mailer to that effect.

When I last had communication from Andreas, it was via a file he had
ftp'ed to ftp.tex.ac.uk:/incoming -- in it he said he didn't have
access to email any more.  I'm not entirely sure how to proceed on
this: since he tends to deposit stuff here at times when I'm not
around, it's kind of difficult to get anything *to* him...

Robin Fairbairns
(The mug who maintains the musixtex area on CTAN)

From owner-mutex  Thu Sep  7 11:24:01 1995
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199509071446.QAA08836@calvyn.puk.ac.za>
Subject: musiXTeX under NTeX: the answers
To: mutex@stolaf.edu
Date: Thu, 7 Sep 1995 16:46:55 +0200 (GMT+0200)
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Thanks to helpful comments from Werner Icking and Philip La Follette,
I can report as follows:

To get musiXTeX running under NTeX on a UN*X system (e.g. Linux):

1. Start from the .tar.gz file available from the archives.  Make
   a temporary directory (say /tmp/musixtex), copy the file there
   and gunzip it.  Then
   tar -x -f *.tar
   creates the subdirectory structure as on an emTeX installation.

2. Your NTeX installation lies on /usr/lib/texmf.  Make subdirectories
   /usr/lib/texmf/tex/musixtex         Put tex/* in here
   /usr/lib/texmf/fonts/musixtex
   /usr/lib/texmf/fonts/musixtex/src   Put mf/* in here
   
3. chmod +r the new subdirectories so everyone can read them.

Don't bother about the /pk or /tfm subdirectories.  The first time you
tex a musiXTeX file, the /tfm subdirectory will be made; the first time
you view or print a dvi file, the /pk subdirectory will be made, with
no intervention from you.

4. chdir to /systems/c-source.  Then
   cc musixflx.c -o musixflx
   makes the musixflx executable.  Move it to /usr/local/bin and
   chmod +x it so everyone can execute it.

5. Move the /doc subdirectory to /usr/local/doc/musixtex.

Dirk Laurie

From owner-mutex  Tue Sep 12 05:23:54 1995
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To: mutex@stolaf.edu
Subject: Unsubscribing from the list
Date: Tue, 12 Sep 1995 11:19:00 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:071120:950912101928"@cl.cam.ac.uk>
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Several people are (somewhat desparately, it seems) trying to get off
the list.

The list processor may be addressed at mutex-request@stolaf.edu *not*
mutex@stolaf.edu

Send a message to mutex-request@stolaf.edu, with the content

  unsubscribe

(only).  Of course, it may not work, but at least it's better than
sending the message to the list...

Robin Fairbairns

From owner-mutex  Tue Sep 12 06:23:54 1995
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From: Birken@rus.uni-stuttgart.de (Klaus Birken)
Message-Id: <199509120954.LAA05214@nfhsg3.rus.uni-stuttgart.de>
Subject: Q: signature change
To: mutex@stolaf.edu
Date: Tue, 12 Sep 1995 11:54:11 +0200 (MDT)
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this is a question concerning taupins musixtex:

whenever a signature change within a piece happens,
it is quite common to notify the musician of the change
by inserting natural-signs directly in front of the
bar where the modulation happens.

an example:
the first part of a piece is in c-minor (3 flat accidentals),
somewhere within the piece the signature changes to
c-major (no flat signs). directly before the bar where
the modulation happens i want to insert 3 natural accidentals
on each staff, looking like the 3 flat accidentals at the beginning
of the line (i.e. b, e, a).

i tried to insert \generalsignature at this point, but this
seems to influence only the next system, not the current stuff.

so, how can i do this with musixtex? is there a simple way which
i might have overlooked in the manual?

thanks in advance,
klaus


-- 
---------------------------------------------------------------------
| Klaus Birken      | RUS, University of Stuttgart                  |
| Allmandring 30    | mail  :  birken@rus.uni-stuttgart.de          |
| D-70550 Stuttgart | voice :  (0049)-(0)-711-685-5812              | 
| Germany           | fax   :  (0049)-(0)-711-6788363               |
---------------------------------------------------------------------

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From: Birken@rus.uni-stuttgart.de (Klaus Birken)
Message-Id: <199509120954.LAA05214@nfhsg3.rus.uni-stuttgart.de>
Subject: Q: signature change
To: mutex@stolaf.edu
Date: Tue, 12 Sep 1995 11:54:11 +0200 (MDT)
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Content-Length: 1267      
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this is a question concerning taupins musixtex:

whenever a signature change within a piece happens,
it is quite common to notify the musician of the change
by inserting natural-signs directly in front of the
bar where the modulation happens.

an example:
the first part of a piece is in c-minor (3 flat accidentals),
somewhere within the piece the signature changes to
c-major (no flat signs). directly before the bar where
the modulation happens i want to insert 3 natural accidentals
on each staff, looking like the 3 flat accidentals at the beginning
of the line (i.e. b, e, a).

i tried to insert \generalsignature at this point, but this
seems to influence only the next system, not the current stuff.

so, how can i do this with musixtex? is there a simple way which
i might have overlooked in the manual?

thanks in advance,
klaus


-- 
---------------------------------------------------------------------
| Klaus Birken      | RUS, University of Stuttgart                  |
| Allmandring 30    | mail  :  birken@rus.uni-stuttgart.de          |
| D-70550 Stuttgart | voice :  (0049)-(0)-711-685-5812              | 
| Germany           | fax   :  (0049)-(0)-711-6788363               |
---------------------------------------------------------------------

From owner-mutex  Tue Sep 12 13:45:24 1995
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From: Frank Barnes <fbarnes@BayNetworks.com>
To: mutex@stolaf.edu
Subject: Mozart Requiem
Precedence: bulk

Folks

I just thought I would pass this around out of interest.

The Choral group I am in are doing the Mozart Requiem this
season and It is a very recent completion by Robert Levin.
The choral scores are also rather preliminary, and much to my
surprise they have been typeset using Musi[c|x]TeX.

The CMR font was a dead givaway but the things which first 
caught my eye were the slurs. I would guess that the piece
was typeset over a period of time prior to MusixTeX and 
it looks like some slurs have been generated using Bezier
curves, and some look like they have been just put in by hand.
For the most part the slurs are regular MusixTeX ones though. 
There is a long Fugal Amen which looks like it was done in a 
hurry - even the bar numbers are written in by hand. For some
reason this is also done in a smaller font size.

It seems like the orchestral score is not available yet,
maybe it is proving problematic doing such a large piece.
I just hope they can sort it out soon :-\

The amount of effort to typeset this piece must have been 
tremendous, due to the length and the amount of detail.
I am curious whether it is the author (sorry - composer) 
who typeset it himself, or whether Springer Verlag decided to
have a go with the MusicTeX package.

-Frank

From owner-mutex  Tue Sep 12 16:51:23 1995
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Date: Tue, 12 Sep 1995 16:23:59 +0200
From: J.Groenenboom@MP.TUDelft.NL (Jeroen Groenenboom)
To: mutex@stolaf.edu
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Isn't it time to describe the appropiate unsubscribtion procedure?

From owner-mutex  Tue Sep 12 17:23:56 1995
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Message-Id: <199509122203.RAA19683@nic.stolaf.edu>
To: mutex@stolaf.edu
Subject: HOW TO UNSUBSCRIBE
Date: Tue, 12 Sep 1995 17:03:59 -0500
From: Craig D Rice <cdr>
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PLEASE: to unsubscribe to the MUTEX mailing list, send a message
containing the word "unsubscribe" to

	MUTEX-REQUEST@STOLAF.EDU

Craig
MUTEX Mailing List Manager
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA
URL:  http://www.stolaf.edu/people/cdr/

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From owner-mutex  Tue Sep 12 18:29:44 1995
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From: ryanr@ellingtn.ftc.nrcs.usda.gov (Richard Anthony Ryan)
Message-Id: <9509121920.AA23091@ellingtn.ftc.nrcs.usda.gov>
Subject: MusixTeX
To: mutex@stolaf.edu
Date: Tue, 12 Sep 1995 13:20:08 -0600 (MDT)
Reply-To: ryanr@ellingtn.ftc.nrcs.usda.gov
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Hi,

Are there different versions of MusixTeX out there?  Where do I get
them?  If there are different versions, what are the differences and
are they irreconcilable (that is, are they incompatible with each other
and will they stay that way)?

Thanks,
Richard.

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From owner-mutex  Wed Sep 13 03:23:52 1995
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From: Rolf.Brugger@unifr.ch (Brugger Rolf)
Message-Id: <9509130939.ZM7665@ufps4>
Date: Wed, 13 Sep 1995 09:39:50 +0200
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To: mutex@stolaf.edu
Subject: Q: MusiXTeX Preprocessors
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Hi,

The MusiXTeX manual says, it would be useful to have a MusiXTeX preprocessor
in order not to have to enter that cryptic code.

Does anybody know of such preprocessors? (I know abc2mtex, but the version I
tested a while ago had bugs and wasn't very functional).

Thanks

	Rolf


-- 
-------------------------------------------------------------------------------
       Rolf Brugger           		       e-Mail: rolf.brugger@unifr.ch
       Institut d'Informatique                 Tel:    037 / 29 84 79
       Universite de Fribourg                  Fax:    037 / 29 97 31
       ch. du Musee 3
       CH-1700 Fribourg
-------------------------------------------------------------------------------

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From owner-mutex  Wed Sep 13 11:23:56 1995
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From: Douglas Allen <doallen@comp.uark.edu>
To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: your mail
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On Tue, 12 Sep 1995, Jeroen Groenenboom wrote:

> Isn't it time to describe the appropiate unsubscribtion procedure?
> 
I think that it is!!!!!

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From owner-mutex  Thu Sep 14 03:23:54 1995
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Date: Thu, 14 Sep 95 09:35:46 +0200
From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
Message-Id: <9509140735.AA23719@satchmo.physik.TU-Berlin.DE>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
In-Reply-To: <9509130939.ZM7665@ufps4> (Rolf.Brugger@unifr.ch)
Subject: Re: Q: MusiXTeX Preprocessors
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk

>>>>> "Brugger" == Brugger Rolf <Rolf.Brugger@unifr.ch> writes:

    Brugger> Hi, The MusiXTeX manual says, it would be useful to have
    Brugger> a MusiXTeX preprocessor in order not to have to enter
    Brugger> that cryptic code.

    Brugger> Does anybody know of such preprocessors? (I know
    Brugger> abc2mtex, but the version I tested a while ago had bugs
    Brugger> and wasn't very functional).

Yes, there is. Look for mpp-0.43.tar.gz or mpp-0.44.tar.gz. It can be
found on the official tex-archives (e.g., ftp.dante.de). A DOS
executable is included. I was able to compile mpp-0.43.tar.gz with gcc
2.6.3 for Linux. mpp-0.44.tar.gz did compile but did not work properly
(no core dumps, but obviously a logical problem in the program). I was
not able to compile the program on a Sun with gcc 2.6.3. Don't know
why -- there were a couple of error messages.


-- Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de tel: +49-30-314-23000 fax:
+49-30-314-21130 TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1,
Hardenbergstr. 36 10623 Berlin, GERMANY

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From owner-mutex  Thu Sep 14 13:23:56 1995
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Subject: musixtex version T.40
To: mutex@stolaf.edu
Date: Thu, 14 Sep 95 19:22:39 METDST
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.40
New version T.40 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have changed: get the new TFMs, new *.mf, delete your
         old musix*.pk/musix*.*pk !!!!

Changes:
 - T.40  musixgre strongly enhanced (gregorian chant)
 -       several corrections in musixtex (clefs handling)
 -       musix*.* fonts updated (one correction, one new character)
 -       doc updated
 - T.398 added \nq and \nh features (standalone stemless quarter and half notes)
 - T.397 more compatibility with Egler's modified proc names
 -       musixgre.tex updated
 - T.396 musixsty.tex corrected
 - T.395 musixadd.tex corrected

Daniel Taupin


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The command

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does *not* work!!!!!!!!

I've tried it several times.

		Jeroen groenenboom 

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Subject: Re: musixtex version T.40
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% New version T.40 of MusiXTeX available at anonymous ftp:
%   hprib.lps.u-psud.fr = 193.55.39.152
%   directory pub/musixtex
% or
%   rsovax.lps.u-psud.fr = 193.55.39.100
%   directory [anonymous.musixtex]
%   (simply say "cd musixtex" after ftp anonymous login)
% 
% CAUTION: musix* fonts have changed: get the new TFMs, new *.mf, delete your
%          old musix*.pk/musix*.*pk !!!!

I can bear with two different development trees for MusiXTeX. But may I 
humbly ask that font files remain compatible, i.e., every update be reflected
on the other project?

ciao, .mau.

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From owner-mutex  Fri Sep 15 06:23:55 1995
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From: taupin@lps.u-psud.fr
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Subject: muisXtex T.40
To: mutex@stolaf.edu
Date: Fri, 15 Sep 95 12:32:17 METDST
Mailer: Elm [revision: 70.85]
Precedence: bulk

My previous posting was incomplete: I forgot to mention the new big
feature, i.e. seriously enhanced handling of LYRICS

===================================>


Subject: MusiXTeX version T.40
New version T.40 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have changed: get the new TFMs, new *.mf, delete your
         old musix*.pk/musix*.*pk !!!!

Changes:
 - T.40  lyrics correctly handled (now!)
 -       musixgre strongly enhanced (gregorian chant)
 -       several corrections in musixtex (clefs handling)
 -       musix*.* fonts updated (one correction, one new character)
 -       doc updated
 - T.398 added \nq and \nh features (standalone stemless quarter and half notes)
 - T.397 more compatibility with Egler's modified proc names
 

Daniel Taupin


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From owner-mutex  Fri Sep 15 07:23:55 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: musixtex version T.40
In-reply-to: Your message of "Fri, 15 Sep 1995 12:15:06 +0200." <9509151015.AA06078@beatles.cselt.stet.it>
Date: Fri, 15 Sep 1995 11:56:32 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:216560:950915105643"@cl.cam.ac.uk>
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> % New version T.40 of MusiXTeX available at anonymous ftp:
> %   hprib.lps.u-psud.fr = 193.55.39.152
> %   directory pub/musixtex
> % or
> %   rsovax.lps.u-psud.fr = 193.55.39.100
> %   directory [anonymous.musixtex]
> %   (simply say "cd musixtex" after ftp anonymous login)
> % 
> % CAUTION: musix* fonts have changed: get the new TFMs, new *.mf, delete your
> %          old musix*.pk/musix*.*pk !!!!
> 
> I can bear with two different development trees for MusiXTeX.

That's just as well, since we don't really have a choice.

>                                                                But may I
> humbly ask that font files remain compatible, i.e., every update be reflected
> on the other project?

This is something that has to be left to the developers (who don't
talk to each other -- AFAIK, Andreas *only* talks to me about new
versions).

Daniel most definitely *can't* change anything in Andreas'
distribution.  For all practical purposes, I'm the only one who can
change anything there, and I wouldn't choose to do it unless directly
at Andreas' request (which only normally happens when he has a new
version to upload).

Since Andreas is only sporadically connected to the Internet, the
chances of him observing any change that Daniel might make are very
small; and if he does observe the changes, he'll only be able to
respond to them rather slowly.

AFAIK, he doesn't even have access to email -- certainly all his
recent messages to me have taken the form of small files in the
/incoming directory of ftp.tex.ac.uk

Robin Fairbairns
(CTAN, Cambridge, manager)

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From owner-mutex  Sat Sep 16 09:29:02 1995
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To: mutex@stolaf.edu
cc: Robin.Fairbairns@cl.cam.ac.uk (Robin Fairbairns), mutex@stolaf.edu
Subject: Re: musixtex version T.40
In-reply-to: Your message of "Sat, 16 Sep 1995 15:20:46 +0700." <"swan.cl.cam.:143160:950916132537"@cl.cam.ac.uk>
Date: Sat, 16 Sep 1995 14:42:24 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Daniel Taupin writes:

>  Note that only 2 characters have changed in Taupin's new T.40 of musiXtex.
> Therefore, old DVIs can bee printed with the new fonts, and old scores
> will be compiled in the same way (unless bug from D. Taupin).

Fair enough.  In any case, if you *have* introduced a bug, Daniel, I
would expect it to get mended pretty soon (knowing your past
performance).

>  II sugget that Robin Frainbarns puts a README in the musixtex directory to
> explain what are the differences between taupim/* amd egler/* distributions.

Fine, except that I haven't used the stuff since very early on, before
the split occurred -- I'm not therefore in a position to write such a
document (I have no spare time at present).

If someone else wants to offer such a text in the next few days, I'll
install it.  In the interim, I will try to craft a README.versions to
go in that directory -- the CTAN archives would prompt you to read it
once you changed directory there.

>  I cannot do that since I'm one of the parties, therefore not of
> independent minds.

You _could_, you know -- I (as archivist) would certainly accept your
good intentions.  However, I understand the reason for your
reluctance...

Robin Fairbairns

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From owner-mutex  Mon Sep 18 02:23:53 1995
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Date: Mon, 18 Sep 1995 08:20:50 GMT+200
From: Cecil Churms <CHURMS@srvnac1.nac.ac.za>
Subject: Re: musixtex version T.40
To: mutex@stolaf.edu
Message-id: <MAILQUEUE-101.950918082049.448@srvnac1.nac.ac.za>
Organization: National Accelerator Center
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> I can bear with two different development trees for MusiXTeX. But may I
> humbly ask that font files remain compatible, i.e., every update be reflected
> on the other project?

May I suggest two items apropos of this latest discussion.

1.  Lets not discourage in any way the two gentlemen who are doing
    an excellent job in improving MusixTeX continually.  Due to
    circumstances, they have chosen to have the system develop
    along two parallel streams.  I choose to support them in their
    decision, and thank them for their hard work.

2.  Though I grant that the two parallel directories might be
    confusing, they needn't be.  I have simply chosen one of the
    two variants, and download it and its updates, as they become
    available.  Both authors will reflect, and to a certain extent
    implement each other's innovations.  However, each will ensure
    that HIS implementation is self-consistent.  That is all that
    I need to know.

Thanks again Daniel and Andreas, for making your expertise available
to the general computing/musical public!

Maranatha

Cecil
---------------------------------------------------------------------
Cecil Churms                                Internet:CHURMS@NAC.AC.ZA
Van de Graaff Group                         Tel: +27 24 843-3820
National Accelerator Centre                 Fax: +27 24 843-3543
P.O. Box 72                                 18 Keurboom Avenue
FAURE 7131                                  SOMERSET WEST
South Africa                                South Africa
---------------------------------------------------------------------

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From owner-mutex  Mon Sep 18 13:23:55 1995
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Date: Mon, 18 Sep 95 15:32:16 +0200
From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
Message-Id: <9509181332.AA15475@satchmo.physik.TU-Berlin.DE>
To: mutex@stolaf.edu
Subject: mpp --- where to find it
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk


Since somebody asked for the exact location of tex
MusiXTeX-Preprocessor mpp, and since its author Jan Nieuwenhuizen did
not yet answer this question, here are two addresses:

ftp://ftp.dante.de:/pub/tex/support/music2tex
http://asterix.urc.tue.nl/~tnnvjn/mpp-english.html

-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de  tel: +49-30-314-23000 fax: +49-30-314-21130
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY

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From owner-mutex  Mon Sep 18 15:23:55 1995
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Date: Mon, 18 Sep 95 15:13:13 +0200
From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
Message-Id: <9509181313.AA15071@satchmo.physik.TU-Berlin.DE>
Cc: mutex@stolaf.edu
Subject: MusixTeX-Versions Taupin/Egler
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk


Maybe I am asking a question that has already been posted before I
entered the mailing list. However, although I spent some time for
searching, I could not find answers to the following questions:

1) Why are there two branches of MusixTeX (Andreas Eglers and Daniel
   Taupin)? Don't the authors want to talk to each other anymore? Do
   they have different opinions about how to proceed with the project?

2) What are the main differences between Daniels and Andreas'
   distributions?

3) The branches seem to start getting incompatible. So one has to
   decide to either
   a) have appropriate tools to translate Egler <--> Taupin
   or to
   b) decide for one of the two branches.
   If one does the latter, one tends to like to know if the authors can
   estimate how long they will be able to support their packages (nobody
   wants to invest into a cul-de-sac).

4) What is the future of MusixTeX-Preprocessors like mpp by Jan
   Nieuwenhuizen? Will they support both branches or only one of them?

P.S.: I have been working with MusicTeX and, later on, MusixTeX almost
since its birth. I want to really thank the authors for their immense
efforts. However, I do not have the time to keep up with the
differences between Daniels and Andreas' distribution for every new
release. Therefore, I would be grateful if somebody could make some
statements regarding MusixTeX's branches and their future.
 
-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de  tel: +49-30-314-23000 fax: +49-30-314-21130
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY

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From owner-mutex  Tue Sep 19 05:23:54 1995
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Subject: Re: MusixTeX-Versions Taupin/Egler
To: mutex@stolaf.edu
Date: Tue, 19 Sep 95 11:32:24 METDST
Cc: mutex@stolaf.edu (mutex@stolaf.edu)
In-Reply-To: <9509181313.AA15071@satchmo.physik.TU-Berlin.DE>; from "Henrik Seidel" at Sep 18, 95 3:13 pm
Mailer: Elm [revision: 70.85]
Precedence: bulk



Subject: MusixTeX-Versions Taupin/Egler
=======================================

Here is D. Taupin's tentatively objective answer to questions commonly posed
about the existence of two versions of MusiXTeX

============================================================================

>1) Why are there two branches of MusixTeX (Andreas Eglers and Daniel
>   Taupin)? Don't the authors want to talk to each other anymore? Do
>   they have different opinions about how to proceed with the project?

  D. Taupin and A. Egler definitely have different opinions about the
development of musixtex. A. Egler emphasizes about:
    - compiling speed,
    - minimizing TeX memory requirements,
    - beauty of the output score.
  D. Taupin preferred to emphasize about:
    - immediate re-use of scores coded for MusiCTeX; this implies that
      MusiXTeX be able to compile "ancient" MusiCTeX scores, yielding
      more beautiful outputs,
    - compatibility between MusiXTeX new features and coding with the
      MusiCTeX commands.

>2) What are the main differences between Daniels and Andreas'
>   distributions?

    - if you use Egler's version, you shall have, either to correct each TeX
      line to change ancient MusiCTeX scores to new MusiXTeX commands, or you
      throw them away to the waste. This is of course harmless if you start
      with MusiXTEX and you have no habits about MusiCTeX coding; besides,
      all command names are English looking, rather than French or Italian...
    - if you use Taupin's version, you can use both the new commands invented
      by Egler and ALL the ancient ones. But the drawback is that some internal
      commands are not protected by an "@" in their name, so that you might
      unfortunately redefine them (unlikely, but who knows?). Another drawback
      is that Taupin's version might be slower and more memory consuming, a
      serious problem if you only have a small TeX of 64k memory items.
>
>3) The branches seem to start getting incompatible. So one has to
>   decide to either
>   a) have appropriate tools to translate Egler <--> Taupin
>     or to
>   b) decide for one of the two branches.

  Do that, and convert your scores only once, manually.
    
>   If one does the latter, one tends to like to know if the authors can
>   estimate how long they will be able to support their packages (nobody
>   wants to invest into a cul-de-sac).

  D. Taupin will maintain his version of MusiXTeX, as well as MusiCTeX for
years, as long as... inch' Allah. His E-mail is "taupin@lps.u-psud.fr".


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From owner-mutex  Thu Sep 21 17:23:56 1995
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Subject: musictex 5.14
To: mutex@stolaf.edu
Date: Thu, 21 Sep 95 19:49:30 METDST
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusicTeX version 5.14
New version 5.14 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)
and
  hprib.lps.u-psud.fr
  directory pub/musictex

Changes:
 - 5.14 added \nq and \nh features (standalone stemless quarter and half notes)
 -      a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex
 - 5.12 a small bug corrected
 - 5.11 doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


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Subject: musixtex T.401
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Subject: MusiXTeX version T.401
New version T.401 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have changed: get the new TFMs, new *.mf, delete your
         old musix*.pk/musix*.*pk !!!!

Changes:
 - T.401 tiny bug corrected in musixtex.tex
 -       musixsty.tex corrected
 - T.40  musixgre strongly enhanced (gregorian chant)
 -       several corrections in musixtex (clefs handling)
 -       musix*.* fonts updated (one correction, one new character)
 -       doc updated
 - T.398 added \nq and \nh features (standalone stemless quarter and half notes)
 - T.397 more compatibility with Egler's modified proc names
 - T.395 musixadd.tex corrected

Daniel Taupin


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From: Bryan Thompson <bbthomps@access.digex.net>
Message-Id: <199509260241.WAA07221@access5.digex.net>
To: mutex@stolaf.edu
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I have picked up copies of both mi2i2tex and MusicTex as a possible solution
for generating musical notation from .score and .midi files.  Does anyone
have experience in getting these programs properly installed and functional
under NextStep?  I was able to compile midi2tex (a program which reads midi
files and generates TeX files with formatting commands for MusicTex) by
ignoring the makefile (which was setup for TurboC / DOS) and it correctly
processes their example file.  I was able to fix some floating point errors
when running it on my own midi files that were related to a higher beats per
measure count and an improper cast in the code.  There are some problems with
filename handling, but I can live with (or fix) that.  However, is it clear
that some tings are not yet working properly.  I have one piece, a simple
walking bass line, that generates only empty measures.

MusicTex is proving difficult for me as I am not a ready Tex expert.  Again,
the installations are pre-configured for DOS or VMS and it is taking a lot
of effort to try to plough through the TeX documentation on the NeXT to
figure out how to configure everything. (MusicTex is an extension to Tex
that provides formatting macros for musical notation).  I have been able to
deterimine that I need to add the following to the top of musictex:

    \input musicnft


and use this command to generate a new TeX image (format file):

    initex \&plain musictex \\dump

Still, I get series of error messages like:

! No room for a new \dimen .
\ch@ck ...\else \errmessage {No room for a new #3}
                                                  \fi 
\alloc@ ...\advance \count 1#1by\@ne \ch@ck #1#4#2
                                                  \allocationnumber =\count ...
l.85 \newdimen\Interportee
                           % distance between staffs of the same instrument ...

when trying to process the musictex.ref file provided with MusicTex.


Any help is appreciated, especially with the installation and use of MusicTex.


-- bryan thompson

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From: Andreas_Egler@wob.maus.de (Andreas Egler)
Subject: MusiXTeX V0.49
To: mutex@stolaf.edu
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1) New email-adress:

   Andreas_Egler@wob.maus.de

   Do NOT send large files. There is a limit of 64k/day.

2) MusiXTeX V0.49 comes next time.
   (thanks to Robin Fairbairns for his work, especially trouble-fixing
    depending rotten .zip and .tar.gz files)

   Last changes:
   - lot of bugfixing. There was a bug inside musixflx, which causes trouble
     if you use \left[right]repeat in conjunction with \[hard][q][n]space
     (Sorry to Peter Wainwright. This was REALLY a bug. Well, very most
      'bug-reports' states only that some people are not able or willed to read
      the documentation.)
   - redesigned half slur fonts, no more 'balloons'
   - renaming of *l* to *d* (use l2d) (reason was misleading \lpz <-> \lna)
   - safeties for \midslur and \curve (please read the doc before you complain)
   - 'automatic' centering of text hyphen using musixcho.tex
   - changed \Contpiece to allow the modification of width from music
   - optimizing
   - ... (refer history.txt)
 
   Next changes:
   - changing of bottom to top input to more logical top to bottom
   - musixmex.tex (more extensions, mainly for drawing system, e.g.
     double choir, free adjustable piano braces, ...)
   - perhaps 25pt music size (for music-schools)
   - ... (refer history.txt)
 
3) Help needed

   If you want to take care for binaries for your system - means mainly
   compiling and updating - you are very welcome.

   Another big problem is the doc. I am still hoping that Ross Mitchell does
   the writing. If you see someone ROTFL, there is a good chance, that he
   has read my english before. :->

   So every help depending this topic is very welcome too.

   The doc must and will change heavily.

4) Precompiler

   If you have written or want to write a precompiler for MusiXTeX, you will
   get any help depending internals you need, because I highly recommend the
   use of precompiler. If you want to introduce your compiler inside the doc
   send a short introduction including a example input and output.
 
5) And again (although I think I have stated this nearly thousand times):

ae>  MusiXTeX is still a beta-test Version and only dedicated for those, who
ae>  want to work with and - more important - to work on.

This means, that something you have coded with V0.46 perhaps must be changed
to run with V0.49, SO in the current state MusiXTeX is only dedicated for
people who want to spend time on testing (and installing) and to report bugs
  (I need ALWAYS a short extracted example to find and fix the bug,
   I need ALWAYS the versionnumber of MusiXTeX you work with)
or people who have coded enhancements or additional chars
or people who want to make suggestions or want to introduce or change
something.

ae>  I provide, that you have some experience installing TeX-packages.

This means, that I'm neither able nor willed to help with installation
problems.

YOU HAVE TO READ AT VERY LEAST THE PREFACE, MUSIXTEX'S LAWS AND HISTORY.TXT
IF TROUBLE OCCURS, YOU HAVE TO READ THE DEPENDING CAPTION INSIDE DOCMUSIX.TEX.
(Perhaps it helps to read the table of contents or the Index). Sorry.

Andreas Egler

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From: Andreas_Egler@wob.maus.de (Andreas Egler)
Subject: MusiXTeX mailing list
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Dear beta-tester,

perhaps there is less confusion outside, if MusiXTeX would have his own
mailing list. Anybody out there, who is able and interested to provide.

Andreas Egler

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From: prw-b@ugrad.cs.york.ac.uk
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>From: prw-b@minster.york.ac.uk (Peter Robert Wainwright)
Date: Sat, 30 Sep 1995 17:53:51 +0100
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In the message entitled MusiXTeX V0.49, on Sep 28,, Andreas Egler writes:-
>[deleted]
>   - lot of bugfixing. There was a bug inside musixflx, which causes trouble
>     if you use \left[right]repeat in conjunction with \[hard][q][n]space
>     (Sorry to Peter Wainwright. This was REALLY a bug. Well, very most
>      'bug-reports' states only that some people are not able or willed to read
>      the documentation.)
>[deleted]
>Andreas Egler

Thanks a lot :-)
That was _REALLY_ confusing as nobody else who tex'ed my code got the same 
dvi file as myself. Was it system dependant ?

Regards,

Peter Wainwright.

--------------------------------------------------------------------------
|        ___        | Peter Robert Wainwright                            |
|      /'   `\      | c/o Goodricke College                              |
|     | O _ O |     | University of York                                 |
|     /  \_/  \     | York YO1 5DD                                       |
|   .' /     \ `.   | England                                            |
|  / _|       |_ \  |                                                    |
| (_/ |       | \_) | Email : prw-b@minster.cs.york.ac.uk                |
|     \       /     |         prw4@unix.york.ac.uk                       |
|    __\_>-<_/__    | http  : http://Student1.cs.york.ac.uk:8001/~prw-b/ |
|    ~;/     \;~    -----------------------------------------------------| 
|                    "I hate wearing penguin suits!"                     |
--------------------------------------------------------------------------


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Date: Mon, 2 Oct 1995 12:48:29 +0100 (CET)
From: "Andreas Egler" <ehlerabk@rubc.rz.ruhr-uni-bochum.de>
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> The MusiXTeX manual says, it would be useful to have a MusiXTeX
> preprocessor in order not to have to enter that cryptic code.
>
> Does anybody know of such preprocessors?

To my knowlegde:

- abc2mtex
- pmtex
- SceX (under construction)
- mpp
- MIDI2TeX (only for MusicTeX. I have an adapted version, but it is
            copyrighted, so I can't spread it and Hans Kuykens has lost
            internet access)

None of them is perfect, but most authors are willed to enhance.
So use them and make suggestions.

Andreas Egler (Andreas_Egler@wob.maus.de)

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Date: Mon, 2 Oct 1995 22:06:23 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
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On Sep 28, 16:00, Andreas Egler wrote:
>  
>    Next changes:
>    - changing of bottom to top input to more logical top to bottom


Personally, I would recommend AGAINST changing to top to bottom input.
There is a great deal of logic to the bottom to top arrangement.  
Many musical operations are calculated from bottom to top -- figured
basses, intervals, chords.  While it may be appropriate in some styles
to think of music as a melody with (lower) supporting voices and, 
therefore, input them from top to bottom, it's not appropriate in all
styles and is inconsistent with the operations given above.

/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
|                 homepage: http://poe.acc.virginia.edu/~pdr4h            |
\_________________________________________________________________________/

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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199510030722.JAA07836@calvyn.puk.ac.za>
Subject: Philosophy of preprocessors
To: mutex@stolaf.edu
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This posting is intended to start a debate on the design philosophy behind
preprocessors for musi[c,x]tex.  I'm going to raise some questions without
answering any.

1. Source language?
  Should the preprocessor invent a completely new source language for 
describing music as text, or should it try as far as possible to hook on
to something existing, like tonic sol-fa?

2. All or only some?
  Should the input to the preprocessor all be written in its own input
language, or should it assume that the input is essentially in musi[c,x]tex
and look for some keywords that activate it when a section written for the
preprocessor comes up? 

3. Versatile or specialized?
  Is it realistic to expect that a preprocessor can cope with everything
musi[c,x]tex can, at a significantly lower level of complexity, and with
a flatter learning curve, or should we have preprocessors for specific
types of music, e.g. piano, string quartet, pop song with lyrics and
guitar chords, a capella chorus etc?

4. External language or tex?
  Can a preprocessor only be implemented in a different language, or could 
one think of a preprocessor written in tex itself?

5. Manual retouching
  Is it useful to have a preprocessor that requires editing of the .tex
file before feeding the result to musi[c,x]tex?  Before answering 'no' to
this too quickly, ask yourself what the position is with existing
preprocessors.

Dirk Laurie  dirk-lys@calvyn.puk.ac.za

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From owner-mutex  Tue Oct  3 05:32:44 1995
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Cc: mutex@stolaf.edu (mutex@stolaf.edu)
In-Reply-To: <199510030206.WAA72666@poe.acc.Virginia.EDU>; from "PERRY ROLAND" at Oct 2, 95 10:06 pm
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> 
> On Sep 28, 16:00, Andreas Egler wrote:
> >  
> >    Next changes:
> >    - changing of bottom to top input to more logical top to bottom
> 
> 
> Personally, I would recommend AGAINST changing to top to bottom input.
> There is a great deal of logic to the bottom to top arrangement.  
> Many musical operations are calculated from bottom to top -- figured
> basses, intervals, chords.  While it may be appropriate in some styles
> to think of music as a melody with (lower) supporting voices and, 
> therefore, input them from top to bottom, it's not appropriate in all
> styles and is inconsistent with the operations given above.
> 
  I point out that Taupin's distribution will NEVER change the bottom to top
coding. Not only because this does not meet musician's usage, but essentially
because the calling sequence of publically released package MUST NEVER
be changed once they have been published. And this is one of the major points
of Taupin/Eglers disagreements which resulted in a sort of divorce and
separate releases.

 D. Taupin



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From: ian@indi4.eatchip.eurocontrol.be (Ian Davies)
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Subject: Re: Philosophy of preprocessors
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>
>This posting is intended to start a debate on the design philosophy behind
>preprocessors for musi[c,x]tex.  I'm going to raise some questions without
>answering any.
>
>1. Source language?
>  Should the preprocessor invent a completely new source language for 
>describing music as text, or should it try as far as possible to hook on
>to something existing, like tonic sol-fa?
>

being as I don't have the ability to sight read very well,
for me, the main thing missing is the ability to
hear what I've written.
what _I_ need is an

edit <- many times -> listen --> print

cycle.

I can perform this using a simple perl script
which has subroutines
which accept sol-fa like arguments and then
creates midi files using tclmidi commands,
when Im happy with these,
they can then be passed into midi2tex.
It works, but is very rough and ready.

Maybe the sol-fa language should optionally 
either
   generate Musi[c|t]tex
_or_ 
   midi or somesuch format. 

Ian Davies.
-------------------------------------------------
Internet: ian@indi4.eatchip.eurocontrol.be

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From owner-mutex  Tue Oct  3 07:23:55 1995
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From: "A.J. McMillan"  <maa02@cc.keele.ac.uk>
Message-Id: <16042.199510031145@potter.cc.keele.ac.uk>
Subject: Re: Philosophy of preprocessors
To: mutex@stolaf.edu
Date: Tue, 3 Oct 1995 12:45:02 +0100 (BST)
Cc: mutex@stolaf.edu
In-Reply-To: <199510030722.JAA07836@calvyn.puk.ac.za> from "Dirk Laurie" at Oct 3, 95 09:22:25 am
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I think the danger of following the path to a preprocessor is that
you end up developing another piece of software which essentially
requires the same amount of information input as musi[c,x]tex
itself.  If this inofrmation is put in at a computer keyboard,
then there really seems to be no advantage to having a preprocessor,
unless it is a "cut down" version which allows beginners to get
going without giving much flexibility.

There are two much more natural ways in which musical information could be
put into a preprocessor, (i) scanned in from handwritten scrawl, (ii)
played or sang into the computer microphone.  I should make it clear
that I am talking about information in the broadest sense, and I am
not concerned here with the existance of technology that can process
that information.  If you really want to build a preprocessor, this
is the philosophy that should be used as a starting point.

One thing that can cause confusion is the notion of preprocessor
as format translator.  If you have information in one format, it
is sometimes convenient to transform it to another format, eg. if
you know sol-fa you might find it easier to use to input information
than the current conventions of musi[c,x]tex.  But I admit this
definition verges on tautology!

Good luck to would-be preprocessor writers!
Alison McMillan maa02@keele.ac.uk


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To: mutex@stolaf.edu
From: victor@comcon.kiev.ua (Victor V. Sovetov)
Subject: musixflx for Macintosh ?
Precedence: bulk

Hi, All!

Please, tell me, what about musixflx for Macintosh ?


Thanks for advance...

victOr


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From: rouben@math.umbc.edu (Rouben Rostamian)
Date: Tue, 3 Oct 1995 17:59:05 -0400
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D. Taupin wrote:

>   I point out that Taupin's distribution will NEVER change the bottom to top
> coding. Not only because this does not meet musician's usage, but essentially
> because the calling sequence of publically released package MUST NEVER
> be changed once they have been published. And this is one of the major points
> of Taupin/Eglers disagreements which resulted in a sort of divorce and
> separate releases.
> 
>  D. Taupin

It may be helpful to give the user a choice: say you want to write a
piece for violin, tuba and piano.  Each bar (or fragment of bar) can
be entered as:

\group{
   \violin{notes for violin go here}
   \tuba{notes for tuba code go here}
   \piano_up{notes for first staff of piano go here}
   \piano_down{notes for second staff of piano go here}
}

The lines for \violin, \tuba, \piano_up and \piano_down can be entered
in any order.  The order in which the staffs will be printed is
specified by the user in a declarations section at the top of the
manuscript.  This makes it easy to add and remove an instrument from the
composition, or rearrange the order in which the staffs are printed, if
necessary.

-- 
Rouben Rostamian <rouben@math.umbc.edu>

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From: "SIMONS, DON" <dsimons@logicon.com>
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Subject: Re[2]: Philosophy of preprocessors
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"A.J. McMillan"  <maa02@cc.keele.ac.uk> wrote

>I think the danger of following the path to a preprocessor is that
>you end up developing another piece of software which essentially
>requires the same amount of information input as musi[c,x]tex
>itself.  If this inofrmation is put in at a computer keyboard,
>then there really seems to be no advantage to having a preprocessor,
>...

I agree with all of this, conditionally, but...

>...unless it is a "cut down" version which allows beginners to get
>going without giving much flexibility.

absolutely not!  A preprocessor can be "cut down" and still be useful to a 
non-beginner if it meets a specific need.  Case in point:

I wrote pmtex and its successor pmxtex (which I haven't yet made public but have
used extensively myself).  My interest is baroque chamber music, where the score
will have from 1 to 5 staves of single melodies per system, so that's the 
limited realm where these programs work.  My motivations in writing them were 
threefold: (1) to speed up the input process; (2) to automate many parts of the 
typesetting chore such as (a) setting up \notes-\enotes groups, (b) deciding 
which notes should be beamed together, (c) computing beam slopes, (d) adding in 
extra horizontal space for accidentals where needed, (e) inserting figured bass 
symbols at the appropriate distance below the bass line, (f) vertically aligning
all the figured bass symbols in each system, etc.; and (3) to provide some 
automatic input checking, mainly that there are the correct number of beats in 
every measure of every part.  To accomplish these ends in a completely general 
format would have been very difficult; my limited scope made it possible.  

>There are two much more natural ways in which musical information could be
>put into a preprocessor,

There are also far more natural ways of inputting info from a computer keyboard 
(than musixtex), once you eliminate the need to specify beaming, spacing, stem 
directions, \notes groupings, simultaneous notes in the same staff, and the
like.  The language I use is both very compact and simple.  In a typical 
example the input file is about 1/3 the size of the resulting tex file, so right
away there is a big time savings just in the typing.  But even more importantly,
the input language lets you type in a melodic line just like you would read it 
aloud.  For example,

e 1/4-note in the 5th octave, start slur, 
^   ^             ^                 ^
g 1/4-note in the 5th octave, end slur, 
^                                 ^
a dotted 1/4-note in the 4th octave, 
^ ^        ^             ^
g-flat 8th note in the 4th octave, ...
^ ^    ^
(carets indicate which letters are typed, note lengths need not be repeated if 
they are the same as the previous one, octave need not be repeated if the note 
is within a 4th of the previous note).

     Perhaps programs such as mine go beyond the generic definition of a 
preprocessor, since I have endowed them with a degree of "intelligence" to 
perform repetitive tasks amenable to algorithmic specification.  But whatever 
you call them, they save me a ton of time in preparing a baroque chamber music 
score.  And, of course, just a little more programming would permit the 
individual parts to be produced if desired.  Even without more programming, I 
can (and have) extracted the lines defining a particular part from the input 
file for the score, creating a new input file for just that part, and then run 
that through the preprocessor.  It literally takes a few minutes. Try doing that
in musixtex!

--Don Simons (dsimons@logicon.com)


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From: joel@wam.umd.edu (Joel M. Hoffman)
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In-reply-to: "A.J. McMillan"'s message of Tue, 3 Oct 1995 12:45:02 +0100 (BST) <16042.199510031145@potter.cc.keele.ac.uk>
Subject: Philosophy of preprocessors
Precedence: bulk

>I think the danger of following the path to a preprocessor is that
>you end up developing another piece of software which essentially
>requires the same amount of information input as musi[c,x]tex
>itself.  If this inofrmation is put in at a computer keyboard,
>then there really seems to be no advantage to having a preprocessor,
>unless it is a "cut down" version which allows beginners to get
>going without giving much flexibility.

Not necessarily.  There are good and bad ways to design input
languages.  Musictex's input was, primarily, based on macro
conventions in TeX.  I would prefer to see something that makes it
easy to input easy music, without precluding more difficult scores.
For example:

	ABc2

for

two quarters and a half starting at A and working upward is nice and
easy.  Surely, with some thought, a simple, yet powerful and complete
system of entering music can be devised.  Also, TeX is powerful enough
to process that.  With the speed of computers increasing, there's no
reason the "pre-processor" can't be written in TeX.

-Joel
(joel@exc.com)

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To: mutex@stolaf.edu
In-Reply-To: <16042.199510031145@potter.cc.keele.ac.uk> (maa02@cc.keele.ac.uk)
Subject: Re: Philosophy of preprocessors
Precedence: bulk

"A.J. McMillan"  <maa02@cc.keele.ac.uk> writes:

>I think the danger of following the path to a preprocessor is that
>you end up developing another piece of software which essentially
>requires the same amount of information input as musi[c,x]tex
>itself

This is a rather pessimistic view. I think that a gui interface
would greatly simplify the 'data entry' process for music. In fact 
typesetting of music would by much more natural and appicable to gui 
technology. 

>If this inofrmation is put in at a computer keyboard,
>then there really seems to be no advantage to having a preprocessor,
>unless it is a "cut down" version which allows beginners to get
>going without giving much flexibility. 

I think the issue with Musi[c|x]TeX is not so much the keyboard 
input as the arcaneness of the notation. Even those who revel
in such arcaneness stop and look at the input notation used here. The
use of a drag and drop interface with a mouse would greatly simplify input.

>There are two much more natural ways in which musical information could be
>put into a preprocessor, (i) scanned in from handwritten scrawl, (ii)
>played or sang into the computer microphone.  I should make it clear
>that I am talking about information in the broadest sense, and I am
>not concerned here with the existance of technology that can process
>that information.  If you really want to build a preprocessor, this
>is the philosophy that should be used as a starting point.

Right, although we do need to be practical.

I think the ideal system would consist of the following elements:

- A graphical user interface allowing drag & drop to perform all
  of the layout and notation functions. THis could then be compiled
  into Musi[c|x]TeX input. Such a scheme might even compensate for
  variations in the notation.

- Translation of Musi[c|x]TeX into the graphical elements of the 
  interface, ie. a decompiler that could take existing scores
  and put in a form that could be editted with the gui.

- Input filters to provide Musi[c|x]TeX notation from a varity
  of interfaces such as midi interfaces, document scanners, and
  even a microphone perhaps.

I do think the first of these items would really open up the use of
Musi[c|x]TeX and it is perfectly practical (although it would require
a significant amount of work). The first step to build this would 
be to produce a good functional definition :)

-Frank

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Date: Tue, 3 Oct 1995 08:49:31 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199510031249.IAA67493@poe.acc.Virginia.EDU>
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To: mutex@stolaf.edu
Subject: Re: Philosophy of preprocessors
Precedence: bulk

On Oct 3,  9:22, Dirk Laurie wrote:
> 1. Source language?
>   Should the preprocessor invent a completely new source language for 
> describing music as text, or should it try as far as possible to hook on
> to something existing, like tonic sol-fa?

     In my opinion, a new source language should NOT be invented.  There
are several existing methods for representing music as text.  DARMS is a
possibility, but perhaps not the best choice since its code is too context
dependent, like the music itself.  Humdrum (conceived by David Huron) might
be useful and could offer the added advantage of already-written error
correction, searching, editing, and MIDI input and output routines.  SMDL
might work.  It's advantage is its tagged-text structure.  NIFF might also
be good, although it's not text, but binary.  It was developed by notation
software manufacturers, music publishers, et al to serve as an interchange
method between different software packages.  If it is implemented in 
commercial software in the near future, it would probably be the best 
choice.


> 3. Versatile or specialized?
>   Is it realistic to expect that a preprocessor can cope with everything
> musi[c,x]tex can, at a significantly lower level of complexity, and with
> a flatter learning curve, or should we have preprocessors for specific
> types of music, e.g. piano, string quartet, pop song with lyrics and
> guitar chords, a capella chorus etc?

     I don't think it's unrealistic to work toward a comprehensive
preprocessor, though there might be several 'plateaus' along the way. :)


> 5. Manual retouching
>   Is it useful to have a preprocessor that requires editing of the .tex
> file before feeding the result to musi[c,x]tex?  Before answering 'no' to
> this too quickly, ask yourself what the position is with existing
> preprocessors.

     I'd like to suggest that if musi[cx]tex is going to get the 
widespread use it deserves, then a preprocessor must be as easy to use
as possible for those of us who know a lot about music notation but only
a little about TeX and even computers in general.  It defeats or at best
dilutes the purpose of a preprocessor to have to edit its results before
they become useful and only the hardcore will use one like that.

     On the other hand, a preprocessor need not be idiot-proof.  It
should not become an enforcer of predetermined technical nor aesthetic
rules.  For example, it need not check to make sure that only 4 beats
are present in a bar of 4/4.  Those kinds of things should be left to
the user.  Along the same lines, if one wants to edit the musi[cx]tex
file output by the preprocessor for aesthetic reaons, he should have that
option.

     Here's a question of my own -- Does anyone have an opinion on a
Web interface for generating text representation of music?  The kind of
thing I have in mind would be graphical in the sense that a palette of
icons could be presented for the user.  Clicking on these icons (or
selecting items from a list) would append text to a file.  When the
user gave the signal, a processor would take over generating printed
output by converting the text code to musi[cx]tex or generating sound
output by converting the text code to something csound can deal with.
The real question is what representation is best for this use?

     Music representation is a great interest of mine.  I hope our
discussion of it here can prove fruitful.

/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
|                 homepage: http://poe.acc.virginia.edu/~pdr4h            |
\_________________________________________________________________________/

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From owner-mutex  Wed Oct  4 19:23:57 1995
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From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
To: mutex@stolaf.edu
Subject: sampled music --> notes ?
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk

I'd be interested in a program that takes sampled music and generates
some kind of musical notation of the 'heared' example. Does someone
know of a program which does that? I once started to write a program
myself. However, before I continue I'd like to make sure that I don't
do something which somebody else has already done perfectly.

There are some problems to deal with: How to distinguish harmonics
from real tones; how to cope with the problem 'high time resolution
--> low frequency resolution' and vice versa; etc.

--- Henrik

-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de  tel: +49-30-314-23000 fax: +49-30-314-21130
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY

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Because confusion and flames because next changes, this topic is cancelled.
Means, will not be changed.

What are the reason for changes to current MusiXTeX-version ?

The target is to get a tool, which allows professional music typesetting.
Next target is to simplify the input.

Andreas Egler

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I am re-posting this since it appears not to have gotten through.
--Don Simons


______________________________________________________________________
"A.J. McMillan"  <maa02@cc.keele.ac.uk> wrote

>I think the danger of following the path to a preprocessor is that
>you end up developing another piece of software which essentially
>requires the same amount of information input as musi[c,x]tex
>itself.  If this inofrmation is put in at a computer keyboard,
>then there really seems to be no advantage to having a preprocessor,
>...

I agree with all of this, conditionally, but...

>...unless it is a "cut down" version which allows beginners to get
>going without giving much flexibility.

absolutely not!  A preprocessor can be "cut down" and still be useful to a 
non-beginner if it meets a specific need.  Case in point:

I wrote pmtex and its successor pmxtex (which I haven't yet made public but have
used extensively myself).  My interest is baroque chamber music, where the score
will have from 1 to 5 staves of single melodies per system, so that's the 
limited realm where these programs work.  My motivations in writing them were 
threefold: (1) to speed up the input process; (2) to automate many parts of the 
typesetting chore such as (a) setting up \notes-\enotes groups, (b) deciding 
which notes should be beamed together, (c) computing beam slopes, (d) adding in 
extra horizontal space for accidentals where needed, (e) inserting figured bass 
symbols at the appropriate distance below the bass line, (f) vertically aligning
all the figured bass symbols in each system, etc.; and (3) to provide some 
automatic input checking, mainly that there are the correct number of beats in 
every measure of every part.  To accomplish these ends in a completely general 
format would have been very difficult; my limited scope made it possible.  

>There are two much more natural ways in which musical information could be
>put into a preprocessor,

There are also far more natural ways of inputting info from a computer keyboard 
(than musixtex), once you eliminate the need to specify beaming, spacing, stem 
directions, \notes groupings, simultaneous notes in the same staff, and the
like.  The language I use is both very compact and simple.  In a typical 
example the input file is about 1/3 the size of the resulting tex file, so right
away there is a big time savings just in the typing.  But even more importantly,
the input language lets you type in a melodic line just like you would read it 
aloud.  For example,

e 1/4-note in the 5th octave, start slur, 
^   ^             ^                 ^
g 1/4-note in the 5th octave, end slur, 
^                                 ^
a dotted 1/4-note in the 4th octave, 
^ ^        ^             ^
g-flat 8th note in the 4th octave, ...
^ ^    ^
(carets indicate which letters are typed, note lengths need not be repeated if 
they are the same as the previous one, octave need not be repeated if the note 
is within a 4th of the previous note).

     Perhaps programs such as mine go beyond the generic definition of a 
preprocessor, since I have endowed them with a degree of "intelligence" to 
perform repetitive tasks amenable to algorithmic specification.  But whatever 
you call them, they save me a ton of time in preparing a baroque chamber music 
score.  And, of course, just a little more programming would permit the 
individual parts to be produced if desired.  Even without more programming, I 
can (and have) extracted the lines defining a particular part from the input 
file for the score, creating a new input file for just that part, and then run 
that through the preprocessor.  It literally takes a few minutes. Try doing that
in musixtex!

--Don Simons (dsimons@logicon.com)


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Subject: Re: Philosophy of preprocessors
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Cc: C.Walshaw@greenwich.ac.uk () ()
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In-Reply-To: <9510031443.AA22158@BayNetworks.com> from "Frank Barnes" at Oct 3, 95 10:43:48 am
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I am going to answer this post from the point of view of abc2mtex.
I should first say that I developed the abc notation as an easy text
based way of notating music without any regard to musi[cx]tex. Note that
I say developed rather than invented; the basic constructs of the
system have been used by musicians for ages. One of the primary 
design philosophies behind abc notation is that it can be "read"
by musicians - i.e. they can play directly from the abc. I think this
has been achieved (well I can read it anyway).

> 2. All or only some?
>   Should the input to the preprocessor all be written in its own input
> language, or should it assume that the input is essentially in musi[c,x]tex
> and look for some keywords that activate it when a section written for the
> preprocessor comes up? 
> 
	Input to abc2mtex is written entirely in abc notation. However
lines starting with \ are put into the output untouched so the user
can make use of TeX/Musi[cx]TeX commands directly. I think this is
a good compromise.

> 3. Versatile or specialized?
>   Is it realistic to expect that a preprocessor can cope with everything
> musi[c,x]tex can, at a significantly lower level of complexity, and with
> a flatter learning curve, or should we have preprocessors for specific
> types of music, e.g. piano, string quartet, pop song with lyrics and
> guitar chords, a capella chorus etc?
> 
	No I don't think it is realistic to expect that a preprocessor can
cope with everything musi[cx]tex can.

> 4. External language or tex?
>   Can a preprocessor only be implemented in a different language, or could 
> one think of a preprocessor written in tex itself?
> 
	Different.

> 5. Manual retouching
>   Is it useful to have a preprocessor that requires editing of the .tex
> file before feeding the result to musi[c,x]tex?  Before answering 'no' to
> this too quickly, ask yourself what the position is with existing
> preprocessors.
 
	I think a preprocessor should be able to produce perfect TeX.
However, it may need to be edited for publishable copy.

Don Simons wrote:
> I wrote pmtex and pmxtex ...
> My motivations in writing them were 
> threefold: (1) to speed up the input process; (2) to automate many parts of the 
> typesetting chore such as (a) setting up \notes-\enotes groups, (b) deciding 
> which notes should be beamed together, (c) computing beam slopes, (d) adding in 
> extra horizontal space for accidentals where needed, (e) inserting figured bass 
> symbols at the appropriate distance below the bass line, (f) vertically aligning
> all the figured bass symbols in each system, etc.; and (3) to provide some 
> automatic input checking, mainly that there are the correct number of beats in 
> every measure of every part.  To accomplish these ends in a completely general 
> format would have been very difficult; my limited scope made it possible.  

	Absolutely! I agree with all of this.

Joel (joel@exc.com) wrote:
> I would prefer to see something that makes it
> easy to input easy music, without precluding more difficult scores.
> For example:
>  
>         ABc2

	This IS abc notation!

Frank Barnes wrote:
> This is a rather pessimistic view. I think that a gui interface
> would greatly simplify the 'data entry' process for music. In fact 
> typesetting of music would by much more natural and appicable to gui 
> technology. 

	No, no, no! You can enter a simple 32 bar melody (typical for
traditional Irish music) in about 5 minutes in abc notation. Try doing
that with a super-duper WYSIWYG GUI and you'll find it takes about half
an hour.

	Chris Walshaw

------------abc in brief--------------------------------------------

        abc is a ascii notation system for trad/folk music.

	abc2mtex is a program which converts abc notation into
MusicTeX (you need a C compiler to compile the code and TeX & MusicTeX
to print it out). abc2mtex (and TeX & MusicTeX) are public domain. If
you have a WWW browser (mosaic, lynx), open the URL:

        http://celtic.stanford.edu/pub/tunes/abc2mtex/INTRO.html

Otherwise by anonymous ftp from celtic.stanford.edu start with

	/pub/tunes/abc2mtex/INTRO.txt
	/pub/tunes/abc2mtex/README

If you don't have ftp access I can mail you the package (but let me know
what machine you have (UNIX or PC). Porting of the code to a Mac
is currently underway.

playabc plays the abc notation through the speaker of various (but not all)
machines. Get it from the same site

	/pub/tunes/playabc-1.1.tar.Z

Collections of abc tunes can be found at

        celtic.stanford.edu	/pub/tunes/abc.tunes (mostly Irish)

or in

        http://ucowww.ucsc.edu/~sla/morris/music/abclib.html (morris tunes)

	Chris Walshaw
	C.Walshaw@gre.ac.uk


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Subject: Re: Philosophy of preprocessors
References: <199510030722.JAA07836@calvyn.puk.ac.za>
From: Johan.Vromans@Inter.NL.net (Johan Vromans)
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[Quoting Dirk Laurie, on October 3 1995, 09:22, in "Philosophy of prepro"]
> This posting is intended to start a debate on the design philosophy behind
> preprocessors for musi[c,x]tex.  I'm going to raise some questions without
> answering any.

As developer of the "music compiler" (what's in a name?) mcom I like
to respond. Mcom is a toy I have developed over the years for my own
purposes and my own fun. I have never released it formally, but maybe
I will. A short history and feature list is appended to this posting.

First, let me state that I think the purpose of the preprocessor is
most important. The requirements for a general purpose preprocessor
are quite different from the requirements for a special purpose
preprocessor. In my case, mcom is a special purpose preprocessor: it
is designed to typeset single-staff melodies with lyrics and chords.

> 1. Should the preprocessor invent a completely new source language for 
> describing music as text, or should it try as far as possible to hook on
> to something existing

Well, I chose for a new, self invented language since at the time I
started there was nothing suitable available. With "suitable" I mean
to say that there were alternatives, but they were too complex and
powerful for the goal of the program I had in mind.
I cannot really imagine an input language that is very easy for simple
tasks while still allowing the most complex tasks to be done also.
But I think that combining efforts to reduce the number of
self-invented and pseudo-standard languages to just a couple of
well-designed and usefull languages is a good thing to do.

> 2. Should the input to the preprocessor all be written in its own
> input language, or should it assume that the input is essentially in
> musi[c,x]tex and look for some keywords that activate it when a
> section written for the preprocessor comes up?

The goal of Musi*TeX is to allow typesetting of a plethora of
different kinds of music. One can choose to write a preprocessor that
supports this typesetting, for example by adding handy macros to build
series of notes and such. In this case, the input should be essential
Musi*TeX (compare with C and the role of the C-preprocessor).

> 3. Is it realistic to expect that a preprocessor can cope with
> everything musi[c,x]tex can, at a significantly lower level of
> complexity, and with a flatter learning curve, or should we have
> preprocessors for specific types of music, e.g. piano, string
> quartet, pop song with lyrics and guitar chords, a capella chorus
> etc?

No. But every typesetting job consists of several parts:
 - the input data (i.e. the notes, chords, lyrics, etc.)
 - the formatting rules (how it must look like)
 - the formatting engine (Musi*TeX)

Essential is that the formatting rules depend on the job. Formatting a
piano piece and formatting a pop song require different formatting
rules. Without a preprocessor, these rules must be included in the
input data. I guess many people that are typesetting music do not even
realise that they are applying certain rules while typing in the
Musi*TeX input.

The task of the preprocessor could be to apply the formatting rules
to the input data, resulting in raw Musi*TeX input. So you could have
a preprocessor for piano pieces, for string quartets, etc.

> 4. Can a preprocessor only be implemented in a different language,
> or could one think of a preprocessor written in tex itself?

Almost every programming language can be used to implement almost
everything. Programming languages usually have strong and weak points
so a choice should be made based on the level of suitability. Since
preprocessing is nothing more than parsing and manipulating texts,
abvious choices are languages like Perl and Icon. It can be done in
TeX, but I wouldn't do it. (This is my opinion. Please, no religious
programming language wars.)

> 5. Is it useful to have a preprocessor that requires editing of the
> .tex file before feeding the result to musi[c,x]tex? Before
> answering 'no' to this too quickly, ask yourself what the position
> is with existing preprocessors.

Hmm. Do you manually retouch the output of the C preprocessor before
feeding it to the C compiler? Every time you need recompiling?

I think this boils down to the subject of maintainability. 
You need to have one source of your input. If you need manually
retouching of the preprocessor output, you either have to do it every
time (thus needing an automated procedure to do this -> extension to
the preprocessor) or update the preprocessor output and discard the
original input. This reduces the preprcessor to a one-time input
generating program.
All of the above alternatives are feasible.

Okay, this is my opinion on a specialized preprocessing system for
Musi*TeX. 

================================================================
This is MCOM -- a music translator.

>>>> NOTE: THIS IS A SNAPSHOT. IT IS NOT EVEN ALPHA! <<<<

Introduction
============

Mcom is a music translator (preprocessor) that takes ASCII written
musical input and translates it into an output format, suitable for
further processing. Output formats currently implemented:

   * MusicTeX (typesetting)
   * MusiXTeX (typesetting, but see below)
   * Casio701 (PostScript to print bar charts)

The purpose of Mcom is to process music that conforms to the following
constraints:

   * single-staff melody
   * chords 
   * single-line lyrics

This makes it possible to handle most popular music, e.g. songs with
guitar chords or the "Real Book".

With MusiXTeX I have not been able to obtain decent typesetting of the
lyrics. The triple-pass space calculation intelligence of MusiXTeX
beats mine for the moment. Mcom works well with MusicTeX (and with
MusiXTeX in MusicTeX compatibility mode).

Input format
============

The input format for Mcom is plain ASCII, suitable to be typed in at
any keyboard using any convenient editor. An example shows more than a
vast amount of text. The first two measures of "For No-One", by
Lennon/McCartney:

    |:   [c]    % g2/8-(g/8 g)  g
                " Your| day|---|breaks"
    |    [em]   % g/8-(g/8  g)  g
                " Your|mind|---|aches"

You can easily recognize the bars and the chords (between []). g2/8 is
the note 'g' in the 2nd octave, duration 1/8th. The octave need only
be specified when it changes and the duration can be defaulted (it
defaults to 1/4th in the example). The dash indicates a beam, and noted
between parentheses are tied (or slurred).
The text is divided in per-note pieces using "|" characters.
The "%" is a 1/4th rest.

The input format is rather liberate, e.g. you can intersperse the text
and the cords with the notes.

History
=======

1981 Mcom was first developed using Modula-2 on a VAX/VMS
     system. It produced printer output to print barcharts for the
     Casio701 keyboard on a DEC LA100 NLQ printer.
1985 Moved it to a PC using the Modula-2 Software Development
     Software. I added the capability of playing the melody using the
     built-in speaker. Note that these were the early days, before
     MS/Windows and Soundblaster cards!
1991 Moved the program to the Unix environment, and rewrote is
     using ANSI-C. I added the generation of PostScript output to
     print the bar charts, and started on generating MusicTeX output.
1995 Added the capability of generating MusiXTeX output.

-----------------------------------------------------------------------------
Johan Vromans                                      Johan.Vromans@Inter.NL.net
Squirrel Design & Consultancy
Boskoop, the Netherlands
------------------------ "Arms are made for hugging" ------------------------

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To: mutex@stolaf.edu
Subject: Re: Philosophy of preprocessors 
Date: Thu, 05 Oct 1995 19:27:47 +0100
From: Mats Bengtsson <matsb@s3.kth.se>
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Nobody has so far commented on mpp by Jan Nieuwenhuizen, the
best attempt to make a Musi*TeX preprocessor I've seen so far.

The main difference from other preprocessors is that each
staff is coded in its own file and the preprocessor merges
as many staffs as you want into a score or multi-staff part.
The same input can easily produce separate parts as well.
The input format is decently readable and well defined in BNF,
which implies robustness to input errors. It is even possible
to customize the naming of for example note names to your 
native language.

I don't think there is any support for lyrics so far.

       /Mats B

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From: Barry Gold <barryg@sparc.SanDiegoCA.ATTGIS.COM>
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In-Reply-To: <9510031443.AA22158@BayNetworks.com> (message from Frank Barnes on Tue, 3 Oct 95 10:43:48 EDT)
Subject: Re: Philosophy of preprocessors
Reply-To: Barry.Gold@SanDiegoCA.ATTGIS.COM
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I can see the desireability of a GUI for those who just want to think
about the music (how it sounds, how it looks) and don't want to be
bothered with the arcane (to put it mildly) computer notation.

But folx, I've tried using a GUI to typeset music (Deluxe Music
Composition Set) and I'd _far_ rather type, even an arcane form like
Musi[cx]TeX.  Mousing hurts my wrist far more than typing, and it took
me about half an hour per line to typeset a lead sheet (single melody
line, lyrics, chords).  Frankly, I can typeset that fast using a
desktop publisher -- I'm currently setting my music using FrameMaker.

Having to click on a note size and quantity for *every* note, then try
to arrange it to fit over the chords...no thanks.  As soon as I get a
chance, I'm going to upgrade to MusixTeX and start typing my music.
Once I've gone through my initial installation and learning curve, I
expect to be able to do it in 5-10 minutes per line, a 200%-500%
speedup compared to the current 30.

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Cc: pmcilroy@harpo.bt-sys.bt.co.uk
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I like MusicTeX.  I like it a lot.  I've looked at some commercial packages,
and many of the ones with nice GUI interfaces seem to assume you want to set
separate parts, one line per part.  I want to set piano music, with parts
moving between the hands, chords and arpeggios between the staves etc.
How would the preprocessors people are debating handle 22 notes in the
right against 12 in the left in a 4/4 bar such as you can find in Chopin's
nocturnes ? I confess I haven't tried such a thing, but I am sure MusicTeX
would do it.  I have certainly used it for 3 against 2 or 3 against 4.

I hope I'm not offending anybody with these comments, but I for one am
happy to spend time with MusicTeX code and get something that looks like
real piano music.

>From one of MusicTeX's fans

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

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From: mau@beatles.cselt.stet.it (Maurizio Codogno)
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Subject: Re: Philosophy of preprocessors
Cc: Johan.Vromans@Inter.NL.net
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Johan Vromans writes:

% First, let me state that I think the purpose of the preprocessor is
% most important. The requirements for a general purpose preprocessor
% are quite different from the requirements for a special purpose
% preprocessor.

I completely agree with this statement. In fact, I think that people using
Musi[CX]TeX have very different goals: for example, I use it in the same
way as Johan (single-staff melodies with lyrics and chords), and my needs
are really different from people who write say piano scores. And if I 
eventually decide to write choral music, I can even consider to use a 
different preprocessor, since I need different things to be done.

My own opinion is that a preprocessor should ease the most repetitive things.

% > 4. Can a preprocessor only be implemented in a different language,
% > or could one think of a preprocessor written in tex itself?
% 
% Almost every programming language can be used to implement almost
% everything. Programming languages usually have strong and weak points
% so a choice should be made based on the level of suitability. Since
% preprocessing is nothing more than parsing and manipulating texts,
% abvious choices are languages like Perl and Icon. It can be done in
% TeX, but I wouldn't do it. (This is my opinion. Please, no religious
% programming language wars.)

Also agreed. I think that it's better to use for each task the language
more apt (or in which one is more fluent :-) )

% > 5. Is it useful to have a preprocessor that requires editing of the
% > .tex file before feeding the result to musi[c,x]tex? Before
% > answering 'no' to this too quickly, ask yourself what the position
% > is with existing preprocessors.
% 
% Hmm. Do you manually retouch the output of the C preprocessor before
% feeding it to the C compiler? Every time you need recompiling?
% 
% I think this boils down to the subject of maintainability. 

Here I beg to differ.
For me, it all boils down to a question of total time spent. I often want
to make some minor (and different) tweak to what I can obtain automatically
with a preprocessor (I use abc2mtex at the moment). If I think that it's
not too dificult to add the feature to the source, and that I'll use that
feature often, the implementation is worth the effort: otherwise, I spend
less time in editing the final TeX file.

ciao. .mau.

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From: Frank Barnes <fbarnes@BayNetworks.com>
To: mutex@stolaf.edu
In-Reply-To: <199510060951.EAA22170@nic.stolaf.edu> (message from Paul McIlroy
	on Fri, 6 Oct 1995 10:47:08 +0100)
Subject: Re: Preprocessor
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Paul McIlroy <pmcilroy@bt-sys.bt.co.uk> writes:

> I want to set piano music, with parts
>moving between the hands, chords and arpeggios between the staves etc.
>How would the preprocessors people are debating handle 22 notes in the
>right against 12 in the left in a 4/4 bar such as you can find in Chopin's
>nocturnes ?

and Barry Gold <barryg@sparc.SanDiegoCA.ATTGIS.COM> writes:

>But folx, I've tried using a GUI to typeset music (Deluxe Music
>Composition Set) and I'd _far_ rather type, even an arcane form like
>Musi[cx]TeX.  Mousing hurts my wrist far more than typing, ...

Which brings up the old debate of text vs gui. I can understand
why people would rebel against gui, having seen some bad implementations.
The point remains though that a *good* gui interface is probably faster,
easier to use, and much more intuitive than textual commands. I would go 
further to suggest that many people would be put off by the sort of 
command structure offered by Musi[cx]Tex because it is complex to master,
especially for the unititiated. A good interface should enable the user 
to quickly and accurately input and simultaneously display scores. The 
input need not be restricted to a mouse but may include the use of
keystrokes. To produce a good interface will need creativity, use, and
collaboration. It would also have to evolve over a period of time. 
I suspect that readers of this mail group are probably better qualified
than most to come up with such an interface.

In the long run a graphical interface is inevitable. I just hope that 
the one(s) which becomes the de-facto standard is a publicly available one
which does not make much cash for some corporation and is not burdened
by lots of copyright.

-Frank

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Date: Mon, 9 Oct 1995 19:47:03 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
Subject: nested crescendos
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do nested (de)crescendos exist? We need to know for MPP-design.

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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          Hi, friends,

          I'm having a bit of trouble getting dots in the right place
          when I have a stacked chord with dotted notes on both sides
          of the stem.  In particular, a sequence like

          \zqp{ceg}\pt h\rqu h

          places all four dots in exactly the same positions as does

          \zqp{ceg}\hup h

          that is, the four dots are vertically aligned.

          For the case I need, the dot for the g and h need to be
          spaced over by \qsk.  Is there a simple way to do this?

          Oh -- I probably should tell you that I'm using MusicTeX.

          Thanks in advance,

          Dick Crawford


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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
Subject: MPP
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-*-text-*-:-*-auto-fill-*-


MPP-FAQ



CONTENTS OF THIS FILE

INTRODUCTION
GOALS
DESIGN
WHAT MPP CAN DO
TODO-now
TODO-sometime
BUGS
I WANT TO HELP
CONTENTS OF PACKAGE
DISCLAIMER & COPYING POLICY




INTRODUCTION

Typesetting music is a complex task, whereas the message that printed
music conveys is usually a simple one. MusiXTeX is a system for
setting music (using TeX). Programming MusiXTeX is difficult. MPP is a
try at providing a simple interface for setting music using
MusiXTeX. MPP stands for MusiXTeX preprocessor, and this is how the program 
works, currently.

This document is not really a Q&A document. It describes what we think
mpp should be. If you have suggestions on MPP, or trouble using it,
please consult this first.


GOALS

- Describing a well-defined language for defining music. We call
this language (rather arrogantly) The Musical Definition Language
or mpp-input. The program MPP reads an MPP-input sourcefile and
outputs a musixtex file.  This musical definition language should
be:

1. as unambigiously defined as posible 
2. easily readable
3. writable in ASCII (with a texteditor)

At this time, the language isn't yet defined precisely. 

- We want to provide an easy-to-use interface for typesetting music in
its broadest sense. This interface should be intuitive from a musical
point of view. By broadest sense we mean: it is designed for music
printed left to right in staffs, using notes to designate rythm and
pitch.

- MPP uses MusiXTeX and TeX for its output. This is not a key
issue: in a future verision, MPP might bypass musixtex, but at the
moment MusiXTeX and TeX are very convenient for producing output, and
if MusiXTeX is maintainted properly, then there is no need to bypass
it. 

*
* AT THIS TIME TWO VERSIONS OF MUSIXTEX EXIST: ONE BY TAUPIN, ONE
* BY EGLER. WE THINK THIS IS A BAD IDEA, AND A WASTE OF EFFORT. WE
* WILL NOT SUPPORT TWO ENTIRELY DIFFERENT VERSIONS OF MUSIXTEX.
* 
* DEAR READER, PLEASE TRY TO PREVENT THE ARISAL OF TWO CAMPS OF
* MUSIC TYPESETTERS VERSIONS.  IT WILL BE IN EVERYBODY'S GOOD IF
* THERE IS ONLY *ONE* VERSION OF MUSIXTEX
*
*
* Perhaps Taupin and Egler could be persuaded to sum up the best
* features their packages. a voting could then be organised, to decide
* in what direction Musi?TeX should evolve.
*

Incidently, if it might come to a voting, be sure to send a copy of
your vote or OS kernel to <H.M.Zeilmaker@stud.tue.nl>. We are
still trying to determine wether this account is a null-device, or
how much data the harddisk can hold.

(For the humor impaired. This an attempt at  making a joke :-)

Don't get us wrong: we think Musi[xX]TeX is a wonderful and useful
package: look at the effort we put into MPP.  We'd hate to see
it's usage decrease because of lack of agreement.

- Generate high-quality output. Ideally it should be of a professional
quality. We'd like to render Herbert Chlapiks words, "Fine music
setting is not possible without a knowledgeable printer,"  untrue.

- MPP does not display notes directly, nor will it be rehacked to be
used interactively. MPP writes output to a file.  It will not be
extended to play music, or to recognize music.  

This does not mean that the language mpp uses should solely be used
for printing music.

- MPP should support a broad range of platforms. Mpp is mainly
developed on a unix machine. It should be portable to any platform
which can run (Musix)TeX and a C++ compiler. Yes. Even SMDOS is supported, although we secretly hope that everybody ditches dos.

- MPP is free. Commercial windows packages for setting music are
abundant. Free musicprinting software is scarce.


DESIGN

- mpp is written in C++. It will not be downgraded/ported to fit
broken systems.

- The fundamental unit in MPP are notes. slurs, features and beams are
all atached to notes.


WHAT MPP CAN DO (v0.45)

At the moment MPP's features include:

- multistaff parts. This includes orchestral scores, piano parts. Each
part is contained in a separate file.

- lyrics (through a perl script .. little sketchy.)

- Chords, beams, slurs, ties, clef and meter changes, transposition,
super and subscripts, (de)crescendos


TODO-now

- get rid of generic octave
- multibar rests
- directory layout
- run trip.mpp for some situations mpp doesn't handle gracefully.
- update and extend the manual.
- crescendo placement
- multiple movements on one page. 
- Consult file TODO, NEWS (v = done, x = ?, * = not done)


TODO-sometime

- macros: mpp extensions in inputfiles.

- remove musixtex deps in sourcelanguage.

- support: windows (?), OS/2, MacIntosh (?)


BUGS

- mpp coredumps if it can't find the proper .ini files

- trip.mpp


I WANT TO HELP!

If you think you can make MPP better, then you may do so; The GNU
copyleft guarantees you can. But do send us patches and suggestions,
to prevent two versions from floating around.

Keep in mind that we have also thought of mpp's design. Don't come with
suggestions how to radically make MPP better by rewriting the whole
thing. Don't bug us with philosophical discussions. We've got better
things to do.

If you want to help, and do not know how to code C++, then could you do 
something about the manual? We like coding a lot more than writing
docs.


DISCLAIMER & COPYING POLICY

MPP is copyright 1995 by its author(s). MPP is distributed under the
terms of the GNU General Public License. MPP is provided without any
warranty what so ever.  MPP may be freely distributed.  For further
information consult the GNU General Public License.


CONTENTS OF PACKAGE

This archive contains 

  *.h, *.cc: the mpp sources, written in C++
  notes.ini, script.ini: mpp runtime
  *.mpp: example mpp input files
  mdo: a script for producing a dvi file from a mpp file
  mpp.tex: a file containing TeX definitions for mpp.
  mppdoc.*: an (incomplete) manual
  domppdoc: compile the manual into a TeXable file
  mpp.exe: an MSDOS executable.
  COPYING: the GNU General Public License
  SUPPORT: supported platforms.
  ChangeLog: list of changes
  INSTALL: how to install
  FAQ: you're reading this
  NEWS:
  TODO: additional documentation notes
  MANIFEST: a list of all files in this archive.


GETTING MPP 

MPP has it's own webpage:
http://asterix.urc.tue.nl/~tnnvjn/mpp-english.html.  You will find a
link to the latest release as well as a link to the latest
test-version---which is not guaranteed to work. Some examples and
links can also be found here. Do drop by on our orchestra homepage.

The latest test-release can be found at the tex-archive,
eg. ftp.dante.de or ftp.cs.ruu.nl. You can also find MusiXTeX here. 


AUTHORS

MPP was written by Jan Nieuwenhuizen <j.c.nieuwenhuizen@phys.tue.nl>,
<jan@digicash.nl>


ACKNOWLEDGEMENTS

Thanks go out to:

Han-Wen Nienhuys <hanwen@stack.urc.tue.nl> for writing this :),
and some other documents.

Judith Blauw for useful help on musical matters

Herbert Zeilmaker for a second opinion on the MPP language.

All these people are members of the Eindhovens Jongeren Ensemble,
(a small symphonic orchestra in the south of Holland)

INSTALLATION

See the file INSTALL for further installation instructions.

SUPPORTED PLATFORMS

Mpp 0.45 is known to compile and run on the following platforms: 

       Sun Sparc; SunOS 4.3.1_U1; g++ 2.6.3, g++ 2.7.0 
       Sun Sparc; SunOS ftl1 5.4 generic sun4m; g++ 2.6.0 
       IRIX 5.3 11091811 IP19 mips; native CC, g++ 2.7.0 
       i286/i386; SM-DOS; Turbo C++ 1.0, Turbo C++ 3.0, gnu make 3.71 
       i386; Linux 1.2.11; g++ 2.7.0 
       IBM RS6000; Aix 3.2; g++ 2.?. 

g++ <= 2.5 might trigger internal compiler errors. 




Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen



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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510091703.AA17983@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Preprocessor
Cc: pmcilroy@harpo.bt-sys.bt.co.uk
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> I like MusicTeX.  I like it a lot.  [...]
> [...] I want to set piano music, with parts
> moving between the hands, chords and arpeggios between the staves etc.
> How would the preprocessors people are debating handle 22 notes in the
> right against 12 in the left in a 4/4 bar such as you can find in Chopin's
> nocturnes ? [...]

  Although a preprocessor may be very useful in saving time keying 
in the music it will always reduce the complete power of TeX or
MusiXTeX. In a lot of cases a preprocessor will make it easier
especially if the music isn't much complicated.

  On the other hand there are aesthetical aspects which cannot be 
solved by a preprocessor automatically and which require an
input language with the same complexity as TeX or MusiXTeX.
The slope of a beam is sometimes not only dependent of the notes
hanging on it but of the previous or next beam or a beam in
another voice. Sometimes optical tricks must be applied to make
the music readable. This can be observed for slurs too.

  I append a small excerpt from my edition of the second sonata
for violin solo by J.S. Bach(*) which shows some of these aspects.
I cannot imagine a preprocessor helping much in typesetting such
music without reducing the power of MusiXTeX and especially if the
same source generates an Urtext, a violin version and a viola version.

(*) The edition will be available soon on ftp.gmd.de 
    /music/scores/bach/...


  The TeX-macro feature may be another help when typesetting
music. I've typeset my arrangement of the Andante religioso by 
Joszef Bloch (ftp.gmd.de /music/scores/bloch/...) nearly completely 
by using such nasty TeX-macros like:
 
\def\HQWWHH#1#2#3#4#5#6{\NOtes\Trp\islurd1{#1}\Trp\pt{#1}\Trp\ha{#1}&\wh{#3}&
       \wh{#4}&\isluru4{!#5}\ha{!#5}\en
       \Notes\sk\Trp\tslur1{#2}\Trp\qa{#2}&&&\tslur4{!#6}\ha{!#6}\en}%
\def\HQQH#1#2#3#4{\Notes&\ha{#1}&\islurd3{!#2}\qa{!#2}\tslur3{!#3}\qa{!#3}&
       \ha{#4}\en}%
\def\HWHHH#1#2#3#4#5#6#7{\NOtes\Trp\islurd1{#1}\Trp\ha{#1}\Trp\tslur1{#2}\Trp
       \ha{#2}&\wh{!#3}&\isluru3{!#4}\ha{!#4}\tslur3{!#5}\ha{!#5}&
       \isluru4{!#6}\ha{!#6}\tslur4{!#7}\ha{!#7}\en}%
\def\HHWWHH#1#2#3#4#5#6{\NOtes\Trp\isluru1{#1}\Trp\ha{#1}\Trp\tslur1{#2}\Trp
       \ha{#2}&\wh{#3}&\wh{#4}&\isluru4{!#5}\ha{!#5}\tslur4{!#6}\ha{!#6}\en}%
\def\HHWHHHH#1#2#3#4#5#6#7{\NOtes\Trp\islurd1{#1}\Trp\ha{#1}\Trp
       \tslur1{#2}\Trp\ha{#2}&\wh{!#3}&\ha{!#4!#5}&\ha{!#6!#7}\en}%
\def\HHHH#1#2#3#4{\NOtes\Trp\ha{#1}&\ha{#2}&\ha{#3}&\ha{#4}\en}%
\def\HHHHWHH#1#2#3#4#5#6#7{\NOtes\Trp\islurd1{#1}\Trp\ha{#1}\Trp
       \tslur1{#2}\Trp\ha{#2}&\isluru2{!#3}\ha{!#3}\tslur2{!#4}\ha{!#4}&
       \wh{#5}&\isluru4{!#6}\ha{!#6}\tslur4{!#7}\ha{!#7}\en}%
\def\HHHHWW#1#2#3#4#5#6{\NOtes\Trp\isluru1{#1}\Trp\ha{#1}\Trp\tslur1{#2}\Trp
       \ha{#2}&\isluru2{!#3}\ha{!#3}\tslur2{!#4}\ha{!#4}&\wh{#5}&\wh{#6}\en}%
\def\HHHHHHHH#1#2#3#4#5#6#7#8{\NOtes\Trp\isluru1{#1}\Trp\ha{#1}\Trp
       \tslur1{#2}\Trp\ha{#2}&\isluru2{!#3}\ha{!#3}\tslur2{!#4}\ha{!#4}&
       \isluru3{!#5}\ha{!#5}\tslur3{!#6}\ha{!#6}&
       \isluru4{!#7}\ha{!#7}\tslur4{!#8}\ha{!#8}\en}%
\def\hhhhhhhh#1#2#3#4#5#6#7#8{\NOtes\Trp\islurd1{#1}\Trp\ha{#1}\Trp
       \tslur1{#2}\Trp\ha{#2}&\islurd2{!#3}\ha{!#3}\tslur2{!#4}\ha{!#4}&
       \islurd3{!#5}\ha{!#5}\tslur3{!#6}\ha{!#6}&
       \islurd4{!#7}\ha{!#7}\tslur4{!#8}\ha{!#8}\en}%
\def\WHHH#1#2#3#4{\NOtes\Trp\wh{#1}&\ha{#2}&\ha{#3}&\ha{#4}\en}%
...

Having defined such macros the music looks like (notes.tex):

% Takt 1
\HHHH Gdg{'b}\HHHH{'B}dg{'d}\bar
\HHHH{'A}df{'c}\HHHH Gdg{'b}\bar
\HHHH{'C}eg{'e}\HHHH{'B}e{^g}{'d}\bar
\WWHHW{'A}e{'a}{=g}{'c}\bar
\WHHWHH{'F}dd{'a}{'c}{'d}\bar
\WHHWW Ggfg{'b}\bar
\WWHQQW{'G}e{'a}{'b}{'a}{'^c}\bar
\WWWW{'D}f{'a}{'d}\bar
\HHHH{'C}eg{'e}\HHHH{'B}{^d}{'b}{'f}\bar
\znotes\text\textl{\icresc}\en\HHHH{'E}{'b}{'b}{'g}\HHHH{'G}{'b}{'e}{''b}\xbar
% Takt 11
\HHHH{'F}{'b}{'^d}{''a}\HHHH{'E}{'b}{'e}{'g}\xbar
\HHHH{'D}f{'b}{'f}\HHHH{'^C}g{'b}{'e}\znotes\loff{\text\textl{\tcresc}}\en\bar
...
  
Using the transposition feature of MusiCTeX two versions may be
generated with the same source: one for string quartett, one for
four violins:

\setname4{Violine}\setname3{Violine}\setname2{Viola}\setname1{Cello}
\setclef2\alto\setclef1\bass\def\Trp{\transpose=0}\def\textl{2}\def\textp{3}
\startpiece\input notes
[...]
\setname4{Violine 1}\setname3{Violine 2}\setname2{Violine 3}\setname1{Violine 4}
\setclef2\treble\setclef1\treble\def\Trp{\transpose=7}\def\textl{4}\def\textp{6}
\startpiece\input notes


Imho, there isn't *one* preprocessor which can solve all tasks. We need
a variety and sometimes none or other approaches.

Werner

PS: The excerpt of the Bach sonata copied together from various input files:

%\format musIxtex
%\format musixTex musixtEx musIxtex musiCtex
%
% prepro.tex
%
% Process this file with your MusixTeX-format or something like (4dos):
%  del prepro.mx2^plain prepro^musixflx prepro^plain prepro^dviview prepro

\input musixtex
\input musixbm
\input musixbbm
\input musixstm

%\input mymusix ==============================================================
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11

% Fingerstze 
ber (\FS) oder unter (\fS) dem System
%             auch mit Tonhhenangabe \Fs, \fs
% ohne \kern aktueller Zeichensatz f
r Musikzeichen wie z.B. \upbow: \FSn \fSn \Fsn \fsn
% Fingerstze AUS:
\def\nofs{%
\global\def\Fs##1##2{}\global\def\fs##1##2{}
\global\def\Fsn##1##2{}\global\def\fsn##1##2{}
\global\def\isfs##1{}\global\def\isFS##1{}
\global\def\isnotfs##1{{##1}}\global\def\isnotFS##1{##1}}
% Fingerstze EIN:
\def\yesfs{
\global\def\Fs##1##2{{\advance\transpose by  2\zcharnote{##2}{\kern 0.75pt \hbox{\smalltype\bf ##1}}}}
\global\def\FS##1{{\Fs{##1}9}}
\global\def\fs##1##2{{\advance\transpose by -4\zcharnote{##2}{\kern 0.75pt \hbox{\smalltype\bf ##1}}}}
\global\def\fS##1{{\fs{##1}{-3}}}
\global\def\Fsn##1##2{{\advance\transpose by  2\zcharnote{##2}{##1}}}
\global\def\FSn##1{{\Fsn{##1}9}}
\global\def\fsn##1##2{{\advance\transpose by -4\zcharnote{##2}{##1}}}
\global\def\fSn##1{{\fsn{##1}{-3}}}
\global\def\isfs##1{{##1}}\global\def\isFS##1{##1}
\global\def\isnotfs##1{}\global\def\isnotFS##1{}}
\yesfs

% F
r Streicher: Aufstrich, Abstrich
%     jetzt als \input musixstr
%
\def\AB{\hbox{\lower 1.5pt \hbox{\downbow}}}
\def\AUF{\hbox{\lower 1.5pt \hbox{\upbow}}}

% Platz f
r ...
\def\sK{\off{-1\noteskip}}
\def\Ek#1{\off{0.#1\elemskip}}\def\EK#1{\off{-0.#1\elemskip}}

% Ak

\newcount\nick@i
\def\ttqb#1#2{\nick@i\transpose\tslur{#1}{#2}\transpose\nick@i\tqb{#1}{#2}}%
\def\ttqh#1#2{\nick@i\transpose\tslur{#1}{#2}\transpose\nick@i\tqh{#1}{#2}}

\def\Takt#1{\bar}\def\takt#1{\xbar}

% old spacings
\def\normal{\elemskip=4\Internote \scale{1.00}%
 \def\tnotes{\vnotes0.7\elemskip}% tiny notes, grace notes
  \def\notes{\vnotes1.0\elemskip}% double croches
 \def\notesp{\vnotes1.2\elemskip}%
  \def\Notes{\vnotes1.4\elemskip}% croches
 \def\Notesp{\vnotes1.7\elemskip}%
  \def\NOtes{\vnotes2.0\elemskip}% croches pointees
 \def\NOtesp{\vnotes2.4\elemskip}%
  \def\NOTes{\vnotes2.8\elemskip}% noires
 \def\NOTesp{\vnotes3.4\elemskip}%
  \def\NOTEs{\vnotes4.0\elemskip}%
 \def\NOTEsp{\vnotes4.8\elemskip}%
  \def\NOTES{\vnotes5.6\elemskip}}

\musicparskip

\catcode`\@=\catcodeat
% end of \input mymusix ====================================================

%\input specdef ============================================================
%--Redefinitionen von MusicTeX----------------------------------------------
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
\systemnumbers
\nostemcut
\nostartrule
\accshift-0.4pt
\def\TR#1{\zcharnote{#1}{\it tr}}%

\def\hold#1{\raise \Internote \vbox{\hrule width #1\noteskip}}

\newcount\ptranspose\ptranspose=0
\newdimen\ick@n
\def\Qp#1{\ick@n=#1\Interligne\advance\ick@n\ptranspose\Interligne\raise\ick@n\qp}
\def\Ds#1{\ick@n=#1\Interligne\advance\ick@n\ptranspose\Interligne\raise\ick@n\ds}
\def\Qs#1{\ick@n=#1\Interligne\advance\ick@n\ptranspose\Interligne\raise\ick@n\qs}

\def\ROZ{\roffset{0.2}}\def\LOZ{\loffset{0.2}}%
\def\ROD{\roffset{0.3}}\def\LOD{\loffset{0.3}}%
\def\ROV{\roffset{0.4}}\def\LOV{\loffset{0.4}}%
\def\ROF{\roffset{0.5}}\def\LOF{\loffset{0.5}}%
\def\ROS{\roffset{0.6}}\def\LOS{\loffset{0.6}}%
\def\ROA{\roffset{0.8}}\def\LOA{\loffset{0.8}}%

\catcode`\@=\catcodeat
% end of \input specdef =====================================================

\voffset=-20.00mm \vsize=275mm %
\hoffset=-15.40mm \hsize=190mm
\parindent 0pt
\beforeruleskip0pt\afterruleskip3pt\relativeaccid
%\medskip\centerline{\BIGfonr Sonate 1\raise 5pt\hbox{ma} \'a Violino Solo senza Ba\ss{}o di}
%\medskip\line{{\rm Violinbezeichnung: Werner Icking}\hfill\bigfont J S Bach.}
\normal\startmuflex
\nofs\def\isvl#1{}\def\isva#1{}%  \input one% ==================================
\newbox\extract\isFS{\def\extractline{\setbox\extract\hbox}%
\smallmusicsize\scale{.66}\setsize1\smallvalue\setclefsymbol1\empty\nobarnumbers
 \elemskip7.2pt\startextract\addspace{-\afterruleskip}%
 \NOtes\ibbl0f0\ibslurd0c\blst0\qb0f\blst0\qb0f\sK\sK
    \ibbu1{'d}0\ibsluru1{'a}\bust1\qb1{`d}\bust1\qb1d\en
 \Notesp\nbbbl0\blst0\qb0f\blst0\qb0f\sK\sK
      \nbbbu1\bust1\qb1{'d}\bust1\qb1d\en
 \Notes\nbbbbl0\blst0\qb0f\blst0\qb0f\blst0\qb0f\blst0\tslur0c\tqb0f\sK\sK\sK\sK
       \nbbbbu1\bust1\qb1{'d}\bust1\qb1d\bust1\qb1d\bust1\tslur1{'a}\tqh1{`d}\en
 \NOtes\Ek2\zql{^f}\ibbu1{'e}0\islurd1d\qb1e\en
 \Notes\nbbbbu1\qb1{'^dededededed}\en
 \notes\nbbbbbu1\qb1{'c}\ttqh1d\en
 \zendextract
\normalmusicsize\scale{1.00}\setsize1\normalvalue\resetclefsymbols\systemnumbers
\def\extractline{\centerline}}%
\startbarno=21\bigaccid\elemskip7pt\startpiece
% Line 09 --------------------------------------------------------------------
 \NOtesp\ROZ{\zqu e}\ibu0{'b}0\qbp0b\en
 \Notes\tbbu0\Fsn\AUF{''b}\tqh0{'a}\en
 \Notes\ibbu0{'a}3\qb0{`a}\en
 \notes\nbbbu0\islurd0g\Fs3{''b}\qb0{'a}\Ek8\qb0{`^g'a}\tbbbu0\qb0c\ttqh0f\en
 \Notes\ibbu0{'a}3\qb0{``g}\en
 \notes\nbbbu0\islurd0f\qb0g\Ek7\qb0{^fg'b}\nbbbbu0\qb0e%
       \Ek7\tbbbu0\qb0{^d}\EK1\en
 \Notes\Fs{3\hold{2.8}}{''e}\ttqh0{'e}\en
\Takt{22}%
 \notes\roff{\ibbbl0{''c}{-3}}\isluru0{`f}\qb0{`f}\Ek8\qb0{'e'a}\Ek8\qb0{`^g}%
       \Fs1{'a}\qb0{'acb}\tqb0d\en
 \notes\Ek8\ibbbl0{'e}{-3}\Fsn\AUF{'e}\Fs2g\qb0{^g'a`eca`f'a}%
       \Ek8\midslur6\ttqb0{^c}\en
 \NOTes\roffset{1.2}{\trille{'a}{1}\trille{'b}{1}}\zql{``f}\Fs1{'f}\Fs2{''b}\qu{'d}%
       \sK\loff{\fs{\unhbox\extract}{````c}}\sk
       \roffset{1.2}{\TR{'a}}\LOZ{\sh{``f}}\zql f\qu{'^d}\en
\Takt{23}%
 \NOtes\sk\loff{\zwh e\zwh{'e}}\sk\en
\setdoubleBAR\bar
\notes\multnoteskip{5}\sk\en
\generalmeter{\meterfrac24}\zchangecontext
\notes\multnoteskip{10}\sk\en
\zstoppiece
% End of \input one ==========================================================
%
\yesfs\def\isvl#1{#1}\def\isva#1{}\vskip 1.5cm%  \input one% =================
\newbox\extract\isFS{\def\extractline{\setbox\extract\hbox}%
\smallmusicsize\scale{.66}\setsize1\smallvalue\setclefsymbol1\empty\nobarnumbers
 \elemskip7.2pt\startextract\addspace{-\afterruleskip}%
 \NOtes\ibbl0f0\ibslurd0c\blst0\qb0f\blst0\qb0f\sK\sK
    \ibbu1{'d}0\ibsluru1{'a}\bust1\qb1{`d}\bust1\qb1d\en
 \Notesp\nbbbl0\blst0\qb0f\blst0\qb0f\sK\sK
      \nbbbu1\bust1\qb1{'d}\bust1\qb1d\en
 \Notes\nbbbbl0\blst0\qb0f\blst0\qb0f\blst0\qb0f\blst0\tslur0c\tqb0f\sK\sK\sK\sK
       \nbbbbu1\bust1\qb1{'d}\bust1\qb1d\bust1\qb1d\bust1\tslur1{'a}\tqh1{`d}\en
 \NOtes\Ek2\zql{^f}\ibbu1{'e}0\islurd1d\qb1e\en
 \Notes\nbbbbu1\qb1{'^dededededed}\en
 \notes\nbbbbbu1\qb1{'c}\ttqh1d\en
 \zendextract
\normalmusicsize\scale{1.00}\setsize1\normalvalue\resetclefsymbols\systemnumbers
\def\extractline{\centerline}}%
\startbarno=21\bigaccid\elemskip7pt\startpiece
% Line 09 --------------------------------------------------------------------
 \NOtesp\ROZ{\zqu e}\ibu0{'b}0\qbp0b\en
 \Notes\tbbu0\Fsn\AUF{''b}\tqh0{'a}\en
 \Notes\ibbu0{'a}3\qb0{`a}\en
 \notes\nbbbu0\islurd0g\Fs3{''b}\qb0{'a}\Ek8\qb0{`^g'a}\tbbbu0\qb0c\ttqh0f\en
 \Notes\ibbu0{'a}3\qb0{``g}\en
 \notes\nbbbu0\islurd0f\qb0g\Ek7\qb0{^fg'b}\nbbbbu0\qb0e%
       \Ek7\tbbbu0\qb0{^d}\EK1\en
 \Notes\Fs{3\hold{2.8}}{''e}\ttqh0{'e}\en
\Takt{22}%
 \notes\roff{\ibbbl0{''c}{-3}}\isluru0{`f}\qb0{`f}\Ek8\qb0{'e'a}\Ek8\qb0{`^g}%
       \Fs1{'a}\qb0{'acb}\tqb0d\en
 \notes\Ek8\ibbbl0{'e}{-3}\Fsn\AUF{'e}\Fs2g\qb0{^g'a`eca`f'a}%
       \Ek8\midslur6\ttqb0{^c}\en
 \NOTes\roffset{1.2}{\trille{'a}{1}\trille{'b}{1}}\zql{``f}\Fs1{'f}\Fs2{''b}\qu{'d}%
       \sK\loff{\fs{\unhbox\extract}{````c}}\sk
       \roffset{1.2}{\TR{'a}}\LOZ{\sh{``f}}\zql f\qu{'^d}\en
\Takt{23}%
 \NOtes\sk\loff{\zwh e\zwh{'e}}\sk\en
\setdoubleBAR\bar
\notes\multnoteskip{5}\sk\en
\generalmeter{\meterfrac24}\zchangecontext
\notes\multnoteskip{10}\sk\en
\zstoppiece
% End of \input one ==========================================================
%
\ptranspose=1\transpose=-4\setclef1\alto
\generalsignature{-1}% BWV1003
\yesfs\def\isvl#1{}\def\isva#1{#1}\vskip 1.5cm% \input one% =================
\newbox\extract\isFS{\def\extractline{\setbox\extract\hbox}%
\smallmusicsize\scale{.66}\setsize1\smallvalue\setclefsymbol1\empty\nobarnumbers
 \elemskip7.2pt\startextract\addspace{-\afterruleskip}%
 \NOtes\ibbl0f0\ibslurd0c\blst0\qb0f\blst0\qb0f\sK\sK
    \ibbu1{'d}0\ibsluru1{'a}\bust1\qb1{`d}\bust1\qb1d\en
 \Notesp\nbbbl0\blst0\qb0f\blst0\qb0f\sK\sK
      \nbbbu1\bust1\qb1{'d}\bust1\qb1d\en
 \Notes\nbbbbl0\blst0\qb0f\blst0\qb0f\blst0\qb0f\blst0\tslur0c\tqb0f\sK\sK\sK\sK
       \nbbbbu1\bust1\qb1{'d}\bust1\qb1d\bust1\qb1d\bust1\tslur1{'a}\tqh1{`d}\en
 \NOtes\Ek2\zql{^f}\ibbu1{'e}0\islurd1d\qb1e\en
 \Notes\nbbbbu1\qb1{'^dededededed}\en
 \notes\nbbbbbu1\qb1{'c}\ttqh1d\en
 \zendextract
\normalmusicsize\scale{1.00}\setsize1\normalvalue\resetclefsymbols\systemnumbers
\def\extractline{\centerline}}%
\startbarno=21\bigaccid\elemskip7pt\startpiece
% Line 09 --------------------------------------------------------------------
 \NOtesp\ROZ{\zqu e}\ibu0{'b}0\qbp0b\en
 \Notes\tbbu0\Fsn\AUF{''b}\tqh0{'a}\en
 \Notes\ibbu0{'a}3\qb0{`a}\en
 \notes\nbbbu0\islurd0g\Fs3{''b}\qb0{'a}\Ek8\qb0{`^g'a}\tbbbu0\qb0c\ttqh0f\en
 \Notes\ibbu0{'a}3\qb0{``g}\en
 \notes\nbbbu0\islurd0f\qb0g\Ek7\qb0{^fg'b}\nbbbbu0\qb0e%
       \Ek7\tbbbu0\qb0{^d}\EK1\en
 \Notes\Fs{3\hold{2.8}}{''e}\ttqh0{'e}\en
\Takt{22}%
 \notes\roff{\ibbbl0{''c}{-3}}\isluru0{`f}\qb0{`f}\Ek8\qb0{'e'a}\Ek8\qb0{`^g}%
       \Fs1{'a}\qb0{'acb}\tqb0d\en
 \notes\Ek8\ibbbl0{'e}{-3}\Fsn\AUF{'e}\Fs2g\qb0{^g'a`eca`f'a}%
       \Ek8\midslur6\ttqb0{^c}\en
 \NOTes\roffset{1.2}{\trille{'a}{1}\trille{'b}{1}}\zql{``f}\Fs1{'f}\Fs2{''b}\qu{'d}%
       \sK\loff{\fs{\unhbox\extract}{````c}}\sk
       \roffset{1.2}{\TR{'a}}\LOZ{\sh{``f}}\zql f\qu{'^d}\en
\Takt{23}%
 \NOtes\sk\loff{\zwh e\zwh{'e}}\sk\en
\setdoubleBAR\bar
\notes\multnoteskip{5}\sk\en
\generalmeter{\meterfrac24}\zchangecontext
\notes\multnoteskip{10}\sk\en
\zstoppiece
% End of \input one ==========================================================

\vfill\eject\endmuflex\bye

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	id sma001243; Tue Oct 10 10:10:23 1995
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 <01HW9Q8K0COW9GW25M@btmv56.se.bel.alcatel.be>; Tue, 10 Oct 1995 09:12 GMT+0100
Date: Tue, 10 Oct 1995 09:12 GMT+0100
From: Chris Gray <CGRA@btma74.se.bel.alcatel.be>
Subject: Re: nested crescendos
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
Message-id: <01HW9Q8K0COW9GW25M@btmv56.se.bel.alcatel.be>
X-VMS-To: in"hanwen@stack.urc.tue.nl"
X-VMS-Cc: CGRA,IN"mutex@stolaf.edu"
Precedence: bulk

> do nested (de)crescendos exist? We need to know for MPP-design.

Well of course I hesitate to give a categorical "no" ... but if you are
referring to hairpins, then "no" is my answer.  If you want to do that,
then use words for the outer level and hairpins for the inner:

         decr.........<>.............<>..........<>......

And before you ask: there is no third level.  Two is already hard enough...


Regards

Chris

__________________________________________________________________________

Chris Gray         Chris_Gray@bcs.org.uk           Compuserve: 100065,2102
__________________________________________________________________________



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From: taupin@lps.u-psud.fr
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Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA13827; Tue, 10 Oct 1995 11:11:07 +0100
Subject: MusiXTeX T.402
To: mutex@stolaf.edu
Date: Tue, 10 Oct 95 11:11:07 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.402
New version T.402 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have new chars since version T.401:
         get the new TFMs, get new *.mf, delete your
         old musix*.pk/musix*.*pk !!!! Note that previous sources and
         even DVIs work with the new fonts (new chars /= moved chars!)

Changes:
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 - T.401 tiny bug corrected in musixtex.tex
 -       musixsty.tex corrected
 - T.40  musixgre strongly enhanced (gregorian chant)
 -       several corrections in musixtex (clefs handling)
 -       musix*.* fonts updated (one correction, one new character)
 -       doc updated

Daniel Taupin


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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: MPP
In-reply-to: Your message of "Mon, 09 Oct 1995 21:11:15 BST." <Pine.BSF.3.91.951009210935.5309E-100000@turtle.stack.urc.tue.nl>
Date: Tue, 10 Oct 1995 11:19:33 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:035620:951010102007"@cl.cam.ac.uk>
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Han-Wen Nienhuys writes:

> Lots of stuff about mpp
>[...]
> WHAT MPP CAN DO (v0.45)
>
> The latest test-release can be found at the tex-archive,
> eg. ftp.dante.de or ftp.cs.ruu.nl. You can also find MusiXTeX here. 

Note that ftp.cs.ruu.nl is only recorded as a partial mirror of CTAN.

Both ftp.dante.de and we (ftp.tex.ac.uk) only hold v0.44

I don't recall that we were asked to mirror mpp, and so we don't.  If
you want later versions to appear on CTAN, you need either to submit
new copies (by transferring them by ftp to one of the archives'
/incoming directory and notifying CTAN@shsu.edu), or you need to tell
us where to mirror from (at the same mail address).

Robin Fairbairns

(Among other things, speaking for the CTAN team)

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From owner-mutex  Tue Oct 10 07:23:52 1995
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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
cc: mutex@stolaf.edu, pmcilroy@harpo.bt-sys.bt.co.uk
Subject: Re: Preprocessor
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On Mon, 9 Oct 1995, Werner Icking wrote:
>   On the other hand there are aesthetical aspects which cannot be 
> solved by a preprocessor automatically 

Why is this? Please explain

> The slope of a beam is sometimes not only dependent of the notes
> hanging on it but of the previous or next beam or a beam in
> another voice. Sometimes optical tricks must be applied to make
> the music readable. This can be observed for slurs too.

Why can't this be implemented on a computer? I agree, it will be hard to 
do, and noone has done it before, but is it impossible?

>[deletia]

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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From owner-mutex  Tue Oct 10 10:15:31 1995
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Date: Tue, 10 Oct 1995 11:05:59 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510101005.AA18624@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: dotted staggered chords
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>           I'm having a bit of trouble getting dots in the right place
>           when I have a stacked chord with dotted notes on both sides
>           of the stem.  In particular, a sequence like
> 
>           \zqp{ceg}\pt h\rqu h
> 
>           places all four dots in exactly the same positions as does

and the stem on the right side of "h"?
> 
>           \zqp{ceg}\hup h
> 
>           that is, the four dots are vertically aligned.
> 
>           For the case I need, the dot for the g and h need to be
>           spaced over by \qsk.  Is there a simple way to do this?
> 
>           Oh -- I probably should tell you that I'm using MusicTeX.

MusicTeX? then you could use:

\def\nbinstruments{1}
\def\rpt#1{\roff{\pt{#1}}}
\debutextrait\Notes\zqp{ce}\rpt h\rq h\qup g\enotes\finextrait
\debutextrait\Notes\pt b\pt d\pt f\zq{ce}\rpt h\rq h\qu g\enotes\finextrait\bye
\bye

or MusiXTeX? then you could use:

\def\rpt#1{\roff{\pt{#1}}}
\startextract\Notes\zqp{ce}\rpt h\rq h\qup g\en\endextract
\startextract\Notes\lpt c\lpt e\lpt g\zq{ce}\rpt h\rq h\qu g\en\endextract\bye
\bye

The second example lowers the dots as additionally required (instead of
spacing the dot of the g to the right?).

Werner

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From owner-mutex  Tue Oct 10 11:41:22 1995
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Date: Tue, 10 Oct 1995 11:34:32 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: MPP
In-Reply-To: <"swan.cl.cam.:035620:951010102007"@cl.cam.ac.uk>
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On Tue, 10 Oct 1995, Robin Fairbairns wrote:
> >
> > The latest test-release can be found at the tex-archive,
> > eg. ftp.dante.de or ftp.cs.ruu.nl. You can also find MusiXTeX here. 
> 
> Note that ftp.cs.ruu.nl is only recorded as a partial mirror of CTAN.

ok. i will take note of this.

> 
> Both ftp.dante.de and we (ftp.tex.ac.uk) only hold v0.44

this is an error in my doco. the latest "stable version" (044) is on the 
tex-archive

> you want later versions to appear on CTAN, you need either to submit
> new copies (by transferring them by ftp to one of the archives'

New versions will be uploaded to CTAN.

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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From owner-mutex  Tue Oct 10 12:45:03 1995
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Date: Tue, 10 Oct 1995 12:07:29 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510101107.AA18665@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Preprocessor
Cc: mutex@stolaf.edu
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> On Mon, 9 Oct 1995, Werner Icking wrote:
> >   On the other hand there are aesthetical aspects which cannot be 
> > solved by a preprocessor automatically 
> 
> Why is this? Please explain
> 
Here it is:

> > The slope of a beam is sometimes not only dependent of the notes
> > hanging on it but of the previous or next beam or a beam in
> > another voice. Sometimes optical tricks must be applied to make
> > the music readable. This can be observed for slurs too.
> 
> Why can't this be implemented on a computer? I agree, it will be hard to 
> do, and noone has done it before, but is it impossible?

Ok, it's partially "hard to do", partially impossible. Impossible because
the "optical tricks" cannot be handle by a computer (IMHO). I mean things
like: it is parallel, but it looks like being not parallel; or it looks
like having the same distance although it doesn't have the same distance.
E.g.  \ibu0c0\qb0e\qb0{''a}\qb0{``e}\tqh0e  is MusicTeXically correct, but
it needs some optical correction. In this trivial case the correction may
be computable. But there are other cases which need corrections which
- imho - can only be applied by the human eye. 

Werner

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From owner-mutex  Tue Oct 10 17:23:56 1995
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Date: Tue, 10 Oct 1995 15:01:27 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: Preprocessor
In-Reply-To: <199510101107.AA18665@sunick.gmd.de>
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On Tue, 10 Oct 1995, Werner Icking wrote:

> > Why can't this be implemented on a computer? I agree, it will be hard to 
> > do, and noone has done it before, but is it impossible?
> like having the same distance although it doesn't have the same distance.
> E.g.  \ibu0c0\qb0e\qb0{''a}\qb0{``e}\tqh0e  is MusicTeXically correct, but

could you rephrase that in mpp-input? I don't know musixtex


Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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From owner-mutex  Tue Oct 10 19:23:55 1995
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Date: Tue, 10 Oct 1995 16:02:19 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510101502.AA18902@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Preprocessor
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> > E.g.  \ibu0c0\qb0e\qb0{''a}\qb0{``e}\tqh0e  is MusicTeXically correct, but
> 
> could you rephrase that in mpp-input? I don't know musixtex

I don't know mpp :-)

A beam for a "c"; an "e" hanging on that beam; an "a two octaves higher"
standing on that beam; again the "e" hanging on that beam and a third "e"
terminating the beam:

   |()
   |   
   |   
  =============
  |       |   |
  |       |   |
()|     ()| ()|

__..__..__..__

In this case the note heads should not have the same equal distance as in

  =============
  |   |   |   |
  |   |   |   |
()| ()| ()| ()|

__..__..__..__

but the upper note must be manually moved a "little bit" to the right 
(sometimes, and sometimes not :-)


    |()
    |   
    |   
  =============
  |       |   |
  |       |   |
()|     ()| ()|

__...__.__..__

Werner


PS:  MusiC/XTeX needs an ASCII output feature :-)
PPS: MusiC/XTeX should be able to generate mpp-input :-)

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From owner-mutex  Tue Oct 10 19:32:22 1995
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Date: Wed, 11 Oct 95 08:15:26 +1200
Message-Id: <216f3e1a.u8t20e.5410c-dgold@basso.actrix.gen.nz>
In-Reply-To: <01HW9Q8K0COW9GW25M@btmv56.se.bel.alcatel.be>
	     (from Chris Gray <CGRA@btma74.se.bel.alcatel.be>)
	     (at Tue, 10 Oct 1995 09:12 GMT+0100)
Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: nested crescendos
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Chris Gray (Chris_Gray@bcs.org.uk) wrote:

>> do nested (de)crescendos exist? We need to know for MPP-design.
> 
> Well of course I hesitate to give a categorical "no" ... but if you are
> referring to hairpins, then "no" is my answer.  If you want to do that,
> then use words for the outer level and hairpins for the inner:
> 
>          decr.........<>.............<>..........<>......
 
IMO, Chris is correct.  I've never seen a nested 'hairpin' and would
probably be confused if I did.  Chris's notation is often used to indicate
'phrasing dynamics' for an individual part, within a tutti decrescendo,
for instance.  Berlioz and Franck come to mind as composers who used 
this notation.

Cheers,
Dale

-- 
   - dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand -
   - Principal Double Bass, New Zealand Symphony Orchestra -
http://www.actrix.gen.nz/users/dgold/nzso.html   NZSO Home Page


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From owner-mutex  Wed Oct 11 19:21:31 1995
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From: huang@cupat.ccc.columbia.edu
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To: mutex@stolaf.edu
Subject: macros for transposition
Date: Wed, 11 Oct 95 11:44:28 -0400
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I have written some macros for transposition which take care of the change of
\signature. With these macros, one needs to specify only the number of half
steps to be transposed, the values of \transpose and new signature will be
calculated automactically. I think they are especially useful in transposing
music which contains signature changes.

How to use:

There are 3 macros:

\Transpose n f_1 f_2 f_3:
    n: the number of half steps of transpostition,
    f_1: indicator of choice between signature +5 and signatrue -7,
    f_2: indicator of choice between signature +6 and signature -6,
    f_3: indicator of choice between signature +7 and signature -5.
For example, '\Transpose{-2}++-' will transpose the music 2 half steps down.
If the signature after tranposition can be either +5 or -7, signature +5 will
be used. Likewise, signature +6 and -5 will be chosen over signature -6 and +7
respectively.

\Generalsignature: replaces \generalsignature.

\Setsign: replaces \setsign.

To tranpose a piece, first code \Transpose, then replace any occurence of
\generalsignature and \setsign by \Generalsignature and \Setsign respectively.

If \Transpose is omitted, then \Generalsignature and \Setsign act exactly as
\generalsignature and \setsign respecively.

Do not forget including \relativeaccid.

If you have any comment, please let me know. My email address is
huang@cupat.ccc.columbia.edu

Youping Huang

------------------ start of macros
\newcount\work % temporary, can be replaced by any integer register
\def\Transpose#1#2#3#4{%
 \def\halfsteps{#1}\def\flagi{#2}\def\flagii{#3}\def\flagiii{4}}
\def\halfsteps{0}

\def\signature#1{%
 \work#1\relax \transpose\halfsteps\relax
 \ifnum\transpose=0\else
  \multiply\transpose7%
  \advance\work\transpose
  \transpose\work
  \divide\transpose12%
  \multiply\transpose12%
  \advance\work-\transpose
  \divide\transpose12%
  \ifnum\work>6\advance\work-12\advance\transpose1\fi
  \ifnum\work<-6\advance\work12\advance\transpose-1\fi
  \ifnum\work=5\if-\flagi\work-7\advance\transpose1\fi\fi
  \ifnum\work=6\if-\flagii\work-6\advance\transpose1\fi\fi
  \ifnum\work=-6\if+\flagii\work6\advance\transpose-1\fi\fi
  \ifnum\work=-5\if+\flagiii\work7\advance\transpose-1\fi\fi\fi}

\def\Generalsignature#1{\signature{#1}\generalsignature{\number\work}}
\def\Setsign#1#2{\signature{#2}\setsign#1{\number\work}}
------------------ end of macros


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From owner-mutex  Wed Oct 11 19:30:54 1995
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Date: Wed, 11 Oct 1995 17:46:00 GMT
From: mig@oat.ncc.up.pt (Miguel Filgueiras)
Message-Id: <9510111746.AA06040@oat.ncc.up.pt>
To: mutex@stolaf.edu
Subject: Re: Preprocessor
Precedence: bulk


Here is my contribution to the discussion on Musi?TeX preprocessors.
I am involved in the development of SceX, that can be seen as such a
preprocessor.

I think there is a distinction to be made between representing a piece
of music and representing a music score. The latter will need a
detailed description of a graphic object (the score), while the former
may be made in a much more abstract way. For instance, in order to
reproduce a score one must supply all the details about stem
orientation or even page/line breaking. These details are superfluous
(and quite boring to supply) if one only wants to describe a piece of
music with no preconceived idea on what the score is to look like
(even if under some generally accepted conventions for music writing).

What is needed then is a music denotation language allowing for a good
compromise between the two situations above. For instance, if a score
turns out to be in bad shape, it should be possible to add more
details to make it conform to the user wishes.

It is obvious that Musi?TeX (seen as a language) addresses mainly the
description of scores as graphical objects. A preprocessor to
Musi?TeX is then a means to implement a more abstract language that
should be (among other things) much more readable than Musi?TeX but
that must provide ways of expressing all the details the user may want
to give (in other words, the expressive power of the language should
be as close as possible to that of Musi?TeX).

"Abstract language" means that if the details are not there some
default mechanisms must exist to automatically generate them. It is
not to be expected that those mechanisms can be depended on in all
cases --- but this is what happens with LaTeX and many of us are happy
with LaTeX even if sometimes we need to force it to do what we want
instead of what it does by default.

Other advantages of having an abstract language are the possibility
of: exchanging readable information with others, describing or
processing (e.g., composing, extracting parts, rearranging) music in
terms of music concepts (instead of graphical symbols), dealing with
more compact descriptions.

Some concerns that were expressed in the previous discussion:

a) new language vs. existing one: I tried hard to find something that
could be suitable for my purposes with no success. So, I decided to
define my own (with some ingredients from others); on the other hand,
as there is now a preprocessor to SceX allowing for the definition of
macros, it is possible for the user to redefine the language. I am
definitely against any kind of pressure for a standardization.

b) implementation language: I have quite good experience in the
implementation of programming languages and based on it I would
strongly recommend that preprocessors should not be implemented in
TeX. A preprocessor for Musi?TeX is actually a compiler from an input
language into Musi?TeX and TeX was not designed to implement
compilers. In SceX, I am using Prolog as a prototyping language and we
are starting to port some of the already developed modules into C.

c) manual retouching: if the expressive power of the language is close
enough to that of Musi?TeX no manual retouching should be needed.
However, this may be a bit too optimistic.

d) graphical interfaces: I see them as a gadget that will be very nice
mainly for beginners. If someone tries to enter lengthy scores into a
computer by only pointing and clicking he will very soon be bored to
death (at least, I was!).

e) MusicTeX, MusixTeX by Andreas Egler, and MusixTeX by Daniel Taupin:
as an implementor of a "compiler" that produces Musi?TeX I am very
unhappy with the present situation. For the moment I am forced to
producing MusicTeX (SceX already does that in some basic way) and I am
quite at a loss on deciding if we are going to produce MusixTeX and in
that case what version to use.

Please take all of this as expressing my humblest opinions, with no
intention to either offend anyone or to enter any kind of religious war.

Regards,
Miguel Filgueiras

____________________________________________________________________________

Miguel Filgueiras		mig@ncc.up.pt
Centro de Informatica		http://www.up.pt/~mig
Universidade do Porto

R. do Campo Alegre 823		Tel: 351-2-6001672
4150 Porto / Portugal		Fax: 351-2-6003654
____________________________________________________________________________



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From: mig@oat.ncc.up.pt (Miguel Filgueiras)
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To: mutex@stolaf.edu
Subject: Re: Preprocessor
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I have wrote in my previous message on this subject:

> e) MusicTeX, MusixTeX by Andreas Egler, and MusixTeX by Daniel Taupin:

I was warned about a possible misreading of "MusicTeX, MusixTeX by
Andreas": it can be read as MusicTeX being by Andreas, what of course
I didn't meant! I am well aware of the history of these systems, and
what I meant was: "MusicTeX (by Daniel, of course), the version of
MusiXTeX being developed by Andreas, and the version of MusiXTeX being
developed by Daniel".

I just  put Daniel's name after MusicTeX because I thought everyone in
the list knows who must be thanked by having developed it. In any
case, my apologies to Daniel for the confusion.

Miguel Filgueiras


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From: mig@oat.ncc.up.pt (Miguel Filgueiras)
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I have wrote in my previous message on this subject:

> e) MusicTeX, MusixTeX by Andreas Egler, and MusixTeX by Daniel Taupin:

I was warned about a possible misreading of "MusicTeX, MusixTeX by
Andreas": it can be read as MusicTeX being by Andreas, what of course
I didn't meant! I am well aware of the history of these systems, and
what I meant was: "MusicTeX (by Daniel, of course), the version of
MusiXTeX being developed by Andreas, and the version of MusiXTeX being
developed by Daniel".

I just DIDN'T put Daniel's name after MusicTeX because I thought
everyone in the list knows who must be thanked by having developed
it. In any case, my apologies to Daniel for the confusion.

Miguel Filgueiras



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From owner-mutex  Fri Oct 13 16:23:58 1995
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From: C.Walshaw@greenwich.ac.uk
Via: uk.ac.greenwich; Fri, 13 Oct 1995 16:57:41 +0100
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          id <12487-0@odin.greenwich.ac.uk>; Fri, 13 Oct 1995 16:57:36 +0100
Message-Id: <13058.9510131557@wight>
Subject: bug in musixeng.tex - MusiXTeX version T.402
To: mutex@stolaf.edu
Date: Fri, 13 Oct 1995 16:57:33 +0100 (BST)
Cc: C.Walshaw@greenwich.ac.uk () ()
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Using MusiXTeX version T.401, why does

\input musixtex
\input musixeng
\startmuflex%
\generalsignature{1}%
\generalmeter{\meterfrac{2}{4}}%
\startpiece%
\notes\er\enotes%
\stoppiece%
\endmuflex%
\end%

not work (it doesn't recognise \er defined in musixeng.tex) when

\input musixtex
\startmuflex%
\generalsignature{1}%
\generalmeter{\meterfrac{2}{4}}%
\startpiece%
\notes\ds\enotes%
\stoppiece%
\endmuflex%
\end%

does work.

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


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To: mutex@stolaf.edu
Message-Id: <ADlEjVm8h0@jazz.spb.su>
Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Sat, 14 Oct 1995 00:01:35 +0300 (MSK)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
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Subject: Triplets, etc.
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Dear Music/xTeX experts,

I have carefully studied the manual and began to use MusicTex 4.76
dated August 26, 1995 (although it seems to me I had got it much
earlier :) ). As long as I don't have an Internet access to get myself
a newer version, am I using too much an outdated version (so that when
I get a newer one I will have to retype everything) or can I live with
that for some more time?

Also, it may be something I missed in the manual but I am helpless when
trying to solve the following two problems:

1) How do I get a simple triplet with the corresponding slanted "3"?
(I was amazed not to find an answer in the manual!)

2) How can I prevent the program from automatically indenting the first
staff set, obviously thus leaving space for the expected instrument
names? All of my experimenting with the \def\instrumenti{}
was sadly fruitless. However, then I added a centered title to the song
using the simple \begin{center} \end{center} command, and the indenting
disappeared, puzzling me even more because while the first staff's
vertical lines shifted left the rightmost bar line remained where it
had belonged before.

Thank you very much all who come to the rescue!
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



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To: mutex@stolaf.edu
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Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Sun, 15 Oct 1995 02:11:14 +0300 (MSK)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
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Subject: Polyphonic scores
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Dear Music/xteX experts,

While still using MusicTex 4.76 I ran into a problem whose resolution
is definitely not in the manual.

I am trying to typeset a jazz vocal polyphonic score. As it is generally
known, jazz five-voice scores are represented in a three-staff structure
which is roughly as follows:

Lower staff: bass line with stems following the general rule.
Middle staff: baritone with stems down and tenor with stems up.
Upper staff: alto with stems down and soprano with stems up.

Increasing the number of voices in \nbinstruments{} and correspondingly
cruising between the voices by means of &, as you know, produces a
separate staff for each voice.

Of course, the desired effect of two voices in the same staff can
be achieved by various means (like \z... macros, \rlap, etc.),
but am I probably unaware of a more elegant procedure which may
facilitate separate reading of the voices in the *.tex file.

Thank you very much all who can point me to a way of writing separate
voices within one staff.
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



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From owner-mutex  Wed Oct 18 17:23:55 1995
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Date: Wed, 18 Oct 1995 19:11:18 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510181811.AA24979@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: musixflx for Macintosh ?
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> Please, tell me, what about musixflx for Macintosh ?

Up to now I couldn't find any MacUser who could definitely say
that it is impossible to have a "pure" musixflx for a Mac.

I once generated successfully a "batch-unzip" from the quite
normal c-sources (for nearly any platform). And when I was happy
that I succeeded I detected that this unzip didn't run on a 
Mac directly. It needed a "DOS"-type shell which is delivered 
in combination whith MPW :-(

It seems to me, that musixflx too must be "enriched" by some code so
that it may be operated with mouse-clicks unless you have something
like a MPW shell. 

-- Werner

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Date: Thu, 19 Oct 1995 15:23:48 -0400
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199510191923.PAA62248@poe.acc.Virginia.EDU>
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To: mutex@stolaf.edu
Subject: trouble with \setclefsymbol
Precedence: bulk

I'm using MusiXTeX version T.394 and having trouble with the
\setclefsymbol. I want to have no clef at all, but I always end
up with a treble clef when I use \setclefsymbol1\empty.  Is this
a bug or am I doing something wrong?

Here's a bit of code:

\smallmusicsize
\setclefsymbol1\empty  <-- this line appears to have no effect
\nostartrule
\startmuflex
\startextract
%\NOTEs\wh {'bcdefg'abcdefg'a}\en
\NOTEs\wh {'b}\en
\znotes\zw {'a}\en
\NOTEs\wh {'c}\en
\znotes\zw {'d}\en
\NOTEs\wh {g}\en
\znotes\zw {'e}\en
\NOTEs\wh {f}\en
\znotes\zw {'f}\en
\NOTEs\wh {e}\en
\znotes\zw {'g}\en
\NOTEs\wh {d}\en
\znotes\zw {''a}\en
\NOTEs\wh {c}\en
\znotes\zw {''b}\en
\NOTEs\wh {b}\en
\znotes\zw {''c}\en
\NOTEs\wh {a}\en
\znotes\zw {''d}\en
\NOTEs\wh {N}\en
\znotes\zw {''e}\en
\NOTEs\wh {M}\en
\znotes\zw {''f}\en
\NOTEs\wh {L}\en
\znotes\zw {''g}\en
\NOTEs\wh {K}\en
\znotes\zw {'''a}\en
\NOTEs\wh {J}\en
\zendextract


/-------------------------------------------------------------------------\
| Perry Roland                sometimes here:        sometimes there:     |
| Library Assistant           -------v-------        ---------v------     |
| University of Virginia      Government Documents   Digital Music Center |
| Charlottesville, VA 22903   Alderman Library       Music Library        |
| email: pdr4h@virginia.edu   vox: (804) 924-6259    vox: (804) 924-7041  |
|                 homepage: http://poe.acc.virginia.edu/~pdr4h            |
\_________________________________________________________________________/

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References: <199510170838.AA26222@sovcom.kiae.su>
Message-Id: <AB9NkXmS5O@jazz.spb.su>
Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Fri, 20 Oct 1995 02:56:57 +0300 (MSK)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
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Subject: Re: Polyphonic scores
Lines: 44
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> Increase \nbinstruments if you want separate staffs. Use \zqu, \zql etc.
>if you want two voices in the same staff. Thazt's all.

Daniel,

Thank you for your answer but there is still something I can't understand.
The pattern I am trying to typeset is expected to look about as follows:

   =========
   |   |   |
 ()|   | ()|
     ()|
|()     |()
|   |() |
|   |   |
=========

To achieve it, I wrote the following:

\Notes\ibl0h0\zql h\ibu1k0\qh1k\zql f\qh1i\tbl0\zql h\tbu1\qh1k\enotes
                                _____           _____

Naturally, it doesn't work because those two elements that I underlined
above are supposed to contain both the information (1) that the note is
hanging on the lower beam (which it does not contain if I say zql f),
(2) that the note causes no spacing after (which it does not contain
if I say qb0f).

Am I conceptually wrong or is there just a simple way to solve this problem?

P.S. Werner, I guess it was your nice idea to draw notes in ASCII when
all else fails :). I used it, so I hope it was not copyrighted. :)))
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



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Encoding: 35 Text
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      Date: Fri, 20 Oct 1995 02:56:57 +0300 (MSK)
      "Victor A. Zamouline" <victor@jazz.spb.su> wrote:
>
>   =========
>   |   |   |
> ()|   | ()|
>     ()|
>|()     |()
>|   |() |
>|   |   |
>=========
>
>To achieve it, I wrote the following:
>
>\Notes\ibl0h0\zql h\ibu1k0\qh1k\zql f\qh1i\tbl0\zql h\tbu1\qh1k\enotes
>                                _____           _____
>
>Naturally, it doesn't work because those two elements that I underlined
>above are supposed to contain both the information (1) that the note is
>hanging on the lower beam (which it does not contain if I say zql f),
>(2) that the note causes no spacing after (which it does not contain
>if I say qb0f).

I run into this situation fairly often.  I created a macro

    \def\backup#1{\off{-#1\noteskip}}

which simply backs up #1 \sk's.  Thus I'd write your sample as

\Notes\ibl0h0\qb0{hk}\tbl0\qb0h\backup3\ibu1k0\qh1{ki}\tbu1\qh1k\enotes

(I've written this from memory -- hopefully I haven't garbled the syntax
too badly!)

Dick Crawford


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From: "SIMONS, DON" <dsimons@cclink-in.logicon.com>
Encoding: 27 Text
Message-Id: <9509238144.AA814465877@cclink.logicon.com>
To: mutex@stolaf.edu
Subject: PMX: A preprocessor for MusiXTeX
content-length: 1477
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     I have just made available a new preprocessor for MusiXTeX.  It 
is rather limited in scope: it can process scores with 1 to 5 voices, 
one voice per staff (so it will make single-line parts).  It has a 
very simple input language, and can save lots of time by doing ALL the 
work involved in setting up notes/enotes groupings, selecting groups 
of notes to be beamed, defining beam heights and slopes, inserting 
extra spaces where needed to make room for accidentals, justifying 
lines, and spreading the entire piece evenly over a specified number 
of systems.  

     The program is written in FORTRAN.  It requires two passes.  I 
have uploaded all the necessary files to ftp.shsu.edu (the CTAN 
archive).  I don't know how long it will take for the files to be set 
up there.  I have suggested they be put in directory 
tex-archive/support/pmx.  I also will ask Werner Icking to put them on 
his server at ftp.gmd.de, under music/musixtex/software.  If you are 
using a DOS system, then all you need to download is pmx.zip; it 
contains all the files including executables.  If you are on a 
different platform, you will have to download all the other individual 
files (ASCII) and compile the two FORTRAN source files.

     I've tailored PMX to suit my own particular interest, Baroque 
chamber music.  I've used it to typeset several hundred pages of 
music.  I hope anyone who tries it out will let me know what they 
think.

--Don Simons (dsimons@logicon.com)


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Date: Tue, 24 Oct 1995 10:47:35 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510240947.AA28536@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: PMX: A preprocessor for MusiXTeX
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> From: "SIMONS, DON" <dsimons@cclink-in.logicon.com>
> 
>      I have just made available a new preprocessor for MusiXTeX. [...]
>
> [...] I also will ask Werner Icking to put them on his server at 
> ftp.gmd.de, under music/musixtex/software.  [...]

It's already there  :   ftp.gmd.de  /music/musixtex/software/pmx/...
or start with WWW at:   ftp://ftp.gmd.de/music/README.html
                        ^^^^

In the meantime it's complete after I moved all parts to that location
which I first missed. PMX091.ZIP now contains the required DOSXMSF.EXE, too.

Werner

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To: mutex@stolaf.edu
Message-Id: <ABItMZmqcN@jazz.spb.su>
Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Wed, 25 Oct 1995 01:50:58 +0300 (MSK)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
X-Mailer: dMail [Demos Mail for DOS v1.23]
Subject: Stubborn tie
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I have been slightly puzzled by a tie resisting to start from a
left-shifted note in a chord. Instead, it behaved as if referring
to the right-shifted ones:

\Notes\itenl0i\lq {_i}\itenu1j\ql j\tten0\zh h\tten1\hl k\enotes

Eventually I read the following foolproof algorithm out of Daniel's Reves:

\barre\Notes\itenl0i\zq {_i}\qsk\itenu1j\ql j\tten0\zh h\tten1\hl k\enotes

This works fine as long as I am testing it in simple patterns. But just
out of curiosity, is there a more automatic way to explain to the tie
that it should stretch all the way over to the left-shifted note?

(I am currently using MusicTeX 4.76)
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



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Date: Wed, 25 Oct 1995 06:53:00 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@stolaf.edu
Subject: Tempo indications
Precedence: bulk

Does anybody know where I could find a list of tempo indicators (adagio,
lento, moderato, allegro, presto etc.) and the range of metronome speeds
over which each term might reasonably be applied ?  I have an electronic
metronome, from which I know the number of beats per minute I want, but
it doesn't tell me whether I should put adagio, lento or andantino for
minim=50.

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

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From: Alain.Dutech@cert.fr (Alain Dutech)
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Hello Paul,

if I can trust my metronome you would have:
  Largo: 40 - 60
  Larghetto: 60 - 66
  Adagio: 66 - 76
  Andante: 76 - 108
  Moderato: 108 - 120
  Allegro: 120 - 168
  Presto: 168 - 200
  Prestissimo: 200 - 208

Hope this helps..

Alain Dutech.

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Date: Wed, 25 Oct 1995 10:54:28 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199510250954.AA29294@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Stubborn tie
X-Sun-Charset: US-ASCII
Precedence: bulk

> I have been slightly puzzled by a tie resisting to start from a
> left-shifted note in a chord. Instead, it behaved as if referring
> to the right-shifted ones:
> 
> \Notes\itenl0i\lq {_i}\itenu1j\ql j\tten0\zh h\tten1\hl k\enotes
> 
> Eventually I read the following foolproof algorithm out of Daniel's Reves:
> 
> \barre\Notes\itenl0i\zq {_i}\qsk\itenu1j\ql j\tten0\zh h\tten1\hl k\enotes
> 
> This works fine as long as I am testing it in simple patterns. But just
> out of curiosity, is there a more automatic way to explain to the tie
> that it should stretch all the way over to the left-shifted note?

NO -- the tie always starts at that position where \iten... is used.
It doesn't know anything about those \lq, \zq, \qu, \ql, \qh..., etc.
which it is surrounded by. In the same way as \lq is something
like \off{-1\"noteheadskip"}\zq\off{1\"noteheadskip"} you may define
your own \liten... or \riten... or ...   

> (I am currently using MusicTeX 4.76)

May I help you to upgrade? Where's the problem?

Werner

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Subject: Re: MusiCTeX 5.14a
To: mutex@stolaf.edu
Date: Wed, 25 Oct 95 20:08:03 MET
Cc: mutex@stolaf.edu (mutex@stolaf.edu)
In-Reply-To: <199510251424.AA29546@sunick.gmd.de>; from "Werner Icking" at Oct 25, 95 3:24 pm
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusicTeX version 5.15
New version 5.15 of MusicTeX available at anonymous ftp:
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)
and
  hprib.lps.u-psud.fr
  directory pub/musictex

Changes:
 - 5.15 truly added \nq and \nh features (standalone stemless quarter
        and half notes)
 -      musicdoc.ps and musicdoc.lj no more in musictex.zip, but
        in musicdoc_ps.zip and musicdoc_lj.zip
 - 5.14 a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex
 - 5.12 a small bug corrected
 - 5.11 doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


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From owner-mutex  Wed Oct 25 17:23:55 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu, ctan-ann@shsu.edu, Robin.Fairbairns@cl.cam.ac.uk
Subject: Re: PMX: A preprocessor for MusiXTeX
In-reply-to: Your message of "21 Oct 1995 13:52:01 PST." <9509238144.AA814465877@cclink.logicon.com>
Date: Wed, 25 Oct 1995 12:36:29 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:204170:951025123752"@cl.cam.ac.uk>
Precedence: bulk

Don Simons writes:

>      I have just made available a new preprocessor for MusiXTeX.  It 
> is rather limited in scope: it can process scores with 1 to 5 voices, 
> one voice per staff (so it will make single-line parts).  It has a 
> very simple input language, and can save lots of time by doing ALL the 
> work involved in setting up notes/enotes groupings, selecting groups 
> of notes to be beamed, defining beam heights and slopes, inserting 
> extra spaces where needed to make room for accidentals, justifying 
> lines, and spreading the entire piece evenly over a specified number 
> of systems.  
> 
>      The program is written in FORTRAN.  It requires two passes.  I 
> have uploaded all the necessary files to ftp.shsu.edu (the CTAN 
> archive).  I don't know how long it will take for the files to be set 
> up there.  I have suggested they be put in directory 
> tex-archive/support/pmx.  I also will ask Werner Icking to put them on 
> his server at ftp.gmd.de, under music/musixtex/software.  If you are 
> using a DOS system, then all you need to download is pmx.zip; it 
> contains all the files including executables.  If you are on a 
> different platform, you will have to download all the other individual 
> files (ASCII) and compile the two FORTRAN source files.
> 
>      I've tailored PMX to suit my own particular interest, Baroque 
> chamber music.  I've used it to typeset several hundred pages of 
> music.  I hope anyone who tries it out will let me know what they 
> think.
> 
> --Don Simons (dsimons@logicon.com)

I have installed the latest version of pmx on CTAN at support/pmx, as
Don requested.  The installation was done at ftp.tex.ac.uk (this is
easiest thing for me to do, since it doesn't involve transatlantic
telnet, which is even more troublesome than is transatlantic ftp);
however, there is a finite possibility that the installation won't
make it to SHSU.  I'll try and keep an eye on it, and if necessary
will try again after the week end.

Robin Fairbairns

For the CTAN team.

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From: taupin@lps.u-psud.fr
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Subject: MusiXTeX T.403
To: mutex@stolaf.edu
Date: Thu, 26 Oct 95 15:46:23 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.403
New version T.403 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have new chars since version T.401:
         get the new TFMs, get new *.mf, delete your
         old musix*.pk/musix*.*pk !!!! Note that previous sources and
         even DVIs work with the new fonts (new chars /= moved chars!)

Changes:
 - T.403 musixeng.tex corrected
 -       \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 - T.401 musixsty.tex corrected
 - T.40  musixgre strongly enhanced (gregorian chant)
 -       several corrections in musixtex (clefs handling)

Daniel Taupin


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From: Erwin Hugo Achermann <acherman@inf.ethz.ch>
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Message-Id: <199510310849.JAA01087@ru10.inf.ethz.ch>
To: mutex@stolaf.edu
Subject: Font-problems
Precedence: bulk

Hi everybody,

I'm trying to keep up with Egler's versions of musixtex. But now either
I have messed up everything or there is somewhere else a little
confusion about the proper fonts: After TeXing my scores, the
dvi-previewer complains: 
> Checksum mismatch (dvi = 2468266133, pk = 3179360954) in font file /usr/local/tex/lib/fonts/pk/mx20.300pk
> Checksum mismatch (dvi = 3543150823, pk = 4254309653) in font file /usr/local/tex/lib/fonts/pk/mx13.300pk
> 

What does it mean by checksum mismatch, I just generated all the fonts
from scratch from the new version's (0.49) tfm-files. Anybody else
having this problem? Anybody having an explanation for this behavior?
BTW: it's only with mx13 and mx20.

Thanks for any help

Erwin

-- 
Erwin Achermann                                      Tel:      ++41 1 632 74 40
Institut für wissenschaftliches Rechnen              FAX:      ++41 1 632 11 72
ETH Zentrum, IFW C29.2                             email: achermann@inf.ethz.ch
CH-8092 Zürich	                 URL: http://www.inf.ethz.ch/personal/acherman/
>It's a mistake to think you can solve any major problems just with potatoes!<-

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From owner-mutex  Tue Oct 31 16:23:56 1995
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From: Bernard Treves Brown <MCNBJTB@fs4.in.umist.ac.uk>
Organization: DIAS, UMIST, UK.
To: mutex@stolaf.edu
Date: Tue, 31 Oct 1995 12:24:04 GMT
Subject: Re: Font-problems
Priority: normal
X-mailer: Pegasus Mail/Windows (v1.22)
Message-ID: <14F067E3F36@fs4.in.umist.ac.uk>
Precedence: bulk

Erwin Hugo Achermann <acherman@inf.ethz.ch> said:

> I'm trying to keep up with Egler's versions of musixtex. But now either
> I have messed up everything or there is somewhere else a little
> confusion about the proper fonts: After TeXing my scores, the
> dvi-previewer complains: 
> > Checksum mismatch (dvi = 2468266133, pk = 3179360954) in font file /usr/local/tex/lib/fonts/pk/mx20.300pk
> > Checksum mismatch (dvi = 3543150823, pk = 4254309653) in font file /usr/local/tex/lib/fonts/pk/mx13.300pk
> 
> What does it mean by checksum mismatch,

As I understand it, there are checksums in the .tfm and .pk files
which should match.

>                              I just generated all the fonts
> from scratch from the new version's (0.49) tfm-files. Anybody else
> having this problem? Anybody having an explanation for this behavior?
> BTW: it's only with mx13 and mx20.

I had exactly the same problem last night with Taupin's distribution.
the .pk files in the distribution match the .tfm, but if I generated
the .pk from the .mf in the distribution it failed. Updating to
METAFONT 2.718 seems to have fixed the problem. (Although it 
gives .pk files of a different size to those in the distribution)

Bernard


Bernard J. Treves Brown,  Research Associate
Department of Instrumentation and Analytical Science,
UMIST, P.O. Box 88, Manchester. M60 1QD  UK
Email: MCNBJTB@FS4.IN.UMIST.AC.UK
Tel:   0161-200 4899  (Outside UK +44 161 200 4899) 
Fax:   0161-200 4911  (Outside UK +44 161 200 4911)

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From owner-mutex  Tue Oct 31 17:23:55 1995
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From: taupin@lps.u-psud.fr
Message-Id: <199510311608.KAA15257@nic.stolaf.edu>
Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA02629; Tue, 31 Oct 1995 17:04:10 +0100
Subject: musixtex T.404
To: mutex@stolaf.edu
Date: Tue, 31 Oct 95 17:04:10 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.404
New version T.404 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have new chars since version T.401:
         get the new TFMs, get new *.mf, delete your
         old musix*.pk/musix*.*pk !!!! Note that previous sources and
         even DVIs work with the new fonts (new chars /= moved chars!)

Changes:
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected
 - T.403 \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 
Daniel Taupin


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From owner-mutex  Wed Nov  1 17:23:54 1995
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Date: Wed, 1 Nov 95 22:17:42 +0100
Message-Id: <9511012117.AA28398@satchmo.physik.TU-Berlin.DE>
From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
To: mutex@stolaf.edu
Subject: Sorry about problem with beams
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk

Sorry, but before everybody sends flames to me:

I noticed that I forgot the '%' at the end of a line. This solves the
problem. Sorry again.

--- Henrik

-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de  tel: +49-30-314-23000 fax: +49-30-314-21130
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY

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From owner-mutex  Wed Nov  1 18:23:59 1995
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From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.de>
To: mutex@stolaf.edu
Subject: Problem with boxes in Uptext and beams
Reply-To: henrik@satchmo.physik.tu-berlin.de
Precedence: bulk

Here is a problem I have no solution for:

I want to have a boxed 'A' at the beginning of the first part. If I
try to achieve this using the '\uptext' or '\zcharnote' macros, I
alway get a beam which is prolonged to the left of the stem of the
first note. How can I avoid this?

  _
 |A|
  ~
  ______
   | | |
   | | |
  O O O


Here the source (la_boulangere.tex and mpp.tex):

------------------------------------------------------------------------------

% MusiXTeX Source created by mpp Wed Nov  1 18:24:32 1995
% File: la_boulangere.tex
% From: la_boulangere.mpp
%
\input mpp
%
\instrumentnumber{1}
%
\setstaffs1{1}
%
\def\thetitle{la_boulangere.mpp}
%
\def\thetitle{La Boulang\`ere}%
\def\thecomposer{}%
\def\thelefttitle{f\"ur Klarinette in B}%
\generalmeter{\meterfrac{6}{8}}%
\generalsignature{3}%
%\barnumbering{5}\def\putbarno{\boxed}% 1
\nobarnumbers
%
\hbox to\hsize{{\hfill\BIGtype\bf\thetitle\hfill}}
\medskip\medskip
\hbox to\hsize{{\hfill\Bigtype\thesubtitle\hfill}}
\medskip
\hbox to\hsize{{\hfill\bigtype\bf\therighttitle\thecomposer}}
\hbox to\hsize{{\hfill\eightrm typeset by Henrik Seidel}}
\hbox to\hsize{{\hfill\eightrm $\copyright$ 1. November 1995}}
\medskip
\hbox to\hsize{{\hskip20mm\bigtype\bf\thelefttitle\hskip6mm
\medtype\rm\thetempo\hskip6mm
\ifx\themetron\empty\else\raise.2ex
\hbox{\medtype\rm\Notes\expandafter\metron\themetron\en}\fi\hfill}}
\bigskip
%
\startmuflex
%
\normalmusicsize
\def\ppffstyle{\ppfftwenty}
\def\directstyle{\twelveit}
\def\xpletstyle{\tenit}
\ppff
%
\startpiece
\addspace\afterruleskip
\Notes
\Uptext{\boxit{\tenbf A}}
\Ibu0{!'a}{!'a}{9}\qb0{!'a}%
\en%
\Notes\qb0{!'a}%
\en%
\Notes\tbu0\qb0{!'a}%
\en%
\NOtes\ql{!'d}%
\en%
\Notes\cl{!'d}%
\en%
\bar%
%
% 2
\NOtes\ql{!'d}%
\en%
\Notes\cl{!'d}%
\en%
\NOtes\ql{!'d}%
\en%
\Notes\cl{!'d}%
\en%
\bar%
%
% 3
\NOtes\ql{!'e}%
\en%
\Notes\cl{!'e}%
\en%
\NOtes\ql{!'b}%
\en%
\Notes\cl{!'c}%
\en%
\bar%
%
% 4
\NOtes\ql{!'d}%
\en%
\Notes\cl{!'c}%
\en%
\NOTes\qlp{!'b}%
\en%
\rightrepeat%
%
% 5
\NOtes
\uptext{\boxit{\tenbf B}}
\ql{!'b}%
\en%
\Notes\cl{!'b}%
\en%
\NOtes\ql{!'b}%
\en%
\Notes\cl{!'d}%
\en%
\alaligne%
%
% 6
\NOtes\ql{!'c}%
\en%
\Notes\cl{!'b}%
\en%
\NOTes\qup{!'a}%
\en%
\leftrepeat%
%
% 7
\NOtes
\uptext{\boxit{\tenbf C}}
\qu{!g}%
\en%
\Notes\cu{!f}%
\en%
\NOtes\qu{!g}%
\en%
\Notes\cu{!'a}%
\en%
\bar%
%
\Notes\Ibl0{!'b}{!'b}{9}\qb0{!'b}%
\en%
\Notes\qb0{!'c}%
\en%
\Notes\tbl0\qb0{!'b}%
\en%
\NOtes\qu{!e}%
\en%
\Notes\cu{!'a}%
\en%
\bar%
%
% 8
\NOtes\qu{!g}%
\en%
\Notes\cu{!f}%
\en%
\NOtes\qu{!g}%
\en%
\Notes\cu{!'a}%
\en\setvoltabox{1.-3}%
\bar%
%
% 9
\NOtes\ql{!'c}%
\en%
\Notes\cl{!'b}%
\en%
\NOtes\qu{!'a}%
\en%
\Notes\cu{!'a}%
\en\setvoltabox{4}%
\rightrepeat%
%
% 10
\NOTEs\hup{!'a}%
\en%
\Endpiece\let\endpiece\relax%
%
\endpiece
\endmuflex
\end

-----------------------------------------------------------------------------

and here is mpp.tex:

% File mpp.tex
% include file for MusixTeX 
%
\input musixtex
\input musixadd
 
\catcode`@=11 % treat at signs as letters

%  \y@v\noteskip \multiply\y@v\n@v
%\qn@width and \elemskip


%\def\notesh{\vnotes\p@seven\elemskip}% 16th trio
%\def\notesh{\vnotes1.4\elemskip}% 16th trio
\def\notesh{\vnotes\elemskip}%        16th trio
%\def\notes{\vnotes2\elemskip}%       16th
%\def\notesp{\vnotes2\h@lf\elemskip}% 16th point=8 trio
%\def\Notesh{\vnotes1\h@lf\elemskip}% 8th trio, ok but bit too tight
%\def\Notesh{\vnotes2.25\elemskip}%    8th trio
\def\Notesh{\vnotes2\elemskip}%       8th trio
%\def\Notes{\vnotes3\elemskip}%       8th
\def\NOtesh{\vnotes4\elemskip}%       4 trio

\def\emtpy{}
%silly name
\let\rightleftrepeat\leftrightrepeat
\def\gobble#1{}
\def\ugobble#1{}
\def\lgobble#1{}
\def\atswap#1#2{\zcharnote{#2}{#1}}
\let\uatswap\atswap
\let\latswap\atswap
\def\finger#1#2{\atswap{{\smalltype\bf#1}}{#2}}
\let\ufinger\finger
\let\lfinger\finger
%
\def\text#1#2{\atswap{{\ppffstyle #1}}{#2}}
\let\utext\text
\let\ltext\text
%
\def\xplet#1{\atswap{\xpletstyle{#1}}}
\let\uxplet\xplet
\let\lxplet\xplet
%
\def\uupbow{\atswap{\upbow}}
\def\lupbow{\atswap{\upbow}}
\def\udownbow{\atswap{\downbow}}
\def\ldownbow{\atswap{\downbow}}
%
\def\ufermata{\fermataup}
\def\lfermata{\fermatadown}
%
\def\utrille#1{\text{\hbox to 0pt{tr\hss}}{#1}}
\def\ushake#1{\rlap{\shake{#1}}}
%
%\def\ucsh#1{\raise3\Interligne\hbox{\hsk\hsk\csh{#1}\bsk\bsk}}
%\def\ucsh#1{\raise3\Interligne\hbox{\hsk\hsk\csh{#1}\bsk}}
\def\ucsh#1{\raise3\Interligne\rlap{\hsk\csh{#1}}}
%
\voffset-10mm
\vsize270mm
\hsize192mm
\parindent5mm
%
%redefine notes
\let\lwh\lw
\let\rwh\rw
\let\zc\zq
%
%complete set of note macro
\def\rwp#1{\pt{#1}\rw{#1}}
\def\lwp#1{\pt{#1}\lw{#1}}
%
\def\rhup#1{\pt{#1}\rhu{#1}}
\def\rhlp#1{\pt{#1}\rhl{#1}}
\def\lhup#1{\pt{#1}\lhu{#1}}
\def\lhlp#1{\pt{#1}\lhl{#1}}
%
\def\rhup#1{\pt{#1}\rhu{#1}}
\def\rhlp#1{\pt{#1}\rhl{#1}}
\def\lhup#1{\pt{#1}\lhu{#1}}
\def\lhlp#1{\pt{#1}\lhl{#1}}
%
\def\rqup#1{\pt{#1}\rqu{#1}}
\def\rqlp#1{\pt{#1}\rql{#1}}
\def\lqup#1{\pt{#1}\lqu{#1}}
\def\lqlp#1{\pt{#1}\lql{#1}}
%\def\rqp#1{\pt{\rq{#1}}
\def\rqp#1{\rq{.#1}}
\def\lqp#1{\pt\lq{#1}}
\def\rqb#1#2{\rq{#2}}
\def\lqb#1#2{\lq{#2}}
%
\def\rcup#1{\pt{#1}\rcu{#1}}
\def\rclp#1{\pt{#1}\rcl{#1}}
\def\lcup#1{\pt{#1}\lcu{#1}}
\def\lclp#1{\pt{#1}\lcl{#1}}
%\let\rc\rq
%\let\lc\lq
\def\rc#1{\rq{#1}}
\def\lc#1{\lq{#1}}
\def\rcp#1{\pt\rq{#1}}
\def\lcp#1{\pt\lq{#1}}
%
%shifted points
\def\rpt#1{\kern\qn@width\advancefalse\pt{{#1}}\kernm\qn@width}
\def\rppt#1{\kern\qn@width\advancefalse\ppt{{#1}}\kernm\qn@width}
%
%redefine rests
\let\whs\pause
\let\ccs\qs
\let\cccs\hs
\let\hs\hpause
\let\qs\qp
%\let\qsp\qpp
\def\qsp{\qp\ds}
\def\qps{\qp\ds}
%\let\cs\ds
\def\cs{\ds}
\let\csp\dsp
\let\ccsp\qsp
\let\ccccs\qqs
%
\let\zqs\qs
\def\zcs{\cs}
%
%redefine accents: portato and staccato ( pizzicato is not an accent )
\let\upt\ust
\let\lpt\lst
\let\ust\upz
\let\lst\lpz
\let\usp\uppz
\let\lsp\lppz
\let\bupt\bust
\let\blpt\blst
\let\bust\bupz
\let\blst\blpz
\let\busp\buppz
\let\blsp\blppz
%
\def\thesubtitle{}
\def\thelefttitle{}
\def\therighttitle{}
\def\thecomposer{}
\def\thetempo{}
\def\themetron{}
\let\composer\righttitle
%
%complete accidentals
\def\dna#1{\lna{#1}\na{#1}}
\def\ldna#1{\llna{#1}\lna{#1}}
\def\lldna#1{\lllna{#1}\llna{#1}}
\def\llna#1{\loffset2\smallvalue{\na{#1}}}
\def\llfl#1{\loffset2\smallvalue{\fl{#1}}}
\def\llsh#1{\loffset2\smallvalue{\sh{#1}}}
\def\lldfl#1{\loffset2\smallvalue{\dfl{#1}}}
\def\lldsh#1{\loffset2\smallvalue{\dsh{#1}}}
\def\lllna#1{\loffset3\smallvalue{\na{#1}}}
%
% bar numbering
\def\barnumbering#1{
  \ifnum#1=\z@\nobarnumbers
  \else\barnumbers\def\freqbarno{#1}\fi}

% really boxed barnumbers

\def\wbarno@x{\lastbarpos\lin@pos \writ@volta
  \ifx\iv@sw\@ne
    \i@v\lin@pos \let\iv@sw\empty \let\tx@V\tx@v
    \ifx\pv@sw\empty \let\v@sw\@ne \fi
  \else
    \n@iii\barno \divide\n@iii\freqbarno\relax
    \ifnum\n@iii=\lastbarno
    \else \y@\altplancher \advance\y@\systemheight \advance\y@\tw@\internote
%      \raise\y@\llap{\it\the\barno\kernm\qn@width}\fi
      \advance\y@\raisebarno\raise\y@\llap{\putbarno\kernm\qn@width}\fi
  \fi
  \n@iii\barno \divide\n@iii\freqbarno\relax \lastbarno\n@iii }

\def\italic{\it\the\barno}
\def\boxed{\boxit{\eightbf\the\barno}}
\def\putbarno{\italic}
\def\writebarno{\putbarno}
\let\old@systemnumbers\systemnumbers
\def\systemnumbers{\gdef\raisebarno{\f@ur\internote}\old@systemnumbers}
\def\writebarno{\putbarno}
\def\raisebarno{\@ne\internote}
%
\let\idecresc\icresc

\def\smallsk{\off{\smallvalue\qn@width}}
\def\smallsk{\hsk}
\def\smallsk{\off{\qu@rt\noteskip}}
\def\smallsk{\off{\smallvalue\elemskip}}
%no occasionally small accidentals
\bigaccid

%\batchmode

\catcode`@=12 % at signs are no longer letters

------------------------------------------------------------------------------

-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik
henrik@satchmo.physik.tu-berlin.de  tel: +49-30-314-23000 fax: +49-30-314-21130
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY

----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- -----
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the word "unsubscribe" to "mutex-request@stolaf.edu"

From owner-mutex  Thu Nov  2 02:23:54 1995
Return-Path: owner-mutex
Received: (root@localhost) by nic.stolaf.edu (8.6.12/8.6.5) id CAA15509 for mutex-distrib; Thu, 2 Nov 1995 02:16:34 -0600
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Received: from ru10.inf.ethz.ch (acherman@ru10.inf.ethz.ch [129.132.12.19]) by inf.ethz.ch (8.6.10/8.6.10) with ESMTP id JAA06050 for <mutex@stolaf.edu>; Thu, 2 Nov 1995 09:16:10 +0100
From: Erwin Hugo Achermann <acherman@inf.ethz.ch>
Received: (acherman@localhost) by ru10.inf.ethz.ch (8.6.10/8.6.9) id JAA02907; Thu, 2 Nov 1995 09:16:08 +0100
Date: Thu, 2 Nov 1995 09:16:08 +0100
Message-Id: <199511020816.JAA02907@ru10.inf.ethz.ch>
To: mutex@stolaf.edu
Subject: Font-problems: Solution
Precedence: bulk

Hi, 

Thanks to all good proposals! Well, it was a nice trap:

When generating a *fmt file one of shell environment variable pointed to
old *tfm files. Thats how wrong font-metrics were preloaded, which results in
misleading checksum errors, when you try to display your final
dvi-file!

(I thought it might interest some of you.)

Take care 

Erwin

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From owner-mutex  Thu Nov  2 06:23:54 1995
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Received: (root@localhost) by nic.stolaf.edu (8.6.12/8.6.5) id FAA26354 for mutex-distrib; Thu, 2 Nov 1995 05:49:00 -0600
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From: taupin@lps.u-psud.fr
Message-Id: <199511021148.FAA26311@nic.stolaf.edu>
Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA21374; Thu, 2 Nov 1995 12:44:28 +0100
Subject: musixtex T.405
To: mutex@stolaf.edu
Date: Thu, 2 Nov 95 12:44:27 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.405
New version T.405 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

CAUTION: musix* fonts have new chars since version T.401:
         get the new TFMs, get new *.mf, delete your
         old musix*.pk/musix*.*pk !!!! Note that previous sources and
         even DVIs work with the new fonts (new chars /= moved chars!)

Changes:
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected
 - T.403 \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 
Daniel Taupin


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References: <9511011838.AA27821@satchmo.physik.TU-Berlin.DE>
Message-Id: <ABDKGcmu71@jazz.spb.su>
Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Thu,  2 Nov 1995 20:51:09 +0300 (MSK)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
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Subject: Re: Problem with boxes in Uptext and beams
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>I want to have a boxed 'A' at the beginning of the first part. If I
>try to achieve this using the '\uptext' or '\zcharnote' macros, I
>alway get a beam which is prolonged to the left of the stem of the
>first note. How can I avoid this?
>
>  _
> |A|
>  ~
>  ______
>   | | |
>   | | |
>  O O O

Henrik,

I can't compile the code you attached to the message because what I am using
is a very old version of MusiCTeX but probably my solution is quite compatible
with your platform. It is practically all the time that I have to break my jazz
scores into such sections, so I created myself a very simple macro:

\def\refrain#1{\zcharnote s{\hspace{-1cm}\fbox{\LARGE\bf{#1}}}}

Thus, when I need a boxed A or B, I write, correspondingly:

\refrain A     or     \refrain B

You are probably using a different score style so you may have to adjust
the dimensions to customize the function. I backed it off by 1cm because
I normally write charts above the notes. If one day this boxed A overlaps
onto another text element in my score, I will add a horizontal parameter
to my macro, something like:

\def\refrain#1#2{\zcharnote s{\hspace{#2}\fbox{\LARGE\bf{#1}}}}

and move it where I want it to belong.

Another problem I had to consider was that normally a new section always
starts at the very beginning of a line. Of course, you can just use an
\alaligne (or its line breaking equivalent in MusiXTex which I shamefully
don't know), but if you go way deep creative you can somehow include that
into the macro too.
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
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        ANNOUNCEMENT:
        RELEASE OF      
        MPP v0.45 
 
 
 
 
site: ftp.dante.de
file: mpp-0.45.tar.gz
      mpp-0x45.zip    (msdos)
use:  the package is a pre-processor for MusiXTeX,
      much like abc2musictex, but much more powerful
      it defines a simple musical language that
      can be pre-processed into valid MusiXTeX input
      some examples and doc are included
      it is still in the test phase
dir:  suggested is of course /pub/tex/support/music2tex
 
 
CHANGES
 
 
noteworthy changes in mpp version 0.45:
 
   * "note.ini" and "script.ini" reside in mpp executable directory
 
   * gnu long option support
 
   * enhanced portability (e.g. linux); see file "SUPPORT"
 
   * this time a sm-dos executable *is* included
 
   * MPP on the www: http://asterix.urc.tue.nl/~tnnvjn/mpp-english.html
 
   * for examples, see the mpp web site
 
[from the FAQ]
INTRODUCTION
 
Typesetting music is a complex task, whereas the message that printed
music conveys is usually a simple one. MusiXTeX is a system for
setting music (using TeX). Programming MusiXTeX is difficult. MPP is a
try at providing a simple interface for setting music using
MusiXTeX. MPP stands for MusiXTeX preprocessor, and this is how the program
works, currently.
 
WHAT MPP CAN DO (v0.45)
 
At the moment MPP's features include:
 
- multistaff parts. This includes orchestral scores, piano parts. Each
part is contained in a separate file.
 
- lyrics (through a perl script .. little sketchy.)
 
- Chords, beams, slurs, ties, clef and meter changes, transposition,
super and subscripts, (de)crescendos
 
AUTHORS
 
MPP was written by Jan Nieuwenhuizen <j.c.nieuwenhuizen@phys.tue.nl>, 
(pre 0.45)

and Han-Wen Nienhuys (see below)

SUPPORTED PLATFORMS
 
Mpp 0.45 is known to compile and run on the following platforms
 
  Machine, OS, compiler
    adress of person who compiled it
 
  Sun Sparc; SunOS 4.3.1_U1; g++ 2.6.3, g++ 2.7.0
    Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
  Sun Sparc; SunOS ftl1 5.4 generic sun4m; g++ 2.6.0
    Jan Nieuwenhuizen
  IRIX 5.3 11091811 IP19 mips; native CC, g++ 2.7.0
    Jan Nieuwenhuizen
  i286/i386; SM-DOS; Turbo C++ 1.0, Turbo C++ 3.0, gnu make 3.71
    Jan Nieuwenhuizen
  intel x86; SM-DOS; Borland C 3.0, gnu make 3.71
    Han-Wen Nienhuys
  i386/i586 Linux 1.2.1[13]; g++ 2.7.0
    Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
  IBM RS6000; Aix 3.2; g++ 2.?.
    ?
  OS/2 Warp, Borland C++
    Christof Hesse <ea241@fim.uni-erlangen.de>
 
These platforms might give some problems.
 
  g++ <= 2.5 might trigger internal compiler errors.
 
  Watcom 10.5: init.cc o[f]stream error
 
 
 
GETTING MPP
 
 
WWW:
 
MPP has it's own webpage:
http://asterix.urc.tue.nl/~tnnvjn/mpp-english.html.  You will find a
link to the latest release as well as a link to the latest
test-version---which is not guaranteed to work. Some examples (both
gif and mpp-input) and links can also be found here. And do drop by on
our orchestra homepage.

You can find the latest changes to mpp by fingering mpp@pcnov095.win.tue.nl

FTP:
 
We will upload the latest 'stable' release to the tex-archive,
eg. ftp.dante.de. You can also find the latest version of Musi*TeX here.
 
The latest test-release as well as the stable release should be
available from ftp://pcnov095.win.tue.nl/pub/mpp/. This machine is
occasionally used as a dos box, so it is not always available


Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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From owner-mutex  Wed Nov 15 22:23:54 1995
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I have just uploaded an updated version (0.92) of my MusiXTeX 
pre-processor to Werner Icking's ftp server, which can be reached over 
the WWW at ftp://ftp.gmd.de/music/ or by anonymous ftp at ftp.gmd.de.  
The files should eventually propagate to the CTAN archives as well.  
The changes since version 0.91 are:

1. Much smaller executables (for DOS users)
2. More generic FORTRAN
   a. Removed all $'s
   b. Removed include statements
   c. Made first 6 characters of all variables unique.
3. Fixed major bug in handling of 2/2 and 3/2 meters.
4. Note names in output .tex file now contain only a-g and ' and ` for
     octaviation.
5. New feature added for specifying octaves in input: As before, if 
pitch changes by less than a fourth from the previous note, then 
octave need not be specified.  Now, a '+' or '-' in the note symbol 
means to make the note an octave higher (or lower) than it otherwise 
would have been.
6. Fixed bug with dotted whole notes.
7. Permit 128-character input lines.

--Don Simons (dsimons@logicon.com)


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From: Wojciech Chemijewski <zabcia@gamma.sggw.waw.pl>
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Hello,

Does anybody know where to find a MuTeX pre-processor?

Regards,


			Wojtek Chemijewski

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Wojciech Chemijewski <zabcia@gamma.sggw.waw.pl> wrote

>Does anybody know where to find a MuTeX pre-processor?

I didn't think anyone still used MuTeX.  I don't believe there is a 
pre-processor for it, but there are two different ones (pmx and mpp) for 
MusiXTeX, the third-generation offspring of MuTeX.  I'm more familiar with pmx 
since I wrote it myself.  It is restricted to scores with 5 staves per system or
less, with one voice per staff.  All the software can be found in the archives 
at ftp.gmd.de under /music.  

--Don Simons (dsimons@logicon.com)



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Date: Fri, 17 Nov 1995 14:43:51 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: MuTeX pre-processor
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On Thu, 16 Nov 1995, Wojciech Chemijewski wrote:

> Does anybody know where to find a MuTeX pre-processor?
> 

You can try mpp, a preprocessor to Musixtex (son of Mutex. Currently only 
the Taupin version is supported by mpp.)
[from the FAQ]
 WHAT MPP CAN DO (v0.45)
 
At the moment MPP's features include:
 
- multistaff parts. This includes orchestral scores, piano parts. Each
part is contained in a separate file.
 
- lyrics (through a perl script. See the pcnov ftp site)
 
- Chords, beams, slurs, ties, clef and meter changes, transposition,
super and subscripts, (de)crescendos
 

We will upload the latest 'stable' release to the tex-archive,
eg. ftp.dante.de. You can also find the latest version of Musi*TeX
here. The directory would be /pub/tex/support/music2tex/
 
The latest test-release as well as the stable release should be
available from ftp://pcnov095.win.tue.nl/pub/mpp/. This machine is
occasionally used as a dos box, so it is not always available.
 



 > Regards,

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: MuTeX Lives.
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On Thu, 16 Nov 95, Don Simmons <dsimons@logicon.com>

>I didn't think anyone still used MuTeX...

Greetings one and all...

Believe it!!  I have watched the various discussions about MusiCTeX and
MusiXTeX with increasing interest and envy, but I am only recently
coming up to speed using MuTeX.... :-), and there's a good reason.

I communicate with the world through my Sun Workstation (at work), but
at home I have only an IBM PC XT Clone, 20M HD, CGA, 640K Ram,
5.25in (emergency only) A: Drive, with an add-on 3.5" 720K Drive.
An HP DeskJet 520 completes the system.  And all this operating at a
whopping 4.something MHZ, (to make all you Z89 users jealous).

Well... Hold the flames... Why don't I just buy a real system?  I'm
fortunate to have this one, since it was given to me by a neighbor, who
bought herself the latest 486 system a year ago... With our five kids
coming along fine in real music training (complete with instruments)
it has not yet been a top priority to put much more money into
a home computer system.  (Our grocery budget exceeds $500 US/Month, but
we love every minute of it.)  The day will come when I will buy a future
system that may put all your current machines to shame ;-}... but for
now I'm enjoying the PC History Seminar.

Now, having been a late-night composer/arranger (of little note nor
long remembered) since college days, computer typesetting of music has
been an area of intense interest.  So when I found the MuTeX archives
available via FTP, I was ecstatic!!

Here's some encouragement for any of you who are in a similar boat...
(Those of you with 386-or-better machines should just enjoy Musi?TeX.)

The PC software that should be retrieved from SimTel archives includes:

MuTeX:       FTP://oak.oakland.edu/SimTel/msdos/tex/mutex.zip
TeX:         FTP://oak.oakland.edu/SimTel/msdos/tex/sb39tex.zip
Metafont:    FTP://oak.oakland.edu/SimTel/msdos/tex/sbmf13a.zip
DVIdriver:   FTP://oak.oakland.edu/SimTel/msdos/tex/rumdjet.zip
Editor:      FTP://oak.oakland.edu/SimTel/msdos/editor/ahed06.zip

Better packages may be available, but I can certify that these all
run together on the XT-grade machine and (most importantly) WORK!

The XT will run MuTeX on small files, allowing (typically) a single
part to be printed within a reasonable amount of time.  (Patience!!)
SBTEX is sufficient, and I've not broken it yet... It does need to have
most of the PC memory availale, at least about (say) 520K.

Metafont is not absolutely necessary, but it is more fun to have the ability
to make fancy fonts for titles, such as calligraphy (available from
CTAN as FTP://ftp.shsu.edu/tex-archive/fonts/calligra.zip.)

One important fact that complicates setting this up from scratch:  MuTeX
expects the TeX package to provide basic Computer Modern Roman fonts
(named by the PLAIN.TEX file input to INITEX when making the PLAIN.FMT
package - read the SB39 TEX setup instructions...) and you need to have
TFM (the font metric specificion files) for everything loaded in PLAIN.TEX,
but you don't need to have the PK files for everything yet, just the PK
files that MuTeX uses.  (This is cmr8 and cmbx10, in my experience.)
The MuTeX package provides the rest of the 300DPI PK files you may need.
In a pinch, the CM TFM and PK files are probably down-loadable from CTAN,
(in my case I had access to a large LaTeX installation on several platforms
at work.)

The HP DeskJet gives very nice output for the money.  I drive it with the
RUMDJET package obtained from SimTel Archives.  It is slowon the XT, but not
as slow as writing parts by hand, and the output is impressive (compared to
my handwritten script), and best of all, fixable!!

Setting all this up takes time, but what else were you going to do between
11:00 PM and 3:00 AM any Friday night?

I benefited greatly by being well-versed in LaTeX (and TeX) via work
experiences... If you really want a WYSIWYG Package such as Finale, then
MuTeX or Musi?TeX is not for you.  But there are a great many redeeming
features of these extensible typsetting languages that make it well worth
the bother...

Most people who complain about TeX never learned to define macros!!!!
Once they learn how to write powerful macros, they start to complain
about what they can't do with the WYSIWYG packages.  (You just don't
know what you don't know!!)

Newbie.... Learn to write Macros!!! Then even MuTeX becomes fun to use,
and QUICK....

Here is my personal list of wanna-do XT-Projects related to MuTeX:

1)  Want to get a sound card that works on the XT and experiment with
    MIDI input ... I don't even know what is available.

2)  Want to develop a Transposition Add-In style package for MuTeX... I
    got the patch to work that transposes Note Heads, but the beam lists
    transposition is going to take a lot more work... Any Hints??

Thanks for Listening.... MUTEX Lives!! (until the last XT dies...)

(When I send my first kid to college I think I'll send the XT with her.
Does it really matter that her term papers print in about 10 minutes as
compared to the cost to have them print in 30 seconds?.. and she can't
type at 66MHZ either!! :-)

Regards...

Joel Hunsberger
sqa1.si.com
Grand Rapids, MI USA

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Subject: musictex 5.16
To: mutex@stolaf.edu
Date: Mon, 27 Nov 95 12:13:49 MET
Cc: mig@oat.ncc.up.pt
Mailer: Elm [revision: 70.85]
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Subject: MusicTeX version 5.16
New version 5.16 of MusicTeX available at anonymous ftp:
  hprib.lps.u-psud.fr
  directory pub/musictex
and
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" after ftp anonymous login)

Changes:
 - 5.16 bug corrected in \tbbbu, \tbbbbu, \tbbbbbu, \tbbbl, etc.
 - 5.15 truly added \nq and \nh features (standalone stemless quarter
        and half notes)
 -      musicdoc.ps and musicdoc.lj no more in musictex.zip, but
        in musicdoc_ps.zip and musicdoc_lj.zip
 - 5.14 a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex

Daniel Taupin


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From owner-mutex  Tue Nov 28 21:30:16 1995
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Date: 28 Nov 95 19:21:06 -0800
From: "DAKRAMER.US.ORACLE.COM" <DAKRAMER@us.oracle.com>
To: mutex@stolaf.edu
Subject: Total Newbie question
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Please forgive the naivete of my question, I've used LaTeX a fair 
amount but almost never used TeX. I've read the archives of this list 
and the musicdoc.* manual, but they don't really talk about "How to 
invoke musictex". 
 
Some background. I'm running on a SPARCStation 20 under Solaris. I've 
downloaded the sources for musictex, uncompressed them etc. I've 
downloaded the examples file, unzipped that. I've set my TEXFONTS, 
TEXFORMATS, TEXINPUTS and TEXPOOL environment variables. 
 
The question is "What now". I figured that the first thing to do would 
be to try and tex an example file. I copied the example into the 
directory containing the musictex files (which shouldn't have been 
necessary, but couldn't hurt), and cranked up "tex ADAGIO.TEX". It 
promptly barfed on the first line with : 
 
------ 
This is TeX, C Version 3.141 
(ADAGIO.TEX 
! Undefined control sequence. 
l.1 \title 
          {Adagio}^^M 
?  
------ 
 
I figure that if I can get an example to work then I'm off and 
running, but clearly I'm missing something very fundamental.  
 
Any help will be sincerely appreciated. 
 
Thanks 
David 
 
P.S. I'm not on the mailing list (although I will be) so please reply 
to me personally. 
 



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From owner-mutex  Wed Nov 29 04:23:53 1995
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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: Total Newbie question
In-reply-to: Your message of "28 Nov 1995 19:21:06 PST." <199511290321.TAA00251@mailsun2.us.oracle.com>
Date: Wed, 29 Nov 1995 09:32:33 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-ID: <"swan.cl.cam.:195930:951129093258"@cl.cam.ac.uk>
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> The question is "What now". I figured that the first thing to do would 
> be to try and tex an example file. I copied the example into the 
> directory containing the musictex files (which shouldn't have been 
> necessary, but couldn't hurt), and cranked up "tex ADAGIO.TEX". It 
> promptly barfed on the first line with : 
>  
> ------ 
> This is TeX, C Version 3.141 
> (ADAGIO.TEX 
> ! Undefined control sequence. 
> l.1 \title 
>           {Adagio}^^M 
> ?  
> ------ 
>  
> I figure that if I can get an example to work then I'm off and 
> running, but clearly I'm missing something very fundamental.  

Not terribly fundamental; adagio is a file that's input by recueil,
which in its turn appears to be expect to be input by something else.

What's missing is something to input the music macros (like
\documentclass at the top of a LaTeX file).  You can do this by
building your own format, according to the instructions in musicdoc.

I've just done all of that, and it works.  If you don't understand
building a format, or using it once you've built it, you need to tell
us what system you're using ("C Version 3.141" isn't terribly
enlightening) before we can help more.

However, it (and all the other examples) are now musixtex files, and
                                                     ^
so aren't really useful for the purpose of learning musictex.
                                                        ^

Daniel believes that people should give up on musictex in favour of
musixtex, but I hadn't realised he'd gone this far...

> P.S. I'm not on the mailing list (although I will be) so please reply 
> to me personally. 

The experience of this list appears to be that the auto-unsubscription
stuff doesn't work; one wonders how much luck you'll have...

Robin Fairbairns

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From owner-mutex  Wed Nov 29 17:23:54 1995
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Date: Wed, 29 Nov 95 09:38:54 EST
From: pal@sappho.rl.af.mil (Philip La Follette)
Message-Id: <9511291438.AA10127@sappho.rl.af.mil>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu
In-Reply-To: <199511290321.TAA00251@mailsun2.us.oracle.com> (DAKRAMER@us.oracle.com)
Subject: Re: Total Newbie question
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David,

It turns out that adagio.tex is not meant to stand on its own.  You should
tex the file hadagio.tex, which invokes the musictex definition files and
then invokes adagio.tex.

--------------------------------------------------------------------
  Philip La Follette | email:  pal@arcon.com or pal@sappho.rl.af.mil
  ARCON Corp.        | voice:  (617) 377-2065
  260 Bear Hill Road | fax:    (617) 377-2563
  Waltham, MA 02154  |
--------------------------------------------------------------------

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From owner-mutex  Wed Nov 29 19:23:55 1995
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Date: Wed, 29 Nov 1995 14:12:16 GMT
From: mig@oat.ncc.up.pt (Miguel Filgueiras)
Message-Id: <9511291412.AA12030@oat.ncc.up.pt>
To: mutex@stolaf.edu
In-Reply-To: <"swan.cl.cam.:195930:951129093258"@cl.cam.ac.uk> (message from Robin Fairbairns on Wed, 29 Nov 1995 09:32:33 +0000)
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Robin Fairbarns writes:

> Daniel believes that people should give up on musictex in favour of
> musixtex, but I hadn't realised he'd gone this far...

Is that true that Daniel is advising people to give up on MusicTeX and
work with MusixTeX instead? To my knowledge MusixTeX still has that
warning saying that users may expect big changes to be made and
therefore are advised not to put too much work on it.

I would very much appreciate this issue to be clarified, as I am
putting a lot of work on MusicTeX.

Regards,
Miguel Filgueiras

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From owner-mutex  Thu Nov 30 16:23:58 1995
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From: "DAKRAMER.US.ORACLE.COM" <DAKRAMER@us.oracle.com>
To: mutex@stolaf.edu
Subject: YANQ
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Thanks to everyone who answered my previous newbie question. I've got 
musictex installed and it's terrific! I'm having a little formatting 
problem with beams, and I'm hoping to throw myself to the mercy of the 
collected wisdom yet again. 
 
Background: I have have MusicTeX 5.16 running on a SPARCstation 20 
under Solaris. I believe that my TeX version is 3.141. 
 
The problem that I'm having with beams is twofold: 
 
1) Given a command of the form \iblnp0, the n and p parameters don't 
seem to do anything, the beam always turns up at what looks like b or 
c (I'm using the G clef). 
 
2) The command \qh0 in conjunction with \ibl produces a stem on the 
wrong side of the note. This results in something that looks like 
this: 
 
 
-------------------------------------------------- 
         O|      O| 
----------|-------|------------------------------- 
          |       | 
         _|______ | 
 
A similar, situation exists with \ibu 
 
Could any of this be not a MusicTeX problem, but an artifact of the 
other postscript conversion and display tools that I'm using (dvitps, 
ghostview)? Any help would be greatly appreciated. 
 
David 
 
P.S. I now know that I should be using Musixtex, but I've already gone 
to the trouble of figuring out and installing Musictex, and it already 
has way more functionality than I need.  



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From owner-mutex  Mon Dec  4 05:23:54 1995
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From: Peter Wright <peterw@cs.uwa.edu.au>
Message-Id: <199512041020.SAA14433@parma.cs.uwa.oz.au>
Subject: long rests
To: mutex@stolaf.edu
Date: Mon, 4 Dec 1995 18:20:09 +0800 (WST)
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Hi out there. A minor problem: I want to transcribe a many-bar
rest, looking something like this for a 5-bar rest


        5

||-------------||
||-------------||
||-- |=====| --||
||-------------||
||-------------||


but MusicTeX doesn't seem to have the ability. The manual mentions
that "Long rests (lasting several bars) can be coded as \PAuse and
\PAUSe, ..." but that doesn't produce a mark like the one above.
I'm using MusicTeX 5.14.


Any helpful suggestions...?


Pete.



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From: "Nikos A. Vlassis" <Nikos.Vlassis@dsclab.ece.ntua.gr>
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Subject: front end
To: mutex@stolaf.edu
Date: Mon, 4 Dec 1995 21:02:56 +0200 (EET)
Organization: National Technical University of Athens
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Hi!

I find mutex hard to learn. 
Moreover, I don't need all its features at the moment.

Is there a program that facilitates the job of writing a simple
music piece (a front end perhaps...)?

-- 
Nikos A. Vlassis <nvlassis@danaos.dsclab.ece.ntua.gr>

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From owner-mutex  Mon Dec  4 19:23:57 1995
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Date: Mon, 4 Dec 1995 23:14:18 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@stolaf.edu
Subject: Re: long rests
Precedence: bulk

In his posting
Message-Id: <199512041020.SAA14433@parma.cs.uwa.oz.au>
Peter Wright <peterw@cs.uwa.edu.au> was asking how to set
long rests of the form

        5

||-------------||
||-------------||
||-- |=====| --||
||-------------||
||-------------||

It's a bit crude, but I wrote a macro to do that kind of thing some
while back.  You may find it helpful

% A multibar rest lasting for #1 bars
\def\longpause#1{\sk\uptext{\sk{#1}}\hbox{\raise 4\internote\long@pause}\sk}%
\def\long@pause{\hbox to 2\elemskip{%
\vrule width 1 pt height 2\internote depth 2\internote%
\vrule width 2\elemskip height 1 pt depth 1 pt%
\vrule width 1 pt height 2\internote depth 2\internote\hss}}%

You will probably need to adjust elemskip or some of the
other dimensions to suit, but it worked for me.

Regards,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


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From owner-mutex  Tue Dec  5 04:31:03 1995
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Date: Tue, 5 Dec 1995 11:18:44 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199512051018.AA01613@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: front end
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> I find mutex hard to learn. 
> Moreover, I don't need all its features at the moment.

Do you really mean MuTeX? single staff only?
> 
> Is there a program that facilitates the job of writing a simple
> music piece (a front end perhaps...)?

There are some front-ends for MusiCTeX or MusiXTeX. Have a look at
ftp.gmd.de /music/musictex/software (which is aliased to .../musixtex/software).
There you find e.g. abc2mtex, PMTex (out-of-date), midi2tex, MPP and PMX.

Since some weeks I'm using PMX as front-end. I post-edit the generated
TeX-input, because I need most features of MusiXTeX. If you do not need
notes shorter than 32th, if you do not need more than five instruments,
if you do not need unusual meters like (7+5)/8, ... then I believe, that
PMX is a good choice for you. Don Simons - the author - currently makes
a lot of enhancements.

Up to now I didn't look closer at the other front-ends. But concerning 
the responses I'heard they must be of good quality for their respective 
purpose, too.


Hope this hilft -- Werner

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From owner-mutex  Wed Dec  6 16:23:57 1995
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From: taupin@lps.u-psud.fr
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Subject: enhancing musiXtex's manual.
To: mutex@stolaf.edu
Date: Wed, 6 Dec 95 13:38:59 MET
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Hi, everybody:

Many musiCtex features are used in the examples. Some of them are typical
of musiCtex and not described inside musixdoc.

===> Please send me a message (taupin@lps.u-psud.fr, not to mutex list)
to ask me additional doc on features NOT appearing in the Index of musixdoc.

Thanks. D. Taupin




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From owner-mutex  Wed Dec  6 17:23:56 1995
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From: C.Walshaw@greenwich.ac.uk
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Message-Id: <21366.9512061414@wight>
Subject: ANNOUNCE: Free music notation software - abc2mtex v1.5
To: mutex@stolaf.edu, MORRIS@suvm.acs.syr.edu
Date: Wed, 6 Dec 1995 14:14:26 +0000 (GMT)
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*****************************************************************
**************  Announcing abc2mtex  version 1.5  ***************
*****************************************************************

!!! NEW, NEW, NEW - Mac version of abc2mtex 1.5 now available!!!
The Mac version is still undergoing some testing/packaging so it
is recommended not to try it out yet unless  you  are  confident
about downloading/setting up packages. I will reannouce when all
is truly ready.

		abc2mtex
		========

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves  and should be extendible to many other types of music. It
can also be used as a fast preprocessor for MusicTeX or MusiXTeX.

One of the most important aims of abc notation, and  perhaps  one
that  distinguishes  it  from most, if not all, computer-readable
musical languages is that it can be easily  read  by  humans.  In
other  words,  with  a  little practice, it is possible to play a
tune directly from the abc notation without having to process and
print  it  out.  Even  if  this  isn't of interest, the resulting
clarity of the notation makes it fairly easy to notate tunes.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The abc notation is then read in by the program  and  a  MusicTeX
file  generated  (in a matter of seconds). TeX can then be run on
this output to "typeset beautiful music".

The package is small, easy to use  and  features,  amongst  other
things,  the ability to transpose both music and abc notation. It
will also create an index of all the tunes you  have  transcribed
and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

You can get a copy of the package by anonymous ftp from:
	"http://celtic.stanford.edu/pub/tunes/abc2mtex"
	"ftp.gmd.de/music/musictex/software/abc2mtex"
	"ftp://ftp.shsu.edu/tex-archive/support/abc2mtex"
	"ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"
	"ftp://ftp.dante.de/tex-archive/support/abc2mtex"

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	"celtic.stanford.edu/pub/tunes/abc2mtex/README"
tells you how to set it up.
 
If you just wish to find out about the notation have a look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/abc.txt"

To find out more about how to use the package look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/usrguide.ps"

There are also several collections of abc-notated tunes available
on the internet. Have a look at
	"http://celtic.stanford.edu/pub/tunes/abc.tunes"
	"http://ucowww.ucsc.edu/~sla/morris/music/abclib.html"
	"http://www.webcom.com/~liam/gaelsong/song.html"
	"http://www.execpc.com/~danb/tunes/dantunes.html"
	"http://www.iol.ie/~kdevane/tunes.htm"
	"http://este.darmstadt.gmd.de/~loehr/folk.html"

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
- freeware available by ftp from a number of sources such as  the
Complete TeX Archive Network (CTAN) in
	"ftp://ftp.shsu.edu/tex-archive"
	"ftp://ftp.tex.ac.uk/tex-archive"
	"ftp://ftp.dante.de/tex-archive"
You will also need MusicTeX (also available from CTAN:
	"ftp://ftp.shsu.edu/tex-archive/macros/musictex"
	"ftp://ftp.tex.ac.uk/tex-archive/macros/musictex"
	"ftp://ftp.dante.de/tex-archive/macros/musictex"
and a C compiler.

PC users can shortcut all of this by getting the contents of
	"ftp://celtic.stanford.edu/pub/tunes/abcwin/"
and the abc2mtex executables from Ceolas.

PC users can also try out a separate package called ABC2Win.  The
ABC2Win  program  supports  the entry of ABC notation and viewing
the musical notes onscreen in Microsoft Windows including Windows
3.1, Windows for Workgroups 3.11 and Windows 95. It will read and
update files of ABC tunes.  Tunes  can  be  played  over  the  PC
speaker  as  a  means  of  checking the accuracy of the notation.
Information and copies of the program are available from
	"http://www.execpc.com/~jimvint/"

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.5 & V1.4
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Calls to abc2mtex are changed slightly; by default it now outputs
MusicTeX and other options must now be preceded by a -, e.g. "-i"
for index, "-t" for transposition.

Notes in the bass clef are now only shifted down one octave rather
than two.

	NEW FEATURES (see userguide for full details)
	~~~~~~~~~~~~

The letters H-Z now generate TeX commands which can be defined by the user.

Slurs, upbow & downbow should now be marked with s, u & v respectively.
The letters S, U & V revert back to users for TeX usercommands.

MusiXTeX output can now be obtained with a command line option.

The output file can now be specified with a command line option.

Line-breaking is now provided for MusiXTeX output (using a *).

Non-beamed notes (e.g. 1/8 notes) can now be put in tuplets (e.g. triplets).

	BUGS FIXED
	~~~~~~~~~~

MusiXTeX can now do K:Hp as described in usrguide.

Rests can now have guitar chords attached.

Rests now work correctly in the bass clef.

Upbow & downbow markers now work correctly with MusiXTeX.

Error in transposition of accidentals corrected.

	COMPATIBILITY
	~~~~~~~~~~~~~

This version of abc2mtex is designed to be compatible with Daniel Taupin's
MusicTeX 5.15, Andreas Egler's MusiXTeX 0.46 & Daniel Taupin's MusiXTeX
T0.405 and mostly compatible with playabc 1.1. Note that it is not compatible
with the most up to date version of Andreas Egler's MusiXTeX because the note
names have changed and I have not yet worked out the most convenient way of
maintaining uniformity across the three versions. Also note that to use Daniel
Taupin's version of MusiXTeX you will have to change some of the comments in
the file header.tex. The lines are clearly marked.


----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- -----
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the word "unsubscribe" to "mutex-request@stolaf.edu"

From owner-mutex  Wed Dec  6 18:23:57 1995
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From: C.Walshaw@greenwich.ac.uk
Via: uk.ac.greenwich; Wed, 6 Dec 1995 14:15:09 +0000
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          id <02909-0@odin.greenwich.ac.uk>; Wed, 6 Dec 1995 14:14:33 +0000
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Subject: ANNOUNCE: Free music notation software - abc2mtex v1.5
To: mutex@stolaf.edu.MORRIS@suvm.acs.syr.edu, 70254.363@compuserve.com,
        ATTRIDGER@A1.MGH.HARVARD.EDU, Abby.Sale@animece.oau.org,
        Breezzz@aol.com, B.Chenery@eee.utas.edu.au,
        DJAMES@paladin.iusb.indiana.edu, D.Roberts@brighton.ac.uk,
        FAPS497@aurora.alaska.edu, Jim_Murray@tvo.org, Mareel@aol.com,
        NEILCORBETT@delphi.com, Nelson_Cartagena@mouse.edmonton.ab.ca,
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        boerngen@Papin.HRZ.Uni-Marburg.DE, cbas26@vms.strath.ac.uk,
        cicetti@intac.com, claddagh@crl.ie, davarm@aol.com,
        davidwright@cix.compulink.co.uk, devans@orion.colorado.edu,
        dgreen@netaxis.com, dh@psyc.leeds.ac.uk, etljhan@etlxdmx.ericsson.se,
        ffuchs@VMS.CIS.PITT.EDU, fw983@cleveland.Freenet.Edu, glidden@pgh.net,
        gmg@ardu.dsto.gov.au, griffiab@elec.canterbury.ac.nz,
        hseaman@execpc.com, jacob@catilina.lunetix.de,
        jhiggins@edcen.ehhs.cmich.edu, jhmiller@mailbox.syr.edu,
        jim@chem.washington.edu, jpc@greco.enpc.fr, keith@kellis.demon.co.uk,
        lconrad@apollo.hp.com, lrone@hrw.com, machlis@scilibx.ucsc.edu,
        meek@sask.usask.ca, melick@cibadiag.com, mgs212@ku-eichstaett.de,
        miorelli@pweh.com, mjsgc@med.une.edu, mm@emma.unice.fr,
        mroberts@pen.k12.va.us, nickg@tardis.co.uk, nijhof@th.rug.nl,
        nrice@eagle.ais.net, nwarner@sprogins.win-uk.net, nzbuspr@nznet.gen.nz,
        rich@rindge.fpc.edu, shall@IslandNet.com, steve@civis.com,
        trish.o'neil@nwcs.portland.or.us, wannis@yar.cs.wisc.edu,
        wil@syndesis.com, yost0002@gold.tc.umn.edu
Date: Wed, 6 Dec 1995 14:14:17 +0000 (GMT)
Reply-To: C.Walshaw@greenwich.ac.uk
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*****************************************************************
**************  Announcing abc2mtex  version 1.5  ***************
*****************************************************************

!!! NEW, NEW, NEW - Mac version of abc2mtex 1.5 now available!!!
The Mac version is still undergoing some testing/packaging so it
is recommended not to try it out yet unless  you  are  confident
about downloading/setting up packages. I will reannouce when all
is truly ready.

		abc2mtex
		========

This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves  and should be extendible to many other types of music. It
can also be used as a fast preprocessor for MusicTeX or MusiXTeX.

One of the most important aims of abc notation, and  perhaps  one
that  distinguishes  it  from most, if not all, computer-readable
musical languages is that it can be easily  read  by  humans.  In
other  words,  with  a  little practice, it is possible to play a
tune directly from the abc notation without having to process and
print  it  out.  Even  if  this  isn't of interest, the resulting
clarity of the notation makes it fairly easy to notate tunes.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

The abc notation is then read in by the program  and  a  MusicTeX
file  generated  (in a matter of seconds). TeX can then be run on
this output to "typeset beautiful music".

The package is small, easy to use  and  features,  amongst  other
things,  the ability to transpose both music and abc notation. It
will also create an index of all the tunes you  have  transcribed
and includes a powerful search facility.

The ability to write tunes in abc notation means that they can be
easily  and  portably  stored or transported electronically. This
package allows you to typeset them easily too.

You can get a copy of the package by anonymous ftp from:
	"http://celtic.stanford.edu/pub/tunes/abc2mtex"
	"ftp.gmd.de/music/musictex/software/abc2mtex"
	"ftp://ftp.shsu.edu/tex-archive/support/abc2mtex"
	"ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"
	"ftp://ftp.dante.de/tex-archive/support/abc2mtex"

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	"celtic.stanford.edu/pub/tunes/abc2mtex/README"
tells you how to set it up.
 
If you just wish to find out about the notation have a look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/abc.txt"

To find out more about how to use the package look at
	"celtic.stanford.edu/pub/tunes/abc2mtex/usrguide.ps"

There are also several collections of abc-notated tunes available
on the internet. Have a look at
	"http://celtic.stanford.edu/pub/tunes/abc.tunes"
	"http://ucowww.ucsc.edu/~sla/morris/music/abclib.html"
	"http://www.webcom.com/~liam/gaelsong/song.html"
	"http://www.execpc.com/~danb/tunes/dantunes.html"
	"http://www.iol.ie/~kdevane/tunes.htm"
	"http://este.darmstadt.gmd.de/~loehr/folk.html"

The package has been written on top of MusicTeX , Daniel Taupin's
music   typesetting package, itself written on top of TeX, Donald
Knuth's typesetting package. To  run  it  you  will   need    TeX
- freeware available by ftp from a number of sources such as  the
Complete TeX Archive Network (CTAN) in
	"ftp://ftp.shsu.edu/tex-archive"
	"ftp://ftp.tex.ac.uk/tex-archive"
	"ftp://ftp.dante.de/tex-archive"
You will also need MusicTeX (also available from CTAN:
	"ftp://ftp.shsu.edu/tex-archive/macros/musictex"
	"ftp://ftp.tex.ac.uk/tex-archive/macros/musictex"
	"ftp://ftp.dante.de/tex-archive/macros/musictex"
and a C compiler.

PC users can shortcut all of this by getting the contents of
	"ftp://celtic.stanford.edu/pub/tunes/abcwin/"
and the abc2mtex executables from Ceolas.

PC users can also try out a separate package called ABC2Win.  The
ABC2Win  program  supports  the entry of ABC notation and viewing
the musical notes onscreen in Microsoft Windows including Windows
3.1, Windows for Workgroups 3.11 and Windows 95. It will read and
update files of ABC tunes.  Tunes  can  be  played  over  the  PC
speaker  as  a  means  of  checking the accuracy of the notation.
Information and copies of the program are available from
	"http://www.execpc.com/~jimvint/"

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.5 & V1.4
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Calls to abc2mtex are changed slightly; by default it now outputs
MusicTeX and other options must now be preceded by a -, e.g. "-i"
for index, "-t" for transposition.

Notes in the bass clef are now only shifted down one octave rather
than two.

	NEW FEATURES (see userguide for full details)
	~~~~~~~~~~~~

The letters H-Z now generate TeX commands which can be defined by the user.

Slurs, upbow & downbow should now be marked with s, u & v respectively.
The letters S, U & V revert back to users for TeX usercommands.

MusiXTeX output can now be obtained with a command line option.

The output file can now be specified with a command line option.

Line-breaking is now provided for MusiXTeX output (using a *).

Non-beamed notes (e.g. 1/8 notes) can now be put in tuplets (e.g. triplets).

	BUGS FIXED
	~~~~~~~~~~

MusiXTeX can now do K:Hp as described in usrguide.

Rests can now have guitar chords attached.

Rests now work correctly in the bass clef.

Upbow & downbow markers now work correctly with MusiXTeX.

Error in transposition of accidentals corrected.

	COMPATIBILITY
	~~~~~~~~~~~~~

This version of abc2mtex is designed to be compatible with Daniel Taupin's
MusicTeX 5.15, Andreas Egler's MusiXTeX 0.46 & Daniel Taupin's MusiXTeX
T0.405 and mostly compatible with playabc 1.1. Note that it is not compatible
with the most up to date version of Andreas Egler's MusiXTeX because the note
names have changed and I have not yet worked out the most convenient way of
maintaining uniformity across the three versions. Also note that to use Daniel
Taupin's version of MusiXTeX you will have to change some of the comments in
the file header.tex. The lines are clearly marked.


----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- -----
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the word "unsubscribe" to "mutex-request@stolaf.edu"

From owner-mutex  Mon Dec 11 17:24:06 1995
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To: mutex@stolaf.edu
Subject: musiXtex FAQ anywhere?
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Date: Mon, 11 Dec 1995 12:59:09 +0100
From: "Bernt Christandl" <beb@rosat.mpe-garching.mpg.de>
Precedence: bulk


Hi,

i'm new to musiXtex and would like to know, if there exists
a FAQ somewhere. I was not able to find one on rsovax.lps.u-psud.fr.

Thank you,

Bernt Christandl       (beb@mpe-garching.mpg.de)


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From owner-mutex  Mon Dec 11 20:24:05 1995
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Subject: MusiXTeX distrib enhanced
To: mutex@stolaf.edu
Date: Mon, 11 Dec 95 17:21:51 MET
Cc: icking@gmd.de (Werner Icking)
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.41a
New version T.41a of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.41a musixdoc.* enhanced (more special commands quoted)
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected
 - T.403 \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 
Daniel Taupin


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From owner-mutex  Mon Dec 11 20:34:58 1995
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Subject: MusiXTeX distrib enhanced
To: mutex@stolaf.edu
Date: Mon, 11 Dec 95 17:21:51 MET
Cc: icking@gmd.de (Werner Icking)
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.41a
New version T.41a of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.41a musixdoc.* enhanced (more special commands quoted)
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected
 - T.403 \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 
Daniel Taupin


----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- ----- -----
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From owner-mutex  Thu Dec 21 06:24:04 1995
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	(1.38.193.4/16.2) id AA17748; Thu, 21 Dec 1995 12:53:18 +0100
Subject: FAQ server
To: mutex@stolaf.edu
Date: Thu, 21 Dec 95 12:53:18 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

 I recently looket at the MuTeX FAX at gopher.stolaf.edu:
It is quite unuable since it provides a lot of subsections, many of
which are not answers but only questions. For example: there is a
sectyion asking "how to unsubscribe ?" but gives no answer.

==> Would somebody (not me (D. Taupin) collect pertinant answers to
FAQs and collect then seriously.

Thanks for the others. D. Taupin

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From: taupin@lps.u-psud.fr
Message-Id: <199512211358.HAA10595@nic.stolaf.edu>
Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA20460; Thu, 21 Dec 1995 14:55:20 +0100
Subject: MusiXTEX version T.42
To: mutex@stolaf.edu
Date: Thu, 21 Dec 95 14:55:20 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.42
New version T.42 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected
 - T.403 \pt<figure> problem patched
 -       \Tslur command in doc but not existing: doc corrected
 -       musixdoc.ps and musixdoc.lj in seperate zips (musixdoc_??.zip)
 - T.402 (really) added \nq and \nh features (standalone stemless quarter
         and half notes)
 
Daniel Taupin


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Date: Thu, 21 Dec 1995 23:20:45 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199512212220.AA11111@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: FAQ server
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> From: taupin@lps.u-psud.fr
> Date: Thu, 21 Dec 95 12:53:18 MET
> 
> ==> Would somebody (not me (D. Taupin) collect pertinant answers to
> FAQs and collect then seriously.

Some time ago, there were already people collecting corrections and
answers to the FAQ. I remember e.g. Dale Gold, Craig R. Latta, Ian Collier,
Craig Rice, Robin Fairbairns, ... with whom I had e-mail exchange on 
the FAQ. I answered some questions or asked new questions ... but I 
never saw any influence on the FAQ.

Where have these answers and questions gone?


Nevertheless I take the opportunity to wish all of you a Merry Christmas
and a Happy New Year.                                          -- Werner

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Date: Mon, 25 Dec 95 09:54:37 +1200
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In-Reply-To: <199512212220.AA11111@sunick.gmd.de>
	     (from Werner Icking <Werner.Icking@gmd.de>)
	     (at Thu, 21 Dec 1995 23:20:45 +0100)
Organization: New Zealand Symphony Orchestra
Reply-To: dgold@basso.actrix.gen.nz
From: dgold@basso.actrix.gen.nz (Dale Gold)
To: mutex@stolaf.edu
Subject: Re: FAQ server
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on Dec 21 Werner Icking wrote:

>  there were already people collecting corrections and
> answers to the FAQ. I remember e.g. Dale Gold, Craig R. Latta, Ian Collier,
> Craig Rice, Robin Fairbairns, ... with whom I had e-mail exchange on 
> the FAQ. I answered some questions or asked new questions ... but I 
> never saw any influence on the FAQ.
> 
> Where have these answers and questions gone?

I did some work on it early in the year, but Real Life(tm) intruded,
and it would be unrealistic for me to offer to do much more at this
stage.  If someone would like to volunteer to continue the project, I'll 
be happy to mail what I've got to them.

The FAQ was very much out of date - I did a bit of reorganizing, and a 
lot of deleting of obsolete ftp sites, and other useless info.  Many of 
the questions and problems in the FAQ have been dealt with or clarified 
in the MusicTeX documentation.  

Suggestions?

Dale

-- 
- Dale Gold dgold@basso.actrix.gen.nz  ---  Korokoro, New Zealand
- Principal Double Bass, New Zealand Symphony Orchestra
-  http://www.actrix.gen.nz/users/dgold/nzso.html   NZSO Home Page


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From: taupin@lps.u-psud.fr
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Subject: Apparent detect in musiX/CTeX
To: mutex@stolaf.edu
Date: Mon, 25 Dec 95 16:35:28 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

 When printing in 300 dpi some scores with whole notes at first (lower) line
of staffs, I found out that the whole note was not vertically centered on
that line. The problem was less visible on upper lines.


If you have the same problem of badly centered note neads, please understand
this is a rounding problem with 300 dpi resolution, which disappears when printing in 600 dpi (both with PostScript and emTeX drivers).

D. Taupin

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To: mutex@stolaf.edu
Subject: Re: FAQ server 
In-reply-to: Your message of "Mon, 25 Dec 1995 09:54:37 +1200."
             <21d235d6.u8t20e.51194-dgold@basso.actrix.gen.nz> 
Date: Thu, 28 Dec 1995 15:26:05 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-Id: <E0tVKDa-0004GT-00@bescot.cl.cam.ac.uk>
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> >  there were already people collecting corrections and
> > answers to the FAQ. I remember e.g. Dale Gold, Craig R. Latta, Ian Collier,
> > Craig Rice, Robin Fairbairns, ... with whom I had e-mail exchange on 
> > the FAQ. I answered some questions or asked new questions ... but I 
> > never saw any influence on the FAQ.

Dale Gold has responded; I ought to make my position clear.  I already
have responsibility for "the alternative TeX FAQ" (as it were) which
is maintained by the UK TeX Users' Group (of which I am chair).  I
_believe_ my undertaking was to maintain the (rather small amount of)
information in that so that it replicates (where relevant) and at
worst doesn't contradict the MuTeX FAQ.

If the MuTeX FAQ were in good shape, I would very much like to provide
a pointer to it from our FAQ (we have a hypertext version at

  http://www.cogs.susx.ac.uk/cgi-bin/texfaq2html?introduction=yes

so people can use it to some extent interactively).

Robin Fairbairns

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From: Musicians_Network@pHreak.intermedia.co.uk (Musicians Network)
Reply-To: Musicians_Network@pHreak.intermedia.co.uk
To: mutex@stolaf.edu.funky-music@athena.mit.edu,
        fuzzy-ramblings@piggy.ucsb.edu, GEACMUS@RUTVM1.RUTGERS.EDU,
        glocke@morgan.ucs.mun.ca, grind@unh.edu, GRUNGE-L@UBVM.CC.BUFFALO.EDU,
        GUM@oraculo.lcc.ufmg.br, hart@vtcc1.cc.vt.edu, hey-joe@ms.uky.edu,
        HIWAYMEN@INDYCMS.IUPUI.EDU, IAML-L@NRM.SE, IFILAUGH@BROWNVM.BROWN.EDU,
        indigo-girls@cgrg.ohio-state.edu, info-high-audio@csd4.csd.uwm.edu,
        INFOCD@CISCO.NOSC.MIL, INXS-list@iastate.edu, IRTRAD-L@IRLEARN.UCD.IE,
        janes-addiction@ms.uky.edu, Journey-L@WKUVX1.WKU.EDU,
        jpop@ferkel.ucsb.edu, JTull@remus.rutgers.edu,
        JULIEMASSE-liste@WIMSEY.COM, jump-in-the-river@presto.ig.com,
        kansas@aladdin.b11.ingr.com, KLARINET@VCCSCENT, klf@asylum.sf.ca.us,
        kosmos@MIT.EDU, KTBULLER@MACC.WISC.EDU, kydeno00@ukpr.uky.edu,
        la-radio@helen.surfcty.com, LATAMMUS@ASUVM.INRE.ASU.EDU,
        Level-42@enterprise.bih.harvard.edu, life-talking@ferkel.ucsb.edu,
        loureed@cvi.hahnemann.edu, Love-Hounds@EDDIE.MIT.EDU,
        lute@cs.dartmouth.edu, MAGIC-L@AMERICAN.EDU, manchester@irss.njit.edu,
        MAX@VM1.MCGILL.CA, MCLIS-L@VM1.MCGILL.CA, MED-TECH@VM1.FERRIS.EDU,
        MICAT-L@NRM.SE, middle-eastern-music@nic.funet.fi,
        MILES@NIC.SURFNET.NL, MISTNET@VM.STLAWU.EDU, mkwong@freedom.NMSU.Edu,
        MLA-L@IUBVM.UCS.INDIANA.EDU, MPB-L@BRUFPB.BITNET, MUG@VM.MARIST.EDU,
        MUS-L@VM.MARIST.EDU, MUSIC-ED@VM1.SPCS.UMN.EDU,
        music-research%prg.oxford.ac.uk@NSS.CS.UCL.AC.UK,
        Music-Research@prg.ox.ac.uk, musicals@world.std.com,
        MUSPRF-L@CMSUVMB.BITNET, mutex@stolaf.edu, NERaves@bronze.lcs.mit.edu,
        NetJam@xcf.berkeley.edu, Network-Audio-Bits@Maine.BITNET,
        new-orleans@mintir.new-orleans.la.us, NMP-L@IUBVM.UCS.INDIANA.EDU,
        NOTMUS-L@UBVM.CC.BUFFALO.EDU, NYSO-L@UBVM.CC.BUFFALO.EDU
Subject: INFO: 7-Aims of Musicians Network
Date: 22 Dec 1995 13:28:51 GMT
Message-Id: <752222206.37203766@intermedia.co.uk>
Organization: Intermedia Associates Limited
Precedence: bulk



               ________________________________________
               #""""""""""""""""""""""""""""""""""""""#
   ____________#___M_U_S_I_C_I_A_N_S___N_E_T_W_O_R_K__#___________
   :                                                             :
   : 181a Brecknock Road, London, N19 5AB, England, Europe, E.C. :
   :_____________________________________________________________:
   """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
                  From telnet://194.129.172.23:3000/
                    44(0)171 434 3800 (data 8,n,1)
_____________________________________________________________________________

Extract from following file:

>Message 21      2/11/95   5:57 pm
>Subject:        MN Summary 89 to 95
>From:           Musicians Network
>To:             Musicians Network

Begin:
______________________________________________________________________________
    ______________________________________________________________
   {_____________M_U_S_I_C_I_A_N_S___N_E_T_W_O_R_K________________}
   #                               #                              #
   #   Musicians Network           #  E-Mail mailto:              #
   # Info 44(0)171 209 2424        #  Musicians_Network@          #
   # Fax  44(0)171 209 2423        #  pHreak.intermedia.co.uk     #
   #_______________________________#______________________________#
   #                               #                              #
   # pHreak MN BBS data 8,n,1 v34  #  MN WWW Music Mirror         #
   # 44(0)171 434 3800 Multiline   #  http://www.                 #
   # Telnet://194.129.172.23:3000/ #  musiciansnetwork.org.uk/mn/ #
   #_______________________________#______________________________#
   #_____________A_Non_Profit_Network_For_Musicians_______________#
   {  181a Brecknock Road, London, N19 5AB, England, Europe, E.C. }
   """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""
-

The following is a summary of the Musicians Network constitution
as published throughout the MN literature since October 1989.

Musicians Network is a free open access association designed to enable
musical and creative activity by allowing access to the skills and
resources necessary to enable musicians to stage their own events.

Musicians Network is essentially self-financing and operates as a non-
profitmaking society made up of musicians, technicians, sound engineers,
promoters, poets and performers, roadies and crew.

The primary aims and objectives of Musicians Network are as follows:

1) To improve communications between creative communities.

2) To enable both large and small scale events by pooling skills and
      resources.

3) To promote Musicians Network activities by publishing regularly via on
      line Inter-Networking BBS, WWW, and MN NewsNotes newsletter.

4) To operate an open access information center whereby we introduce new
      talent for showcase events and recommend MN "Fair Play" listed
      venues to aspiring bands.

5) To enable performers to retain control of their work by organising their
      own events and independently publishing and promoting their own music.

6) To campaign for the rights of musicians and technicians working at all
      levels within the music industry.

7) To provide educational advice, training opportunities and employment
      opportunities to all musicians and technicians involved in or
      associated with the Musicians Network.

The Musicians Network exists to empower individuals and small groups by
providing a communication matrix.

Anybody can use the network according to their own needs, accessing skills,
equipment and resources.

Personal contact and goodwill prevent abuse and allow us to create a friendly
alternative to the commercial arena.

The combined effect of our overall activities can be summarised as follows:

A) We introduce new music to the listening public.

B) We introduce new music to the recording industry.

C) We provide aspiring bands and individual musicians with the contacts and
      creative outlets necessary to develop their skills and determine their
      direction in a fast-moving and rapidly changing industry.

Policies are agreed at our regular open meetings and are implemented by the
executive members elected at the Annual General Meetings.

Elected members are then responsible for the day to day running of their
office and may appoint outside help to implement policy as necessary.

Executive members report on their activities to the open meetings and are
fully accountable to the network via committee meetings, open meetings,
and the Annual General Meetings.

_____________________________________________________________________________

   *#*******************************#******************************#
   *#       Musicians Network       #        Electronic-Mail       #
   *#    Info 44(0)171 209 2424     #  mailto:Musicians_Network@   #
   *#    Fax  44(0)171 209 2423     #      pHreak.intermedia.co.uk #
   *#===============================#==============================#
   *# pHreak MN BBS data 8,n,1 v34  #      MN WWW Music Mirror     #
   *# 44(0)171 434 3800 Multiline   #  http://www.                 #
   *# Telnet://194.129.172.23:3000/ #  musiciansnetwork.org.uk/mn/ #
   *################################################################
   """"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""'
_____________________________________________________________________________

End:

MNWWWMM on line constitution at:
http://www.musiciansnetwork.org.uk/mn/BoardRm.html

MNWWWMM suggestions box at:
http://www.musiciansnetwork.org.uk/mn/GrfitiRm.html

MN WWW Music Mirror HyperLinks at:
http://www.musiciansnetwork.org.uk/mn/FileRm.html

MN & pHreak BBS via I.P. address 194.129.172.23:3000
with TelNet or First Class Client software
log in and select home:Sounds:Musicians Network

MN & pHreak BBS via pstn 44(0)171 434 3800 (data 8,n,1)

Voice 44(0)171 209 2424 - Fax 44(0)171 209 2423
______________________________________________________________________________

EOF



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From owner-mutex  Thu Dec 28 18:24:03 1995
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Date: Thu, 28 Dec 1995 16:02:21 -0800 (PST)
From: Twiz <krischak@netcom.com>
Subject: Re: INFO: 7-Aims of Musicians Network
To: mutex@stolaf.edu
cc: FOLKDJ-L@PSUVM.PSU.EDU, freaks@bnf.com, fruit@gdb.org,
        funky-music@athena.mit.edu, fuzzy-ramblings@piggy.ucsb.edu,
        GEACMUS@RUTVM1.RUTGERS.EDU, glocke@morgan.ucs.mun.ca, grind@unh.edu,
        GRUNGE-L@UBVM.CC.BUFFALO.EDU, GUM@oraculo.lcc.ufmg.br,
        hart@vtcc1.cc.vt.edu, hey-joe@ms.uky.edu, HIWAYMEN@INDYCMS.IUPUI.EDU,
        IAML-L@nrm.se, IFILAUGH@BROWNVM.BROWN.EDU,
        indigo-girls@cgrg.ohio-state.edu, info-high-audio@csd4.csd.uwm.edu,
        INFOCD@CISCO.NOSC.MIL, INXS-list@iastate.edu, IRTRAD-L@IRLEARN.UCD.IE,
        janes-addiction@ms.uky.edu, Journey-L@WKUVX1.WKU.EDU,
        jpop@ferkel.ucsb.edu, JTull@remus.rutgers.edu,
        JULIEMASSE-liste@WIMSEY.COM, jump-in-the-river@presto.ig.com,
        kansas@aladdin.b11.ingr.com, KLARINET%VCCSCENT@newsgate.dircon.co.uk,
        klf@asylum.sf.ca.us, kosmos@MIT.EDU, KTBULLER@MACC.WISC.EDU,
        kydeno00@ukpr.uky.edu, la-radio@helen.surfcty.com,
        LATAMMUS@ASUVM.INRE.ASU.EDU, Level-42@enterprise.bih.harvard.edu,
        life-talking@ferkel.ucsb.edu, loureed@cvi.hahnemann.edu,
        Love-Hounds@EDDIE.MIT.EDU, lute@cs.dartmouth.edu, MAGIC-L@AMERICAN.EDU,
        manchester@irss.njit.edu, MAX@VM1.MCGILL.CA, MCLIS-L@VM1.MCGILL.CA,
        MED-TECH@VM1.FERRIS.EDU, MICAT-L@nrm.se,
        middle-eastern-music@nic.funet.fi, MILES@nic.surfnet.nl,
        MISTNET@VM.STLAWU.EDU, mkwong@freedom.NMSU.Edu,
        MLA-L@IUBVM.UCS.INDIANA.EDU,
        MPB-L%BRUFPB.BITNET@mailhost.cac.washington.edu, MUG@VM.MARIST.EDU,
        MUS-L@VM.MARIST.EDU, MUSIC-ED@VM1.SPCS.UMN.EDU,
        music-research@prg.ox.ac.uk, Music-Research@prg.ox.ac.uk,
        musicals@world.std.com,
        MUSPRF-L%CMSUVMB.BITNET@mailhost.cac.washington.edu, mutex@stolaf.edu,
        NERaves@bronze.lcs.mit.edu, NetJam@xcf.berkeley.edu,
        Network-Audio-Bits%Maine.BITNET@mailhost.cac.washington.edu,
        new-orleans@mintir.new-orleans.la.us, NMP-L@IUBVM.UCS.INDIANA.EDU,
        NOTMUS-L@UBVM.CC.BUFFALO.EDU, NYSO-L@UBVM.CC.BUFFALO.EDU
In-Reply-To: <752222206.37203766@intermedia.co.uk>
Message-ID: <Pine.3.89.9512281631.A23964-0100000@netcom17>
MIME-Version: 1.0
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Precedence: bulk

I saw your page and it was awesome!...I have a distribution co. that
distributes all Punk, Indie Music, Japanese Pop, & Animation & was
wondering if you could include my address some place on one of your your
pages , or make my www link address available?
If so?  I would be eternally grateful.   thnx...


For your Punk, Indie & Japanese Pop or Animation needs, please contact:
Silver & Gold Indies at:

Krischak / Silver & Gold Indies
2611 Yorba Linda Blvd. #301
Fullerton CA 92631
Fax & Phone - (714) 879-8858

Internet Addresses:  :)
E-mail address = krischak@netcom.com
Thank You

WWW address:
http://turnpike.net/emporium/M/mkrischak/index.html

p.s free zine with any order. (We honor MASTERCARD & VISA & DISCOVER CARD)

                                             krischak@netcom.com


                                             krischak@netcom.com


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From owner-mutex  Thu Jan  4 06:24:04 1996
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From: "Rodolphe Echard" <echard@cournot.u-strasbg.fr>
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Hello,
I'am new here. Sorry for a question the answer of which can appear 
evident.
 What are the differences (in few words) between musictex, musixtex version T.43 (TAUPIN) 
and musixtex version 0.51 (EGLER) ?

Are they competitive or complementary tools  ?

Thank you.
Bye

Rodolphe E.
-----------------------------------------------------------
Rodolphe Echard,                echard@cournot.u-strasbg.fr
       BETA (Bureau d'Economie Theorique et Appliquee)
       Universite Louis Pasteur - Strasbourg 1

<<... il est toujours une heure dans l'histoire ou`
celui qui ose dire que deux et deux font quatre est
puni de mort ...>> Camus, La Peste.

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 "Rodolphe Echard" <echard@cournot.u-strasbg.fr> wrote

>Hello,
>I'am new here. Sorry for a question the answer of which can appear 
>evident.
> What are the differences (in few words) between musictex, musixtex version 
>T.43
>(TAUPIN) 
>and musixtex version 0.51 (EGLER) ?

Either version of musixtex does a better job than musictex of justifying lines 
of music, i.e., adjusting horizontal spacing so as to fill up the line in an 
eye-pleasing way.  Musixtex also does a much better job with ties and slurs.

>Are they competitive or complementary tools  ?

They are not complementary.  Musixtex evolved from musictex and represents an 
improvement upon it, at some cost in operational complexity:  Musixtex requires 
three passes, one through TeX, then an external program called musixflex, then a
second pass through TeX; and the musixtex fonts have 256 characters while 
musictex's only have 128 and work with a wider variety of TeX software.

The Taupin and Egler versions of musixtex are not compatible with each other.  
Sometime after musixtex was begun, Mr. Egler chose to withdraw from the 
development group (including Drs. Taupin and Mitchell) and proceed 
independently.  I have only used the Taupin version, but my sense is that both 
do essentially the same things.

--Don Simons (dsimons@logicon.com)


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From: zrcb0100@nfhsg3.rus.uni-stuttgart.de (Klaus Birken)
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Subject: triplets in context
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hi,

i am trying to get triplets in musixtex and have
some problems with spacing. 
how can i get a two-staff system with triplets in
one staff and eigths in the other?

even more complicated, how about 5 against 7 or
similar polyrhythmic stuff?

thanks in advance,
klaus


-- 
---------------------------------------------------------------------
| Klaus Birken      | RUS, University of Stuttgart                  |
| Allmandring 30    | mail  :  birken@rus.uni-stuttgart.de          |
| D-70550 Stuttgart | voice :  (0049)-(0)-711-685-5812              | 
| Germany           | fax   :  (0049)-(0)-711-6788363               |
|         WWW: http://nfhsg3.rus.uni-stuttgart.de/people/kb         |
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here's a second one:

i musixtexed a piece on 7 full pages, the 8th page contains
the coda. this coda has 8 bars, and 4 of them don't fit in one
line.

so i'd like to do the line breaking like this:

bar1  bar2  bar3
bar4  bar5  bar6
bar7  bar8

with the last line ending raggedright.


musixtex does the formatting as follows:

bar1  bar2  bar3
bar4  bar5  bar6
b a r 7  b a r 8

how can i cut off the last line? how is this problem fixed
by professional typesetters?


bye,
klaus


-- 
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| Klaus Birken      | RUS, University of Stuttgart                  |
| Allmandring 30    | mail  :  birken@rus.uni-stuttgart.de          |
| D-70550 Stuttgart | voice :  (0049)-(0)-711-685-5812              | 
| Germany           | fax   :  (0049)-(0)-711-6788363               |
|         WWW: http://nfhsg3.rus.uni-stuttgart.de/people/kb         |
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zrcb0100@nfhsg3.rus.uni-stuttgart.de (Klaus Birken) wrote:

>i am trying to get triplets in musixtex and have
>some problems with spacing. 
>how can i get a two-staff system with triplets in
>one staff and eigths in the other?
>
>even more complicated, how about 5 against 7 or
>similar polyrhythmic stuff?

Based on a elaboration of a suggestion by Werner Icking, try something like

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
% bar  1
\xbar
\NOtes\multnoteskip{1.21}\ibl1{''C}0\qb1C\tbl1\qb1C&\multnoteskip{0.81}%
\ibu2c0\qb2c\qb2c\tbu2\qb2c\enotes%
\NOTes\ql{''C}\ql C\ql C&\qu c\qu c\qu c\enotes%
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

The precise values \multnoteskip are somewhat a matter of taste, but the ratio 
must be 3:2.  For 5 against 7, the extension should be fairly obvious.  

Incidentally, this example was created from the input sequence

c84 c     c4 c c /
c44x3 c c c4 c c /

without further human intervention, by the soon-to-be-released version 0.94 of 
PMX, my pre-processor for musixtex.  An earlier version (without the triplets) 
is available by ftp at ftp.gmd.de.  The new version doesn't yet do 5-against-7, 
but this inquiry prompts me to try to figure out how to include that possibility
as well.  

--Don Simons


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From owner-mutex  Tue Jan  9 03:24:05 1996
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From: Werner Icking <Werner.Icking@gmd.de>
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> with the last line ending raggedright.
                            ^^^^^^
Inspect the index of musixdoc for the magic word "ragged" and then RTFM :-)

Some time ago, this feature was done on my request. In the meantime
I know that there are other solutions which seem to be a little bit
more specific. I used something like:

\bar% last but one
\Notes\....\en
\bar% last
\Notes\....\en
\setdoubleBAR\bar% end of piece
\notes\multnoteskip{20}\sk\en
\zbar%  fill last line

Instead of "20" use a value which is appropriate for the space the "bar
after the piece" should fill. If e.g. most of your bars consist of four
quarters which are spaced by \NOTes you may use 

\NOTes\multnoteskip{4}\sk\en

> [...]                           how is this problem fixed
> by professional typesetters?

I'm not a professional typesetter.
 Sometimes I solve such problems by breaking a bar into two pieces
 using \zbar. But there should be a good place for such a break.

 I saw a lot of editions which do not really solve the problem but 
 either do  "1 2 3" "4 5 6" " 7 8 " or "1 2 3" " 4 5 " "6 7 8".

With some tricks you can make following solution which I used in
my newest edition of Bach's solo sonatas for vl (which isn't made
publically available up to now). I took this solution because it
copies Bach's handwriting:

|bar 1  bar 2  bar 3|
|bar 4  bar 5  bar 6|
    |bar 7 bar 8|

If you or someone else is interesting in this solution feel free
to ask again (hint: stoppiece; change hsize, leftskip, ...; startpiece; ...)

Tschuess -- Werner

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Subject: \tbsluru
To: mutex@stolaf.edu
Date: Fri, 12 Jan 1996 17:13:31 +0100 (MET)
From: Zdenek Pytela <letty@phil.muni.cz>
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	I am currently using MusiXTeX T.404. As the manual says on the 
page 35, Slur termination, the \ibsluru macro can be terminated as \tbsluru. 
But while TeXing the source, I obtain the message Undefined control sequence.
	As I found in the musixtex.tex file, there is a macro
\tubslur defined. I think there's an inconsistency. Am I right?
The same concerns \tbslurd.

--Zdenek Pytela, <letty@phil.muni.cz>
<a href="http://www.phil.muni.cz/~letty/">


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From: Alan Ng <agng@students.wisc.edu>
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I just tried to set up MusiXTeX from the CTAN archives, and have a question.

I chose the Egler version, and since I don't have a C compiler, I downloaded
the dos051.zip and win051.zip files.  The problem is that those executables
are versions .51 while the TeX macros in the musix050.zip file are version
.50, and running musixflx.exe gives me an error message on that account.

So: where do I get either
1) version .51 macros, or
2) version .50 musixflx.exe for DOS or Windows?

Thanks for any help,
___________________________________________________________________________
agng@students.wisc.edu		  Alan Ng           Madison, Wisconsin, USA
Bitnet:alanng@wiscmac2	      http://polyglot.lss.wisc.edu/german/alan.html


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In-reply-to: Your message of "Sat, 13 Jan 1996 14:45:26 CST."
             <199601132045.OAA57999@audumla.students.wisc.edu> 
Date: Sun, 14 Jan 1996 17:09:39 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Alan Ng writes:

> I just tried to set up MusiXTeX from the CTAN archives, and have a question.
> 
> I chose the Egler version, and since I don't have a C compiler, I downloaded
> the dos051.zip and win051.zip files.  The problem is that those executables
> are versions .51 while the TeX macros in the musix050.zip file are version
> .50, and running musixflx.exe gives me an error message on that account.

CTAN is a network of three archives (and there are a lot of mirrors).
The archive in the USA (ftp.shsu.edu) is largely un-managed at
present; what little work that's done on it is done by Europeans, and
we have rather feeble internet connections across the atlantic.

In particular, mirroring across the atlantic is an operation fraught
with problems, and we frequently fail to notice that a mirror has
failed.

> So: where do I get either
> 1) version .51 macros, or
> 2) version .50 musixflx.exe for DOS or Windows?

Egler's musixtex is mastered here at ftp.tex.ac.uk; I have faked its
re-installation, in the hope that ftp.shsu.edu will make a better stab
at picking it up.  You won't find a .50 musixflx.exe except at user
sites that maintain the software but haven't upgraded yet.

Failing that, you should try transatlantic ftp (either here or to
ftp.dante.de).

Robin Fairbairns

For the CTAN team

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Subject: MusiXTeX for DOS/Win
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> The problem is that those executables
> are versions .51 while the TeX macros in the musix050.zip file are version
> .50, and running musixflx.exe gives me an error message on that account.

> So: where do I get either
> 1) version .51 macros, or

ftp.tex.ac.uk
/tex-archive/macros/musixtex/egler

> 2) version .50 musixflx.exe for DOS or Windows?

Since V0.50 several people were found to do system support. Please contact:

System    Support             Email
-----------------------------------------------------------
Amiga     Stanislav Kneifl    SKNE1334@barbora.ms.mff.cuni.cz
Atari     (Andreas Egler)
NeXTSTEP  Bryan Thompson      bbthomps@access.digex.net (???)
OS2/Warp  Dr. Christof Hesse  ea241@fim.uni-erlangen.de
DOS/Win   Santiago Vila       sanvila@unex.es

The coding of small utilities (converting, optimizing) will be done next
time from Santiago Vila. Wait for next versions.

Andreas

-------------------------------------------
Do NOT send files > 16KB/day to my adress !

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From: "JOHANNES IDSoe" <JOHANID@aos.hisf.no>
Organization: Hogskulen i Sogn og Fjordane
To: mutex@stolaf.edu
Date: Fri, 19 Jan 1996 10:38:32 GMT+0100
Subject: Au pair
Priority: normal
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Sorry for asking this question, but I don't know where else to go.

We have 2 violin playing girls (7 and 10) and are looking
for a violin playing Au Pair.

We live in Western Norway. The Au Pair will have her own flat. The 
payment is the standard salary for Au Pairs to Norway ie: 350 US $ pr 
month. 
This might be of interest for a music-student from Eastern Europe
who wants a year in Norway.

Regards
Johannes Idsoe








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From owner-mutex  Tue Jan 23 17:24:09 1996
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Date: Tue, 23 Jan 96 13:42 EST
From: joel@wam.umd.edu (Joel M. Hoffman)
To: mutex@stolaf.edu
Subject: lyrics and proper eighth notes
Precedence: bulk

I'm trying to typeset a simple melody with lyrics, using MusiXTeX, but
it seems that there's no way to align the text under proper
(connected) eighth notes.  Is this possible?  The example in the docs
(p. 65) shows only disconnected eighths.  What I want is something
like:

                             |
   --------------------------|--------------------
                             |           |
   --------------------------|-----------|--------
           |~~~~~~|          |           |
   --------|------|---------O|-----------|---------
           |      |                      |
   --------|------|---------------------O|---------
           |      |
   -------O|-----O|--------------------------------
   
          The    lyrics     line        up


Surely something this simple must be possible with MusiXTeX, but how?

Thanks for any help!

-Joel
(joel@exc.com)

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From owner-mutex  Wed Jan 24 16:24:08 1996
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Date: Wed, 24 Jan 1996 09:43:08 -0500 (EST)
From: Stephen Harris Fox <shfox@Glue.umd.edu>
X-Sender: shfox@inp.umd.edu
To: mutex@stolaf.edu
cc: shfox@eng.umd.edu
Subject: GET ME OFF OF THIS LIST!
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Hello,

	I have followed the directions for unsubscribing numerous
times and with numerous variations on the possible interpretations
of the directions.  All to no avail.  I feel like a man in a 
Chinese water torture trap.  Drip...Drip...another mutex message...another
mutex message...another mutex message.  If anyone knows how to unsubscribe
from this list then PLEASE LET ME KNOW!

	Thank you.

Stephen Fox
shfox@eng.umd.edu

-------------------------------------------------------------------------------
Stephen Fox					Dept. of Electrical Engineering
Photonics Switching Laboratory			University of Maryland
-------------------------------------------------------------------------------


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From owner-mutex  Sat Jan 27 16:24:05 1996
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From: taupin@lps.u-psud.fr
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Received: by physol.lps.u-psud.fr
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Subject: musixtex T.43
To: mutex@stolaf.edu
Date: Sat, 27 Jan 96 21:34:26 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.43
New version T.43 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Changes:
 - T.43  Big braces extended (new font musixspx) and \xtuplet corrected
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected

Bug pending: Overfull/Underfull hboxes with \leftrepeat & \leftrightrepeat

 
Daniel Taupin


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From owner-mutex  Sun Jan 28 16:24:06 1996
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Date: Mon, 29 Jan 1996 00:57:52 +1030 (CST)
From: Alan Kennington - +61-8-259 6384  <Alan.Kennington@dsto.defence.gov.au>
Message-Id: <199601281427.AAA07895@ssn029.dsto.gov.au>
To: mutex@stolaf.edu
Subject: unsubscribing
Cc: Alan Kennington <alan.kennington@dsto.defence.gov.au>
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Claude Dehais,

        I couldn't send mail to your own e-mail address -- it bounced.
But here's my message out in public....
        Cheers, and good luck,
        Alan Kennington.

---------snip----------snip----------snip----------snippety----------snip-------

For me it was also difficult, but I finally did it twice successfully
(to change to a different e-mail address).

The trick is to put "unsubscribe mutex" in the message body -- not just
"unsubscribe". And send it from the address that you subscribed from.

Cheers,
Alan Kennington.

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From owner-mutex  Wed Jan 31 18:24:05 1996
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From: taupin@lps.u-psud.fr
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Received: by physol.lps.u-psud.fr
	(1.38.193.4/16.2) id AA12431; Wed, 31 Jan 1996 15:25:18 +0100
Subject: MusixTeX T.44 available
To: mutex@stolaf.edu
Date: Wed, 31 Jan 96 15:25:18 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.44
New version T.44 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: musixflx changed: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected

 
Daniel Taupin


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From owner-mutex  Tue Feb  6 17:24:05 1996
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From: taupin@lps.u-psud.fr
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Subject: musictex 5.17
To: mutex@stolaf.edu
Date: Tue, 6 Feb 96 17:24:42 MET
Mailer: Elm [revision: 70.85]
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Subject: MusicTeX version 5.17
New version 5.17 of MusicTeX available at anonymous ftp:
  hprib.lps.u-psud.fr
  directory pub/musictex
and
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)

Changes:
 - 5.17 bug corrected in \tbbbl, \tbbbu, etc.
 - 5.15 truly added \nq and \nh features (standalone stemless quarter
        and half notes)
 -      musicdoc.ps and musicdoc.lj no more in musictex.zip, but
        in musicdoc_ps.zip and musicdoc_lj.zip
 - 5.14 a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex
 - 5.12 a small bug corrected
 - 5.11 doc updated to prepare your moving to MusiXTeX
 - 5.10 comprehensive font system defined in musicsty.tex
 - 5.09 musicsty.tex updated to facilitate titles and headings
 -      musictex.ins file provided to build a MusicTeX format

Daniel Taupin


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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Musixdoc.ps on rsovax.
To: mutex@stolaf.edu
Date: Tue, 6 Feb 1996 16:36:12 -0500 (EST)
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Greetings...

Twice I have requested the document musixdoc.ps from rsovax...
and both times it came back (it seems) with the carriage
returns missing....  Can anyone give any help?
(This is using FTP by Email...)

It was requested through two different servers. The first
server refused to uuencode it, but the text came through (without 
returns), as a one line message of about 656650 bytes length.

Then I requested it again through a second server and it
was delivered uuencoded, but still decodes to a file with no
returns, so I am wondering if the problem is in the
file itself, or possibly in the transfer protocol from rsovax
to the FTP mail server??  I have done the same thing on previous
versions with success so I don't know what to try next.

I would just Latex the document source myself but I lack the
necessary text fonts in our installation to make that work
at all (using VirTex and Latex 2.09).

By the way, I was able to retrieve MusixTex T.44 successfully
and am finding it works very well.

Thanks,
Joel Hunsberger

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From owner-mutex  Wed Feb  7 03:24:04 1996
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Subject: Re: Musixdoc.ps on rsovax.
To: mutex@stolaf.edu
Date: Wed, 7 Feb 1996 10:07:17 +0100 (MET)
From: Zdenek Pytela <letty@phil.muni.cz>
In-Reply-To: <m0tjv3c-0002qYC@sqa1.si.com> from "Joel Hunsberger" at Feb 6, 96 04:36:12 pm
Organization: Masaryk University, Faculty of Arts
Postal-Address: Arna Novaka 1, 660 88 Brno, Czech Republic
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Joel Hunsberger writes:
> Twice I have requested the document musixdoc.ps from rsovax...
> and both times it came back (it seems) with the carriage
> returns missing....  Can anyone give any help?
> (This is using FTP by Email...)
	To retrieve text document from rsovax issue command to change
transfer mode to ascii (common ftp command is ascii) before the beginning 
of the transfer. Another way is to use second source server hprib, where 
binary transfer, i. e. without switching, should (in my opinion) work too.

--Zdenek Pytela, <letty@phil.muni.cz>
<a href="http://www.phil.muni.cz/~letty/">


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From owner-mutex  Wed Feb  7 05:24:05 1996
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Date: Wed, 7 Feb 1996 12:01:53 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199602071101.AA23841@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Musixdoc.ps on rsovax.
X-Sun-Charset: US-ASCII
Precedence: bulk

> From: Zdenek Pytela <letty@phil.muni.cz>
> Date: Wed, 7 Feb 1996 10:07:17 +0100 (MET)

> Joel Hunsberger writes:
> > Twice I have requested the document musixdoc.ps from rsovax...
> > and both times it came back (it seems) with the carriage
> > returns missing....  Can anyone give any help?
> > (This is using FTP by Email...)
> 	To retrieve text document from rsovax issue command to change
> transfer mode to ascii (common ftp command is ascii) before the beginning 
> of the transfer. Another way is to use second source server hprib, where 
> binary transfer, i. e. without switching, should (in my opinion) work too.

It may work, too. Nevertheless it's a good advice _always_ to switch to
ascii-mode for text-files (like *.ps, *.lj, *.txt, *.tex, *.mf, ...) and
to switch to binary mode for binary files (like *.pk, *.tfm, *.zip, *.gz, ...)

If it is impossible for Joel to switch to ascii-mode using FTP-by-Email 
he could instead fetch the same file as  musixdoc_ps.zip  which is smaller
and contains musixdoc.ps.

A third possibility is to convert the text file afterwards on most systems
if a text file has been fetched in binary mode. There are many programmes
which can do the conversion between CR / CR+LF / LF. One possibility is
to use the free ZIP / UNZIP and to pack the file into a ZIP-File with
ZIP and to unpack it using  UNZIP -a 

What I do not understand which problem arises if the lines of a Postscript
file are not terminated in that form which is used on that specific system.
As far as I know a postscript interpreter should interpret CR as well as LF
as well as CR+LF as "white space".

Hope this hilft -- Werner

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From: barry@locus.com (Barry Gold)
Message-Id: <9602071653.AA24940@piano.la.locus.com>
To: mutex@stolaf.edu
Subject: problem installing musixtex
Precedence: bulk

After following the instructions in aa_readme.text, I got the following
results:

% tex adagio 
This is TeX, Version 3.1415 (C version 6.1)
(adagio.tex
! Undefined control sequence.
<argument> \enorme 
                   I. \titremorceau 
\centerline #1->\line {\hss #1
                              \hss }
l.20 \centerline{\enorme I. \titremorceau}
                                          
? X
No pages of output.
Transcript written on adagio.log.

%




% latex musixdoc.tex
This is TeX, Version 3.1415 (C version 6.1)
(musixdoc.tex
LaTeX2e <1994/06/01>
(/usr/local/lib/texmf/tex/latex2e/base/report.cls
Document Class: report 1994/06/02 v1.2s Standard LaTeX document class
(/usr/local/lib/texmf/tex/latex2e/base/size11.clo))

! LaTeX Error: File `multicol.sty' not found.

Type X to quit or <RETURN> to proceed,

%

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To: mutex@stolaf.edu
Subject: MUTEX Mailing List: New Home Needed
Date: Wed, 07 Feb 1996 18:45:08 -0600
From: Craig D Rice <cdr>
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I'm seeking a new home for the MUTEX mailing list.  Any volunteers?
:-)

Thanks,
Craig
--
Craig D. Rice		UNIX Systems Specialist
cdr@stolaf.edu		Academic Computing Center, St. Olaf College
+1 507 646-3631		1510 St. Olaf Avenue
+1 507 646-3096 FAX	Northfield, MN  55057-1097   USA
URL:  http://www.stolaf.edu/people/cdr/

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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: problem installing musixtex 
In-reply-to: Your message of "Wed, 07 Feb 1996 08:53:40 PST."
             <9602071653.AA24940@piano.la.locus.com> 
Date: Thu, 08 Feb 1996 09:03:03 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> After following the instructions in aa_readme.text, I got the following
> results:
> 
> % tex adagio 
> This is TeX, Version 3.1415 (C version 6.1)
> (adagio.tex
> ! Undefined control sequence.

IIRC, adagio.tex needs to be input by some other file.  When I last
looked, it wasn't too difficult to find...

> % latex musixdoc.tex
> This is TeX, Version 3.1415 (C version 6.1)
> (musixdoc.tex
> LaTeX2e <1994/06/01>
> (/usr/local/lib/texmf/tex/latex2e/base/report.cls
> Document Class: report 1994/06/02 v1.2s Standard LaTeX document class
> (/usr/local/lib/texmf/tex/latex2e/base/size11.clo))
> 
> ! LaTeX Error: File `multicol.sty' not found.

multicol is part of the tools bundle that ought to have been installed
with LaTeX.  However, seeing as how your LaTeX installation is _sooo_
old (I run 1995/12/01) one imagines that up-to-dateness and
consistency isn't a strong point of your installation.

The tools bundle is to be found on CTAN at macros/latex/packages/tools,
though I wouldn't be surprised to learn that what's there now doesn't
work with your version of LaTeX, so you (or your system manager) will
need to update that too.

Robin Fairbairns

(General-purpose LaTeX grump)

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Date: Thu, 8 Feb 1996 10:27:42 +0100 (MET)
From: Michel Goossens <Michel.Goossens@cern.ch>
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To: mutex@stolaf.edu
Cc: metafont@ens.fr, omega@ens.fr, mutex@stolaf.edu, 4TeX@nic.surfnet.nl,
        emtex-user@physik.tu-berlin.de, typo-l@irlearn.ucd.ie,
        astex@univ-orleans.fr, ling-tex@ifi.uio.no
Subject: Announcing TUG'96 in Dubna (Russia) July 28-Aug 2 1996
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=====================================================================

                The 17th Annual TeX Users Group Meeting


                polyglot               polytechnic

                polymath    POLY-TeX   polymath

                polytechnic            polyglot


                    July 28-- August 2, 1996

                     in JINR, Dubna, Russia 

              Organized jointly by: TUG, CyrTUG, JINR

                         CALL FOR PAPERS

======================================================================
Dear TeX Friends!

So the time has arrived when TeX, the Polyglot, who has for many years
happily ``spoken'' many different languages written in the Latin
alphabet, extends its knowledge in the field of other alphabets. 
During the Summer of 1996, a visit is planned to Russia where TeX 
will have its first practical session in Cyrillic.

Russia is that large country, with its enormous spaces, inhabited by
those enigmatic Russians, who started the century with a Revolution,
and ended it with ``Perestroyka''.  A country who founded a brilliant
mathematical school, colonized the Cosmos, and conquered the world
with its literature, music, and ballet.

So what awaits the TeX user who plans to attend TUG'96?

At Moscow's international Sheremetevo-2 Airport, conference
participants will be met by a member of the organizing committee and
escorted by bus to Dubna, where from July 28 to August 2, the 17th TUG
conference will take place (see below for more about Dubna). If, for
some reason or another, you envision cold, the taiga, and white bears,
then we can reassure you, Dubna is in the European part of Russia, and
if you want to see the ice on the nordic oceans, you will have to
travel further than you would to reach the subtropics of the Black Sea
shore. Indeed, you will soon find that the pine forest in which the
comfortable town of Dubna is situated will remind you of a park. In
July and August, the weather is mostly warm and sunny, with an average
temperature of 28 degrees Centigrade.  Guests will be housed in a
comfortable hotel on the banks of the Volga river in single or double
rooms (hot water, shower, telephone, and television). The Russian
``cuisine'' is characterized by its abundance, so one can forget about
slimming.

The social program includes a picnic on the picturesque banks of the
Volga, where we will be taken by boat, a bus excursion to Sergiev
Posad (the center of the Russian Orthodox Church, where Andrey
Slephkhin works--- see his article on page 373 of TUGboat 16#4 or the
EuroTeX'95 proceedings page 331), and, on the last day a visit to
Moscow, following which the participants can be dropped of at the
airport to fly home, or at one of the railway stations, if they want
to prolong their visit.

The conference's preliminary program will be announced as soon as we
receive from you, dear readers, proposals for presentations, courses
that you would like to teach or attend, poster sessions, or any
problem(s) or subject(s) that interest you. Please send your
suggestions to the conference electronic address 

TUG96@pds.jinr.ru
=================

The theme of the Conference is: PolyTeX, TeX or the art of
multi-lingual, maths and technical typesetting.


                polyglot               polytechnic

                polymath    POLY-TeX   polymath

                polytechnic            polyglot


===================
PROGRAM COMMITTEE
===================

Evgeniy Vasilievitch Pankratiev                Moscow, Russia
  Email:   pankrat@shade.msu.ru

Michel Goossens                                Geneva, Switzerland
  Email:   goossens@cern.ch 

Mimi Burbank                                   Florida, USA 
  Email:   mimi@scri.fsu.edu


===========
DEADLINES
===========

Submission of abstracts                        February  20 <<<<<<<
                                               
Acceptance signified to authors                February  29 <<<<<<<

Preliminary articles                           March     31 <<<<<<<

Proposals for workshops, demos,
   and  poster sessions                        April     20

Registration and transfer of a 
non-refundable sum of $100  
per person to a Dubna bank                     May       31

Visa supporting information                    June       5

Revised articles                               June      10 <<<<<<<

Start of Conference                            July      28     



======================
ORGANIZING COMMITTEE
======================

Vladimir Vasilievitch Korenkov                Dubna, Russia
  Email:   korenkov@cv.jinr.ru 

Irina Anatolievna Makhovaya                   Moscow, Russia
  Email:   irina@mir.msk.su

Sebastian Rahtz                               Oxford, UK
  Email:   s.rahtz@elsevier.co.uk


======================
PRACTICAL INFORMATION
=======================

----------------
Conference costs
----------------

The Conference Committee foresees a cost in the range 550--600 USD.
This sum includes the complete cost of the conference, namely the
registration fee, lodging (6 nights with six breakfasts, lunches, and
dinners), coffee/tea breaks, social events, and transport from
Sheremetevo Airport to Dubna.  The payment should be made in the
following way: a `non-refundable' sum of $100 per person should be
transferred to a bank account (to be announced) before June 1st.
After receipt of that sum an official invitation, necessary for
obtaining a visa (see below), will be faxed to the participant.  The
rest will be payable in cash upon arrival at the Conference (no credit
cards or cheques can be used in Dubna).  %For participants of
economically weaker countries or for students %we hope to arrange
partial support via sponsors.  We hope to arrange bursary funds for
support of students and those participants who demonstrate need.

-----
Visas
-----

Most of the visitors from outside Russia will need a visa to attend
the Conference. Therefore, for arranging a visa into Russia,
participants should inform the
 
    Mrs. N. Dokalenko, Conference Secretariat
    E-mail nataly@ypr.jinr.dubna.su; 
    Fax 7 095 975 2381 or 7 09621 65 891 

of their and (possibly) the accompanying person(s)'s full name, date
of birth, citizenship, passport number, arrival and departure dates.
The Secretariat will forward by fax the visa support message to the
participants with which they should apply for visas to the nearest
Russian Embassy or Consulate.  Please note that you should apply for a
visa valid for Dubna, Moscow, and Sergiev Posad. (If you plan to visit
other cities in Russia you should obtain the relevant documents and
join them to the visa application, so that the names of all places to
be visited can be entered on the visa form as required.)

--------------
Transportation
--------------

The Organizing Committee will arrange direct transportation by bus
from the Sheremetevo-2 Airport to Dubna (130 km north of Moscow).  The
Secretariat should be informed of the flight number, precise date and
time of arrival (Moscow time) `no later than' four working days before
a participant wishes to be met at the airport.  It is our intention to
have each participant met by a member of Organizing Committee.
Details will be available later.


====================
WELCOME TO DUBNA !
====================

Dubna was founded in 1956 when the Convention establishing the Joint
Institute for Nuclear Research was signed. The town is situated on the
picturesque banks of the Volga river and the Moscow sea 120 km to the
north of Moscow. One can reach Dubna from Moscow within 2 hours going
by car, by bus or by express train. It will take you 1.5 hours to go
to Dubna from the Sheremetevo-2 International Airport.  Waterways
connect Dubna not only to the Russian Volga cities, but also to the
waters of the Black, the Caspian, the Baltic and the White seas.

There is no harmful environmental impact from the industrial plants;
this together with the large tracts of forest in the environs of
Dubna, and the vast water area dotted with small islands, makes the
area quite attractive for tourism and rest.  The Volga embankment is
one of the prettiest parts of the town.  In springtime, the streets of
Dubna are full of the odour of lilacs, the apple trees are pink-white;
in summer, lime trees, maples, birch trees and poplars make the town
seem totally green; in autumn the town is all golden excepting the
evergreen of old pine trees. The town's modern look harmonizes with
the quietness of the surrounding forest. The town was built in the
midst of a forest.  There are separate patches of trees in the town
itself, and the town park is just a part of the forest. It takes just
a few minutes to get to the forest from the shopping centre on foot. A
few minutes' walk and you are outside the city limits!

Small as it is, Dubna is a real metropolis. It is a scientific
metropolis. It is a ``big little city'', as a visiting American
scientist called it many years ago.  Since the foundation of the Joint
Institute for Nuclear Research (JINR), the name of Dubna has
constantly been in the pages of the world's newspapers and journals.
Dubna is one of the world centres for fundamental research in nuclear
physics.  The Joint Institute plays an important role as a coordinator
of investigations of the scientists from 18 JINR member-state
institutes.  Wide international scientific and technical cooperation
is one of the fundamental concepts of the JINR.

Dubna is indeed a town of international friendship. Foreign speech can
be heard everywhere. But the words, no matter in which language they
are pronounced, are clear to everybody: friendly cooperation and
fraternity unite all the physicists and mathematicians living and
working in Dubna into an international scientific community.

On October 3, 1994, Dubna opened its doors to its first university,
``International University of Dubna: Nature, Society and Man''.  The
university is composed of five "cathedra" or faculties, including
socioeconomic sciences, ecology and earth science, computer education,
linguistics, and health and physical education.  Two more faculties---
law and government and technology--- are also being contemplated.

The town has great experience in holding international conferences,
and exchanges of delegations between countries in the sphere of
science, education and culture. Dubna and La Crosse, Wisconsin, USA,
are sister cities. Dubna is famous for its hospitality. Famous
scientists, public figures and statesmen from different countries
visit Dubna. They are always impressed by the gracious welcome they
receive in Dubna and warm generosity which Dubna residents
demonstrate.

=======================
A FEW WORDS ON MOSCOW
=======================

Moscow, the capital of Russia, has a population of some nine million
people. It is a city rich in cultural, architectural and historical
monuments, and, at the same time, boasts a rapidly developing modern
urban community with brand new blocks of flats, long, straight and
broad avenues, parks, gardens, stadiums, schools, cinemas, department
stores, recreation centres, bridges and highways. Though
forward-looking, it cherishes the memory of its past, and its old
sections lend it a special charm.


Michel Goossens / TUG President













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To: mutex@stolaf.edu
CC: metafont@ens.fr, omega@ens.fr, mutex@stolaf.edu, 4TEX@nic.surfnet.nl,
        emtex-user@physik.tu-berlin.de, typo-l@irlearn.ucd.ie,
        astex@univ-orleans.fr, ling-tex@ifi.uio.no
Message-ID: <0099D9FF.A1FB01C0.2@v2.qub.ac.uk>
Subject: Conference announcements
Precedence: bulk

Would it not be an idea to create a separate e-mail list for TeX-related
conference announcements, and thus avoid multiple copies of (long!)
conference announcement for those of us who are subscribed to multiple
TeX lists?

Ciar\'an \'O Duibh\'in.

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From owner-mutex  Thu Feb  8 18:24:05 1996
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From: barry@locus.com (Barry Gold)
Message-Id: <9602082121.AA157365@janus.la.locus.com>
To: mutex@stolaf.edu
Cc: mutex@stolaf.edu, mutex@stolaf.edu
In-Reply-To: <E0tkSFx-0002gm-00@bescot.cl.cam.ac.uk> (message from Robin Fairbairns on Thu, 08 Feb 1996 09:03:03 +0000)
Subject: Re: problem installing musixtex
Reply-To: barry@orchard.la.locus.com
Precedence: bulk

I'll try to download a new version of the LaTeX tools.  What's the
full DNS name of CTAN?

I will probably be wanting to use the LaTeX interface of MusixTeX,
since I want to produce 8.5x11 pages for a magazine, rather than
humongous scores for an orchestra.

Sigh.  All I want to do is produce a simple lead sheet: melody line,
lyrics, chords.  I'm hoping that MusixTeX will make my life easier
once I learn to use it -- it takes me about an hour per _line_ to set
the stuff using a desktop publisher (FrameMaker), and I have to adjust
everything by hand/eye.  I would hope to be able to set a whole song
(6-8 lines) in 1-2 hours.

Thus far the fastest way I've found is just to write the music on
music composition paper with a soft pencil, but that looks really
awful!  There's also various music programs, but they mostly require
MIDI gear that I don't have, or run only on Macs, or cost hundreds of
US$.  They're all overkill -- I don't need multiple instruments or any
of the rest of it -- and most have at best halfhearted support for the
concept of lyrics that go into the same vbox with the notes so they
stay properly aligned when things are adjusted.

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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Underful hboxes - Why should I care?
To: mutex@stolaf.edu
Date: Thu, 8 Feb 1996 12:33:06 -0500 (EST)
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First, I thank several who gave the clue on how to get the musixtex.ps
file from the archives.  It seems that I had gotten so accostomed to
requesting files by a "unix" shell script that I forgot that I had
defaulted the request to BINARY.... The manual is now successfully
retrieved!!  :-))

Now a question.... I have learned to heed the experts... When one 
has Overfull hbox messages on the second pass, a search MUST be made 
for the "space that is being inserted in the .dvi file but is not
reported in the .mx1 file."  It seems that it is always there somewhere,
however exotic the cause may be.

My question involves Underfull hboxes... Does it automatically follow that
these would be caused by "space that is NOT being inserted in the .dvi
file, but IS being reported to the .mx1 file"??

If so, what are some typical mistakes that can cause this?  I am having
a chronic Underfull condition on just two systems (lines) in a five-page
score (I refrain from sending the source to be kind :-).  The underfull
amount is always the same, (say) 6359... and ultimately does not seem to
cause any problem in the output (e.g. no black bars on the right.)

Should I just ignore it, or should I look harder for the cause?

Thanks for the suggestions.

Joel Hunsberger
Email:     hunsberg@sqa1.si.com
System:    SUN IPC, Unix
TeX:       VirTex (C Version 2.991)
Latex:     Version 2.09
MusixTex:  T.44

P.S.  The beauty and (relative) simplicity of MusixTex is drawing me away from
mutex.  (But my old XT is getting more lonely every day.)

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To: mutex@stolaf.edu
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Subject: Re: Conference announcements
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References: <0099D9FF.A1FB01C0.2@v2.qub.ac.uk>
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>>>>> Csg0070@Queens-Belfast.AC.UK (C) writes:

C> Would it not be an idea to create a separate e-mail list for TeX-related
C> conference announcements, and thus avoid multiple copies of (long!)
C> conference announcement for those of us who are subscribed to multiple
C> TeX lists?

How many of these announcements are there? Four per year or so? I don't
think the volume warrants a separate list. I don't think a separate list
will stop people posting announcements on these lists.
-- 
Piet van Oostrum <piet@cs.ruu.nl>
http://www.cs.ruu.nl/~piet

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To: mutex@stolaf.edu
Subject: Re: problem installing musixtex
Cc: mutex@stolaf.edu
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> Sigh.  All I want to do is produce a simple lead sheet: melody line,
> lyrics, chords.  I'm hoping that MusixTeX will make my life easier
> once I learn to use it.

Actually, for this purpose, there exists a preprocessor to MusixTeX
called abc2mtex.  Its syntax is *very* simple, and it produces a
MusixTeX (or MusicTeX) file which could be manually changed if needed.
abc2mtex is written by Chris Walshaw (C.Walshaw@gre.ac.uk).



This is a package designed to notate tunes  stored  in  an  ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves  and should be extendible to many other types of music. It
can also be used as a fast preprocessor for MusicTeX or MusiXTeX.

One of the most important aims of abc notation, and  perhaps  one
that  distinguishes  it  from most, if not all, computer-readable
musical languages is that it can be easily  read  by  humans.  In
other  words,  with  a  little practice, it is possible to play a
tune directly from the abc notation without having to process and
print  it  out.  Even  if  this  isn't of interest, the resulting
clarity of the notation makes it fairly easy to notate tunes.

As an example the tune Paddy O'Rafferty would be written out as

T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|

You can get a copy of the package by anonymous ftp from:
        "http://celtic.stanford.edu/pub/tunes/abc2mtex"
        "ftp.gmd.de/music/musictex/software/abc2mtex"
        "ftp://ftp.shsu.edu/tex-archive/support/abc2mtex"
        "ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"
        "ftp://ftp.dante.de/tex-archive/support/abc2mtex"

or by sending an email request to C.Walshaw@gre.ac.uk.


--                  Peter Vanroose
                    Electrotechnical Department (ESAT/MI2)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be

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Subject: musiXtex T.45
To: mutex@stolaf.edu
Date: Fri, 9 Feb 96 11:13:53 MET
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Subject: MusiXTeX version T.45
New version T.45 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.44  bug corrected in \setsign, \Porrectus corrected in musixgre
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected

 
Daniel Taupin


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Hi,

I have some questions about these commands, and hope someone
can help:

1) Do the brackets only start at the begining of a new bar,
   or can they be made to start part-way through a bar?

2) Is it possible to extend the bracket over several bars, perhaps
   over several lines?

3) Is it possible to place text along with the brackets (I suppose
   \Uptext could be used for this ...

I would like to be able to typeset melodies where some number of bars
from one part are used during the repat of another part. Example:

Two-parted tune, 8 bars per part, each part repeated.
During the repeat of the second part, the last four bars of the
first part are substituted for the last four bars of the second part.

If anyone has examples of MusicTeX files that do this sort of things,
I would appreciate seeing how it is done!

Thanks,

James

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To: mutex@stolaf.edu
From: Alan Ng <agng@students.wisc.edu>
Subject: Taupin/Egler?
Precedence: bulk

Is the Egler species of MusiXTeX "covered" on this list?  After noticing the
frequent mails from Daniel Taupin re: new versions, I wondered if the Egler
species is just less publicized or publicized elsewhere?
___________________________________________________________________________
agng@students.wisc.edu		  Alan Ng           Madison, Wisconsin, USA
Bitnet:alanng@wiscmac2	      http://polyglot.lss.wisc.edu/german/alan.html


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Subject: musixxtex T.46
To: mutex@stolaf.edu
Date: Mon, 12 Feb 96 13:17:08 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.46
New version T.46 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts: one character more for gregorian (if you do not
         update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 - T.45  bug corrected in \setsign, \Porrectus corrected in musixgre
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 - T.405 musixbbm.tex corrected by W. Icking
 - T.404 musixeng.tex corrected
 -       \ca, \cca  corrected

 
Daniel Taupin


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From: nils@math.uio.no
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To: mutex@stolaf.edu
Subject: Visions? Goals? "Finale" and other competitors?
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Oslo, February 12 1996. 
Questions, to the [mutex@stolaf.edu] gang: 
** WHAT ARE THE VISIONS? GOALS? 
** WHAT ABOUT NON-TEX COMPETITORS ("Finale" et al.)? 

Dear mutex compatriots: readers/members/visitors of this list are 
(by definition) following the development of musixtex/musictex/...
By necessity most messages relate to tiny details, 
new technicalities, and so on. This is fine! 
But it is hard for the amateur users among us to see 
the (intended) _Big Future Picture_ here. It is also 
difficult to understand the (intended) differences with 
and advantages over other (commercial) software systems 
in existence, like "Finale" (which I understand is very good
and is used increasingly). 

Many of us would therefore very much appreciate answers 
to the following (partly overlapping) questions: 

1. What are the (long-term and medium-term) visions and goals
   for musixtex/musictex/...? Will they end up as commercially
   available music-typesetting systems, or will they be 
   freely available by ftp and Internet? 
   [One TeX-like scenario is that the software as such can be 
   grabbed on the Net, while books/manuals/... are sold in bookstores.]

2. Approximately when will the system(s) be "finished"?

3. Do synthesizer to typesetting-file links exist?
   Or are such planned? 

4. Are the creators planning to/interested in making the systems
   more known to a wider audience (commercially or not)? How? 

5. There are now several other music-typesetting systems in 
   existence, from low-brow to almost high-brow. I understand 
   "Finale" is good, for example. In what ways are the TeX-based
   systems better? And how much better? 

Best regards, Nils Lid Hjort.
------------------------------------
Professor, Department of Mathematics,
University of Oslo. 

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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Underful hboxes - A follow up.
To: mutex@stolaf.edu
Date: Mon, 12 Feb 1996 09:42:20 -0500 (EST)
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Greetings!

A few days ago I posted a question about Underful hboxes... This is a
followup post.

(First a short aside...)
A Unix Technique to Find lines missing the % at the end...

One suggestion on resolving Underful/Overful hboxes was to look for the
lines that may not have a % at the end, but need one in order to avoid
introducing TeX space.  (I had adopted the convention to require a %
at the end of a line, even if not needed.)

If you have a Unix-based operating system, here is a quick technique to
check yourfile.tex for lines that may need a % at the end:

Use the command:   grep -ve%$ yourfile.tex | grep -ve%

This command works as follows:  The first grep (search for lines containing
a pattern) reports lines that do NOT end with % (-v means negate the search,
-e identifies the beginning of the pattern, %$ means line that end ($) with
a %)  Since the pattern is negated, this reports all lines NOT ending with
a %.  However, since most comment lines are this way, the output is piped
to a second search where it reports only lines NOT containing a %.

In my case, some of the preamble stuff comes through, and (suprise!) one
line deep in the file that could use a %.  However, this was not my problem
area and I still had the underfull hboxes.

Suspecting the \setsign macro??

Note that I am using MusiXTeX version T.44.  By a process of elimination
I found that the element that causes the underfull hboxes is the use of
the \setsign along with \generalsignature in the following context:

I am setting a French Horn solo with Piano Accompaniment.  The key of
the horn is different from the piano score, and I am setting the
horn line in a smaller size than the piano score.

My initialization looks like this....

\def\nbinstruments{2}%
\setsize2{\smallvalue}%
\setstaffs1{2}\relax%
\setclef1{\bass}%
\interinstrument=12pt%
\generalsignature{1}\setsign1{0}%  <-- Note this for the following comments
\parindent .7in
\generalmeter{\meterfrac{4}{4}}%
%\setname1{Piano}\setname2{Horn}%  <<-- Didn't work, don't know why?
\def\instrumenti{Piano}%  but this works...(I can live with that)
\def\instrumentii{Horn in F}%
\sepbarrules%
\elemskip=12.0pt%
\startpiece%

In the middle of the first page, I execute a key change...

\generalsignature{4}\setsign1{3}%
\setdoublebar\changecontext% bar no 10

This is where the underfull hboxes are then reported.  If I change the order
(i.e. what signature change gets defined first) to be:

\generalsignature{3}\setsign2{4}%... I get overfull hboxes.

I therefore suspect that versions up to T.44 have a bug regarding the
reporting of space to the MX1 file when there is a different dimension
for the sign pattern set by the \generalsignature and the \setsign
macros occuring at the same point in the score.

When I temporarily cause the \setsign to have the same dimensions as
the \generalsignature (i.e. \generalsignature{4}\setsign1{4}) then
the problem goes away...  no more underfull/overfull hboxes!

I noted that version T.45 corrects a "bug in the \setsign"... Is this
the same bug?

As always... I am grateful to have MusiXTex at all, and as long as I
can force it to cause underful \hboxes and not overfull, I can live
with it.  Thanks again for all the help.

Joel Hunsberger
hunsberg@sqa1.si.com


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From: "SIMONS, DON" <dsimons@logicon.com>
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Subject: Re: Visions? Goals? "Finale" and other competitors?
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Nils Lid Hjort.nils wrote

>...
>1. What are the (long-term and medium-term) visions and goals
>   for musixtex/musictex/...? Will they end up as commercially
>   available music-typesetting systems, or will they be 
>   freely available by ftp and Internet? 
>   [One TeX-like scenario is that the software as such can be 
>   grabbed on the Net, while books/manuals/... are sold in bookstores.]

It just happens that I raised (and answered) this very question this very 
morning with a colleague of mine.  It is of some interest to me, since I have 
been working for several years on a preprocessor.  I think it will NEVER be 
comercially viable, no matter how fancy a preprocessor I or anyone else can 
write.  The reason is that under it all is TeX, which is so incredibly difficult
to install, manage, and understand, that its use will always be limited to 
TeXies like us.  One could imagine schemes that automate the installation on 
various platforms, but as soon as an innocent user gets an error message about a
missing font, he's completely out of luck.  

>
>3. Do synthesizer to typesetting-file links exist?
>   Or are such planned? 
>

There's something out there called midi2tex. 

>5. There are now several other music-typesetting systems in 
>   existence, from low-brow to almost high-brow. I understand 
>   "Finale" is good, for example. In what ways are the TeX-based
>   systems better? And how much better? 

Finale was specifically mentioned by my colleague this morning.  He said the 
output he has seen from it is very bad compared to MusiXTeX, and specifically 
mentioned jagged slurs.  I haven't done much comparison myself.  I've seen some 
output that I know came from "Score"; my recollection is that it was comparable 
with TeX.  I've seen lots of other obviously computer-generated stuff, but by 
programs unknown, none of which looked even close to TeX's output quality. 

--Don Simons (dsimons@logicon.com)

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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: Underful hboxes - A follow up.
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> From: hunsberg@sqa1.si.com (Joel Hunsberger)
> Date: Mon, 12 Feb 1996 09:42:20 -0500 (EST)

> Suspecting the \setsign macro?? [...]
> 
> In the middle of the first page, I execute a key change...
> 
> \generalsignature{4}\setsign1{3}% [...]
> 
> This is where the underfull hboxes are then reported.  If I change the order
> (i.e. what signature change gets defined first) to be:
> 
> \generalsignature{3}\setsign2{4}%... I get overfull hboxes. [...]
> 
> I noted that version T.45 corrects a "bug in the \setsign"... Is this
> the same bug?

I assume yes. Some days ago I analyzed that changing to "more" accidentals
with \setsign produced overful/underful hboxes, whilst doing the same
with \generalsignature made the error disappear. I reported the error to
Daniel Taupin who fixed the bug in Version T.45. As far as I understood
there was an "optimization" problem: a neccessary loop was missing in
\setsign-processing.

I'm sorry that I didn't notice that in my first (private) reply to you; but 
there was no source, no indication ... in your first mail. On the other
hand I assume that you and others will benefit e.g. from your "grep-grep" or
from hints to find those o/u-hboxes e.g. by binary search.

Werner

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To: mutex@stolaf.edu
cc: mutex@stolaf.edu
Subject: Re: Taupin/Egler? 
In-reply-to: Your message of "Fri, 09 Feb 1996 19:50:07 CST."
             <199602100150.TAA89679@audumla.students.wisc.edu> 
Date: Tue, 13 Feb 1996 17:13:22 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> Is the Egler species of MusiXTeX "covered" on this list?  After noticing the
> frequent mails from Daniel Taupin re: new versions, I wondered if the Egler
> species is just less publicized or publicized elsewhere?

Andreas Egler has rather unsatisfactory net access, and only
occasionally gets the chance to submit new versions (he sends them to
me, and I install them here at ftp.tex.ac.uk).  IIRC, the most recent
new versions got announced here as well as on CTAN-Ann; I think by
Andreas himself.

This list is supposed to cover any music-related TeX software (we even
get the occasional posts about muTeX, though most consider that pretty
useless by comparison with Daniel's efforts and their descendents).

Robin Fairbairns

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cc: mutex@stolaf.edu
Subject: Re: Taupin/Egler? 
In-reply-to: Your message of "Fri, 09 Feb 1996 19:50:07 CST."
             <199602100150.TAA89679@audumla.students.wisc.edu> 
Date: Tue, 13 Feb 1996 17:13:22 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> Is the Egler species of MusiXTeX "covered" on this list?  After noticing the
> frequent mails from Daniel Taupin re: new versions, I wondered if the Egler
> species is just less publicized or publicized elsewhere?

Andreas Egler has rather unsatisfactory net access, and only
occasionally gets the chance to submit new versions (he sends them to
me, and I install them here at ftp.tex.ac.uk).  IIRC, the most recent
new versions got announced here as well as on CTAN-Ann; I think by
Andreas himself.

This list is supposed to cover any music-related TeX software (we even
get the occasional posts about muTeX, though most consider that pretty
useless by comparison with Daniel's efforts and their descendents).

Robin Fairbairns

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From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@stolaf.edu
Subject: Underful hboxes - Why should I care?
Message-ID: <199602131937.p20842@wob.maus.de>
Date: Tue, 13 Feb 96 19:37:00 +0200
Reply-To: Andreas_Egler@wob.maus.de (Andreas Egler)
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> Now a question.... I have learned to heed the experts...

Oh. People like you are not very numerous.

> When one
> has Overfull hbox messages on the second pass, a search MUST be made
> for the "space that is being inserted in the .dvi file but is not
> reported in the .mx1 file."  It seems that it is always there somewhere,
> however exotic the cause may be.

Once I have coded a C-tool named caution, which tries to help in such cases
inserting (more or less) helping hints into your source. If there is a
common interest, it will be distributed with next versions.

> My question involves Underfull hboxes... Does it automatically follow that
> these would be caused by "space that is NOT being inserted in the .dvi
> file, but IS being reported to the .mx1 file"??

No. There are terrific much possibilities for o/u-hboxes. Unrecorded spaces
are the main reason for them. Unrecorded text is another possibility.
Or another way is to use 'hard'-spaces in a 'soft'-environment.
E.g. if you code something like this:

\startpiece
\afterruleskip=20pt%
\NOtes\qa c\en
\endpiece

or this:

\startpiece
\noteskip=20pt%
\NOtes\qa c\en
\endpiece

The whole bunch is only able to work correct, if all spacings are recorded
in the correct way. All spaces inside a bar are considered to be 'soft',
means they are stretch- or shrinkable. All exception must be indicated to
musixflx. 'Hard' spaces are caused by clefs, signatures, bar rules,...

> If so, what are some typical mistakes that can cause this?

s.o.
Another possibility are signchanges. You must always use changing commands
(like \changesignature, changecontext,...), which will update the current
signature width.

> I am having
> a chronic Underfull condition on just two systems (lines) in a five-page
> score (I refrain from sending the source to be kind :-).  The underfull
> amount is always the same, (say) 6359... and ultimately does not seem to
> cause any problem in the output (e.g. no black bars on the right.)

Black bars are only shown on o-hboxes. If you get an u-hbox, you will see
a (more or less) big gap behind the signature (in front of line).

> Should I just ignore it, or should I look harder for the cause?

Look for it. BTW: You can easily 'test' your input 'straining' the parameters
\mulooseness or \sectionlines (see doc). E.g. adjust them to get the double
or half number of lines. If you get no warning, you can be sure that it is
clean.

> P.S.  The beauty and (relative) simplicity

We still work depending this topic. The fight goes on. Generally it is
recommended to use precompiler.

> of MusixTex is drawing me away from
> mutex.  (But my old XT is getting more lonely every day.)

Andreas

----------------------------------------
Do NOT send files > 16KB per DAY to me !

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From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@stolaf.edu
Subject: Taupin/Egler?
Message-ID: <199602131939.p20843@wob.maus.de>
Date: Tue, 13 Feb 96 19:39:00 +0200
Reply-To: Andreas_Egler@wob.maus.de (Andreas Egler)
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> Is the Egler species of MusiXTeX "covered" on this list?

a) Not every new version is announced.
b) There will be no new version distributed for _one_ (adapted) change.

Here comes the current list of V0.52, need still some time to get ready,
PS-part (coded by Stanislav Kneifl, allows ALL kind of slurs and a full
control on shape) is written and some enhancements ('real' beam slurs, more
crescendi signs) still will be added:

Version 0.52
- Attention!!! mx* fonts are changed. Delete all dvi's. Generate new format.
- renamed: (use V051_052)
           [...]
- changed: \zmidstaff \lmidstaff \cmidstaff ->
           \zmidtext \lmidtext \cmidtext (they must be called in upper staff!)
           (corrected by RM)
           \icresc \tcresc \tdecresc -> \icres \idecres \tcres
- introduced: \finger \fingerfont \fingerchange \imidcres \imiddecres,
           \centerHrest (musixlit),
           \stemubow \stemvbow \uppercna \uppercfl \uppercsh (musixext),
           \ustroke \dstroke \guitarstrings \reversestrings (musixtab)
           mxline.mf
- fixed bug: musixadd.tex, musixmad.tex
             'manual' \leftrepeat behind linebreaks (depending \barno)
- moved: \zmaxima, \zlonga, \zbreve to musixlit.tex
- added: \NOTEsp, \NOTES
         (if 1/32 occur, use \notes for them, \Notes for 1/16, and so on and
          add \scalenoteskip\smallvalue immediately behind \startpiece)

> After noticing the
> frequent mails from Daniel Taupin re: new versions, I wondered if the Egler
> species is just less publicized or publicized elsewhere?

Craig and me prefer another solution. Obviously there are no volunteers.

Andreas

----------------------------------------
Do NOT send files > 16KB per DAY to me !

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From: taupin@lps.u-psud.fr
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Subject: musixtex T.48 available
To: mutex@stolaf.edu
Date: Fri, 23 Feb 96 13:22:20 MET
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Subject: MusiXTeX version T.48
New version T.48 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.48  \Ioctfin[up][down] to have several simultaneaous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quisma and \porrectusflexus added in musixgre.tex
 - T.45  bug corrected in \setsign, \Porrectus corrected in musixgre
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 - T.42  \ca \Setvolta bugs corrected. Manual musixdoc.* enhanced
 - T.41  \raisevolta and \nolinesmessages features added
 
Daniel Taupin


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From: Peter Wright <pjwright@tartarus.uwa.edu.au>
Message-Id: <199602231454.WAA07073@tartarus.uwa.edu.au>
Subject: small question
To: mutex@stolaf.edu
Date: Fri, 23 Feb 1996 22:54:09 +0800 (WST)
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Hi to all out there... I always suspected that once I started
using MusiXTeX seriously I would have to call for help soon.
This isn't really urgent, I just suspect I've missed 
something very fundamental. 

Here's the situation, boiled down... say I have two staffs,
with a treble clef and a bass clef (just for the sake of 
distinguishing). On the bass staff I want two crotchets (quarter 
notes). On the treble staff I want a dotted crotchet and a quaver
(eighth note). My question is: how do you get the spacing right?

Currently I do it like this:

\NOtes\qu{J}&\qup{g}\en
\Notes\qu{J}&\sk\cu{g}\en\bar
             ^^^
so I'm using the skip to add space after the dotted crotchet. 
This spacing, although tolerable, does not look right - however,
I can't work out how else to do it. There should be some 
way to use \NOtes for the first note in the bass staff and
then \NOtesp for the first note in the treble... but how? 

My apologies if this is an incredibly stupid question. :)
Thanks for any help,


Pete.


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From: barry@locus.com (Barry Gold)
Message-Id: <9602232004.AA39404@piano.la.locus.com>
To: mutex@stolaf.edu
Subject: Problem with mutex
Precedence: bulk

I tried to use MusiXTeX to set a simple song, but got a whole lot of
    Overfull \hbox
messages.

Here are a few sample messages:
    tex candy 
    This is TeX, Version 3.1415 (C version 6.1)
    (candy.tex (musixtex.tex
    MusiXTeX(c) T.44 <26 January 1996>
    ) (musixpoi.tex
    MusiXPOInted shorties 0.36 <1 March 1995>
    )
    Overfull \hbox (1.44447pt too wide) detected at line 20
    |\tenrm How |
    bar 1
    Overfull \hbox (0.33339pt too wide) detected at line 31
    |\tenrm that |
    bar 2
    Overfull \hbox (1.44449pt too wide) detected at line 37
    |\tenrm met. |
    bar 3



And here is the beginning of the file.

\input musixtex%
\input musixpoi%
% \input musixsty%
% uncomment next line if smaller music is desired
% \smallmusicsize
% \instrumentnumber{1}%
\generalmeter{\meterfrac44}%
%
%
\startmuflex%
\startpiece%
% metronome
\metron{\qup}{72}%
% room for lyrics
\staffbotmarg 5 \Interligne%
%
% start the song, commented measure numbers
%
%
\Notes\hsong{How}\cu e\en\bar%
%
\Notes \hsong{well}\cu h\en%
\Notes \hsong{I}\cu h\en%
\Notes \hsong{can}\cu l\en%
% beam
\Ibu0jk1%
\Notes \hsong{re-}\ql j\en%
\Notes \hsong{call}\tqb 0k\en%
\Notes \hsong{the}\cl j\en%
\Notes \hsong{day}\clp i\en%
\Notes \hsong{that}\ccl i\en\bar%
%
\Notes \hsong{she}\ccu i\en%
\Notes \hsong{and}\cup h\en%
\Notes \hsong{I}\cup{^g}\en%
\Notes \hsong{first}\ccup i\en%
\Notes \hsong{met.}\qup a\en%
\Notes \hsong{The}\cl l\en\bar%
%

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Date: Fri, 23 Feb 96 18:34:59 PST
From: "Don Simons" <dsimons@logicon.com>
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To: mutex@stolaf.edu
Subject: Re: small question
content-length: 3119
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 Peter Wright <pjwright@tartarus.uwa.edu.au> wrote

...
>Here's the situation, boiled down... say I have two staffs,
>with a treble clef and a bass clef (just for the sake of 
>distinguishing). On the bass staff I want two crotchets (quarter 
>notes). On the treble staff I want a dotted crotchet and a quaver
>(eighth note). My question is: how do you get the spacing right?
>
>Currently I do it like this:
>
>\NOtes\qu{J}&\qup{g}\en
>\Notes\qu{J}&\sk\cu{g}\en\bar
>             ^^^
>so I'm using the skip to add space after the dotted crotchet. 
>This spacing, although tolerable, does not look right - however,
>I can't work out how else to do it. There should be some 
>way to use \NOtes for the first note in the bass staff and
>then \NOtesp for the first note in the treble... but how? 

First of all, the spacing looks fine to me, and it's exactly what my 
preprocessor PMX would give.  Of course, this is a somewhat a matter of taste.  
But the spacing you want only gives the dotted crochet 13% more space than the 
crochet (NOtes => 4\elemskip, NOtesp => 4.5\elemskip).  For my taste that's not 
enough difference.  But if that's really what you want, my first guess would 
have been 

\NOtes\qu J\qu J\off{-2\noteskip}\en%
\NOtesp&\qup g\en\Notes&\cu g\en%

The \off ought to reset the position back to the start of the bar.  But for some
reason it doesn't work; musixtex won't seem to let you backspace that far.  
Maybe someone else can explain why not (Werner, are you there?).

The following does seem to work:

\NOtes\qu J\qu J&\qup g\off{.5\elemskip}\cu g\off{-\elemskip}\en%

The second \off gives the crochet the normal space (3\elemskip).

Another way:

\NOtes\qu J&\qup g\en%
\vnotes.5\elemskip\qu J\en%
\Notes&\cu g\en%

Here, \vnotes defines a custom spacing for the notes group with the 2nd crochet.

--Don Simons (dsimons@logicon.com)

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From: Peter Wright <pjwright@tartarus.uwa.edu.au>
Message-Id: <199602231454.WAA07073@tartarus.uwa.edu.au>
Subject: small question
To: mutex@stolaf.edu
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From owner-mutex  Sat Feb 24 05:46:06 1996
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Subject: musixtex T.49
To: mutex@stolaf.edu
Date: Fri, 23 Feb 96 20:22:36 MET
Mailer: Elm [revision: 70.85]
Precedence: bulk

Subject: MusiXTeX version T.49
New version T.49 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quisma and \porrectusflexus added in musixgre.tex
 - T.45  bug corrected in \setsign, \Porrectus corrected in musixgre
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 
Daniel Taupin


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From owner-mutex  Mon Feb 26 05:46:04 1996
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Date: Mon, 26 Feb 1996 11:53:09 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199602261053.AA02049@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: small question
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> From: Peter Wright <pjwright@tartarus.uwa.edu.au>
> Date: Fri, 23 Feb 1996 22:54:09 +0800 (WST)

> \NOtes\qu{J}&\qup{g}\en
> \Notes\qu{J}&\sk\cu{g}\en\bar
>              ^^^
> so I'm using the skip to add space after the dotted crotchet. 
> This spacing, although tolerable, does not look right - however, [...]

I agree with Don's answer, that it looks acceptable.
What is it what you would like as "right"? This?

\instrumentnumber2
\startextract
\NOtesp\multnoteskip{.67}\qu c\zqu c&\qup c\en
\Notes&\cu c\en
\NOtesp\qup c&\multnoteskip{.67}\qu c\zqu c\en
\Notes\cu c\en
\bye

Hope this hilft -- Werner

PS: my first attempt was to put {} around "\mult ..."; but it seems not
    to neccessary. Instead of .67 you may use whatever you like depending
    on the spacing you selected.

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From owner-mutex  Mon Feb 26 18:46:07 1996
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Date: Mon, 26 Feb 1996 15:05:52 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199602261405.AA02098@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Problem with mutex
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> I tried to use MusiXTeX to set a simple song, but got a whole lot of
>     Overfull \hbox
> messages.

As far as I can see these message are from phase 1. Please follow
the instructions in section 1.3 "Three pass system" of the docs.

> And here is the beginning of the file.
> 
> [...]
> % metronome
> \metron{\qup}{72}%

I'm not sure whether this usage is ok. I expected it within \notes...\en

> % beam
> \Ibu0jk1%

... to be used within \notes...\en

RTfineM and esp. have a look into it's source    -- Werner

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Date: Mon, 26 Feb 1996 15:58:54 -0800
From: barry@locus.com (Barry Gold)
Message-Id: <9602262358.AA49258@piano.la.locus.com>
To: mutex@stolaf.edu
Subject: Still have overflow hboxes
Precedence: bulk

This is the output of pass 3, after running musixflx on the pass 1
output:

    This is TeX, Version 3.1415 (C version 6.1)
    (candy.tex (musixtex.tex
    MusiXTeX(c) T.44 <26 January 1996>
    ) (musixpoi.tex
    MusiXPOInted shorties 0.36 <1 March 1995>
    ) (candy.mx2) < 1>
    Overfull \hbox (2.99858pt too wide) detected at line 20
    |\tenrm How |
    bar 1
    Overfull \hbox (0.49857pt too wide) detected at line 22
    |\tenrm well |

    Overfull \hbox (1.8875pt too wide) detected at line 29
    |\tenrm that |
    bar 2
    Overfull \hbox (0.8597pt too wide) detected at line 34
    |\tenrm first |

    Overfull \hbox (2.9986pt too wide) detected at line 35
    |\tenrm met. |

Here's the shell script:
    #! /bin/sh

    rm candy.mx* > /dev/null 2>&1
    tex candy > candy.1
    musixflx candy
    tex candy > candy.2

Here's some of the input.  Note that I have squeezed out every
possible space and ended every line with a %, even those lines that
already end with a control word.  I have tried setting \mulooseness=1
and uncommenting the \smallmusicsize control word, but that just moves
the problem around a little.

\input musixtex%
\input musixpoi%
% \input musixsty%
% uncomment next line if smaller music is desired
% \smallmusicsize%
\instrumentnumber{1}%
\generalmeter{\meterfrac44}%
%
%
\startmuflex%
\startpiece%
% metronome
\metron{\qup}{72}%
% room for lyrics
\staffbotmarg5\Interligne%
%
% start the song, commented measure numbers
%
%
\Notes\hsong{How}\cu e\en\bar%
%
\Notes\hsong{well}\cu h\en%
\Notes\hsong{I}\cu h\en%
\Notes\hsong{can}\cu l\en%
\Notes\hsong{re-}\ql j\Ibu0jk1\en%
\Notes\hsong{call}\tqb 0k\en%
\Notes\hsong{the}\cl j\en%
\Notes\hsong{day}\clp i\en%
\Notes\hsong{that}\ccl i\en\bar%
%
\Notes\hsong{she}\ccu i\en%
\Notes\hsong{and}\cup h\en%
\Notes\hsong{I}\cup{^g}\en%
\Notes\hsong{first}\ccup i\en%
\Notes\hsong{met.}\qup a\en%
\Notes\hsong{The}\cl l\en\bar%

...

\bar%
\Endpiece%
\end%

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From owner-mutex  Tue Feb 27 17:52:10 1996
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Subject: MusiXTeX T.491 available
To: mutex@stolaf.edu
Date: Tue, 27 Feb 96 16:28:35 MET
Cc: mutex@stolaf.edu (mutex@stolaf.edu)
In-Reply-To: <199602271530.AA02453@sunick.gmd.de>; from "Werner Icking" at Feb 27, 96 4:30 pm
Mailer: Elm [revision: 70.85]
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Subject: MusiXTeX version T.491
New version T.49A of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.491 bug in \ppp...\fff and manual corrected.
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quisma and \porrectusflexus added in musixgre.tex
 - T.45  bug corrected in \setsign, \Porrectus corrected in musixgre
 - T.44  serious bug corrected in \left[right]repeat
 - T.43  \xtuplet corrected, musixspx new brace font
 
Daniel Taupin


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From owner-mutex  Fri Mar  1 20:54:08 1996
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Date: Fri, 01 Mar 96 09:26:18 PST
From: "Don Simons" <dsimons@logicon.com>
Message-Id: <9602018257.AA825701219@cclink.logicon.com>
To: mutex@stolaf.edu
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Subject: PMX version 0.94, a preprocessor for MusiXTeX
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     I have just uploaded an updated version (0.94) of my MusiXTeX 
pre-processor PMX to Werner Icking's ftp server, which can be reached 
over the WWW at ftp://ftp.gmd.de/music/ or by anonymous ftp at 
ftp.gmd.de.  The files are in directory music/musixtex/software/pmx.  
DOS users need only download pmx0942.zip, which contains all the other 
files in the above directory plus DOS executables.  The files should 
eventually propagate to the CTAN archives as well.  

     PMX can help you typeset a musical score if (a) you have MusiXTeX 
version 0.396T or later installed, (b) you are running DOS or you have 
a FORTRAN compiler for your platform, (c) your score has from one to 
five staves (or voices) per system, with a single line of music per 
staff.  The input language for PMX is much simpler than MusiXTeX.  
Also, PMX can save a LOT of time by doing ALL the work involved in 
setting up notes/enotes groupings, selecting groups of notes to be 
beamed, defining beam heights and slopes, inserting extra spaces where 
needed to make room for accidentals, justifying lines, and spreading 
the entire piece evenly over a specified number of systems.  

The changes since version 0.92 are:

1.   Change meter without printing time signature

2.   Optional automatic computation of total number of systems, 
       based on specified average number of bars per system

3.   Vertical spacing improved for partial pages

4.   Dotted rests

5.   Xtuplets

6.   Two simultaneous slurs permitted in a voice.

7.   One slur can begin on same note where another ends.

8.   User-specified grouping of notes under beams (i.e., defaults 
       can easily be over-ridden)

9.   Job-wide .mod file permitted, with any legitimate TeX commands.

10.  Beam angles reduced, to conform with standard esthetics.

11.  Note names in output .tex file use only a-g and ' or ` 
       (except A-G in bass clef)

12.  Many small bugs fixed.


--Don Simons (dsimons@logicon.com)


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From owner-mutex@stolaf.edu Wed Mar  6 02:55:59 1996
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From: barry@locus.com (Barry Gold)
Message-Id: <9603060141.AA69602@janus.la.locus.com>
To: mutex@stolaf.edu
Subject: Formatting questions using MusiXTeX
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Status: RO

Thanks to a whole lot of help from Werner and Daniel, I was able to
set my first attempt.  I still have to go back to the TeXbook and
figure out how to put a page header on it:

Xenofilkia #46						page xxx

but I expect that to be relatively simple.

I would also like to play around with the format a little.

1. I need to add guitar chord names.  I don't need those huge chord
tablatures provide by musixgui.tex, just the names -- in effect a
second, rather sparse, line of lyrics but _above_ the staff rather
than below it.

2. The staves are 7.5in long.  I want to compress them to 7in.  I
tried
    \hoffset=.5in\voffset=.5in%
    \hsize=7in%
but there was no change in the output.

3. I tried to get more vertical space between lines by
    \setinterinstrument 1{.25in}%
but that also had no effect.  The only thing that seems to affect
things is \staffbotmarg, which puts more space between the staff and
the lyrics but doesn't give me more room between the lyrics and the
next staff.

4. I think I would prefer to center the lyrics under the notes
but when I tried using \csong the first word (in a partial
measure) ran underneath the time signature, and the first word of each
bar is too close to the bar line for my taste.

5. When I set a multi-syllable word under two notes (e.g. re-call in
the first full bar), the hyphen is tightly attached to the first
syllable.  This looks ugly to me, and I'd like to get a little space
in there.  What I'd really like is to center the hyphen between the
syllables using equal amounts of glue.

6. I like the metronome indication _above_ the staff, in the same
general area as the chord designators.  The
    \znotes\zcharnote{13}{\metron{\tinynotesize\qup}{72}}\en
line that I commented out put the metronome indication at the same
vertical position as the lyrics.

Here's the beginning of the piece, as it now stands:

--------------------------- cut here --------------------------- 
\hoffset=.5in\voffset=.5in%
\hsize=7in%
\input musixtex%
\input musixpoi%
% \input musixsty%
\instrumentnumber{1}%
\generalmeter{\meterfrac44}%
%
%
\startmuflex%
\startpiece%
\nobarnumbers
%\mulooseness=5%
\mulooseness=2%
% metronome
%\znotes\zcharnote{13}{\metron{\tinynotesize\qup}{72}}\en
%\metron{\qu}{72}
% room for lyrics
\staffbotmarg 5 \Interligne%
\setinterinstrument 1{.25in}%
%
% start the song
%
%
\NOtes\hsong{How}\cu e\en\bar
%
\NOtes\hsong{well}\cu h\en
\NOtes\hsong{I}\cu h\en
\NOtes\hsong{can}\cl l\en
\NOtes\Ibl0jk1\hsong{re-}\qb0j\en
\NOtes\hsong{call}\tqb 0k\en
\NOtes\hsong{the}\cl j\en
\NOtes\hsong{day}\cl i\en
\NOtes\hsong{that}\cl i\en\bar

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From owner-mutex@stolaf.edu Wed Mar  6 10:58:54 1996
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Date: Wed, 6 Mar 1996 10:44:00 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603060944.AA04894@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: Formatting questions using MusiXTeX
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> Thanks to a whole lot of help from Werner and Daniel, I was able to
> set my first attempt.  I still have to go back to the TeXbook and
> figure out how to put a page header on it:
> 
> Xenofilkia #46						page xxx
> [...]

Right you are - you have to go back to the TeXbook. When I was looking
for a footline I found something like

\footline={\copyright 1996, Werner Icking\hfill\folio\hfill Non-commercial
   copying welcome}
 
> 1. I need to add guitar chord names.  I don't need those huge chord
> tablatures provide by musixgui.tex, just the names -- in effect a
> second, rather sparse, line of lyrics but _above_ the staff rather
> than below it.

There's \zcharnote, \utext, \Utext, ... if I remember right.
 
> 2. The staves are 7.5in long.  I want to compress them to 7in.  I
> tried
>     \hoffset=.5in\voffset=.5in%
>     \hsize=7in%
> but there was no change in the output.

This should work if you use it _after_ \input musixtex which defines an
extra big page frame - if I remem...

I prefer: \advance\hoffset0.5in\....\advance\hsize -1in
 
> 3. I tried to get more vertical space between lines by
>     \setinterinstrument 1{.25in}%
> but that also had no effect.  The only thing that seems to affect
> things is \staffbotmarg, which puts more space between the staff and
> the lyrics but doesn't give me more room between the lyrics and the
> next staff.

interinstrument defines the space between *instruments*; as far as I
can see \hsong moves together with \staffbotmarg if there is only one
instrument. Did you try \stafftopmarg?
 
> 4. I think I would prefer to center the lyrics under the notes
> but when I tried using \csong the first word (in a partial
> measure) ran underneath the time signature, and the first word of each
> bar is too close to the bar line for my taste.

Have a look at \afterruleskip. I don't use \..song but would expect
that you could use \hsong for the first word in a bar and \csong
for the remaining words (may be with some single corrections for the
final version :-()
 
> 5. When I set a multi-syllable word under two notes (e.g. re-call in
> the first full bar), the hyphen is tightly attached to the first [...]

Maybe you are right: "I still have to go back to the TeXbook ..."
 
> 6. I like the metronome indication _above_ the staff, in the same
> general area as the chord designators.  The
>     \znotes\zcharnote{13}{\metron{\tinynotesize\qup}{72}}\en
> line that I commented out put the metronome indication at the same
> vertical position as the lyrics.

Move it to the left or right with help of \lcharnote, \lrcharnote, ...
or using TeX-basics like "~~~", \hbox, ...; move it up and down by
using something else than "13".

Werner

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From owner-mutex@stolaf.edu Sat Mar  9 01:11:02 1996
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From: Dimitris Dranidis <dranidis@informatik.uni-muenchen.de>
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Status: RO

Hi,

I've recently started using MusiXTeX, and I noticed 

that in the distribution there is only a DOS-exe
and C-source for UNIX for the musixflx program.
Has someone ported this program for the Mac?  If not,
what is better?  Stay to MusicTeX, or use MusiXTeX
even without musixflx?

regards,

dimitris

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From majord@mail2.gmd.de Mon Mar 11 09:51:57 1996
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Date: Mon, 11 Mar 1996 10:51:57 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603110951.AA06185@sunick.gmd.de>
To: mutex@stolaf.edu, mutex@gmd.de
Subject: Re: MUTEX Mailing List: New Home Needed
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Dear subscribers,

> Date: Wed, 07 Feb 1996 18:45:08 -0600
> From: Craig D Rice <cdr@stolaf.edu>
> 
> I'm seeking a new home for the MUTEX mailing list.  Any volunteers?

Craig found what Craig was looking for.

Within the next hours we'll switch the list to GMD. The new list 
address will be

            mutex@gmd.de

Administrative requests should go to

            mutex-request@gmd.de

If there are administrative problems please don't bother the list
but  mutex-owner@gmd.de  and give him (me) esp. at weekends some
time to react. This isn't my main job, but I hope that I can maintain
the list to your satisfaction.

You will be re-subscribed automatically to the new list and get an
information message on this. The archive of the mailing list will
move to gmd.de too. It will be available by FTP and WWW. I'll remove
from the archive most messages which only deal with subscribe or 
unsubscribe to make it smaller. I'll keep an unedited copy of the 
archive up to time of the move so that nothing is lost.

Craig will re-route the old names (mutex, mutex-request) to the new 
addresses because there are a lot of references to these addresses
on the net. You should use only the new adresses after you got the
acknowlegdement of your re-subscription.


At the end I'll thank St. Olaf College and especially Craig that he
maintained the list for so many years. Have a look into the archive
to see the first message to the list by Craig dated "25 Nov 91".

Thanks, Craig, you did an excellent job.

Werner

From majord@mail2.gmd.de Tue Mar 12 02:49:57 1996
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From: vera@locus.com (William Vera)
Message-Id: <9603120249.AA88561@janus.la.locus.com>
Subject: Environment Problems..?
To: mutex@stolaf.edu
Date: Mon, 11 Mar 1996 18:49:57 -0800 (PST)
Cc: vera@janus.la.locus.com (William Vera)
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I need help determining whether some TEX environment variable is missing
from my login session on a UNIX (AIX) system, or what else may be wrong
which is causing the "Undefined control sequence" error below.  I believe
I'm including (as input) the necessary macro files, and have the following
environment variables set on a normal installation:

TEXFONTS=.:/usr/local/tex/fonts:/usr/local/tex/fonts/pk:/usr/local/lib/texmf/fonts/public/cm/tfm
TEXINPUTS=.:/usr/local/lib/texmf/tex:/usr/local/lib/texmf/tex/musixtex
TEXFORMATS=.:/usr/local/lib/texmf/ini

Following the examples in the user's manual, I typeset only a couple of bars
of simple single line of music in a file as follows:

\input musixtex%
\input musixsty%
% \smallmusicsize
\instrumentnumber{1}%
\generalmeter{\meterfrac68}%
\generalsignature{3}%
%
\startmuflex%
\startextract%
\Notes\Tqbl {=jih}\en
\NOtes\ql o\en
\Notes\itieu0o\cl o\en\bar
\NOtes\ttie0\ql o\en
\Notes\cl o\Tqbl {=nlk}\en\bar
\endextract%
\endmuflex%
\end%

I then type "tex fosgail.tex" and get the following (from the log file):

This is TeX, Version 3.1415 (C version 6.1) (format=plain 95.2.23)  11 MAR 1996 18:18
**fosgail.tex
(fosgail.tex (/usr/local/lib/texmf/tex/musixtex/musixtex.tex
MusiXTeX(c) T.44 <26 January 1996>

From majord@mail2.gmd.de Tue Mar 12 11:31:04 1996
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Date: Tue, 12 Mar 1996 12:31:04 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603121131.AA06713@sunick.gmd.de>
To: mutex@gmd.de, vera@locus.com
Subject: Re: Environment Problems..?
Cc: vera@janus.la.locus.com
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> From: vera@locus.com (William Vera)
> Date: Mon, 11 Mar 1996 18:49:57 -0800 (PST)
> 
> [...] which is causing the "Undefined control sequence" error below. [...]
> 
> \Notes\Tqbl {=jih}\en
> [...]
> \Notes\cl o\Tqbl {=nlk}\en\bar

\Tqbl has three parameters; you wrote only one. I assume that it
should be  "\Tqbl{=j}ih"  and  "\Tqbl{=n}lk" (a parameter is 
either a single character or something put into {}).

I personally prefer "real" note names e.g.  "{'=c}ba"  instead of
"{=j}ih"; but it is possible that esp. for "Ib...", "Tqb..", ...
octaviation does not work as expected.

As far as I know "\input xyz%" may cause some problems; so I use
"\input xyz".

If you use only  \startextract...\endextract there's no need for
\startmuflex...\endmuflex because no flex-processing is done for
extracts.

Hope this hilft - Werner

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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re:  Environment Problems..?
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Tue, 12 Mar 1996 09:06:00 -0500 (EST)
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----- Forwarded message from William Vera -----

From mail2.gmd.de!majord@esseye.si.com Tue Mar 12 04:21:26 1996
Sender: mail2.gmd.de!majord@esseye.si.com
From: vera@locus.com (William Vera)
Message-Id: <9603120249.AA88561@janus.la.locus.com>
Subject: Environment Problems..?
To: mutex@stolaf.edu
Date: Mon, 11 Mar 1996 18:49:57 -0800 (PST)
Cc: vera@janus.la.locus.com (William Vera)
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On Tue Mar 12, vera@locus.com (William Vera) wrote...

>\input musixtex%
>\input musixsty%
>% \smallmusicsize
>\instrumentnumber{1}%
>\generalmeter{\meterfrac68}%
>\generalsignature{3}%
>%
>\startmuflex%
>\startextract%
>\Notes\Tqbl {=jih}\en
>\NOtes\ql o\en
>\Notes\itieu0o\cl o\en\bar
>\NOtes\ttie0\ql o\en
>\Notes\cl o\Tqbl {=nlk}\en\bar
>\endextract%
>\endmuflex%
>\end%

The problem you are experiencing is due to a subtle but understandable
oversight in the understanding of TeX macro arguments.  The macro \Tqbl
expects 3 arguments (ultimately)....

As long as the arguments are just single character items, one can just
say (for example)  \Tqbl jih  ... However, in this case the first argument
needs to be =j, the second i and the third h... In the construction above,
putting brackets around {=jih} simply forces TeX to consider that structure
as the first argument.  In fact, inserting a \tracingmacros=1 before the
start extract and checking the (long) log file shows that in the above
structure, \Tqbl is accepting  {=jih} as argument 1, \en as argument
2 and \NOtes as argument three.  That's where the trouble occurs, because
\Tqbl was not meant to eat that kind of stuff....

Simple solution, just say \Tqbl{=j}{i}{h} to explicitely identify the
three arguments, and the problem goes away.  This need be done only
when any one of the arguments is a compound of more than one character
(token).

Joel Hunsberger
hunsberg@sqa1.si.com

I then type "tex fosgail.tex" and get the following (from the log file):

This is TeX, Version 3.1415 (C version 6.1) (format=plain 95.2.23)  11 MAR 1996 18:18
**fosgail.tex
(fosgail.tex (/usr/local/lib/texmf/tex/musixtex/musixtex.tex
MusiXTeX(c) T.44 <26 January 1996>
----- End of forwarded message from William Vera -----

From majord@mail2.gmd.de Tue Mar 12 19:11:26 1996
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From: taupin@lps.u-psud.fr
Subject: MusiXTeX T.50 available
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Tue, 12 Mar 96 18:55:48 MET
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Subject: MusiXTeX version T.50
New version T.50 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.50  a few corrections, and doc updated about stem lengths
 - T.492 bug in \ppp...\fff, other specifs done and manual corrected
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 - T.45  bug corrected in \setsign, \Porrectus corrected in musixgre
 
Daniel Taupin


From majord@mail2.gmd.de Tue Mar 12 18:36:46 1996
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From: vera@locus.com (William Vera)
Message-Id: <9603121836.AA87597@janus.la.locus.com>
Subject: Re: Env. Problems..?
To: mutex@stolaf.edu
Date: Tue, 12 Mar 1996 10:36:46 -0800 (PST)
Cc: vera@janus.la.locus.com (William Vera)
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Thanks to Werner I., Dr. Clemence and Joel H. for their prompt replies.
It appears my message to the mailing list was truncated before the error
(perhaps because I didn't indent it):

  ! Undefined control sequence.
  \q@symbol ->\def \q@u
			{\musixfont \s@v@n }
  \rq ->\q@symbol
		  \@rq
  \beginstaff ...x \n@otebox \hbox \bgroup \let \rq
						    \rq@ \let \lq \lq@ \let \d..

  \@vnotes ->\multnoteskip \scalenoteskip \def |
					       {\nextstaff }\def &{\nextinstr...

  \xgetn@i ...\edef \t@ruc {\f@tok #1\relax \af@tok
						    }\edef \s@uite {\s@tok #1\..

  \C@Ib ...\relax \min@n@v \@ne \inhgetn@i #3\relax
						    \n@ii \n@i \inhgetn@i #2\r..
  ...
  l.13 \NOtes
	     \ql o\enotes
  ?

(although my local copy was delivered complete).  They asked to repost it,
but since their suggestions about changing line 12 "\Notes\Tqbl {=jih}\en"
to "\Notes\Tqbl {=j}ih\en" appears to have corrected the problem, I just
want to say again thanks to all of you!  Now maybe I can deal with our TeX
misreporting the error...:-(.

- Willy

From majord@mail2.gmd.de Thu Mar 14 12:23:44 1996
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From: Ronan KERYELL <Ronan.Keryell@chailly.ensmp.fr>
To: mutex@gmd.de
Subject: Future of mpp ?
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I am looking for an improved version of mpp.
Unfortunately, I can only find the 0.45 version.

Furthermore, the WWW page of its author has disappeared,
tnnvjn@urc.tue.nl does no longer exist...

Well, any news ?

Thank you,

-- =

    Ronan KERYELL
    Centre de Recherche en Informatique
    de l'=C9cole Nationale Sup=E9rieure des Mines de Paris (CRI-ENSMP)
    35, Rue Saint-Honor=E9
    77305 FONTAINEBLEAU CEDEX
    FRANCE                               Tel:    (+33 1) 64.69.48.44
                                         Fax:    (+33 1) 64.69.47.09
                                         E-mail: keryell@cri.ensmp.fr
                                         http://www.cri.ensmp.fr/~keryell=



From mutex-owner@mail2.gmd.de Sat Mar 16 07:16:40 1996
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Date: Fri, 15 Mar 1996 23:16:40 -0800
To: mutex@gmd.de
From: dpircher@earthlink.net (David Pircher)
Subject: Encore, Guitar, midi2tex, help.
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Hello,
I've been trying to translate midi1 files generated by Encore 3.0 to
Musictex but the output is tweaked. In places where I want chord notes
seperated, say one up stem and three down the output turns out completely
wrong. Does anyone have suggestions on a good fix? Any help would be
greatly appreciated. Thanks

David Pircher
dpircher@earthlink.net



From mutex-owner@mail2.gmd.de Sat Mar 16 07:16:40 1996
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To: mutex@gmd.de
From: dpircher@earthlink.net (David Pircher)
Subject: Encore, Guitar, midi2tex, help.
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Hello,
I've been trying to translate midi1 files generated by Encore 3.0 to
Musictex but the output is tweaked. In places where I want chord notes
seperated, say one up stem and three down the output turns out completely
wrong. Does anyone have suggestions on a good fix? Any help would be
greatly appreciated. Thanks

David Pircher
dpircher@earthlink.net



From mutex-owner@mail2.gmd.de Sat Mar 16 19:17:55 1996
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To: mutex@gmd.de
Subject: extra ties
Date: Sat, 16 Mar 1996 14:17:55 -0500
From: Michael Nurnberger <mwnurnbe@eecs.umich.edu>
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Hello -

	I have recently started using MusixTex051, and am quite impressed.
However, I seem to be having a certain amount of difficulty obtaining more
than 6 ties.  I have included the line

	\input musixadd

immediately following the "\input musixtex" line, as the manual suggests,
and indeed, I can then use the 7 ties that I need.  However, when I do 
this, all my rests move down from the center line of the staff to the
bottom.  Is this normal?  How do I go about fixing this?  

	Thank you very much for your time.

Mike Nurnberger

From mutex-owner@mail2.gmd.de Sun Mar 17 10:28:58 1996
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From: Erwin Hugo Achermann <acherman@inf.ethz.ch>
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Subject: Re: extra ties
To: mutex@gmd.de
Date: Sun, 17 Mar 1996 11:28:58 +0100 (MET)
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Michael Nurnberger writes: 
>         I have recently started using MusixTex051, and am quite
> impressed.  However, I seem to be having a certain amount of
> difficulty obtaining more than 6 ties.  I have included the line
> 
>         \input musixadd
> 
> immediately following the "\input musixtex" line, as the manual
> suggests, and indeed, I can then use the 7 ties that I need.  However,
> when I do this, all my rests move down from the center line of the
> staff to the bottom.  Is this normal? 
Yes, this is normal: Bugs normally make things behave strange ;-)

> How do I go about fixing this?
For the time being, change in musixadd.tex line no. 146 to look like:
  \@ist\interst@ff\internote  \@fin\f@ur\internote}
instead of 
  \@ist\interst@ff\internote}


In v0.52 this will be fixed.

Happy TeXing

Erwin Acherman


From mutex-owner@mail2.gmd.de Sun Mar 17 18:20:53 1996
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Subject: Catcode \nextinstrument question.
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I'm trying to put Guitar music to musictex and can't seem to get either "&"
or "\nextinstrument" to work properly. The output gives me the notes much
smaller than the regular notes and located below the staff. For instance
the command:

\Notes\zq a\zq e\zq h\qu j&\ibu0o0\qh0o\tbbu0\tbu0\qh0p\enotes\relax

gives me two tiny notes 5 spaces below the staff. \nextinstrument does the
same. The output was originally generated by Midi2tex and I can't figure
out how to modify it to rectify this problem.

Thanks.

David Pircher
dpircher@earthlink.net



From mutex-owner@mail2.gmd.de Mon Mar 18 10:19:34 1996
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Date: Mon, 18 Mar 1996 11:19:34 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603181019.AA08846@sunick.gmd.de>
To: mutex@gmd.de, dpircher@earthlink.net
Subject: Re: Catcode \nextinstrument question.
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> \Notes\zq a\zq e\zq h\qu j&\ibu0o0\qh0o\tbbu0\tbu0\qh0p\enotes\relax
> 
> gives me two tiny notes 5 spaces below the staff. \nextinstrument does the
> same. The output was originally generated by Midi2tex and I can't figure
> out how to modify it to rectify this problem.

Number of instruments seems to be 1 instead of 2.

Depending on which system you use (musictex, musixtex, ...) something
like  \def\nbinstruments{2} or \instrumentnumber2 is missing.           W.I.

From mutex-owner@mail2.gmd.de Mon Mar 18 17:33:56 1996
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From: taupin@lps.u-psud.fr
Subject: MusiXTeX T.51
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Mon, 18 Mar 96 16:38:11 MET
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Subject: MusiXTeX version T.51
New version T.51 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.51  accents on beams corrected thanks to Klaus Bechert
 - T.50  a few corrections, and doc updated about stem lengths
 - T.492 bug in \ppp...\fff, other specifs done and manual corrected
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Tue Mar 19 10:08:40 1996
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From: Ronan KERYELL <Ronan.Keryell@chailly.ensmp.fr>
To: acherman@inf.ethz.ch
Cc: mutex@gmd.de
In-Reply-To: <199603190751.IAA18152@mendel.inf.ethz.ch> (message from Erwin
	Hugo Achermann on Tue, 19 Mar 1996 08:51:21 +0100)
Subject: [Summary] Re: Future of mpp ?
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Thanks a lot all people who answered me.

   From: Erwin Hugo Achermann <acherman@inf.ethz.ch>
   Date: Tue, 19 Mar 1996 08:51:21 +0100
   Content-Length: 209
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   Hi Ronan

   some time ago you asked for mpp, but it seems as if nobody answered
   through this mailing-list... 

   Did you get any Hints directly, Did you find any pointer to the source
   Code?

   Gruss Erwin Achermann

OK, so I do this summary...

-- 
    Ronan KERYELL
    Centre de Recherche en Informatique
    de l'E'cole Nationale Supe'rieure des Mines de Paris (CRI-ENSMP)
    35, Rue Saint-Honore'
    77305 FONTAINEBLEAU CEDEX
    FRANCE                               Tel:    (+33 1) 64.69.48.44
                                         Fax:    (+33 1) 64.69.47.09
                                         E-mail: keryell@cri.ensmp.fr
                                         http://www.cri.ensmp.fr/~keryell

   Date: Thu, 14 Mar 1996 16:05:37 +0100
   From: Werner Icking <Werner.Icking@gmd.de>
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   > I am looking for an improved version of mpp.
   > Unfortunately, I can only find the 0.45 version.
   > 
   > Furthermore, the WWW page of its author has disappeared,
   > tnnvjn@urc.tue.nl does no longer exist...

   Did you try  Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
			or  Jan Nieuwenhuizen <jan@digicash.com>

   That was my last contact concerning mpp, when uploading version 0.45 to ftp.gmd.de.


   I use pmx by Don Simons. A short look at the first sections in the
   documentation of mpp made me think that you could convert from
   mpp to pmx. But I don't know enough what the facilities of mpp are.

   mpp:  gis8. a16 bes gis4
   pmx:  g8sd a1 bf gs4
   Beams are generated automatically by pmx; nevertheless [ ... ] is possible. 

   Hope this hilft (a little bit)   -- Werner



   From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
   Date: Fri, 15 Mar 1996 08:49:56 +0200 (SAT)
   Content-Type: text
   Content-Length: 446
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   > 
   > I am looking for an improved version of mpp.
   > Unfortunately, I can only find the 0.45 version.
   > 
   > Furthermore, the WWW page of its author has disappeared,
   > tnnvjn@urc.tue.nl does no longer exist...
   > 
   I've only last week downloaded 0.46 from:

   ftp://pcnov095.win.tue.nl/pub/mpp/

   There is also mpp95 there which seems to be a complete rethink by
   the author on how to implement mpp on unix systems - didn't compile
   on mine, though.

   Dirk

   From: qhni@oce.nl
   >Received: from oce-rd2.oce.nl by smtp02.oce.nl (4.1/SMI-4.1)
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   > I am looking for an improved version of mpp.
   > Unfortunately, I can only find the 0.45 version.

   the last version is 0.46, you can find it on
   ftp://pcnov095.win.tue.nl/pub/mpp

   > 
   > Furthermore, the WWW page of its author has disappeared,
   > tnnvjn@urc.tue.nl does no longer exist...
   > 

   he has moved to jan@digicash.com, the page is now on 
   www.stack.urc.tue.nl/~hanwen/mpp.html

   > Well, any news ?

   0.46 (compared to .45) does not have a lot new features, but it is
   (or should be) more stable because of the new and improved libraries.

   > 
   > Thank you,
   > 
   > -- =
   > 
   >     Ronan KERYELL
   >     Centre de Recherche en Informatique
   >     de l'=C9cole Nationale Sup=E9rieure des Mines de Paris (CRI-ENSMP)
   >     35, Rue Saint-Honor=E9
   >     77305 FONTAINEBLEAU CEDEX
   >     FRANCE                               Tel:    (+33 1) 64.69.48.44
   >                                          Fax:    (+33 1) 64.69.47.09
   >                                          E-mail: keryell@cri.ensmp.fr
   >                                          http://www.cri.ensmp.fr/~keryell=
   > 
   > 
   --------
   Han-Wen Nienhuys, 040-2553477, office 077-3592063
   alternate mail: hanwen@stack.urc.tue.nl

   -------
   This note does not necessarily represent the position of Oce 
   Nederland B.V. Therefore no liability or responsibility for 
   whatever will be accepted.


From mutex-owner@mail2.gmd.de Tue Mar 19 18:18:11 1996
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Date: Tue, 19 Mar 1996 10:18:11 -0800
From: barry@locus.com (Barry Gold)
Message-Id: <9603191818.AA19520@piano.la.locus.com>
To: mutex@stolaf.edu
Subject: fine tuning my results
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I now have output that's close enough I could use it. but I would like
to fine-tune the spacing a little more, so I have a couple of
questions.

1. What is the difference between \roff and \roffset (p. 30)?

2. When the document says \roff{text}, I assume that "text" refers to
some set of \note...\enote stuff?  Does it move just that(those)
note(s) or will everything to the right move?

3. Or maybe I'm better off just sticking in \nspace or \qspace after
the bar where I want a little extra space?

[The problem is that I want to center lyrics under the notes, and this
sometimes moves the start of the lyric too close to the bar, so I want
a _little_ extra space after that bar.]

4. When I have a hyphenated word, I'm currently using
    \def\hy{\thinspace\thinspace-} 
If I instead use
    \def\hy{\thinspace\thinspace-\kern -4.30554} 
and type
    \csong{tem\hy}
will the \kern convince MusiXTex to center the syllable as if the
spaces and hyphen weren't there?  That is, I want "tem" centered under
the note-head with the hyphen stuck off to the right a little bit.

Note: I arrived at the value 4.30554 by running TeX and typing the
following at it:

    **\def\hy{\thinspace\thinspace-}
    *\setbox0=\hbox{\hy}
    *\showbox0

And I found the following in texput.log:
    > \box0=
    \hbox(4.30554+0.0)x6.66676
    .\kern 1.66672
    .\kern 1.66672
    .\tenrm -

... and I thought troff was hard to use!  TeX makes troff look like a
piece of cake.  Of course, troff won't do the things TeX will do --
we have the traditional tradeoff of flexibility vs. ease of use.

From mutex-owner@mail2.gmd.de Wed Mar 20 17:50:47 1996
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From: taupin@lps.u-psud.fr
Subject: MusixTeX T.51a (doc updated)
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Wed, 20 Mar 96 17:14:35 MET
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Subject: MusiXTeX version T.51a, doc updated
New version T.51a of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.51a documentation corrected for \roff, \roffset, brackets, etc.
 - T.51  accents on beams corrected thanks to Klaus Bechert
 - T.50  a few corrections, and doc updated about stem lengths
 - T.492 bug in \ppp...\fff, other specifs done and manual corrected
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 
Daniel Taupin


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Announcing the official abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* a list of web accessible abc collections
	* the web-wide abc index
	* new developments in abc
	* a short history of abc

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Thu Mar 21 16:24:00 1996
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Date: Thu, 21 Mar 1996 17:24:00 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603211624.AA10109@sunick.gmd.de>
To: mutex@gmd.de, ASTA-L@CMSUVMB.BITNET
Subject: BWV1003 Sei solo a Violino ... -- Scores available by WWW or ftp
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The list of my music-editions has been increased by one item. I've
finished the second sonata of the six sonatas and partitas for violin
solo by J.S. Bach "Sei solo a Violino senza Basso accompagnato. Libro 
primo da Joh. Seb. Bach ao. 1720".

My edition contains a printed version which is as close as possible
to the autograph (incl. errors, linebreaking, moved G-clef in the
2nd movement, ...), and a "normalized" version ready for playing
and - and that's NEW - a version for viola.

At the same time I've replaced my first edition of BWV1001 with a 
2nd edition which contains now a viola version, too. Both editions
are now generated with MusiXTeX so that the 2nd edition of BWV1001
is nicer than the 1st.

Imho this edition is of interest not only for advanced violin players
but for those of you too, who are able to read music while listening
to this great music.

You may access the files either by anonymous ftp 

directly:      ftp.gmd.de   music/scores/bach/s&p/
or by WWW:     http://www.gmd.de/Misc/Music/

With WWW follow the links to "Sheet Music", there to the single
works or to the directory "Sonatas and Partitas".

The directory contains the 2nd page of Bach's autograph as GIF
(bwv1001.gif) so that you may compare my edition and the ori-
ginal handwriting of Bach.

bwv1003.ps.gz  contains the compressed postscript file; our ftp-
               server is so kind to un-compress the file for you if 
               you request "bwv1003.ps" instead of "bwv1003.ps.gz" 
book1003.ps.gz same for A3-paper to avoid turning pages in the Fuga
bwv1003.zip    contains the MusiXTeX-source of the first movement
               for all of you who are interested in MusiXTeX
               for typesetting music.
bwv1003.readme tells a little bit more about the files in the
               directory and in the Zip-archive *and* how the
               postscript-file may be printed on letter-size paper.

bwv1001.ps.gz  ...

Enjoy -- Werner

PS: I've to thank some netters for their help in proof-playing BWV1003,
    here esp. Mark McAuliffe. My thanks go too to the authors of MusiX-
    TeX and esp. one of thEm who helped me porting BWV1001 from Music-
    TeX to MusiXTeX as one of the early test-cases for MusiXTeX.

PPS: The 3rd partita in E is ready for proof-playing as well as most of
     the Suites for Cello solo by Bach in an edition for cello, viola
     or violin.

From mutex-owner@mail2.gmd.de Thu Mar 21 19:55:00 1996
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Date: Thu, 21 Mar 96 14:55 EST
From: joel@exc.com (Joel M. Hoffman)
To: mutex@gmd.de
Subject: melody lines with words
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I'm looking for a simple preprocessor that will let me enter a melody
line (a la abc2mtex) AND WORDS and create a simple song.  abc2mtex
looks great, but it doesn't do words.

For that matter, there's no convenient way to typeset words with a
score even using "raw" musixtex, because the length of the words is
not taken into consideration.

What are people using to typeset songs?

-Joel
(joel@exc.com)


From mutex-owner@mail2.gmd.de Thu Mar 21 22:37:32 1996
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Date: Thu, 21 Mar 1996 14:37:32 -0800
From: barry@locus.com (Barry Gold)
Message-Id: <9603212237.AA85971@janus.la.locus.com>
To: joel@exc.com
Cc: mutex@gmd.de
In-Reply-To: <m0tzqSN-00036oC@exc.com> (joel@exc.com)
Subject: Re: melody lines with words
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Thanks to help from Werner and Daniel, I'm using "raw" musixtex.  

I start setting everything as
\Notes\hsong{word}\cu h\en
		   ^  ^
		   |  |
   length of note--+  +-- pitch of note

If I get "overfull hbox" errors in pass 3, I go look at my output and
spot the little black bars marking the overfull boxes.  Then I
increase the note spacing for those words, using \Notesp, \NOtes,
\NOtesp, \NOTes, etc. as needed.

Btw, if you have a _lot_ of overfull hboxes, you can make the notes
space a little further apart with \mulooseness=1, 2, or whatever.
This makes the music take an extra "line" of output, so the standard
internote spacing gets longer.  Then fix the few remaining overfull
hboxes as above.

*** ignore overfull hbox messages in pass 1 ***

Btw, when I want to add guitar chord names, I use the following:

\Notes\Uptext{Am}\hsong{well}\cu h\en

For some reason I didn't bother figuring out -- all I care is that my
output looks right -- it works when I put the \Uptext at the start and
not when I put it at the end, even though it's at the top so should
logically go _after_ \cu h and just before \en.

From mutex-owner@mail2.gmd.de Thu Mar 21 23:42:00 1996
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Date: Thu, 21 Mar 96 18:42 EST
From: joel@exc.com (Joel M. Hoffman)
To: barry@orchard.la.locus.com
Cc: mutex@gmd.de
In-Reply-To: Barry Gold's message of Thu, 21 Mar 1996 14:37:32 -0800 <9603212237.AA85971@janus.la.locus.com>
Subject: melody lines with words
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>I start setting everything as
>\Notes\hsong{word}\cu h\en
>		  ^  ^
>		  |  |
>  length of note--+  +-- pitch of note
>
>If I get "overfull hbox" errors in pass 3, I go look at my output and
>spot the little black bars marking the overfull boxes.  Then I
>increase the note spacing for those words, using \Notesp, \NOtes,
>\NOtesp, \NOTes, etc. as needed.

>
>Btw, if you have a _lot_ of overfull hboxes, you can make the notes
>space a little further apart with \mulooseness=1, 2, or whatever.

This doesn't really work.  I do this too, but different spacings may
create different overfull boxes.  What happens is that a box may tend
toward overfull, but because extra space is added in one
configuration, it will be okay.  When you change configurations (say,
by changing mulooseness, or adding material nowhere near the words)
what was once loose can become tight, and so cause problems.  BUT, if
you fix it, and then change configurations again, the original
measure, now with added space, will be VERY loose.  It just isn't a
general solution.

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Fri Mar 22 10:21:33 1996
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From: taupin@lps.u-psud.fr
Subject: MusiXTeX T.52
To: icking@gmd.de (Werner Icking), mutex@gmd.de (MusiXTeX list (gmd.de))
Date: Thu, 21 Mar 96 19:49:04 MET
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Subject: MusiXTeX version T.52
New version T.52 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.52  accents on beams corrected thanks to Klaus Bechert
 - T.51a documentation corrected for \roff, \roffset, brackets, etc.
 - T.50  a few corrections, and doc updated about stem lengths
 - T.492 bug in \ppp...\fff, other specifs done and manual corrected
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Tue Mar 19 18:21:15 1996
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Date: Tue, 19 Mar 1996 18:21:15 GMT
From: Gareth.Lewis@astro.cf.ac.uk (Gareth Lewis)
Message-Id: <199603191821.SAA17325@sculptor>
To: mutex@gmd.de
Subject: help musictex macro for guitar TAB
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Hello all,

I am fairly new to MusicTeX, and I want to produce transcriptions for guitar which have the conventional music stave but also a TAB music stave for each line.
   Are there any macros which will produce a TAB stave with the corresponding string tunings by each of the six lines ? 
  Has anyone written one or know of a sites I could try searching?

Cheers,
	Gareth.



------------------------------------------------------------------------------
Gareth Wyn Lewis                     | Email     : G.Lewis@astro.cf.ac.uk 
Department of Physics and Astronomy, | Phone     : +44 (0)1222 874000 ext 5316
University of Wales,College Cardiff, | Fax       : +44 (0)1222 874056   
P.O. Box 913,                        | WWW       : http:/www.astro.cf.ac.uk/
Cardiff                              | Home page :   (/pub/Gareth.Lewis)
CF2 3YB.         		     |
------------------------------------------------------------------------------

  
[Note from list-owner: Majordomo filters mails for administrative requests
   (subscribe, unsubscribe, help, ...) so that these do not go to the list.
   So don't start the  "Subject:" e.g. with help. Such mails need my appro-
   val, which may delay the mails esp. for the 1st time, because I've to
   find-out how I can approve a mail like this. I already know how to appro-
   ve those (un)subscribe requests which you didn't see, because majordomo
   routed them to me.                                           -- Werner ]

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Date: Wed, 27 Mar 1996 14:26:02 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199603271326.AA12339@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: BWV1003 Sei solo a Violino ... -- Scores available by WWW or ftp
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> Date: Thu, 21 Mar 1996 17:24:00 +0100
> From: Werner Icking <icking>
> 
> The list of my music-editions has been increased by one item. [...]

> bwv1003.zip    contains the MusiXTeX-source of the first movement
>                for all of you who are interested in MusiXTeX
>                for typesetting music. [...]

I'm sorry that I made *some* errors when packing the MusiXTeX-source
into bwv1001.zip and bwv1003.zip. For both I forgot to add ttl1001a.tex
and musixstm.tex which I append to this mail.

bwv1003.zip contained s13.tex (the 3rd movement of bwv1001) instead
of s21.tex (2nd sonata, 1st movement). It's approx. 16K in size so
I hesitate to mail it because some subscribers of this list have only
limited net access. For some time all these files are separately avai-
lable at the known directory.

Sorry for any inconvenience and thanks to Mark McAuliffe for the hint.

Werner

=== ttl1001a.tex =====================================================
\advance\voffset by 20mm\advance\vsize by -30mm
\advance\hoffset by 20mm\advance\hsize by -40mm
\font\large=cmr17 scaled \magstep1
\font\Large=cmr17 scaled \magstep2
\font\LArge=cmr17 scaled \magstep3
\font\LARge=cmr17 scaled \magstep4
\font\LARGe=cmr17 scaled \magstep5

\null\vskip 2.0cm\centerline{\LARGe Sei Solo}
\vskip 2.5cm{\baselineskip=1.0cm
\centerline{\Large \'a}
\centerline{\Large Violino}
\centerline{\Large senza}
\centerline{\Large Ba\ss{}o}
\centerline{\Large accompagnato.}}
\vskip 1.0cm{\baselineskip=1.5cm
\centerline{\LArge Libro Primo.}
\centerline{\large da}
\rightline{\LArge Joh. Seb. Bach}}
\bigskip\rightline{\large ao. 1720\ \ \ \ }
\vfill
\vskip 0.5cm\centerline{\Large Urtextausgabe \large --- BWV \opus}
\vskip 1.0cm\centerline{\large Werner Icking, Siegburg}
\vskip 0.1cm\centerline{Privatbibliothek Nr. \part}
\eject

=== musixstm.tex =====================================================
\immediate\write10{MUsiXSTanDardSTem \mxversion\space<\mxdate>}%

% (Werner Icking)
% Upper or lower stems for very low or very high notes have a stem at
% least up or down to the middle of the system -- except if multiple voices
% are written in one system.
%
% Std-stem note-names start with an Uppercase letter e.g. Qu, zQu, ...

\def\Qu{\stdstemfalse\qu}
\def\Qup{\stdstemfalse\qup}
\def\Qupp{\stdstemfalse\qupp}
\def\Quppp{\stdstemfalse\quppp}

\def\zQu{\stdstemfalse\zqu}
\def\zQup{\stdstemfalse\zqup}
\def\zQupp{\stdstemfalse\zqupp}
\def\zQuppp{\stdstemfalse\zquppp}

\def\Ql{\stdstemfalse\ql}
\def\Qlp{\stdstemfalse\qlp}
\def\Qlpp{\stdstemfalse\qlpp}
\def\Qlppp{\stdstemfalse\qlppp}
\def\zQl{\stdstemfalse\zql}
\def\zQlp{\stdstemfalse\zqlp}
\def\zQlpp{\stdstemfalse\zqlpp}
\def\zQlppp{\stdstemfalse\zqlppp}

\def\Clp{\stdstemfalse\clp}\def\Cup{\stdstemfalse\cup}
\def\Clpp{\stdstemfalse\clpp}\def\Cupp{\stdstemfalse\cupp}
%\def\Clppp{\stdstemfalse\clppp}\def\Cuppp{\stdstemfalse\cuppp}

\def\zClp{\stdstemfalse\zclp}\def\zCup{\stdstemfalse\zcup}
\def\zClpp{\stdstemfalse\zclpp}\def\zCupp{\stdstemfalse\zcupp}
%\def\zClppp{\stdstemfalse\zclppp}\def\zCuppp{\stdstemfalse\zcuppp}

\def\Cu{\stdstemfalse\cu}\def\Ccu{\stdstemfalse\ccu}
\def\Cccu{\stdstemfalse\cccu}\def\ccccu{\stdstemfalse\ccccu}
\def\Cl{\stdstemfalse\cl}\def\Ccl{\stdstemfalse\ccl}
\def\Cccl{\stdstemfalse\cccl}\def\Ccccl{\stdstemfalse\ccccl}

\def\zCu{\stdstemfalse\zcu}\def\zCcu{\stdstemfalse\zccu}
\def\zCccu{\stdstemfalse\zcccu}\def\zCcccu{\stdstemfalse\zccccu}
\def\zCl{\stdstemfalse\zcl}\def\zCcl{\stdstemfalse\zccl}
\def\zCccl{\stdstemfalse\zcccl}\def\zCcccl{\stdstemfalse\zccccl}

\def\Hu{\stdstemfalse\hu}
\def\Hup{\stdstemfalse\hup}
\def\Hupp{\stdstemfalse\hupp}
\def\Huppp{\stdstemfalse\huppp}

\def\zHu{\stdstemfalse\zhu}
\def\zHup{\stdstemfalse\zhup}
\def\zHupp{\stdstemfalse\zhupp}
\def\zHuppp{\stdstemfalse\zhuppp}

\def\Hl{\stdstemfalse\hl}
\def\Hlp{\stdstemfalse\hlp}
\def\Hlpp{\stdstemfalse\hlpp}
\def\Hlppp{\stdstemfalse\hlppp}
\def\zHl{\stdstemfalse\zhl}
\def\zHlp{\stdstemfalse\zhlp}
\def\zHlpp{\stdstemfalse\zhlpp}
\def\zHlppp{\stdstemfalse\zhlppp}

\def\Grcu{\stdstemfalse\grcu}
\def\Grcl{\stdstemfalse\grcl}


From mutex-owner@mail2.gmd.de Tue Apr  2 15:44:47 1996
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Hi,

I am a newcomer to the Tex world. About 1 month ago I started with emtex (only the plain format) and Musictex. I was very happy of my first music sheets. I took the Musixdoc.ps from the gmd site and decide to load musixtex, because of the promising features.

I took the musixtex.zip package from Daniel Taupin's site, mxdate 21 March 96, mxversion T52. I can process a file completely (three passes without error). I tried the Paranasus example and one of my own musictex files, which was easy to convert. 

I have the following problem : at the abscissa of each slur start, I have a small full (black) rectangle added to the slur, like a marker for the start position of the slur. What do I have to do in order to remove these unwanted rectangles ?

By the way, the musixdoc.ps I have seems to be processed with only the first pass of musixtex. (For example the reference page, at the end of the document is therefore unusable). Since I didnot yet dare to start with Latex, I was unable to process the musixdoc.tex file by myself. But I could process musixref.tex by introducing minor changes in the source (e.g. there is still one \breath command in this file, allowed in musictex and not allowed in musixtex, as I understand).

From mutex-owner@mail2.gmd.de Tue Apr  2 16:30:54 1996
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I sent my former message again with a new subject, in order to avoid 'help' as first word.

I forgot to add the following items related to the same subject :

- I tried the musixdoc.ps from hprib.u-psud.fr : it is well processed.

- I made a check of my fonts by asking tex to print each character with \char commands : the unwanted solid rectangles are not present in the slur-font-files.

- obviously I am not fully confident that my emtex is correctly installed; I have still some problems with the automatic creation of fonts by metafont which I could not solve up to now (e.g. metafont trying to create 0 file). Nevertheless musixtex is running the three passes process without error for the files I tried (the BWV10031.tex is also processed without error but shows the same problem with slurs).

- up to now I donot use dvips but either the lj driver for viewing on the screen and the bj driver for printing. 

From mutex-owner@mail2.gmd.de Tue Apr  2 18:47:24 1996
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From: Werner Icking <Werner.Icking@gmd.de>
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> I sent my former message again with a new subject, in order to avoid
> 'help' as first word.

That's like Majordomo likes it; don't start a Subject: with a 
Majordomo command (help, subscribe, who, list, ...)
 
> - I tried the musixdoc.ps from hprib.u-psud.fr : it is well processed.

In 99.9 % of the time both versions are identical. The defective version
has been imported by ftp.gmd.de. It has been exchanged on both systems
(and on CTAN as a consequence) short time after I detected the error.

> - I made a check of my fonts by asking tex to print each character
>   with \char commands : the unwanted solid rectangles are not present
>   in the slur-font-files.

Tex generates such black-boxes if something does not fit into the space
provided. You can suppress these black-boxes by TeX-commands. But that 
isn't good because of their function as a warning. At the moment I
do not find how that can be done. Something like \hfuss=10pt ???
But use it only as test whether these boxes disappear.

> - obviously I am not fully confident that my emtex is correctly 
>   installed; I have still some problems with the automatic creation 
>   of fonts by metafont which I could not solve up to now (e.g. metafont
>   trying to create 0 file). Nevertheless musixtex is running the three
>   passes process without error for the files I tried (the BWV10031.tex 
>   is also processed without error but shows the same problem with slurs).

Hmm! That makes me curious. And there are no error messages in the log-file?
Did you generate your own musixtex-format file? If yes, try the following:
Insert \input musixtex  into bwv10031.tex, delete *.mx* and process it
with plain_tex e.g.   tex386 bwv10031 ^ musixflx bwv10031 ^ tex386 bwv10031
Have a look into the log-file.

Concerning emTeX's automatic creation of fonts you could ask the emTeX
mailing list (Majordomo@physik.tu-berlin.d400.de: subscribe emtex-user)
or read the docs. Normally emTeX works very well IFF a user strictly
follows the installation guide.

Hope this helps a little bit although I really cannot imagine where this
strange behaviour comes from.

Werner

From mutex-owner@mail2.gmd.de Thu Apr  4 10:25:10 1996
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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m.caprace@b.rd.land.saitrh.be's problem concerning slurs could be
analyzed successfully.  The cause of the error was using  musixslu.tex  
in the TeX-format file for musixtex.  musixslu.tex does not exist any 
more.  D.Taupin has cancelled it.  I removed it from musixtex.zip on 
ftp.gmd.de from where this zip will be mirrored to CTAN.

So, please remove musixslu.tex from your tex-source-directories.
It isn't of any use anymore.                            -- Werner

From mutex-owner@mail2.gmd.de Fri Apr  5 12:12:34 1996
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From: taupin@lps.u-psud.fr
Subject: musixtex T.53
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Fri, 5 Apr 96 11:42:43 METDST
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Subject: MusiXTeX version T.53
New version T.53 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 - T.51a documentation corrected for \roff, \roffset, brackets, etc.
 - T.50  a few corrections, and doc updated about stem lengths
 - T.492 bug in \ppp...\fff, other specifs done and manual corrected
 - T.49  \Itrille to have several simultaneous trills extending over bars
 - T.48  \Ioctfin[up][down] to have several simultaneous octaviation lines
 - T.47  \noautolines corrected in musixcpt.tex
 - T.46  \quilisma and \porrectusflexus added in musixgre.tex
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Fri Apr  5 20:46:26 1996
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Date: Fri, 5 Apr 1996 13:46:26 -0700
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To: mutex@gmd.de
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From carlson@nmt.edu

    Today, when I attempted to anonymous ftp download musixtex from
rsovax.lps.u-psud.fr = 193.55.39.100, the file `musixtex.eng' was
missing/bad/corrupted.

    However, I later successfully downloaded the same file `musixtex.eng'
from hprib.lps.u-psud.fr = 193.55.39.152 without problem.

=============================================================================
Below is a highly edited script of the ftp download from
rsovax.lps.u-psud.fr = 193.55.39.100
=============================================================================
Only a directory command `ls' and the portion of the script containing
the missing musixtex.eng is shown. The rest has been deleted.
=============================================================================

Script started on Fri Apr  5 10:51:31 1996
<<SCRIPT>>:carlson@black<1> ftp -i 193.55.39.100
Connected to 193.55.39.100.
220 CMC VAX/VMS FTP Server Version 3.2.1
Name (193.55.39.100:carlson): anonymous
331 Enter password for login.
Password:
230 User ANONYMOUS logged in.
ftp> cd musixtex
250 "$DISK2:[ANONYMOUS.MUSIXTEX]" is current directory
ftp> ls 
200 PORT Command Accepted.
150 Data Connection Established: NLST 
300pk.dir
aa_readme.text
backgrnd.sty
examples.dir
mf.dir
musix.msg
musixadd.tex
musixbbm.tex
musixblx.tex
musixbm.tex
musixcho.tex
musixcpt.sty
musixcpt.tex
musixd35.sty
musixd35.tex
musixdat.tex
musixdia.tex
musixdoc.aux
musixdoc.dvi
musixdoc.ind
musixdoc.ps
musixdoc.sty
musixdoc.tex
musixdoc.toc
musixeng.tex
musixevo.tex
musixexa.zip
musixext.tex
musixflx.c
musixgre.tex
musixgui.tex
musixhou.tex
musixinv.tex
musixlit.tex
musixltx.tex
musixmad.tex
musixper.tex
musixpk3.zip
musixpoi.tex
musixref.tex
musixslu.tex
musixsqr.tex
musixste.tex
musixstf.tex
musixstr.tex
musixsty.tex
musixt43.tex
musixtex.bat
musixtex.ins
musixtex.sty
musixtex.tex
musixtex.zip
musixtey.tex
musixtri.tex
tfm.dir
226 Transfer complete
751 bytes received in 1.7 seconds (0.42 Kbytes/s)
ftp> ls musixtex.eng
200 PORT Command Accepted.
150 Data Connection Established: NLST MUSIXTEX.ENG
%RMS-E-FNF, file not found
226 Transfer complete
remote: musixtex.eng
28 bytes received in 0.075 seconds (0.36 Kbytes/s)
ftp> mget musixtex.eng
200 PORT Command Accepted.
550 File is Unavailable: RETR %RMS-E-FNF, FILE NOT FOUND
ftp> quit
221 Terminating Connection
<<SCRIPT>>:carlson@black<70> exit
<<SCRIPT>>:carlson@black<71> 
script done on Fri Apr  5 11:11:00 1996

=============================================================================

From mutex-owner@mail2.gmd.de Tue Apr  9 11:06:22 1996
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Date: Tue, 9 Apr 1996 13:06:22 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199604091106.AA16789@sunick.gmd.de>
To: mutex@gmd.de, taupin@lps.u-psud.fr
Subject: MusiXFLeX for the Mac
Cc: chrisp@ardanwen.sax.de
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Dear MusiXTeX-ers,

I found a kind person (Christoph "bIQHurgh" Pfisterer, chrisp@ardanwen.sax.de)
who generated a first simple version of "musixflx" for the Mac. I put
it as "musixflx.hqx" on  ftp.gmd.de /music/musixtex/  until Daniel Taupin 
integrates it into musixtex.zip. Don't forget to fetch it as "MacBinary".

It's a simple program which must be put into that folder where the mx1-file
resides in. There you may "double click" it, tell it the usual parameters
- normally only the name of the tex-source without ".tex" - so that it
generates the mx2-file which is required for the third stage. After
successful operation you may terminate the programm with "Command-Q".

Christoph Pfisterer added the I/O-interface for the Mac so that he has
nothing to do with the algorithm of the programme.

Thanks again to Christoph!                                      -- Werner

From mutex-owner@mail2.gmd.de Wed Apr 10 20:27:32 1996
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From: taupin@lps.u-psud.fr
Subject: musixflx.executables
To: icking@gmd.de (Werner Icking), mutex@gmd.de (MusiXTeX list (gmd.de))
Date: Wed, 10 Apr 96 20:06:21 METDST
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 several executables of musixflx.c are available at

ftp://hprib.lps.u-psud.fr/pub/musixtex/musixflx/*.*

(to be transferred in binary/MacBinary)

Available for aix, sun, MSDOS, hp_ux, mac.

All are packed (with separate directories inside) in musixflx.zip

D. Taupin

From mutex-owner@mail2.gmd.de Wed Apr 10 19:32:40 1996
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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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Subject: PMX
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I have tried to get PMX to work on a Unix system (SunOS 4.1) with no
Fortran compiler by running through the "f2c" Fortran to C converter
available from AT&T.  I got fixable error on line 3392 of pmxb.c and a
few "common block alignment" errors in the conversion that I resolved
by making a few variables bigger.  I must have screwed something else
up in the process, however, since pmxa seems to get stuck in a loop
filling up my disk with a pmxtex.dat file that contains "testpmx" on
the first line, " 7" on the second line, and then the rest of the file
is space characters (ASCII 20H).  Has anyone else tried this?

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com


From mutex-owner@mail2.gmd.de Wed Apr 10 22:00:38 1996
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From: dsimons@.LOCAL.logicon.com (Don Simons)
To: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart), mutex@gmd.de
Subject: Re: PMX
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compatible mail reader. Contact your vendor for details.

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You wrote

>I have tried to get PMX to work on a Unix system (SunOS 4.1) with no
>Fortran compiler by running through the "f2c" Fortran to C converter
>available from AT&T.  I got fixable error on line 3392 of pmxb.c and a
>few "common block alignment" errors in the conversion that I resolved
>by making a few variables bigger.  I must have screwed something else
>up in the process, however, since pmxa seems to get stuck in a loop
>filling up my disk with a pmxtex.dat file that contains "testpmx" on
>the first line, " 7" on the second line, and then the rest of the file
>is space characters (ASCII 20H).  Has anyone else tried this?

Thanks for your interest in PMX.  You didn't say which version of PMX you have, 
but the pmxtex.dat file for testpmx.pmx should probably look like this:
+++++++++++++++++++++++++++++++++++++++++++
testpmx
           7
   1.33300   6.00000   7.60000   6.00000
           2
           4           5          10
           4           5          10
    1
    6  79.15470   5.13490   1.87000
    7
    6  89.50954   4.96577   1.87000
   13
    5  89.75464   5.17529   1.15000
   18
    5  81.16971   5.51718   1.87000
   23
    7  86.33963   5.20745   1.15000
   30
    6  86.33960   5.28527   1.15000
   36
    5  85.93958   5.38850   1.15000
   41
    4  71.96985   6.40218   1.37500
++++++++++++++++++++++++++++++++++++++
The first three relevant write statements in pmxa are

 write(12,'(a)')basenameq(1:lbase)
 write(12,*)lbase
 write(12,'(4f10.5)')fbar,apt,abigpt,wheadpt

These statements are consecutive in the code.  Perhaps you could look at the C 
source and figure out where the translation went bad.  Or maybe download a 
fortran compiler for your system.  I'm quite busy now, but in a few weeks I 
might be able to look around my company for a fortran compiler on a Sun 
workstation and produce an executable for you.  (or maybe, God forbid, generate 
a c-version like you did.)

BTW, the mutex mailing list has moved.  I think the address is now mutex.gmd.de.
 To make a posting, you may need to re-subscribe at something like 
mutex-request.gmd.de.  

--Don Simons 
--IMA.Boundary.851471928--

From mutex-owner@mail2.gmd.de Thu Apr 11 16:03:21 1996
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Date: Thu, 11 Apr 1996 18:03:21 +0200
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: MusiXFLeX for the Mac
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> Date: Tue, 9 Apr 1996 13:06:22 +0200
> From: Werner Icking <Werner.Icking@gmd.de>
> 
> I found a kind person (Christoph "bIQHurgh" Pfisterer, chrisp@ardanwen.sax.de)
> who generated a first simple version of "musixflx" for the Mac. I put
> it as "musixflx.hqx" on  ftp.gmd.de /music/musixtex/  until Daniel Taupin [...]

It's now part of [ftp.gmd.de/music/musixtex/]  musixflx.zip  from where it
will go to the mirrors (CTAN). musixflx.hqx has been removed.          -- Werner

From mutex-owner@mail2.gmd.de Thu Apr 11 19:09:50 1996
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Date: Thu, 11 Apr 1996 19:09:50 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: Newbie alert
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Hello,

I am a relative newcomer to the world of TeX.  I have not made use of MuTeX
or any of the other variants as of yet.  I am working with someone who
wants to publish an old mass.  He wants to reproduce the notation as well
as the colored text etc.

My question is;  Is there a package already out there somewhere that has
been designed for 4-line staves, square notation etc.  And, can I combine
this with the grapics package to colorize the colored stuff?

Or--do I have to wrestle with METAFONT myself?

Thank you,

David Bobroff
bobroff@centrum.is



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Date: Fri, 12 Apr 1996 01:26:11 +0200
To: mutex@stolaf.edu
From: frigeni@mbox.vol.it (Maurizio Frigeni)
Subject: MusicTeX and Macintosh
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I have just downloaded the MusicTeX package (more as a TeX amateur than a
music writer) and have tried to run it (using Textures) on my Mac. Since no
mac fonts are available in the package, I produced the fonts with MetaFont
(the public domain 0.66 version by Blue Sky) but the results are
disappointing: this version of MetaFont can produce only bitmap fonts, and
non-standard bitmap fonts (i.e. with characters too big or out of boundary)
upset the mac; as a result, some characters sometimes are missing
(especially beams) and sometimes are displayed/printed only partially.
Is there anyone that is using MusicTeX with Textures and has overcome the
problem? I think that the best solution would be to get a TrueType version
of the fonts (or, even better, a PostScript version). Is that possible?
Thank you.

                                                              Maurizio
                                                        frigeni@mbox.vol.it



From mutex-owner@mail2.gmd.de Fri Apr 12 08:16:24 1996
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Date: Fri, 12 Apr 96 10:16:24 +0200
From: Peter.Vanroose@esat.kuleuven.ac.be
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To: bobroff@centrum.is
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> My question is;  Is there a package already out there somewhere that has
> been designed for 4-line staves, square notation etc.  And, can I combine
> this with the grapics package to colorize the colored stuff?

Have a look at MusicTeX -- it allows for 4-line staves and for square notes.
I cannot say anything about color.
MusicTeX (currently version 5.17) is available for anonymous ftp from:

  hprib.lps.u-psud.fr
  directory pub/musictex
and
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" after ftp anonymous login)

There is also an other package available, called MusixTeX, from the same FTP
address; it is slightly better but also slightly more complex to install and use.


From the MusicTeX manual:

\subsection{Changing the number of lines in staffs}

Unless explicitely specified, staffs consist of five lines, in accordance to
the normal way of coding music scores. However, two exceptions might be
preferred when using \musictex~:

\begin{itemize}
 \item {\it gregorian music\/} is often written using staffs of
four lines instead of five,
 \item {\it percussion music\/} (e.g. drums, triangle) only needs one line
staffs, since the pitch cannot change.
\end{itemize}

Therefore, since its version 5.00, \musictex\ allows for choosing the number
of lines of the staffs of an instrument. This is done by, e.g.,
\verb|\stafflinesii{4}| to have 4 lines for instrument 2.

\subsection{Gregorian note shapes}\label
 Provided that four line staffs are used, {\it gregorian music\/} was
frequently quoted using specific {\it neumes}, and this way of coding
has been commonly used for the coding of liturgical chant in the Catholic
Church until the middle of the twentieth century. Symbols available in
\musictex\ are~:

\begin{itemize}
 \item Diamond shaped punctum: \raise 2.5pt\hbox{\musicxx\char 0} =
\keyindex{diamg}~$p$~,
 \item Square punctum: \raise 2.5pt\hbox{\musicxx\char 1} =
\keyindex{carrg}~$p$~,
 \item Left stemmed virga: \raise 2.5pt\hbox{\musicxx\char 2} =
\keyindex{carpg}~$p$~,
 \item Right stemmed virga: \raise 2.5pt\hbox{\musicxx\char 3} =
\keyindex{carqg}~$p$~.
\end{itemize}

\subsection{Music score without clefs or with special clefs}

 Regardless of the number of lines of the staffs, an instrument may
have no clefs, e.g. for \itxem{percussion music} but one can also replace
to clef with, e.g., the gregorian {\it alto clef} by re-declaring the
\verb|\clefdut| macro: \verb|\def\clefdutiv{\gclefdut}| will cause the
instrument number 4 to exhibit a gregorian C clef.


--                  Peter Vanroose
                    Electrotechnical Department (ESAT/MI2)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be

From mutex-owner@mail2.gmd.de Fri Apr 12 10:52:17 1996
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Date: Fri, 12 Apr 1996 11:52:17 +0100
To: mutex@stolaf.edu
From: fredriks@abel.math.umu.se (Fredrik Stahl)
Subject: Re: MusicTeX and Macintosh
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I tried for some time to get MusicTeX to work with Textures, but gave up
after a while. Most of the problems arise because of Textures
non-TeX-standard way of handling fonts. The solution is to get another TeX
package for the mac. I use OzTeX which is shareware and much faster than
Textures (at least in my setup). It's much easier to configure and you get
much better control of the TeX setup.

I couldn't even typeset more than minimal scores with Textures because it's
impossible (as far as I know) to change the memory settings for the
different stacks used by TeX in Textures. I cannot understand why they made
the program that way - packages that are easy to install on other systems
are almost impossible to install with Textures. (In some cases you can buy
the packages and fonts in the right format from Blue Sky, of course. One
wonders if there's a commercial idea behind this. In that case it's totally
opposite to the idea behind TeX.)

Get OzTeX!

-------------------------------------------------------------------
Fredrik Stahl                    Tel: int + 90 166027
Math. Dept., Umea University     Fax: int + 90 165222
S-90187 Umea, SWEDEN             E-mail: fredriks@abel.math.umu.se
        *** Nemo saltat sobrius, nisi forte insanit ***
-------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Sun Apr 14 13:51:00 1996
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From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: MusiXTeX question (2)
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> I would like to put \octtreble on the higher
> staff and the normal treble key on the lower
> one. Is that possible?

Yes. (Appended)

> Is there any way of getting dotted ties and
> slurs in MusiXTeX?

Yes. Next public distributed Version (presumable V0.61) will contain
a PS-solution for this kind of doing, coded by Stanislav Kneifl. 
You need a PS-printer or ghostscript.
Perhaps they will be distributed as bitmap-fonts too.

Some remarks:
1) MusiXTeX will be OpusTeX
   (Version already distributed to developers and few loyal beta-tester)
2) Several people are coding today, this takes much more time than before,
   but will bring a very lot of additional features.
3) Use *ALWAYS* for *EVERY* spacing note a \notes..\en pair.
   Reason: This allows the automatic insertion of additional space for
           accidentals (today \qspace, \nspace).
           This allows the automatic choose of spacing: \autonotes or \an
           (today \notes, \notesp, \Notes, ....), which simplify the
           input and especially the extract of single instruments of a 
           polyphonic piece.

Besides:
Greetings to the man, who had spoken of implicite agreement and still
overlooks the explicite copyright:

"His conscience was clear, he never used it."                   St. J. Lec

Andreas

----------------------------------------------------------------------------

% For OpusTeX remove lines, which contain '%<=' and uncomment lines, which
% contain '%%'

\input musixtex % <=
\input musixhea % <=
\input musixsys % <=

%%\input opustex
%%\input opushea
%%\input opussys

\headtitle{De skall g{\aa} till den heliga staden}
\subtitle{Sv. ps. 172}
\composer{Robert Storlind}
\maketitle

\instrumentnumber2

\setclefsymbol2\octtreble
\bracetop2

\setname1{\raise19\Internote\hbox{Orgel }} %<=
%%\setbracename{Orgel } % or similar
\bracebot1

\interstaff{10}
\generalsignature{-1}
\generalmeter\meterC

\startbarno0\startpiece
\addspace\afterruleskip % or \qspace
\Notes\qr&\Dqbd ji\en
\bar%1
\NOtes\hr&\qu h\en
\Notes&\Dqbu gf\en
\Notes\er\cd k&\qu e\en
\Notes\ibd0h{-2}\zq h\qb0j\zq g\tbdq0i&\Dqbd ji\en
\bar%2
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qu h\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\Dqbu gf\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\qu e\en
\Notes\ibu0h2\zq f\qb0h\zq g\tbuq0i&\Dqbd ji\en
\bar%3
\Notes\ibd0h2\zq h\qb0j\zq i\tbdq0k&\qu h\en
\Notes\ibd0h{-2}\zq h\qb0j\zq g\tbdq0i&\Dqbu gf\en
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qu g\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\Dqbd ji\en
\bar%4
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qu h\en
\Notes\ibu0d2\zq b\qb0d\zq c\tbuq0e&\Dqbu gf\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\qu g\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\Dqbd hi\en
\bar%5
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qd j\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\qu h\en
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qd k\en
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\Dqbd ji\en
\bar%6
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qd j\en
\Notes\ibu0b2\zq N\qb0b\zq a\tbuq0c&\qu h\en
\Notes\ibu0d2\zq b\qb0d\zq c\tbuq0e&\qd i\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\Dqbu hg\en
\bar%7
\NOtes\zq f\qu h&\itied0f\wh f\en
\Notes\ibu0h{-2}\zq e\qb0h\en
\nspace
\Notes\loffset{.3}{\fl e}\zq e\tbuq0{_h}\en
\nspace
\Notes\ibu0g0\zq{_d}\qb0g\en
\nspace
\Notes\zq c\tbuq0{_g}\en
\Notes\itieu1f\zqu f\ibd0a{-1}\qb0a\en
\qspace
\Notes\loff{\sh M}\sh N\zq M\roff{\tbdq0N}\en
\qspace
\bar%8
\NOTEs\ttie1\zw{Ma}\wh f&\ttie0\wh f\en
\Endpiece\bye

----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Sun Apr 14 13:48:00 1996
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Received: by wob.maus.de via UUCP; Sun, 14 Apr 96 15:48:00 +0200 for mutex@gmd.de
From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: Two MusiXTeX questions (1)
Message-Id: <199604141548.p22166@wob.maus.de>
Date: Sun, 14 Apr 96 15:48:00 +0200
Organization: Maus BB - Public BBS & Internet Site - member of MausNet(R)
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> This is an extract from Leos Jansscek's "In
> the mist", part two, original bars 18
> and 17--27.

Nice.

> I would like to know why the bars 7a--9 don't
> fit into one line.

Well. There is a short part in doc, called "MusiXTeX's laws".

1) Read it.
2) Read it again.
3) Think about.
4) Search.
5) "Oops".

Alternative:

1) Compile the appended C-source (or send a request to one of the
   'system support people', see doc)
2) run 'caution [filename]'
3) You will get an additional file: [filename].cau
4) Search for '%>>>'
5) "Oops".

> [...] I have succeeded
> in writing down the whole piece on five pages,
> but since the last page got only two lines I
> tried to bring it down to four pages.

Enlarge the page size (\vsize), reduce the system size (\abovesytem,
\belowsystem, \interstaff, [\botinstrument]).

Alternative:

Remove all manual linebreaks and \xbar's.
Adjust \sectionlines or \mulooseness.
Because the extensive usage of beam across
bars, perhaps you have to adjust some beams.
Generally this could be changed to be done
automatic. In my notes I have never
seen SUCH a piece.

> Another question: how can I make the two
> crescendi in each of the bars 9, 10 and 11
> begin at different points?

You'll get a file for this kind of doing.
Will be included into next public distributed version.

> In the original edition, the comment "poco
> marc. il contralto", bar 5, is also marked
> in the notes in such a way that the "soprano"
> part, c-a-c-a etc., is printed with smaller
> note heads on the same beams. Is this possible
> in Musixtex?

Yes.

% small and tiny notes have to be shifted to fit on right stemmed notes
% for left stemmed notes use \...notesize[note]\normalnotesize

\def\smallzq#1{\roffset{.2}{\smallnotesize\zq{#1}\normalnotesize}}
\def\tinyzq#1{\roffset{.36}{\tinynotesize\zq{#1}\normalnotesize}}

Andreas

--- caution.c ---------------------------------------------------------
/* V0.60 */

#include <stdio.h>
#include <string.h>
#include <stdlib.h>
#include <ctype.h>

#define TRUE  1
#define FALSE 0

FILE *infile;
FILE *outfile;
char Line[256];
int  linenr;
char name_of_file[256], n_o_f[256];

int slen(char src[]){ int POS=0; while (src[++POS]) ; return(POS); }

int posi(char src[], char dest[]){
  int i=0, j=0, Dest=slen(dest), Src=slen(src);
  while (i < Src)
  { if (src[i]==dest[j]) {++j; if (j==Dest) break;}
    else j=0;
    ++i;}
  if (j==Dest) return(++i-j); else return(-1);}

int main(int argc, char *argv[]){

  int found=FALSE,
      inside=FALSE,
      posi(), slen(), i;

  if (argc<2) {printf("No filename ?"); exit(3);}
  strcpy (name_of_file, argv[1]);
  strcpy(n_o_f, strtok(name_of_file, "."));
  strcat(name_of_file, ".tex");
  infile = fopen( name_of_file, "r");
  if (!infile)
     {printf("\nFile not found: %s\n", name_of_file); exit(3);}

  strcat(n_o_f, ".cau");
  outfile = fopen(n_o_f, "w");
  if (!outfile)
     {printf("\nCan't create: %s\n", n_o_f); exit(3);}

  while (fgets(Line, (int) sizeof(Line), infile))
{
    linenr++;
    if(Line[0]==37)
      {printf("Skip    Line %i\n",linenr); fputs(Line,outfile);}
    else
 {
       printf("Inspect Line %i\n",linenr);

    if(posi(Line,"\\endpiece")>=0) inside=FALSE;

    if(posi(Line,"\\startpiece")>=0) inside=TRUE;
    if(posi(Line,"\\contpiece")>=0) inside=TRUE;
    if(posi(Line,"\\Contpiece")>=0) inside=TRUE;

    if(inside&&(posi(Line,"\\noteskip")>=0))
       fputs("%>>> Modifying of \\noteskip could cause trouble\n",outfile);

    if(inside&&(posi(Line,"\\afterruleskip")>=0))
       fputs("%>>> Don't modify \\afterruleskip behind
\\startpiece\n",outfile);

    if(inside&&(posi(Line,"\\beforeruleskip=")>=0))
       fputs("%>>> Don't modify \\beforeruleskip behind
\\startpiece\n",outfile);

    if(inside&&(posi(Line,"\\kern")>=0))
       fputs("%>>> \\kern is only allowed in zero boxes\n",outfile);

    if(inside&&(posi(Line,"\\hskip")>=0))
       fputs("%>>> \\hskip is only allowed in zero boxes\n",outfile);

    if(posi(Line,"\\off")>=0)
       fputs("%>>> Use \\off only with scaleable dimen\n",outfile);

    if(posi(Line,"\\addspace")>=0)
       fputs("%>>> Use \\addspace only with scaleable dimen\n",outfile);

    if(posi(Line, "{\\notes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\Notes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOtes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTEs")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTES")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

/* search for trouble at eoline */

    /* ignore lines with commentsign */

    if (inside&&(posi(Line,"%")<0)){

      /* skip spaces */

      i=slen(Line)-2;
      while (Line[i]==' ') --i;

      /* test last char in line */

      if (!isalpha(Line[i])) found=TRUE;
      else

        /* skip all alphachars */

        while (isalpha(Line[i])) --i;
          if (Line[i]!='\\') found=TRUE;}

    if (found){
      fputs("%>>> it could be better to add a '%' at end of next
line\n",outfile);
      found=FALSE;}
    fputs(Line,outfile);
  }}

  fclose(infile);
  fclose(outfile);
  if (!outfile) printf("\n File error: Disk full ?\n");

  return(0);
}

----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Sun Apr 14 13:51:00 1996
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  (5.67b8/IDA-1.5 for mutex-outer); Mon, 15 Apr 1996 05:15:16 +0200
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Received: by wob.maus.de via UUCP; Sun, 14 Apr 96 15:51:00 +0200 for mutex@gmd.de
From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: MusiXTeX question (2)
Message-Id: <199604141551.p22167@wob.maus.de>
Date: Sun, 14 Apr 96 15:51:00 +0200
Organization: Maus BB - Public BBS & Internet Site - member of MausNet(R)
X-Software: Erwinsgate gb0.9k (c) es@do2.maus.ruhr.de, gb@ms3.maus.westfalen.de
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> I would like to put \octtreble on the higher
> staff and the normal treble key on the lower
> one. Is that possible?

Yes. (Appended)

> Is there any way of getting dotted ties and
> slurs in MusiXTeX?

Yes. Next public distributed Version (presumable V0.61) will contain
a PS-solution for this kind of doing, coded by Stanislav Kneifl. 
You need a PS-printer or ghostscript.
Perhaps they will be distributed as bitmap-fonts too.

Some remarks:
1) MusiXTeX will be OpusTeX
   (Version already distributed to developers and few loyal beta-tester)
2) Several people are coding today, this takes much more time than before,
   but will bring a very lot of additional features.
3) Use *ALWAYS* for *EVERY* spacing note a \notes..\en pair.
   Reason: This allows the automatic insertion of additional space for
           accidentals (today \qspace, \nspace).
           This allows the automatic choose of spacing: \autonotes or \an
           (today \notes, \notesp, \Notes, ....), which simplify the
           input and especially the extract of single instruments of a 
           polyphonic piece.

Besides:
Greetings to the man, who had spoken of implicite agreement and still
overlooks the explicite copyright:

"His conscience was clear, he never used it."                   St. J. Lec

Andreas

----------------------------------------------------------------------------

% For OpusTeX remove lines, which contain '%<=' and uncomment lines, which
% contain '%%'

\input musixtex % <=
\input musixhea % <=
\input musixsys % <=

%%\input opustex
%%\input opushea
%%\input opussys

\headtitle{De skall g{\aa} till den heliga staden}
\subtitle{Sv. ps. 172}
\composer{Robert Storlind}
\maketitle

\instrumentnumber2

\setclefsymbol2\octtreble
\bracetop2

\setname1{\raise19\Internote\hbox{Orgel }} %<=
%%\setbracename{Orgel } % or similar
\bracebot1

\interstaff{10}
\generalsignature{-1}
\generalmeter\meterC

\startbarno0\startpiece
\addspace\afterruleskip % or \qspace
\Notes\qr&\Dqbd ji\en
\bar%1
\NOtes\hr&\qu h\en
\Notes&\Dqbu gf\en
\Notes\er\cd k&\qu e\en
\Notes\ibd0h{-2}\zq h\qb0j\zq g\tbdq0i&\Dqbd ji\en
\bar%2
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qu h\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\Dqbu gf\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\qu e\en
\Notes\ibu0h2\zq f\qb0h\zq g\tbuq0i&\Dqbd ji\en
\bar%3
\Notes\ibd0h2\zq h\qb0j\zq i\tbdq0k&\qu h\en
\Notes\ibd0h{-2}\zq h\qb0j\zq g\tbdq0i&\Dqbu gf\en
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qu g\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\Dqbd ji\en
\bar%4
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qu h\en
\Notes\ibu0d2\zq b\qb0d\zq c\tbuq0e&\Dqbu gf\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\qu g\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\Dqbd hi\en
\bar%5
\Notes\ibu0h{-2}\zq f\qb0h\zq e\tbuq0g&\qd j\en
\Notes\ibu0f{-2}\zq d\qb0f\zq c\tbuq0e&\qu h\en
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qd k\en
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\Dqbd ji\en
\bar%6
\Notes\ibu0d{-2}\zq b\qb0d\zq a\tbuq0c&\qd j\en
\Notes\ibu0b2\zq N\qb0b\zq a\tbuq0c&\qu h\en
\Notes\ibu0d2\zq b\qb0d\zq c\tbuq0e&\qd i\en
\Notes\ibu0f2\zq d\qb0f\zq e\tbuq0g&\Dqbu hg\en
\bar%7
\NOtes\zq f\qu h&\itied0f\wh f\en
\Notes\ibu0h{-2}\zq e\qb0h\en
\nspace
\Notes\loffset{.3}{\fl e}\zq e\tbuq0{_h}\en
\nspace
\Notes\ibu0g0\zq{_d}\qb0g\en
\nspace
\Notes\zq c\tbuq0{_g}\en
\Notes\itieu1f\zqu f\ibd0a{-1}\qb0a\en
\qspace
\Notes\loff{\sh M}\sh N\zq M\roff{\tbdq0N}\en
\qspace
\bar%8
\NOTEs\ttie1\zw{Ma}\wh f&\ttie0\wh f\en
\Endpiece\bye

----------------------------------------
Do NOT send files > 16KB per DAY to me !

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Received: by wob.maus.de via UUCP; Sun, 14 Apr 96 15:48:00 +0200 for mutex@gmd.de
From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: Two MusiXTeX questions (1)
Message-Id: <199604141548.p22166@wob.maus.de>
Date: Sun, 14 Apr 96 15:48:00 +0200
Organization: Maus BB - Public BBS & Internet Site - member of MausNet(R)
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> This is an extract from Leos Jansscek's "In
> the mist", part two, original bars 18
> and 17--27.

Nice.

> I would like to know why the bars 7a--9 don't
> fit into one line.

Well. There is a short part in doc, called "MusiXTeX's laws".

1) Read it.
2) Read it again.
3) Think about.
4) Search.
5) "Oops".

Alternative:

1) Compile the appended C-source (or send a request to one of the
   'system support people', see doc)
2) run 'caution [filename]'
3) You will get an additional file: [filename].cau
4) Search for '%>>>'
5) "Oops".

> [...] I have succeeded
> in writing down the whole piece on five pages,
> but since the last page got only two lines I
> tried to bring it down to four pages.

Enlarge the page size (\vsize), reduce the system size (\abovesytem,
\belowsystem, \interstaff, [\botinstrument]).

Alternative:

Remove all manual linebreaks and \xbar's.
Adjust \sectionlines or \mulooseness.
Because the extensive usage of beam across
bars, perhaps you have to adjust some beams.
Generally this could be changed to be done
automatic. In my notes I have never
seen SUCH a piece.

> Another question: how can I make the two
> crescendi in each of the bars 9, 10 and 11
> begin at different points?

You'll get a file for this kind of doing.
Will be included into next public distributed version.

> In the original edition, the comment "poco
> marc. il contralto", bar 5, is also marked
> in the notes in such a way that the "soprano"
> part, c-a-c-a etc., is printed with smaller
> note heads on the same beams. Is this possible
> in Musixtex?

Yes.

% small and tiny notes have to be shifted to fit on right stemmed notes
% for left stemmed notes use \...notesize[note]\normalnotesize

\def\smallzq#1{\roffset{.2}{\smallnotesize\zq{#1}\normalnotesize}}
\def\tinyzq#1{\roffset{.36}{\tinynotesize\zq{#1}\normalnotesize}}

Andreas

--- caution.c ---------------------------------------------------------
/* V0.60 */

#include <stdio.h>
#include <string.h>
#include <stdlib.h>
#include <ctype.h>

#define TRUE  1
#define FALSE 0

FILE *infile;
FILE *outfile;
char Line[256];
int  linenr;
char name_of_file[256], n_o_f[256];

int slen(char src[]){ int POS=0; while (src[++POS]) ; return(POS); }

int posi(char src[], char dest[]){
  int i=0, j=0, Dest=slen(dest), Src=slen(src);
  while (i < Src)
  { if (src[i]==dest[j]) {++j; if (j==Dest) break;}
    else j=0;
    ++i;}
  if (j==Dest) return(++i-j); else return(-1);}

int main(int argc, char *argv[]){

  int found=FALSE,
      inside=FALSE,
      posi(), slen(), i;

  if (argc<2) {printf("No filename ?"); exit(3);}
  strcpy (name_of_file, argv[1]);
  strcpy(n_o_f, strtok(name_of_file, "."));
  strcat(name_of_file, ".tex");
  infile = fopen( name_of_file, "r");
  if (!infile)
     {printf("\nFile not found: %s\n", name_of_file); exit(3);}

  strcat(n_o_f, ".cau");
  outfile = fopen(n_o_f, "w");
  if (!outfile)
     {printf("\nCan't create: %s\n", n_o_f); exit(3);}

  while (fgets(Line, (int) sizeof(Line), infile))
{
    linenr++;
    if(Line[0]==37)
      {printf("Skip    Line %i\n",linenr); fputs(Line,outfile);}
    else
 {
       printf("Inspect Line %i\n",linenr);

    if(posi(Line,"\\endpiece")>=0) inside=FALSE;

    if(posi(Line,"\\startpiece")>=0) inside=TRUE;
    if(posi(Line,"\\contpiece")>=0) inside=TRUE;
    if(posi(Line,"\\Contpiece")>=0) inside=TRUE;

    if(inside&&(posi(Line,"\\noteskip")>=0))
       fputs("%>>> Modifying of \\noteskip could cause trouble\n",outfile);

    if(inside&&(posi(Line,"\\afterruleskip")>=0))
       fputs("%>>> Don't modify \\afterruleskip behind
\\startpiece\n",outfile);

    if(inside&&(posi(Line,"\\beforeruleskip=")>=0))
       fputs("%>>> Don't modify \\beforeruleskip behind
\\startpiece\n",outfile);

    if(inside&&(posi(Line,"\\kern")>=0))
       fputs("%>>> \\kern is only allowed in zero boxes\n",outfile);

    if(inside&&(posi(Line,"\\hskip")>=0))
       fputs("%>>> \\hskip is only allowed in zero boxes\n",outfile);

    if(posi(Line,"\\off")>=0)
       fputs("%>>> Use \\off only with scaleable dimen\n",outfile);

    if(posi(Line,"\\addspace")>=0)
       fputs("%>>> Use \\addspace only with scaleable dimen\n",outfile);

    if(posi(Line, "{\\notes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\Notes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOtes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTes")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTEs")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

    if(posi(Line, "{\\NOTES")>=0)
       fputs("%>>> Use \\notes only top level (not inside zero
boxes)\n",outfile);

/* search for trouble at eoline */

    /* ignore lines with commentsign */

    if (inside&&(posi(Line,"%")<0)){

      /* skip spaces */

      i=slen(Line)-2;
      while (Line[i]==' ') --i;

      /* test last char in line */

      if (!isalpha(Line[i])) found=TRUE;
      else

        /* skip all alphachars */

        while (isalpha(Line[i])) --i;
          if (Line[i]!='\\') found=TRUE;}

    if (found){
      fputs("%>>> it could be better to add a '%' at end of next
line\n",outfile);
      found=FALSE;}
    fputs(Line,outfile);
  }}

  fclose(infile);
  fclose(outfile);
  if (!outfile) printf("\n File error: Disk full ?\n");

  return(0);
}

----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Mon Apr 15 08:46:08 1996
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Date: Mon, 15 Apr 1996 09:46:08 +0100
To: mutex@stolaf.edu
From: fredriks@abel.math.umu.se (Fredrik Stahl)
Subject: OzTeX
Sender: owner-mutex@mail2.gmd.de
Precedence: bulk
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Will Self asked me to post where to get OzTeX. It can be found, together
with other TeX software at the nearest CTAN site. I have included the
README.mirrors file. I use OzTeX together with Alpha, which is an
emacs-compatible text editor.
OzTeX and Alpha can be found in the directory systems/mac. There is also a
mac version of BibTeX, the Excalibur spellchecker etc.

You could try some other mac implementation of TeX, i.e. CMacTeX or
DirectTeX. I prefer OzTeX but YMMV.

>In order to reduce network load, it is recommended that you use the
>Comprehensive TeX Archive Network (CTAN) host which is located in the
>closest network proximity to your site.  Alternatively, you may wish to
>obtain a copy of the CTAN via CD-ROM (see help/CTAN.cdrom for details).
>
>Known partial mirrors of the CTAN reside on (alphabetically):
>  ftp.adfa.oz.au (Australia)            /pub/tex/ctan
>  ftp.fcu.edu.tw (Taiwan)               /pub2/tex
>  ftp.germany.eu.net (Deutschland)      /pub/packages/TeX
>  ftp.cs.ruu.nl (The Netherlands)       /pub/tex-archive
>  ftp.uu.net (Virginia, USA)            /pub/text-processing/TeX
>  nic.switch.ch (Switzerland)           /mirror/tex
>  sunsite.dsi.unimi.it (Italia)         /pub/TeX
>
>Known mirrors of the CTAN reside on (alphabetically):
>  dongpo.math.ncu.edu.tw (Taiwan)       /tex-archive
>  gw.pacbell.com (California, USA)      /mirror/ftp.shsu.edu/tex-archive
>  ftp.center.osaka-u.ac.jp (Japan)      /CTAN
>  ftp.ccu.edu.tw (Taiwan)               /pub/tex
>  ftp.cdrom.com (West coast, USA)       /pub/tex/ctan
>  ftp.cs.rmit.edu.au  (Australia)       /tex-archive
>  ftp.duke.edu (North Carolina, USA)    /tex-archive
>  ftp.ee.up.ac.za (South Africa)        /tex-archive
>  ftp.funet.fi (Finland)                /pub/TeX/CTAN
>  ftp.gwdg.de (Deutschland)             /pub/dante
>  ftp.jussieu.fr (France)               /pub4/TeX/CTAN
>  ftp.loria.fr (France)                 /pub/unix/tex/ctan
>  ftp.mpi-sb.mpg.de (Deutschland)       /pub4/tex/mirror/ftp.dante.de
>  ftp.muni.cz (The Czech Republic)      /pub/tex/CTAN
>  ftp.rge.com (New York, USA)           /pub/tex
>  ftp.riken.go.jp (Japan)               /pub/tex-archive
>  ftp.uni-augsburg.de (Deutschland)     /tex-archive
>  ftp.uni-bielefeld.de (Deutschland)    /pub/tex
>  ftp.unina.it (Italia)                 /pub/TeX
>  ftp.uni-stuttgart.de (Deutschland)    /tex-archive (/pub/tex)
>  ftp.univie.ac.at (\"Osterreich)       /packages/tex
>  ftp.u-aizu.ac.jp (Japan)              /pub/tex/CTAN
>  ftpserver.nus.sg (Singapore)          /pub/zi/TeX
>  kadri.ut.ee (Estonia)                 /pub/tex
>  src.doc.ic.ac.uk (England)            /packages/tex/uk-tex
>  sunsite.icm.edu.pl (Poland)           /pub/CTAN
>  sunsite.unc.edu (North Carolina, USA) /pub/packages/TeX
>  wuarchive.wustl.edu (Missouri, USA)   /packages/TeX
>
>Please send updates to this list to <ctan@shsu.edu>.
>
>The participating hosts in the Comprehensive TeX Archive Network are:
>  ftp.dante.de  (Deutschland)
>       -- anonymous ftp                 /tex-archive (/pub/tex /pub/archive)
>       -- gopher on node gopher.dante.de
>       -- e-mail via ftpmail@dante.de
>       -- World Wide Web access on www.dante.de
>       -- Administrator: <ftpmaint@dante.de>
>  ftp.shsu.edu  (Texas, USA)
>       -- anonymous ftp and gopher      /tex-archive (/pub/tex /pub/archive)
>       -- NFS mountable from ftp.SHSU.edu:/pub/ftp/tex-archive
>       -- e-mail via ftpmail@ftp.SHSU.edu
>       -- World Wide Web access on www.SHSU.edu
>       -- Administrator: <CTAN-Mgr@SHSU.edu>
>  ftp.tex.ac.uk (England)
>       -- anonymous ftp                 /tex-archive (/pub/tex /pub/archive)
>       -- gopher on node gopher.tex.ac.uk
>       -- NFS mountable from nfs.tex.ac.uk:/public/ctan/tex-archive
>       -- World Wide Web access on www.tex.ac.uk
>       -- Administrator: <ctan-uk@tex.ac.uk>

-------------------------------------------------------------------
Fredrik Stahl                    Tel: int + 90 166027
Math. Dept., Umea University     Fax: int + 90 165222
S-90187 Umea, SWEDEN             E-mail: fredriks@abel.math.umu.se
        *** Nemo saltat sobrius, nisi forte insanit ***
-------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Apr 16 13:50:14 1996
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Date: Tue, 16 Apr 96 08:50:14 CDT
From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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	id AA29184; Tue, 16 Apr 96 08:50:13 CDT
To: dsimons@logicon.com
Cc: mutex@gmd.de
Subject: Re: Re[2]: PMX
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> > > John--
> > > 
> > >    I think I have succeeded in compiling the pmx FORTRAN on a sun.  I've 
> > > placed the alleged executables on the server ftp.logicon.com in directory 
> > > ongoing/dnacwe/pmx. They are named pmxasun and pmxbsun. Give'em a try and 
> > > let me know what happens.
> > > 
> > > --Don (dsimons@logicon.com)
> >
> > Don
> >
> > Close.  I get the following error:
> > 
> > ld.so: libF77.so.1: not found
> > 
> > Apparently, the executable is looking for a shared library (Unix
> > version of a DLL) called libF77.so.1 and can't find it on my machine.
> > There's probably a different link option that you need to use cause
> > the F77 library to be linked in with the executable rather than
> > referenced as a shared library.
> > 
> > John
>
> John-- 
> 
> I think I solved the problem.  I've replaced the originals with a new 
> pair of executables (ftp.logicon.com, ongoing/dnacwe/pmx).  Please try 
> them out and give me a report.
> 
> --Don

Success!  There were only a couple anomolies when processing the
testpmx score that I want to make sure are harmless.

  1)  I got an overfull \hbox (520ish pt too wide) detected at line 171
      during both TeX passes, but nothing looked wrong with the score (i.e.,
      no notes off the right side and no overfull hbox bar) except...

  2)  When I viewed the score using xdvi, there was a small dash rendered
      off the page to the right near the bottom of page 1 that may have
      something to do with the overfull hbox message.

  3)  There is an empty set of italic parentheses at the bottom of each page 
      opposite the page number.  I assume this is where a title would go
      if one was specified.

Thanks a bundle!

John

From mutex-owner@mail2.gmd.de Wed Apr 17 16:04:31 1996
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	id SAA25099;
	Wed, 17 Apr 1996 18:04:31 +0200 (MET DST)
Date: Wed, 17 Apr 1996 18:04:31 +0200 (MET DST)
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To: mutex@stolaf.edu, mutex@gmd.de
From: Andreas Wittig <maaw@idefix.rz.tu-clausthal.de>
Subject: Re:help musictex macro for guitar TAB
Sender: owner-mutex@mail2.gmd.de
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Gareth Wyn Lewis wrote:
> I am fairly new to MusicTeX, and I want to produce transcriptions for
guitar which have the
> conventional music stave but also a TAB music stave for each line.
> Are there any macros which will produce a TAB stave with the corresponding
string tunings by
> each of the six lines ? 
> Has anyone written one or know of a sites I could try searching?

Yes there are.
1. MusiXTeX by Andreas Egler has the abability to write Guitar-tabulature.
   This feature is still under construction but will work very profesional if it
   should finish some time. Available at all CTAN-Servers (eg ftp.tex.ac.uk
or ftp.dante.de)

2. GuitarTeX is a macro package building on MusicTeX by Daniel Taupin. This
package is written by
   me, but never released to the public officialy. To use GuitarTex the code
of (the ancient)
   MusicTeX had to be fitted at approximately 5 locations. I asked Daniel
Taupin for the needed
   support by MusicTeX but he never answered. (Possibly he worked already on
MusixTeX)
   The one who gave feedback was Andreas Egler; he fitted the package to
MusiXTeX; i.e.
   wrote almost everything new. (Continue at step 1.)
   The whole story acted one year ago.

3. Currently I have a personal GuitarTeX with a personal version of
MusicTeX. Features of GuitarTeX
      - every possible staff in a system may be a TAB
      - as many TABs as staffs are allowed
      - some special notations as hammering, pull off and so on
      - (more or less) complex pattern diagrams; usable for chord symbols or
scale diagrams
      - 12 sizes; ranging from very small like note-staffs up to large for
beginners
    drawbacks:
      - currently only 6 string-guitars supported
      - users manual not fully complete
      - no 'official' support by underlaying Musi[xXc]TeX
      - I got a commercial full time job since a half year
        ==> no time for support as one would expect

By. Andreas Wittig.


From mutex-owner@mail2.gmd.de Wed Apr 17 15:03:04 1996
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Date: Wed, 17 Apr 1996 17:03:04 +0200
To: mutex@stolaf.edu
From: frigeni@mbox.vol.it (Maurizio Frigeni)
Subject: classical scores
Sender: owner-mutex@mail2.gmd.de
Precedence: bulk
X-Charset: LATIN1
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Since I am a beginner with MusicTeX, I don't know if there exist public
domain classical music scores written with MusicTeX, and where I can find
them. Can anyone help me? Thanks.

                                                              Maurizio
                                                        frigeni@mbox.vol.it



From mutex-owner@mail2.gmd.de Wed Apr 17 16:04:31 1996
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	id SAA25099;
	Wed, 17 Apr 1996 18:04:31 +0200 (MET DST)
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To: mutex@stolaf.edu, mutex@gmd.de
From: Andreas Wittig <maaw@idefix.rz.tu-clausthal.de>
Subject: Re:help musictex macro for guitar TAB
Sender: owner-mutex@mail2.gmd.de
Precedence: bulk
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Gareth Wyn Lewis wrote:
> I am fairly new to MusicTeX, and I want to produce transcriptions for
guitar which have the
> conventional music stave but also a TAB music stave for each line.
> Are there any macros which will produce a TAB stave with the corresponding
string tunings by
> each of the six lines ? 
> Has anyone written one or know of a sites I could try searching?

Yes there are.
1. MusiXTeX by Andreas Egler has the abability to write Guitar-tabulature.
   This feature is still under construction but will work very profesional if it
   should finish some time. Available at all CTAN-Servers (eg ftp.tex.ac.uk
or ftp.dante.de)

2. GuitarTeX is a macro package building on MusicTeX by Daniel Taupin. This
package is written by
   me, but never released to the public officialy. To use GuitarTex the code
of (the ancient)
   MusicTeX had to be fitted at approximately 5 locations. I asked Daniel
Taupin for the needed
   support by MusicTeX but he never answered. (Possibly he worked already on
MusixTeX)
   The one who gave feedback was Andreas Egler; he fitted the package to
MusiXTeX; i.e.
   wrote almost everything new. (Continue at step 1.)
   The whole story acted one year ago.

3. Currently I have a personal GuitarTeX with a personal version of
MusicTeX. Features of GuitarTeX
      - every possible staff in a system may be a TAB
      - as many TABs as staffs are allowed
      - some special notations as hammering, pull off and so on
      - (more or less) complex pattern diagrams; usable for chord symbols or
scale diagrams
      - 12 sizes; ranging from very small like note-staffs up to large for
beginners
    drawbacks:
      - currently only 6 string-guitars supported
      - users manual not fully complete
      - no 'official' support by underlaying Musi[xXc]TeX
      - I got a commercial full time job since a half year
        ==> no time for support as one would expect

By. Andreas Wittig.


From mutex-owner@mail2.gmd.de Wed Apr 17 18:25:20 1996
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Date: Wed, 17 Apr 1996 20:25:20 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199604171825.AA21188@sunick.gmd.de>
To: mutex@stolaf.edu
Subject: Re: classical scores
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> Since I am a beginner with MusicTeX, I don't know if there exist public
> domain classical music scores written with MusicTeX, and where I can find
> them. Can anyone help me? Thanks.

Refer to  ftp.gmd.de  which contains a lot of scores of classical music.
Some of them are typeset with MusicTeX or MusiXTeX esp. those in
the directories "taupin" or "knopper" and my editions under "bach", "bloch", 
"corelli", "mozart", "kirnberger", "schuetz".

For some scores there is a (partial) MusicTeX- or MusiXTeX source.
The Kirnberger Menuet contains a source and a "Menuet"-generator :-)

By anonymous ftp you have to go to   /music/scores/...

It's easier using a Web-Browser:

   http://www.gmd.de/Misc/Music/        follow the link "Sheet Music"

Hope this hilft   -- Werner

From mutex-owner@mail2.gmd.de Wed Apr 17 21:02:13 1996
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From: "Don Simons" <dsimons@logicon.com>
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Subject: Re: classical scores
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To: mutex@stolaf.edu
From: frigeni@mbox.vol.it (Maurizio Frigeni)
Subject: classical scores
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frigeni@mbox.vol.it (Maurizio Frigeni) wrote

>Since I am a beginner with MusicTeX, I don't know if there exist public
>domain classical music scores written with MusicTeX, and where I can find
>them. Can anyone help me? Thanks.

The musictex distribution sites should all include a bunch of scores.  
I believe the documentation that comes with musictex tells you how to 
use them.  I know this is the case for MusiXTeX.

--Don Simons (dsimons@logicon.com)



From mutex-owner@mail2.gmd.de Thu Apr 25 13:20:35 1996
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Date: Thu, 25 Apr 1996 08:20:35 -0500 (CDT)
From: Ray McKinney <rem3614@tam2000.tamu.edu>
Reply-To: ray-m@tamu.edu
To: mutex@gmd.de
Subject: Re: MusiXFLeX for the Mac
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On Tue, 9 Apr 1996, Werner Icking wrote:

>Dear MusiXTeX-ers,
>
>I found a kind person (Christoph "bIQHurgh" Pfisterer, chrisp@ardanwen.sax.de)
>who generated a first simple version of "musixflx" for the Mac. I put
>it as "musixflx.hqx" on  ftp.gmd.de /music/musixtex/  until Daniel Taupin
>integrates it into musixtex.zip. Don't forget to fetch it as "MacBinary".
>
> It's a simple program which must be put into that folder where the mx1-file

A BinHexed file (one with .hqx) is an ASCII text file, so you do not
have to use MacBinary.  Transferring as text will be somewhat faster.

Ray



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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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Hello,

I just tried building the MusiXTeX documentation for the T.53 version 
to fit US paper and it can't find the file "modifacc.tex."  Where
would I be most likely to find this file?  Thanks.

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com


From mutex-owner@mail2.gmd.de Tue Apr 30 10:02:51 1996
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To: Gareth.Lewis@astro.cf.ac.uk
From: Andreas Wittig <maaw@idefix.rz.tu-clausthal.de>
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>Daniel Taupin wrote: 
>> 
>> Gareth Wyn Lewis wrote:
>> > I am fairly new to MusicTeX, and I want to produce transcriptions for
>> guitar which have the
>> > conventional music stave but also a TAB music stave for each line.
>> > Are there any macros which will produce a TAB stave with the corresponding
>> string tunings by
>> > each of the six lines ? 
>> > Has anyone written one or know of a sites I could try searching?
>> 
>> Yes there are.
>> 1. MusiXTeX by Andreas Egler has the abability to write Guitar-tabulature.
>>    This feature is still under construction but will work very
profesional if it
>>    should finish some time. Available at all CTAN-Servers (eg ftp.tex.ac.uk
>> or ftp.dante.de)
>> 
>
>  Guitar tablatures are also available in MusiXTeX by me (Taupin). Note
that Egler's MusiXTeX is now called >"opustex".

This is not true. (up to now, i.e. on CTAN available versions of MusiXTeX)
Look at the example 'wish you were here' (WISH_YOU) of the
OpusTeX-distribution to see a tabulature.
The \setline macro of MusiXTex has nothind to do with a tabulature.
Daniel: Your (often heard) comment: 'real guitar players hate guitar
tabulatures' is also not true.
There are a lot of discussions about this topic. We don't need exchange the
arguments now.
->  What are 'real' players ?
->  Do you know one who says: ' I'm a real player? '
->  MusiXTeX / OpusTeX should be a (universal) TOOL to serve a job (as TeX
itself) and should not
    measure it's contents. I admit: It's your child; I may use it or not.

Andreas Wittig


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Date: Tue, 30 Apr 1996 14:46:38 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Guitar notation when the player is intended to use a capo
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I have a simple question - I have a little tune which I sing in the key
of F major.  I accompany it playing my guitar with the capo on fret 3.
So when I play a D-major chord shape it sounds in F major.  When I write
the accompaniment out (in the treble clef - not in guitar tablature) 
should I write it in D or in F ?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From mutex-owner@mail2.gmd.de Tue Apr 30 14:06:52 1996
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Date: Tue, 30 Apr 1996 15:06:52 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Notation for harmonics
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I confess to being a bit of a Luddite in that I haven't yet upgraded
from MusicTeX to MusixTeX.  Now, however, I should like to write a tune
using the little diamond shaped notes to signify harmonics.  Does this
mean I have to take the plunge and upgrade to MusixTeX, or is there some
simple way of using them in MusicTeX ?  I am currently using MusicTeX
5.12 and I am afraid it will take me a lot of time to get my old pieces
transferred from MusicTeX to MusixTeX.

Your advice or recommendations would be much appreciated.

Thanks,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

From mutex-owner@mail2.gmd.de Tue Apr 30 14:55:36 1996
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To: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
Cc: mutex@gmd.de
Subject: Re: Guitar notation when the player is intended to use a capo 
In-Reply-To: Your message of "Tue, 30 Apr 1996 14:46:38 BST."
             <199604301348.AA22203@mail.gmd.de> 
Date: Tue, 30 Apr 1996 15:55:36 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I have a simple question - I have a little tune which I sing in the key
> of F major.  I accompany it playing my guitar with the capo on fret 3.
> So when I play a D-major chord shape it sounds in F major.  When I write
> the accompaniment out (in the treble clef - not in guitar tablature) 
> should I write it in D or in F ?

You pays your money and you takes your choice.

If you're a recorder player, you're expected to be able to transpose
(as between the sopranino, the treble and the bass in F, and the
descant and the tenor in C) -- the stuff is all written untransposed.

If you're a humble clarinet player (like me) you expect to have the
stuff written out for you so that the written C actually means Bflat
(in my case, mostly -- there are lots of different clarinets).  Really
macho clarinet playing involves transposing on the fly; the nearest
I've come to doing that is playing a viola part "as if it were bass
clef", and that was rather much for my tiny brain.

So where does that leave you?  Well ... I would say, it leaves you
without any advice at all.  Write your guitar music how it seems nice
to you!

Robin

From mutex-owner@mail2.gmd.de Tue Apr 30 15:40:17 1996
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Date: Tue, 30 Apr 1996 17:40:17 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199604301540.AA25319@sunick.gmd.de>
To: mutex@gmd.de, pmcilroy@bt-sys.bt.co.uk
Subject: Re: Notation for harmonics
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> Date: Tue, 30 Apr 1996 15:06:52 +0100
> From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>

> simple way of using them in MusicTeX ?  I am currently using MusicTeX
> 5.12 and I am afraid it will take me a lot of time to get my old pieces
> transferred from MusicTeX to MusixTeX.

There's no need to give-up MusicTeX, when installing MusiXTeX. There are
no conflicting names. I've MuTeX, MusicTeX and MusiXTeX-sources and all
three installed under emTeX.

After installing MusiXTeX you can try to process your MusicTeX-sources
using  musixcpt.tex (when using the T-versions of MusiXTeX). It's possible
that you do not need any modification except  \input musixcpt  (which
may be done in a seperate ini-file) and get better results than with
MusicTeX alone. 

I always thought that some way of compatibility would be a good solution.
  
> Your advice or recommendations would be much appreciated.

Hope this hilft    -- Werner

From mutex-owner@mail2.gmd.de Tue Apr 30 17:46:56 1996
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From: "Don Simons" <dsimons@logicon.com>
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To: mutex@gmd.de
Subject: Re: Notation for harmonics
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Several possibilities come to mind:

1.  I think musictex and musixtex can coexist, if you have enough disk 
space.

2.  I know that one of the guiding principles in Taupin's version of 
musixtex was to maintain compatibility with musixtex (through 
musixcpt.tex), so maybe you could use you old files directly with 
musixtex.

3.  If you're an adventurous TeXer, maybe you could figure out which 
font makes the diamonds and figure out some way to use them in 
musictex.

If I were you, I'd install musixtex, if only because the slurs are 
infinitely better than in musictex.

--Don Simons (dsimons@logicon.com)

______________________________ Reply Separator _________________________________
Subject: Notation for harmonics
Author:  Paul McIlroy <pmcilroy@bt-sys.bt.co.uk> at INTERNET-MAIL
Date:    4/30/96 3:06 PM


I confess to being a bit of a Luddite in that I haven't yet upgraded
from MusicTeX to MusixTeX.  Now, however, I should like to write a tune
using the little diamond shaped notes to signify harmonics.  Does this
mean I have to take the plunge and upgrade to MusixTeX, or is there some
simple way of using them in MusicTeX ?  I am currently using MusicTeX
5.12 and I am afraid it will take me a lot of time to get my old pieces
transferred from MusicTeX to MusixTeX.

Your advice or recommendations would be much appreciated.

Thanks,

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

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Date: Tue, 30 Apr 1996 15:06:52 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Notation for harmonics
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From mutex-owner@mail2.gmd.de Tue Apr 30 19:06:00 1996
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Date: Tue, 30 Apr 96 14:06:00 CDT
From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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To: Werner.Icking@gmd.de
Cc: mutex@gmd.de
Subject: musixcpt (was Re: Notation for harmonics)
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> Date: Tue, 30 Apr 1996 17:40:17 +0200
> From: Werner Icking <Werner.Icking@gmd.de>
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> 
> > Date: Tue, 30 Apr 1996 15:06:52 +0100
> > From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
> 
> > simple way of using them in MusicTeX ?  I am currently using MusicTeX
> > 5.12 and I am afraid it will take me a lot of time to get my old pieces
> > transferred from MusicTeX to MusixTeX.
> 
> There's no need to give-up MusicTeX, when installing MusiXTeX. There are
> no conflicting names. I've MuTeX, MusicTeX and MusiXTeX-sources and all
> three installed under emTeX.
> 
> After installing MusiXTeX you can try to process your MusicTeX-sources
> using  musixcpt.tex (when using the T-versions of MusiXTeX). It's possible
> that you do not need any modification except  \input musixcpt  (which
> may be done in a seperate ini-file) and get better results than with
> MusicTeX alone. 
> 
> I always thought that some way of compatibility would be a good solution.
>   
> > Your advice or recommendations would be much appreciated.
> 
> Hope this hilft    -- Werner

Blindly including musixcpt has caused me problems with trills.
MusiXTeX trills are coded differently enough from MusicTeX that they
won't work if you have musixcpt in your .ini file.  I would stick
musixcpt in the source being MusiXTeX'ed rather than in an .ini file.
I converted a few MusicTex files to MusiXTeX and it wasn't a big deal.
Of course, they weren't very complicated, either.

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com
Ecce homo qui est farba!

From mutex-owner@mail2.gmd.de Wed May  1 10:03:00 1996
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From: "christopher (c.j.) rath" <crath@bnr.ca>
Message-Id:  <"22145 Wed May  1 06:03:49 1996"@bnr.ca> 
To: pmcilroy@bt-sys.bt.co.uk
Cc: mutex@gmd.de
Subject:  re:Guitar notation when the player is intended to use a capo 
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In message "Guitar notation when the player is intended to use a capo", 
'pmcilroy@bt-sys.bt.co.uk' writes:
>
>I have a simple question - I have a little tune which I sing in the key
>of F major.  I accompany it playing my guitar with the capo on fret 3.
>So when I play a D-major chord shape it sounds in F major.  When I write
>the accompaniment out (in the treble clef - not in guitar tablature) 
>should I write it in D or in F ?

Who is the melody line going to be used by?  If it's someone other
than the guitarist then the melody should definitely be done in F.

It has been my experience that music with guitar chords above simply
has a note next to the metronome mark saying "Capo 3"; and the melody
line is written in the key the vocalists would use.

Christopher
 === Christopher Rath ===== crath@bnr.ca ===== (613) 765-3141 ===
  Northern Telecom Ltd.  |
  Box 3511, Station `C'  | ``Hydrogen is a colourless, odourless
  Ottawa, ON    K1Y 4H7  | gas which, given enough time, turns
  FAX: (613) 763-4101    | into people.'' --- Henry Hiebert

From mutex-owner@mail2.gmd.de Wed May  1 14:28:31 1996
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From: C.Walshaw@greenwich.ac.uk
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Subject: REMINDER: The abc home page
To: mutex@gmd.de, IRTRAD-L@IRLEARN.UCD.IE, MORRIS@INDYCMS.IUPUI.EDU,
        C.Walshaw@greenwich.ac.uk
Date: Wed, 1 May 1996 15:28:31 +0100 (BST)
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Announcing the official abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* a list of web accessible abc collections
	* the web-wide abc index (currently with 1513 entries)
	* new developments in abc
	* a short history of abc
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Wed May  1 21:58:30 1996
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Organization: Victor A. Zamouline, Private Account, St-Petersburg
Date: Thu,  2 May 1996 01:58:30 +0400 (MSD)
From: "Victor A. Zamouline" <victor@jazz.spb.su>
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Question to whoever holds the copyright:

We are planning to do a commercial project on a CD-ROM, requiring
A LOT of musical notation. Our experience with using MusiC/XTex makes
us think it could serve as an overwhelming platform for the project.
Would it be at all possible to use the program for a commercial product,
and if it would, what would be our legal and financial obligations?
The office will be located in France (hopefully), and the sales are
expected to be worldwide (much more hopefully).

With much respect to your wonderful creation,

Victor Zamouline.
--
        ===
         =      = = = =             Vitebsky-23-5-34
         =           =              S-Petersburg 196244
         =          =   = = = =     Russia
      =     =      =         =      Tel/Fax (812)-264-1005 (private)
   =       = =    = = = =   =               (812)-172-8593 (office)
          =   =            =        Tel     (812)-172-7979 (office)
         = = = =          = = = =   E-mail   victor@jazz.spb.su
        =       =
                        V i c t o r   Z a m o u l i n e



From mutex-owner@mail2.gmd.de Sun May  5 19:57:00 1996
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> Question to whoever holds the copyright:
>
> We are planning to do a commercial project on a CD-ROM, requiring
> A LOT of musical notation. Our experience with using MusiC/XTex makes
> us think it could serve as an overwhelming platform for the project.
> Would it be at all possible to use the program for a commercial product,

(depending MusiXTeX)
NO.

Andreas Egler


----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Sun May  5 19:57:00 1996
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> Question to whoever holds the copyright:
>
> We are planning to do a commercial project on a CD-ROM, requiring
> A LOT of musical notation. Our experience with using MusiC/XTex makes
> us think it could serve as an overwhelming platform for the project.
> Would it be at all possible to use the program for a commercial product,

(depending MusiXTeX)
NO.

Andreas Egler


----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Mon May  6 08:54:41 1996
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Date: Mon, 6 May 1996 10:54:41 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199605060854.AA25971@sunick.gmd.de>
To: baumgart@sgsn01.nmg.sms.siemens.com
Subject: Re: musixcpt (was Re: Notation for harmonics)
Cc: mutex@gmd.de
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> > that you do not need any modification except  \input musixcpt  (which
> > may be done in a seperate ini-file) and get better results than with
                     ^^^^^^^^
> 
> Blindly including musixcpt has caused me problems with trills.
> MusiXTeX trills are coded differently enough from MusicTeX that they
> won't work if you have musixcpt in your .ini file.  I would stick
> musixcpt in the source being MusiXTeX'ed rather than in an .ini file. [...]

Therefor I proposed a seperate ini-file. You can have one format file
for musictex, one for musixtex and another one for musictex via
musixtex, including musixcpt.tex; ...

Werner

From mutex-owner@mail2.gmd.de Mon May  6 17:48:24 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Slurs
To: mutex@gmd.de
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In my system, the following tex code produces slurs that start and end 
at the wrong elevations:

\NOTEs\islurd0f\hu f\midslur4\tslur0{'a}\hu a\en%
\xbar
\NOTEs\islurd0f\hu f\curve433\tslur0{'a}\hu a\en%

In general, on down-slurs I have these problems.  Anybody have any 
idea what's wrong?  I'm using MusiXTeX version T-0.492.  I have removed 
musixslu.tex from the .tex directory.

--Don (dsimons@logicon.com)

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Subject: MusicTex
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Date: Tue, 07 May 1996 17:15:23 -0400
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From: Perry Cheng <Perry_Cheng@INBOX.FOX.CS.CMU.EDU>
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	I am a very new user to MusicTex.  The learning curve seems
really steep since there are so many commands and one needs to do so much
low level hacking.  I am trying to typeset a short excerpt. In particular,
the first couple of measures from the third movement of Beethoven's
Moonlight Sonata(#14).
	In the Schenker edition, the right-hand arpeggio is initially
written in the bass clef.  This means that the I need to write two groups
of stemmed notes that overlap in time in the same staff.
	I saw no example of this in the manual. nor in the examples.
In both of these, whenever there are overlapping groups of notse in the
same staff, at most one of the group is stemmed.

	Also, does anyone know of an easier to use package for typesetting
music in TeX or LaTeX?


Perry
pscheng@cs.cmu.edu

From mutex-owner@mail2.gmd.de Wed May  8 00:59:49 1996
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From: "Don Simons" <dsimons@logicon.com>
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 Perry Cheng <Perry_Cheng@INBOX.FOX.CS.CMU.EDU> wrote

> I need to write two groups
>of stemmed notes that overlap in time in the same staff.

I don't remember the syntax in MusicTeX, but in MusiXTeX, you can use something 
like

\NOtes\ibu1g0\zqb1g\ibl2e0\qb2e\tbu1\zqb1g\tbl2\qb2e\enotes

The trick is to control when spacing is inserted (i.e., when the "pointer" 
moves).  The only commands above that cause spacing are \qb.. 

>Also, does anyone know of an easier to use package for typesetting
>music in TeX or LaTeX?

There are several preprocessors out there for musi(c,x)tex: pmx (for MusiXTeX, 
max 5 staves per system, one voice per staff, so not expecially good for your 
example), mpp and abc2tex.  If you want to know more, contact me personally 
about pmx, or search for the other names on the web.

--Don Simons (dsimons@logicon.com)





From mutex-owner@mail2.gmd.de Wed May  8 14:40:07 1996
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Subject: Announcing midi2abc file converter
To: mutex@gmd.de, IRTRAD-L@IRLEARN.UCD.IE, abc@aisling.stanford.edu
Date: Wed, 8 May 1996 15:40:07 +0100 (BST)
Cc: jra@ecs.soton.ac.uk (James Allwright)
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I have written a utility for converting MIDI format files to abc notation.
This should make it possible to generate abc notation from most commercial
music packages, since most support MIDI.  It is available on the web as C 
source code (see http://diana.ecs.soton.ac.uk/~jra/midi2abc/). Here is the 
information from that web page :

midi2abc: MIDI to abc File Converter

This program converts MIDI format files to abc notation.It may be
freely redistributed and is based on the 'midifilelib' public domain
MIDI file utilities. 

The MIDI format file is converted to something as close as possible
to abc text format. The user then has to add text fields not present
in the MIDI header and possibly tidy up the abc note output. 

-     The key is chosen so as to minimize the number of
    accidentals. 
-     Note length is deduced in a heuristic manner from the
    inter-note distances. This means that you do not have to use
    the MIDI clock as a metronome when playing in a tune. 
-     Barlines are automatically inserted. The user specifies the
    number of notes in the anacrusis before the first barline and
    the number of units per bar. 
-     The output has 4 bars per line. 
-     Enough accidental signs are put in the music to ensure that
    no pitch errors occur if a barline is added or deleted. 
-     The program attempts to group notes sensibly in each bar. 
-     Triplets and broken rhythm (a>b) are supported. 
-     Chords are identified. 
-     Text information from the original MIDI file is included as
    comments. 

What midi2abc does not do : 

-     Supply tune title, composer, meter or any other field apart
    from X: and K: - these must be added by hand afterwards. 
-     Deduce whether the tune is in a major or minor key. 
-     Split notes across a barline. The program instead assumes an
    error in note sizing and extends the bar, producing a
    comment to tell you about the extra-long bar. 
-     Support staccato notes, duplets, quadruplets, other esoteric
    features. 
-     Identify mid-tune key changes. 
-     Deduce repeats. The output is just the notes in the input file. 

James Allwright,
Department of Electronics and Computer Science,
University of Southampton, UK

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To: mutex@gmd.de
Subject: Symbol help
Date: Mon, 13 May 1996 17:21:26 +0200
From: Mats Bengtsson <matsb@s3.kth.se>
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I'm typesetting a baroque piece where I need 
a symbol looking somewhat like the slash in the 
example below but with a more horisontal angle
(something like a backslash rotated 90 degrees).
If you have played french baroque music you know
what I mean. I have searched through the standard
TeX symbols but didn't find anything apropriate.
Has someone else had the same problem and found a
good solution. It seems like overkill to make a
custom font just for a tilted line.

   | 
   | 
  o  
  /  
  o  
 |   
 |   

Another question. How do I put a fermata on top of a
bar line? 

       /Mats Bengtsson
        Email: matsb@s3.kth.se


From mutex-owner@mail2.gmd.de Mon May 13 22:10:48 1996
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From: "Don Simons" <dsimons@logicon.com>
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To: mutex@gmd.de
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 Mats Bengtsson <matsb@s3.kth.se> wrote

>I'm typesetting a baroque piece where I need 
>a symbol looking somewhat like the slash in the 
>example below but with a more horisontal angle
>(something like a backslash rotated 90 degrees).

Interesting you should mention slashes.  I've been typesetting pieces 
by Nicola Matteis, an Italian from London in early 18th c. (definitely 
not French).  He uses a double slash for a generic ornament (probably 
usually a trill).  I was sure I could find a single slash with the 
right weight and slant in some existing font, and then write a macro 
to combine two of them.  After looking at lots of fonts (using 
allfnt10) I finally gave up.  Nothing had a shallow enough slope.  So 
I did just what you are trying to avoid.  It was a while back and I 
don't remember all the details.  But I did avoid having to learn much 
about metafont, by starting with an existing font and modifying an 
existing character using a program I found somewhere that lets you 
edit the bitmap.  If you end up having to go this route, and want some 
more details about what I did, let me know and I'll try to dredge them 
up.

--Don Simons (dsimons@logicon.com)


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Subject: Re: Symbol help
To: matsb@s3.kth.se (Mats Bengtsson)
Date: Tue, 14 May 1996 12:21:17 +0200 (SAT)
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In-Reply-To: <199605131521.RAA00884@spitfire.e.kth.se> from "Mats Bengtsson" at May 13, 96 05:21:26 pm
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Mats Bengtsson wrote
> 
> I'm typesetting a baroque piece where I need 
> a symbol looking somewhat like the slash in the 
> example below but with a more horisontal angle
> (something like a backslash rotated 90 degrees).
> 
LaTeX has fonts for drawing slanted lines in its picture
environment.  Try fonts line10 and linew10.

Dirk

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From: "William P. Houser" <William_P._Houser@ccmail.bms.com>
Subject: Re[2]: Symbol help
To: mutex@gmd.de
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>I'm typesetting a baroque piece where I need 
>a symbol looking somewhat like the slash in the 
>example below but with a more horisontal angle 
>(something like a backslash rotated 90 degrees).

I needed slanted lines of varying lengths and slopes for Italian lute 
tablature before MusixTeX was available. I found the \oblique command in 
one of the *.tex files that came with MusicTeX but I might have modified it 
a little--I don't remember. So, this works in MusicTeX but might not in 
MusixTeX.  While this is not a very efficient use of TeX, this might do the 
job with a smaller learning effort. (However, Metafont is not really that 
hard to use.)

Here is the \oblique command. I used 2pt for the line thickness (#3). If 
the line is being drawn from x1,y1 to x2,y2 then #2 = (y2-y1)*100/(x2-x1). 
This means that to get a "/" at 45 degrees you would give 100 for #2.  Use 
a larger number for a more vertical slope; zero for a horizontal line.
     
     
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11

\newdimen\tmp@dimenc
\newdimen\z@iii\newdimen\z@iv\newdimen\z@v

% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent,and
% height h. This will cause an unrecorded space so it should be used within
% \rlap. Note that this macro is a hack and probably gobbles up resources!
% This macro is used by some of the others which follow.

\def\oblique#1#2#3{\relax % length slope height
\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick 
depth\z@}\relax
\else\q@antum=25\lthick\divide\q@antum by #2\relax
\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi
\global\z@iv=0pt\relax
\loop\ifdim\z@iv<#1\relax
 {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax
 \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax
 \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by
 -0.5\internote
 \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi
 \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax
 \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi
 \advance\z@iii by 0.6\internote\relax
 \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth
 .5\lthick}\relax
 \global\advance\z@iv by \q@antum\relax
}\repeat
\fi
}

     
\catcode`\@=\catcodeat

     

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Subject: Re: Symbol help
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From mutex-owner@mail2.gmd.de Tue May 14 19:11:29 1996
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To: mutex@gmd.de
Subject: Pathetique
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Date: Tue, 14 May 1996 15:11:29 -0400
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	I am trying to typeset the first measure of Beethoven's 
Pathetique.  I can't seem to get the beams to work out right.
I can do the bass but the treble has me stuck.

	All i can come up with is:

\notes
   \ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\sk\nbbbl0\qh0c\tbbbl0\pt b\zq b\pt 
d\qh0d\sk\tbu0\zq c\qh0e\zq c\ql e\sk\cl g\sk\pt g\qs\sk\cccu g
\enotes

	But, if try try this, the third beam (which is supposed to attach
only to the second group of notes) ends up going past it.  I have to do the 
same triple beam with the last set of notes.

	Any help would be great.


Perry

From mutex-owner@mail2.gmd.de Wed May 15 09:04:10 1996
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Date: Wed, 15 May 1996 11:04:10 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199605150904.AA00995@sunick.gmd.de>
To: mutex@gmd.de, Perry_Cheng@INBOX.FOX.CS.CMU.EDU
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> \notes
>    \ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\sk\nbbbl0\qh0c\tbbbl0\pt b\zq b\pt 
        ^^^                                       ^^^         ^^^
> d\qh0d\sk\tbu0\zq c\qh0e\zq c\ql e\sk\cl g\sk\pt g\qs\sk\cccu g
> \enotes
> 
> 	But, if try try this, the third beam (which is supposed to attach
> only to the second group of notes) ends up going past it.  I have to do the 
> same triple beam with the last set of notes.

The combination of ib*u* and nb*l* or tb*l* is one of your problems.
Another is to use \sk instead of notes|Notes|NOtes ...

I worked out your example with MusiXTeX in the MusicTeX-compatible mode
(in the first example mislead by your "attach only ... *group* ...).

Hope this hilft   -- Werner

\parskip 12pt
\input musixtex
\input musixcpt
The original:
\par\debutextrait
\notes
   \ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\sk\nbbbl0\qh0c\tbbbl0\pt b\zq b\pt 
d\qh0d\sk\tbu0\zq c\qh0e\zq c\ql e\sk\cl g\sk\pt g\qs\sk\cccu g
\enotes
\finextrait
Replacing l by u:
\par\debutextrait
\notes
   \ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\sk\nbbbu0\qh0c\tbbbu0\pt b\zq b\pt 
d\qh0d\sk\tbu0\zq c\qh0e\zq c\ql e\sk\cl g\sk\pt g\qs\sk\cccu g
\enotes
\finextrait
Correcting both groups:
\par\debutextrait
\notes
   \ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\sk\tbbbu0\qh0c\pt b\zq b\pt 
d\qh0d\sk\tbbbu0\tbu0\zq c\qh0e\zq c\ql e\sk\cl g\sk\pt g\qs\sk\cccu g
\enotes
\finextrait
Introducing notes, Notes, NOtes, ...
\par\debutextrait
\Notesp	\ibbu0c4\pt L\zq L\pt N\zq N\pt c\qh0c\enotes
\notes	\tbbbu0\qh0c\enotes
\Notesp	\pt b\zq b\pt d\qh0d\enotes
\notes	\tbbbu0\tbu0\zq c\qh0e\enotes
\NOtes	\zq c\ql e\enotes
\Notes	\cu g\enotes
\notesp	\pt g\qs\enotes
\notes	\cccl g\enotes
\finextrait
Collective coding, pointed notes, stems directions, pointed rest, ... 
\par\debutextrait
\Notesp	\zqp{`eg}\ibbu0{'c}4\qhp0c\enotes
\notes	\tbbbu0\qh0c\enotes
\Notesp	\zqp b\qhp0d\enotes
\notes	\tbbbu0\tbu0\zq c\qh0e\enotes
\NOtes	\zq c\qu e\enotes
\Notes	\cu g\enotes
\notesp	\pt 5\qs\enotes
\notes	\cccu g\enotes
\finextrait
\bye





From mutex-owner@mail2.gmd.de Thu May 16 22:16:11 1996
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Date: Thu, 16 May 96 14:16:11 PST
From: "Don Simons" <dsimons@logicon.com>
Message-Id: <9604168322.AA832281408@cclink.logicon.com>
To: mutex@gmd.de
Subject: Saving \noteskip
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For certain texnical reasons, I want to do the following:

1. Set two quarter notes within \NOTes..\en
2. Start \NOTEs
3. Backspace to the first quarter
4. Start a slur
5. Skip forward to 2nd quarter
6. End the slur
7. Skip forward to first spot in \NOTEs
8. set a half note
9. ...

To do this, I need to save the value of \noteskip in \NOTes.  Here's 
the code I tried:

======================
\newdimen\savskip
\startmuflex\startpiece%
% bar  1
\NOTes\savskip\noteskip\ql{'c}\ql c\en%
\NOTEs\off{-2\savskip}\isluru06\off{\savskip}\tslur06\off{\savskip}%
\hl{'c}\en%
======================

The result suggests that \savskip is 0pt, and not the value I wanted.  
Why doesn't this work?

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Mon May 20 22:04:42 1996
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Date: Tue, 21 May 1996 00:04:42 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199605202204.AA02819@sunick.gmd.de>
To: mutex@gmd.de, dsimons@logicon.com
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> Date: Thu, 16 May 96 14:16:11 PST
> From: "Don Simons" <dsimons@logicon.com>

> [...]
> To do this, I need to save the value of \noteskip in \NOTes.  Here's 
> the code I tried:
> 
> \NOTes\savskip\noteskip\ql{'c}\ql c\en%
      \global
> \NOTEs\off{-2\savskip}\isluru06\off{\savskip}\tslur06\off{\savskip}%
> \hl{'c}\en%

"\Notes....\en" work like "{...}". So you must make the assignment \global.

Werner

From mutex-owner@mail2.gmd.de Tue May 21 20:42:10 1996
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From: finostro@srcei.cl (Francisco Inostroza M.)
Message-Id: <9605212042.AA08658@jupiter.opc.srcei.cl>
Subject: Moving a rest
To: mutex@gmd.de
Date: Tue, 21 May 1996 16:42:10 -0400 (CST)
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Hi folks!
         I'll would like make a little macro (for both Music 
or (and?) Musix TeX), to put a rest (\dsoupir, \qsoupir, etc)
at a pitch position, like \expause or \liftpause.

Any idea??
TIA.

Saludos,
Pancho.-

----------------------------------
Francisco Inostroza M.
F: (562)6957991  Fax: (562)6726523
finostro@srcei.cl
Santiago - CHILE


From mutex-owner@mail2.gmd.de Wed May 22 22:27:59 1996
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Date: Wed, 22 May 1996 23:27:59 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Fonts in Musixdoc.dvi
Cc: pmcilroy@harpo.bt-sys.bt.co.uk
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I have a problem which, try as I might, I cannot fathom.  On my old
Mac IIci I can read Musixdoc.dvi without any problem.  It asks for
a 270pk font for D.Taupin's name on page 10, but otherwise AOK.
When I transfer it to the Mac PowerPC which is connected to the printer,
something weird happens.  When I try to read or print Musixdoc.dvi the
PPC asks for a number of pk322 and pk332 files.  This happens when
it gets to \sc Taupin on line 25, \sl (associ\'e au CNRS) on lines
26-7, \sl 27. (associ\'e au CNRS) on lines 26-7, \sl b^atiment 510
Centre Universitaire, F-91405 ORSAY Cedex on lines 27-8, \sc Mitchell
on line 30 and so on.  The missing fonts file reads

MakeTeXPK cmcsc10 332 300 laserwriter
MakeTeXPK cmsl10 322 300 laserwriter
MakeTeXPK cmsy10 332 300 laserwriter
MakeTeXPK cmti10 322 300 laserwriter
MakeTeXPK cmcsc10 322 300 laserwriter

Anybody got any ideas why Musixdoc.dvi should read nicely on one
Mac, but not on another ?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From mutex-owner@mail2.gmd.de Thu May 23 09:11:33 1996
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Date: Thu, 23 May 1996 10:11:33 +0100
To: mutex@gmd.de
From: fredriks@abel.math.umu.se (Fredrik Stahl)
Subject: Re: Fonts in Musixdoc.dvi
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>I have a problem which, try as I might, I cannot fathom.  On my old
>Mac IIci I can read Musixdoc.dvi without any problem.  It asks for
>a 270pk font for D.Taupin's name on page 10, but otherwise AOK.
>When I transfer it to the Mac PowerPC which is connected to the printer,
>something weird happens.  When I try to read or print Musixdoc.dvi the
>PPC asks for a number of pk322 and pk332 files.  This happens when
>it gets to \sc Taupin on line 25, \sl (associ\'e au CNRS) on lines
>26-7, \sl 27. (associ\'e au CNRS) on lines 26-7, \sl b^atiment 510
>Centre Universitaire, F-91405 ORSAY Cedex on lines 27-8, \sc Mitchell
>on line 30 and so on.  The missing fonts file reads
>
>MakeTeXPK cmcsc10 332 300 laserwriter
>MakeTeXPK cmsl10 322 300 laserwriter
>MakeTeXPK cmsy10 332 300 laserwriter
>MakeTeXPK cmti10 322 300 laserwriter
>MakeTeXPK cmcsc10 322 300 laserwriter
>
>Anybody got any ideas why Musixdoc.dvi should read nicely on one
>Mac, but not on another ?
>
>Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

Sounds like you are using a different resolution on the PPC. Imagewriter
and laserwriter uses different resolutions. OzTeX, for example, can also be
set to display in different resolutions, affecting display quality and
zooming.

If everything else displays and prints properly, just build the missing pk
files. It's pretty quick on the PPC.

Another solution if you use OzTeX is to get the BaKoMa truetype CM fonts
from any CTAN site. Then you can throw away all pk files for CM fonts. I
have done this to avoid the ever swelling folder of pk files.

-------------------------------------------------------------------
Fredrik Stahl                    Tel: int + 90 166027
Math. Dept., Umea University     Fax: int + 90 165222
S-90187 Umea, SWEDEN             E-mail: fredriks@abel.math.umu.se
        *** Nemo saltat sobrius, nisi forte insanit ***
-------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Thu May 23 15:32:13 1996
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Date: Thu, 23 May 1996 17:32:13 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199605231532.AA04519@sunick.gmd.de>
To: mutex@gmd.de, finostro@srcei.cl
Subject: Re: Moving a rest
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>          I'll would like make a little macro (for both Music 
> or (and?) Musix TeX), to put a rest (\dsoupir, \qsoupir, etc)
> at a pitch position, like \expause or \liftpause.

I use something like:

% raiseable pauses
\def\Hp#1{\raise #1\Interligne\hp}
\def\Qp#1{\raise #1\Interligne\qp}
\def\Ds#1{\raise #1\Interligne\ds}
\def\Qs#1{\raise #1\Interligne\qs}

e.g. \Qp{-3}  a quarterpause three lines lowered
 or  \Qp1     a quarterpause  one  line  raised.

Werner

From mutex-owner@mail2.gmd.de Mon May 27 14:24:06 1996
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Date: Mon, 27 May 1996 14:24:06 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: OpusTeX
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Hello all,

I have seen one or two posts referring to the latest version of MusixTex
calling it by the name OpusTeX.  I have not seen "OpusTeX" in a CTAN
mirror.  Is it listed by another name?  Also, I assume that I need to
download everything in the directory in order to use this.  Correct?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon May 27 15:24:27 1996
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To: bobroff@centrum.is (David Bobroff)
Cc: mutex@gmd.de
Subject: Re: OpusTeX 
In-Reply-To: Your message of "Mon, 27 May 1996 14:24:06 -0000."
             <v01530500adcf6899e2c5@[193.4.241.104]> 
Date: Mon, 27 May 1996 16:24:27 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I have seen one or two posts referring to the latest version of MusixTex
> calling it by the name OpusTeX.  I have not seen "OpusTeX" in a CTAN
> mirror.  Is it listed by another name?  Also, I assume that I need to
> download everything in the directory in order to use this.  Correct?

AFAIK OpusTeX is still under development.  Andreas Egler will be able
to clear this up when he has a chance to post, but he's not normally
able to post with any regularity.

It will probably replace _his_ (Andreas') version of MusiXTeX; I
presume Daniel Taupin's version will stay with the original name, but
he can respond about that matter himself...

Robin (Campaign for Real Radio 3) Fairbairns     rf@cl.cam.ac.uk
U of Cambridge Computer Lab, Pembroke St, Cambridge  CB2 3QG, UK
Home page: http://www.cl.cam.ac.uk/users/rf/robin.html

From mutex-owner@mail2.gmd.de Tue Jun  4 15:40:23 1996
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          Tue, 4 Jun 1996 16:40:25 +0100
From: David Thomas <David.Thomas@brunel.ac.uk>
Message-Id: <474.9606041540@molnir.brunel.ac.uk>
Subject: midi2mtex without coprocessor
To: mutex@gmd.de
Date: Tue, 4 Jun 1996 16:40:23 +0100 (BST)
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Is there a version of midi2mtex program compiled for DOS that doesn't
require a maths co-processor ? I have only a humble 486SX chip.

I did think about recompiling the 1.2 version, but have only access to
Microsoft QuickC 2.5, and not being an expoert I don't understand how
to convert makefiles into .MAK files that QuickC uses.

thanks

David Thomas
brunel university
uxbridge
middlesex
UB8 3PH
United Kingdom

From mutex-owner@mail2.gmd.de Fri Jun  7 09:54:31 1996
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Message-Id: <15575.9606070954@castle.ecs.soton.ac.uk>
Subject: Announcing abcMIDI abc <-> MIDI package
To: mutex@gmd.de, irtrad@irlearn.ucd.ie, abc@aisling.stanford.edu,
        morris@listserv.iupui.edu
Date: Fri, 7 Jun 1996 10:54:31 +0100 (BST)
Cc: jra@ecs.soton.ac.uk (James Allwright)
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I have just placed on the web my MIDI to abc and abc to MIDI converters as
C source code and compiled for PC. The URL is

http://diana.ecs.soton.ac.uk/~jra/abcMIDI/

There are 4 programs :

midi2abc - converts MIDI file to abc notation.
abc2midi - converts abc file to MIDI file(s).
mftext - verbose listing of MIDI file (included for test purposes).
readabc - verbose interpretation of abc file (included for test purpost purposes).

midi2abc attempts to produce notation from recorded MIDI. It is intended to 
work with output from another recording/music package and does not perfectly
undo the action of abc2midi.

James Allwright,
Department of Electronics and Computer Science,
University of Southampton, UK

From mutex-owner@mail2.gmd.de Fri Jun  7 11:56:12 1996
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To: James Allwright <jra@ecs.soton.ac.uk>
Cc: mutex@gmd.de
Subject: Re: Announcing abcMIDI abc <-> MIDI package 
In-Reply-To: Your message of "Fri, 07 Jun 1996 10:54:31 BST."
             <15575.9606070954@castle.ecs.soton.ac.uk> 
Date: Fri, 07 Jun 1996 12:56:12 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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James Allwright writes:

> I have just placed on the web my MIDI to abc and abc to MIDI converters as
> C source code and compiled for PC. The URL is
> 
> http://diana.ecs.soton.ac.uk/~jra/abcMIDI/

Please note that they won't make it to CTAN unless you either persuade
Werner Icking to take them on, or you submit them.

We don't mirror using HTTP

From mutex-owner@mail2.gmd.de Fri Jun 14 11:42:00 1996
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Can anyone tell me what the following format is, and tell
me where I can get the mtex which can run it?

As you see, the main.tex inputs the 234565.tex.
I am trying to print out data which I am using in EsAC
format, and one of the programs converts to mtex,
but apparently not the present standard mtex.
(Other files which use \input mtex run fine, like
those on your ftp site. So the fonts, etc. are installed
correctly).
Thank-you for your help!!!!
Jane Singer
Hebrew University of Jerusalem

main.tex:



\input u
\input zsatz
\input mtex
\input 234565
\vskip 1 true cm
\input E0001b
\vskip 1 true cm
\input E0001b
\vskip 1 true cm
\end

234565.tex:


%%(C)opyright 1991/92/93 by Ulrich Franzke
%% Phrase 1
\melodie{14.00 cm}{2.00 cm}{Ah, Ah, tateneu}{234565}{%
\vio\F\meter6/8%
{\v{3}}%
{\a{1}}%
{\v{3}}%
{\a{1}}%
\|%%
{\def\beamlist{\\{1-3,}}%
\group{%
  \\{{\a{4}}}%
  \\{{\a{3}}}%
  \\{{\a{2}}}%
}  {\\{4}%
\\{3}%
\\{2}%
}\ubeam{1}{3}%
\go}%
{\v{1}\.1}%
\ %
}
%% Phrase 2
\vskip -2.00 true cm
\melodie{14.00 cm}{2.00 cm}{}{}{%
\vio\F%
{\v{3}}%
{\a{1}}%
{\v{3}}%
{\a{1}}%
{\def\beamlist{\\{1-3,}}%
\group{%
  \\{{\a{4}}}%
  \\{{\a{3}}}%
  \\{{\a{2}}}%
}  {\\{4}%
\\{3}%
\\{2}%
}\ubeam{1}{3}%
\go}%
{\v{1}\.1}%
\=%
}
\settabs 26\columns
\medskip
\+\bf{}REGION:\cr
\+&\cr
\medskip
\+\bf{}FUNKTION:\cr
\+&\cr

From mutex-owner@mail2.gmd.de Mon Jun 17 10:32:22 1996
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Date: Mon, 17 Jun 1996 12:32:22 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199606171032.AA03169@sunick.gmd.de>
To: mutex@gmd.de, MUS@RAM1.HUJI.AC.IL
Subject: Re: Fwd: HELP!!!!
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> Date:     Fri,  14 Jun 96 14:42 +0300
> From: <MUS@RAM1.HUJI.AC.IL>
> 
> Can anyone tell me what the following format is, and tell
> me where I can get the mtex which can run it?

I don't think that it is a   mtex-problem.

> As you see, the main.tex inputs the 234565.tex.
> I am trying to print out data which I am using in EsAC
> format, and one of the programs converts to mtex,
> but apparently not the present standard mtex.

(There is no "present standard mtex"; there's only a completly
 out-of-date TeX-package for typesetting music, which inspired
 to better solutions like musictex, MusiXTeX, .... Nevertheless
 ftp://ftp.gmd.de/music/mutex/...  *is* current.      :-()

> (Other files which use \input mtex run fine, like
> those on your ftp site. So the fonts, etc. are installed
> correctly).

But what's the problem with your example?
I cannot run it because it incomplete. What does \melodie do?
Are there any error messages? 
What's in the log-file?
... Where's the problem?

If I take the mtex-looking parts from 234565.tex and put
them between   \beginsong ... \endsong  I get a music-looking
output (with some musical typos like missing bar-lines):

"%ick " added by me.

> [...]
  \input mtex
> %%(C)opyright 1991/92/93 by Ulrich Franzke
> %% Phrase 1
> %ick \melodie{14.00 cm}{2.00 cm}{Ah, Ah, tateneu}{234565}{%
  \beginsong
> \vio\F\meter6/8%
> {\v{3}}%
> {\a{1}}%
> {\v{3}}%
> {\a{1}}%
> \|%%
> {\def\beamlist{\\{1-3,}}%
> \group{%
>   \\{{\a{4}}}%
>   \\{{\a{3}}}%
>   \\{{\a{2}}}%
> }  {\\{4}%
> \\{3}%
> \\{2}%
> }\ubeam{1}{3}%
> \go}%
> {\v{1}\.1}%
> \ %
  \endsong
> %ick }
> %% Phrase 2
> \vskip -2.00 true cm
> %ick \melodie{14.00 cm}{2.00 cm}{}{}{%
  \beginsong
> \vio\F%
> {\v{3}}%
> {\a{1}}%
> {\v{3}}%
> {\a{1}}%
> {\def\beamlist{\\{1-3,}}%
> \group{%
>   \\{{\a{4}}}%
>   \\{{\a{3}}}%
>   \\{{\a{2}}}%
> }  {\\{4}%
> \\{3}%
> \\{2}%
> }\ubeam{1}{3}%
> \go}%
> {\v{1}\.1}%
> \=%
  \endsong
> %ick }
\vfill\eject\bye
> [...]

Hope this hilft   -- Werner

From mutex-owner@mail2.gmd.de Thu Jun 20 14:33:00 1996
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From: HIRRIEN Bertrand 154098 <HIRRIEN@chartreuse.cea.fr>
To: musictex <mutex@stolaf.edu>
Subject: request
Date: Thu, 20 Jun 96 14:33:00 GMT
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Thank you for adding me to your mailing list
Bertrand HIRRIEN
hirrien@chartreuse.cea.fr

From mutex-owner@mail2.gmd.de Thu Jun 20 17:40:06 1996
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From: taupin@lps.u-psud.fr
Subject: MusixTeXT.54
To: icking@gmd.de (Werner Icking), mutex@gmd.de (MusiXTeX list (gmd.de))
Date: Thu, 20 Jun 96 16:21:31 METDST
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Subject: MusiXTeX version T.54
New version T.54 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex
or
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musixtex]
  (simply say "cd musixtex" after ftp anonymous login)

Caution: new musix* fonts since T.46: one character more for gregorian (if
         you do not update, ignore checksum errors)
Caution: musixflx changed with T44: you must recompile it
         new font: musixspx (=musixsps, extended) 
Changes:
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 - T.51a documentation corrected for \roff, \roffset, brackets, etc.
 - T.50  a few corrections, and doc updated about stem lengths
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Thu Jun 20 18:58:12 1996
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From: Paul Aspinwall <psa@hepth.cornell.edu>
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Hi,
  Does anyone have the binary for a Macintosh for musixflx?
  If not, I guess I'll have to buy a C compiler..

Regards,
  Paul.

-- 

Paul S. Aspinwall			  Tel: +1-607-255-4711
Newman Lab of Nuclear Sciences		  FAX: +1-607-254-4552
Cornell University
Ithaca   				Email: psa@hepth.cornell.edu
NY 14853
U.S.A.

From mutex-owner@mail2.gmd.de Fri Jun 21 09:37:00 1996
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From: HIRRIEN Bertrand 154098 <HIRRIEN@chartreuse.cea.fr>
To: MUTEX <mutex@gmd.de>
Subject:  simultaneous beams for SATB choral
Date: Fri, 21 Jun 96 09:37:00 GMT
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I am using musictex 3.14159

I writing a song for Soprans Alti, Tenors and Basses on 2 staves
Then have simultaneous croches whith stem up or down like this :

    _______
   |     |    |     |
 o   o   o   o
o   o   o   o
|    |     |     |
 -------------
    _______
   |     |    |     |
 o   o   o   o
o   o   o   o
|    |     |     |
 -------------

The problem is the link (horizontal bar)  between notes is invisible.

( see %mesure 1)

Thanks for your help


\input musicadd
\resetfacteurs\advance\staffbotmarg by 2\Interligne
\barsinline=0\relax\linesinpage=0\relax
\def\Transpose{0}%
\def\Signature{0}\relax
\fulltitle{La Vie En Rose}
\shorttitle{La Vie En Rose}
 \fullauthor{Arrangement pour SATB B.HIRRIEN 04/1996}
 \shortauthor{}
 \maketitle
 %
\tracingstats=1\relax
\relativeaccidentals
\sepbarrules
%
\parindent 15mm
% soufflets crescendo et decrescendo
%
\def\soufflcr#1{\zcharnote{#1}{\kern -1cm\cresc}}%
\def\Soufflcr#1{\zcharnote{#1}{\kern -1cm\CResc}}%
%
\def\souffldim#1{\zcharnote{#1}{\kern -1cm\dimin}}%
\def\Souffldim#1{\zcharnote{#1}{\kern -1cm\DImin}}%
%
%\check
\def\nbinstruments{3}\resetsignatures
\barsinline=0\relax\linesinpage=0\relax
\global\nbporteesii=0
\global\nbporteesi=1\relax
\global\nbporteesiii=1\relax
\global\cleftoksi={{6}{0}{0}{0}}%
\global\cleftoksiii={{0}{0}{0}{0}}%
\def\lowersonginstrum{1}  % to be used to make heavy bars at staff left
\def\uppersonginstrum{3}   % to be used to make heavy bars at staff left
%
\signaturegenerale{\Signature}%
\generalmeter{\meterfrac{4}{4}}
%\check
\def\interfacteur{12}%
\def\instrumenti{\vbox{\hsize=\parindent
\centerline{\ninebf T\'enors}\centerline{\ninebf basses}}}%
\def\instrumentiii{\vbox{\hsize=\parindent
\centerline{\ninebf Sopran.}\centerline{\ninebf Alti}}}%
%\check
\def\instrumentii{}%
\def\respire{\notes&&\cbreath\enotes}%
%
\def\eightpoint{\Tenpoint}%
%\check
\catcode`\@=13
\catcodesmusic
\def@#1|#2|#3&{&\vbox to 0pt{\vss
\parindent 0pt\parskip 0pt\hsize=1.5\Interligne
\eightpoint\centerline{\vphantom{\'EQ}#1}\centerline{\vphantom{\'EQ}#2}\relax
\centerline{\vphantom{\'EQ}#3}\vskip -2\Interligne\vss}&}%
\def\bass{}
\def\teno{}
\def\alti{}
\def\sopr{}

%
\debutmorceau
\autolines 753\relax
\transpose=\Transpose
%\advance\barsinline by 1\relax
%
% mesure 1
%
\temps\NOtes\bass\zqlp C\teno\zqup d@Quand||&\alti\zqlp g\sopr\qup j\enotes
\temps\NOtes\bass\zcl E\teno\zcu d@il||&\alti\zcl g\sopr\cu i\enotes
\temps\NOtes\bass\Ibl1FL1\Ibu2ca{-1}\zqb1 F\teno\zqh2 
c@me||&\alti\Ibl3cg1\Ibu4ej1\zqb3 e\relax      \sopr\qh4 h\enotes
\temps\NOtes\bass\zqb1 J\teno\zqh2 b@prend||&\alti\zqb3 d\sopr\qh4 g\enotes
\temps\NOtes\bass\zqb1 K\teno\zqh2 a@dans||& \alti\zqb3 c\sopr\qh4 e\enotes
\temps\NOtes\bass\tbl1\tbu2\zql L\teno\zqu a@ses||&\alti\tbl3\tbu4\zql 
g\sopr\qu j\enotes
\barre
%\enotes
%\check
\temps
\finmorceau
\medskip\rightline{\it le \aujourdhui}
\absoluteaccidentals
\vfil\eject
\end

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Date: Fri, 21 Jun 1996 07:45:35 -0400
From: Luke Higgins <lukeh@math.rutgers.edu>
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To: mutex@gmd.de
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Hi everyone!

I am new to the mailing list and actually new to the study of music.
I got a recorder for Christmas and have been trying to learn how to
play it.  I feel a little overwhelmed by musictex for what I want(need?).
For something as (simple) as a recorder, is the learning curve to learn
musictex justified?  It seems that in the documentaition I need to
sift through pages and pages of what to me are "advanced" features and
I am a beginner.  Are there any useful suggestions out there?

Thanks a lot!
Luke


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To: HIRRIEN@chartreuse.cea.fr
Cc: mutex@gmd.de
Subject: Re: simultaneous beams for SATB choral
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> I am using musictex 3.14159
> 
> I writing a song for Soprans Alti, Tenors and Basses on 2 staves
> Then have simultaneous croches whith stem up or down like this :
> 
>     _______
>    |     |    |     |
>  o   o   o   o
> o   o   o   o
> |    |     |     |
>  -------------
>     _______
>    |     |    |     |
>  o   o   o   o
> o   o   o   o
> |    |     |     |
>  -------------
> 
> The problem is the link (horizontal bar)  between notes is invisible.

The problem I saw was that the beam slopes were incorrect and the final note
wasn't attached to a beam.

> % mesure 1
> %
> \temps\NOtes\bass\zqlp C\teno\zqup d@Quand||&\alti\zqlp g\sopr\qup j\enotes
> \temps\NOtes\bass\zcl E\teno\zcu d@il||&\alti\zcl g\sopr\cu i\enotes
> \temps\NOtes\bass\Ibl1FL1\Ibu2ca{-1}\zqb1 F\teno\zqh2 
                          ^        ^
You were using these as slopes (I think) and they should be lengths
in noteskips.  The slopes will be computed automatically.
                     v       v
> c@me||&\alti\Ibl3cg1\Ibu4ej1\zqb3 e\relax      \sopr\qh4 h\enotes
> \temps\NOtes\bass\zqb1 J\teno\zqh2 b@prend||&\alti\zqb3 d\sopr\qh4 g\enotes
> \temps\NOtes\bass\zqb1 K\teno\zqh2 a@dans||& \alti\zqb3 c\sopr\qh4 e\enotes
> \temps\NOtes\bass\tbl1\tbu2\zql L\teno\zqu a@ses||&\alti\tbl3\tbu4\zql 
                              ^^^        ^^^                         ^^^
The final note of each grouping is not specified as being bound to a beam,
so the notestem will be of quarter-note length.
         vv
> g\sopr\qu j\enotes

I was able to produce correct-looking output by modifying your input
like this:

\temps\NOtes\bass\Ibl1FL3\Ibu2ca3\zqb1 F\teno\zqh2 
c@me||&\alti\Ibl3cg3\Ibu4ej3\zqb3 e\relax      \sopr\qh4 h\enotes
\temps\NOtes\bass\zqb1 J\teno\zqh2 b@prend||&\alti\zqb3 d\sopr\qh4 g\enotes
\temps\NOtes\bass\zqb1 K\teno\zqh2 a@dans||& \alti\zqb3 c\sopr\qh4 e\enotes
\temps\NOtes\bass\tbl1\tbu2\zqb1 L\teno\zqh2 a@ses||&\alti\tbl3\tbu4\zqb3 
g\sopr\qb4 j\enotes

From mutex-owner@mail2.gmd.de Tue Jul  2 13:11:45 1996
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From: Werner Icking <Werner.Icking@gmd.de>
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Dear subscribers of the MuTeX mailing list,

this list will run the next three and a half weeks unattended. From my
experience up to now this should be possible without any problem. 

Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request ( don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.

If there seem to be major problems with the list, please inform
listmaster@gmd.de


Regards, Werner

From mutex-owner@mail2.gmd.de Thu Jul 11 14:17:24 1996
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Subject: MusiXTeX version confusion
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Dear All,
  I recently installed MusiXTeX on my Linux PC. All went well and I am
very happy with it. I got the source from the CTAN archive and it
claims to be version 0.51 (Dec 1995).
  I then needed to install it on a Macintosh. Since this Macintish is
without a C compiler, I asked if anyone had an executable form of
musixflx. Several people answered and I found it. The catch is that
the executables for musixflx are for version 0.54T. I have found, much
to my dismay that the music I have written for 0.51 is totally
unreadable by 0.54T. Commands such as \qr (quarter rest), \ibd, \Tslur,
are not recognized by 0.54T.
  Reading a README file I realize that the version I have orginally
installed on my Linux box is an "Egler" version while the Mac version
is a "Taupin" version. The README claimed that a Taupin version can
read Egler commands. The above appears to contradict this.
  Anyway, as well as enlightening me on the version problem above,
does anyone have a Mac musixflx for version 0.51 (or a later Egler
version)? (Yeah - I know I should get a C compiler for the Mac but I
do all serious programming on the Linux machine).

Regards,
   Paul.

-- 

Paul S. Aspinwall			  Tel: +1-607-255-4711
Newman Lab of Nuclear Sciences		  FAX: +1-607-254-4552
Cornell University
Ithaca   				Email: psa@hepth.cornell.edu
NY 14853
U.S.A.

From mutex-owner@mail2.gmd.de Mon Jul 15 18:26:00 1996
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From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: MusiXTeX version confusion
Message-Id: <199607152026.p23748@wob.maus.de>
Date: Mon, 15 Jul 96 20:26:00 +0200
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> Dear All,

Too.

>   Reading a README file I realize that the version I have orginally
> installed on my Linux box is an "Egler" version while the Mac version
> is a "Taupin" version. The README claimed that a Taupin version can
> read Egler commands. The above appears to contradict this.

This README is not correct at all, but TOTALLY wrong.

>   Anyway, as well as enlightening me on the version problem above,
> does anyone have a Mac musixflx for version 0.51 (or a later Egler
> version)?

The current version is OpusTeX V0.61 (comes up next week).
All version since V0.51 are not distributed public, only for the current
developers and a few beta-tester. If you want to join to development team
sent a short mail to andreas_egler@wob.maus.de. Most important things today
to work on: manual, PS-stuff, system support, ...

MusiXTeX version confusion?

No real problem, I own the copyright.
If OpusTeX V1.0 comes up, MusiXTeX will be put in trashcan and every public
distribution of MusiXTeX will be forbidden, so there will be no confusion
any more.

An excerpt out of history.txt is appended.

Andreas Egler

---------------------------------------------------------------------------

future plans:
- better (automatic) solution to typeset text of songs (much much later...)
  current standing: a third TeX pass and another executable (or enhanced
  opusflex) is neccesary...(allows automatic hyphen generating and text
  shifting, more easy solution for automatic beams, ...)
- PS-interface (all kind of user-defined slurs and ties, all kind of slope
                lines, some graphics, better accuracy)
- perhaps different solution for signatures (means G instead 1,
  As instead -3)
- nicer symbols for digits (throwing one eye on sonata fonts)
- thinner lines for smaller sizes
- \autonotes (\an) for spacings automatic determined by spacing notes

Version 0.61
- Attention!!! opus* fonts are changed. Delete all dvi's. Generate new format.
- introduced: \bracename \shiftbrace \SOngtop \SOngbot (opussys)
              \acciaccatura (opusext)
- changed: \cchar \ccharnote \cmidtext to center on noteheadwidth and
             not on reference point
           \centerbar, \center[rest] to work more accurate in first bar
             of piece
           \bracetop, \bracebot (opussys) to work for single instruments too
- fixed bug: \setname in conjunction with opusmad, \meterfracslash

Version 0.60
- changed: \zmidstaff \lmidstaff \cmidstaff ->
           \zmidtext \lmidtext \cmidtext (they must be called in upper staff!)
           (corrected by RM)
           \icresc \tcresc \tdecresc -> \icres \idecres \tcres
           \writebarno to be called without \def
- fixed bug: slurs in opustab
- memory and time optimizing

Version 0.59
- introduced: automatic allocation of slur register, means no more need
           to include opusadd if you need more than 6 simultaneous slurs
- added: \NOTEsp, \NOTES
         (if 1/32 occur, use \notes for them, \Notes for 1/16, and so on and
          add \scalenoteskip\smallvalue immediately behind \startpiece)

Version 0.58
- introduced: \finger \fingerfont \fingerchange \imidcres \imiddecres
           \maxbeamslope \halfslur \nohalfslur,
           \centerHrest (opuslit)
           oline.mf

Version 0.57
- introduced: \stemubow \stemvbow \uppercna \uppercfl \uppercsh (opusext)

Version 0.56
- Attention!!! opus* fonts are changed. Delete all dvi's. Generate new format.
- introduced: \ustroke \dstroke \guitarstrings \reversestrings (opustab)

Version 0.55
- fixed bug: signature change in small staffsizes
             some inaccuracies depending beams and chars
- moved: \zmaxima, \zlonga, \zbreve to opuslit.tex
- adapted: first test of opusstx.tex (some chars are not correct yet!)
           if exist, the PS-font 'sonata' is used.

Version 0.54
- fixed bug: opusadd.tex, opusmad.tex, opusext.tex
             'manual' \leftrepeat behind linebreaks (depending \barno)

Version 0.53
- moved: \zmaxima, \zlonga, \zbreve to opuslit.tex
- adapted: first test of opusstx.tex (some chars are not correct yet!)

Version 0.52
- Attention!!! opus* fonts are changed. Delete all dvi's. Generate new format.
- renamed: (use V051_052)
           musix -> opus
           \MusiXTeX -> \OpusTeX
           \leftrightrepeat -> \rightleftrepeat
           \setleftrightrepeat -> \setrightleftrepeat
           \upzst -> \ustpo
           \dpzst -> \dstpo
           \ust -> \upo
           \dst -> \dpo
           \bust -> \bupo
           \bdst -> \bdpo
           \stemust -> \stemupo
           \stemdst -> \stemdpo
           \upz -> \ust
           \dpz -> \dst
           \bupz -> \bust
           \bdpz -> \bdst
           \stemupz -> \stemust
           \stemdpz -> \stemdst
           \bdbow -> \bvbow
           \stdstemfalse -> \nostdstem
           \setslurtext -> \slurtext
           \ibsluru -> \imsluru
           \ibslurd -> \imslurd
           \tubslur -> \tumslur
           \tdbslur -> \tdmslur
           \bslur -> \mslur
           \songraise -> \raisesong
           \setsongraise -> \setraisesong

Version 0.51
- Attention!!! mx* fonts are changed. Delete all dvi's. Generate new format.
               xslz* fonts is changed. Decreased max_bow.
- renamed: \advancefalse -> \noskip
           \atnextstaff -> \atnextsystem (corrected by RM)
           \ateverystaff -> \ateverysystem (corrected by RM)
           \topstaff -> \abovesystem (corrected by RM)
           \botstaff -> \belowsystem (corrected by RM)
           musixmex.tex -> musixsys.tex
           \ih -> \-
           \iu -> \_
- introduced: single meter numbers \resetsizes, \meterfracslash (musixext),
           \gwhp \gwhpp \gzwp \gzwpp \ghu \ghup \ghupp \gzhp \gzhpp \gqup
           \gqupp \gzqp \gzqpp \gcup \gcupp \gccup \gccupp \gcccup \gcccupp
           \gqbp \gqbpp \gDwh \gDhu \gDqu \gDcu \gDccu \gDcccu
           \gitie (musixtab)
- adapted: \verse \versefont \centerverse \raggedverse \versecolumns
           \conthyphens \noconthyphens (musixcho)
- removed: \autohyphen \noautohyphen (musixcho)
- private: \everystaff -> \ev@s
- fixed bug: musixslu.tex, musixgre.tex
- changed: \raisebarno, \shiftbarno to be called without \def
           musixtab macros to work with numbers (guitar strings) too
           \resetlayout to invoke \resetsizes and to reset \musicindent
           \-, \_ to work behind syllables instead \ih, \iu before

----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Tue Jul 16 20:47:00 1996
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From: Andreas_Egler@wob.maus.de (Andreas Egler)
To: mutex@gmd.de
Subject: Confusion?
Message-Id: <199607162247.p23760@wob.maus.de>
Date: Tue, 16 Jul 96 22:47:00 +0200
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Dear All,

sorry for confusion. My last mail means NOT, that OpusTeX will be a
commercial product.

For closer information read the following:

--- excerpt of 00README ---------------------------------------------

%% Copyright 1995, 1996 the author of MusiXTeX and OpusTeX and the
%% individual authors.
%% All rights reserved.
%%
%% This file is part of the OpusTeX system.
%% ----------------------------------------
%%
%% This system is distributed in the hope that it will be useful,
%% but WITHOUT ANY WARRANTY; without even the implied warranty of
%% MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.
%%
%%
%% IMPORTANT NOTICE:
%%
%% For error reports in case of UNCHANGED versions see 00readme.txt
%%
%% You are not allowed to change this file.
%%
%% You are allowed to distribute this file under the condition that
%% it is distributed together with all files mentioned in 00readme.txt.
%%
%% If you receive only some of these files from someone, complain!
%%
%% You are NOT ALLOWED to distribute this file alone. You are NOT
%% ALLOWED to take money for the distribution or use of either this
%% file or a changed version, except for a nominal charge for copying
%% etc.

Sorry again, andreas

----------------------------------------
Do NOT send files > 16KB per DAY to me !

From mutex-owner@mail2.gmd.de Wed Jul 17 10:34:03 1996
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From: C.Walshaw@greenwich.ac.uk
Message-Id: <25748.199607171034@wight.gre.ac.uk>
Subject: REMINDER: abc home page
To: mutex@gmd.de, IRTRAD-L@IRLEARN.UCD.IE, MORRIS@INDYCMS.IUPUI.EDU,
        C.Walshaw@greenwich.ac.uk
Date: Wed, 17 Jul 1996 11:34:03 +0100 (BST)
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
		*new* - abcMIDI (abc <-> MIDI conversion code)
	* a list of web accessible abc collections
	* the web-wide abc index (currently with almost 3000 entries)
	* new developments in abc
	* a short history of abc
	* abc international
		*new* - abc2newage

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Tue Jul 23 20:41:28 1996
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From: Paul Aspinwall <psa@hepth.cornell.edu>
To: mutex@gmd.de
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Dear All,
  Because of the problems I was having finding the right version of
musixflx for the Mac, I rewrote it in Perl. It's very well suited to
Perl actually and it only took me a couple of hours. Anyway, anyone
interested can find it for version 0.51 (Egler) in
ftp://ftp.hepth.cornell.edu/pub/mt/mpflx.

I haven't tested it much so it may have bugs. Please tell me if you
find any.

Regards,
  Paul.

-- 

Paul S. Aspinwall			  Tel: +1-607-255-4711
Newman Lab of Nuclear Sciences		  FAX: +1-607-254-4552
Cornell University
Ithaca   				Email: psa@hepth.cornell.edu
NY 14853
U.S.A.

From mutex-owner@mail2.gmd.de Wed Jul 24 12:51:10 1996
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Subject: latex-musixflx problem
To: mutex@stolaf.edu
Date: Wed, 24 Jul 1996 14:51:10 +0200 (CES)
From: ub6h@rz.uni-karlsruhe.de (Jens Zimmermann)
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hallo,

I am writing on a small hymn-collection with latex2e+musixtex. It works
wounderful. But
I have still a problem in using more then one 
	\startpiece
	..
	\endpiece
environments. after running musixflx, I __only__ get the last 
environment flexed well.
What do I do wrong?

 
Jens Zimmermann  +++  eMail ub6h@rz.uni-karlsruhe.de

From mutex-owner@mail2.gmd.de Fri Jul 26 03:46:17 1996
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Date: Thu, 25 Jul 1996 20:46:17 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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Subject: musixflx problems
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Normally, \startpiece initiates \startmuflex at first call. But this does not work OK when the 
\startpiece/\debutmorceau commands are embedded within braces or \begin{music}...\end{music}.

===> Always say \startmuflex at the beginning of your work, or after \begin{document} in the
LaTeX case.

This will be enforced as much as possible in future version T.55
 
 =========================================================================
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86
 =========================================================================

From mutex-owner@mail2.gmd.de Fri Jul 26 10:48:26 1996
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From: gpca12@udcf.gla.ac.uk (Dr David Wyper)
Subject: MusicTex
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I was really excited to find a list of tex files for the Highland bagpipe.

I am running Tex on a Power Macintosh 6100 and am struggling to get
bagpipe.tex and MusicTex to work. I think bagpipe.tex is OK and the problem
is with MusicTex. I have FTP'd Music.Tex.5.02.tar.gz but MacGzip doesn't
like it. Can MusicTex run on a Mac?

with kind regards

David Wyper

Tel 0141 201 2105
FAX 0141 201 2060



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From: taupin@lps.u-psud.fr
Subject: MusixTeX T.55
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Fri, 26 Jul 96 15:41:31 METDST
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Subject: MusiXTeX version T.55
New version T.55 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 - T.51a documentation corrected for \roff, \roffset, brackets, etc.
 - T.50  a few corrections, and doc updated about stem lengths
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Fri Jul 26 21:10:25 1996
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Date: Fri, 26 Jul 1996 16:10:25 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: taupin@lps.u-psud.fr
Cc: "MusiXTeX list (gmd.de)" <mutex@gmd.de>, Werner Icking <icking@gmd.de>
Subject: Re: MusixTeX T.55
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Hello all,

The just-announced MusiXTeX version T.55 needs to have its permissions
changed: 

  550 musixt55.tex: Permission denied.

-rw-r-----   1 augier   users     111071 Jul 26 15:29 musixt55.tex
       ^
       No 'r' means not world readable.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

On Fri, 26 Jul 1996 taupin@lps.u-psud.fr wrote:

> Subject: MusiXTeX version T.55
> New version T.55 of MusiXTeX with corrected doc available at anonymous ftp:
>   hprib.lps.u-psud.fr = 193.55.39.152
>   directory pub/musixtex
> 
> Changes:
>  - T.55  \startmuflex forced in more cases to avoid problems
>          Taupin's copyright/freeware specifications written in musixdoc
>  - T.54  tentative correction in \centerbar
>  - T.53  musixslu suppression enforced (dummy diagnosing file)
>  - T.52  accents on beams corrected thanks to Klaus Bechert
>  - T.51a documentation corrected for \roff, \roffset, brackets, etc.
>  - T.50  a few corrections, and doc updated about stem lengths
>  
> Daniel Taupin
> 
> 


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From: Dimitris Dranidis <dranidis@kelifos.physics.auth.gr>
Subject: Creating Lead Sheets
To: mutex@stolaf.edu
Date: Wed, 31 Jul 96 3:29:17 EET
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Hi,

I'd like to create some empty lead sheets, ie. 8 empty staff lines
each with 4 bars (for 32-bar jazz standards).

I tried with MusiXTeX T.49 but I had no success after many tries.
It must be simple but I'm not a frequent MusiXTeX user.

Thanks for suggestionns and solutions,

dimitris

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Subject: [Dimitris Dranidis <dranidis@kelifos.physics.auth.gr>] Creating Lead Sheets
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> From: Dimitris Dranidis <dranidis@kelifos.physics.auth.gr>
> Subject: Creating Lead Sheets
> Date: Wed, 31 Jul 96 3:29:17 EET
> 
> I'd like to create some empty lead sheets, ie. 8 empty staff lines
> each with 4 bars (for 32-bar jazz standards).

I use a small PostScript program for this.
Can you handle PostScript (and maybe tweak it a little?)

-- Johan

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Date: Wed, 31 Jul 1996 11:38:36 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199607310938.AA01322@sunick.gmd.de>
To: mutex@gmd.de, dranidis@kelifos.physics.auth.gr
Subject: Re: Creating Lead Sheets
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> I'd like to create some empty lead sheets, ie. 8 empty staff lines
> each with 4 bars (for 32-bar jazz standards).

Here's a model with some out-commented mods:                     -- Werner

\input musixtex
% vertical: Letter, horizontal: A4, margins: 15mm/10mm
\voffset-1in\advance\voffset15mm\vsize11in\advance\vsize-30mm\advance\vsize-24pt
\hoffset-1in\advance\hoffset10mm\hsize210mm\advance\hsize-20mm
%
\def\Bar{\notes\sk\en\bar}
%
\nopagenumbers\nobarnumbers%\systemnumbers 
\setclefsymbol1\empty%\setclef1\treble
%\generalsignature0
%\generalmeter{\meterfrac44}
\startpiece\addspace\afterruleskip
\Bar\Bar\Bar\Bar\Bar\Bar\Bar\Bar
\Bar\Bar\Bar\Bar\Bar\Bar\Bar\Bar
\Bar\Bar\Bar\Bar\Bar\Bar\Bar\Bar
\Bar\Bar\Bar\Bar\Bar\Bar\Bar\notes\sk\en
\mulooseness=7\Endpiece\eject
\endmuflex
\bye


PS: You addressed mutex@stolaf.edu. Since some time the list is homed
    at mutex@gmd.de, but up to now re-routing works.

From mutex-owner@mail2.gmd.de Wed Jul 31 21:02:32 1996
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Date: Wed, 31 Jul 96 13:02:32 PST
From: "Don Simons" <dsimons@logicon.com>
Message-Id: <9606318388.AA838843478@cclink.logicon.com>
To: mutex@gmd.de
Subject: PMX Version 1.02, a Preprocessor for MusiXTeX.
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     The latest, greatest version of this very useful tool for 
MusiXTeX'ers is now available at 

     ftp.gmd.de/music/musixtex/software/pmx/

and postscript images of the example file (score and parts derived 
from the score) is available from

     http://www.gmd.de/Misc/Music/

The distribution contains both FORTRAN source and DOS executables.  If 
you would like to run on an IBM RISC or a SUN but don't have access to 
a compiler, email me personally and I'll make up the executables.  For 
other platforms/OS's contact me by email and we'll try to work it out. 

     PMX can help you typeset a musical score if you have MusiXTeX 
version 0.396T or later installed, and if your score has from one 
to seven staves (or voices) per system.  If there is but a single line 
of music per staff, then you can probably do the entire job with PMX 
commands, which are *much* simpler than TeX.  But you can also add 
other voices to a staff or use for other advanced features by entering 
TeX commands directly into the PMX input file.  

     PMX will save you a LOT of time by doing ALL the work involved in 
setting up notes/enotes groupings, selecting groups of notes to be 
beamed, defining beam heights and slopes, inserting extra spaces where 
needed to make room for accidentals, justifying lines, spreading the 
entire piece evenly over a specified number of systems, and making 
parts from a score.  You can enter note values and rests from dotted 
whole notes to 64ths, trills, mordents, slurs, and limited text 
strings.  You may change the meter at the beginning of any measure.  
Except the first bar, every voice in every bar must have exactly the 
correct number of beats in the current meter.  On its first pass, PMX 
checks these timings and other aspects of the input.  Since I'm 
interested in baroque chamber music, I built in the ability to notate 
figured bass below the bottom staff in each system.

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Thu Aug  1 13:05:36 1996
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Date: Thu, 1 Aug 1996 13:05:36 GMT
Message-Id: <199608011305.NAA15422@sirius.physik.TU-Berlin.DE>
From: Henrik Seidel <henrik@sirius.physik.TU-Berlin.DE>
To: dranidis@kelifos.physics.auth.gr
Cc: mutex@stolaf.edu
In-Reply-To: <199607310031.TAA12972@nic.stolaf.edu> (message from Dimitris Dranidis on Wed, 31 Jul 1996 03:29:17 +0200)
Subject: Re: Creating Lead Sheets
Reply-To: henrik@satchmo.physik.tu-berlin.de
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Here is a simple PostScript program to do this (adapt it to your
preferences)

-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key

=======================================================================
%!PS-Adobe-2.0 EPSF-2.0
%%Title: notes.ps
%%Creator: Henrik Seidel
%%CreationDate: 11.08.1993
%%BoundingBox: 14 14 581 827
%%Pages: 1
%%PageOrder: Ascend
%%DocumentFonts:
%%EndComments

%%BeginSetup
%%Feature: *Resolution 300dpi
%%PaperSize: A4
%%EndSetup



%%Page: 1 1
/xdef {exch def} def
/bdef {bind def} def
/mm2pt 72 25.4 div def
/mm {mm2pt mul} def
% vertical distance between lines:
/lh 1.7 mm def
% linewidth:
/lw 0.12 mm def
% left margin:
/xl 8.7 mm def
% linelength:
/xw 192 mm def
% top y position:
/yt 297 41 sub mm def
% vertical distance between staffs
/sd 19.818 mm def
% number of staffs:
/nrstaffs 12 def

/line   {currentpoint
         xw 0 rlineto
         lh sub
         moveto
        } bdef

/staff {currentpoint
        line line line line line
        sd sub
        moveto
       } bdef

/all   {newpath
        lw setlinewidth
        xl yt moveto
        1 1 nrstaffs {staff} for
        stroke
       } bdef

all
showpage

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Date: Thu, 1 Aug 1996 17:00:31 GMT
Message-Id: <199608011700.RAA21864@sirius.physik.TU-Berlin.DE>
From: Henrik Seidel <henrik@sirius.physik.TU-Berlin.DE>
To: dranidis@kelifos.physics.auth.gr
Cc: mutex@stolaf.edu
In-Reply-To: <199607310031.TAA12972@nic.stolaf.edu> (message from Dimitris Dranidis on Wed, 31 Jul 1996 03:29:17 +0200)
Subject: Re: Creating Lead Sheets
Reply-To: henrik@satchmo.physik.tu-berlin.de
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Well, Werner Icking sent me an email complaining that there were no
bars in the output of the postscript file. That's true, so here is a
version with bars. There are some configurable parameters in the file,
please look for them and adapt them to your needs.

Following the "recipe" of this file, it should be easy to define
similar things like two systems per staff etc.

However, it would be difficult to include clefs, since (as far as I
know) they are not included in standard postscript fonts and,
therefore, one had to define postscript macros which draw a filled
polygons with the shapes of the clefs. This is also easy to do,
but takes some time. So if one wants to have clefs on the lead sheet,
on should better use the Musi(cx)Tex solution (although it is pretty
much overhead for just generating lead sheets).
 
-- 
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key

==========================================================================
%!PS-Adobe-2.0 EPSF-2.0
%%Title: notes.ps
%%Creator: Henrik Seidel
%%CreationDate: 11.08.1993
%%BoundingBox: 14 14 581 827
%%Pages: 1
%%PageOrder: Ascend
%%DocumentFonts:
%%EndComments

%%BeginSetup
%%Feature: *Resolution 300dpi
%%PaperSize: A4
%%EndSetup



%%Page: 1 1
/xdef {exch def} def
/bdef {bind def} def
/mm2pt 72 25.4 div def
/mm {mm2pt mul} def

%%%%%%%%%%%%%%%%% Begin of configurable part %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%
% Please adapt parameters to your wishes.
%
% vertical distance between lines:
/lh 2 mm def
%
% linewidth:
/lw 0.12 mm def
%
% left margin:
/xl 8.7 mm def
%
% linelength:
/xw 192 mm def
%
% top y position:
/yt 297 60 sub mm def
%
% vertical distance between staffs
/sd 25 mm def
%
% number of staffs:
/nrstaffs 8 def
%
% number of bars per line
/bpl 4 def
%
% linewidth of bars
/bw 0.3 mm def
%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%% End of configurable part %%%%%%%%%%%%%%%%%%%%

% calculate length of a bar
/bl {xw bpl div} bdef

% calculate height of a staff
/sh {lh -4 mul} bdef

/line   {currentpoint
         xw 0 rlineto
	 lw setlinewidth
	 stroke
         lh sub
         moveto
        } bdef

/bar 	{currentpoint
	 0 sh rlineto
	 bw setlinewidth
	 stroke
	 moveto
	} bdef

/staff {currentpoint
	currentpoint line line line line line moveto
	bar
	currentpoint
	1 1 bpl {pop bl 0 rmoveto bar} for
	moveto
        sd sub
        moveto
       } bdef

/all   {newpath
        lw setlinewidth
        xl yt moveto
        1 1 nrstaffs {pop staff} for
       } bdef

all
showpage
        

From mutex-owner@mail2.gmd.de Thu Aug  1 23:31:14 1996
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From: Peter Billam <pjb@ml.csiro.au>
Message-Id: <199608012331.JAA09359@strait.ml.csiro.au>
Subject: Re: Creating Lead Sheets
To: henrik@satchmo.physik.tu-berlin.de
Date: Fri, 2 Aug 1996 09:31:14 +1000 (EST)
Cc: mutex@mail2.gmd.de
In-Reply-To: <199608011700.RAA21864@sirius.physik.TU-Berlin.DE> from "Henrik Seidel" at Aug 1, 96 05:00:31 pm
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Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/ wrote:
> 
> However, it would be difficult to include clefs, since (as far as I
> know) they are not included in standard postscript fonts and,
> therefore, one had to define postscript macros which draw a filled
> polygons with the shapes of the clefs. This is also easy to do,
> but takes some time.
>
These are the clefs I did for my "muscript" program ( see
ftp://ftp.ml.csiro.au/pub/pjb/muscript.html ) ; they're more like
what I draw on manuscript than how clefs are printed, but they're
unambiguous ...

/bassclef {   % usage: x y_top staveheight bassclef
   /staveheight exch def /y_top exch def /x exch def
   gsave x y_top staveheight 0.25 mul sub translate
   staveheight staveheight scale
   newpath 0 0 0.1 0 360 arc fill stroke
   newpath 0.05 setlinewidth -0.1 0 moveto
   -0.25 0.35 0.3 0.35 0.3 0.0 curveto
   0.3 -0.3 0.2 -0.2 -0.15 -0.75 curveto stroke grestore
} def

/tenorclef {   % usage: x y_top staveheight tenorclef
   /staveheight exch def /y_top exch def /x exch def
   gsave x y_top staveheight 0.25 mul sub translate
   staveheight staveheight scale
   newpath 0.2  0.4 0.1 0 360 arc fill stroke
   newpath 0.2 -0.4 0.1 0 360 arc fill stroke
   newpath 0.12 setlinewidth -0.17 0.5 moveto -0.17 -0.5 lineto stroke
   newpath 0.05 setlinewidth  0.0  0.5 moveto  0.0  -0.5 lineto stroke
   newpath -0.17  0.1 moveto 0.45 0 0.45  0.3 0.3  0.45 curveto stroke
   newpath -0.17 -0.1 moveto 0.45 0 0.45 -0.3 0.3 -0.45 curveto stroke
   grestore
} def

/altoclef {   % usage: x y_top staveheight altoclef
   /staveheight exch def /y_top exch def /x exch def
   gsave x y_top staveheight 0.5 mul sub translate
   staveheight staveheight scale
   newpath 0.2  0.4 0.1 0 360 arc fill stroke
   newpath 0.2 -0.4 0.1 0 360 arc fill stroke
   newpath 0.12 setlinewidth -0.17 0.5 moveto -0.17 -0.5 lineto stroke
   newpath 0.05 setlinewidth  0.0  0.5 moveto  0.0  -0.5 lineto stroke
   newpath -0.17  0.1 moveto 0.45 0 0.45  0.3 0.3  0.45 curveto stroke
   newpath -0.17 -0.1 moveto 0.45 0 0.45 -0.3 0.3 -0.45 curveto stroke
   grestore
} def

/trebleclef {   % usage: x y_top staveheight trebleclef
   /staveheight exch def /y_top exch def /x exch def
   gsave x y_top staveheight 0.75 mul sub translate
   staveheight staveheight scale
   newpath 0.05 setlinewidth -0.3 -0.5 moveto
   0 -0.75 0.3 -0.6 -0.25 1.05 curveto 0.3 1.07 lineto
   -0.6 0 -0.4 -0.25 0 -0.3 curveto
   0 -0.05 0.25 270 90 arc 0 0.1 0.1 90 270 arc stroke grestore
} def

Does anyone have any glossy, as-published Postscript clefs ?

Regards,  Peter Billam

From mutex-owner@mail2.gmd.de Mon Aug  5 08:54:27 1996
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Subject: Re: Creating Lead Sheets
References: <199608012331.JAA09359@strait.ml.csiro.au>
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From: JVromans@squirrel.nl (Johan Vromans)
Date: 05 Aug 1996 10:54:27 +0200
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Peter Billam <pjb@ml.csiro.au> writes:

> Does anyone have any glossy, as-published Postscript clefs ?

I know of two: first the Marl and Tufa fonts that come with the public
domain Macintosh music program "Lime". These are high quality music
symbol fonts.

Second: the PostScript output of abc2ps has nice and glossy symbols,
in hard-coded PostScript.

------------------------------------------------------------------------------
Johan Vromans                                             jvromans@squirrel.nl
Squirrel Design & Consultancy                         Boskoop, the Netherlands
http://www.xs4all.nl/~jvromans                   http://www.xxlink.nl/squirrel
PGP key: finger jvromans@xs4all.nl (Key ID = C9A6FF75)
         Key fingerprint =  7C F8 BD 5C 25 7F 47 A6  CB 87 32 0B E3 50 EF 04 
------------------------ "Arms are made for hugging" -------------------------

From mutex-owner@mail2.gmd.de Thu Aug 22 17:33:56 1996
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From: Beda Szukics <bszukics@interconnect.ch>
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To: mutex@gmd.de
Subject: Gregorian C-Clef on the forth (fifth) line
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Hello everybody

I'm trying to write gregorian notes with MusiXTeX.

For some of the gregorian pieces (actually most of them) I need the 
gregorian C-clef on the _forth_ line.

Usually one has to put a alto clef on its normal place and then 
change it to a gregorian C-Clef (e.g. \setclef 1 {3000} and then 
\setaltoclefsymbol 1 \gregorianCclef), but that is possible only up to 
the third line. Till now I never managed to put it on the forth line. 

Thank you for your help.

cu Beda 

P.S.: It seems to me that page 46 and 17 of the MusiXTeX-manual don't tell 
the same thing. According to page 46 it should be possible to put a 
altoclef to the fifth line saying \setclef 1{5000}. But it didn't work 
with me.

From mutex-owner@mail2.gmd.de Mon Aug 26 13:42:16 1996
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199608261342.AA10598@sunick.gmd.de>
To: mutex@gmd.de, bszukics@interconnect.ch
Subject: Re: Gregorian C-Clef on the forth (fifth) line
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> Date: Thu, 22 Aug 1996 19:33:56 +0200 (MET DST)
> From: Beda Szukics <bszukics@interconnect.ch>

> Usually one has to put a alto clef on its normal place and then 
> change it to a gregorian C-Clef (e.g. \setclef 1 {3000} and then 
> \setaltoclefsymbol 1 \gregorianCclef), but that is possible only up to 
> the third line. Till now I never managed to put it on the forth line.

I didn't understand only the first of the next examples:

\input musixgre
\def\showit{\startextract\endextract\resetclefsymbols}
\setclef1\treble \settrebleclefsymbol1\gregorianCclef\showit
\setclef11         \setaltoclefsymbol1\gregorianCclef\showit
\setclef12         \setaltoclefsymbol1\gregorianCclef\showit
\setclef1\alto     \setaltoclefsymbol1\gregorianCclef\showit
\setclef14         \setaltoclefsymbol1\gregorianCclef\showit
\setclef15         \setbassclefsymbol1\gregorianCclef\showit
\setclef1\bass     \setbassclefsymbol1\gregorianCclef\showit
\bye

Nevertheless one of them should sove your problem.               -- Werner

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To: mutex@gmd.de (Receipt Notification Requested)
Subject: problem with alignment of chords
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{\it this message is \musixtex able}
\vskip 12pt
I was trying to encode repetitive patterns with macros. For some reason, 
I am also using a backspacing mechanism, in order to encode 2 separate voices
"horizontally" on one satff within the same notes...enotes group. 

You can see the basic pattern at first beats of measure one. The problem comes with the transition
through the bar, using ties.

My first trial is in measure 2. Everything works fine, but the second chord 
comes too close to the first one (when filling complete lines with music).

I tried to give an offset to the left with 1 notehead only to the first chord,
like in measure 3. It seems that the spacing associated with this first chord
is nomore taken into account. Adding an extra spacing like in measure 4, 
conducts to a better look. But both measures are penalized with the unwanted 
overfull box warning when processing with muflex [removing these two measures
in the proposed example leads to a correct two-pass processing].

Shifting the first chord to the left in the note coding like in measure 5 
seems to solve the problem.

What I would like to have, in fact is the first chord (i,j,l) vertically 
centered above the f note. 

Any idea to help me ?
\vskip 15pt
\par
\def\nbinstruments{1}%
\setstaffs1{1}\relax
\generalsignature{-2}\relax
\generalmeter{\meterfrac34}%
\setclef{1}{0000}
%           
%
\def\backskip#1#2{\llap{\hbox to #1\noteskip{#2}}}%
%
\def\sidomi{\ql f\rq i\zq j\qu l}%
\def\sidomiitie{\ql f\roff{\itied0i}\itieu1j\itieu2l\rq i\zq j\cu l}%
\def\othersidomittie{\roff{\ttie0}\ttie1\ttie2\rq i\zq j\cu l}%
\def\sidomittie{\ttie0\loff{\ttie1\ttie2\rq i\zq j\cu l}}% 
%
\parindent 0pt
\normalmusicsize 
\geometricskipscale
%
\startextract\addspace\afterruleskip%
%measure 1
  \notes\ds\sk\backskip2{\sidomi}\sidomi\sidomiitie\enotes%
%measure 2
\bar\nspace
  \notes\othersidomittie\sk\backskip2{\sidomi}\sidomi\sidomiitie\enotes%
%measure 3
\bar\nspace%
  \notes\loff{\othersidomittie}\sk\backskip2{\sidomi}\sidomi\sidomiitie\enotes%
%measure 4
\bar\nspace%
  \notes\loff{\othersidomittie}\sk\sk\backskip2{\sidomi}\sidomi\sidomiitie\enotes%
%measure 5
\bar\nspace%
  \notes\sidomittie\sk\backskip2{\sidomi}\sidomi\qp\enotes%
\endextract
\par
I should also probably avoid to use systematically the nspace, replacing it 
with some scalable space after the bar for that kind of measures. I suppose 
I should modify the afterrulespacing locally for these measures, but
I did not try it yet.
\vskip 15pt
It may also exist a very simple solution to my problem, out of my present
field of evidence...
Thanks for your suggestions.
\vskip 15pt
Michel Caprace
\bye 

From mutex-owner@mail2.gmd.de Sat Aug 31 04:28:33 1996
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From: adler@pulsar.cs.wku.edu (Allen Adler)
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Subject: Figured bass and lyrics
To: mutex@gmd.de
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I use MusicTeX with Plain TeX and am pretty happy with them. I would
just like to make better use of them. My current problem is with lyrics
and with figured bass.

As an exercise, I am typesetting the second Kyrie from the Bach
B Minor mass. It has 9 distinct parts, 4 of them vocal, one of
them a continuo with a figured bass. I am trying to treat the
notation for the figured bass as lyrics, since it is the
only idea I have on how to do it. But actually writing the
figured bass notation seems a little delicate. I guess I
can use math mode and the TeX command \atop. Is that
the way other people do it?

I also have little experience writing lyrics in MusicTeX. The
only way I know to achieve consistency between the horizontal
spacing of the lyrics and that of the notes is to use a new
\notes ... \enotes  pair for each syllable. I would like to know
if there is an easier way.

Allan Adler
adler@pulsar.cs.wku.edu

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From: Beda Szukics <bszukics@interconnect.ch>
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To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: Gregorian C-Clef on the forth (fifth) line
In-Reply-To: <199608261342.AA10598@sunick.gmd.de>
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Hello Werner

On Mon, 26 Aug 1996, Werner Icking wrote:

> I didn't understand only the first of the next examples:

Unfortunatly your examples do not work
> 
> \input musixgre
> \def\showit{\startextract\endextract\resetclefsymbols}
> \setclef1\treble \settrebleclefsymbol1\gregorianCclef\showit -> third line
> \setclef11         \setaltoclefsymbol1\gregorianCclef\showit -> first line
> \setclef12         \setaltoclefsymbol1\gregorianCclef\showit -> second line
> \setclef1\alto     \setaltoclefsymbol1\gregorianCclef\showit -> third line
> \setclef14         \setaltoclefsymbol1\gregorianCclef\showit -> forth line
> \setclef15         \setbassclefsymbol1\gregorianCclef\showit -> second line
> \setclef1\bass     \setbassclefsymbol1\gregorianCclef\showit -> third line

Using OpusTeX I managed to solve my problem thanks to some hints of 
Andreas Egler.

Thank you for your help

Beda

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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3Dtaupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86
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Subject: MusicTeX version 5.18
New version 5.18 of MusicTeX available at anonymous ftp:
  hprib.lps.u-psud.fr
  directory pub/musictex
and
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)

Changes:
 - 5.18 musicdoc updated to describe lyrics facilities
 - 5.18 slurs slightly corrected thans to Ian Collier
 - 5.17 bug corrected in \tbbbl, \tbbbu, etc.
 - 5.15 truly added \nq and \nh features (standalone stemless quarter
        and half notes)
 -      musicdoc.ps and musicdoc.lj no more in musictex.zip, but
        in musicdoc_ps.zip and musicdoc_lj.zip
 - 5.14 a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex

Daniel Taupin


--------------5537D0A5F6A--


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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3Dtaupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86
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Subject: MusiXTeX version T.56
New version T.56 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 
Daniel Taupin


--------------59ED34762022--


From mutex-owner@mail2.gmd.de Sun Sep  8 16:46:14 1996
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From: Beda Szukics <bszukics@interconnect.ch>
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Subject: Gregorian neumes are too big
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Hello all

Trying to write as an exercise the first piece of the Graduale I noticed 
that you can't code \podatus normally:

\input musixtex
\input musixgre
%
\setstaffs11
\setlines14
\setclef14
\setaltoclefsymbol1\gregorianCclef
\startextract
\NOTes\zsong{Ad}-\clivis N K\enotes
\Notes\zsong{te}\squ M\enotes
\Notes\zsong{le-}\podatus Na\enotes
\NOtes\zsong{va-}\squ a\enotes
\Notes\zsong{vi}\squ N\enotes
\endextract\bye

The podatus results as a thick short line and not as two notes.
Is there a solution?

cu Beda

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Subject: MusiXTeX T.57 available
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Mon, 9 Sep 96 15:19:35 METDST
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Subject: MusiXTeX version T.57
New version T.57 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Thu Sep 12 08:33:58 1996
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From: Sebastien ALMON <almon@jupiter.ceng.cea.fr>
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Hello!

I am a new user of Musixtex. I would like to know if there exist a mean to change the name of the note and to recall
c->do
d->re
e->mi
f->fa
g->sol
a->la
b->si

It would be easier to write scores!

Thanks a lot for your help

Sebastien almon (almon@jupiter.ceng.cea.fr)

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From: Sebastien ALMON <almon@jupiter.ceng.cea.fr>
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Hello!

I am a new user of Musixtex. I would like to know if there exist a mean to change the name of the note and to recall
c->do
d->re
e->mi
f->fa
g->sol
a->la
b->si

It would be easier to write scores!

Thanks a lot for your help

Sebastien almon (almon@jupiter.ceng.cea.fr)



From mutex-owner@mail2.gmd.de Fri Sep 13 17:18:35 1996
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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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To: Sebastien ALMON <almon@jupiter.ceng.cea.fr>
Cc: mutex@gmd.de
Subject: Re: name of the notes
References: <9609120833.AA14183@dsys.ceng.cea.fr>
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Sebastien ALMON wrote:
> =

> Hello!
> =

> I am a new user of Musixtex. I would like to know if there exist a mean t=
o change the name of the note and to recall
> c->do
> d->re
> e->mi
> f->fa
> g->sol
> a->la
> b->si
> =

> It would be easier to write scores!
> =

> Thanks a lot for your help
> =

> Sebastien almon (almon@jupiter.ceng.cea.fr)

 No, since note names are made of ONE character. Second point, =

do-re-mi-fa... is limited to one octave while a-z+A-Z is 52 notes.

However, you can still define: \def\do{c}

-- =

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3Dtaupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
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=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

From mutex-owner@mail2.gmd.de Tue Sep 17 03:11:09 1996
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I am typesetting some harmony with musictex and trying to put annotations
above and below the staff, such as 

I -> V

The arrow -> is something I would typeset using $\rightarrow$ in
TeX. However, I get error messages when I have something like

\charnote o{$\rightarrow$}

The error messages have to do with a missing right brace. In the
simple cases I have tried, it seems to come out looking ok.
But I would like to know what is causing the error messages and
how to prevent them.

Allan Adler
adler@pulsar.cs.wku.edu

From mutex-owner@mail2.gmd.de Tue Sep 17 03:16:38 1996
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From: Allen Adler <adler@pulsar.cs.wku.edu>
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Sometimes I want noteheads without stems. If I use \zq j, for example,
musictex will try to use the note in a chord with the next note
that has a stem. I can defeat this if I want a melody consisting
of noteheads, i.e. just write \zq j\sk, for example.

It happens that I want to use some noteheads in a chord but
with no chord. At the same time, I want to have a melody in
another voice lying above the notehead chords in the same staff,
but not linked to the noteheads by a stem. Of course one could use
whole notes, but I want to use black notes.

Is this something one can do with musictex?

Allan Adler
adler@pulsar.cs.wku.edu

From mutex-owner@mail2.gmd.de Tue Sep 17 06:26:49 1996
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From: adler@pulsar.cs.wku.edu (Allen Adler)
Message-Id: <199609170626.BAA02077@pulsar.cs.wku.edu>
Subject: decreasing beams
To: mutex@gmd.de
Date: Tue, 17 Sep 1996 01:26:49 -0500 (CDT)
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The manual has a lot of examples showing how beams can be
made larger and larger, but not showing how they can
be made smaller and smaller. That happens to be precisely
what I need to know. 

Just to be concrete: let's say I want a beem which consists of
two sixteenth notes and then an eighth note. I don't see
any way to do it.

OK, sixteenth notes, so it starts out \ibbu0l, let's say.
If you want to make more beams, you use \nbbbu, \nbbbbu, etc.,
but there doesn't seem to be a command \nbu to reduce the
number of beams to 1.

What is the right way to do this?

Allan Adler
adler@pulsar.cs.wku.edu

From mutex-owner@mail2.gmd.de Tue Sep 17 10:43:40 1996
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Allan Adler, adler@pulsar.cs.wku.edu  wrote:

>Sometimes I want noteheads without stems. If I use \zq j, for example,
>musictex will try to use the note in a chord with the next note
>that has a stem. I can defeat this if I want a melody consisting
>of noteheads, i.e. just write \zq j\sk, for example.

Why do you not use \nh p for white note heads and \nq p for black ones?
Together with \zq you may code harmonies.

A MusiXTeX example you can find in 
ftp://ftp.davinci.ethz.ch/pub/mensing/partit/j_chiclana/

regards,

Christian Mensing
mensing@inorg.chem.ethz.ch


From mutex-owner@mail2.gmd.de Tue Sep 17 17:23:41 1996
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 adler@pulsar.cs.wku.edu (Allen Adler) wrote

>Just to be concrete: let's say I want a beem which consists of >two 
>sixteenth notes and then an eighth note. 

\ibbu1c\qb1c\tbbu1\qb1d\tbu1\qb1e

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Tue Sep 17 16:53:59 1996
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Thanks to all who replied to my question about decreasing beams.
It has been pointed out to me that the information is really
in the manual and after a thorough search I believe I have
found its location. I think the discussion in the manual is
very confusing and misleading, at least to a novice. Enclosed
is a synopsis of the relevant portion of the manual, along
with a suggestion for a change in the manual that would render
its meaning clearer.


Section 2.6 begins with an explanation of the distinction between
fixed slope beams and semi-automatic beams.

Subsection 2.6.1 introduces the control sequence \ibu nps and
explains its arguments. It also gives a table briefly explaining
the control sequences \inl,ibbu,\ibbl,\ibbbu,\ibbbl,\ibbbbu,\ibbbbl,
\ibbbbbu,\ibbbbbl. These control sequences are used to initiate
a beam of a certain multiplicity (double, triple, etc).

In my opinion, the discussion of beam termination is not sufficiently
clear and that is why I have trouble figuring out how to go from a
double beam to a single beam. 

Continuing with subsection 2.6.1, the commands \tbu and \tbl are
introduced. The reader is told that \tbu n terminates upper beam
number n at current position, \tbl n terminates lower beam number
n at current position. The next paragraph says that \tbu and \tbl
terminate beams of any multiplicity.

On the surface, it appears that this is how one terminates beams.

In the next paragraph, it says, "It is also possible to code beams
whose multiplicity is not the same at the beginning. The multiplicity
can be increased at any position."

Note that it does not say it can be decreased.

It then explains how to change the multiplicity of the beam by
using the commands \nbbu, \nbbbu, \nbbbbu, etc. It is then
quite natural for the reader to suppose at this point that:
(1) termination of beams is accomplished using \tbl and \tbu
(2) multiplicity of a beam is changed using \nbbu,\nbbbu,\etc.

This is confusing, since there is apparently no command \nbu or \nbl
to change the multiplicity to 1. No examples are given at this point
which show beams decreasing their multiplicity. Therefore, if the
reader is to understand how to do this, presumably the information
lies in the material that follows in the manual. Let us see.

First we have a paragraph explaining that the difference between
upper and lower beams lies in the abscissae of their beginnings
and endings. Then follows an example with increasing multiplicity.
It conforms to the discussion above, i.e. the multiplicity is
consistently increased using \nbbu, \nbbbu, etc., and finally
terminated using \tbu.

Next follows an example showing how one can start with an upper
beam and end with a lower one. Again, this only involves
increasing multiplicity.

The next paragraph apparently contains the information on how
to decrease multiplicity.

"Partial termination of beams is also possible, by using \tbbu
or \tbbl: these macros terminate the current beam except that or order
1 (eighths). \tbbbu or \tbbbl terminate the current beam except those
of order 1 and 2, etc."

Now, I submit that this paragraph does not explain its point
clearly and it is not supplemented by any example. Conceptually,
it doesn't make sense: the concept as presented up til now
has been that termination of a beam is one thing and changing
its multiplicity is another thing. So there is no reason why
the reader should understand that a discussion of termination
has anything to do with changing multiplicity.

This in turn reflects the fact that the notions of
initiation-termination and multiplicity have not themselves
been clearly explained. To this reader, at least, the impression
is that there is a kind of "beam mode" which is initiated
or terminated by various commands, and that the beam which
is initiated or terminated has a certain multiplicity which
can be modified using commands such as \nbbu.

The paragraph would have been much clearer if instead the
manual said: "One can also decrease the multiplicity of
a beam using the commands \tbbu, \tbbbu, etc. For example,
the command \tbbu reduces the multiplicity of a beam to 1,
\tbbbu reduces the multiplicity of a beam to 2, etc.
The termination command \tbu or \tbl may be regarded as
a special case of this. In analogy with \tbbu, \tbbbu, etc.,
it reduces the multiplicity to 0, whereupon the beam ceases
to exist. Hence, it serves to terminate the beam."

The next paragraph explains a fine point in the use of \tbbu and
\tbbl, a fine point which enables one to have an eighth note beamed
to a 16th note. But the ordinary use of these commands was not
illustrated.

Next paragraph: the same is claimed for \tbbbu, \tbbbl, etc.

Next, we find the ONLY example in the entire section of a beam
starting out double and ending single. Again, it involves a fine
point, since the goal is not to decrease the multiplicity but
to have it do so with the double beam hanging. It uses the
command \rlap for this. So the impression the reader gets is
that one has to do something special such as \rlap to decrease
multiplicity. In hindsight, I see that this is not so, but to
a novice who is trying to learn from the manual, it is pretty
confusing.

I will not go through the rest of the section since it is not
relevant.

Allan



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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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This is a multi-part message in MIME format.

--------------15655FDB7B52
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-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86
-------------------------------------------------------------------------

--------------15655FDB7B52
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Subject: MusiXTeX version T.57a
New version T.57a of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.57a manual enhanced concerning beams
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 
Daniel Taupin


--------------15655FDB7B52--


From mutex-owner@mail2.gmd.de Wed Sep 18 14:34:31 1996
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From: C.Walshaw@greenwich.ac.uk
Message-Id: <14602.199609181434@dalek.gre.ac.uk>
Subject: Possible bug in MusiXTeX T.57
To: mutex@gmd.de
Date: Wed, 18 Sep 1996 15:34:31 +0100 (BST)
Cc: C.Walshaw@greenwich.ac.uk ()
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Hi,

I don't understand why I get:
	Overfull \hbox (0.99994pt too wide) in paragraph at lines 8--11

using the following piece of code

\input musixtex
\startmuflex%
\generalsignature{-1}%
\generalmeter{\meterfrac{4}{4}}%
\startpiece%
\notes\qu d\qu d\qu d\qu d\enotes%
\generalsignature{2}%
\alaligne%
\notes\qu d\qu d\qu d\qu d\enotes%
\setdoubleBAR%
\stoppiece%
\endmuflex%
\end%

though it's something to do with the change of signature and \alaligne.
I'm using MusiXTeX T.57. Is this me doing something silly or is it a bug?

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


From mutex-owner@mail2.gmd.de Wed Sep 18 16:43:15 1996
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From: C.Walshaw@greenwich.ac.uk
Message-Id: <17158.199609181643@dalek.gre.ac.uk>
Subject: Re: Possible bug in MusiXTeX T.57
To: mutex@gmd.de
Date: Wed, 18 Sep 1996 17:43:15 +0100 (BST)
Cc: C.Walshaw@greenwich.ac.uk ()
Reply-To: C.Walshaw@greenwich.ac.uk
In-Reply-To: <199609181537.AA18245@sunick.gmd.de> from Werner Icking at "Sep 18, 96 05:37:30 pm"
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> As far as I can see it's not a bug but a user error. It's not
> enough to define a new signature. In addition you have to tell
> that you want it to be done *now*; try
> 
> \generalsignature2\changesignature\mulooseness=1\bar
> 
> instead of
> 
> \generalsignature{2}%
> \alaligne%
> 
	How do I do it without the change of signature appearing
at the end of the first line, i.e. I want to force a linebreak
and change signature at the same time so that the change appears
at the start of the new line.

	Chris


From mutex-owner@mail2.gmd.de Wed Sep 18 18:36:37 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Key signatures at end of line:
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 C.Walshaw@greenwich.ac.uk wrote
> 
 >How do I do it without the change of signature appearing
>at the end of the first line, i.e. I want to force a linebreak 
>and change signature at the same time so that the change 
>appears at the start of the new line.

I don't have the answer, but a comment.  

     There were some key signatures in a recent piece I typeset (which 
I believe is coming soon to a gmd server near you!).  I looked through 
my published sources to see what the format should be.  Admittedly all 
the sources were modern editions of baroque keyboard music, but in the 
few examples I did find, 

(a) internal key signature changes always came at line breaks, and

(b) the new key signature was always posted at the end of the old 
line, *after* a barline, with no barline following it.

--Don Simons (dsimons@logicon.com)

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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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-- =

-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
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  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
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Subject: MusiXTeX version T.58
New version T.58 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 
Daniel Taupin


--------------6485553928F3--


From mutex-owner@mail2.gmd.de Fri Sep 20 15:15:19 1996
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Date: Fri, 20 Sep 1996 10:15:19 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Cc: Daniel TAUPIN <taupin@lps.u-psud.fr>
Subject: Trouble getting files ...
In-Reply-To: <3241C265.713A@lps.u-psud.fr>
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Hello all,

  I have had trouble obtaining the Mac musixflx file:

ftp://hprib.lps.u-psud.fr/pub/musixtex/musixflx/mac/musixflx.hqx

I have tried to download it both with Mosaic and by ftp. Both ways I get
an `unexpected end of file' error from Stuffit. Has anyone successfully
obtained this file or is it broken?

  Also the file

ftp://hprib.lps.u-psud.fr/pub/musixtex/musixevo.tex

has no world read permission. Is this correct?

Thanks, Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+



From mutex-owner@mail2.gmd.de Sun Sep 22 00:30:56 1996
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From: taupin@lps.u-psud.fr
Subject: MusiXTeX T.59
To: mutex@gmd.de (MusiXTeX list (gmd.de)), icking@gmd.de (Werner Icking)
Date: Sat, 21 Sep 96 23:54:02 METDST
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Subject: MusiXTeX version T.59
New version T.59 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Changes:
 - T.59  added \musicsize 24pt and 29pt (with newfonts), behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 - T.53  musixslu suppression enforced (dummy diagnosing file)
 - T.52  accents on beams corrected thanks to Klaus Bechert
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Sun Sep 22 03:21:51 1996
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From: adler@pulsar.cs.wku.edu (Allen Adler)
Message-Id: <199609220321.WAA08847@pulsar.cs.wku.edu>
Subject: stuff crossed out
To: mutex@gmd.de
Date: Sat, 21 Sep 1996 22:21:51 -0500 (CDT)
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I'm using MusicTeX to typeset some notebooks and want to do
so as accurately as possible. In the notebooks, there are
some notes and measures crossed out. I don't want to leave
them out, but I do want to indicate that they were crossed out.
The easy way, of course, is just to add a footnote, but  it
would be nice to do better than that. Is there any way to
make stuff look crossed out in MusicTeX?

Allan Adler
adler@pulsar.cs.wku

From mutex-owner@mail2.gmd.de Sun Sep 22 15:06:00 1996
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Date: Sun, 22 Sep 96 11:06 EDT
From: joel@exc.com (Joel M. Hoffman)
To: adler@pulsar.cs.wku.edu
Cc: mutex@gmd.de
In-Reply-To: Allen Adler's message of Sat, 21 Sep 1996 22:21:51 -0500 (CDT) <199609220321.WAA08847@pulsar.cs.wku.edu>
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>I'm using MusicTeX to typeset some notebooks and want to do
>so as accurately as possible. In the notebooks, there are
>some notes and measures crossed out. I don't want to leave
>them out, but I do want to indicate that they were crossed out.
>The easy way, of course, is just to add a footnote, but  it
>would be nice to do better than that. Is there any way to
>make stuff look crossed out in MusicTeX?

I don't know about crossed out exactly, but you might set it in gray
using PStricks.  

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Mon Sep 23 13:45:51 1996
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Date: Mon, 23 Sep 1996 14:45:51 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Printing manual two pages to a sheet
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On the Apple Mac. files printed from an application to a PostScript printer
can be printed two or four pages to a sheet.  I presume this is done with
a bit of PostScript in the header of the stuff sent to the printer.  Does
anybody know how this could be done to print the MusixTeX manual two pages
to a sheet so that it used up less paper ?  i.e. is there a bit of Postscript
which could be inserted before/after the standard TeX PS header ?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From mutex-owner@mail2.gmd.de Mon Sep 23 15:47:31 1996
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From: Peter.Vanroose@esat.kuleuven.ac.be
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To: pmcilroy@bt-sys.bt.co.uk
Subject: Re: Printing manual two pages to a sheet
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> Does anybody know how this could be done to print the MusixTeX manual two pages
> to a sheet so that it used up less paper ?  i.e. is there a bit of Postscript
> which could be inserted before/after the standard TeX PS header ?

Probably, yes.  But this can also be done at an earlier stage.
What I normally use is "dvidvi".  This converts the DVI
file to a file with two (or four etc.) pages on a sheet.
Then you only need to tell the DVI->PostScript program to scale down
the output by a factor of 0.7 (or 0.5 etc.).

More specifically, you will need the commands (possibly to be tuned):

dvidvi '2:0,1(5.5in,0pt)' input.dvi output.dvi
dvips -x694 -tlandscape output.dvi

(Remark that the factor 0.6944444 is (1.2)^{-2}, i.e., a size for which
there may exist TeX fonts.  This can dramatically increase the output quality.)


Below is an (old!) man page of dvidvi.  See the CTAN archives for the source code.

--                  Peter Vanroose
                    Electrotechnical Department (ESAT/MI2)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be



NAME
     dvidvi - convert dvi files to dvi files

SYNOPSIS
     dvidvi options input_file [ output_file ]

DESCRIPTION
     The dvidvi command transforms a dvi file  according  to  the
     options given.  The default for output_file is standard out-
     put.

OPTIONS

     page n is first page selected         -f n
     page n is last page selected          -l n
     print at most n pages                 -n n
     include pages (ranges allowed)        -i { n1..n2 | n1 }[,...]
     exclude pages (ranges allowed)        -x { n1..n2 | n1 }[,...]
     work in quiet mode                    -q
     reverse pages                         -r
     select even                           -m 2:1
     select odd                            -m 2:0
     print both on same page               -m 2:0,1(5.5in,0in)
     do folded brochures                   -m 4:-3,0(5.5in,0in)
                                           -m 4:1,-2(5.5in,0in)
     etc.

     General form of the -m option string:

     -m n : [-] m [( x , y )] [,...]

     n    page periodicity by which the transformation is  to  be
          carried out; should be a number between 1 and 32.

     m    number between 0 and n-1 denoting the page to be taken,
          where  a  minus  sign  denotes that the last group of n
          pages is to be taken first.

     x/y  horizontal/vertical offset (should be a TeX-like dimen-
          sion: in, cm, pt ...).

     When more groups of the form m [( x  ,  y  )]  are  present,
     these  pages are printed on top of each other.  A maximum of
     32 pages is allowed.

EXAMPLES
                     dvidvi 2:1 foo.dvi even.dvi
     selects the even-numbered pages from the file foo.dvi

                        dvidvi 2:0 foo odd.dvi
     selects the odd-numbered pages from the file foo.dvi

                  dvidvi '2:0,1(5.5in,0pt)' foo side
     prints odd-numbered and  even-numbered  pages  on  the  same
     page,  side  by side.  (Use landscape mode to print the file
     side.dvi)

                 dvidvi '4:-3,0(5.5in,0cm)' foo fold1
                 dvidvi '4:1,-2(5.5in,0mm)' foo fold2

     makes folded brochures. (First print fold1.dvi in  landscape
     mode,  then  put the paper back in, turned 180 degrees, then
     print fold2.dvi in landscape mode)


From mutex-owner@mail2.gmd.de Mon Sep 23 18:21:02 1996
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Date: Mon, 23 Sep 1996 14:21:02 -0400 (EDT)
From: Hao  Ni <hni@emory.edu>
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To: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
Cc: mutex@gmd.de
Subject: Re: Printing manual two pages to a sheet
In-Reply-To: <199609231349.AA06041@mail.gmd.de>
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Hi!
    You can use psnup in the psutils package to print two or four, even
more PS pages into one sheet. You can find the whole package in
ftp.tex.ac.uk/tex-archive/support/psutils
    Best wishes,

Sept.23, 1996
-------------------------------------------------------------------------
Hao Ni               |   E-mail: hni@emory.edu
Dept. of Chemsitry   |   Homepage: http://userwww.service.emory.edu/~hni
Emory University     |   
Atlanta, GA 30322    |   How to make a signature in mail?
-------------------------------------------------------------------------

On Mon, 23 Sep 1996, Paul McIlroy wrote:

> On the Apple Mac. files printed from an application to a PostScript printer
> can be printed two or four pages to a sheet.  I presume this is done with
> a bit of PostScript in the header of the stuff sent to the printer.  Does
> anybody know how this could be done to print the MusixTeX manual two pages
> to a sheet so that it used up less paper ?  i.e. is there a bit of Postscript
> which could be inserted before/after the standard TeX PS header ?
> 
> Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)
> 


From mutex-owner@mail2.gmd.de Mon Sep 23 20:58:39 1996
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From: adler@pulsar.cs.wku.edu (Allen Adler)
Message-Id: <199609232058.PAA13520@pulsar.cs.wku.edu>
Subject: Re; Printing manual two pages to a sheet
To: mutex@gmd.de
Date: Mon, 23 Sep 1996 15:58:39 -0500 (CDT)
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There is something called psutils which has various programs for
working with postscript files. You can produce the postscript
file for the manual, then put it 2 or 4 on a page using
the psutil program psnup. If you would like to make a booklet
and can print or xerox on both sides of the page, you can
do so using the psutil utility psbook to get the pages in
the right order (e.g. it has to work out so that, assuming 4n pages,
page 4n is on the left half of the front of the first sheet
and page 1 is on the right half, page 2 is on the left half of
the back of the first sheet (viewed from the back), page 4n-1 is on
the right half of the back of the first sheet, etc., and psbook
does that for you quite painlessly. You can also select pages to
print out using the psutils utility psselect. It takes a little
getting used to, but I have had good experiences with it.
I haven't tried it on the manual or other music, yet. I would
be interested in hearing about how it goes if you try it.

Allan Adler
adler@pulsar.cs.wku.edu


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From: Peter.Vanroose@esat.kuleuven.ac.be
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Allan Adler writes:
> There is something called psutils which has various programs for
> working with postscript files. ....<>....

All these can also be done with dvidvi.  There is one advantage
to dvidvi as compared to PostScript-based tools:  you can make
sure that the used fonts are designed to be printed at that size
(say, 70%) while PostScript can only linearly scale the font.

Using the right fonts (built by Metafont) can strongly increase
the quality, i.e., the readability, of the output.
Even on a 600 dpi printer, you still see an important difference!

P.S., I just checked the CTAN archive.  dvidvi is still there,
and it is also available for PC, MAC, OS/2 and VMS.  URL:

ftp://ftp.tex.ac.uk/ctan/tex-archive/dviware/dvidvi/

for MAC: ftp://ftp.tex.ac.uk/ctan/tex-archive/dviware/dvidvi/mac/dvidvi.hqx
C source code: ftp://ftp.tex.ac.uk/ctan/tex-archive/dviware/dvidvi/dvidvi.c

--                  Peter Vanroose
                    Electrotechnical Department (ESAT/MI2)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be

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-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
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Subject: MusiXTeX version T.60
New version T.60 of MusiXTeX with corrected doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: you have to update the musix* fonts, and get the x*24 and x*29
         fonts.
Changes:
 - T.60  changed clefs definition to have correct clefs, even with non-standard
         \setsize or \musicsize (uses new fonts and additional large fonts)
 - T.59  added \musicsize 24pt and 29pt, behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 
Daniel Taupin


--------------58EC563B3BA0--


From mutex-owner@mail2.gmd.de Tue Sep 24 10:47:01 1996
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Date: Tue, 24 Sep 1996 12:47:01 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199609241047.AA20084@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Re; Printing manual two pages to a sheet
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> Date: Tue, 24 Sep 96 10:01:11 +0200
> From: Peter.Vanroose@esat.kuleuven.ac.be
> 
> All these can also be done with dvidvi.  There is one advantage
> to dvidvi as compared to PostScript-based tools:  you can make
> sure that the used fonts are designed to be printed at that size
> (say, 70%) while PostScript can only linearly scale the font.

And for some TeX-systems you don't need dvidvi because the dvi-driver
itself can do such transformations. To print the documentation on
a double-sided printer as *booklet* I use with EmTeX:

 prthpljh @2a4_a4.cnf +p.t.m=0.707in +p.l.m=0.707in 
                           +f.sizes:+465 +sec.s=32 +d.s:s musixdoc

  +p.t.m   = +page-top-margin
  +p.l.m   = +page-left-margin
  +f.sizes = +font-sizes        (needed because of rounding errors)
  +sec.s   = +section-size
  +d.s     = +double-sided:short
   
If you do not have a double-sided printer you may use in addition
"+double-sided:odd" (+d.s:o) to print only the odd-numbered pages
in a 1st pass and then "+double-sided:even +backward" (+d.s:e /z+) 
to print the even numbered pages in a second path after re-feeding
the already printed pages - if your printer does allow such operations!

I need in addition "+left-margin=-6mm" (/l=-6mm) as adjustment for my 
printer; your mileage may vary.

For testing purposes you may add "+first-page=1 +last-page=2" to print
only the first and last two pages on one sheet of paper.

> Using the right fonts (built by Metafont) can strongly increase
> the quality, i.e., the readability, of the output.
> Even on a 600 dpi printer, you still see an important difference!

Yes! But using the right fonts increases the disk-space needed
(e.g. approx. 1 MB for HPLJ).


Hope this hilft -- Werner

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From: adler@pulsar.cs.wku.edu (Allen Adler)
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Subject: Re: Printing manual two pages to a sheet
To: mutex@gmd.de
Date: Tue, 24 Sep 1996 08:28:46 -0500 (CDT)
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Perhaps for music typesetting dvidvi is better. But I know that
when faced with a choice of using dvidvi and using psutils,
I eventually decided psutils was better for my needs. I don't
recall the exact situation at the moment, but I did have a lot
of inclusions of bitmaps using epsf and I think that had a lot
to do with my decision. At any rate, I was able to solve my problem
with psutils but not with dvidvi.

Allan Adler
adler@pulsar.cs.wku.edu

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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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In the better interest of maintainability, I know that the following
macros I have defined in my own macro file are sort of a no-no,
especially since they don't work for MusixTeX T.55 and later
(I get an undefined control sequence when TeX hits the first
'@' in \s@l@ctbeam):

% Ibx - initiate single beam with room for two
% Ibxx - initiate single beam with room for three
%
\def\i@bxu#1#2{\ifnum\b@n=\z@ \i@bu{#1}{#2}\C@ba\b@z\@ne \fi}%
\def\i@bxl#1#2{\ifnum\b@n=\z@ \i@bl{#1}{#2}\C@ba\b@z\m@ne \fi}%
\def\i@bxxu#1#2{\ifnum\b@n=\z@
  \i@bxu{#1}{#2}\C@ba\b@z\@ne \C@ba\c@z\@ne \fi}
\def\i@bxxl#1#2{\ifnum\b@n=\z@
  \i@bxl{#1}{#2}\C@ba\b@z\m@ne \C@ba\c@z\m@ne \fi}
\def\Ibxu#1{\s@l@ctbeam#1\relax \s@l@ctc \I@bu\i@bxu}
\def\Ibxl#1{\s@l@ctbeam#1\relax \s@l@ctc \I@bl\i@bxl}
\def\Ibxxu#1{\s@l@ctbeam#1\relax \s@l@ctd \I@bu\i@bxxu}
\def\Ibxxl#1{\s@l@ctbeam#1\relax \s@l@ctd \I@bl\i@bxxl}

My intent is to be able to allow room for an increase in beam
multiplicity that will look good next to an n-tuplet of the greater
multiplicity while maintaining the relative ease of coding that the
computed beams afford. 

I submit the above (or something similar that accomplishes the same) 
as a suggestion for a future MusixTeX version, if feasible.

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com
Ecce homo qui est farba!

From mutex-owner@mail2.gmd.de Wed Sep 25 09:58:58 1996
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Date: Wed, 25 Sep 1996 11:58:58 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199609250958.AA20501@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: My silly beam macros
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Dear John, dear MuTeX-list members,

in similar cases I always look for solution without knowing MusiXTeX
internals.

Could it be that following would solve your problem?

\def\Ibxu#1#2#3{\advance\transpose1\ibu{#1}{#2{#3}\advance\transpose-1}


Concerning the general problem of the starting beam height, I wouldn't
have no need for such a macro because most beams in my scores do not
start at the pitch of the first note. That's because I normally use
beams which have a smaller slope than the notes under it.

It's hard to find a general solution for the starting beam heigth and
beam slope - as I know from Don Simons trying to solve that problem
in PMX.

Werner

PS - an example:

\startextract
\Notes\Uptext{ibu0b3}\ibu0b3\qb0{be}\en
\notes\nbbu0\qb0f\tbu0\qb0g\en
\def\ibxu#1#2#3{\advance\transpose1\ibu{#1}{#2}{#3}\advance\transpose-1}%
\Notes\Uptext{ibxu0b3}\ibxu0b3\qb0{be}\en
\notes\nbbu0\qb0f\tbu0\qb0g\en
\Notes\Uptext{ibu0d2}\ibu0e2\qb0{be}\en % starting higher, smaller slope
\notes\nbbu0\qb0f\tbu0\qb0g\en
\endextract
\bye

From mutex-owner@mail2.gmd.de Wed Sep 25 21:13:54 1996
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Date: Wed, 25 Sep 1996 14:13:54 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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When you install the new musix* fonts, you have to recompile your =

previous DVIs, otherwise the clefs will appear at the wrong place.

 Sorry, but this was necessary to correct an ancient bug, visible for =

people trying to use the \setsize command...


-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Sep 25 15:05:58 1996
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Date: Wed, 25 Sep 96 10:05:58 CDT
From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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Subject: Re: My silly beam macros
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> Date: Wed, 25 Sep 1996 11:58:58 +0200
> From: Werner Icking <Werner.Icking@gmd.de>
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> 
> Dear John, dear MuTeX-list members,
> 
> in similar cases I always look for solution without knowing MusiXTeX
> internals.
> 
> Could it be that following would solve your problem?
> 
> \def\Ibxu#1#2#3{\advance\transpose1\ibu{#1}{#2{#3}\advance\transpose-1}

Almost.  I tried the following, but it didn't quite line up right.  It
appears that the beam spacing is different from the note spacing:

\input musixtex
\startextract
\def\Ibxu#1#2#3#4{\advance\transpose1\Ibu{#1}{#2}{#3}{#4}\advance\transpose-1}%
\notes\Uptext{transpose 1}\Ibbu0ee3\qb0e\tbbu0\qb0e\tbu0\qb0e\en
\notes\Ibxu0ee3\qb0e\nbbu0\qb0e\tbu0\qb0e\en\bar
\def\Ibxu#1#2#3#4{\advance\transpose2\Ibu{#1}{#2}{#3}{#4}\advance\transpose-2}%
\notes\Uptext{transpose 2}\Ibbu0ee3\qb0e\tbbu0\qb0e\tbu0\qb0e\en
\notes\Ibxu0ee3\qb0e\nbbu0\qb0e\tbu0\qb0e\en\bar
\endextract
\bye

If I use my hack to the musixtex.tex file, the beams line up.

John

From mutex-owner@mail2.gmd.de Wed Sep 25 15:30:56 1996
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Date: Wed, 25 Sep 1996 15:30:56 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: OpusTeX 0.63
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I recently downloaded OpusTeX 0.63.  I finally got the documentation to get
through TeX (OzTeX 2.0 for Mac).  I had to rebuild formats a few times
before I got values that would work.

There are still some things that didn't work.

1--Two fonts did not get built.  Opus11 and Opus16.  Both of them generated;

! Strange path (turning number is zero)

while METAFONT was trying to bulid them.

2--Several of the musical examples were "exploded"--i.e. the notes were not
in the staff.  I suspect this may have to do with opusflex.  I have not
compiled it as I do not have a C compiler (or any other, for that matter).

3--The .dvi file created does not identify itself as an OzTeX document.
All of the other .tex files that have run through OzTeX on my machine are
tagged as OzTeX documents.  Is this related to opusflex not being there?

Please note that while I am not a beginner with TeX, I still consider
myself a novice.  OpusTeX is the first music package I have looked at for
TeX.

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Wed Sep 25 15:34:10 1996
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Date: Wed, 25 Sep 1996 17:34:10 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199609251534.AA20878@sunick.gmd.de>
To: baumgart@sgsn01.nmg.sms.siemens.com
Subject: Re: My silly beam macros
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> Date: Wed, 25 Sep 96 10:05:58 CDT
> From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
> 
> > Date: Wed, 25 Sep 1996 11:58:58 +0200
> > From: Werner Icking <Werner.Icking@gmd.de>
> > 
> > Could it be that following would solve your problem?
> > 
> > \def\Ibxu#1#2#3{\advance\transpose1\ibu{#1}{#2{#3}\advance\transpose-1}
> 
> Almost.  I tried the following, but it didn't quite line up right.  It
> appears that the beam spacing is different from the note spacing:
> 
> \input musixtex
> \startextract
> \def\Ibxu#1#2#3#4{\advance\transpose1\Ibu{#1}{#2}{#3}{#4}\advance\transpose-1}%
> \notes\Uptext{transpose 1}\Ibbu0ee3\qb0e\tbbu0\qb0e\tbu0\qb0e\en
> \notes\Ibxu0ee3\qb0e\nbbu0\qb0e\tbu0\qb0e\en\bar
> \def\Ibxu#1#2#3#4{\advance\transpose2\Ibu{#1}{#2}{#3}{#4}\advance\transpose-2}%
> \notes\Uptext{transpose 2}\Ibbu0ee3\qb0e\tbbu0\qb0e\tbu0\qb0e\en
                             Ibbb   ???
> \notes\Ibxu0ee3\qb0e\nbbu0\qb0e\tbu0\qb0e\en\bar
                       nbbb   ???
> \endextract
> \bye
> 
> If I use my hack to the musixtex.tex file, the beams line up.

In the meantime I found another "solution":

\def\Ibxu#1#2#3#4{\Ibu{#1}{#2}{#3}{#4}\tbbu{#1}}%
\def\Ibxxu#1#2#3#4{\Ibbu{#1}{#2}{#3}{#4}\tbbu{#1}}%
...
\def\Ibbxu#1#2#3#4{\Ibbbu{#1}{#2}{#3}{#4}\tbbbu{#1}}%
...

It's more simple and should therefor be better :-)               -- Werner

From mutex-owner@mail2.gmd.de Wed Sep 25 16:12:04 1996
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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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> In the meantime I found another "solution":
> 
> \def\Ibxu#1#2#3#4{\Ibu{#1}{#2}{#3}{#4}\tbbu{#1}}%
> \def\Ibxxu#1#2#3#4{\Ibbu{#1}{#2}{#3}{#4}\tbbu{#1}}%
> ...
> \def\Ibbxu#1#2#3#4{\Ibbbu{#1}{#2}{#3}{#4}\tbbbu{#1}}%
> ...
> 
> It's more simple and should therefor be better :-)               -- Werner

There we go!  Occam would be proud.  I wonder if at one time a typo on
my part left some sort of bad artifact and caused me to stray off the
path and into the thicket.  Thanks.

John

From mutex-owner@mail2.gmd.de Thu Sep 26 04:49:40 1996
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Date: Wed, 25 Sep 1996 21:49:40 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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To: Liste mutex <mutex@gmd.de>
Cc: taupin@lps.u-psud.fr
Subject: Bug in MusixTeX... found by D. Taupin  :-)
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This is a multi-part message in MIME format.

--------------A091B50619C
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

When trying to test the further version of musixtex with enhanced gregorian symbols, I found a 
weird "Underfull \hbox# in the test file. And I lost a full day finding it. It occurs when
all the following conditions are fulfilled:
 
 1. Using latex (not plain TeX)
 2. Not using french.sty
 3. Setting \parindent NOT equal zero
 4. coding \begin{music} just after \section or \subsection with no text inbetween.

The trouble is caused by that laTeX feature which inhibits indentation in the first paragraph of 
a section (a feature which is not used in French.)

 Therefore, I immediately post the corrected "musixltx.tex" file (attached to this message)

 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

--------------A091B50619C
Content-Type: application/x-tex
Content-Transfer-Encoding: base64
Content-Disposition: inline; filename="MUSIXLTX.TEX"

XGlmeFx1bmRlZmluZWRcbXVzaWMgXGVsc2UgXGVuZGlucHV0IFxmaQ0KDQpcaW1tZWRpYXRl
XHdyaXRlMTB7TXVzaVhMYVRlWCBULjYxXHNwYWNlPDI1IFNlcHRlbWJlciAxOTk2Pn0lDQoN
ClxuZXdlbnZpcm9ubWVudHttdXNpY317XEBhZnRlcmluZGVudHRydWVccGFyc2tpcDBwdFxj
YXRjb2Rlc211c2ljDQogIFxyZXNldGxheW91dH17fSUNCg0KXGlmeFxtdXNpeEBiZWdpbmRv
Y3VtZW50XHVuZGVmaW5lZA0KICBcbGV0XG11c2l4QGJlZ2luZG9jdW1lbnRcZG9jdW1lbnQN
CiAgXGRlZlxkb2N1bWVudHtcbXVzaXhAYmVnaW5kb2N1bWVudA0KICAgIFxpZnN0YXJ0bXVm
bGV4QGRvbmVcZWxzZVxzdGFydG11ZmxleFxmaX0lDQpcZmkgICAgDQoNClxlbmRpbnB1dA0K

--------------A091B50619C--


From mutex-owner@mail2.gmd.de Thu Sep 26 04:59:41 1996
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Date: Wed, 25 Sep 1996 21:59:41 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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Subject: Bug in MusixTeX fournd dy D. Taupin himself...
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This is a multi-part message in MIME format.

--------------1D98C4768A1
Content-Type: text/plain; charset=iso-8859-1
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Since Netscape stupidly encoded the TeX arrachgment, I try to re-send 
it... 
 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

--------------1D98C4768A1
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit
Content-Disposition: inline; filename="MUSIXBUG.TXT"


When trying to test the further version of musixtex with enhanced gregorian symbols, I found a 
weird "Underfull \hbox# in the test file. And I lost a full day finding it. It occurs when
all the following conditions are fulfilled:
 
 1. Using latex (not plain TeX)
 2. Not using french.sty
 3. Setting \parindent NOT equal zero
 4. coding \begin{music} just after \section or \subsection with no text inbetween.

The trouble is caused by that laTeX feature which inhibits indentation in the first paragraph of 
a section (a feature which is not used in French.)

 Therefore, I immediately post the corrected "musixltx.tex" file:
=============================================================================

\ifx\undefined\music \else \endinput \fi

\immediate\write10{MusiXLaTeX T.61\space<25 September 1996>}%

\newenvironment{music}{\@afterindenttrue\parskip0pt\catcodesmusic
  \resetlayout}{}%

\ifx\musix@begindocument\undefined
  \let\musix@begindocument\document
  \def\document{\musix@begindocument
    \ifstartmuflex@done\else\startmuflex\fi}%
\fi    

\endinput

 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

--------------1D98C4768A1--


From mutex-owner@mail2.gmd.de Thu Sep 26 05:59:00 1996
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I am working with melodies which are encoded in a code called EsAC
and have until now been using a program which was written to convert
this to mtex for displaying/printing the output. I would like to
try writing a program for converting these melodies to either
MuTeX or MusicTeX. I have been reading this list for many months
and have not yet taken the plunge.

I would like to know which code would be more appropriate for
notating monophonic folksongs, with text underlay. In my original
data the division of melodies into lines (often very short)
is very significant and must be retained (my division has nothing
to do with good typesetting).  I understood that this might be
a problem.

I would appreciate any input!!!
Jane Singer
Jewish Music Research Centre


From mutex-owner@mail2.gmd.de Thu Sep 26 07:46:46 1996
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Date: Thu, 26 Sep 96 09:46:46 +0200
From: Peter.Vanroose@esat.kuleuven.ac.be
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To: MUS@RAM1.HUJI.AC.IL
Subject: Re: MuTeX or MusicTeX?
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Jane Singer writes:
> I would like to know which code would be more appropriate for
> notating monophonic folksongs, with text underlay. In my original
> data the division of melodies into lines (often very short)
> is very significant and must be retained (my division has nothing
> to do with good typesetting).  I understood that this might be
> a problem.

I don't know EsAC, of course, but this sounds like "abc2mtex" would
be a good choice.

 abc  is an ascii notation system for trad/folk music.  abc2mtex is
a MusicTeX preprocessor which converts from this easy-to-write (and
to read!) format to MusicTeX.  But the abc notation is more generic
than this:  there are now also tools to convert to PostScript, MIDI,
and sound.

The author of abc2mtex is Chris Walshaw.  See the abc home page at
http://www.gre.ac.uk/~c.walshaw/abc/

--                  Peter Vanroose
                    Electrotechnical Department (ESAT/MI2)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be

From mutex-owner@mail2.gmd.de Thu Sep 26 10:16:56 1996
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To: MUS@RAM1.HUJI.AC.il
Cc: mutex@gmd.de
In-Reply-To: <26090096075922@RAM1.HUJI.AC.IL> (message from MUS on Thu, 26 Sep 1996 06:59:00 +0100)
Subject: Re: MuTeX or MusicTeX?
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Jane Singer wrote:

> I would like to know which code would be more appropriate for
> notating monophonic folksongs, with text underlay. In my original
> data the division of melodies into lines (often very short)
> is very significant and must be retained (my division has nothing
> to do with good typesetting).  I understood that this might be
> a problem.

If you are interested only in encoding music pieces and not in
typesetting them right now, I would suggest you use the languages we
defined for the SceX system (FVL would be the most suited). You can
find information about this in the SceX Home Page:

	http://www.up.pt/~mig/hSceX.html

Please contact me if you need any help on this.

Miguel Filgueiras

From mutex-owner@mail2.gmd.de Thu Sep 26 09:37:00 1996
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I posted a question a few hours ago about converting EsAC code to
either MuTeX or MusicTeX.
Thank-you all for your quick responses. However, if I didn't make it clear,
I am not interested in changing my original code, for many reasons,
only in converting it to MuTex of MusicTeX for purposes of output.

Thanks!
Jane Singer
Jewish Music Research Centre

From mutex-owner@mail2.gmd.de Thu Sep 26 11:03:12 1996
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Musictex ad MusiXTeX distribution - Font files
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Musictex and MusiXTeX distribution contain the font-files for 300dpi printers.
These files are named <xyz>.pk in the ZIP-files.

Thanks to the help of Volker Kuhlmann I've renamed these files in the
tar.gz-distributions to <xyz>.300pk  as it is required by most Unix-es.
I'll do similar renamings if I provide musixpk3.zip and musixpk6.zip
as "tar.gz", too. I don't do this up to now, because there seems to
be not much need in these files. Or am I wrong?

A lot of systems do generate the font-files on-the-fly as soon as 
they are needed. If a user or an installer wants to generate the
font-files in advance he has to do this by metafont-ing all those
*.mf where a corresponding *.tfm exists.

So there seems to be no need to pack the font-files into the distri-
bution which could save some net-traffic. A more powerful approach to
save bandwidth is to fetch those files from the directory "diff-files"
which contain only those parts which have been changed from one release
to the next. The current file is  musixtex.T59-T60.zip

ZIP/UNZIP programmes are available for nearly any system as freeware;
yes, for Unix-es, too. Refer to   http://quest.jpl.nasa.gov/Info-Zip/

Hope this hilft   -- Werner Icking

PS: The updated musixltx.tex is available as single file from ftp.gmd.de
    /music/musixtex/ and will therefor appear at CTAN soon.

From mutex-owner@mail2.gmd.de Thu Sep 26 11:44:44 1996
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Date: Thu, 26 Sep 96 13:44:44 +0200
From: Peter.Vanroose@esat.kuleuven.ac.be
Message-Id: <9609261144.AA24587@memlinck.esat.kuleuven.ac.be>
To: MUS@RAM1.HUJI.AC.IL
Subject: Re: mutex or musictex
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> I am not interested in changing my original code, for many reasons,
> only in converting it to MuTex of MusicTeX for purposes of output.

Of course; I just wanted to propose you writing an EsAC to abc converter.
This should be much easier than writing a converter to MusicTeX directly.

	Peter Vanroose

From mutex-owner@mail2.gmd.de Thu Sep 26 15:06:10 1996
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Subject: Re:  Musictex ad MusiXTeX distribution - Font files
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>ZIP/UNZIP programmes are available for nearly any system as freeware;
>yes, for Unix-es, too. Refer to   http://quest.jpl.nasa.gov/Info-Zip/

my DNS is unable to locate this server, please can you give me the
address # ?

Christian Mensing
mensing@inorg.chem.ethz.ch

From mutex-owner@mail2.gmd.de Fri Sep 27 00:50:53 1996
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Date: Thu, 26 Sep 1996 17:50:53 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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To: mutex list <mutex@gmd.de>
Cc: taupin@lps.u-psud.fr
Subject: Musixtex T.61 (less bugs, better gregorian)
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--------------60791DB33AF5
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-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au 21.09.96=
)
-------------------------------------------------------------------------

--------------60791DB33AF5
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="MUSIX.MSG"

Subject: MusiXTeX version T.61
New version T.61 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: you have to update the musix* fonts, and all the x* fonts.
Changes:
 - T.61  corrections in additional size handling (11pt to 29pt),
         musixgre.tex throughly updated (not yet complete), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
         Bug corrected in musixltx.tex (musixtex.sty).
 - T.60  changed clefs definition to have correct clefs, even with non-standard
         \setsize or \musicsize (uses new fonts and additional large fonts)
 - T.59  added \musicsize 24pt and 29pt, behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 - T.55  \startmuflex forced in more cases to avoid problems
         Taupin's copyright/freeware specifications written in musixdoc
 - T.54  tentative correction in \centerbar
 
Daniel Taupin


--------------60791DB33AF5--


From mutex-owner@mail2.gmd.de Thu Sep 26 16:30:26 1996
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To: mensing@inorg.chem.ethz.ch
Cc: mutex@gmd.de
Subject: Re: Musictex ad MusiXTeX distribution - Font files 
In-Reply-To: Your message of "Thu, 26 Sep 1996 17:06:10 +0200."
             <199609261506.AA18668@elwood.ethz.ch> 
Date: Thu, 26 Sep 1996 17:30:26 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> >ZIP/UNZIP programmes are available for nearly any system as freeware;
> >yes, for Unix-es, too. Refer to   http://quest.jpl.nasa.gov/Info-Zip/
> 
> my DNS is unable to locate this server, please can you give me the
> address # ?

The CTAN servers carry zip in tools/info-zip (we mirror from quest)

CTANs are ftp.dante.de and ftp.tex.ac.uk (both have archive root at
tex-archive/).

There are a lot of CTAN mirrors, too (finger ctan@ftp.tex.ac.uk or
ctan@ftp.dante.de)

Robin Fairbairns

From mutex-owner@mail2.gmd.de Thu Sep 26 20:10:22 1996
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> From: mensing@inorg.chem.ethz.ch
> Date: Thu, 26 Sep 1996 17:06:10 +0200
> Sender: owner-mutex@mail2.gmd.de
> Precedence: bulk
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> 
> >ZIP/UNZIP programmes are available for nearly any system as freeware;
> >yes, for Unix-es, too. Refer to   http://quest.jpl.nasa.gov/Info-Zip/
> 
> my DNS is unable to locate this server, please can you give me the
> address # ?

128.149.75.43

From mutex-owner@mail2.gmd.de Sun Sep 29 11:33:47 1996
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Date: Sun, 29 Sep 1996 11:33:47 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: beginner
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I am a beginner at MusiXTeX.  I actually have been trying to learn OpusTeX
but the two seem similar enough at the beginning level and I hope to get
some answers here.

I do not know how to get the external musixflx (or opusflx) for my system.
I use a Mac.  Is there anyone else on this list who uses a Mac?

Please bear in mind that there are many gaps in my understanding of
MusiXTeX et al.

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Sep 30 14:03:30 1996
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Date: Mon, 30 Sep 1996 09:03:30 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: David Bobroff <bobroff@centrum.is>
Cc: mutex@gmd.de
Subject: Re: beginner
In-Reply-To: <v01530500ae740ddcb76a@[193.4.241.199]>
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I also had difficulties getting the Mac musixflx application from Taupin's
ftp site (I **really** think it is broken. Maybe a new copy could get
posted?) I ended up compiling it myself, but my version (as an MPW tool so
I can script the whole process with ToolServer) would probably not be
appropriate for you.

I haven't tried opusflx so I can't comment about it. If you want, email me
off-list and I can try to compile a version for you.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

On Sun, 29 Sep 1996, David Bobroff wrote:

> I am a beginner at MusiXTeX.  I actually have been trying to learn OpusTeX
> but the two seem similar enough at the beginning level and I hope to get
> some answers here.
> 
> I do not know how to get the external musixflx (or opusflx) for my system.
> I use a Mac.  Is there anyone else on this list who uses a Mac?
> 
> Please bear in mind that there are many gaps in my understanding of
> MusiXTeX et al.
> 
> Thank you,
> 
> David Bobroff
> bobroff@centrum.is
> 
> 
> 


From mutex-owner@mail2.gmd.de Mon Sep 30 20:30:27 1996
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Date: Mon, 30 Sep 1996 15:30:27 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner.Icking@gmd.de, taupin@lps.u-psud.fr, bobroff@centrum.is
Cc: mutex@gmd.de
Subject: SUCCESS! musixflx for mac
Message-Id: <Pine.SGI.3.95.960930151156.16911A-100000@i9.msi.umn.edu>
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Greetings all,

  For those of you following the musixflx.hqx thread on the mailing list:
the musixflx.hqx file is **not** corrupt, but **misnamed**. It is not a
BinHex4 (i.e. .hqx) file at all, but a MacBinary (i.e. .bin) file. Some 
Mac ftp clients seem to be smart enough to figure this out for themselves;
others need to have the Binary Transfer set manually. Those of use who
trust filename extensions get very confused.  >:(

  So might I suggest renaming musixflx.hqx to musixflx.bin?

  Thanks to all who offered assistance, and sorry for wasting the
time/bandwidth of the rest of the list.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Tue Oct  1 06:39:02 1996
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Date: Mon, 30 Sep 1996 23:39:02 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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To: Liste mutex <mutex@gmd.de>
Cc: taupin@lps.u-psud.fr
Subject: musixtex T.62
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--------------A978482365
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-- 
 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

--------------A978482365
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="MUSIX.MSG"

Subject: MusiXTeX version T.62
New version T.62 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: you have to update the musix* fonts, and all the x* fonts.
Changes:
 - T.62  correction in rest vertical position with small note size,
         correction in base space computation with special note sizes.
 - T.61  corrections in additional size handling (11pt to 29pt),
         musixgre.tex throughly updated (not yet complete), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
         Bug corrected in musixltx.tex (musixtex.sty).
 - T.60  changed clefs definition to have correct clefs, even with non-standard
         \setsize or \musicsize (uses new fonts and additional large fonts)
 - T.59  added \musicsize 24pt and 29pt, behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 
Daniel Taupin


--------------A978482365--


From mutex-owner@mail2.gmd.de Tue Oct  1 13:45:48 1996
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To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
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OK,

I have been following the thread on musixflex for the Mac with interest as
I use a Mac.  I got the Musixflex application properly un-Mac-binaried and,
lo and behold, there was Musixflex, perched on my hard drive.  Now, when I
launch it, my computer crashes.  Ideas?



From mutex-owner@mail2.gmd.de Wed Oct  2 08:11:03 1996
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Thank you for your help.

Werner described how he got musixflex open and working.  That did not work
for me.  Neither StuffIt Lite nor ZipIt (both of which have MacBinary
translation) even recognized that the .bin file existed.  I used suntar
2.0.5 which did the trick.  I launched musixflex and not only did my
computer not crash but I successfully processed an .mx1 file and it worked
just fine.

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Oct  3 18:21:07 1996
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Date: Thu, 03 Oct 1996 11:21:07 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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To: mensing@inorg.chem.ethz.ch
Cc: Liste mutex <mutex@gmd.de>
Subject: Re: MusiXTeX T.62
References: <199610030745.AA20166@elwood.ethz.ch>
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mensing@inorg.chem.ethz.ch wrote:
> 
> Dear Mr. Taupin,
> 
> downloading the latest version T.62 of MusiXTeX I noticed that:
> 
> * the xgreg*.mf files are not world readable

 Corrected (errare humanum...) not only for *.mf, but also *.pk and *.tfm

> * the *.mf files extracted from the musixtex.zip file have an extra ^M at
>   every end of the line and which is unusable for unix and had to be
>   removed by hand

 Will be done later (needs a rebuild of the zip)
> 

 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Oct  3 11:43:05 1996
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199610031143.NAA28714@calvyn.puk.ac.za>
Subject: Re: MusiXTeX T.62 
To: mutex@gmd.de (Music Tex List)
Date: Thu, 3 Oct 1996 13:43:05 +0200 (SAT)
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> From: Daniel TAUPIN <taupin@lps.u-psud.fr>
> 
> mensing@inorg.chem.ethz.ch wrote:
> > 
> > * the *.mf files extracted from the musixtex.zip file have an extra ^M at
> >   every end of the line and which is unusable for unix and had to be
> >   removed by hand
> 
>  Will be done later (needs a rebuild of the zip)
> > 
There is no need to bother Daniel with this.  You use the -ll option
when unzipping and text files get converted.   

Just type  'zip'  with no options, and you get documentation.  Mine
gives, inter alia:

Zip 2.0.1 (Sept 18th 1993). Usage:
zip [-options] [-b path] [-t mmddyy] [-n suffixes] [zipfile list] [-xi list]

-l   convert LF to CR LF (-ll CR LF to LF)  

Dirk Laurie

From mutex-owner@mail2.gmd.de Thu Oct  3 14:24:11 1996
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To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: vanishing meter
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I am making slow progress with MusixTeX.  Now that I have a working version
of musixflex I can progress further.  Now, however, I am having a strange
thing happen.

I coded a short extract which has a meter change.  When I TeX the file it
is there.  The spacing is, of course, strange because I haven't run
musixflex on it.  After I run it through musixflex the spacing is good but
the meter change is GONE.  What am I doing wrong?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Oct  3 16:53:00 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Re: vanishing meter
To: mutex@gmd.de, bobroff@centrum.is (David Bobroff)
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There are several MusiXTeXperts on this list who are very willing to 
help.  But you must include the pertinent parts of your musixtex 
source when you pose questions like this.

--Don Simons (dsimons@logicon.com)

______________________________ Reply Separator _________________________________
Subject: vanishing meter
Author:  bobroff@centrum.is (David Bobroff) at INTERNET-MAIL
Date:    10/3/96 2:24 PM


I am making slow progress with MusixTeX.  Now that I have a working version 
of musixflex I can progress further.  Now, however, I am having a strange 
thing happen.

I coded a short extract which has a meter change.  When I TeX the file it 
is there.  The spacing is, of course, strange because I haven't run 
musixflex on it.  After I run it through musixflex the spacing is good but 
the meter change is GONE.  What am I doing wrong?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Oct  3 18:09:46 1996
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Date: Thu, 3 Oct 1996 18:09:46 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: vanishing meter2
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> you must include the pertinent parts of your musixtex
>source when you pose questions like this.
>
>--Don Simons

Yeah, ok--here goes; It is a short excerpt so I'm showing the whole thing.
There are some things not yet really finished but I'm concerned about the
disappering meter at the moment.  It disappears in the post musixflex TeX
run.  It is there after the first run through TeX.  I have flagged the new
meter below.

\input{musixtex.tex}%
\instrumentnumber{1}%
\setstaffs1{1}%
\generalmeter{\meterfrac48}%
\nostartrule%
\parindent=0mm%
\startpiece%
\smallaccid%
%bar74
\notes\ds\qs\ibbbl0q{-1}\isluru0 q\zcharnote a{\mf}\qb0{^q}\tbl0\qb0
p\ibl1o{-1}\tslur0 o\qbp1{_o}\tbbl1\tbl1\qb1 n\en
%bar75
\bar
\Notes\ibl0o{-2}\qb0o\zq{_l}\itieu0 p\itied1 l\tbl0\usf
q\qb0{_p}\ttie0\ttie1\zq p\ibl0l{-1}\qb0l\nbbl0\qb0{^m}\tbl0\qb0k\en
%bar76
\bar
\notes\ibbl0l{2}\qb0l\tbbl0\qb0o\tbl0\usf o\qb0{^n}\ibl0i1\zq{_i}\usf
n\zcharnote K{\f}\qb0m\nbbl0\upz l\qb0j\tbl0\upz l\qb0k\en
%bar77
\generalmeter{\meterfrac38}%    HERE IS THE METER CHANGE
\bar%
\notes\ibbbl0j1\usf
l\isluru0j\qb0j\tbbbl0\qb0{^m}\tslur0n\tbl0\zq{_l}\qb0n\lq{_n}\usf n\lfl
o\ccl o\en
\mulooseness=1
\endpiece



From mutex-owner@mail2.gmd.de Thu Oct  3 20:48:14 1996
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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de
Subject: Re: vanishing meter2
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Here's a source that works.  (At least it did before I imported it 
into my mail program and some of the lines got wrapped). The main 
problem is you need \changecontext after \meterfrac...  I also needed 
to change the first line to get it to run on my system.

I didn't check the effect of restoring the \bar that you seem to have 
removed when you inserted the comment about the meter change.  

It might be good practice to keep your lines less than 80 characters 
long.  Some mail programs aren't too good about line wraps.

--Don Simons (dsimons@logicon.com)

====================================
\input musixtex
\instrumentnumber{1}%
\setstaffs1{1}%
\generalmeter{\meterfrac48}%
\nostartrule%
\parindent=0mm%
\startpiece%
\smallaccid%
%bar74
\notes\ds\qs\ibbbl0q{-1}\isluru0 q\zcharnote a{\mf}\qb0{^q}\tbl0\qb0 
p\ibl1o{-1}\tslur0 o\qbp1{_o}\tbbl1\tbl1\qb1 n\en
%bar75
\bar
\Notes\ibl0o{-2}\qb0o\zq{_l}\itieu0 p\itied1 l\tbl0\usf q\qb0{_p}\ttie0\ttie1\zq
p\ibl0l{-1}\qb0l\nbbl0\qb0{^m}\tbl0\qb0k\en %bar76
\bar
\notes\ibbl0l{2}\qb0l\tbbl0\qb0o\tbl0\usf o\qb0{^n}\ibl0i1\zq{_i}\usf 
n\zcharnote K{\f}\qb0m\nbbl0\upz l\qb0j\tbl0\upz l\qb0k\en
%bar77
\generalmeter{\meterfrac38}%    HERE IS THE METER CHANGE \bar%
%++
\changecontext%
\notes\ibbbl0j1\usf
l\isluru0j\qb0j\tbbbl0\qb0{^m}\tslur0n\tbl0\zq{_l}\qb0n\lq{_n}\usf n\lfl o\ccl 
o\en
\mulooseness=1
\endpiece
\bye

______________________________ Reply Separator _________________________________
Subject: vanishing meter2
Author:  bobroff@centrum.is (David Bobroff) at INTERNET-MAIL
Date:    10/3/96 6:09 PM


> you must include the pertinent parts of your musixtex 
>source when you pose questions like this.
>
>--Don Simons

Yeah, ok--here goes; It is a short excerpt so I'm showing the whole thing. 
There are some things not yet really finished but I'm concerned about the 
disappering meter at the moment.  It disappears in the post musixflex TeX 
run.  It is there after the first run through TeX.  I have flagged the new 
meter below.

\input{musixtex.tex}%
\instrumentnumber{1}%
\setstaffs1{1}%
\generalmeter{\meterfrac48}%
\nostartrule%
\parindent=0mm%
\startpiece%
\smallaccid%
%bar74
\notes\ds\qs\ibbbl0q{-1}\isluru0 q\zcharnote a{\mf}\qb0{^q}\tbl0\qb0 
p\ibl1o{-1}\tslur0 o\qbp1{_o}\tbbl1\tbl1\qb1 n\en
%bar75
\bar
\Notes\ibl0o{-2}\qb0o\zq{_l}\itieu0 p\itied1 l\tbl0\usf 
q\qb0{_p}\ttie0\ttie1\zq p\ibl0l{-1}\qb0l\nbbl0\qb0{^m}\tbl0\qb0k\en 
%bar76
\bar
\notes\ibbl0l{2}\qb0l\tbbl0\qb0o\tbl0\usf o\qb0{^n}\ibl0i1\zq{_i}\usf 
n\zcharnote K{\f}\qb0m\nbbl0\upz l\qb0j\tbl0\upz l\qb0k\en
%bar77
\generalmeter{\meterfrac38}%    HERE IS THE METER CHANGE 
\bar%
\notes\ibbbl0j1\usf
l\isluru0j\qb0j\tbbbl0\qb0{^m}\tslur0n\tbl0\zq{_l}\qb0n\lq{_n}\usf n\lfl 
o\ccl o\en
\mulooseness=1
\endpiece


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> Mime-Version: 1.0
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> Date: Thu, 3 Oct 1996 18:09:46 +0000
> From: bobroff@centrum.is (David Bobroff)
> Sender: owner-mutex@mail2.gmd.de
> Precedence: bulk
> X-Charset: LATIN1
> X-Char-Esc: 29
> 
> > you must include the pertinent parts of your musixtex
> >source when you pose questions like this.
> >
> >--Don Simons
> 
> Yeah, ok--here goes; It is a short excerpt so I'm showing the whole thing.
> There are some things not yet really finished but I'm concerned about the
> disappering meter at the moment.  It disappears in the post musixflex TeX
> run.  It is there after the first run through TeX.  I have flagged the new
> meter below.
> 
> \input{musixtex.tex}%
> \instrumentnumber{1}%
> \setstaffs1{1}%
> \generalmeter{\meterfrac48}%
> \nostartrule%
> \parindent=0mm%
> \startpiece%
> \smallaccid%
> %bar74
> \notes\ds\qs\ibbbl0q{-1}\isluru0 q\zcharnote a{\mf}\qb0{^q}\tbl0\qb0
> p\ibl1o{-1}\tslur0 o\qbp1{_o}\tbbl1\tbl1\qb1 n\en
> %bar75
> \bar
> \Notes\ibl0o{-2}\qb0o\zq{_l}\itieu0 p\itied1 l\tbl0\usf
> q\qb0{_p}\ttie0\ttie1\zq p\ibl0l{-1}\qb0l\nbbl0\qb0{^m}\tbl0\qb0k\en
> %bar76
> \bar
> \notes\ibbl0l{2}\qb0l\tbbl0\qb0o\tbl0\usf o\qb0{^n}\ibl0i1\zq{_i}\usf
> n\zcharnote K{\f}\qb0m\nbbl0\upz l\qb0j\tbl0\upz l\qb0k\en
> %bar77
> \generalmeter{\meterfrac38}%    HERE IS THE METER CHANGE
> \bar%
  ^^^^
This line should read "\changecontext%" instead of "\bar%"

> \notes\ibbbl0j1\usf
> l\isluru0j\qb0j\tbbbl0\qb0{^m}\tslur0n\tbl0\zq{_l}\qb0n\lq{_n}\usf n\lfl
> o\ccl o\en
> \mulooseness=1
> \endpiece

From mutex-owner@mail2.gmd.de Sat Oct  5 00:56:19 1996
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Date: Fri, 04 Oct 1996 17:56:19 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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Subject: MusiXTeX T.63 available
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-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
-------------------------------------------------------------------------

--------------28AB23FE3883
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Subject: MusiXTeX version T.62
New version T.62 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts for if your version is <T.60
Changes:
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 - T.62  correction in rest vertical position with small note size,
         correction in base space computation with special note sizes.
 - T.61  corrections in additional size handling (11pt to 29pt),
         Bug corrected in musixltx.tex (musixtex.sty).
 - T.60  changed clefs definition to have correct clefs, even with non-standard
         \setsize or \musicsize (uses new fonts and additional large fonts)
 - T.59  added \musicsize 24pt and 29pt, behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 - T.56  additional diag in \hardspace, provided \hroff & \hloff
 
Daniel Taupin


--------------28AB23FE3883--


From mutex-owner@mail2.gmd.de Sat Oct  5 01:42:05 1996
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Date: Fri, 04 Oct 1996 18:42:05 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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There was a bug in my last message: the version available now is T.63, =

not T.62. Sorry...
 =

-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Fri Oct  4 19:17:41 1996
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Date: Fri, 4 Oct 1996 19:17:41 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: stem/beam gap
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Hello all,

I have been trying the semi-automatic beams.  All is going well except for one.

I have coded the following measure.

\instrumentnumber{1}%
\setstaffs1{2}%
\setclef1\bass%
\generalmeter{\meterfrac44}%
\startpiece%
\parindent=0mm
%bar1
\Notes\itied0 B\hu{_B}\sk\sk\sk\ttie0\cu B\ds\qp|%
\ds\cl{=i}\Ibu0hf1\qu h\tbu0\qu{^f}%
\Ibu0ch1\qu c\tbu0\qu{_h}\Ibu0gc1\qu g\tbu0\qu{^c}\en
\endpiece

It looks fine except that the first of the two eighth-notes (middle c) on
beat three of the right hand (piano) is not connected to the beam.  I
suppose that the slope was too great so the starting point was raised but
the stem was not lengthened. Now what?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Oct  7 02:28:07 1996
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From: B3 <bbaker@digital.net>
To: mutex@gmd.de
Subject: Ties into second ending
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(new user question)

How do I code a tie into the first note of a second ending? I thought
I saw in the manual a way of coding a note that used space but didn't
actually print anything - can't find it now - maybe i dreamed it. If I
had such a note I would initiate the tie, say with "itie0x" where "x"
is the value of the phantom note, to start the tie and consume space,
and terminate the tie normally with the *actual* first note of the
second ending. I'm almost certain there exists another way. Musixtex
seems to have most everything else covered - I'll bet this one's
covered also.

Regards,

-- 
     brad baker
     bbaker@digital.net

From mutex-owner@mail2.gmd.de Sun Oct  6 16:56:27 1996
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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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Subject: Re: Ties into second ending
References: <199610070228.WAA00508@bpblx>
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B3 wrote:
> =

> (new user question)
> =

> How do I code a tie into the first note of a second ending? I thought
> I saw in the manual a way of coding a note that used space but didn't
> actually print anything - can't find it now - maybe i dreamed it. If I
> had such a note I would initiate the tie, say with "itie0x" where "x"
> is the value of the phantom note, to start the tie and consume space,
> and terminate the tie normally with the *actual* first note of the
> second ending. I'm almost certain there exists another way. Musixtex
> seems to have most everything else covered - I'll bet this one's
> covered also.
>  When you say you are not able to do something, there is 95% chances you =

made a mistake. Therefore, send a short excerpt of your faulty code. =

Otherwise, your message is forwarded to the garbage collector.
 =

-------------------------------------------------------------------------  =
Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33)1.69.41.60.79, Fax: (33)1.69.41.60.86 (ancien)
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au =

21.09.96)
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Oct  7 09:47:17 1996
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Date: Mon, 7 Oct 1996 11:47:17 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199610070947.AA24226@sunick.gmd.de>
To: mutex@gmd.de, bbaker@digital.net
Subject: Re: Ties into second ending
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> Date: Sun, 6 Oct 1996 22:28:07 -0400
> From: B3 <bbaker@digital.net>

> How do I code a tie into the first note of a second ending? I thought
[...]

It would be easier for us to anwer your question if you insert a shortened
example of your failing approaches to solve your problem

> [...]                           Musixtex
> seems to have most everything else covered - I'll bet this one's
> covered also.

Yes :-)  And that's the reason why I answer. I mostly use \islur... \tslur or \slur.
Together with  \loffset, \roffset or \off you may position everything everywhere.

I didn't exactly understand your problem but maybe the following code may give 
you a hint how to solve it:
...
\bar
\Notes\off{-\afterruleskip}\islurd1a\off{\afterruleskip}\qa{cd}\tslur1e\qa{ef}\en
\bar
...

Werner

From mutex-owner@mail2.gmd.de Mon Oct  7 10:45:54 1996
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From: Rainer Dunker <maschk00@marvin.informatik.uni-dortmund.de>
Date: Mon, 7 Oct 96 12:45:54 +0200
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Subject: MusiXTeX extension package for handling lyrics
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Hi everybody,

since I'm mainly concerned with polyphonic vocal music, I'm working on
a MusiXTeX extension macro package for handling lyrics which aims at
two goals:
1. simplification of entering, correcting and changing lyrics with
   regard to barely using \csong, \zsong etc.,
2. smart handling of hyphens and "word extension underlines", which--I
   believe--is new to MusiXTeX.

The reason for this message is: I would like to know whether anybody
besides of myself has a need for such a package, thus whether it is
worth to make it up for publishing. Other comments are also welcome.

The main features are:

* Lyrics are entered entirely in one place, e.g.

    \setlyrics{soprano}{This is the so-pra-no verse}
    \assignlyrics{1}{soprano}  % assignment to staff number
    % if several voices have the same lyrics:
    \copylyrics{soprano}{alto}

  instead of spreading the syllables all over the music code. This
  dramatically simplifies corrections and changes of lyrics.

* Automatic consecutive assignment of syllables to spacing notes; this
  can be switched on and off staff-wise at arbitrary notes.
  Thus in the simplest case (each note/chord gets a syllable) you have to
  do nothing more than simply typing the lyrics all at once as seen
  above.

* Word labeling and a "lyrics goto". With this, you can skip over
  arbitrary passages of lyrics back or forth without explicitly coding it
  within \setlyrics. This is useful if some voices repeat parts of the
  lyrics (or skip over certain phrases) while other voices don't (or do
  elsewhere).

* Automatic placement of hyphens centered between the belonging
  syllables. If the space between the syllables exceeds a predefinable
  amount (e.g. at a melisma), it is filled with a line of hyphens
  (like TeX leaders) instead of a single hyphen. If necessary,
  hyphenation is automatically continued across line breaks.

* Melisma setting: You mark the first and the last note of a melisma, then
  - the word is set left justified,
  - lyrics are suspended until after the melisma,
  - if the melisma is not filled with a hyphen, a "word extension
    underline" is automatically drawn from the right edge of the word
    to the final note of the melisma, being continued across line
    breaks if necessary.

* Individual modifications of syllable-to-note assignments:
  - note skipping
  - left justification of syllable (default is centered)
  - horizontal shift of syllable (like \roffset; for solving spacing
    problems)
  - removing and/or adding punctuation marks at end of syllable
    (to adapt puctuation at "lyric goto"s)

* Arbitrarily many lines of lyrics (e.g. verses) per staff; these can
  be manipulated all at once or individually.

* To be done: support of multiple staves per instrument (e.g. for piano
  arrangements of songs with lyrics between the staves).

Rainer Dunker                 maschk00@marvin.informatik.uni-dortmund.de

From mutex-owner@mail2.gmd.de Mon Oct  7 14:37:28 1996
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From: Rainer Dunker <maschk00@marvin.informatik.uni-dortmund.de>
Date: Mon, 7 Oct 96 16:37:28 +0200
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Subject: MusiXTeX lyrics handling package to be published
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Since there is some interest in the lyrics handling package, I'm going
to publish it.  But please don't expect that I've finished this tomorrow!
Setting up a reasonable documentation will take a while, and I
can't guarantee to work every day on it.  But I hope to get through
within a few weeks.

In my first announcement, I forgot to mention:  This is a package for
Taupin MusiXTeX.

Rainer Dunker                  maschk00@marvin.informatik.uni-dortmund.de

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Date: Mon, 7 Oct 1996 08:24:57 -0700
From: bgold@platinum.com (Barry Gold)
Message-Id: <9610071524.AA52302@janus.la.platsol.com>
To: maschk00@marvin.informatik.uni-dortmund.de
Cc: mutex@gmd.de
In-Reply-To: <9610071045.AA03151@marvin.informatik.uni-dortmund.de> 
    (message from Rainer Dunker on Mon, 7 Oct 96 12:45:54 +0200)
Subject: Re: MusiXTeX extension package for handling lyrics
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This would somewhat simplify my task, but it's not as big a deal for
me as it would be for you.  I'm setting lead sheets - one melody line,
one set of lyrics, guitar chords.

What I've found is that I can typeset a page (8 staff lines) in about
2 hours, including debugging my mistakes.  Using a desktop publisher,
it used to take me 1.5 days!  If I'd had one of those music programs
it might have been a little simpler, but most of those are extremely
unhelpful with lyrics.  And inputting the notes can be difficult when
you don't have a MIDI interface.

So I'm already pretty happy with MusiXTeX.  Your proposed extension
would probably save me 15 minutes more, every little bit helps.

From mutex-owner@mail2.gmd.de Mon Oct  7 16:18:37 1996
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From: "Stanislav Kneifl" <SKNE1334@barbora.mff.cuni.cz>
Organization:  MFF, Charles University, Prague
To: mutex@gmd.de
Date:          Mon, 7 Oct 1996 18:18:37 +0200
Subject:       Re: MusiXTeX extension package for handling lyrics
Priority: normal
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Dear Rainer and everybody,

I had written something similar to your package, so I'm able to make 
some notes to your plans:

1. My macros do not use coding of the lyrics at one place, as you 
   plan, simply because it was beyond my TeX skill when I started my
   work.
2. except the 1., they can do everything you want: fully automatic 
   syllable placing, very smart hyphens and prolongation lines 
   automatically breaked across a line, multiple lines at definable 
   positions, multiple hyphens when necessary ...
3. The main part of really excellent lyrics typesetting is horizontal 
   positioning of the syllables and adding some extra space to the 
   score when necessary. This is impossible without another pass (or 
   at least some extra code inside musixflx) and therefore a bit more 
   complicated, when you imagine the troubles inside this idea (for 
   example: a) you need to add some space, b) you add it, c) the 
   score will be one system longer, d) so you remove the unnecessary 
   space, e) the score shrinks again, f) loop).
4. If you want to shift the syllables horizontally, at least to the 
   right, you will need one \dimen register and one \count register 
   for each line of text and you know how easy is to run out of 
   registers using MusiXTeX. (Actually, you can bypass this using 
   \edef...)
5. If you are interested in my macros, I can send them, but they are 
   written for (IMHO much better) OpusTeX, so some work would be 
   neccessary to get them work.

But if you forget all of my skepticism and write the macros, I'll be 
very glad.

Bye,

Stanislav Kneifl.

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From: "christopher (c.j.) rath" <crath@nortel.ca>
Message-Id:  <"15826 Mon Oct  7 12:25:55 1996"@bnr.ca> 
To: maschk00@marvin.informatik.uni-dortmund.de
Cc: mutex@gmd.de
Subject:  re:MusiXTeX extension package for handling lyrics 
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In message "MusiXTeX extension package for handling lyrics", 
'maschk00@marvin.informatik.uni-dortmund writes:
>...
>The reason for this message is: I would like to know whether anybody
>besides of myself has a need for such a package, thus whether it is
>worth to make it up for publishing. Other comments are also welcome.
>...

I don't require all the features you describe; however, I do need more
than Musi[cX]TeX offers today.  To see an example of my more moderate
requirements view the piece of music (typeset with MusicTeX) at URL:

  http://www.cyberus.ca/~crath/Christopher/Music/CompleteYourWork.html

While this file was typeset with MusicTeX, the MusicTeX code was
produced by a program.  A much simplified markup language was used to
enter the music and lyrics themselves.  The processor, called xcom,
was advertised via this list 2 or 3 years ago.  Its markup language
is a varient of the abc2mtex language.

Christopher
 === Christopher Rath ===== crath@bnr.ca ===== (613) 765-3141 ===
  Northern Telecom Ltd.  |
  Box 3511, Station `C'  | ``Hydrogen is a colourless, odourless
  Ottawa, ON    K1Y 4H7  | gas which, given enough time, turns
  FAX: (613) 763-4101    | into people.'' --- Henry Hiebert



From mutex-owner@mail2.gmd.de Tue Oct  8 07:39:41 1996
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To: mutex@gmd.de
Cc: davidc@ist.flinders.edu.au
Subject: Which music TeX package?
Date: Tue, 08 Oct 1996 17:09:41 +0930
From: David Crisp <davidc@ist.flinders.edu.au>
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Hello Everybody, 

I am a new to this list and this is my first post. 

Hopefully my question will be easy to answer. 

I want to type-set flute and clarinet music (seperately 
and together) and to be able to transpose from one to the other. 
Which of the 3 packages should I use, MuTeX, MusicTeX or MusiXTeX?

I am a mathematician and know TeX fairly well already. 

Thanks in advance, 

    David Crisp
    davidc@ist.flinders.edu.au

From mutex-owner@mail2.gmd.de Tue Oct  8 11:19:49 1996
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Date: Tue, 8 Oct 1996 13:19:49 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199610081119.AA24840@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Which music TeX package?
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> I want to type-set flute and clarinet music (seperately 
> and together) and to be able to transpose from one to the other. 
> Which of the 3 packages should I use, MuTeX, MusicTeX or MusiXTeX?


Stay away from MuTeX (or (MTEX); it's out of date.

Use MusiXTeX as more powerfull successor of MusicTeX.

Try to understand \relativeaccid; make use of \ca, \qa, \ha, ... if
you want to typeset music which can be transposed.

A complex example source can be found in my editions of BWV1001 or
BWV1003 for violin or viola. You find it via

   http://www.gmd.de/Misc/Music/     follow "Sheet Music"

Werner

From mutex-owner@mail2.gmd.de Thu Oct 10 13:48:36 1996
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Date: Thu, 10 Oct 1996 14:48:36 +0100
From: intm113@york.ac.uk (PR Wainwright)
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Does anybody have a 'mush' script (or something similar) to filter
mtex mails into a separate file.

Pete.

From mutex-owner@mail2.gmd.de Thu Oct 10 17:10:52 1996
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Date: Thu, 10 Oct 1996 10:10:52 -0700
From: Doug Wellington <doug@sun1paztcn.wr.usgs.gov>
Subject: Filtering mail.  Was: Question.
In-Reply-To: "Your message of Thu, 10 Oct 1996 14:48:36 +0100."
 <199610101348.OAA29706@tower.york.ac.uk>
To: intm113@york.ac.uk (PR Wainwright)
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Hope you all don't mind me replying to the whole list...

Previously:
>Does anybody have a 'mush' script (or something similar) to filter
>mtex mails into a separate file.

I use mailagent...  It is a filter program that is independent of
any mail reader.  Mailagent is written in perl, so you would need
to have perl installed on your computer.  If you don't have perl
and you don't want to install it, there is another filtering program
called procmail that is very similar.  I think you can find mailagent
at ftp.cs.uni-sb.de somewhere in the /pub/mail directory and I think
procmail is at ftp.informatik.rwth-aachen.de in /pub/packages/procmail.
There is a FAQ for setting up both of these somewhere on rtfm.mit.edu.

Let me know if you have any questions...

-Doug

Doug Wellington
doug@sun1paztcn.wr.usgs.gov
System and Network Administrator
US Geological Survey, Tucson, AZ Project Office

According to proposed Federal guidelines, this message is a "non-record".
Hmm, I wonder if _everything_ I say is a "non-record"...?

From mutex-owner@mail2.gmd.de Sun Oct 13 16:13:28 1996
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To: mutex@gmd.de
Subject: Which preprocessor?
Date: Mon, 14 Oct 1996 01:43:28 +0930
From: David Crisp <davidc@ist.flinders.edu.au>
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First, thanks for the advice on which music type-setting package to use. 
I now have a working copy of MusiXTeX and have successfully type-set my 
first piece of music. 

The only problem I had in setting it up was working out which unix 
environment variable the program dvips uses to find the pk files. It is not 
mentioned in the unix manual page for TeX. I eventually found it in the 
dvips documentation (which was also hard to find). It is TEKPKS. 

In a private email Greg Dumbrell suggested I use a preprocessor to MusiXTeX. 
He mentioned abc2mtex and also mpp. Are there any other good choices? 

I tried to get abc2mtex working but without success. I am not familiar with 
C programs and could do with some help. Here is what I did. 

I use unix on a sun4. I got a copy of abc2mtex1.5.tar.gz from ftp.gmd.de. 
I then typed the command: 

   cat abc2mtex1.5.tar.gz | gunzip | tar xvf - 

which seemed to unzip the package alright. But when I typed the command: 

   make install 

I got the response: 

   cc -g -target sun4 -c index.c
   "./index.c", line 49: syntax error at or near type word "char" 
   "./index.c", line 50: syntax error at or near type word "char" 
   .
   .
   .

Do I have the wrong C compiler?  Any suggestions as to what is wrong would 
be appreciated.

Thanks again, 

David Crisp. 
Adelaide, Australia. 

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Subject: Oops - forgot my email address 
Date: Mon, 14 Oct 1996 02:10:28 +0930
From: David Crisp <davidc@ist.flinders.edu.au>
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My earlier email should have had my e-address attached. 

Sorry, 

David Crisp, 
Adelaide, Australia, 
davidc@ist.flinders.edu.au

From mutex-owner@mail2.gmd.de Mon Oct 14 03:33:00 1996
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Date: Mon, 14 Oct 1996 13:33 +1000 (AEST)
From: Greg Dumbrell <Greg.Dumbrell@asx.com.au>
Subject: RE: Which preprocessor?
To: "'MusixTeX List'" <mutex@gmd.de>
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I have been looking for a preprocessor too.

abc2mtex works well, and it has a very nice  transposition feature which 
means that it was easy to produce a clarinet part raised a tone.

The only problem with abc2mtex is that it uses "\notes" for all notes ie 
doesn't use \Notes, \NOtes etc.

Thus all notes - eighth, quarter and half notes - all come out evenly 
spaced. As it happenned, the first piece I tried mixed half and eighth notes 
and it looked a little bit strange.

Since then I've done more pieces that only mix quarter and eighth notes and 
it looks ok.

I have also started looking at MPP and it looks promising. At least the 
sample that I did made use of  \Notes and \NOtes. There is however no 
transposition built-in, so I'm also investigating MusixTeX's transposition 
mechanism to see how well it will work with a preprocessor.


Greg Dumbrell
Greg.Dumbrell@asx.com.au

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Date: Mon, 14 Oct 1996 13:33 +1000 (AEST)
From: Greg Dumbrell <Greg.Dumbrell@asx.com.au>
Subject: RE: Which preprocessor?
To: "'MusixTeX List'" <mutex@gmd.de>
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I have been looking for a preprocessor too.

abc2mtex works well, and it has a very nice  transposition feature which 
means that it was easy to produce a clarinet part raised a tone.

The only problem with abc2mtex is that it uses "\notes" for all notes ie 
doesn't use \Notes, \NOtes etc.

Thus all notes - eighth, quarter and half notes - all come out evenly 
spaced. As it happenned, the first piece I tried mixed half and eighth notes 
and it looked a little bit strange.

Since then I've done more pieces that only mix quarter and eighth notes and 
it looks ok.

I have also started looking at MPP and it looks promising. At least the 
sample that I did made use of  \Notes and \NOtes. There is however no 
transposition built-in, so I'm also investigating MusixTeX's transposition 
mechanism to see how well it will work with a preprocessor.


Greg Dumbrell
Greg.Dumbrell@asx.com.au

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From: joel@exc.com (Joel M. Hoffman)
To: Greg.Dumbrell@asx.com.au
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In-Reply-To: Greg Dumbrell's message of Mon, 14 Oct 1996 13:33 +1000 (AEST) <01IAMV37RILU0006H8@asx204.asx.com.au>
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>I have also started looking at MPP and it looks promising. At least the 
>sample that I did made use of  \Notes and \NOtes. There is however no 
>transposition built-in, so I'm also investigating MusixTeX's transposition 
>mechanism to see how well it will work with a preprocessor.

Regarding transposition, I've not yet tried anything, but it looks
like the biggest problem will be the direction of the stems.  I'm
going to need transposition, so I'll probably write a whole new set of
macros to replace the "up" and "down" stems.  The macro will decide
which direction the stems should go based on which line they appear
on.  While there are certainly exceptions to the general rule that
notes above the third line go down and everything else up, that
generalization is certainly better than keeping the "up" notes
pointing up even after a piece has been transposed up three notes.
No?

But before I do this (and I don't know when I'll find the time), has
anyone else already done something similar?

-Joel
(joel@exc.com)

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From: Werner Icking <Werner.Icking@gmd.de>
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To: Greg.Dumbrell@asx.com.au, joel@exc.com
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> Date: Mon, 14 Oct 96 09:24 EDT
> From: joel@exc.com (Joel M. Hoffman)
> 
> Regarding transposition, I've not yet tried anything, but it looks
> like the biggest problem will be the direction of the stems.  I'm
> going to need transposition, so I'll probably write a whole new set of
> macros to replace the "up" and "down" stems. 

These macros have already been written:   \ha \qa \ca \cca

The missing macros are those which deal with beamed notes. This problem
cannot easily be solved because there are as many rules as exceptions :-)

But in a lot of cases (e.g. if the clef changes together with the
transposition ... e.g. from 'cello to viola to violin) most beams
need not to be changed. Have a look at my editions of BWV1001/1003/1007.

Imho it's more important to understand and use \relativeaccid.


Werner

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From: "Don Simons" <dsimons@logicon.com>
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David Crisp <davidc@ist.flinders.edu.au> wrote

>In a private email Greg Dumbrell suggested I use a preprocessor to 
>MusiXTeX. He mentioned abc2mtex and also mpp. Are there any other 
>good choices? 

Please consider PMX.  It has a very simple but powerful input 
language.  Almost anything it can't do directly can be handled with 
in-line TeX commands.   With this feature, *all* the input information 
can be stored in a single file, and all editing can be performed in 
that file (without having to post-edit the resulting TeX file). 
Multiple voices on a single staff, and transposition, currently fall 
in that category.  

PMX also comes with a developer (me) who is very willing to help new 
users, and to consider suggestions for new features.

PMX is available at ftp://ftp.gmd.de/music/README.html and also 
probably somewhere on the CTAN servers.  It is written in FORTRAN.  
The distribution includes the source and DOS executables.  I can 
easily generate executables for SUN or RISC for anyone who is 
interested but doesn't have access to a FORTRAN compiler. 

--Don Simons (dsimons@logicon.com)


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From: "Don Simons" <dsimons@logicon.com>
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 joel@exc.com (Joel M. Hoffman) wrote

>Regarding transposition, I've not yet tried anything, but it looks 
>like the biggest problem will be the direction of the stems.  I'm 
>going to need transposition, so I'll probably write a whole new set 
>of macros to replace the "up" and "down" stems.  The macro will 
>decide which direction the stems should go based on which line they 
>appear on.  While there are certainly exceptions to the general rule 
>that notes above the third line go down and everything else up, that 
>generalization is certainly better than keeping the "up" notes 
>pointing up even after a piece has been transposed up three notes.
>No?
>
>But before I do this (and I don't know when I'll find the time), has 
>anyone else already done something similar?

There are two issues here: (1) How to handle transposition within 
MusiXTeX and (2) Is there a preprocessor that does the work for you?

With regard to the first, I believe the most recent release of 
MusiXTeX permits automatic stem and beam directions, although I've 
never used that feature.

With regard to the second, I cna't speak for abc2mtex or mpp, but my 
preprocessor PMX currently has no special provision for transposition. 
 It does have enough general features to permit it, though:  Since it 
will accept in-line TeX commands, one could set the \transpose 
register and \relativeaccid that way.  The stem direction problem 
would have to be handled on a note-by-note basis using PMX's own 
commands to force stem and beam directions.

The recent discussion suggests a potential use for an automatic 
transposition capability within PMX.  I don't see any real problems in 
implementing that, given the existing infrastructure.

--Don Simons (dsimons@logicon.com) 

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From mutex-owner@mail2.gmd.de Mon Oct 14 18:27:24 1996
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From: fredriks@abel.math.umu.se (Fredrik St{\aa}hl)
Subject: Re: Transposition
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>>I have also started looking at MPP and it looks promising. At least the
>>sample that I did made use of  \Notes and \NOtes. There is however no
>>transposition built-in, so I'm also investigating MusixTeX's transposition
>>mechanism to see how well it will work with a preprocessor.
>
>Regarding transposition, I've not yet tried anything, but it looks
>like the biggest problem will be the direction of the stems.  I'm
>going to need transposition, so I'll probably write a whole new set of
>macros to replace the "up" and "down" stems.  The macro will decide
>which direction the stems should go based on which line they appear
>on.  While there are certainly exceptions to the general rule that
>notes above the third line go down and everything else up, that
>generalization is certainly better than keeping the "up" notes
>pointing up even after a piece has been transposed up three notes.
>No?
>
>But before I do this (and I don't know when I'll find the time), has
>anyone else already done something similar?
>
>-Joel
>(joel@exc.com)

I have written some stem-determining macros which I use for MusicTeX. I'm
not sure how they will work for MusixTeX though. They may be unnecessary
complicated but I wanted to be able to use collective coding.

I have also defined automatic macros for slurs, ties and beams. It may be
useful sometimes but you still have to do a lot by hand.

What is the point of using MusixTeX instead of MusicTeX anyway? I have some
vague idea about the spacing being better from passing the output through
an external program (musixflx**&#/ or whatever). Am I right?

I'm also still confused about the different versions of MusixTeX. Are you
using Taupin's version out there? And what is OpusTeX?

Sorry if the questions are vague but it's been some time since I used
MusicTeX and I'm thinking of upgrading some time in the future.

/Fredrik


***** MusicTeX macros follows *****

\catcode`\@=11
\catcodesmusic

%%%%	stem-determining macros
\newcount\first@stemdown
\newcount\firststemdown
\firststemdown=`K%		        	the first note with lower stem

\def\note@loop#1#2.#3.{%			                 prepare input and decide stems
\ifcat#1a%						                            	if #1 is letter,
	 \ifnum`#1<\first@stemdown%				              test which stem type and
		  \stem@up{#3#1}\else\stem@down{#3#1}\fi%	 	  typeset
	 \def\@tail{#2}%							                          remaining notes
	 \ifx\@tail\empty\else\note@loop#2..\fi%	 if not finished, go on to next note
\else\note@loop#2.#3#1.\fi}%		        else put away control char and try again

\def\h#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\hu}\def\stem@down{\hl}\note@loop#1..}%
\def\q#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\qu}\def\stem@down{\ql}\note@loop#1..}%
\def\c#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\cu}\def\stem@down{\cl}\note@loop#1..}%
\def\cc#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\ccu}\def\stem@down{\ccl}\note@loop#1..}%
\def\ccc#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\cccu}\def\stem@down{\cccl}\note@loop#1..}%
\def\cccc#1{\first@stemdown=\firststemdown\advance\first@stemdown by
-\transpose%
	 \def\stem@up{\ccccu}\def\stem@down{\ccccl}\note@loop#1..}%
\def\ph#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\hup}\def\stem@down{\hlp}\note@loop#1..}%
\def\pq#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
 	\def\stem@up{\qup}\def\stem@down{\qlp}\note@loop#1..}%
\def\pc#1{\first@stemdown=\firststemdown\advance\first@stemdown by -\transpose%
	 \def\stem@up{\cup}\def\stem@down{\clp}\note@loop#1..}%
\def\w{\wh}%

\endcatcodesmusic
\catcode`\@=\catcodeat


--------------------------------------------------------------
Fredrik St{\aa}hl          Tel: int +46 90 166027
Math. Dept.                Fax: int +46 90 165222
University of Ume{\aa}     E-mail: fredriks@abel.math.umu.se
S-90187 Ume{\aa}, SWEDEN   WWW: http://abel.math.umu.se/~fredriks

                   On tap: Berghem Best Bitter
         *** Nemo saltat sobrius, nisi forte insanit ***
--------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Oct 14 17:30:00 1996
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From: joel@exc.com (Joel M. Hoffman)
To: dsimons@logicon.com
Cc: mutex@gmd.de
In-Reply-To: "Don Simons"'s message of Mon, 14 Oct 96 08:54:31 PST <9609148453.AA845308597@cclink.logicon.com>
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>Please consider PMX.  It has a very simple but powerful input 
>language.  Almost anything it can't do directly can be handled with 
>in-line TeX commands.   With this feature, *all* the input information 
>can be stored in a single file, and all editing can be performed in 
>that file (without having to post-edit the resulting TeX file). 
>Multiple voices on a single staff, and transposition, currently fall 
>in that category.  

What about lyrics?

>probably somewhere on the CTAN servers.  It is written in FORTRAN.  
>The distribution includes the source and DOS executables.  I can 
>easily generate executables for SUN or RISC for anyone who is 
>interested but doesn't have access to a FORTRAN compiler. 

Do you have Linux binaries?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Mon Oct 14 18:07:24 1996
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From: adler@pulsar.cs.wku.edu (Allen Adler)
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Subject: Re: Transposition
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The direction of the stems is certainly a problem. But it is 
complicated by the fact that sometimes two voices are placed
on a single staff, with the upper one having upper stems and
the lower one having lower stems, independently of the actual
pitch of the notes. So one needs to be able to turn off the
feature that will change the directions of the stems according
to their pitches.

Allan Adler
adler@pulsar.cs.wku.edu

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Sorry, no to both, and no plans for them.


______________________________ Reply Separator _________________________________
Subject: Which preprocessor?
Author:  joel@exc.com (Joel M. Hoffman) at INTERNET-MAIL
Date:    10/14/96 1:30 PM


>Please consider PMX.  It has a very simple but powerful input 
>language.  Almost anything it can't do directly can be handled with 
>in-line TeX commands.   With this feature, *all* the input information 
>can be stored in a single file, and all editing can be performed in 
>that file (without having to post-edit the resulting TeX file). 
>Multiple voices on a single staff, and transposition, currently fall 
>in that category.  

What about lyrics?

>probably somewhere on the CTAN servers.  It is written in FORTRAN.  
>The distribution includes the source and DOS executables.  I can 
>easily generate executables for SUN or RISC for anyone who is 
>interested but doesn't have access to a FORTRAN compiler. 

Do you have Linux binaries?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Mon Oct 14 19:32:00 1996
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From: joel@exc.com (Joel M. Hoffman)
To: adler@pulsar.cs.wku.edu
Cc: mutex@gmd.de
In-Reply-To: Allen Adler's message of Mon, 14 Oct 1996 13:07:24 -0500 (CDT) <199610141807.NAA05453@pulsar.cs.wku.edu>
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>The direction of the stems is certainly a problem. But it is 
>complicated by the fact that sometimes two voices are placed
>on a single staff, with the upper one having upper stems and
>the lower one having lower stems, independently of the actual
>pitch of the notes. So one needs to be able to turn off the
>feature that will change the directions of the stems according
>to their pitches.

That's why new macros (for a stem in the program's "best guess"
direction) would be helpful >in addition< to what we already have.
For a single voice, one would use the "automatic stem direction"
macros.  For multi-voice music, one would choose the voice.  It looks
very wierd to have high CDE, e.g., with stems going upward in a single
voice.  

-Joel
(joel@exc.com)

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From: dsimons@logicon.com (Don Simons)
Cc: mutex@gmd.de
Subject: Re: Which preprocessor?
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joel@exc.com (Joel M. Hoffman) wrote

>[Don simons wrote]

>>Please consider PMX.  It has a very simple but powerful input 
>>language.  Almost anything it can't do directly can be handled with 
>>in-line TeX commands.   With this feature, *all* the input 
>>information >can be stored in a single file, and all editing can be 
>>performed in >that file (without having to post-edit the resulting 
>>TeX file). >Multiple voices on a single staff, and transposition, 
>>currently fall >in that category.  

>What about lyrics?

>>probably somewhere on the CTAN servers.  It is written in FORTRAN.  
>>The distribution includes the source and DOS executables.  I can 
>>easily generate executables for SUN or RISC for anyone who is 
>>interested but doesn't have access to a FORTRAN compiler. 

>Do you have Linux binaries?

I originally responded "no" to both.  However, Werner Icking reminded 
me that \zsong{...} commands can easily be embedded in pmx input.  He 
also wondered whether the Linux distribution includes a FORTRAN 
compiler (I don't know; don't know anything about Linux). 

--Don Simons (dsimons@logicon.com)
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From: joel@exc.com (Joel M. Hoffman)
To: dsimons@logicon.com
Cc: mutex@gmd.de
In-Reply-To: "Don Simons"'s message of Mon, 14 Oct 96 08:54:31 PST
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Subject: Which preprocessor?
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From mutex-owner@mail2.gmd.de Tue Oct 15 06:13:22 1996
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Date: Tue, 15 Oct 1996 08:13:22 +0200 (MET DST)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: mutex@gmd.de
Subject: Re: Which preprocessor?
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On Mon, 14 Oct 1996, Don Simons wrote:

> joel@exc.com (Joel M. Hoffman) wrote
> 
> >[Don simons wrote]
> 
> >>Please consider PMX.  It has a very simple but powerful input 
> >>language.  Almost anything it can't do directly can be handled with 
> >>in-line TeX commands.   With this feature, *all* the input 
> >>information >can be stored in a single file, and all editing can be 
> >>performed in >that file (without having to post-edit the resulting 
> >>TeX file). >Multiple voices on a single staff, and transposition, 
> >>currently fall >in that category.  
> 
> >What about lyrics?
> 
> >>probably somewhere on the CTAN servers.  It is written in FORTRAN.  
> >>The distribution includes the source and DOS executables.  I can 
> >>easily generate executables for SUN or RISC for anyone who is 
> >>interested but doesn't have access to a FORTRAN compiler. 
> 
> >Do you have Linux binaries?
> 
> I originally responded "no" to both.  However, Werner Icking reminded 
> me that \zsong{...} commands can easily be embedded in pmx input.  He 
> also wondered whether the Linux distribution includes a FORTRAN 
> compiler (I don't know; don't know anything about Linux). 

Actually I think Linux comes with the f2c translator. I have managed to
use this on a sun to compile PMX. Note however that PMX uses some
functions from Fortran-90 (I think... I really don't know anything about
Fortran), and the f2c translator is for Fortran-77. To solve this I wrote
this little fix. Since I don't know fortran I don't really know if this
code is correct, but it worked for me. Anyway, put this piece of code in
a file that you link together with the .c-files that f2c produced, and I
hope it will work.

<<< ---------------  Cut here! ----------------- >>>
#include "f2c.h"

integer ibset_(integer *a, integer *b)
{
  return((*a) | (0x01 <<  (*b)));
}

integer iand_(integer *a, integer *b)
{
  return((*a) & (*b));
}

integer ior_(integer *a, integer *b)
{
  return((*a) | (*b));
}

integer ishft_(integer *a, integer *b)
{
  if (*b >= 0)
    return((*a) << (*b));
  else
    return(*a >> -(*b));
}

<<< --------------- Cut here! ----------------- >>>

/Johan Tufvesson        tuben@lysator.liu.se



From mutex-owner@mail2.gmd.de Tue Oct 15 11:28:02 1996
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Date: Tue, 15 Oct 1996 12:28:02 +0100
From: Agustin Martin Domingo <agmartin@aq.upm.es>
Organization: Depto. Fisica, ETSAM-UPM
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To: Johan Tufvesson <tuben@lysator.liu.se>
Cc: mutex@gmd.de
Subject: Re: Which preprocessor?
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Johan Tufvesson wrote:

> > >Do you have Linux binaries?
> >
> He
> > also wondered whether the Linux distribution includes a FORTRAN
> > compiler (I don't know; don't know anything about Linux).
> 
> Actually I think Linux comes with the f2c translator. I have managed to
> use this on a sun to compile PMX. Note however that PMX uses some
> functions from Fortran-90 (I think... I really don't know anything about
> Fortran), and the f2c translator is for Fortran-77. To solve this I wrote
> this little fix. Since I don't know fortran I don't really know if this
> code is correct, but it worked for me. Anyway, put this piece of code in
> a file that you link together with the .c-files that f2c produced, and I
> hope it will work.
>

There is a fortran 77 compiler in the Linux distribution (in the
slackwar/contrib directory for Slackware 3.0). Its name is g77 and
although it is still not complete  I am using it without problems.

Regards,

Agustin

From mutex-owner@mail2.gmd.de Wed Oct 16 21:57:20 1996
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Date: Thu, 17 Oct 1996 08:57:20 +1100 (EST)
From: Peter Billam <Peter.Billam@ml.csiro.au>
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To: "Joel M. Hoffman" <joel@exc.com>
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Subject: Re: Transposition
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On Mon, 14 Oct 1996, Joel M. Hoffman wrote:

> Regarding transposition, I've not yet tried anything, but it looks
> like the biggest problem will be the direction of the stems.  I'm
> going to need transposition, so I'll probably write a whole new set of
> macros to replace the "up" and "down" stems.  The macro will decide
> which direction the stems should go based on which line they appear
> on.  While there are certainly exceptions to the general rule that
> notes above the third line go down and everything else up, that
> generalization is certainly better than keeping the "up" notes
> pointing up even after a piece has been transposed up three notes.
> No?
> 
> But before I do this (and I don't know when I'll find the time), has
> anyone else already done something similar?
> 
Off-topic warning: this has nothing to do with tex, it's a Perl script
which generates Postscript directly; but you might want to check out
muscript (warning - still version 0.0 !) at

  http://www.ml.csiro.au/~pjb/world/muscript.html

The default stem is determined by position on stave, or as the same
as the previous note in the same voice if it's on the middle line.
Stems can be forced up or down by eg c#' or c#,
This seems to work well for me ...

Regards,  Peter Billam


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From: Laura Conrad <lconrad@bostontechnology.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
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Subject: Missing font?
Date: Thu, 17 Oct 1996 10:58:12 -0400
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I'm having a problem getting musictex/musixtex to work.  TeX seems 
happy, but when I display or print the dvi file, I don't get the note 
heads.  The error message says that it can't find font musicn20. 
 There is a musicn20 file in the same place as the other fonts it does 
seem to find.  This is true on both my PC system at home, where I 
started with the abc2dvi package from ceola, but have tried adding 
things from other places, and the unix system at work where someone 
seems to have set at least some stuff up in January 1993.

Is there an obvious place to ftp the font I need (300 dpi)?

Thanks,

Laura (lconrad@world.std.com)


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From: C.Walshaw@greenwich.ac.uk
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Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, mutex@gmd.de, IRTRAD-L@Danann.hea.ie,
        MORRIS@LISTSERV.IUPUI.EDU, C.Walshaw@greenwich.ac.uk
Date: Thu, 17 Oct 1996 17:40:17 +0100 (BST)
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* a list of web accessible abc collections
	* the web-wide abc index (currently with almost 3000 entries)
**new**	* link to the abc user group mailing list
	* new developments in abc
	* a short history of abc
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Thu Oct 17 16:47:36 1996
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To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: two problems
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OK,

I give up.  I have been trying to make a dotted eigth-note rest.  I can't
find any reference to it in the docs.  I have tried a few things (e.g.
\dsp, \pt\ds etc.) and none has worked.  How does one make such a rest?

Also, I can't seem to get a crecsendo mark at the vertical position I want.
I can get the mark to appear but it is centered on the bottom staff line
and I need it beneath the staff.  I can get it to appear above the staff
but that is not much use for me.  I couldn't find anything like it in the
docs to copy from the doc's input file, either.  It is a simple one-measure
extract.  My code follows;

\nostartrule
\instrumentnumber{1}%
\setstaffs1{1}%
\generalmeter{\meterfrac44}%
\startextract%
\Notes\icresc\Ibu0hg1\qb0{_h}\tbu0\qb0{=g}\cu e\qu{_b}\qu{=b}\tcresc\ds\en
\endextract

What do I need to do to lower the crecesndo mark?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Oct 17 18:35:48 1996
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From: "Don Simons" <dsimons@logicon.com>
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Laura Conrad <lconrad@bostontechnology.com> wrote

>I'm having a problem getting musictex/musixtex to work.  TeX seems 
>happy, but when I display or print the dvi file, I don't get the note 
>heads.  The error message says that it can't find font musicn20. 
 >There is a musicn20 file in the same place as the other fonts it does 
>seem to find...

Sometime back in the dark ages I had this very same problem.  I never 
did resolve it head on, but I did convince myself that there was no 
solution without either changing my dvi previewer or switching to 
musixtex.  I think there was something very strange about the note 
head characters in musicn20.  I do recall at some point running 
allfnt10.tex on that font.  Every symbol except the noteheads showed 
up in whatever viewer I was using then.  

Since then I've switched viewers and switched to MusiXTeX.  I only 
work in DOS/Windows; the previewer I now use is dviwin; it's free and 
it works fine.

BTW, it baffles me why people continue to use MusicTeX, when MusiXTeX 
is so far superior.  The language itself is certainly no more 
complicated, and not that much different. If it has anything to do 
with preprocessor availability, there is PMX and possibly others.  Is 
there a problem dealing with musixflx?  Are people put off by the 
extra execution time of the second TeX pass?  Inquiring minds want to 
know.

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Thu Oct 17 17:35:48 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Missing font?
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Laura Conrad <lconrad@bostontechnology.com> wrote

>I'm having a problem getting musictex/musixtex to work.  TeX seems 
>happy, but when I display or print the dvi file, I don't get the note 
>heads.  The error message says that it can't find font musicn20. 
 >There is a musicn20 file in the same place as the other fonts it does 
>seem to find...

Sometime back in the dark ages I had this very same problem.  I never 
did resolve it head on, but I did convince myself that there was no 
solution without either changing my dvi previewer or switching to 
musixtex.  I think there was something very strange about the note 
head characters in musicn20.  I do recall at some point running 
allfnt10.tex on that font.  Every symbol except the noteheads showed 
up in whatever viewer I was using then.  

Since then I've switched viewers and switched to MusiXTeX.  I only 
work in DOS/Windows; the previewer I now use is dviwin; it's free and 
it works fine.

BTW, it baffles me why people continue to use MusicTeX, when MusiXTeX 
is so far superior.  The language itself is certainly no more 
complicated, and not that much different. If it has anything to do 
with preprocessor availability, there is PMX and possibly others.  Is 
there a problem dealing with musixflx?  Are people put off by the 
extra execution time of the second TeX pass?  Inquiring minds want to 
know.

--Don Simons (dsimons@logicon.com)

From mutex-owner@mail2.gmd.de Thu Oct 17 18:54:41 1996
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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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To: bobroff@centrum.is
Cc: mutex@gmd.de
Subject: Re: two problems
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> Mime-Version: 1.0
> Content-Type: text/plain; charset="us-ascii"
> Date: Thu, 17 Oct 1996 16:47:36 +0000
> From: bobroff@centrum.is (David Bobroff)
> Sender: owner-mutex@mail2.gmd.de
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> 
> OK,
> 
> I give up.  I have been trying to make a dotted eigth-note rest.  I can't
> find any reference to it in the docs.  I have tried a few things (e.g.
> \dsp, \pt\ds etc.) and none has worked.  How does one make such a rest?

I've just used \pt j\ds for treble clef and \pt L\ds for bass clef.

> Also, I can't seem to get a crecsendo mark at the vertical position I want.
> I can get the mark to appear but it is centered on the bottom staff line
> and I need it beneath the staff.  I can get it to appear above the staff
> but that is not much use for me.  I couldn't find anything like it in the
> docs to copy from the doc's input file, either.  It is a simple one-measure
> extract.  My code follows;
> 
> \nostartrule
> \instrumentnumber{1}%
> \setstaffs1{1}%
> \generalmeter{\meterfrac44}%
> \startextract%
> \Notes\icresc\Ibu0hg1\qb0{_h}\tbu0\qb0{=g}\cu e\qu{_b}\qu{=b}\tcresc\ds\en
> \endextract
> 
> What do I need to do to lower the crecesndo mark?

I ran into the same problem and just did this:

\def\Tcresc{\zchar{-5}\tcresc}%
\def\Tdecresc{\zchar{-5}\tdecresc}%

and used \Tcresc instead of \tcresc, \Tdecresc instead of \tdecresc.  If I
need to move it somewhere else, I just use a different number.

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com
Ecce homo qui est faba!

From mutex-owner@mail2.gmd.de Thu Oct 17 19:56:24 1996
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Date: Thu, 17 Oct 1996 21:56:24 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199610171956.AA28123@sunick.gmd.de>
To: mutex@gmd.de, bobroff@centrum.is
Subject: Re: two problems (dotted rest, raise or lower cresc)
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> Date: Thu, 17 Oct 1996 16:47:36 +0000
> From: bobroff@centrum.is (David Bobroff)
> 
> I give up.  I have been trying to make a dotted eigth-note rest.  I can't
> find any reference to it in the docs.  I have tried a few things (e.g.
> \dsp, \pt\ds etc.) and none has worked.  How does one make such a rest?

\pt5\ds   -- \pt reqires a pitch; use an absolute pitch to be independant
             of the clef (as it is done in the definition of \pausep).

> Also, I can't seem to get a crecsendo mark at the vertical position I want.

> \Notes\icresc\Ibu0hg1\qb0{_h}\tbu0\qb0{=g}\cu e\qu{_b}\qu{=b}\tcresc\ds\en

  use e.g.  \zcharnote{`e}{\tcresc}
 
> What do I need to do to lower the crecesndo mark?

The examples in musixdoc.tex use e.g. \zmidstaff

Hope this hilft -- Werner

PS: If you use a more specific subject this will help those who look-up
    the mailing-lists archive for problems and solutions.
    http://www.gmd.de/Mail/     ... to MuTeX mailing list

From mutex-owner@mail2.gmd.de Thu Oct 17 20:47:00 1996
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From: Laura Conrad <lconrad@bostontechnology.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>, 'Don Simons' <dsimons@logicon.com>
Cc: "'lconrad@world.std.com'" <lconrad@world.std.com>
Subject: RE: Missing font?
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Thanks, I will try your previewer suggestion.

I tried musixtex first; the ftp may have screwed up but in any case 
pkunzip complained about the .zip files,  so I didn't even get to the 
dvi previewer/tex macro/preprocessor incompatibility problems.

So then I ran into something (the TeX FAQ?) which mentioned a 
"packaged" version of abc/musictec/tex/dvi viewer, called abc2dvi. 
 This ftp's quite easily, and except for the dvi viewer (which is 
windows, the other stuff is DOS), installs painlessly.  Unfortunately, 
I still haven't managed to actually print music with it.

So the answer to your question in my case is that I didn't make a 
rational decision to use musictex rather than musixtex because of 
features present or lacking in one or the other.  I'm just trying 
things until I find something that works.  My logic is that if I ever 
get a system that works at all, changing it to work differently will 
be easier than setting it up from scratch.

One part of the mystery which led to my original post has been solved 
by poking around I did to answer Werner's questions (which were 
probably private email).  The font file that exists in the directory 
where xdvi is finding the other fonts is musicn20; the dvi file is 
asking for musikn20.  This suggests that a version incompatibility is 
somewhere near the root of my problem.

Thanks to everyone who responded to my question.

Laura (lconrad@world.std.com)

Sometime back in the dark ages I had this very same problem.  I never 
did resolve it head on, but I did convince myself that there was no
solution without either changing my dvi previewer or switching to
musixtex.  I think there was something very strange about the note
head characters in musicn20.  I do recall at some point running
allfnt10.tex on that font.  Every symbol except the noteheads showed
up in whatever viewer I was using then.

Since then I've switched viewers and switched to MusiXTeX.  I only
work in DOS/Windows; the previewer I now use is dviwin; it's free and 
it works fine.

BTW, it baffles me why people continue to use MusicTeX, when MusiXTeX 
is so far superior.  The language itself is certainly no more
complicated, and not that much different. If it has anything to do
with preprocessor availability, there is PMX and possibly others.  Is 
there a problem dealing with musixflx?  Are people put off by the
extra execution time of the second TeX pass?  Inquiring minds want to 
know.

--Don Simons (dsimons@logicon.com)




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------ =_NextPart_000_01BBBC49.48B77E00--

From mutex-owner@mail2.gmd.de Fri Oct 18 10:12:10 1996
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Date: Fri, 18 Oct 1996 11:12:10 +0100
To: mutex@gmd.de
From: fredriks@abel.math.umu.se (Fredrik St{\aa}hl)
Subject: Re: Missing font?
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>BTW, it baffles me why people continue to use MusicTeX, when MusiXTeX
>is so far superior.  The language itself is certainly no more
>complicated, and not that much different. If it has anything to do
>with preprocessor availability, there is PMX and possibly others.  Is
>there a problem dealing with musixflx?  Are people put off by the
>extra execution time of the second TeX pass?  Inquiring minds want to
>know.
>
>--Don Simons (dsimons@logicon.com)

I can only answer for my self. I can think of three reasons that has
recently reduced to two.

- there was no macintosh version of musicflx. This has been fixed by now.
- it probably takes some time to convert musictex files and to learn the
new format. This is the main point for me even if the time needed probably
isn't that long.
- the existence of two musixtexs was confusing (now musixtex and opustex).
The need to choose one of them made me postpone transfer/upgrading.

The need of several passes in TeX is not a problem for me since it is
standard procedure in LaTeX, which I normally use.

--------------------------------------------------------------
Fredrik St{\aa}hl          Tel: int +46 90 166027
Math. Dept.                Fax: int +46 90 165222
University of Ume{\aa}     E-mail: fredriks@abel.math.umu.se
S-90187 Ume{\aa}, SWEDEN   WWW: http://abel.math.umu.se/~fredriks

                   On tap: Berghem Best Bitter
         *** Nemo saltat sobrius, nisi forte insanit ***
--------------------------------------------------------------



From mutex-owner@mail2.gmd.de Fri Oct 18 17:24:44 1996
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Date: Fri, 18 Oct 96 09:24:44 PST
From: "Don Simons" <dsimons@logicon.com>
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To: mutex@gmd.de
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Fredrik St{\aa}hl   wrote

>[Don Simons wrote]

>>BTW, it baffles me why people continue to use MusicTeX, when MusiXTeX 
>>is so far superior.  The language itself is certainly no more 
>>complicated, and not that much different. If it has anything to do 
>>with preprocessor availability, there is PMX and possibly others.  Is 
>>there a problem dealing with musixflx?  Are people put off by the 
>>extra execution time of the second TeX pass?  Inquiring minds want to 
>>know.
>>
>
>I can only answer for my self. I can think of three reasons that has 
>recently reduced to two.
>
>- there was no macintosh version of musicflx. This has been fixed by now. 
>- it probably takes some time to convert musictex files and to learn the 
>new format. This is the main point for me even if the time needed 
>probably isn't that long.
>- the existence of two musixtexs was confusing (now musixtex and opustex). 
>The need to choose one of them made me postpone transfer/upgrading.
>
>The need of several passes in TeX is not a problem for me since it is 
>standard procedure in LaTeX, which I normally use.

Thanks for this response.  In developing PMTeX for MusicTeX, I was 
frustrated with slurs and with justification.  On my first exposure to 
MusiXTeX I saw that it enormously improved the slur problem, and 
completely solved justification.  So I quickly dropped PMTeX/MusicTeX and 
started PMX/MusiXTeX.  When MusiXTeX split in two, I had to make another 
choice.  Since then, I've been so deeply immersed in PMX and MusiXTeX, 
running under DOS, that I may have lost sight of the broader questions.  
In retrospect, however, I have absolutely no regrets about either choice. 

--Don Simons (dsimons@logicon.com)



From mutex-owner@mail2.gmd.de Mon Oct 21 16:59:03 1996
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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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After the message from some people complainig about the inexistence of musicn20, I have looked
to all sources of MusicTeX (with a C, the ancient one) and I found NO occumence of musicn20.

 Therefore, I think that the trouble comes from somebody using an obsolete file together with the
up-to-date distribution.

 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=taupin@lps.u-psud.fr
  Te'l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86
 ------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Oct 21 11:31:31 1996
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the same problem occurred to me. I deleted then all former font files and
reinstalled the new version. The problem was solved, I don't know why...

Christian Mensing
mensing@inorg.chem.ethz.ch

From mutex-owner@mail2.gmd.de Tue Oct 22 12:03:46 1996
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Date: Tue, 22 Oct 1996 14:03:46 +0200 (MET DST)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: MusiXTeX-mailinglist <mutex@gmd.de>
Subject: 1/128 notes?
Message-Id: <Pine.GSO.3.95Lrindlow.961022135604.24170D-100000@tintin.lysator.liu.se>
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I have looked through both the FAQ and the manual of MusiXTeX, and have
found no information regarding how to write 1/128-notes. Can it be that
there is no way to express notes shorter than 1/64?


/Johan Tufvesson    tuben@lysator.liu.se



From mutex-owner@mail2.gmd.de Tue Oct 22 16:20:38 1996
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Johan Tufvesson wrote:
> 
> I have looked through both the FAQ and the manual of MusiXTeX, and have
> found no information regarding how to write 1/128-notes. Can it be that
> there is no way to express notes shorter than 1/64?
> 
> /Johan Tufvesson    tuben@lysator.liu.se

It more likely means that there is no way to (naturally) PLAY or SING
notes shorter than 64ths..  If so I'd sure like to hear it. 
Theoretically, though, they should be writeable.

-- 
- William V. Vera
  mailto:vera@platsol.com
  PLATINUM Solutions, Inc.
  http://www.platsol.com

From mutex-owner@mail2.gmd.de Thu Oct 24 20:02:39 1996
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Johan Tufvesson wrote:
> =

> I have looked through both the FAQ and the manual of MusiXTeX, and have
> found no information regarding how to write 1/128-notes. Can it be that
> there is no way to express notes shorter than 1/64?
> =

> /Johan Tufvesson    tuben@lysator.liu.se


 If you read the doc, you find out that musixbm.tex provides 1/128 notes.
-- =

-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au 21.09.96=
)
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Oct 28 11:57:56 1996
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Date: Mon, 28 Oct 1996 12:57:56 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199610281157.AA00332@sunick.gmd.de>
To: tuben@lysator.liu.se, vera@platsol.com
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> Date: Tue, 22 Oct 1996 09:20:38 -0700
> From: Willy Vera <vera@platsol.com>
> 
> Johan Tufvesson wrote:
> > 
> > Can it be that there is no way to express notes shorter than 1/64?
> 
> It more likely means that there is no way to (naturally) PLAY or SING
> notes shorter than 64ths..  If so I'd sure like to hear it. 

I've heard that it is possible to play up to 17 notes per second (on a piano).
16 1/128 per second = 1 1/8 per second = MM 60 (metronom) for the 1/8th.

Where's the problem :-)                               -- Werner


PS: Violist to the pianist: "Oh, of all the pieces you played I most like that
      starting with this long trille!" (humming Beethoven's "Fuer Elise"). 

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Date: Mon, 28 Oct 1996 12:39:17 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199610281139.AA00325@sunick.gmd.de>
To: mutex@gmd.de, tuben@lysator.liu.se
Subject: Re: 1/128 notes?
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> I have looked through both the FAQ and the manual of MusiXTeX, and have
> found no information regarding how to write 1/128-notes. Can it be that
> there is no way to express notes shorter than 1/64?

1/128 notes normally only appear as beamed notes. These can be written
using the extensions musixbm.tex or musixbbm.tex for 1/256 notes.

1/128 notes are used in my edition of Bach's sonatas & partitas for vl-solo;
1/256 in my edition of Corelli's Opus 5; both on http://www.gmd.de/Misc/Music.

Werner

From mutex-owner@mail2.gmd.de Mon Oct 28 20:23:34 1996
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From: "Don Simons" <dsimons@logicon.com>
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Subject: Can anyone compile FORTRAN under Linux?
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I've had several requests for a Linux binary of PMX.  Neither I nor 
any of my colleagues at work has this OS installed, and frankly, I 
can't justifiy spending the time to do it right now.  Recent 
discussion on this list suggested two possible routes (f2c or direct 
FORTRAN compilation) and provided several tips.  Has anyone out there  
actually attempted this?  Is there anyone who would be willing?

--Don Simons (dsimons@logicon.com) 

P.S.:  New, improved PMX coming very soon to a server near you.  Stay 
tuned!


From mutex-owner@mail2.gmd.de Tue Oct 29 00:54:00 1996
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Date: Mon, 28 Oct 96 19:54 EST
From: joel@exc.com (Joel M. Hoffman)
To: dsimons@logicon.com
Cc: mutex@gmd.de
In-Reply-To: "Don Simons"'s message of Mon, 28 Oct 96 12:23:34 PST <9609288465.AA846534552@cclink.logicon.com>
Subject: Can anyone compile FORTRAN under Linux?
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>I've had several requests for a Linux binary of PMX.  Neither I nor 
>any of my colleagues at work has this OS installed, and frankly, I 
>can't justifiy spending the time to do it right now.  Recent 
>discussion on this list suggested two possible routes (f2c or direct 
>FORTRAN compilation) and provided several tips.  Has anyone out there  
>actually attempted this?  Is there anyone who would be willing?

If f2c works, perhaps you can distribute the resulting C code?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Tue Oct 29 08:31:19 1996
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Date: Tue, 29 Oct 1996 09:31:19 +0100
From: kuku@gilberto.physik.rwth-aachen.de (Christoph P. Kukulies)
To: dsimons@logicon.com (Don Simons)
Cc: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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Don Simons writes:
>  
> I've had several requests for a Linux binary of PMX.  Neither I nor 
> any of my colleagues at work has this OS installed, and frankly, I 
> can't justifiy spending the time to do it right now.  Recent 
> discussion on this list suggested two possible routes (f2c or direct 
> FORTRAN compilation) and provided several tips.  Has anyone out there  
> actually attempted this?  Is there anyone who would be willing?
> 
> --Don Simons (dsimons@logicon.com) 
> 
> P.S.:  New, improved PMX coming very soon to a server near you.  Stay 
> tuned!

Please, brief me in: What is PMX? I could help porting using f2c or g77
(GNU Fortran) under FreeBSD and Linux, if you like.

> 

-- 
--Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de

From mutex-owner@mail2.gmd.de Tue Oct 29 09:52:22 1996
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Date: Tue, 29 Oct 1996 10:52:22 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
Reply-To: Johan Tufvesson <tuben@lysator.liu.se>
To: "Joel M. Hoffman" <joel@exc.com>
Cc: mutex-mailinglist <mutex@gmd.de>
Subject: Re: Can anyone compile FORTRAN under Linux?
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On Mon, 28 Oct 1996, Joel M. Hoffman wrote:

> >I've had several requests for a Linux binary of PMX.  Neither I nor 
> >any of my colleagues at work has this OS installed, and frankly, I 
> >can't justifiy spending the time to do it right now.  Recent 
> >discussion on this list suggested two possible routes (f2c or direct 
> >FORTRAN compilation) and provided several tips.  Has anyone out there  
> >actually attempted this?  Is there anyone who would be willing?
> 
> If f2c works, perhaps you can distribute the resulting C code?

Yes, f2c works (at least with pmx102), but distributing the c-code is not
a good idea because you still nead to link with the f2c-libraries.

I have, by the way, ported pmx102 to both Amiga, Linux/486 and Sun/Solaris
using f2c. If anyone is interested I can supply binaries for these
platforms (at least for now, I can't make any commitments for a longer
period)

/ Johan Tufvesson    tuben@lysator.liu.se



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Date: Tue, 29 Oct 96 08:46 EST
From: joel@exc.com (Joel M. Hoffman)
To: tuben@lysator.liu.se
Cc: mutex@gmd.de
In-Reply-To: Johan Tufvesson's message of Tue, 29 Oct 1996 10:52:22 +0100 (MET) <Pine.GSO.3.95Lrindlow.961029085029.11984A-100000@tinkerbell.lysator.liu.se>
Subject: Can anyone compile FORTRAN under Linux?
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>> >I've had several requests for a Linux binary of PMX.  Neither I nor 
>> >any of my colleagues at work has this OS installed, and frankly, I 
>> >can't justifiy spending the time to do it right now.  Recent 
>> >discussion on this list suggested two possible routes (f2c or direct 
>> >FORTRAN compilation) and provided several tips.  Has anyone out there  
>> >actually attempted this?  Is there anyone who would be willing?
>> 
>> If f2c works, perhaps you can distribute the resulting C code?
>
>Yes, f2c works (at least with pmx102), but distributing the c-code is not
>a good idea because you still nead to link with the f2c-libraries.

Can't you create statically linked binaries?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Tue Oct 29 13:51:43 1996
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Date: Tue, 29 Oct 1996 14:51:43 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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On Mon, 28 Oct 1996, Don Simons wrote:

> I've had several requests for a Linux binary of PMX.  Neither I nor 
> any of my colleagues at work has this OS installed, and frankly, I 
> can't justifiy spending the time to do it right now.  Recent 
> discussion on this list suggested two possible routes (f2c or direct 
> FORTRAN compilation) and provided several tips.  Has anyone out there  
> actually attempted this?  Is there anyone who would be willing?

Yes, I tried to do it and had no end of trouble. First I tried GNU's g77
fortran compiler. Compile worked all right, but then the pmxa executable
always stopped with an "illegal char" error.

Next I tried f2c which crashed with a segfault when it tried to translate
the fortran code (I downloaded the debian f2c executable).

I finally managed to translate PMX into C on an IBM RS/6000 which had  f2c
installed, then compile the source at home on my Linux box. The only
problem was that my libf2c was lacking the iand_, ior_, ... functions, so
gcc couldn't link the programs. I had to write a short C file to supply
those functions.

PMX works now, except for automatic beams (no automatic beams, but the
manual ones [] are OK).

I've downloaded the latest f2c version from netlib now and I'm just trying
to install it. The segfaults I got from f2c were caused by some memory
allocation trouble with f2c's malloc() replacements. You MUST remove
"malloc.o" from the OBJECT list in the makefile when you compile f2c for
Linux. Seems to work now, although there are a lot of alignment errors
(variables seem to be poorly aligned in records and/or arrays).

I could provide the C-source created by f2c, but you will need f2c's
libF77 and libI77 to compile this code. It's probably easier to install
the latest f2c version on your system, if you can do that.

Alternatively, I could provide Linux ELF-binaries. (uuencode or better
anonymous ftp).

-Stefan

> P.S.:  New, improved PMX coming very soon to a server near you.  Stay 
> tuned!
> 
GREAT! Hope you get some chords and multiple instruments in a single
staff. PMX's formatting is really great.


### ###                  #####                     | (Stefan Evert)
 #   #                    #   #                    |                     
 #   #   ##  # # #   ##   #   # # ##   ##  #    #  | EMAIL to:       
 #####  #  # ## # # #  #  ####   #  # #  # #    #  | o evertsn@cip.mathematik.
 #   #  #  # #  # # ####  #   #  #    #### #  # #  |   uni-stuttgart.de
 #   #  #  # #  # # #     #   #  #    #    #  # #  | o wittfeka@cip.mathematik.
### ###  ##  #  # #  ### #####   #     ###  ## ##  |   uni-stuttgart.de
                                                   | o evert@mathematik.
E   N   T   E   R   T   A   I   N   M   E   N   T  |   uni-stuttgart.de




From mutex-owner@mail2.gmd.de Tue Oct 29 15:23:51 1996
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From: Alexander Jolk <jolk@ap-pc513b.physik.uni-karlsruhe.de>
Message-Id: <199610291523.QAA00793@ap-pc513b.physik.uni-karlsruhe.de>
Subject: Re: Can anyone compile FORTRAN under Linux?
To: mutex@gmd.de
Date: Tue, 29 Oct 1996 16:23:51 +0100 (MET)
In-Reply-To: <Pine.GSO.3.95Lrindlow.961029085029.11984A-100000@tinkerbell.lysator.liu.se> from "Johan Tufvesson" at Oct 29, 96 10:52:22 am
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> I have, by the way, ported pmx102 to both Amiga, Linux/486 and Sun/Solaris
> using f2c. If anyone is interested I can supply binaries for these
> platforms (at least for now, I can't make any commitments for a longer
> period)
> 
I would be very glad if you could put up your binaries for FTP
somewhere---my f2c does not like pmx too much, and so I am currently
unable to get it compiled myself under Linux.

Alex

-- 
Alexander Jolk * jolk@ap-pc513b.physik.uni-karlsruhe.de * +49-721-608-3572

From mutex-owner@mail2.gmd.de Tue Oct 29 16:00:23 1996
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Date: Tue, 29 Oct 1996 17:00:23 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: "Joel M. Hoffman" <joel@exc.com>
Cc: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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On Tue, 29 Oct 1996, Joel M. Hoffman wrote:

> >> If f2c works, perhaps you can distribute the resulting C code?
> >
> >Yes, f2c works (at least with pmx102), but distributing the c-code is not
> >a good idea because you still nead to link with the f2c-libraries.
> 
> Can't you create statically linked binaries?

What good would that do? The question was not to distribute binaries, but
C-source. When the source have been compiled, it will have to be linked
with the f2c-libraries to become an executable.

/Johan Tufvesson



From mutex-owner@mail2.gmd.de Tue Oct 29 21:55:23 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Can anyone compile FORTRAN under Linux?
Cc: mutex-mailinglist <mutex@gmd.de>
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Johan Tufvesson <tuben@lysator.liu.se> 

>On Mon, 28 Oct 1996, Joel M. Hoffman wrote:

>> [Don Simons wrote]

>>>I've had several requests for a Linux binary of PMX.  Neither I nor 
>>>any of my colleagues at work has this OS installed, and frankly, I 
>>>can't justifiy spending the time to do it right now.  Recent 
>>>discussion on this list suggested two possible routes (f2c or direct 
>>>FORTRAN compilation) and provided several tips.  Has anyone out there  
>>>actually attempted this?  Is there anyone who would be willing?
>>
>>If f2c works, perhaps you can distribute the resulting C code? 
>
>Yes, f2c works (at least with pmx102), but distributing the c-code is 
>not a good idea because you still nead to link with the f2c-libraries.

>I have, by the way, ported pmx102 to both Amiga, Linux/486 and 
>Sun/Solaris using f2c. If anyone is interested I can supply binaries for 
>these platforms (at least for now, I can't make any commitments for a 
>longer period)

Johan, it looks like your port to Linux/486 is the near-term solution 
to the problem.  Perhaps those in a big hurry can contact you 
directly.  Meanwhile, I'll try to arrange for an FTP site.

Many thanks to the rest of you who responded (Alex, Chris, Stefan, and 
I hope I didn't miss anyone else).  I have just this very hour 
uploaded PMX104 and will announce as soon as it is available.  Since 
Johan seems to be the only one with a fully functional Linux binary of 
version 1.02,   he would probably be the best choice to process 
Version 1.04 if he has the time.  (If not, Johan, please let me know 
and I'll get in touch with the rest of the volunteers.)

--Don Simons (dsimons@logicon.com)


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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de, Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
Subject: Re[2]: Can anyone compile FORTRAN under Linux?
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 Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de> wrote

>...
>PMX works now, except for automatic beams (no automatic beams, but the 
>manual ones [] are OK).
>

The same thing has happens to me from time to time!  It happens 
whenever PMX cannot find the file beampat.inp.  I hope that's the 
problem in your case. It would be amazing if this sort of problem 
could arise as a result of the porting process.

>
>Hope you get some chords and multiple instruments in a single staff. 
>

Well, I didn't quite get to the chords or transposition in Version 
1.04, but I promise they'll be in the next version.  Multiple voices 
on a single staff may take longer.

--Don Simons (dsimons@logicon.com)

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Date: Tue, 29 Oct 1996 14:51:43 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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From mutex-owner@mail2.gmd.de Wed Oct 30 08:32:01 1996
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Date: Wed, 30 Oct 1996 09:32:01 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
Cc: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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On Tue, 29 Oct 1996, Stefan Evert wrote:

> Yes, I tried to do it and had no end of trouble. First I tried GNU's g77
> fortran compiler. Compile worked all right, but then the pmxa executable
> always stopped with an "illegal char" error.

I got that too when trying g77.

> I finally managed to translate PMX into C on an IBM RS/6000 which had  f2c
> installed, then compile the source at home on my Linux box. The only
> problem was that my libf2c was lacking the iand_, ior_, ... functions, so
> gcc couldn't link the programs. I had to write a short C file to supply
> those functions.
> 
> PMX works now, except for automatic beams (no automatic beams, but the
> manual ones [] are OK).

I had that problem too when I first wrote this small C-file (guessing what
the functions should do and look like...) . This was solved by converting
the bits.f found at:
http://www.iac.tut.fi/usr/local/doc/Numerical-Recipes/Edition-2/recipes_f/misc/bits.f
using f2c, and linking it with the executables.

/ Johan Tufvesson



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Subject: lute tablatures
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I have been using MusiXTex for the preparation of lute tablatures. 
My trials result in a postscript file that you can print on your favorite
600dpi postscript printer (or with ghost...).

Thanks to Werner Wicking, this file is accessible as :

   ftp://ftp.gmd.de/music/musixtex/add-ons/Tabulature.ps[.gz]

easiest accessible via

   http://www.gmd.de/Misc/Music/   following the link under MusiXTeX.

Have a look : I hope you will like it.

Michel Caprace
Brussels

From mutex-owner@mail2.gmd.de Wed Oct 30 08:44:15 1996
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Date: Wed, 30 Oct 1996 09:44:15 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: Alexander Jolk <jolk@ap-pc513b.physik.uni-karlsruhe.de>
Cc: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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On Tue, 29 Oct 1996, Alexander Jolk wrote:

> > I have, by the way, ported pmx102 to both Amiga, Linux/486 and Sun/Solaris
> > using f2c. If anyone is interested I can supply binaries for these
> > platforms (at least for now, I can't make any commitments for a longer
> > period)
> > 
> I would be very glad if you could put up your binaries for FTP
> somewhere---my f2c does not like pmx too much, and so I am currently
> unable to get it compiled myself under Linux.

I have put version 1.02 of pmx_i386_linux.tar.gz (ELF) and 
pmx_sun_solaris24.tar.gz under URL:

http://www.lysator.liu.se/~tuben/pmx/ 

Note that the sun-binaries are the only one that I use normally, but I
tried the linux-binaries on pmxtest.pmx and it looked OK (including the
correct beams). I have never distributed any unix binaries before, so I
hope they will be usable.

Hope it's okay with HTTP instead of FTP.

/Johan Tufvesson


PS. Yes, I've tried the new 1.04, but with no luck so far. pmxa compiles
ok, pmxb is another story :-(


From mutex-owner@mail2.gmd.de Wed Oct 30 10:53:57 1996
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Subject: Re: 1/128 notes?
To: mutex@gmd.de (MusicTeX)
Date: Wed, 30 Oct 1996 11:53:57 +0100 (MET)
From: Zdenek Pytela <letty@phil.muni.cz>
Organization: Masaryk University, Faculty of Arts
Postal-Address: Arna Novaka 1, 660 88 Brno, Czech Republic
Phone: +42 5 41121 147, Fax: +42 5 41121 406
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> > It more likely means that there is no way to (naturally) PLAY or SING
> > notes shorter than 64ths..  If so I'd sure like to hear it. 
> 
> I've heard that it is possible to play up to 17 notes per second (on a piano).
> 16 1/128 per second = 1 1/8 per second = MM 60 (metronom) for the 1/8th.
> 
> Where's the problem :-)                               -- Werner
	You may be unsure if it is possible to play notes shorter than 
1/64, but there certainly are some examples. In Charles Ives' sonate
_Concord, Massachusets, 1840--60_ there are notes in 1/1024 (probably
the shortest notes on the world), but the composer himself says that 
they 'should be played as quick as possible'.
	This sonate was performed a few weeks ago in my home town Brno, 
Czech Republic, and I was there - the pianist do his best, I think :-).

-- 

--Zdenek <pytela@phil.muni.cz>
<a href="http://www.phil.muni.cz/~letty/">


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From: CAPRACE MICHEL <M.CAPRACE@BRUSSELS.saitrh.com>
To: mutex-list <mutex@gmd.de>
Subject: Lute tablatures
Date: Wed, 30 Oct 1996 15:03:00 +0100
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I have been using MusiXTex for the preparation of lute tablatures.
My trials result in a postscript file that you can print on your
favorite
600dpi postscript printer (or with ghost...).

Thanks to Werner Wicking, this file is accessible as :

   ftp://ftp.gmd.de/music/musixtex/add-ons/Tabulature.ps[.gz]

easiest accessible via

   http://www.gmd.de/Misc/Music/   following the link under MusiXTeX.

Have a look : I hope you will like it.

Michel Caprace

From mutex-owner@mail2.gmd.de Wed Oct 30 16:12:20 1996
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Subject: Re: Can anyone compile FORTRAN under Linux?
In-Reply-To: <Pine.GSO.3.95Lrindlow.961030084517.5605A-100000@tinkerbell.lysator.liu.se> from Johan Tufvesson at "Oct 30, 96 09:32:01 am"
To: tuben@lysator.liu.se (Johan Tufvesson)
Date: Wed, 30 Oct 1996 17:12:20 +0100 (MET)
Cc: evertsn@cip.mathematik.uni-stuttgart.de, mutex@gmd.de
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> 
> On Tue, 29 Oct 1996, Stefan Evert wrote:
> 
> > Yes, I tried to do it and had no end of trouble. First I tried GNU's g77
> > fortran compiler. Compile worked all right, but then the pmxa executable
> > always stopped with an "illegal char" error.
> 
> I got that too when trying g77.

I tried both, g77 and f77 (f2c) and first off:

The program doesn't conform the f77 standard. This may care the author
a bag o' beans :), though, but it may be the cause of malfunctioning as
you describe - not sure though.

g77 and f77 (f2c) flag that there are common misalignments. the F77
Standard prescribes that COMMONs have to be ordered such that the longest
items come first, e.g. COMPLEX, REAL*8, REAL*4 , INTEGER*4, INTEGER *2
CHARACTER last, thus avoiding misalignment. If the author could change
his program that way he would it make much more portable.

Next the program(s) use non F77 standard IOR, ISHFT etc. functions.
g77 has them built in, f77 (f2c) strictly refuses to deviate a millimeter
from the standard and doesn't have them at all unless one supplies them
separately as addtional functions which wouldn't be that hard.


> 
> > I finally managed to translate PMX into C on an IBM RS/6000 which had  f2c
> > installed, then compile the source at home on my Linux box. The only
> > problem was that my libf2c was lacking the iand_, ior_, ... functions, so
> > gcc couldn't link the programs. I had to write a short C file to supply
> > those functions.
> > 
> > PMX works now, except for automatic beams (no automatic beams, but the
> > manual ones [] are OK).
> 
> I had that problem too when I first wrote this small C-file (guessing what
> the functions should do and look like...) . This was solved by converting
> the bits.f found at:
> http://www.iac.tut.fi/usr/local/doc/Numerical-Recipes/Edition-2/recipes_f/misc/bits.f
> using f2c, and linking it with the executables.
> 
> / Johan Tufvesson
> 
> 
> 

--Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de

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Date: Wed, 30 Oct 96 09:04:47 PST
From: "Don Simons" <dsimons@logicon.com>
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Cc: mutex@gmd.de
Subject: Re: Can anyone compile FORTRAN under Linux?
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Johan Tufvesson <tuben@lysator.liu.se> wrote

>On Tue, 29 Oct 1996, Stefan Evert wrote:

>> Yes, I tried to do it and had no end of trouble. First I tried GNU's 
<<g77 > fortran compiler. Compile worked all right, but then the pmxa 
>>executable > always stopped with an "illegal char" error.

>I got that too when trying g77.

Could you tell which character was causing the trouble?  I might be 
able to replace it.

--Don Simons (dsimons@logicon.com)


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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@gmd.de
Subject: font sizes.
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I am developing a program which uses the musixtex fonts. I have a 
question: how do the font sizes (11, 13, 16, 20) relate to the dimensions 
of the balls and other symbols? How can I determine the ideal distances 
between notes from the font sizes?

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


From mutex-owner@mail2.gmd.de Thu Oct 31 19:50:07 1996
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From: dsimons@logicon.com (Don Simons)
Subject: Re: font sizes.
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Han-Wen Nienhuys <hanwen@stack.urc.tue.nl> wrote

>I am developing a program which uses the musixtex fonts. I have a 
>question: how do the font sizes (11, 13, 16, 20) relate to the 
>dimensions of the balls and other symbols? How can I determine the ideal 
>distances between notes from the font sizes?

16- and 20-pt fonts contain symbols scaled to staves whose 5 lines 
span a vertical distance of 16 or 20 pts, respectively.  11- and 13-pt 
fonts are only used for tiny notes on 16- and 20-pt staves, 
respectively.  To learn the precise sizes of each of the symbols, the 
easiest way is simply to print them out, blow up the picture, and 
measure them.  I suppose if you know something about METAFONT you 
could get some informations about character sizes from the .mf files, 
but that's way beyond my level of understanding.

The question about correct spacing (I assume you mean horizontal 
spacing) is VERY complex.  I have spent literally hundreds of hours 
developing algorithms to adjust horizontal spacing in a pleasing way, 
and incorporated them into my preprocessor PMX.  There seems to be no 
really good reference on the subject.  Basic internote spaces should 
increase monotonically with note duration, but never as fast as 
proportionally.  The two common schemes use spaces that are 
proportional to either the logarithm or the sqare root of the note 
duration.  If you are making a score with several parts, notes coming 
at the same time must be aligned vertically, and that requirement can 
frequently over-rule the basic one.  After all that, you may still 
need to alter horizontal spacing to make room for certain accidentals, 
flags, clefs, or dots.  And finally, you need to justify each finished 
line so that there's no left-over space at the end of the line.  
MusiXTex takes care of some of this.

If you are serious about getting the horizontal spacing to look right 
automatically, you have a very big job ahead of you.

--Don Simons (dsimons@logicon.com)

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From: "Don Simons" <dsimons@logicon.com>
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Han-Wen Nienhuys <hanwen@stack.urc.tue.nl> wrote

>I am developing a program which uses the musixtex fonts. I have a 
>question: how do the font sizes (11, 13, 16, 20) relate to the 
>dimensions of the balls and other symbols? How can I determine the ideal 
>distances between notes from the font sizes?

After re-reading the original question, I realize that you may be 
asking what the *minimum* allowable space is between noteheads, and I 
didn't address that in my original response.  I think for notes on the 
same level that about 0.3 notehead widths is a good working value.  
The 20pt noteheads are 6pt wide so this is 1.8pt.  You can of course 
get by with less if the notes are not on the save vertical level.  
With 16pt fonts things scale proportionally.

But if you really are asking about the *ideal* distance, then as I 
hope I made clear in my earlier post, the answer depends on many more 
factors than font size.

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Sat Nov  2 19:58:38 1996
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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: Don Simons <dsimons@logicon.com>
Cc: mutex@gmd.de
Subject: Re: font sizes.
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Don Simons <dsimons@logicon.com> wrote:
>>I am developing a program which uses the musixtex fonts. I have a 
>>question: how do the font sizes (11, 13, 16, 20) relate to the 
>>dimensions of the balls and other symbols? How can I determine the 
ideal 
>>distances between notes from the font sizes?
>
>16- and 20-pt fonts contain symbols scaled to staves whose 5 lines 
>span a vertical distance of 16 or 20 pts, respectively.  11- and 13-pt 
>fonts are only used for tiny notes on 16- and 20-pt staves, 
>respectively.

thanks, that was what I needed to know. Now that we're discussing the
subject, what should the thickness of the lines in those staves?

>To learn the precise sizes of each of the symbols, the 
>easiest way is simply to print them out, blow up the picture, and

Yes, I did that, unfortunately, a lot of symbols just have width/depth
0, supposedly to make typesetting using MusixTex easier, so I can't
use TeX's \wd and \dp commands.

>The question about correct spacing (I assume you mean horizontal 
>spacing) is VERY complex.  I have spent literally hundreds of hours 
>developing algorithms to adjust horizontal spacing in a pleasing way,

Yes I know, I am fully aware of the conflicting demands of internote
spaces, and "vertical" synchronisation. As you may know, I had my
share in the development of MPP, on of your "competitors" :).  As a
matter of fact, the above mentioned program is an implementation of an
algorithm I invented to cope with these problems.

>and incorporated them into my preprocessor PMX.  There seems to be no 
>really good reference on the subject.  Basic internote spaces should 
>increase monotonically with note duration, but never as fast as 
>proportionally.  The two common schemes use spaces that are 
>proportional to either the logarithm or the sqare root of the note 
>duration.

I didn't know about the square root scheme. My references tell that
doubling notes in duration should multiply the space by a so called
"engravers spacing", which is close to the golden ratio. The is a kind
of root (see below). Using the log wouldn't be smart, since log(d) ->
-inf if d tends to 0

>flags, clefs, or dots.  And finally, you need to justify each finished 
>line so that there's no left-over space at the end of the line.  
>MusiXTex takes care of some of this.

how does musixflex handle this? (yes, I know, I should study the
source..).  I have used a stupid "word-wrap" type alg. in LilyPond,
but the correct solution would be using an analogon of TeX's algorithm
for making paragraphs. I am bit frightened for the speed (LilyPond is
dog slow as it is), the problem looks NP-complete.

>If you are serious about getting the horizontal spacing to look right 
>automatically, you have a very big job ahead of you.

The biggest part of the job is behind me, but
now i am getting to the point that my simplistic table lookup of
symbols should be adapted to different font and paper sizes. (To be
precise, my 5 line-staff doesn't quite match the noteheads)

If you are interested you can take a look at a preliminary release of
LilyPond. (at this moment, the latest release is 0.0.6, downloadable at
pcnov095.win.tue.nl).

[yes, you lurkers, this is the successor (daughter) of MPP, and it *is*
preliminary; it is *not* usable for serious typesetting. I am not
going to get into arguments, feature begging or layman's explanations
on LilyPond.]

You will need GNU C++ to compile it.

>After re-reading the original question, I realize that you may be 
>asking what the *minimum* allowable space is between noteheads, and I 
>didn't address that in my original response.  I think for notes on the 
>same level that about 0.3 notehead widths is a good working value.  
>The 20pt noteheads are 6pt wide so this is 1.8pt.  You can of course
>But if you really are asking about the *ideal* distance, then as I 
>hope I made clear in my earlier post, the answer depends on many more 
>factors than font size.

About spacing: my reference, (a masters thesis on a simple typesetting
system) shows this formula: 

	space = (PHI ** log2(duration)) * WHOLEWIDTH

PHI ** log2(duration) would be

	duration ** (ln(PHI) / ln(2.0)) =~ duration ** 0.6942


which is slightly more than the square root you mentioned. You could
regard WHOLEWIDTH as "tightness", (larger WHOLEWIDTH means the piece
should be set more loosely). OTOH, WHOLEWIDTH would depend on the font
size, so it should be in the font def (similar to the em-space in TeX)

What I was looking for: is WHOLEWIDTH defined somewhere in Musixtex?




Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


From mutex-owner@mail2.gmd.de Mon Nov  4 16:54:09 1996
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From: "Don Simons" <dsimons@logicon.com>
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Han-Wen Nienhuys <hanwen@stack.urc.tue.nl> at INTERNET-MAIL wrote

>Now that we're discussing the subject, what should the thickness of 
>the lines in those staves?  

From snooping around in musixtex.tex, I think it's .4pt , but I can't 
follow the logic all that well so I can't be sure.

>>To learn the precise sizes of each of the symbols, the 
>>easiest way is simply to print them out, blow up the picture, and 
>
>Yes, I did that, unfortunately, a lot of symbols just have 
>width/depth 0, supposedly to make typesetting using MusixTex easier, 
>so I can't use TeX's \wd and \dp commands.

I was thinking of using the copying machine down the hall :-).

> As you may know, I had my share in the development of MPP, on of 
>your "competitors" :).  

Sorry, I didn't make the connection at first.

>I didn't know about the square root scheme. 

Two schemes are set up in MusiXTeX, "arithmetic" and "geometric".  
Spacings in \elemskips are:

t      (64t)   sA  sG
... 
1/16    4      2   2
1/8     8      3   2.82
1/4     16     4   4
1/2     32     5   5.66
Whole   64     6   8
...

If t is time in units of whole notes then sA=log2(64t) and 
sG=sqrt(64t).

>My references tell that doubling notes in duration should multiply 
>the space by a so called "engravers spacing", which is close to the 
>golden ratio.

That seems excessive.  I don't think a whole note should have 61% more 
space than a half.  In MusiXTeX scheme G, doubling the note length 
always multiplies the spacing by 1.41.  In A, doubling a sixteenth 
multiplies the space by 1.5; doubling a quarter multiplies by only 
1.2. It looks like scheme A recognizes that you may want smaller 
ratios at larger durations.  But IMHO it goes overboard (1.2 is too 
small!) and has the other problem you mention:

>Using the log wouldn't be smart, since log(d) -> -inf if d tends to 0

Absolutely right, in scheme A a 64th  would have 0 length, a 128th, 
-1 .  Of course you could deviate from the rule.  But I gave up 
fussing with that and finally went to a modified version of G.

>>  And finally, you need to justify each 
>>finished line so that there's no left-over space at the end of the 
>>line.  MusiXTex takes care of some of this.
>
>how does musixflex handle this? 

Assuming you don't change \mulooseness from 0, there are two steps.  
First, it assigns a nominal value to \elemskip of one notehead width 
(6pt for normal size 20pt, more about this later).  Then it puts as 
many full bars as it can fit in each line.  I'm not sure exactly how it 
decides about the last bar in each line, i.e, whether to stop short or 
go over a little, or how it fills up the very last line.  Somehow it 
copes.  Then in the second step it computes an adjusted value of 
\elemskip tailored for each line, so that line comes out exactly even. 
 By changing elemskip, every space in the line gets scaled up or down 
by the same amount.  In truth there is also some unscalable space in 
every line, but that can be dealt with.

Incidentally, I use a different approach in PMX, starting with the 
total number of systems for the piece instead of assuming a starting 
physical value for \elemskip.  That's equivalent to setting the 
physical length of the whole piece if laid out in one long line.  
Knowing the total amount of scalable and fixed space I compute a 
starting physical value for \elemskip.  I use that to get how many 
bars go in the first line.  Then I force a line break there, remove 
those bars and their scalable and fixed space from the accounting, and 
start over with the second line, etc.

>About spacing: my reference, (a masters thesis on a simple 
>typesetting system) shows this formula: 
>
>space = (PHI ** log2(duration)) * WHOLEWIDTH 
>
>PHI ** log2(duration) would be
>
>duration ** (ln(PHI) / ln(2.0)) =~ duration ** 0.6942 
>
>
>which is slightly more than the square root you mentioned. You could 
>regard WHOLEWIDTH as "tightness", (larger WHOLEWIDTH means the piece 
>should be set more loosely). OTOH, WHOLEWIDTH would depend on the 
>font size, so it should be in the font def (similar to the em-space 
>in TeX)
>
>What I was looking for: is WHOLEWIDTH defined somewhere in Musixtex?

For the default MusiXTeX parameters, this comes out to 6 or 8 notehead 
widths for the A and G schemes respectively.  For a given ratio 
scheme, this is proportional to \elemskip, and (by more snooping in 
musixtex.tex), the default \elemskip is \qn@width, the width of a 
notehead.  This in turn is set equal to \fontdimen parameter #6.  For 
normal fonts, this is something the TeXbook calls a "quad,"  I don't 
know if that's the same as an em-space, but you certainly had the 
right idea.

--Don Simons (dsimons@logicon.com)


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From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@gmd.de
Subject: breaking lines
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>From: Don Simons <dsimons@logicon.com>
>To: mutex@gmd.de
>>Now that we're discussing the subject, what should the thickness of 
>>the lines in those staves?  
>
>>From snooping around in musixtex.tex, I think it's .4pt , but I can't 
>follow the logic all that well so I can't be sure.

that's just the default size of a  TeX \hrule.


>>Yes, I did that, unfortunately, a lot of symbols just have 
>>width/depth 0, supposedly to make typesetting using MusixTex easier, 
>>so I can't use TeX's \wd and \dp commands.
>
>I was thinking of using the copying machine down the hall :-).

don't have one :)

"He who has no money uses his brains."

>>My references tell that doubling notes in duration should multiply 
>>the space by a so called "engravers spacing", which is close to the 
>>golden ratio.
>
>That seems excessive.  I don't think a whole note should have 61% more 
>space than a half.  In MusiXTeX scheme G, doubling the note length 
>always multiplies the spacing by 1.41.

I will make this configurable in LilyPond.

[breaking lines]
>
>Incidentally, I use a different approach in PMX, starting with the 
>total number of systems for the piece instead of assuming a starting 
>physical value for \elemskip.  That's equivalent to setting the 
>physical length of the whole piece if laid out in one long line.  
>Knowing the total amount of scalable and fixed space I compute a 
>starting physical value for \elemskip.  I use that to get how many 
>bars go in the first line.  Then I force a line break there, remove 
>those bars and their scalable and fixed space from the accounting, and 
>start over with the second line, etc.


Since you are getting into technical details, I will show mine too: I
think my way  is the most elegant algorithm i've seen so far.  Some
terminology: I call a vertical group of symbols (notes) which start at
the same time a "column".  Each line of a score has notes in it,
grouped in columns. The difference in starting time between those
columns makes it possible to determine ideal distances between those
columns.

Example:

	time ----->

	col1	col2	col3	col4


voice1	1		1

voice2	2	2	2	2


(1 is a whole note, 2 a half note.)

time_difference (col1 , col2) = 0.5 wholes,
time_difference (col1 , col3) = 1 wholes,
time_difference (col2 , col3) = 0.5 wholes,
etc.

these differences are translated into ideal distances (these translations
have been the subject of discussion in this thread).

	distance (col1,col2) = 10 pt
	distance (col1,col3) = 14.1 pt
	distance (col2,col3) = 10 pt
	etc.

as you can see, these distance are conflicting. So instead of
satisfying all those ideals simultaneously, a compromise is sought.

This is Columbus' egg: LilyPond attaches "springs" to each
column-pair.  each spring has an equilibrium-position which is equal to
the above mentioned distance, so

	spring (col1, col2) and spring(col2,col3) try to push column 1
and 3 away (to a distance of 20pt) from each other, whereas the spring
between col 1 and col 3 tries to pull those two together (to a
distance of 14.1 pt). The net result of this pushing and pulling is an
equilibrium situation (the pushing cancels the pulling), which can be
calculated as the solution of Quadratic program: it is the solution
with minimum potential energy, for you physicists out there.

This algorithm for doing one line, gives a "badness" parameter for
each line (the potential energy). Now one can use TeX's algorithm for
making paragraphs (using this new version of "badness"): one should
try to minimise the overall badness of a paragraph. LilyPond also uses the
concept of pre- and post-breaks.

(actually, it is a bit more complicated: each column also has a
minimum distance to other columns, to prevent symbols from running
into symbols of other columns.)

>For the default MusiXTeX parameters, this comes out to 6 or 8 notehead 
>widths for the A and G schemes respectively.  For a given ratio

ah thx! I've just put this into LilyPond patchlevel 8.

>notehead.  This in turn is set equal to \fontdimen parameter #6.  For 
>normal fonts, this is something the TeXbook calls a "quad,"  I don't 
>know if that's the same as an em-space, but you certainly had the 
>right idea.

yep, a quad is an em of space.. 


Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


From mutex-owner@mail2.gmd.de Tue Nov  5 19:50:43 1996
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Date: Tue, 5 Nov 1996 12:50:43 -0700 (MST)
From: "Karl D. Nelson" <nelsonm@sunrise.byu.edu>
To: mutex@gmd.de
Subject: Re: breaking lines
In-Reply-To: <Pine.BSF.3.91.961105143338.11063A-100000@turtle.stack.urc.tue.nl>
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On Tue, 5 Nov 1996, Han-Wen Nienhuys wrote:

> 
> ah thx! I've just put this into LilyPond patchlevel 8.
> 

I'm sorry to intrude on this discussion, but the name of LilyPond brings 
to mind the program RoseGarden, an X music entry program which has been 
announced on this list before.  Are these programs affiliated in any way?

I ask because RoseGarden is the easiest method I have found yet of 
entering notes, saves lots of time proofreading, etc., but the musictex 
output is quite buggy (at least the version I have) and it doesn't yet do 
musixtex.  I started to look at writing a musixtex translator for 
RoseGarden's output format, but have not got very far.  If this LilyPond 
is supposed to or could be made to interface with RoseGarden, I think it 
would be a great step forward.

Actually, the same goes for PMX.  It sounds like it would be much better 
to do RoseGarden->PMX->musixtex than the simplistic translator I had in 
mind, but I haven't looked at PMX due to the lack of a fortran compiler.

Karl.

From mutex-owner@mail2.gmd.de Wed Nov  6 21:24:22 1996
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Date: Wed, 06 Nov 1996 13:24:22 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Organization: CNRS
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To: "Karl D. Nelson" <nelsonm@sunrise.byu.edu>
Cc: mutex list <mutex@gmd.de>
Subject: Re: breaking lines
References: <Pine.SUN.3.91.961105123109.2540D-100000@sunrise.byu.edu>
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Karl D. Nelson wrote:
 =

> I ask because RoseGarden is the easiest method I have found yet of
> entering notes, saves lots of time proofreading, etc., but the musictex
> output is quite buggy (at least the version I have) and it doesn't yet do=

> musixtex.  I started to look at writing a musixtex translator for

 Using (inserting) musixcpt.tex, musiCtex code is correctly handled by musi=
XTeX.

 =

-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au 21.09.96=
)
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Nov  6 16:33:02 1996
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Date: Wed, 6 Nov 1996 17:33:02 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX - 1.02  /  C source version
Message-Id: <Pine.A32.3.95.961106171720.19425A-100000@cip40.mathematik.uni-stuttgart.de>
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Although people on this group expressed a certain preference for
ready-built executables, I've put together a C / Unix port of PMX, 
since at least I prefer to have access to source code and make the
programs myself. (there are a number of reasons for this, not the least of
which is that it's easier to get those programs to run if there are minor
incompatibilities)

Features of this C port:
* all text files recoded to Unix text format
* lowercased filenames
* PMX/C unpacks into a subdir named 'pmx-1.02/' by Unix conventions
* fortran source translated to C by Netlib's f2c
* source of the special libraries required for f2c-generated programs
* quick start makefile (it should usually be enough to type 'make')


PMX/C can be downloaded from

ftp://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/pmx-1.02.tar.gz


The current beta version of PMX-1.04 (or perhaps even newer?) is available
as well:

ftp://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/mx68.tar.gz


-Stefan



### ###                  #####                     | (Stefan Evert)
 #   #                    #   #                    |                     
 #   #   ##  # # #   ##   #   # # ##   ##  #    #  | EMAIL to:       
 #####  #  # ## # # #  #  ####   #  # #  # #    #  | o evertsn@cip.mathematik.
 #   #  #  # #  # # ####  #   #  #    #### #  # #  |   uni-stuttgart.de
 #   #  #  # #  # # #     #   #  #    #    #  # #  | o wittfeka@cip.mathematik.
### ###  ##  #  # #  ### #####   #     ###  ## ##  |   uni-stuttgart.de
                                                   | o evert@mathematik.
E   N   T   E   R   T   A   I   N   M   E   N   T  |   uni-stuttgart.de

http://www.mathematik.uni-stuttgart.de/~evert


From mutex-owner@mail2.gmd.de Wed Nov  6 17:38:44 1996
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Date: Wed, 6 Nov 1996 18:38:44 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: "Karl D. Nelson" <nelsonm@sunrise.byu.edu>
Cc: mutex@gmd.de
Subject: Re: breaking lines
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On Tue, 5 Nov 1996, Karl D. Nelson wrote:

> I'm sorry to intrude on this discussion, but the name of LilyPond brings 
> to mind the program RoseGarden, an X music entry program which has been 
> announced on this list before.  Are these programs affiliated in any way?


yes, I made up the name lilypond after seeing rosegarden,ie. no, 
they're not affiliated :)

> RoseGarden's output format, but have not got very far.  If this LilyPond 
> is supposed to or could be made to interface with RoseGarden, I think it 
> would be a great step forward.
I have difficulty enough interfacing with lilypond myself now, so that 
is out fo the question right now.


Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


From mutex-owner@mail2.gmd.de Thu Nov  7 07:52:08 1996
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Date: Thu, 7 Nov 1996 08:52:08 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: breaking lines
In-Reply-To: <Pine.BSF.3.91.961106183705.20283A-100000@turtle.stack.urc.tue.nl>
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On Wed, 6 Nov 1996, Han-Wen Nienhuys wrote:

> > RoseGarden's output format, but have not got very far.  If this LilyPond 
> > is supposed to or could be made to interface with RoseGarden, I think it 
> > would be a great step forward.
> I have difficulty enough interfacing with lilypond myself now, so that 
> is out fo the question right now.
> 
I think it would be up to Rosegarden to support other output formats such
as PMX or lilypond. This should be much easier than producing Musi[c/X]TeX
output anyway.

BTW, have you already got a reasonably working beta of lilypond? I mean
something you can use to give it a try and see how it looks?

-Stefan


From mutex-owner@mail2.gmd.de Thu Nov  7 13:56:28 1996
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Date: Thu, 7 Nov 1996 14:56:28 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: mutex@gmd.de
Subject: more spacing..
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I have another question: how should I space a bar? Should a bar be 
followed by a fixed amount of space, or should it be strechable, and how 
much? Does that space depend on what is following the bar?

Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen

PS Does anybody else experience the same mail problems as I do? I get 
returned mail for every message from York university (I think)

From mutex-owner@mail2.gmd.de Thu Nov  7 16:10:49 1996
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Date: Thu, 7 Nov 1996 17:10:49 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199611071610.AA04469@sunick.gmd.de>
To: mutex@gmd.de
Subject: mutex mailing list administration (was: Re: more spacing..
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> I have another question: how should I space a bar? Should a bar be 
> followed by a fixed amount of space, or should it be strechable, and how 
> much? Does that space depend on what is following the bar?

In MusiXTeX the bar line is preceeded by \beforruleskip and succeeded
by \afterruleskip which are computed (variable, strecheable) in the
2nd phase by musixflx. Have a look at the nice picture in musixdoc (2.3.?).


I assume that you, Hanwen, already know it. My reply addresses more your PS:

 
> PS Does anybody else experience the same mail problems as I do? I get 
> returned mail for every message from York university (I think)

As mutex-owner I've done all I can do to avoid that mailing-list problems
are reported either to the list or to the authors of articles. Nevertheless
it's possible, that such error's are reported not only to me (Sometimes
I get up to a dozen such error reports and often I get for one message
several reports from the same site: queued since 4 days; ... queued since
6 days ...)

So I got today reports for messages sent some months ago ("ohrd").

If you get such a report, please ignore it, or forward it to me
(mutex-owner@gmd.de), but do not bother the list.

You also may try to inform the user whose address doesn't work. You
may find the address by inspecting the output of a "who" command send
to  mutex-request@gmd.de

And where we are on the subject of error reports: Since I manage the list
I get the folling report for every message. But up to now I wasn't able
to associate it to any of the addresses of the list. I assume that there
is a mail-address, which conditionally forwards mails generating this error
report. If this fails the originator does not notice it nor notice that
he does'nt receive the mails, because they remain in his mail-box. Please,
be so kind to look whether your address is the cause of this malfunctioning
which is reported to me. Thanks in advance -- Werner


The error-report:

| From postmaster@lsl.co.uk Thu Nov  7 09:41:06 1996
| Date: Thu, 07 Nov 1996 08:40:00 GMT
| From: Local delivery agent <Postmaster@lsl.co.uk>
| To: <mutex-owner@mail2.gmd.de>
| Subject: LOCAL delivery error
| X-Report-Type: Nondelivery; boundary="> Error description:"
| 
| Note: this message was generated automatically.
| 
| An error was detected while processing the enclosed message.  A list of
| the affected recipients follows.  This list is in a special format that
| allows software like LISTSERV to automatically take action on incorrect
| addresses; you can safely ignore the numeric codes.
| 
| --> Error description:
| Error-For:  mutex@lsl.co.uk
| Error-Code: 3
| Error-Text: No such local user
| 
| Error-End:  1 error detected
| 
| ...




From mutex-owner@mail2.gmd.de Fri Nov  8 02:00:21 1996
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Message-Id: <32829435.5F94@lps.u-psud.fr>
Date: Thu, 07 Nov 1996 18:00:21 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
X-Mailer: Mozilla 3.0 (Win16; I)
Mime-Version: 1.0
To: mutex list <mutex@gmd.de>
Subject: MusicTeX and MusiXTeX original distrib.
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Since I installed a new ftp server, hprib.lps.u-psud.fr can now
"tar","tar.gz", "gzip" and "compress" on-the-fly. For thatb reason, all
provided zips (for musicTeX and MusiXTeX) have been moved to
/pub/music_zips.

 /pub/musixtex and /pub/musictex only contain seperate files (DVI, PKs,
TFMs, executables) and, when
in /pub, you may ask "get musixtex.tar.gz" or "get musixtex.zip". In
/pub/musixtex you can ask for
"get musixdoc.ps.gz" to get it more quickly since on-the-fly compression
is faster than uncompressed network transfer.
-------------------------------------------------------------------------=

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au
21.09.96)
-------------------------------------------------------------------------=


From mutex-owner@mail2.gmd.de Thu Nov  7 17:33:28 1996
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	by heaton.cl.cam.ac.uk with esmtp (Exim 0.52 #2)
	id E0vLYKY-0001pj-00; Thu, 7 Nov 1996 17:33:30 +0000
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: mutex mailing list administration (was: Re: more spacing.. 
In-Reply-To: Your message of "Thu, 07 Nov 1996 17:10:49 +0100."
             <199611071610.AA04469@sunick.gmd.de> 
Date: Thu, 07 Nov 1996 17:33:28 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Werner:

> Error-For:  mutex@lsl.co.uk
> Error-Code: 3
> Error-Text: No such local user

That's my fault, I'm afraid.  I had mutex feeding into a local
newsgroup at my old job, and they've obviously deleted the mail alias
I created for the purpose.

I'm not on particularly good terms with the place any more: I would
really prefer you simply to delete the name from the list -- I don't
even know who acts as postmaster there...

Sorry about the inconvenience.

Robin

From mutex-owner@mail2.gmd.de Thu Nov  7 19:29:21 1996
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From: mclem@medphys.ucl.ac.uk (Matthew Clemence)
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To: mutex@gmd.de
Subject: BUG Musixtex T.62 (dated 30 Sept 96)
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I have been having an odd bug with regards to the dotted notes. 
Here is the fragment.

----- BEGIN ----
\instrumentnumber 1
\relativeaccid
\startpiece
\NOtes\pt{'_e}\qa {'_e}\en%
\NOtes\qa {'_e}\en%
\endpiece
\end 
------ END ------

the pointed version is printed at the wrong octave with two accidentals.

Any help would be much appreciated!

Matthew
-- 
**************************************************************************
Dr. Matthew Clemence              ___      email mclem@medphys.ucl.ac.uk
University College London
11-20 Shropshire House,
London, England, WC1E 6JA                           	
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From mutex-owner@mail2.gmd.de Thu Nov  7 22:43:23 1996
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From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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Subject: Re: BUG Musixtex T.62 (dated 30 Sept 96)
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> Date: Thu, 7 Nov 96 19:29:21 GMT
> From: mclem@medphys.ucl.ac.uk (Matthew Clemence)
> Sender: owner-mutex@mail2.gmd.de
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> 
> 
> I have been having an odd bug with regards to the dotted notes. 
> Here is the fragment.
> 
> ----- BEGIN ----
> \instrumentnumber 1
> \relativeaccid
> \startpiece
> \NOtes\pt{'_e}\qa {'_e}\en%
> \NOtes\qa {'_e}\en%
> \endpiece
> \end 
> ------ END ------
> 
> the pointed version is printed at the wrong octave with two accidentals.

You're putting an accidental on the dot as well as the note.  As for
the octave, I got it to look right using one of the following:

\NOtes\pt{'e}\qa {_e}\en%
\NOtes\pt l\qa {_l}\en%

Not being terribly familiar with Musixtex internals, it appears that
the ' raises the octave until a note is "concluded" (the \pt doesn't
count as a note) and that specifying another ' for the \qa raises it
again. (???)  Sounds like what I would call a bug.

John Baumgart
baumgart@sgsn01.nmg.sms.siemens.com
Ecce homo qui est faba!

From mutex-owner@mail2.gmd.de Thu Nov  7 23:05:34 1996
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Date: Fri, 8 Nov 1996 10:05:34 +1100 (EST)
From: Peter Billam <Peter.Billam@ml.csiro.au>
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To: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
Cc: mutex@gmd.de
Subject: Re: more spacing..
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On Thu, 7 Nov 1996, Han-Wen Nienhuys wrote:
> 
> I have another question: how should I space a bar? Should a bar be 
> followed by a fixed amount of space, or should it be strechable, and how 
> much?
> 
I would say that the barline is one of a number of objects (eg clefs,
repeat marks, time signatures, keysignatures) that take a fixed amount
of space.  The tricky bit, which my Muscript doesn't yet face up to at
all, is that the space taken up should be the maximum claimed at this
vertical alignment (within some tolerance) by any of the staves in the
system - like different staves can have different key signatures, for
example, or in one stave the bar might start with a change of clef.

I found the spacing debate really interesting.  I reckon that the
square-root rule is a little bit too tight, because then the spacing
doesn't signal to the eye whether it's a short double-length note,
or a long same-length note; it's right on that ambiguous borderline.

But the nice thing about the square-root rule (length**0.5) is that
it's very easy to adjust to any desired power, like (length**0.6)
for example.  (length**1.0) is just back to proportional, of course.

Regards,  Peter Billam

System Administrator; Tel: (03) 62 325442, Fax: (03) 62 325000; CSIRO
Division of Marine Research, GPO Box 1538, Hobart TAS 7001, Australia


From mutex-owner@mail2.gmd.de Fri Nov  8 01:51:47 1996
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Date: Thu, 07 Nov 96 17:51:47 PST
From: "Don Simons" <dsimons@logicon.com>
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Subject: PMX 1.04 Now Available on a Server Near You
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PMX is a preprocessor for MusiXTeX.  The FORTRAN source, DOS binaries, 
and manual for Version 1.04 can now be downloaded from
ftp://ftp.gmd.de/music/musixtex/software/pmx/
The new version does not add any major new features, but some will be 
coming soon (see below for a preview).

PMX can help you typeset a musical score if you have MusiXTeX version 
0.396T or later installed,  and if your score has from one to seven 
staves (or voices) per system, with a single line of music per staff.  
The input language for PMX is much simpler than MusiXTeX.  Also, PMX 
can save a LOT of time by doing ALL the work involved in setting up 
notes/enotes groupings, selecting groups of notes to be beamed, 
defining beam heights and slopes, inserting extra spaces where needed 
to make room for accidentals, justifying lines, spreading the entire 
piece evenly over a specified number of systems, notating figured bass 
symbols below the bottom staff in each system, and making parts.  You 
may enter literal TeX strings in the PMX input file, to do things that 
PMX hasn't yet learned to do on its own.

PMX is a two-pass system that generates a .tex file.  On the first 
pass, it checks timing and other aspects of the input.  On the second 
pass it formats the output.

***What's new since Version 1.02?

Lots more info in error messages.
Reference table of PMX symbols included in distribution. 
Forced page breaks.
Option to suppress printing figured bass figures. 
Title block.
Eliminated beampat.dat input file.
Option to print full-bar rests as pause (whole rest) symbol. 
Trill ornaments, with or without "tr", arbitrary length. 
User-defined fine-tuning of beam starting levels and slopes. 
Option for joining beam subgroups with a single beam. 
User-defined number of pages in parts. (Override default)

Non-user-controlled format improvements:
Prohibit stems of up/down beams from starting above/below centerline of staff. 
Account for beam multiplicity when checking minimum stem lengths in beams. 
Many bug fixes.

*** Other platforms

C-source for the previous version of PMX, which should be suitable for 
any UNIX platform, can be downloaded from
ftp://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/pmx-1.02.tar.gz
C-source for an in-progress, advanced version which allows two voices 
per staff is available as well:
ftp://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/mx68.tar.gz
(contact Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de> )

Binaries of pmx102 for Amiga, Linux/486 and Sun/Solaris are available 
at http://www.lysator.liu.se/~tuben/pmx/ (contact Johan Tufvesson at 
tuben@lysator.liu.se)



From mutex-owner@mail2.gmd.de Fri Nov  8 15:00:26 1996
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Date: Fri, 8 Nov 1996 16:00:26 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.urc.tue.nl>
To: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
Cc: mutex@gmd.de
Subject: Re: breaking lines
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On Thu, 7 Nov 1996, Stefan Evert wrote:

> > > would be a great step forward.
> > I have difficulty enough interfacing with lilypond myself now, so that 
> > is out fo the question right now.
> > 
> I think it would be up to Rosegarden to support other output formats such
> as PMX or lilypond. This should be much easier than producing Musi[c/X]TeX
> output anyway.
yep.
> 
> BTW, have you already got a reasonably working beta of lilypond? I mean
> something you can use to give it a try and see how it looks?

depends. You can typeset things, but a lot is missing. If you want a feel 
of how it looks: 


ftp://pcnov095.win.tue.nl/pub/lilypond.

don't forget to dowlib as well.

(and add #include "tex.hh" to molecule.cc)
> 
> -Stefan
> 
> 


Han-Wen Nienhuys, hanwen@stack.urc.tue.nl
http://www.stack.urc.tue.nl/~hanwen


From mutex-owner@mail2.gmd.de Sat Nov  9 00:21:25 1996
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Date: Fri, 08 Nov 1996 16:21:25 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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Organization: CNRS
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Subject: MusiXTeX T.64 available
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This is a multi-part message in MIME format.

--------------2E583440E5
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

-------------------------------------------------------------------------=

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au
21.09.96)
-------------------------------------------------------------------------=


--------------2E583440E5
Content-Type: text/plain; charset=us-ascii; name="MUSIX.MSG"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="MUSIX.MSG"

Subject: MusiXTeX version T.64
New version T.64 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 - T.62  correction in rest vertical position with small note size,
         correction in base space computation with special note sizes.
 - T.61  corrections in additional size handling (11pt to 29pt),
         Bug corrected in musixltx.tex (musixtex.sty).
 - T.60  changed clefs definition to have correct clefs, even with non-standard
         \setsize or \musicsize (uses new fonts and additional large fonts)
 - T.59  added \musicsize 24pt and 29pt, behaviour of ledger
         lines enhanced thanks to W. Icking, Gregorian \podatus enhanced.
 - T.58  careless codings in musixcpt.tex corrected (\zcharnote, \triolets,
         intrument names). Manual also enhanced concerning beams and clefs.
 - T.57  MusixTeX now detects use of DC1.2/1.3 fonts and uses these fonts 
         (if \rm=> dcr1000, it uses dcr1000, dcbx1000 instead of dcr10, dcbx10...)
 
Daniel Taupin


--------------2E583440E5--


From mutex-owner@mail2.gmd.de Fri Nov  8 17:08:29 1996
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From: Rainer Dunker <maschk00@marvin.informatik.uni-dortmund.de>
Date: Fri, 8 Nov 96 18:08:29 +0100
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To: mutex@gmd.de
Subject: 2 questions: spacing changed? / version numbers
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Question 1.  I recently upgraded MusiXTeX from version T.52 to T.62 (or
  T.63?  MusiXTeX itself says T.62, whereas the manual and the archive
  name claim to be T.63), then I recompiled a piece of seven pages
  of output which came out four systems shorter than with the old
  version.  To ensure that there is no other reason for this
  difference, I compiled it once more with version T.52---with the
  original result.  I had to adjust \mulooseness at all automatically
  broken sections in order to obtain the same layout with the newer
  version.

  To my eyes, this behaviour seems to imply backward incompatibility
  of the new MusiXTeX version. Is this true?  Anyway: How can I ensure
  robustness of automatic line breaks against future version changes?

Question 2.  MusiXTeX and related software have version numbers
  beginning with `T.'.  Is this an abbreviation for `Taupin'?  I want
  to give my lyrics package (announced several weeks ago on this list)
  a version number.  Should this be `T.1' then, since it is for Taupin
  MusiXTeX?

Rainer Dunker               maschk00@marvin.informatik.uni-dortmund.de

From mutex-owner@mail2.gmd.de Fri Nov  8 17:18:16 1996
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Date: Fri, 8 Nov 1996 18:18:16 +0100
To: mutex@gmd.de
From: fredriks@abel.math.umu.se (Fredrik St{\aa}hl)
Subject: Problem with NOtesp
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There seems to be a problem in MusiXTeX T.63 with the definitions of the
pointed spacing commands, i.e. \notesp etc. \arithmeticskipscale should be
the default, right?

In the following example I get about 9\elemskip instead of 4.5\elemskip
with \NOtesp for the pointed quarter note in bar 2. For some reason \notesp
seems give 4.5\elemskip instead.

If I declare \arithmeticskipscale in the beginning everything works out
fine, so it is not a real problem for me. Maybe I am doing something wrong,
or otherwise Daniel might want to know about the problem.


%&MusiXTeX
%
\smalltype
\smallmusicsize
\instrumentnumber{1}%
\setstaffs11%
\generalmeter{\allabreve}%
\generalsignature{-1}%
%
\staffbotmarg=4\Interligne%  (For lyrics)
%
\startpiece
%
%\arithmeticskipscale  <---- uncomment this line and everything works
\setsongraise1{1\Interligne}%
\relativeaccid%
\transpose=0%
%
%                       bar 1
\notes\sk\enotes
\Notes\sh g\Ibu0gh1\qb0g\enotes
\Notes\itied0h\tqh0h\ttie0\Ibu0hg1\qb0h\enotes
\Notes\tqh0g\enotes
\NOtes\qu h\enotes
\bar%                   bar 2
\NOtesp\qup f\enotes%  <----  here the spacing is wrong
\Notes\itied0d\cu d\enotes
\NOTes\ttie0\hu d\enotes
%
%
\stoppiece
%
%
\end

--------------------------------------------------------------
Fredrik St{\aa}hl          Tel: int + 46 90 166027
Math. Dept.                Fax: int + 46 90 165222
University of Ume{\aa}     E-mail: fredriks@abel.math.umu.se
S-90187 Ume{\aa}, SWEDEN   WWW: http://abel.math.umu.se/~fredriks

                   On tap: Berghem Wee Heavy
         *** Nemo saltat sobrius, nisi forte insanit ***
--------------------------------------------------------------



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From: dsimons@logicon.com (Don Simons)
Subject: Problem with \Trille
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In MusiXTeX T.63 I get the message

Overfull \hbox (6.13239pt too wide) detected at line 29
\tenit tr  |

from the following commands

\NOTES\Trille{'g}{.7}\wh c\en%

Am I missing something, or is this a bug?  I can still generate a dvi 
and it looks OK, but someone else told me his TeX processor choked on 
this kind of error.

--Don Simons (dsimons@logicon.com)

From mutex-owner@mail2.gmd.de Sat Nov  9 16:45:47 1996
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From: bobroff@centrum.is (David Bobroff)
Subject: gregorianFclef
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I'm having a problem with the \gregorianFclef command.  If I follow the
instructions in the manual I can get the C clef just fine.  But, when I try
to do the same for the F clef I still get the C clef.

I tried;

\setbassclefsymbol 1 \gregorianFclef

I got the C clef.

I can do it with;

\setaltoclefsymbol1\gregorianFclef
\transpose4

but that seems a bit kludgy.

I am using MusiXTeX T.62 (although the doc says T.63 and the gregorian says
T.61).

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Nov 11 09:51:09 1996
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Date: Mon, 11 Nov 1996 10:51:09 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199611110951.AA05027@sunick.gmd.de>
To: baumgart@sgsn01.nmg.sms.siemens.com
Subject: Re: BUG Musixtex T.62 (dated 30 Sept 96)
Cc: mutex@gmd.de
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> Date: Thu, 7 Nov 96 16:43:23 CST
> From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)

> Not being terribly familiar with Musixtex internals, it appears that
> the ' raises the octave until a note is "concluded" (the \pt doesn't
> count as a note) and that specifying another ' for the \qa raises it
> again. (???)

No, no. Accidentals, pitches (note names), octaviation, ... are part
of collective coding. Esp. octaviation is local within \Notes...\enotes
for every instrument. So  \pt{'_e} request octaviation, a flat on pitch
e and a dot; \qa{'_e} request additional octaviation, a flat at the
new pitch e and a quarter with automatic stem direction at pitch e.

> Sounds like what I would call a bug.

It's a feature ... and IMHO one of the most powerful features of MusicTeX,
if I think e.g. on
  \ibbbu0a3\qb0{`fg'a_bcdefg'a_bcdef}\tqh0g           instead of
  \ibbbu0a3\qb0{`f`ga_bcdefg'a'_b'c'd'e'f}\tqh0{'g}

Imho it increases the readybility to use collective coding with octaviation
instead of "unusual" note names (h, i, j, ...).

Werner

From mutex-owner@mail2.gmd.de Mon Nov 11 10:28:09 1996
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Date: Mon, 11 Nov 1996 11:28:09 +0100
From: Werner Icking <Werner.Icking@gmd.de>
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> %
> \startpiece
> %
> %\arithmeticskipscale  <---- uncomment this line and everything works

Thou shalt not re-define \noteskip, \elemskip ... _after_ \startpiece   :-)


Werner

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Date: Mon, 11 Nov 96 17:02:58 GMT
From: mclem@medphys.ucl.ac.uk (Matthew Clemence)
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To: mutex@gmd.de
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> 
> > >   \ibbbu0a3\qb0{`fg'a_bcdefg'a_bcdef}\tqh0g           instead of
> > Thats fine, and yes it improves readability in collective coding 
> > but it seems counter intuitive
> > (and very non tex like) for such changes to stretch out of bracket pairs.
> > in other words, I would prefer {'a} to mean the same no matter what came 
> > before. In other words I would prefer to see your example coded as
> > 
> > \ibbbu0a3\qb0{`fg'a_bcdefg'a_bcdef}\tqh0{'g}     
> 
> The sequence {...fg'abcdefg'abcdefg'ab...} is only one of the many
> cases. Another case is:
> 
>    \ibu0{`g}0\islurd0f\lpz g\pt g\sh g\qb0g...
> 
> I wouldn't like to code in that case:
> 
>    \ibu0{`g}0\islurd0{`f}\lpz{`g}\pt{`g}\sh{`g}\qb0{`g}...
> 
> and I do not see any difference in saying "it's local per voice" or
> in "it's local within one sequence of collective coding". I don't
> think that that could be the alternative. Imho the only alternative
> could be to keep if completely local --- but that I wouldn't like
> 
> So maybe it's a matter of taste   -- Werner
> 

Maybe it is, but it also improves editability, in that I could delete 
the first {`g} and it wouldn`t affect the rest of the code. My 
particular problem comes from a MusixTeX preprocessor which I am
writing (like everybody else :-) which generates fairly easily editable
code afterwards and propogating effects like this make me twitch a bit.

-- 
**************************************************************************
Dr. Matthew Clemence              ___      email mclem@medphys.ucl.ac.uk
University College London
11-20 Shropshire House,
London, England, WC1E 6JA                           	
+44 171 387 9300 x 8448/8264    
+44 181 442 1832 Home           
**************************************************************************

From mutex-owner@mail2.gmd.de Mon Nov 11 21:01:14 1996
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Date: Mon, 11 Nov 1996 22:01:14 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199611112101.AA05533@sunick.gmd.de>
To: mutex@gmd.de, bobroff@centrum.is
Subject: Re: gregorianFclef
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> Date: Sat, 9 Nov 1996 16:45:47 +0000
> From: bobroff@centrum.is (David Bobroff)

> I tried;
> 
> \setbassclefsymbol 1 \gregorianFclef
                               ?????
> I got the C clef.
          ?????
> I can do it with;
> 
> \setaltoclefsymbol1\gregorianFclef
> \transpose4
> 
> but that seems a bit kludgy.


If I understood the principle, so following is true:

\setclef10   generates the G clef (\trebleclef)
\setclef12   generates the C clef (\altoclef)
\setelef13
\setclef14
\setclef15   generates the F clef (\bassclef)
\setclef16

If you want to change the clefsymbol you have use \setclef _and_ to exchange
the corresponding clefsymbol.

So: \setclef10\settrebleclefsymbol1\bassclef   generates a bassclef on
the second line from bottom where nevertheless the note "g" will go.

So select "setclef" corresponding to the wanted pitches and use the
corresponding clef-symbol, you need.

Werner

From mutex-owner@mail2.gmd.de Tue Nov 12 15:04:15 1996
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Date: Tue, 12 Nov 96 15:04:15 GMT
From: mclem@medphys.ucl.ac.uk (Matthew Clemence)
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To: mutex@gmd.de
Subject: New filter (was Re: BUG Musixtex T.62 (dated 30 Sept 96))
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>What pre-processor are you writing? What special purpose does it deal
>with? Don Simons came from baroque music esp. for figured bass with
>some additional solo instruments. Since some time I use PMX as "input-
>machine". The abilities of PMX have been increase from version to version
>so that I now can imagine to produce some scores with PMX without any
>post-editing.

My particular interest is composing for big band, so the emphasis is on
producing conductor scores and instrument scores from midi recordings without
having to muck about too much with the recording. Therefore the filter has
a heirarcical (sp?) set of filters which progressively tidy up the score
from what is entered into an acceptable for playing from. including, but
not limited to.

*	Intelligent regrouping of beamed notes
*	automatic multiple "threads" of music per stave (eg tpt 1 beams up
	tpt 2 beams down) 
*	cleaning up of unlikely note combinations (eg semibreve tied to
	a semiquaver over a bar line)
*	Classical or Jazz notation (triplets or dotted)
 
So the programme makes a lot of musical typesetting decisions for you. I also
would like to work all ways and generate a set of self consistent files
eg given midi in produce midi, mpp and tex files which all agree. I could
then play the midi file for rapid checking of the music.

Although I am nowhere near a beta test version yet, any suggestions would
be greatfully recieved.

Matthew


-- 
**************************************************************************
Dr. Matthew Clemence              ___      email mclem@medphys.ucl.ac.uk
University College London
11-20 Shropshire House,
London, England, WC1E 6JA                           	
+44 171 387 9300 x 8448/8264    
+44 181 442 1832 Home           
**************************************************************************

From mutex-owner@mail2.gmd.de Wed Nov 13 08:33:00 1996
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From: CAPRACE MICHEL <M.CAPRACE@BRUSSELS.saitrh.com>
To: mutex-list <mutex@gmd.de>
Subject: midi and tex 
Date: Wed, 13 Nov 1996 09:33:00 +0100
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It seems that almost everybody is working on some pre- or post-
processor.

I have heard of a midi2tex convertor (by the way, I could not get it
working on my PC,
but I have no real need).

Did somebody develop any tex2midi convertor ?

Michel Caprace
Brussels

From mutex-owner@mail2.gmd.de Wed Nov 13 19:19:00 1996
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Date: Wed, 13 Nov 96 14:19 EST
From: joel@exc.com (Joel M. Hoffman)
To: mutex-owner@mail2.gmd.de, mutex@gmd.de
Subject: Changing noteskip
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Okay.  I must be doing something stupid, but here it is.  For some
measures, I want to increase \noteskip by an amount I compute based on
\myi and \myii (two counters).  But when I try:

	\multiply\noteskip by \myi
	\divide\noteskip by\myii

The notes end up OFF OF THE STAFF.  \myi is 336 and \myii is 168.  If
I substitute the values directly:

	\multiply\noteskip by 336
	\divide\noteskip by 168

everthing is fine!

What's going on?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Thu Nov 14 09:12:26 1996
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Date: Thu, 14 Nov 1996 10:12:26 +0100
To: mutex@gmd.de
From: fredriks@abel.math.umu.se (Fredrik St{\aa}hl)
Subject: Re: Changing noteskip
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Sounds like you haven't defined \myi and \myii as \global variables. Try
inserting

\immediate\write10{\number\myi,\number\myii}

before the \multiply... line to check their values. If they are wrong,
precede all \def, \advance etc. involving \myi and \myii with \global.

/Fredrik Stahl

--------------------------------------------------------------
Fredrik St{\aa}hl          Tel: int + 46 90 166027
Math. Dept.                Fax: int + 46 90 165222
University of Ume{\aa}     E-mail: fredriks@abel.math.umu.se
S-90187 Ume{\aa}, SWEDEN   WWW: http://abel.math.umu.se/~fredriks

                   On tap: Nalle Puh Pale Ale
         *** Nemo saltat sobrius, nisi forte insanit ***
--------------------------------------------------------------



From mutex-owner@mail2.gmd.de Thu Nov 14 14:36:58 1996
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Date: Thu, 14 Nov 1996 14:36:58 +0000
To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: gregorian symbol
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First let me say "thank you" to Werner Icking for his help with my
gregorianFclef problem.  Your example got me fixed up.

I have a further question about the gregorian notation.  I am helping
someone prepare an old mass.  MusiXTeX seems to be the choice so far but
there is a symbol that I can't find.  I believe it is called a "rotundum"
but I'm not sure.  It resembles a backward squarish half-note and is the
predecessor to our modern flat symbol.  I have seen no example of it in the
docs and so far I have not been able to find it in the fonts.

Also, I saw that v.64 was announced but I have not been able to find it.  I
looked in the ftp site mentioned and the "message" indicated that v.63 was
in the directory.

Thanks for any help,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Sun Nov 17 16:14:00 1996
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From: joel@exc.com (Joel M. Hoffman)
To: mutex@gmd.de
Subject: Lyrics
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Why don't we have a package that does lyrics properly yet?  Why is
this so hard?  All I want is to put lyrics under (beamed) eigth notes,
but Musixtex has no way to make sure the lyrics don't collide.  (I
know about znotes, but that can't be used with beams.)

Here's my idea:  Pass an additional parameter to musixflx giving the
>minimum< distance between notes within a given \notes ... \enotes
pattern, and set that distance within tex to the largest syllable in
the phrase.  

I tried something similar, trying to adjust noteskip within TeX, but I
broke something terribly (what?  this looks like a bug!), in that some
notes got chopped off the right end of some lines, and LOTS of extra
space was added at the beginning of some lines.  Here's what I did:

	\newbox\mytbox
	\def\adjustnoteskip#1{\setbox\mytbox\hbox{#1~}\loop
		\ifnum\wd\mytbox>\noteskip\multnoteskip{1.01}\repeat}%

The idea is to use "\adjustnoteskip{somelongword}" just after
"\notes," and then noteskip will be adjusted to be big enough for the
long word.  The documentation says that "Inside the pair \notes ...
\enotes you may freely change the value of \noteskip ... provided you
keep it scalable." and then goes on to suggest "multnoteskip," which
is what I used.  Why didn't this work?

Surely, folks, there should be a way of doing this!  As things stand
now, there is no automatic way to set lyrics.  Can't we do better?

Thanks for any thoughts.

-Joel
(joel@exc.com)


From mutex-owner@mail2.gmd.de Mon Nov 18 07:12:26 1996
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Date: Mon, 18 Nov 1996 08:12:26 +0100
From: Christoph Fuchs E1  <jcf@ipp-garching.mpg.de>
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To: mutex@gmd.de
Subject: Re: Lyrics
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joel@exc.com (Joel M. Hoffman) writes:
> 
> Why don't we have a package that does lyrics properly yet?  Why is
> this so hard?  All I want is to put lyrics under (beamed) eigth notes,
> but Musixtex has no way to make sure the lyrics don't collide.  (I
> know about znotes, but that can't be used with beams.)

I wrote a preprocessor (yes, almost everyone seems to write preprocessors)
which choose \notes,\Notes,\NOtes etc not only by the length of the
note, but also by the length of the underlying text.

However, I think that changing the noteskip is not always the best
way. There are many cases, where you can shift a syllable a bit to the
right or to the left (eg with \hbox to 0pt{\hss some_text}), so it does 
not cololide with the neighboured syllable and the notes have the
same noteskip as they would have without any text. 

Christoph
(Christoph.Fuchs@ipp.mpg.de)

From mutex-owner@mail2.gmd.de Mon Nov 18 15:47:47 1996
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Date: Mon, 18 Nov 1996 09:47:47 -0600 (CST)
From: Eric Petersen <epeterse@aem.umn.edu>
To: mutex@gmd.de
Cc: dsimons@logicon.com
Subject: Announcing PMX for Macintosh
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Greeting,

I would like Macintosh beta testers for my port of PMX. PMX for Macintosh
is a quick and dirty port of Don Simons' <dsimons@logicon.com> PMX, A
preprocessor for MusiXTeX. Please read the web page for more details.

  <http://www.aem.umn.edu/people/students/epeterse/PMX/>

The programs are available as a BinHex'ed StuffIt file:

  <http://www.aem.umn.edu/people/students/epeterse/PMX/pmx_for_mac.sit.hqx>
  (365 kbytes)

I have tested the programs on a Power Macintosh 8500/120 running 7.5.5 and a
Macintosh IIsi running 7.0.1. I have **not** tested it on any flavor of
System 6, but it **should** work there as well. I would be interested if
someone could try this. Please keep in mind that PMX for Macintosh is
still a beta product. If you have problems, contact me. 

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Nov 18 18:22:00 1996
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Date: Mon, 18 Nov 96 13:22 EST
From: joel@exc.com (Joel M. Hoffman)
To: mutex@gmd.de
In-Reply-To: Christoph Fuchs E1's message of Mon, 18 Nov 1996 08:12:26 +0100 <199611180712.IAA15553@spcjcf.aug.ipp-garching.mpg.de>
Subject: Lyrics
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>> Why don't we have a package that does lyrics properly yet?  Why is
>> this so hard?  All I want is to put lyrics under (beamed) eigth notes,
>> but Musixtex has no way to make sure the lyrics don't collide.  (I
>> know about znotes, but that can't be used with beams.)
>
>I wrote a preprocessor (yes, almost everyone seems to write preprocessors)
>which choose \notes,\Notes,\NOtes etc not only by the length of the
>note, but also by the length of the underlying text.
>
>However, I think that changing the noteskip is not always the best
>way. There are many cases, where you can shift a syllable a bit to the
>right or to the left (eg with \hbox to 0pt{\hss some_text}), so it does 
>not cololide with the neighboured syllable and the notes have the
>same noteskip as they would have without any text. 

This is true, but there's no to do that automatically.  Also, changing
from \Notes to \NOTes or whatever is sometimes necessary, sometimes not.
Sometimes \notes will work, because space between notes gets stretched
enough to make enough room for a long word.  In those cases, changing
to \NOTes will make things look terrible.  What we need is simply a
way of indicating a MINIMUM space between notes.

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Tue Nov 19 20:20:40 1996
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Date: Tue, 19 Nov 1996 12:20:40 -0800
From: Daniel TAUPIN <taupin@hprib.lps.u-psud.fr>
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> Why don't we have a package that does lyrics properly yet?  Why is
> this so hard?  All I want is to put lyrics under (beamed) eigth notes,
> but Musixtex has no way to make sure the lyrics don't collide.  (I
> know about znotes, but that can't be used with beams.)

 musixflx was built for music, not for lyrics and I had to introduce new
features to handle it.
REMARK: most problems are solved using \hardlyrics which force the note
spacing to the size of the
lyrics of that note (TeXperts can put a \vbox to handle lyrics with
several lines). Did you try it,
it is fully documented in musixdoc, and many examples are provided
besides.

> =

> Here's my idea:  Pass an additional parameter to musixflx giving the
> >minimum< distance between notes within a given \notes ... \enotes
> pattern, and set that distance within tex to the largest syllable in
> the phrase.
> =

> I tried something similar, trying to adjust noteskip within TeX, but I
> broke something terribly (what?  this looks like a bug!), in that some
> notes got chopped off the right end of some lines, and LOTS of extra
> space was added at the beginning of some lines.  Here's what I did:
> =

>         \newbox\mytbox
>         \def\adjustnoteskip#1{\setbox\mytbox\hbox{#1~}\loop
>                 \ifnum\wd\mytbox>\noteskip\multnoteskip{1.01}\repeat}%
> =

> The idea is to use "\adjustnoteskip{somelongword}" just after
> "\notes," and then noteskip will be adjusted to be big enough for the
> long word.  The documentation says that "Inside the pair \notes ...
> \enotes you may freely change the value of \noteskip ... provided you
> keep it scalable." and then goes on to suggest "multnoteskip," which
> is what I used.  Why didn't this work?

 It does not work because you compare a scalable value (\noteskip) with
the unscalable
size of your \hbox. And the comparison gives different results at first
pass and second pass.
> =

> Surely, folks, there should be a way of doing this!  As things stand
> now, there is no automatic way to set lyrics.  Can't we do better?
 =

  Yes: there is, using \hardlyrics (with the restriction that NOT all
note spacings are bound to
\hardlyrics, in order to let musixflx have some... flexibility).       =

-------------------------------------------------------------------------=

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au
21.09.96)
-------------------------------------------------------------------------=


From mutex-owner@mail2.gmd.de Tue Nov 19 14:34:00 1996
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Date: Tue, 19 Nov 96 09:34 EST
From: joel@exc.com (Joel M. Hoffman)
To: taupin@hprib.lps.u-psud.fr
Cc: Werner.Icking@gmd.de, mutex@gmd.de
In-Reply-To: Daniel TAUPIN's message of Tue, 19 Nov 1996 12:20:40 -0800 <32921698.1596@lps.u-psud.fr>
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>> Why don't we have a package that does lyrics properly yet?  Why is
>> this so hard?  All I want is to put lyrics under (beamed) eigth notes,
>> but Musixtex has no way to make sure the lyrics don't collide.  (I
>> know about znotes, but that can't be used with beams.)
>
>musixflx was built for music, not for lyrics and I had to introduce new
>features to handle it.
>REMARK: most problems are solved using \hardlyrics which force the note
>spacing to the size of the
>lyrics of that note (TeXperts can put a \vbox to handle lyrics with
>several lines). Did you try it,
>it is fully documented in musixdoc, and many examples are provided
>besides.

Yes, but that system doesn't work with beamed notes.  

-Joel
(joel@exc.com)


From mutex-owner@mail2.gmd.de Tue Nov 26 11:21:45 1996
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          Tue, 26 Nov 1996 11:23:24 +0000
From: C.Walshaw@greenwich.ac.uk
Message-Id: <18524.199611261121@wight.gre.ac.uk>
Subject: ANNOUNCE: Free music notation software - abc2mtex v1.6
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@Danann.hea.ie, MORRIS@LISTSERV.IUPUI.EDU,
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*****************************************************************
**************  Announcing abc2mtex  version 1.6  ***************
*****************************************************************


abc2mtex is a package designed to notate tunes stored in an ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves  and should be extendible to many other types of music. It
can also be used as a fast preprocessor for MusicTeX or MusiXTeX.
 
For a more information about abc, a list of available software,
and a list and index of abc tune collections available on the
internet have a look at
	"http://www.gre.ac.uk/~c.walshaw/abc"

You can get a copy of abc2mtex via the world wide web from:
	"http:/www.gre.ac.uk/~c.walshaw/abc/"
	"http://celtic.stanford.edu/pub/tunes/abc2mtex"
	"ftp://ftp.gmd.de/music/musictex/software/abc2mtex"
	"ftp://ftp.shsu.edu/tex-archive/support/abc2mtex"
	"ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"
	"ftp://ftp.dante.de/tex-archive/support/abc2mtex"

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	"http://celtic.stanford.edu/pub/tunes/abc2mtex/README"
tells you how to set it up.

If you just wish to find out about the notation have a look at
	"http://celtic.stanford.edu/pub/tunes/abc2mtex/abc.txt"

To find out more the notation and how to use the package look at
	"http://celtic.stanford.edu/pub/tunes/abc2mtex/usrguide.ps"

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.6 & V1.5
~~~~~~~~~~~~~~~~~~~~~~~~~~~

Much has happened in the world of abc since the release of version 1.5.
In particular there has been an explosion of interest caused mainly
by Jim Vint's abc2win, a PC based abc typesetter and player. There
is now also an abc2ps utility from Michael Methfessel which directly
translates into postscript, thus releasing the user from having to
install TeX and MusicTeX. Finally a group of people are now working on
improving and enhancing the abc standard.

Accordingly a number of changes have been made to both the package
and even the notation, although it should be noted that these have all been 
made with the aim of improving *human* readability.

	Changes to abc notation (see userguide for full details)
	~~~~~~~~~~~~~~~~~~~~~~~

In moving towards an abc standard version 2.0, some new syntax has been
added. A conversion code is available via the abc home page
	http://www.gre.ac.uk/~c.walshaw/abc
to take the pain out of the (hopefully minor) changes necessary, but
backwards compatibility is possible using various user definable switches.
The switch settings are defined by the user in the file "settings" - see
the userguide.

The syntax for chords has been changed from +abc+ to [abc] which is
thought to be much more readable and less prone to errors. The old
++ version is still available by setting a user switch.

The syntax for ties and slurs has been enhanced with the use of () notation.
Thus for ties (a|a) and (a a) are the same as the old version a-|a and a-a
respectively. For slurs sabsc has now been dropped in favour of (abc) but
the old version is still available by setting a user switch.

The notation for double bar lines || now produces two thin bar lines (as in
abc2ps, abc2win and versions 1.0 - 1.2 of abc2mtex). The new notation
for thin-thick double bar lines is |]. This change of course affects many
tunes but it does not really obscure the meaning whether you use || or |]
and in fact some music books seem to treat this as a matter of personal
preference. The old behaviour can be retrieved by putting the line
\let\setdoublebar=\setdoubleBAR in header.tex.

	New features (see userguide for full details)
	~~~~~~~~~~~~

The justification and line breaking rules have changed slightly. A * at
the end of any line right-justifies it (so ** for the last line of a tune
is now redundant - a single * will do - but will not cause errors). Using
MusiXTeX, lines without a continuation character \ are now right-justified
and force a new line. Finally, when using MusicTeX, it is possible to set
a user switch which will right-justify everything.

The methods of marking first and second repeats, e.g. [1, [2 and
|1, :|2 now produce the same output. The old output of [1 and
[2 can be retrieved by changing a user switch.

Double sharps and flats are now available using ^^ and __.

Triplets containing rests are now possible - e.g. (3AzA.

Beam checking, the -c command line option, is no longer available, although
I could reinstate it if there is the demand.

Non numerical data is ignored in the E: field (so as not
to create problems with abc2ps E: commands).

The \qsk spacing for MusiXTeX output after dotted notes
and before accidentals is unnecessary and has been removed.

	COMPATIBILITY
	~~~~~~~~~~~~~

This version of abc2mtex is designed to be compatible with Daniel Taupin's
MusicTeX 5.18 & MusiXTeX T0.60 and Andreas Egler's MusiXTeX 0.51. Note that
to use Andreas Egler's version of MusiXTeX you will have to change some of
the comments in the file header.tex. The lines are clearly marked.


From mutex-owner@mail2.gmd.de Thu Nov 28 21:29:22 1996
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Date: Thu, 28 Nov 1996 13:29:22 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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To: mutex list <mutex@gmd.de>
Subject: hardlyrics and beamd notes
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A few weeks ago, somebody attempting ti write lyrics complained that
\hardlyrics did not work with beamed notes. I looked in my files, and
the most recent gloriab.tex shows that this works.
-------------------------------------------------------------------------=

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au
21.09.96)
-------------------------------------------------------------------------=


From mutex-owner@mail2.gmd.de Thu Nov 28 15:55:00 1996
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Date: Thu, 28 Nov 96 10:55 EST
From: joel@exc.com (Joel M. Hoffman)
To: taupin@lps.u-psud.fr
Cc: mutex@gmd.de
In-Reply-To: Daniel TAUPIN's message of Thu, 28 Nov 1996 13:29:22 -0800 <329E0432.B77@lps.u-psud.fr>
Subject: hardlyrics and beamd notes
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>A few weeks ago, somebody attempting ti write lyrics complained that
>\hardlyrics did not work with beamed notes. I looked in my files, and
>the most recent gloriab.tex shows that this works.

Does this mean I can write something like

	\hardlyrics{Two words}\Ibu...

And get "two" under the note of the first beam and "words" under the
second?

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Mon Dec  2 11:27:44 1996
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Date: Mon, 2 Dec 1996 12:27:44 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199612021127.AA04861@sunick.gmd.de>
To: joel@exc.com
Subject: Re: hardlyrics and beamd notes
Cc: mutex@gmd.de
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> Date: Thu, 28 Nov 96 10:55 EST
> From: joel@exc.com (Joel M. Hoffman)
> To: taupin@lps.u-psud.fr
> 
> Does this mean I can write something like
> 
> 	\hardlyrics{Two words}\Ibu...
> 
> And get "two" under the note of the first beam and "words" under the
> second?

"something like" is ok. For me worked the following test case:

\startextract
\hardlyrics{Two words~}\notes\ibu0f0\hsong\thelyrics\qb0f\en
\hardlyrics{Two~}\notes\hsong\thelyrics\qb0f\en
\hardlyrics{words~}\notes\hsong\thelyrics\qb0f\en
\hardlyrics{Two~}\notes\hsong\thelyrics\qb0f\en
\hardlyrics{words~}\notes\hsong\thelyrics\tbu0\qb0f\en
\endextract
\bye

-- Werner

From mutex-owner@mail2.gmd.de Mon Dec  2 14:48:49 1996
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From: Savochkin Andrey Vladimirovich <saw@shade.msu.ru>
Message-Id: <199612021448.RAA22993@shade.msu.ru>
Subject: A problem with \curve
To: mutex@gmd.de
Date: Mon, 2 Dec 1996 17:48:49 +0300 (MSK)
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I found that \curve command change not only slur shape
but significatnly raise the whole slur.

Is this behaviour enhancement or bug or I use commands improperly?

I use "MusiXTeX(c) T.64 <5 November 1996>" gotten from musixtex-T64.tar.gz
archive at ftp.dante.de.

Thanks in advance,
					Andrey V.
					Savochkin

\input musixtex

\hsize=50truemm
\footline={\hfil}%

\instrumentnumber{2}%
\generalsignature{1}%
\generalmeter{\meterC}%
\parindent0pt
\startpiece
\notes
\islurd0g\ibbu0g1\qb0{g{^f}}\tslur0g\qb0g\tbu0\qb0h%
|%
\isluru1l\ibbl1l1\qb1{l{^k}}\tslur1l\qb1l\tbl1\qb1m%
\en
\bar
\notes
\islurd0g\ibbu0g1\qb0{g{^f}}\curve322\tslur0g\qb0g\tbu0\qb0h%
|%
\isluru1l\ibbl1l1\qb1{l{^k}}\tslur1l\qb1l\tbl1\qb1m%
\en
\endpiece

\end

From mutex-owner@mail2.gmd.de Mon Dec  2 21:50:46 1996
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Date: Mon, 2 Dec 1996 22:50:46 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199612022150.AA05176@sunick.gmd.de>
To: mutex@gmd.de, saw@shade.msu.ru
Subject: Re: A problem with \curve
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> \islurd0g\ibbu0g1\qb0{g{^f}}\curve322\tslur0g\qb0g\tbu0\qb0h%

Try                           \curve{-3}22
or
  \islurd0f                            \tslur0f

From mutex-owner@mail2.gmd.de Tue Dec  3 10:20:22 1996
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From: Savochkin Andrey Vladimirovich <saw@shade.msu.ru>
Message-Id: <199612031020.NAA27036@shade.msu.ru>
Subject: Re: A problem with \curve
To: Werner.Icking@gmd.de (Werner Icking)
Date: Tue, 3 Dec 1996 13:20:22 +0300 (MSK)
Cc: mutex@gmd.de
In-Reply-To: <199612022150.AA05176@sunick.gmd.de> from "Werner Icking" at Dec 2, 96 10:50:46 pm
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> 
> > \islurd0g\ibbu0g1\qb0{g{^f}}\curve322\tslur0g\qb0g\tbu0\qb0h%
> 
> Try                           \curve{-3}22

\curve{-3}22 solve the problem. Thanks.

> or
>   \islurd0f                            \tslur0f
> 

					Andrey V.
					Savochkin

From mutex-owner@mail2.gmd.de Wed Dec  4 13:09:12 1996
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From: Gregoire Favre <favre@iishp1.unil.ch>
Date: Wed, 4 Dec 96 14:09:12 +0100
To: mutex@gmd.de
Subject: recueil.toc & mid2tex
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--NeXT-Mail-2037470890-7
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Hello,

I have some troubles using MusicTeX:

the first one is as I want to "musictex recueil.tex" by Taupin: where can I  
find recueil.toc?

the second is quit different:

I ftp'ed mid2tex and compiled it under NeXTStep with no problems; but I don't  
manage to use it in conjonction with TeTeX, I give a simple example:

In the distribution, there is a few examples, one of those is 5.mid:

[An attachment was originally included here]

I type (under tcsh..) "mid2tex 5.mid", that give me the file:

[An attachment was originally included here]

for the moment, no problems...

And then I write: "musictex 5.tex" and in response the shell give me:

"This is TeX, Version 3.14159 (C version 6.1)
(5.tex
Hyphenation patterns for english, german, loaded.
(/usr/local/teTeX/texmf/tex/musictex/musicnft.tex
Version 5.18 -- August 26th, 1996)
(/usr/local/teTeX/texmf/tex/musictex/musictex.tex
Version 5.18 -- August 26th, 1996)
(/usr/local/teTeX/texmf/tex/musictex/musicadd.tex
Version 5.02 -- February 28th, 1994
! No room for a new \dimen .
\ch@ck ...\else \errmessage {No room for a new #3}
                                                  \fi
\alloc@ ...\advance \count 1#1by\@ne \ch@ck #1#4#2
                                                  \allocationnumber =\count ...
l.26 \newdimen\bbb@xix
                      \newdimen\bbb@zix
?"

If it can help, I give the log file:

[An attachment was originally included here]

If I edit the three fisrt line of 5.tex that way:

%\input musicnft
%\input musictex
%\input musicadd

it works...

The problem is when I compile some bigger files: editing in that wy produce  
ugly result...

What should I do?

This is my first post at this mailling-list (and fisrt post at a  
mailling-list...) I hope its the correct way for doing it...

Thank you
-----------------------------------------------------------------------------------
 - week                                - weekend & holidays
   Gregoire Favre                Gregoire Favre
   Rue des Echelettes 8          Route des Plans
   1004 Lausanne                 1880 Bex
   (+41) 21/625 39 40            (+41) 24/463.16.27
                                 (+41) 24/463.20.31 (telefax)
-----------------------------------------------------------------------------------

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Hello,


I have some troubles using MusicTeX:


the first one is as I want to "musictex recueil.tex" by Taupin: where can
I find recueil.toc?


the second is quit different:


I ftp'ed mid2tex and compiled it under NeXTStep with no problems; but I
don't manage to use it in conjonction with TeTeX, I give a simple example:


In the distribution, there is a few examples, one of those is 5.mid:



--NeXT-Mail-1132800823-8
Content-Type: application/octet-stream; name=5.mid; x-unix-mode=0644
Content-Transfer-Encoding: base64
Content-Disposition: attachment; filename=5.mid

TVRoZAAAAAYAAQABAGBNVHJrAAAAoAD/WAQEAhgIAP9RAwehIAD/WQIAAAD/fwMAAEEAsAd/AJ
BHQIExRwAPQEAwQACBEEBAYEAAgiBAQFlAAAdHQBhHAEhHQC1HAANAQAxAACRFQC1FAANHQC1H
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dDQFlDAAdDQFlDAAf/LwA=

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<nofill>
I type (under tcsh..) "mid2tex 5.mid", that give me the file:

</nofill>
--NeXT-Mail-1132800823-8
Content-Type: application/octet-stream; name=5.tex; x-unix-mode=0644
Content-Transfer-Encoding: 7bit
Content-Disposition: attachment; filename=5.tex

\input musicnft
\input musictex
\input musicadd
\hsize 160mm
\vsize 240mm
% \nopagenumbers
\def\freqbarno{9999}%
\musicsize=16
\def\nbinstruments{1}
\def\interfacteur{17}
\def\bottomfacteur{14}
\def\instrumenti{}%
\nbporteesi=1
\cleftoksi={0000}%
\generalmeter{\meterfrac{4}{4}}
\signaturegenerale{0}
\centerline{\enorme 5.tex}
\medskip
\rightline{generated by mid2tex}
\bigskip
\normal
\debutmorceau
% measure 1
\Notes\zcharnote {I} {mf}\hu i\enotes
\Notes\lpz e\hu e\enotes
% measure 2
\barre
\Notes\lpz e\wh e\enotes
% measure 3
\barre
\Notes\qu e\enotes
\Notes\lpz i\qu i\enotes
\Notes\ibu0i0\qh0 i\enotes
\Notes\lpz e\qh0 e\enotes
\Notes\qh0 h\enotes
\Notes\tbu0\qh0 i\enotes
% measure 4
\barre
\Notes\ibbl0f0\qb0 i\enotes
\Notes\lpz f\qb0 f\enotes
\Notes\ITenu1n\nbbbl0\qb0 k\enotes
\Notes\tten1\tbbbbl0\tbl0\qb0 i\enotes
\Notes\zcharnote {e}{\qqs}\enotes
\Notes\ibbbbl0e0\qb0 f\enotes
\Notes\ITenu1p\qb0 m\enotes
\Notes\qb0 m\enotes
\Notes\tbbbbl0\tbl0\qb0 e\enotes
\Notes\tten1\ql g\enotes
\Notes\qu g\enotes
\Notes\qu g\enotes
\finmorceau
\end

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<nofill>
for the moment, no problems...

And then I write: "musictex 5.tex" and in response the shell give me:

"This is TeX, Version 3.14159 (C version 6.1)
(5.tex
Hyphenation patterns for english, german, loaded.
(/usr/local/teTeX/texmf/tex/musictex/musicnft.tex
Version 5.18 -- August 26th, 1996)
(/usr/local/teTeX/texmf/tex/musictex/musictex.tex
Version 5.18 -- August 26th, 1996)
(/usr/local/teTeX/texmf/tex/musictex/musicadd.tex
Version 5.02 -- February 28th, 1994
! No room for a new \dimen .
\ch@ck ...\else \errmessage {No room for a new #3}
                                                  \fi 
\alloc@ ...\advance \count 1#1by\@ne \ch@ck #1#4#2
                                                  \allocationnumber =\count ...
l.26 \newdimen\bbb@xix
                      \newdimen\bbb@zix
?" 

If it can help, I give the log file:

</nofill>
--NeXT-Mail-1132800823-8
Content-Type: application/octet-stream; name=5.log; x-unix-mode=0644
Content-Transfer-Encoding: base64
Content-Disposition: attachment; filename=5.log

VGhpcyBpcyBUZVgsIFZlcnNpb24gMy4xNDE1OSAoQyB2ZXJzaW9uIDYuMSkgKGZvcm1hdD1tdX
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<nofill>
If I edit the three fisrt line of 5.tex that way:

%\input musicnft
%\input musictex
%\input musicadd

it works...
</nofill>

The problem is when I compile some bigger files: editing in that wy
produce ugly result...


What should I do?


This is my first post at this mailling-list (and fisrt post at a
mailling-list...) I hope its the correct way for doing it...

<nofill>
Thank you
=
-----------------------------------------------------------------------------=
------
 - week                                - weekend & holidays
   Gregoire Favre                Gregoire Favre
   Rue des Echelettes 8          Route des Plans
   1004 Lausanne                 1880 Bex
   (+41) 21/625 39 40            (+41) 24/463.16.27
                                 (+41) 24/463.20.31 (telefax)    =20
=
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From mutex-owner@mail2.gmd.de Wed Dec  4 14:41:22 1996
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Date: Wed, 4 Dec 1996 15:41:22 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199612041441.AA05829@sunick.gmd.de>
To: mutex@gmd.de, favre@iishp1.unil.ch
Subject: Re: recueil.toc & mid2tex
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> From: Gregoire Favre <favre@iishp1.unil.ch>
> Date: Wed, 4 Dec 96 14:09:12 +0100

[... first problem ... ]

> the second is quit different:
> 
> I ftp'ed mid2tex [...]

> And then I write: "musictex 5.tex" and in response the shell give me:
                     ^^^^^^^^^^^^^^
> 
> "This is TeX, Version 3.14159 (C version 6.1)
> (5.tex
> Hyphenation patterns for english, german, loaded.
> (/usr/local/teTeX/texmf/tex/musictex/musicnft.tex
> Version 5.18 -- August 26th, 1996)
> (/usr/local/teTeX/texmf/tex/musictex/musictex.tex
> Version 5.18 -- August 26th, 1996)
> (/usr/local/teTeX/texmf/tex/musictex/musicadd.tex
> Version 5.02 -- February 28th, 1994
> ! No room for a new \dimen .

The source "5.tex" contains \input musicnft .... \input musicadd. So these 
files are processed twice. (In most MusiXTeX-sources this is handled by the
source).

> If I edit the three fisrt line of 5.tex that way:
> 
> %\input musicnft
> %\input musictex
> %\input musicadd
> 
> it works...
> 
> The problem is when I compile some bigger files: editing in that wy produce  
> ugly result...

Another way is not to use your musictex-format file, but plain tex.
Don't edit the file and process it by something like "plaintex 5.tex" or
"tex &plain 5.tex" ... 

> This is my first post at this mailling-list (and fisrt post at a  
> mailling-list...) I hope its the correct way for doing it...

You're welcome :-)                                  - Werner

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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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-- =

-------------------------------------------------------------------------=

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : taupin@lps.u-psud.fr
  T=E9l: (33) 01.69.15.60.79, Fax: (33) 01.69.15.60.86 (nouveau au
21.09.96)
-------------------------------------------------------------------------=


--------------B756CA43D4D
Content-Type: text/plain; charset=us-ascii; name="MUSIC.MSG"
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Content-Disposition: inline; filename="MUSIC.MSG"

Subject: MusicTeX version 5.20
New version 5.20 of MusicTeX available at anonymous ftp:
  hprib.lps.u-psud.fr
  directory pub/musictex
and
  rsovax.lps.u-psud.fr = 193.55.39.100
  directory [anonymous.musictex]
  (simply say "cd musictex" avec ftp anonymous login)

Changes:
 - 5.20 music*.tex protected against duplicate \input's (would lead to >255 dimens)
 - 5.19 missing \maxinstruments in musicadd.tex
 - 5.18 musicdoc updated to describe lyrics facilities
 - 5.18 slurs slightly corrected thans to Ian Collier
 - 5.17 bug corrected in \tbbbl, \tbbbu, etc.
 - 5.15 truly added \nq and \nh features (standalone stemless quarter
        and half notes)
 -      musicdoc.ps and musicdoc.lj no more in musictex.zip, but
        in musicdoc_ps.zip and musicdoc_lj.zip
 - 5.14 a few corrections to enhance compatibility with MusiXTeX
 - 5.13 a small bug corrected in musicsty.tex

Daniel Taupin


--------------B756CA43D4D--


From mutex-owner@mail2.gmd.de Sat Dec  7 00:46:04 1996
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To: taupin@lps.u-psud.fr
From: "Stephen W. Smoliar" <smoliar@pal.xerox.com>
Subject: Re: Musictex 5.20 available
Cc: mutex list <mutex@gmd.de>
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Daniel,

In trying to download the latest MusicTeX files from hprib.lps.u-psud.fr I
was denied copy permission for the following two files:

	musicnew.tex
	musicsix.tex

These both appear to be recent files (with the same date as the other new
files).  Are they not part of the required down-load?  If so, would you be
so kind as to reset their protection status?

Many thanks in advance,
Steve Smoliar

P. S.  If anyone else has had better luck in copying these files (I have
now tried several times by several different means), I would appreciate a
pointer to any other source for getting them.

Stephen W. Smoliar (smoliar@pal.xerox.com); FX Palo Alto Laboratory
3400 Hillview Avenue, Building 4;  Palo Alto, California  94304
UNITED STATES;  Tel:  +1-415-813-6703;  FAX:  +1-415-813-7081



From mutex-owner@mail2.gmd.de Sat Dec  7 15:58:34 1996
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Date: Sat, 07 Dec 1996 07:58:34 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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To: "Stephen W. Smoliar" <smoliar@pal.xerox.com>
Cc: mutex list <mutex@gmd.de>
Subject: Re: Musictex 5.20 available
References: <v0300780eaece6de7125f@[13.242.44.17]>
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Stephen W. Smoliar wrote:
> =

> Daniel,
> =

> In trying to download the latest MusicTeX files from hprib.lps.u-psud.f=
r I
> was denied copy permission for the following two files:
> =

>         musicnew.tex
>         musicsix.tex
> =

 You cannot read them: that's good point, since they should never have
been there. The only bug is in
my posting procedure wuich posts all music*.tex files. Therefore, I
shall not make them world readable, I shall delet them!

> These both appear to be recent files (with the same date as the other n=
ew
> files).  Are they not part of the required down-load?  If so, would you=
 be
> so kind as to reset their protection status?
> =

> Many thanks in advance,
> Steve Smoliar
> =

> P. S.  If anyone else has had better luck in copying these files (I hav=
e
> now tried several times by several different means), I would appreciate=
 a
> pointer to any other source for getting them.
> =


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3Dtaupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Dec 11 10:11:59 1996
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From: boxm@si.tn.tudelft.nl (Rob Boxman)
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Subject: invisable noteheads and verticals
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Recently I installed musictex on my PC, but when I view or print a dvi file generated with musictex I cannot see the \nq and \nh. The \hh, \hb, \qu, \ql, etc only have the vertical lines and flags but NO NOTEHEADS???

The whole notes are missing the vertical lines, here only the noteheads are vissible!

What could be cousing this problem?

From mutex-owner@mail2.gmd.de Tue Dec 17 17:22:53 1996
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------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3Dtaupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86

------------------------------------------------------------------------

--------------5B152B7B18A0
Content-Type: text/plain; charset=us-ascii; name="MUSIX.MSG"
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Subject: MusiXTeX version T.65
New version T.65 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  directory pub/musixtex

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 - T.62  correction in rest vertical position with small note size,
         correction in base space computation with special note sizes.
 - T.61  corrections in additional size handling (11pt to 29pt),
         Bug corrected in musixltx.tex (musixtex.sty).
 
Daniel Taupin


--------------5B152B7B18A0--


From mutex-owner@mail2.gmd.de Thu Dec 26 21:29:48 1996
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Subject: Problems using MusiXTeX with LaTeX
To: mutex@gmd.de
Date: Thu, 26 Dec 1996 22:29:48 +0100 (MET)
From: "Sven Buehling" <osb@rz.uni-jena.de>
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I have a problem using MusiXTeX with LaTeX. I tried to bring some
collections of abc tunes into a songbook. I used abc2mtex and
musixtex-T65. I got the following problem:

After compiling about 10 or 20 tunes succesfully latex brings error
messages like the following:

--------------------------
! You can't use `\raise' in internal vertical mode.
\writ@box ->\raise
                   \altportee \rlap {\box \toks@box }
\iterate ->\body
                 \let \next \iterate \else \let \next \relax \fi \next
\body ...\s@l@ctsigns \let \@Ti \writ@sign \C@wsi
                                                  }
\iterate ->\body
                 \let \next \iterate \else \let \next \relax \fi \next
\piece@beginc ... \@Ti \writ@sign \C@wsi }\repeat
                                                  \kern \sign@skip \m@loop \...

\contpiece ...ce@conta \writ@staffs \piece@beginc
                                                  \Writ@meters \wbarno@x \ad...
...
l.121 \bar
          % no 4
-----------------------------

It is possible to supress this message by removing some of the tunes
before. But whatever I try there is no way to compile more than 10 or
20 tunes into one dvi.

Tex's memory limitations where not the reson. Here is a snapshot from
the .log-File:
-----------
Here is how much of TeX's memory you used:
 1968 strings out of 62490
 14666 string characters out of 94192
 68511 words of memory out of 262141
 3804 multiletter control sequences out of 9500
 31224 words of font info for 115 fonts, out of 100000 for 255
 14 hyphenation exceptions out of 607
 18i,7n,17p,172b,928s stack positions out of 300i,40n,60p,32760b,6000s
--------------

By the way:
To run abc2mtex output under latex there are some changes neccessary
in the header.tex file. You have to replace all \line commands by
\meinline with \def\meinline{\vbox to \hsize}. Also I had to
redefine the \header command.

--
Sven Buehling

From mutex-owner@mail2.gmd.de Sat Dec 28 07:53:25 1996
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Date: Sat, 28 Dec 1996 08:53:25 +0100
From: Dr. Stephan Rosebrock <rosebro@math.uni-frankfurt.de>
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Dear mailinglist,        Dez 26., 1996

I am typesetting piano music and find musixtex itself to complicated
to use in practice. I was looking for a preprocessor for some time and
found mpp most practical for my needs. I still have some problems
using mpp:

1. How can I include a crescendo sign like <?
2. How can I include several lines in one subtitle?
   (\subtitle{f{\"u}r Horn und Klavier \\ I.\ Adagio} did not work)
3. How can I include a small triller like ['a16 'b16]? The total
   measure between two bars is to long then.
4. Is there a new version? I have mpp-0.45. Where can I get it?
5. Using something like   _{pp} often puts the pp over a bar. How
   can I avoid this?

Best regards,
Stephan Rosebrock

From mutex-owner@mail2.gmd.de Mon Jan  6 05:58:29 1997
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Date: Sun, 05 Jan 1997 21:58:29 -0800
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
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Happy new year to you all, folks! This is my personal season's gift.

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

--------------6C3F3D031AB2
Content-Type: application/x-tex; name="MUSIX.MSG"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="MUSIX.MSG"

Subject: MusiXTeX version T.67
New version T.67 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 - T.62  correction in rest vertical position with small note size,
         correction in base space computation with special note sizes.
 
Daniel Taupin


--------------6C3F3D031AB2--


From mutex-owner@mail2.gmd.de Tue Jan  7 16:58:46 1997
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Date: Tue, 7 Jan 1997 17:58:46 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: music and mpp
In-Reply-To: <9612280753.AA29814@gauss.math.uni-frankfurt.de>
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On Sat, 28 Dec 1996, Dr. Stephan Rosebrock wrote:

> 1. How can I include a crescendo sign like <?
Quite simple: Put "<" where you want the cresc. sign to start, "<!" where
you want it to end. (at least that's what it says in the manual)
">" and ">!" for decrescendoes.
However, I don't think it was in mpp-0.45. I got that from the mpp-0.46
manual. Unfortunately, I couldn't get mpp-0.46 to compile and run
properly.

> 2. How can I include several lines in one subtitle?
>    (\subtitle{f{\"u}r Horn und Klavier \\ I.\ Adagio} did not work)
> 3. How can I include a small triller like ['a16 'b16]? The total
>    measure between two bars is to long then.
That should work if you enter the trill as grace notes. The grace notes
look pretty ugly in my opinion (too much spacing), though.

> 4. Is there a new version? I have mpp-0.45. Where can I get it?
As I mentioned above, there is a mpp-0.46 which doesn't compile on my
computers. mpp-0.46 was released in spring 1996. After that, MPP was
discontinued. The authors are working on a much more ambitious project
called 'lilypond', which might do away with MusiXTeX altogether (by
typesetting its own music in postscript or something), and which is
supposed to produce much better looking scores, probably some WYSIWIG etc.
By all that I know it is as far from completion as can be humanly
imagined.

> 5. Using something like   _{pp} often puts the pp over a bar. How
>    can I avoid this?
Er, use a different preprocessor, I think.

Have you considered using PMX? It's a bit harder to learn and it doesn't
provide all the features that PMX has, but it does much prettier
typesetting, and best of all, it's still being improved -- quite rapidly!
While the first version that I managed to get to run (August 1996, I
think) was quite restricted, the current beta version can do chords and
put two separate voices into a single staff. Again, most importantly
there's still and author around you can ask to make improvements to the
program and include the things you need. 

cu, Stefan.


From mutex-owner@mail2.gmd.de Tue Jan  7 17:15:14 1997
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Subject: Problems using MusiXTeX with LaTeX: Solution
To: mutex@gmd.de
Date: Tue, 7 Jan 1997 18:15:14 +0100 (MET)
From: "Sven Buehling" <osb@rz.uni-jena.de>
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To get away of the "cannot use \raise" in vertical mode"-messages I had to remove the obsolete
.mx-2 file. 

Thank you for all replies.

Sven

From mutex-owner@mail2.gmd.de Tue Jan  7 22:55:26 1997
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Date: Tue, 7 Jan 1997 23:55:26 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
Cc: mutex@gmd.de
Subject: Re: music and mpp
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> 
> > 1. How can I include a crescendo sign like <?
> Quite simple: Put "<" where you want the cresc. sign to start, "<!" where
> you want it to end. (at least that's what it says in the manual)
> ">" and ">!" for decrescendoes.

correct

> However, I don't think it was in mpp-0.45. I got that from the mpp-0.46
> manual. Unfortunately, I couldn't get mpp-0.46 to compile and run
> properly.

very likely, yes
> > 2. How can I include several lines in one subtitle?
> >    (\subtitle{f{\"u}r Horn und Klavier \\ I.\ Adagio} did not work)
please checkout the TeX mpp.tex input. MPP does nothing fancy here

> > 4. Is there a new version? I have mpp-0.45. Where can I get it?
> As I mentioned above, there is a mpp-0.46 which doesn't compile on my
> computers. mpp-0.46 was released in spring 1996. After that, MPP was

we still incorporate bugfixes, but do no featuritis

> discontinued. The authors are working on a much more ambitious project
> called 'lilypond', which might do away with MusiXTeX altogether (by
> typesetting its own music in postscript or something), and which is
> supposed to produce much better looking scores, probably some WYSIWIG etc.
> By all that I know it is as far from completion as can be humanly
> imagined.

Thank for the compliment. LilyPond is starting to look pretty usable by now.

quoting myself :)

      At this time, LilyPond is only suited for Quick & Dirty
       jobs (the output quality still is too low). If you're not
       discouraged; this is what I type in my xterm:

  DESCRIPTION
       LilyPond typesets music. It translates script files
       (mudela files or

       LilyPond has these features:

       o ASCII script input

       o declaring music (for reuse)

       o multiple staffs

       o multiple stafftypes (melodic, rhythmic)

       o beams, slurs, chords, super/subscripts, triplets, clef
            changes, meter changes, triplet, quadruplets, etc.

       o multiple scores within one file. Each score is output to
            a different file.


> provide all the features that PMX has, but it does much prettier
> typesetting, and best of all, it's still being improved -- quite rapidly!

LilyPond is, too. In the past 3 mnoths it has tripled in size.

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Wed Jan  8 21:01:10 1997
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To: mutex@gmd.de
From: bobroff@centrum.is (David Bobroff)
Subject: new Mac musixflex?
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I downloaded MusiXTeX T.67 but before I replace T.65 I need to get the
musixflex to go with it.  Or, do I need a new one?  I assume I do.  And I
need it for a Mac.

Thanks

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Jan  9 14:22:48 1997
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Date: Thu, 9 Jan 1997 15:22:48 +0100
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bobroff@centrum.is
Subject: Re: new Mac musixflex?
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> Date: Wed, 8 Jan 1997 21:01:10 +0000
> From: bobroff@centrum.is (David Bobroff)

> I downloaded MusiXTeX T.67 but before I replace T.65 I need to get the
> musixflex to go with it.  Or, do I need a new one?  I assume I do.  And I
> need it for a Mac.

No. Since a long time there's no new MusiXflx. There was a small change
some versions ago (T63?) but this change was not to the general function
of musixflx. So it's stable since 0.44

Werner

From mutex-owner@mail2.gmd.de Thu Jan  9 16:56:55 1997
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Subject: Problems using ...: Solution
To: mutex@gmd.de
Date: Thu, 9 Jan 1997 17:56:55 +0100 (MET)
From: "Sven Buehling" <osb@rz.uni-jena.de>
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[I'm not sure if this message has gone already thru the mailing list
becaus I got an error message from postmaster@ugrad...]

To get away of the "cannot use \raise" in vertical mode"-messages I had to
remove the obsolete .mx-2 file.  Thank you for all replies.  Sven


From mutex-owner@mail2.gmd.de Thu Jan  9 16:52:31 1997
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Subject: Problems using MusiXTeX with LaTeX: Solution
To: mutex@gmd.de
Date: Thu, 9 Jan 1997 17:52:31 +0100 (MET)
From: "Sven Buehling" <osb@rz.uni-jena.de>
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(I'm not sure if this message alrefffady came onto the mailing list because I
got a strange message from postmaster

To get away of the "cannot use \raise" in vertical mode"-messages I had to
remove the obsolete .mx-2 file.  

Thank you for all replies.  Sven




From mutex-owner@mail2.gmd.de Thu Jan  9 18:11:01 1997
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Date: Thu, 9 Jan 1997 19:11:01 +0100
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> [I'm not sure if this message has gone already thru the mailing list
> becaus I got an error message from postmaster@ugrad...]

Yes, it got already through and one can see it e.g. in

  http://www.gmd.de/Mail/      "MuTeX mailing list"

if one may use the WEB.

Concerning error messages by postmasters I as mutex-owner hope that I did
anything I can do to avoid that error messages go back to the sender. Ne-
vertheless error messages do not only reach mutex-owner but sometimes the
sender, too. Please ignore such error messages or ask mutex-owner@gmd.de
for information or help.

That's is good occasion to wish you all all the best for the New Year 1997.

Werner

From mutex-owner@mail2.gmd.de Mon Jan 13 21:37:33 1997
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Date: Mon, 13 Jan 1997 22:37:33 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199701132137.AA02481@sunick.gmd.de>
To: mutex@gmd.de
Subject: BWV1006 Sei solo a Violino ... -- Scores available by WWW or ftp
Cc: matsb@s3.kth.se
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The list of my music-editions has been increased by one item. I've
finished the third partita of the six sonatas and partitas for violin
solo by J.S. Bach "Sei solo a Violino senza Basso accompagnato. Libro 
primo da Joh. Seb. Bach ao. 1720".

My edition contains a printed version which is as close as possible
to the autograph, and a "normalized" version ready for playing
and a version for viola.

Imho this edition is of interest not only for advanced violin players
but for those of you too, who are able to read music while listening
to this great music.

You may access the files either by anonymous ftp 

directly:      ftp.gmd.de   music/scores/bach/s&p/
or by WWW:     http://www.gmd.de/Misc/Music/

With WWW follow the link to "Sheet Music", there to the single
works or to the directory "Sonatas and Partitas".

The directory contains the 2nd page of Bach's autograph as GIF
(bwv1001.gif) so that you may compare my edition and the ori-
ginal handwriting of Bach.

bwv1006.ps.gz	contains the compressed postscript file; our ftp-
		server is so kind to un-compress the file for you if 
		you request "bwv1006.ps" instead of "bwv1006.ps.gz" 
book1006.ps.gz	same for A3-paper to avoid turning pages

s&p.ps.gz	contains only the "original" for those who don't
		want to play the sonatas and partitas. It now con-
		tains the first and the second sonata and the 
		third partita, and the beginnings of all movements
		of the up to now missing sonate and partitas.

For printing on letter size paper have a look at bwv1003.readme in
the same directory or follow the link "ready-to-print" on the
"sheet music" page of the WEB-server, where you find more hints
on printing and viewing PS-files.

Enjoy -- Werner


PS:  My edition of the Suites for Cello solo by Bach in an edition for cello,
     viola or violin is ready for proof-playing. But I'll put it into the
     public not before I can use dotted slurs. Personal copies as draft are
     available on request for proof-players.

PPS: Several people requested proof-play copies of bwv1006. I got some
     feedback by Mats Bengtsson whom I herewith thank for the help. I
     hope that I didn't forget others but it's hard to keep track of the
     many many mails.

From mutex-owner@mail2.gmd.de Tue Jan 14 16:51:19 1997
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From: C.Walshaw@greenwich.ac.uk
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Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@Danann.hea.ie, MORRIS@LISTSERV.IUPUI.EDU,
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* a list of web-accessible abc tune collections
	* the web-wide abc index (over 4500 web-accessible tunes listed)
	* link to the abc user group mailing list
	* new developments in abc
	* a short history of abc
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Wed Jan 15 10:51:47 1997
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Subject: Minor upgrade to abc2midi
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I have just released version 1.4.2 of abc2midi. The changes since 1.4.1 are
that this version supports key modifiers e.g. K:G _c ^^d, and fixes a couple 
of bugs with grace notes and with the (...) notation.

URL http://diana.ecs.soton.ac.uk/~jra/abcMIDI/

James Allwright,
Department of Electronics and Computer Science,
University of Southampton, UK

From mutex-owner@mail2.gmd.de Thu Jan 16 10:16:37 1997
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From: C.Walshaw@greenwich.ac.uk
Message-Id: <8748.199701161016@wight.gre.ac.uk>
Subject: ANNOUNCE: Free music notation software - abc2mtex v1.6.1
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
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*****************************************************************
*************  Announcing abc2mtex  version 1.6.1  **************
*****************************************************************


abc2mtex is a package designed to notate tunes stored in an ascii
format  (henceforth  abc notation). It was designed primarily for
folk and traditional tunes of Western European  origin  (such  as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves  and should be extendible to many other types of music. It
can also be used as a fast preprocessor for MusicTeX or MusiXTeX.
 
For a more information about abc, a list of available software,
and a list and index of abc tune collections available on the
internet have a look at
	"http://www.gre.ac.uk/~c.walshaw/abc"

You can get a copy of abc2mtex via the world wide web from:
	"http://www.gre.ac.uk/~c.walshaw/abc/"
	"http://celtic.stanford.edu/pub/tunes/abc2mtex"
	"ftp://ftp.gmd.de/music/musictex/software/abc2mtex"
	"ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex"
	"ftp://ftp.dante.de/tex-archive/support/abc2mtex"

or by sending an email request to me (C.Walshaw@gre.ac.uk).

The file
	README
tells you how to set it up.

If you just wish to find out about the notation have a look at
	abc.txt

To find out more the notation and how to use the package look at
	usrguide.ps

	Chris Walshaw
	(C.Walshaw@gre.ac.uk)


CHANGES BETWEEN V1.6.1 & V1.6
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

	Changes to abc notation (see userguide for full details)
	~~~~~~~~~~~~~~~~~~~~~~~

Completely general tuplets are now available. The syntax is backwards
compatible with previous versions.

The possible modes and scales that can be specified in the K: field has now
been augmented by major, minor, lydian, ionian, aeolian, phrygian, locrian.
In addition global accidentals can be specifed in the K: field.

	New features (see userguide for full details)
	~~~~~~~~~~~~

Unisons (or double stopping) can be specified with the chord notation,
e.g. [DD].

The automatic beaming feature (previously available with the -c option)
has been restored, although it is now switched on with a user switch
rather than a command line option.

Guitar chords can be placed above the staff rather than below with a user
switch.

	Bugs fixed
	~~~~~~~~~~

Changes in meter in the middle of a bar now show up in the output.

It is now legal to use a broken symbol > after a close slur ).

	COMPATIBILITY
	~~~~~~~~~~~~~

This version of abc2mtex is designed to be compatible with Daniel Taupin's
MusicTeX 5.20 & MusiXTeX T0.67 and Andreas Egler's MusiXTeX 0.51. Note that
to use Andreas Egler's version of MusiXTeX you will have to change some of
the comments in the file header.tex. The lines are clearly marked.


From mutex-owner@mail2.gmd.de Sun Jan 19 21:48:47 1997
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Date: Sun, 19 Jan 1997 22:48:47 +0100 (MET)
From: Patrick Schoenbach <pschoenb@composer.mayn.de>
To: Daniel TAUPIN <taupin@lps.u-psud.fr>
Cc: mutex list <mutex@gmd.de>
Subject: Re: Use of MusicTeX with palatino.sty
In-Reply-To: <32E30F40.2C9E@lps.u-psud.fr>
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On Sun, 19 Jan 1997, Daniel TAUPIN wrote:

> Patrick Schoenbach wrote:
> > 
> > Daniel,
> > 
> > At the moment, I am writing my musicological master's thesis, and I want
> > to use the font Palatino. So, I did \usepackage{palatino}. But then,
> > MusicTeX doesn't work anymore. I only need the \metron command of
> > MusicTeX to include tempo markings in the text. As I do a lot of music
> > publishing, I use another program for the music examples in the thesis.
> > 
> > Could you please suggest a workaround, so I can use at least the \metron
> > command of MusicTeX, even I am using the Palatino font?
> > 
> 
>  No idea, since palatino.sty includes psfonts.sty which redefines a lot
> of things, byt I never use it.
> 
> BTW: when you say "does not work anymore", does it mean that it makes
> your computer crash?
> Please be more precise when you have troubles and give the symptoms.

Lots of fonts, like ppbx10, ppbx8, ppr10, pptt8 are missing when LaTeX
calls MetaFont.

Patrick 

-----------------------------------
 E-Mail: pschoenb@composer.mayn.de
-----------------------------------
PGP Public Key available
Send E-Mail to pgp@composer.mayn.de
Fingerprint: 93 A8 88 04 98 1D C7 4E  F5 96 88 83 CC 6F 35 B2


From mutex-owner@mail2.gmd.de Mon Jan 20 06:22:56 1997
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Subject: Re: Use of MusicTeX with palatino.sty
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Patrick Schoenbach wrote:
> =

> Daniel,
> =

> At the moment, I am writing my musicological master's thesis, and I wan=
t
> to use the font Palatino. So, I did \usepackage{palatino}. But then,
> MusicTeX doesn't work anymore. I only need the \metron command of
> MusicTeX to include tempo markings in the text. As I do a lot of music
> publishing, I use another program for the music examples in the thesis.=

> =

> Could you please suggest a workaround, so I can use at least the \metro=
n
> command of MusicTeX, even I am using the Palatino font?
> =


 No idea, since palatino.sty includes psfonts.sty which redefines a lot
of things, byt I never use it.

BTW: when you say "does not work anymore", does it mean that it makes
your computer crash?
Please be more precise when you have troubles and give the symptoms.
-------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jan 20 19:38:32 1997
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Date: Mon, 20 Jan 1997 20:38:32 +0100
From: Frederic Baumann <fbaumann@worldnet.fr>
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To: mutex@gmd.de
Subject: piano and forte with MusicTeX
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I have just downloaded the MusicTeX package, and really 
enjoy with it.

Nevertheless, I have a little problem, and didn't find
any answer in the documentation.

I would like to put things like p, pp, ppp, f, ff, mf, etc. ("nuances"
in French) on top of each staff, with the appropriate special curved
font.

Is it possible to do this with MusicTeX ?

Thank you by advance.

Fre'de'ric

N.B.
This is the first time I use a mailing list. If I
don't respect some kind of conventions, please let me know.

-- 
#############################################
#  Pour se distraire :
#  http://services.worldnet.net/~fbaumann
#############################################

From mutex-owner@mail2.gmd.de Tue Jan 21 15:37:43 1997
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From: taupin@lps.u-psud.fr
Subject: MusiXTeX T.68
To: mutex@gmd.de
Date: Tue, 21 Jan 97 14:34:50 MET
Cc: coulon@lalcls.in2p3.fr
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Subject: MusiXTeX version T.68
New version T.68 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Thu Jan 23 13:50:29 1997
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From: C.Walshaw@greenwich.ac.uk
Message-Id: <7596.199701231350@wight.gre.ac.uk>
Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@Danann.hea.ie, MORRIS@LISTSERV.IUPUI.EDU,
        cittern@ice.el.utwente.nl, FIDDLE-L@BROWNVM.BROWN.EDU,
        C.Walshaw@greenwich.ac.uk
Date: Thu, 23 Jan 1997 13:50:29 +0000 (GMT)
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
**new**	* examples of abc usage
	* a list of web-accessible abc tune collections
	* the web-wide abc index (nearly 5000 web-accessible tunes listed)
**new**	* the sectionalised web-wide abc index (split into bite-sized chunks)
	* link to the abc user group mailing list
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Thu Jan 23 19:31:38 1997
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From: taupin@lps.u-psud.fr
Subject: MusixTeX T.69 available
To: mutex@gmd.de
Date: Thu, 23 Jan 97 18:46:55 MET
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Subject: MusiXTeX version T.69
New version T.69 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 
Daniel Taupin


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From: taupin@lps.u-psud.fr
Subject: MusixTeX T.69 available
To: mutex@gmd.de
Date: Thu, 23 Jan 97 18:46:55 MET
Cc: coulon@lalcls.in2p3.fr
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Subject: MusiXTeX version T.69
New version T.69 of MusiXTeX with updated doc available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 - T.63  musixgre.tex throughly updated (complete except bugs), thanks to
         Beda Szukics to conform 1905 gregorian chant coding standards. 
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Thu Feb  6 03:14:47 1997
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Date: Wed, 5 Feb 1997 19:14:47 -0800
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From: dsimons@logicon.com (Don Simons)
Subject: ANNOUNCE: PMX Version 1.1, a preprocessor for MusiXTeX
To: mutex@gmd.de
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PMX, a preprocessor for MusiXTeX, can produce nearly professional 
looking scores in a fraction of the time that MusiXTeX alone would 
require.  It can handle up to 7 staves per system.  Virtually all 
formatting is automatic, although most formatting features have 
optional overrides.  Apart from a few basic setup parameters, all the 
user needs to enter are the musical elements: pitches, durations, 
accidentals, ornaments, slurs, repeats, etc.  PMX uses a compact 
language whose basic elements are easy to learn.  It is also possible 
to enter in-line TeX commands in case you want to use some MusiXTeX 
feature not yet available in PMX.

PMX is especially adept at adjusting horizontal spacing to maintain 
pleasing relationships and eliminate crashes among normal notes, 
accidentals, grace notes, clefs, repeat symbols, dots, and flags.  
Anyone who has ever used raw MusiXTeX to create a publication-quality 
score knows that these adjustments account for a significant fraction 
of the effort.

The main new features in PMX Version 1.1 are chords, transposition, 
and two lines of music per staff.

The home base for PMX on the internet is 
ftp.gmd.de/music/musixtex/software/pmx, or point a web browser to 
ftp://ftp.gmd.de and follow the links.  The files should eventually 
propagate to the CTAN archives.  If you would like to see an example 
before getting the software, download barsanti.ps and print it out or 
view it with ghostscript.  (It is stored as barsanti.ps.gz  ... to 
decompress on the fly, request the file barsanti.ps and the GMD server 
will do the rest.  To do this from a web browser, after you arrive at 
the page that shows the entries in the pmx directory, manually edit 
the "location" or URL line to point to the file barsanti.ps).

PMX is available in the form of DOS and MAC binaries, as FORTRAN 
source, and as C source accompanied by a makefile which should work on 
any UNIX system.  All necessary files for DOS users or those willing 
to compile the FORTRAN are in pmx11b.zip.  MAC files are in  
pmx_for_mac.sit.hqx (thanks to Eric Petersen, who also maintains some 
other PMX-for-MAC information on his web site at 
http://www.aem.umn.edu/people/students/epeterse/PMX/).  The UNIX/C 
port is available at 
ftp://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/ (thanks to 
Stefan Evert).

--Don Simons (dsimons@logicon.com)



From mutex-owner@mail2.gmd.de Fri Feb 14 15:56:47 1997
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Date: Fri, 14 Feb 97 14:13:53
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To: mutex@gmd.de
From: Ben Challis <bpc@minster.cs.york.ac.uk>
Subject: musictex in documents
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Hello,
        I have just subscribed to this list in the hope that someone might
be able to help me out with a problem. I am a research student working on
alternative forms of notation for blind people in the adaptive interfaces
group, computer science department,York University, UK. I need to be able to
process documents that have short musical extracts contained with in them as
examples. I have installed Latex2e on my pc and have also installed the
Musictex macro package on top of this. I have followed the instructions in
Daniel Taupin's guide on the setup procedure and have managed to use small
extracts in a document but I am experiencing some problems. For example, the
brace for piano staffs is tiny and if I follow the instructions for turning
off a clef for rhythm notation the clef remains there. I have been using the
musictex.sty package to do this and am wondering if there are problems like
these within this package. The Musictex document itself is a very good idea
of the kind of document I need to produce.
        Any help would be much appreciated.
Thanks
Ben Challis


From mutex-owner@mail2.gmd.de Mon Feb 17 11:48:08 1997
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Date: Mon, 17 Feb 1997 12:48:08 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: Jan Arne Fagertun <janaf@energy.sintef.no>
Cc: mutex@gmd.de
Subject: PMX 1.1 / C version  - bugfix
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Hi, PMX aficionados -- 


On Sat, 15 Feb 1997, Jan Arne Fagertun wrote:

> Hello
> I fetched pmx-1.1 yesterday, and discovered som trouble while procesing
> some of your example files. Two or three of them, including "mostpmx", 
> stopped with a "floating exeption, IOT trap" message.
> 
Yes, I got that bug report from a number of people.

> By debugging I found that the trouble was located in "pmxb.c", and that
> the reason was "log(0.)". I added a fix, which is included below.
> 
Thanks to everybody who went to the trouble of debugging and sending a
bugfix. This was very valuable, since I've been unable to re-create the
IOT-Trap-crash.

> I run Linux, version 1.2.13, with gcc version 2.7.2p
Which rules out gcc2.6.3 as a reason for the bug. I'm completely
mystified. pmxb works on all the systems that I have access to, notably on
Linux 2.0 with gcc2.7.2.1 !!

I've now included the bugfix that was suggested to me by modifying the
FORTRAN source of pmxb. The patched version is now available from

ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.1.1.tar.gz

Whenever pmxb tries to evaluate an undefined log() in the log2()
subroutine, a WARNING message is printed to stdout.


Would any of those who reported the bug be so kind as to download the new
package and try it on their computers? It works OK here, but so did the
old version.

Hope we've squashed that bug, and thanks again!

-Stefan


PS: Don--
this is the patch I applied to the log2() function in pmxb
(without knowing FORTRAN -- ouch!)
I substituted
---
<         if (n .le. 0) then
<            log2=0
<            print*,'WARNING: log2() called with zero arg'
<         else
<            log2 = alog(1.*n)/0.69315+.0001
<         end if
---
for
---
>         log2 = alog(1.*n)/0.69315+.0001
---
Thus, when log2 is called with zero or negative argument, we print the
WARNING (and there are lots of them, esp. in barsanti.pmx) and return 0.
I hope that's OK, but this shouldn't really happen anyway.
Could you check if the same thing happens in FORTRAN, or whether it's due
to the Fortran->C conversion ?
BTW, I tried f2c with (array) boundary-checking, and then pmxb immediately
stops with an out-of-range error (attempt to access element #(-6) of some
array). Any idea why this might have happened?





### ###                  #####                     | (Stefan Evert)
 #   #                    #   #                    |                     
 #   #   ##  # # #   ##   #   # # ##   ##  #    #  | EMAIL to:       
 #####  #  # ## # # #  #  ####   #  # #  # #    #  | o evertsn@cip.mathematik.
 #   #  #  # #  # # ####  #   #  #    #### #  # #  |   uni-stuttgart.de
 #   #  #  # #  # # #     #   #  #    #    #  # #  | o wittfeka@cip.mathematik.
### ###  ##  #  # #  ### #####   #     ###  ## ##  |   uni-stuttgart.de
                                                   | o evert@mathematik.
E   N   T   E   R   T   A   I   N   M   E   N   T  |   uni-stuttgart.de




From mutex-owner@mail2.gmd.de Mon Feb 17 15:58:24 1997
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Date: Mon, 17 Feb 1997 16:58:24 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199702171558.AA01917@sunick.gmd.de>
To: mutex@gmd.de
Subject: Rest, multibar rests and PMX
Cc: dsimons@logicon.com, evertsn@cip.mathematik.uni-stuttgart.de,
        epeterse@aem.umn.edu
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Dear MusiXTeX-ers,

I've prepared a little MusiXTeX-source concerning typesetting rests.

Besides other things it demonstrates how to typeset multibar rests.
This has been ported to PMX with permission of it's author Don Simons.

So I've replaced ftp://ftp.gmd.de/music/musixtex/software/pmx/pmx.tex
(and pmx.tex within pmx11b.zip without making a new version number).


Werner Icking


% rests.tex
%
% (c) 1996, Werner Icking
\ifx\mxversion\undefined
 \input musixtex
 \fi
\input musixlit
\hoffset-15.4mm\voffset-15.4mm
\hsize210mm\advance\hsize-20mm
\vsize11in\advance\vsize-20mm\advance\vsize-20pt
\footline{\smalltype Edited by Werner.Icking@gmd.de using \it Herbert Chlapik, 
 Die Praxis des Notensetzers, Doblinger Wien 1987, ISBN 3-9000~035-96-2 \hfil}
\parskip 12pt minus 12pt
\nobarnumbers
\geometricskipscale
\transpose7
\settrebleclefsymbol1\empty
\settrebleclefsymbol2\empty
\setinterinstrument1{-2\Interligne}
\def\qpp{\pt 5\qp}
\newbox\xtrcti\newbox\xtrctii\newbox\xtrctiii
\def\xtrct#1{
 \def\writeextract{\extract#1\vskip-6pt}
 \ifnum#1=3\def\extractline{\setbox\xtrctiii\hbox}\fi
 \ifnum#1=2\def\extractline{\setbox\xtrctii\hbox}\fi
 \ifnum#1=1\def\extractline{\setbox\xtrcti\hbox}\fi
 \ifnum#1=0\def\extractline{\centerline}\def\writeextract{}\fi}
\def\extract#1{
	\ifnum#1=1\line{\hfil\unhbox\xtrcti\hfil}\fi
	\ifnum#1=2\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\xhfil}\fi
	\ifnum#1=3\line{\xhfil\unhbox\xtrcti\hfil\unhbox\xtrctii\hfil\unhbox\xtrctiii\xhfil}\fi}
\def\centeron{\def\xhfil{\hfil}}\def\centeroff{\def\xhfil{}}\centeron
\def\wrong{\uPtext{wrong}}
\def\right{\uPtext{right}}
\def\better{\uPtext{better}}
\def\notrec{\uPtext{not recommended}}
%def\uPtext#1{\kern-\afterruleskip\hbox{\uptext{\medtype\it #1}}\kern\afterruleskip}
\def\uPtext#1{\uptext{\kern-\afterruleskip\medtype\it #1}}
\def\Endextract{\setdoubleBAR\endextract}
\def\Startextract{\startextract\addspace{-0.5\afterruleskip}}

%{\bigtype Whole rests}\par
\bigtype
Whole rest as whole rest\par

\xtrct1\generalmeter{\meterfrac21}\Startextract
\NOTes\wh c\pause\en\endextract
\xtrct2\generalmeter{\meterfrac42}\Startextract
\NOtes\wrong\ha c\en\NOTes\pause\en\NOtes\hpause\en\endextract
\xtrct3\generalmeter{\meterfrac42}\Startextract
\NOtes\right\ha c\hpause\en\NOTes\pause\en\setdoublebar\bar
\NOtes\better\ha c\hpause\hpause\hpause\en\endextract
\writeextract

Whole rest as full bar rest {\medtype --- not used for e.g. 3/16}\par

\xtrct1\generalmeter{\meterfrac18}\Startextract\notesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac28}\Changecontext\Notes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac38}\Changecontext\Notesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac48}\Changecontext\NOtes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac14}\Changecontext\Notesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac24}\Changecontext\NOtes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac34}\Changecontext\NOtesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac44}\Changecontext\NOTes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac54}\Changecontext\NOTes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac64}\Changecontext\NOTes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\endextract\writeextract

\xtrct1\generalmeter{\meterfrac12}\Startextract\Notesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac22}\Changecontext\NOtes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac32}\Changecontext\NOtesp\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac42}\Changecontext\NOTes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac62}\Changecontext\NOTes\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac21}\Changecontext\NOTES\wrong\sk\en\def\atnextbar{\znotes\centerpause\en}%
\generalmeter{\meterfrac21}\Changecontext\NOTes\right\pause\pause\en
\endextract\writeextract

\instrumentnumber2
\xtrct1\generalmeter{\meterfrac24}\Startextract
\Notes\ca c&\ds\en\bar
\NOtesp\pt c\qa c\en\Notes\ca c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\Notes\ca c\en\NOtesp\pt c\qa c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\NOtesp\pt c\qa c&\wrong\en\def\atnextbar{\znotes&\centerpause\en}\Endextract
\xtrct2\generalmeter{\meterfrac24}\Startextract
\Notes\ca c&\ds\en\bar
\NOtesp\pt c\qa c\en\Notes\ca c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\Notes\ca c\en\NOtesp\pt c\qa c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\NOtes\pt c\qa c&\right\qp\en\Notes&\ds\en\Endextract
\writeextract

\xtrct1\generalmeter{\meterfrac68}\Startextract
\NOtesp\pt c\qa c&\qpp\en\bar
\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\NOtesp\pt c\qa c&\wrong\en\def\atnextbar{\znotes&\centerpause\en}\Endextract
\xtrct2\generalmeter{\meterfrac68}\Startextract
\Notesp\pt c\qa c&\qpp\en\bar
\NOtesp\pt c\qa c\en\Notes\ibl0c0\qb0{cc}\tbl0\qb0c\en\def\atnextbar{\znotes&\centerpause\en}\bar
\NOtesp\pt c\qa c&\right\qpp\en\Endextract
\writeextract
\instrumentnumber1

Rests and rhythm\par

\centeroff
\scale{0.9}
\xtrct1\generalmeter{\meterfrac38}\Startextract
\NOtes\wrong\qp\en\Notes\ca c\en\bar\Notes\right\ds\ds\ca c\en\setdoublebar\bar
\Notes\wrong\ca c\en\NOtes\qp\en\bar\Notes\right\ca c\ds\ds\en\endextract
\xtrct2\generalmeter{\meterfrac34}\Startextract
\NOTes\wrong\hpause\en\NOtes\qa c\en\bar\NOtes\right\qp\qp\qa c\en\setdoublebar\bar
\NOtes\wrong\qa c\en\NOTes\hpause\en\bar\NOtes\right\qa c\qp\qp\en\endextract
\writeextract

\scale{0.75}
\xtrct1\generalmeter{\meterfrac68}\Startextract
\Notes\wrong\ca c\en\NOtes\qp\en\Notes\ca c\en\NOtes\qp\en\bar
\Notes\right\ca c\ds\ds\ca c\ds\ds\en\setdoublebar\bar
\Notes\wrong\ca c\ds\ds\ds\ds\ca c\en\bar
\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract
\xtrct2\generalmeter{\meterfrac44}\Startextract
\NOtes\wrong\qa c\en\NOTes\hpause\en\NOtes\qa c\en\bar
\NOtes\right\qa c\qp\qp\qa c\en\endextract
\writeextract

\scale{0.7}
\xtrct1\generalmeter{\meterfrac34}\Startextract
\NOtes\qa c\qp\qp\en
\generalmeter{\meterfrac68}\changecontext
\NOtes\qa c\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\endextract
\xtrct2\generalmeter{\meterfrac34}\Startextract
\Notes\ca c\ds\en\NOtes\qp\en\Notes\ds\ca c\en
\generalmeter{\meterfrac68}\changecontext
\Notes\ca c\ds\ds\en\NOtes\qp\en\Notes\ca c\en\endextract
\xtrct3\generalmeter{\meterfrac34}\Startextract
\Notes\ca c\ds\en\NOtes\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en
\generalmeter{\meterfrac68}\changecontext
\Notes\ca c\ds\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract
\writeextract

\scale{0.7}
\xtrct1\generalmeter{\meterfrac34}\Startextract
\NOtes\qp\qp\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en
\generalmeter{\meterfrac68}\changecontext
\NOtes\qp\en\Notes\ds\ds\en\Notes\ibl0c0\qb0c\tbl0\qb0c\en\endextract
\xtrct2\generalmeter{\meterfrac34}\Startextract
\NOtesp\pt c\qa c\en\Notes\ds\en\NOtes\qp\en
\generalmeter{\meterfrac68}\changecontext
\NOtesp\pt c\qa c\en\NOtes\qp\en\Notes\ds\en\endextract
\xtrct3\generalmeter{\meterfrac32}\Startextract
\NOTes\ha c\hpause\hpause\en
\generalmeter{\meterfrac64}\changecontext
\NOTes\ha c\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qp\en\endextract
\writeextract

\scale{0.8}
\xtrct1\generalmeter{\meterfrac{12}8}\Startextract
\NOTesp\wrong\pt c\ha c\hpausep\en\endextract
\xtrct2\generalmeter{\meterfrac{12}8}\Startextract
\Notes\notrec\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\NOtes\qp\en\Notes\ds\en\endextract
\xtrct3\generalmeter{\meterfrac{12}8}\Startextract
\NOTesp\right\pt c\ha c\en\NOtesp\qpp\qpp\en\bar
\NOTesp\right\pt c\ha c\en\NOtesp\qp\en\Notes\ds\en\NOtesp\qp\en\Notes\ds\en\endextract
\writeextract

\scale{0.6}
\xtrct1\generalmeter{\meterfrac{12}8}\Startextract
\Notes\right\ca c\ds\ds\en\NOtesp\qpp\en\NOTesp\hpausep\en\bar
\Notes\right\ca c\ds\ds\en\NOtes\qp\en\Notes\ds\en\NOTesp\hpausep\en\endextract
\xtrct2\generalmeter{\meterfrac{15}8}\Startextract
\Notes\wrong\ca c\ds\ds\en\NOtesp\qpp\qpp\qpp\qpp\en\bar
\Notes\notrec\ca c\ds\ds\en\Notesp\qp\en\Notes\ds\en
   \Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\Notesp\qp\en\Notes\ds\en\bar
\Notes\right\ca c\ds\ds\en\NOTes\hpausep\hpausep\en\endextract
\writeextract

\scale{0.8}
\xtrct1\generalmeter{\meterfrac64}\Startextract
\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract
\xtrct2\generalmeter{\meterfrac64}\Startextract
\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar
\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract
\xtrct3\generalmeter{\meterfrac64}\Startextract
\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar
\NOTesp\right\pt c\ha c\hpausep\en\endextract
\writeextract

%\scale{0.8}
%\xtrct1\generalmeter{\meterfrac{3\meterplus 2}8}\Startextract
%\NOTesp\notrec\hpausep\en\NOTes\hpause\en\NOtes\qa c\en\endextract
%\xtrct2\generalmeter{\meterfrac64}\Startextract
%\NOTes\right\hpause\en\NOtes\qp\en\NOTes\hpause\en\NOtes\qa c\en\bar
%\NOTesp\right\hpausep\en\NOtes\qp\qp\qa c\en\endextract
%\xtrct3\generalmeter{\meterfrac64}\Startextract
%\NOTesp\right\pt c\ha c\en\NOTes\hpause\en\NOtes\qp\en\bar
%\NOTesp\right\pt c\ha c\hpausep\en\endextract
%\writeextract

Multibar rests

\scale{1.1}
\def\centernum#1{\centerbar{\zcharnote{9}{\meterfont\lrlap{#1}}}}
\xtrct1\generalmeter{}\Startextract
\NOtesp\sk\en\def\atnextbar{\znotes\centernum{2}\centerbar{\PAuse}\en}\bar
\NOTes \sk\en\def\atnextbar{\znotes\centernum{3}\centerbar{\PAuse\off{2.5\elemskip}{\pause}}\en}\bar
\NOtesp\sk\en\def\atnextbar{\znotes\centernum{4}\centerbar{\PAUSe}\en}\bar
\NOTes \sk\en\def\atnextbar{\znotes\centernum{5}\centerbar{\PAUSe\off{2.5\elemskip}{\pause}}\en}\bar
\NOTes \sk\en\def\atnextbar{\znotes\centernum{6}\centerbar{\PAUSe\off{2.5\elemskip}{\PAuse}}\en}\bar
\NOTEs \sk\en\def\atnextbar{\znotes\centernum{7}\centerbar{\PAUSe\off{2.5\elemskip}{\PAuse}\off{2.5\elemskip}{\pause}}\en}\bar
\NOTes \sk\en\def\atnextbar{\znotes\centernum{8}\centerbar{\PAUSe\off{2.5\elemskip}{\PAUSe}}\en}\bar
\NOTEs \sk\en\def\atnextbar{\znotes\centernum{9}\centerbar{\PAUSe\off{2.5\elemskip}{\PAUSe}\off{2.5\elemskip}{\pause}}\en}\bar
\NOTEs \Hpause 4{0.83}\en\def\atnextbar{\znotes\centernum{10}\en}\bar
\NOTEs \Hpause 4{0.83}\en\def\atnextbar{\znotes\centernum{11}\en}\endextract
\writeextract
\vfill\eject\bye

From mutex-owner@mail2.gmd.de Mon Feb 17 20:54:08 1997
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Date: Mon, 17 Feb 1997 21:54:08 +0100
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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The following reached me as mutex-owner@gmd.de. I assume that it was ment
for mutex@gmd.de. So here it is:                                 -- Werner

Date: Fri, 14 Feb 1997 17:03:54 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>

I had the same problem with the piano brace in an earlier version of
musictex.  I rebuilt the appropriate pk file from the tfm file.  If
you like I can send you a copy.  Just let me know what format you
would like the binary file encoded in - uuencode, base64, BinHex -
whatever.  These days everyone is using MusixTeX, but I confess to
being a luddite who hasn't moved on from MusicTeX yet.

Regards

Paul McIlroy

From mutex-owner@mail2.gmd.de Tue Feb 18 09:22:38 1997
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Date: Tue, 18 Feb 1997 10:22:38 +0100 (MET)
From: Maurizio Codogno <mau@beatles.cselt.stet.it>
Message-Id: <199702180922.KAA22954@beatles.cselt.stet.it>
To: mutex@gmd.de
Subject: [E-musixtex] \generalsignature at song's end
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Dear all,
I composed a tune, an now I am writing it with musixtex 0.49 (Egler version),
but a problem came.

The refrain of the tune is in A, while the verse is in C. I have no problem
in switching the first context with \generalsignature{0}, but I cannot
put the three sharps back at the end, before \setrightrepeat\stoppiece% .

I understand that 

\notes\qsk\cl {=n}\itieu0{l}\pt l\ql l\qsk\ttie0\hl l\en%
\generalsignature{3}
\setrightrepeat%
\stoppiece% bar no 36

cannot work because the sharps would be put at the beginning of next
bar, which does not exists. But \setsign{1}{3} before \setrightrepeat
does not work either. Any idea?

Thanks, .mau.

From mutex-owner@mail2.gmd.de Tue Feb 18 11:46:55 1997
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Date: Tue, 18 Feb 1997 12:46:55 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199702181146.AA02277@sunick.gmd.de>
To: mutex@gmd.de, mau@beatles.cselt.stet.it
Subject: Re: [E-musixtex] \generalsignature at song's end
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> Date: Tue, 18 Feb 1997 10:22:38 +0100 (MET)
> From: Maurizio Codogno <mau@beatles.cselt.stet.it>

> The refrain of the tune is in A, while the verse is in C. I have no problem
> in switching the first context with \generalsignature{0}, but I cannot
> put the three sharps back at the end, before \setrightrepeat\stoppiece% .

Same case occurs in Bach's suites for cello solo often between Menuet I and II.
Following solution works for me with the current T.-version at the end of Menuett II.

\rightrepeat
\setsign13\addspace{-0.5\afterruleskip}\zchangecontext
\addspace{-\afterruleskip}\znotes{\zcharnote{...}{\it...da Capo}\en\zstoppiece

This works with \generalsignature, too.
I use a similar solution between Menuet I and II.

Imho it is logically correct to put the new signature behind the right repeat,
because it does not belong to the repeated verse, but to the following tune.


Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Tue Feb 18 13:25:44 1997
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Date: Tue, 18 Feb 1997 14:25:44 +0100
In-Reply-To: Han-Wen Nienhuys <hanwen@stack.nl>
        "Re: PMX 1.1 / C version - bugfix" (Feb 18,  2:14pm)
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Subject: Re: PMX 1.1 / C version - bugfix
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On Feb 18,  2:14pm, Han-Wen Nienhuys wrote:
>
> On Mon, 17 Feb 1997, Stefan Evert wrote:
> > Which rules out gcc2.6.3 as a reason for the bug. I'm completely
> > mystified. pmxb works on all the systems that I have access to,
> > notably on Linux 2.0 with gcc2.7.2.1 !!
>
> These bugs can be difficult to spot.. LilyPond on intel linux happily
> divided 1 by 0.0, while crashing on Digital Unix.
>
> The only solution is to run on a lot of platforms.

The reason may be related to the version of the libraries. Originally
I installed gcc 2.6.3 (I think), and I am not sure if I upgraded any
libraries when upgrading gcc to 2.7.2p

-- 
Jan Arne Fagertun <Jan.A.Fagertun@energy.sintef.no>   Fax: +47 73593580
http://www.termo.unit.no/mtf/people/janaf/          Phone: +47 73596890
  Research Engineer, SINTEF Applied Thermodynamics and Fluid Dynamics
            - 950102 (jaf): Linuxers do it with pleasure -



From mutex-owner@mail2.gmd.de Tue Feb 18 13:14:17 1997
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Date: Tue, 18 Feb 1997 14:14:17 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
Cc: Jan Arne Fagertun <janaf@energy.sintef.no>, mutex@gmd.de
Subject: Re: PMX 1.1 / C version - bugfix
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On Mon, 17 Feb 1997, Stefan Evert wrote:
> > the reason was "log(0.)". I added a fix, which is included below.
> > 
> Thanks to everybody who went to the trouble of debugging and sending a
> bugfix. This was very valuable, since I've been unable to re-create the
> IOT-Trap-crash.
> 
> > I run Linux, version 1.2.13, with gcc version 2.7.2p
> Which rules out gcc2.6.3 as a reason for the bug. I'm completely
> mystified. pmxb works on all the systems that I have access to, notably on
> Linux 2.0 with gcc2.7.2.1 !!

These bugs can be difficult to spot.. LilyPond on intel linux happily 
divided 1 by 0.0, while crashing on Digital Unix.

The only solution is to run on a lot of platforms.

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Tue Feb 18 15:22:39 1997
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Date: Tue, 18 Feb 1997 16:22:39 +0100 (MET)
From: Maurizio Codogno <mau@beatles.cselt.stet.it>
Message-Id: <199702181522.QAA17912@beatles.cselt.stet.it>
To: Werner.Icking@gmd.de
Subject: Re: [E-musixtex] \generalsignature at song's end
Cc: mutex@gmd.de
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% Following solution works for me with the current T.-version at the end of 
Menuett II.
% 
% \rightrepeat
% \setsign13\addspace{-0.5\afterruleskip}\zchangecontext
% \addspace{-\afterruleskip}\znotes{\zcharnote{...}{\it...da Capo}\en\zstoppiece
% 
% This works with \generalsignature, too.

E.049 has no \zchangecontext, but \zbar\Writ@newsign is a good substitute.
Thanks.

% Imho it is logically correct to put the new signature behind the right repeat,
% because it does not belong to the repeated verse, but to the following tune.

In my case there is no (logical) difference, I think, since I should
go to the beginning of the piece. Anyway, this is not an issue.

ciao, .mau.

From mutex-owner@mail2.gmd.de Tue Feb 18 16:43:50 1997
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Date: Tue, 18 Feb 1997 17:43:50 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX 1.1 / C version  -  patchlevel 2  RELEASED
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Hi, PMX aficionados -- 
again --

> I've now included the bugfix that was suggested to me by modifying the
> FORTRAN source of pmxb. The patched version is now available from
>
> ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.1.1.tar.gz
>
> Whenever pmxb tries to evaluate an undefined log() in the log2() 
> subroutine, a WARNING message is printed to stdout. 

Well, I've figured out at last why log2() gets called with a zero
argument. I was unable to fix it, but I've removed the WARNINGs. Secondly,
since the same mechanism creates some array boundary violations (which
didn't show so far but may eventually lead to segfaults), I had f2c
include bounds-checking code, which I patched to print dots instead of
WARNINGs. 
The new patched version is available now in the usual place:

ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.1.2.tar.gz

You'll notice that it has substantially grown because of the
bounds-checking code. It's still very fast on the computers I have access
to, but if you experience problems because of the size or whatever, you
should try pmx-1.1.1 !

I hope we're reasonably safe now.

-Stefan



From mutex-owner@mail2.gmd.de Wed Feb 19 09:49:15 1997
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Date: Wed, 19 Feb 1997 10:49:15 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199702190949.AA02703@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: [E-musixtex] \generalsignature at song's end
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> Date: Tue, 18 Feb 1997 16:22:39 +0100 (MET)
> From: Maurizio Codogno <mau@beatles.cselt.stet.it>
> 

[... I wrote ...]
> % \rightrepeat
> % \setsign13\addspace{-0.5\afterruleskip}\zchangecontext
> 
> E.049 has no \zchangecontext, but \zbar\Writ@newsign is a good substitute.

\zchangecontext or \changecontext isn't really neccessary when changing the
signature only. Nevertheless it does work, if it exists; and so I use it.

\changesignature may be the right substitute. But I got some overfull hboxes
when I replaced \zchangecontext by \changesignature in my test examples. 
Maybe that this is a bug.

Werner

The test example:

\geometricskipscale
\startmuflex
\def\example#1#2#3#4{\generalsignature{#1}
\startpiece\addspace\afterruleskip
\NOtes\qu{cccccc}\en\bar
\NOtes\slur ccd1\qu c\en
\NOtesp\qupp c\en
\notes\ccu c\en
%\generalsignature{#2}\zchangecontext\addspace{-0.5\afterruleskip}%
\generalsignature{#2}\changesignature
\NOtes\qu{ccc}\en\bar
\NOtes\qu{cccccc}\en\bar
\NOtes\qu{cccccc}\en\bar
\NOtes\slur ccd1\qu c\en
\NOtesp\qupp c\en
\notes\ccu c\en
%\generalsignature{#3}\zchangecontext\addspace{-0.5\afterruleskip}%
\generalsignature{#3}\changesignature
\NOtes\qu{ccc}\en\bar
\NOtes\qu{cccccc}\en
\mulooseness#4\stoppiece\vfill}

\example{-7}7{-7}{-1}
\example{-7}{-3}{-7}{-1}
\example737{-1}
\example7{-7}7{-1}
\eject

\example{-7}7{-7}0
\example{-7}{-3}{-7}0
\example7370
\example7{-7}70
\eject

\example{-7}7{-7}1
\example{-7}{-3}{-7}1
\example7371
\example7{-7}71
\eject

\example{-7}7{-7}2
\example{-7}{-3}{-7}2
\example7372
\example7{-7}72
\eject

\example{-7}7{-7}3
\example{-7}{-3}{-7}3
\example7373
\example7{-7}73
\eject

\example{-7}7{-7}4
\example{-7}{-3}{-7}4
\example7374
\example7{-7}74
\eject
\endmuflex
\bye


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From: Andreas.Egler@t-online.de (Andreas Egler)
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Hi to all developer and beta-tester of OpusTeX,

new version is available. Only local minor changes, like before.

bye, andreas

From mutex-owner@mail2.gmd.de Sat Feb 22 17:09:47 1997
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Hy to all MusiXTeXers and excuse me for being just a beginner who has an
elementary problem, but...

I downloaded MusiXTeX T.69, tried to follow the installation rules and I
suppose most of the installation went OK. Next I decided to process some
examples from the musixexa package and here the trouble comes. For the
first time TeX works well and produces the jobname.mx1 file. But then,
when trying to execute musixflx, I always get the same error: 
Don't stress \mulooseness too much!!!

This shouldn't happen ! Too less bars or \mulooseness too large?

I changed \mulooseness in reasonable range and everything, but nothing
worked. Can anyone tell me, what's wrong?

Thanx,
Jan Willemson



From mutex-owner@mail2.gmd.de Tue Feb 25 16:48:21 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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Dear subscribers of the MuTeX mailing list,
 
this list will run from March 4th to April 1st unattended. From my
experience up to now this should be possible without any problems.
 
Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request ( don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.

If there seem to be major problems with the list, please inform 
listmaster@gmd.de


Regards, Werner

PS: In the same way the music part of ftp.gmd.de runs unattended.
    That means that new versions of e.g. MusiXTeX or PMX will not
    automatically be distributed as far as they are mirrored from
    ftp.gmd.de. I informed the persons involved by separate mails.

From mutex-owner@mail2.gmd.de Thu Feb 27 08:38:17 1997
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From: Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl>
Subject: hello
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Hi All,

I am new to this list, I've set some small pieces in MusicTex and I really
love the output, although I found that slurs could be nices, so now I am
using MusiXTex. I think I set it up correctly, but somehow I dont
understand why the following code won't run. I tried to 
keep it as small as possible.
I have had it running some hours ago, but then the 'beamed notes' were
looking awfull like:

|O                                                           |O
|                                                            |
|____________________________________________________________|


way to big ;-)


Hope someone can help me. It's probably triviual but I dont see it anymore.


-------------- begin husong.tex --------------------------
\input musixtex
\parindent15mm
\generalmeter{\meterfrac24}
\instrumentnumber{2}
\setstaffs1{2}
\setstaffs2{1}
\setclef1{60}
\setclef2{0}
\generalsignature{-2}
\setname1{Piano}
\setname2{Flute}
\startmuflex
\startpiece
% bar 1
\Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
\Notes\qu H|\qu h&\ibl0n0\qb0n\tbl0\qb0n\enotes\bar
%
% bar 2
\Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
\Notes\qu G|\qu g&\ql k\enotes
\endpiece
\endmuflex
\end
--------------------end husong.tex----------------------------

----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl 
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387           
----------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Feb 27 11:41:27 1997
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Date: Thu, 27 Feb 1997 12:41:27 +0100
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199702271141.AA02664@sunick.gmd.de>
To: mutex@gmd.de, M.J.v.d.Hoek@stud.tue.nl
Subject: Re: Note spacing (was: hello)
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> Date: Thu, 27 Feb 1997 09:38:17 +0100
> From: Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl>

>[...]
> \Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
> \Notes\qu H|\qu h&\ibl0n0\qb0n\tbl0\qb0n\enotes\bar
> % bar 2
> \Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
> \Notes\qu G|\qu g&\ql k\enotes

You didn't select properly the different note spacings by
\notes, \notesp, \Notes, ..., \NOTES. Have a look at the 
documentation section "Easy selecting note spacing".

Your input could then look like:

> \Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
> \Notes\qu H|\qu h&\ibl0n0\qb0n\tbl0\qb0n\enotes\bar
> % bar 2
> \Notes\qu G|\qu g&\ibl0m0\qb0m\tbl0\qb0m\enotes
> \NOtes\qu G|\qu g&\ql k\enotes
  ^^^^^^
    !
I for myself prefer well-known note names and octaviation which
is local within \notes...\en and for each staff

> \Notes\qu G|\qu g&\ibl0{'f}\qb0f\tbl0\qb0f\en
> \Notes\qu {'A}|\qu{'a}&\ibl0{'g}0\qb0g\tbl0\qb0g\en\bar
> % bar 2
> \Notes\qu G|\qu g&\ibl0{'f}0\qb0f\tbl0\qb0f\enotes
> \Notes\qu G|\qu g&\ql{'d}\enotes

Hope this hilft -- Werner

PS: I changed the subject to make it easier to find this thread in the
    archive e.g. via  http://www.gmd.de/Mail/


From mutex-owner@mail2.gmd.de Thu Feb 27 16:15:22 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: Note spacing (was: hello)
To: mutex@gmd.de
Date: Thu, 27 Feb 1997 11:15:22 -0500 (EST)
In-Reply-To: <199702271141.AA02664@sunick.gmd.de> from "Werner Icking" at Feb 27, 97 12:41:27 pm
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Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl> wrote...

>I am new to this list, I've set some small pieces in MusicTex and I really
>love the output, although I found that slurs could be nices, so now I am
>using MusiXTex. I think I set it up correctly, but somehow I dont
>understand why the following code won't run. I tried to 
>keep it as small as possible.
>I have had it running some hours ago, but then the 'beamed notes' were
>looking awfull like:
>
 [snip...]
>
>
>way to big ;-)

Greetings Maartin... I tried running your small example, and I saw
it spaced very wide (I hope that is what you meant by "way too big.")

...[snipped my answer because Werner gave a great answer before I
    submitted mine... (and I was wrong too!)  Thanks Werner! (and
     have a good vacation!)...]

More generally, I know what it is like to be a beginner in musixtex
(which I still am!) and want to encourage you NOT TO GIVE UP.

A few things I have found help a lot.

1)  Put % at the end of every line... even if you don't need it.
It is a habit that will eventually pay off.

2)  Review a lot of examples!  There is always something more to
learn, and another time saving trick to incorporate.

3)  Get really good at the basics.... Then learn how to write macros...
Get a TeX book if you can.  (Addison Wesley ISBN 0-201-13448-9)

4)  Try all the pre-processors.... Each one has strong points and weak
points....

   abc2mtex   (contact Chris Walshaw, C.Walshaw@greenwich.ac.uk or...
                http://www.gre.ac.uk/~c.walshaw/abc/)
   pmx        (contact Don Simons, dsimons@logicon.com, or
               ftp.gmd.de/music/musixtex/software/pmx/)
   mpp        (contact Jan Nieuwenhuizen, or http://www/gmd.de/ under
               the musixtex archives, or...
                http://asterix.urc.tue.nl/~tnnvjn/mpp-english.html)
   others?    (I am sure there are others I don't know about!)

Each of these is relatively easy to set up and use!  An important feature of
these preprocessors is that the musixtex output you obtain provides a very
ready example to see "How do I write musixtex to do that?"  But then, you
will get really good at using the preprocessor too, so you win twice!!

Keep on...

Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Fri Feb 28 11:13:30 1997
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Date: Fri, 28 Feb 1997 12:13:30 +0100
To: mutex@gmd.de
From: Maarten van den Hoek <mjh@worldaccess.nl>
Subject: setting two instruments
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Hi all,

Thanks for the comment. I hope I am not bothering too much, I dont think
the problem is the notespacing. I think there is something going wrong when
I want to write the Piano part. I wrote the melody for the Flute in a
seperate MuTeX file and that one works perfectly now. But now I want to try
to write the Flute melody together with the FLute part (1 bar for the
flute, 2 bars for the piano) and then I get this error:

--- begin excerpt from hu_song2.log
--------------------------------------------------------
! Argument of \writ@meterp has an extra }.
<inserted text> 
                \par 
<to be read again> 
                   }
\body ...andafter \writ@meterp \the \m@t }
                                          \upd@width \n@skip \writ@bo...
\iterate ->\body 
                 \let \next \iterate \else \let \next \relax \fi \next 
\body ... \@ne \s@l@ctinstr {\writ@meteri 
                                          }
\next ->\body 
              \let \next \iterate \else \let \next \relax \fi \next 
...
l.26 \startpiece          
--- end excerpt from hu_song2.log
--------------------------------------------------------

I used the following code (This one goes wrong!). I hope someone can help me,
the stupid thing is that I wrote the music for the Flute seperately too and
that
looks just perfect [I can post it too if you want (in total 16 bars)] I
really don't understand my mistake here because it seems to go wrong before
I even tried to code any note (at \startpiece).

--- begin hu_song2.tex
--------------------------------------------------------
\input musixtex
\input musixsty
%
\centerline{\BIGtype Hungarian Folk-tune}
\medskip
\line{{\sl\today}\hss for C-instruments}
\line{\hss transcripted by M.J. van den Hoek}
\bigskip
%
\generalsignature{-2}
\transpose=0
%
\parindent5mm
\generalmeter{\meterfrac24}
\instrumentnumber{2}
\setstaffs1{2}
\setstaffs2{1}
\setclef1{60}
\setclef2{0}
\nobarnumbers
\startmuflex
\startpiece
% bar 1
\Notes\cu{'g}\ds|\cu{e}\ds&\Uptext{Lightly}\sk\ibl0{'f}0\qb0f\tbl0\qb0f\en%
\Notes\cu{'g}\ds|\cu{e}\ds&\ibl0{'g}0\qb0g\tbl0\qb0g\en%
% bar 2
\bar\qlp{'g}|\hu e&\Notes\ibl0{'f}0\qb0f\tbl0\qb0f\en%
\NOtes\cl{'f}|&\ql{'d}\en%
\Endpiece
\endmuflex
\end
--- end hu_song2.tex --------------------------------------------------------



Greetings,
Maarten



----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl 
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387           
----------------------------------------------------------------

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Date: Fri, 28 Feb 1997 10:29:14 -0500 (EST)
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Greetings:

Does anyone know a valid E-mail address for the author(s) of
MPP... I would like to submit some comments, but yesterday when
I mailed to  "tnnvjn@asterix.urc.tue.nl" the mail was returned with
"User unknown."

Thanks.
Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Fri Feb 28 14:43:00 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: setting two instruments
To: mjh@worldaccess.nl (Maarten van den Hoek)
Date: Fri, 28 Feb 1997 09:43:00 -0500 (EST)
Cc: mutex@gmd.de
In-Reply-To: <3.0.32.19970228121237.00695874@pop3.worldaccess.nl> from "Maarten van den Hoek" at Feb 28, 97 12:13:30 pm
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> 
> Hi all,
> 
[snip...]
> \generalmeter{\meterfrac24}
> \instrumentnumber{2}

Maarten:

You simply need to switch the above two lines around...

\instrumentnumber{2}
\generalmeter{\meterfrac24}

I apologize that I saw this bug yesterday in your message, but I
assumed it was just a mis-type in your simplified example.

What I believe happens here is that executing \generalmeter...
sets up an event {a sequence of write meter commands} that is
later expanded when you say \startpiece.... Since in your first
case, musixtex doesn`t know how many instruments there are, it
assumes 1.  Later, when the "fruits" of \generalmeter are expanded
they are driven by the (now known) number of instruments, but the
argument list falls show (has one, when two are expected...), so TeX
starts eating up something it should not (??)  ... So much for
my little theories...

By the way, if you ever want to see the whole gory details... just
put  \tracingmacros=1 into your file before some offending piece of
code, and your log file will be filled with every little detail of
the macros as they were expanded.... This helps particularly in
seeing what the actual macro arguments are in some cases.

Happy musixtexing...

Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Fri Feb 28 17:07:13 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: setting two instruments
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Maarten van den Hoek <mjh@worldaccess.nl> wrote

>I think there is something going wrong when I want to write the Piano 
>part. 
>...

1. Put \instrumentnumber...  before \generalmeter...

2. Beginning of bar 2, you have some notes without any \Notes

--Don Simons (dsimons@logicon.com)


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To: mutex@gmd.de
From: Maarten van den Hoek <mjh@worldaccess.nl>
Subject: Re: Looking for MPP author's e-mail address.
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Hi,

Thanks for the solutions Don and Joel! It worked!

>MPP... I would like to submit some comments, but yesterday when
>I mailed to  "tnnvjn@asterix.urc.tue.nl" the mail was returned with

It happens that I have an accont on the same system here at the 
university and this user does indeed not exist anymore, but if 
you have a name I can check if he maybe has an account on 
another machine here at the university.

Greetings,
Maarten




----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl 
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387           
----------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sat Mar  1 22:04:41 1997
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Date: Sat, 1 Mar 1997 23:04:41 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Joel Hunsberger <hunsberg@sqa1.si.com>
Cc: mutex@gmd.de, Jan Nieuwenhuizen <jan@digicash.com>
Subject: Re: Looking for MPP author's e-mail address.
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On Fri, 28 Feb 1997, Joel Hunsberger wrote:

> Greetings:
> 
> Does anyone know a valid E-mail address for the author(s) of
> MPP... I would like to submit some comments, but yesterday when
> I mailed to  "tnnvjn@asterix.urc.tue.nl" the mail was returned with
> "User unknown."

(See Cc list). Please note that MPP is no longer being maintained. We are 
working on a much more ambitious project, called lilypond. You can try 
the latest version (0.037, I believe), available at 

	ftp://pcnov095.win.tue.nl/pub/lilypond

Of course, we're still interested in any comments, but mpp is so broken 
by design, that we won't try to enhance it. LilyPond can do most of the 
things that mpp can.. and a lot more (MIDI output, for instance)
We are working towards a 0.1 release, which will be ready after we finish 
a new version of the input language. My best guess is: within 1 or 2 months

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Sun Mar  2 14:24:04 1997
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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: MUS <MUS@RAM1.HUJI.AC.IL>
Cc: mutex@gmd.de
Subject: Re: Looking for MPP author's e-mail address.
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On Sun, 2 Mar 1997, MUS wrote:

> Does anyone know of a program for converting mpp to something
> else, abc or musixtex or anything?

:-)

Mpp *is* a program to convert mpp to Musixtex.


Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Mon Mar  3 13:01:30 1997
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To: Han-Wen Nienhuys <hanwen@stack.nl>
Cc: Joel Hunsberger <hunsberg@sqa1.si.com>, mutex@gmd.de
Subject: Re: Looking for MPP author's e-mail address. 
Date: Mon, 03 Mar 1997 14:01:30 +0100
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On Saturday, 1 March 1997, Han-Wen Nienhuys writes:

hi, joel,

han-wen is right, but i-m not hiding or anything,
i work for digicash now,

greetings,
jan.

> (See Cc list). Please note that MPP is no longer being maintained. We are 
> working on a much more ambitious project, called lilypond. You can try 
> the latest version (0.037, I believe), available at 
> 
> 	ftp://pcnov095.win.tue.nl/pub/lilypond
> 
> Of course, we're still interested in any comments, but mpp is so broken 
> by design, that we won't try to enhance it. LilyPond can do most of the 
> things that mpp can.. and a lot more (MIDI output, for instance)
> We are working towards a 0.1 release, which will be ready after we finish 
> a new version of the input language. My best guess is: within 1 or 2 months

mmm, how many nights is that?

Jan Nieuwenhuizen <jan@digicash.com>
http://www.digicash.com/~jan


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To: Han-Wen Nienhuys <hanwen@stack.nl>
Cc: Joel Hunsberger <hunsberg@sqa1.si.com>, mutex@gmd.de
Subject: Re: Looking for MPP author's e-mail address. 
Date: Mon, 03 Mar 1997 14:01:30 +0100
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On Saturday, 1 March 1997, Han-Wen Nienhuys writes:

hi, joel,

han-wen is right, but i-m not hiding or anything,
i work for digicash now,

greetings,
jan.

> (See Cc list). Please note that MPP is no longer being maintained. We are 
> working on a much more ambitious project, called lilypond. You can try 
> the latest version (0.037, I believe), available at 
> 
> 	ftp://pcnov095.win.tue.nl/pub/lilypond
> 
> Of course, we're still interested in any comments, but mpp is so broken 
> by design, that we won't try to enhance it. LilyPond can do most of the 
> things that mpp can.. and a lot more (MIDI output, for instance)
> We are working towards a 0.1 release, which will be ready after we finish 
> a new version of the input language. My best guess is: within 1 or 2 months

mmm, how many nights is that?

Jan Nieuwenhuizen <jan@digicash.com>
http://www.digicash.com/~jan


From mutex-owner@mail2.gmd.de Tue Mar  4 09:57:31 1997
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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: mutex@gmd.de
Subject: Re: Comments on MPP (and points beyond.) 
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>If MPP is broken beyond repair.. then please... Break ALL my software!!
>
>:-))

ROTFL.

But I wasn't kidding. Every once in a while, I have a major attack of
hybris, and I go in to enhance MPP. I usually end up thoroughly
frustated within an hour or so. I concur, it does work but extending
MPP is a major pain.

>I have had some great experiences with MPP in just one week of use.
>(Just happened to download it from the gmd.de archives when I was
>browsing around looking for musixtex updates...)

Wow. If I remind correctly this is 0.45 ( superseeded by 0.46, which
is likely to contain slightly less bugs)

>In addition to my comments (first set...) I will mention a few need that I
>as a user (with no knowledge of Lilypond) would find most useful...
>
>I have attached the comments I originally made, although I recognize that
>your on-going work on Lilypond has probably addressed and answered most
>of these needs.  (I had not connected MPP with Lilypond prior to your

I'll answer the questions, from the Lilypond p.o.v.

[WARNINGWARNINGWARNINGWARNING]

LilyPond is available for download now, but it should be considered
BETA. We will most probably do a drastic syntax change soon. You have
been warned.

Unfortunately, you do need UNIX or at least WIN32 for compiling it.

>* I need to typeset choral music, typically SATB with Piano accompaniment.
>Any tools that would help integrate the words along with the capability of
>MPP would be great.  As an example, I was able to use MPP to get the words
>into the Musixtex output, using \verb{words..}, and then re-defined macros
>to further work the words into place within the .tex file, but I could only
>succeed at that because I know how to overcome TeX and (hence) Musixtex.
>It is still too much work.

You're right. In Lilypond you can do: 

	text1 = music {
		@
		\textstyle "roman"
		Twin- kle, twin- kle, lit- tle star,2
		How I won- der what you are.2
		Up a- bove the world so high,2
		Like a dia- mond in the sky.2
		Twin- kle, twin- kle, lit- tle star,2
		How I won- der what you are!2
		@
	}

>* The ability to integrate separate parts into the correct "combs" of 
>Musixtex was absolutely THE MOST IMPORTANT point of MPP's usefulness.
>(This was unlike anything I had seen before...)

It is retained in Lilypond, and every part can even have a different
meter. If you insist on Musixtex, then you might try PMX, which can
also do this (i think).

>As a pipe dream... how about
>the ability to reverse the process on any (arbitrary) musixtex file... 
that is
>Musixtex to MPP-like individual files by part.  This would allow one to
>disassemble a musixtex file and re-assemble it in different ways, etc.

Impossible. Musixtex is a real *typesetting* language, and it is large
superset of what MPP (or LilyPond) can do.

Well, it might be done, but i'd rather spend time on other
projects. We got a long way doing MIDI to Mudela conversion (=LilyPond
input). But given the small amount of time needed for retyping stuff
in MPP/LilyPond, and the big task that Musixtex to Mudela conversion
would be, I'd think that this is not very useful.

>I am most impressed with it's "intelligence" in partitioning the "slices"
>from various files into the \note...\en "cells"... seems to allow
>easy final editing and adjusting without big problems.

[um. I have no clue 'bout mpp, actually.]

>However,   >mpp voice pianorh , pianolh  (space around the comma)
>works fine.... The document needs to tell this story?

yep. You can send a patch if you like :-)

>I don't like the requirement to explictly re-state flats, sharps and 
naturals
>that appear in the key signature.  For example, having to say bes for each
>b-flat in a flat key is a MAJOR annoyance and a great source of errors
>and need for rework.  (Also it is not consistent with the way musixtex
>does it....)
>
>You may have good reason to do this (I can guess a few reasons)...

The goal of lilypond (and MPP) was to design a language which conveys
the *musical* message of a piece. That is the reason that do not ask
the user to enter the line on which the note is is. (Or the "natural"
note-name without any "es" or "is" postfix)

We do realise it is a bit shortsighted of us to assume that any user
could readily read the music he/she is entering. We might extend
LilyPond to allow "programmable" intervals, keys and clefs (and thus
give him a means to build his own scales, custom etc.).

For now, you can program LilyPond to use custom notenames and do

	notenames { ces_key_notenames }
	music { $ % music in the key of ces
		...
	$}

as an ad-hoc solution.

>but it
>is more work than it is worth.  What I am doing to work around this i
>to state all mpp input in the key of C, and then fix the key signature
>stuff in the .tex files when it becomes the main source for final editing.

ughr. Open mouth, insert appendage, apply fierce underpressure. ;)

>I suggest that you add a "mode" switch so the user could switch between the
>to styles... Like maybe... \enforcekey for doing what you do now, and 
provide
>\noenforcekey for doing it like musixtex does...

I added the explanation to the LilyPond faq. (You're not the only who did
this suggestion)



Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen



From mutex-owner@mail2.gmd.de Fri Mar  7 05:53:25 1997
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Date: Fri, 7 Mar 1997 14:53:25 +0900
From: Saito <saito@edu1.phys.nagoya-u.ac.jp>
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I am a newcomer of musixtex.
Please tell me the way to install musixtex to Macintosh
or where to find a document file about install.

I have files in musixtex-T69.tar.gz now.
Are there any other files necessary? 

Satoshi Saito
saito@edu1.phys.nagoya-u.ac.jp

From mutex-owner@mail2.gmd.de Fri Mar  7 06:42:59 1997
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199703070642.IAA18744@calvyn.puk.ac.za>
Subject: Choral scores
To: mutex@gmd.de (Music Tex List)
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I missed the original post, and am re-quoting from Han-Wen Nienhuys's
reply, which I do not otherwise refer to, and have changed the title ...
how many more netiquette sins must one confess?

> >* I need to typeset choral music, typically SATB with Piano accompaniment.
> >Any tools that would help integrate the words along with the capability of
> >MPP would be great.  As an example, I was able to use MPP to get the words
> >into the Musixtex output, using \verb{words..}, and then re-defined macros
> >to further work the words into place within the .tex file, but I could only
> >succeed at that because I know how to overcome TeX and (hence) Musixtex.
> >It is still too much work.

I have precisely the same problem, and am at present working on it.
Rather than write my own preprocessor from scratch, I added yet another
level of preprocessing to PMX, which for purely instrumental music is
just about as easy as one can reasonably get without sacrificing
too much flexibility.  Unfortunately PMX does not at this stage support
lyrics except via the ability to intersperse TeX (including MusiXTeX)
commands.

The part we all enjoy most, I suspect, is designing our own input
language, pandering to our own pet likes and dislikes; and the part we
all hate is coding and debugging the program.  Unfortunately, bacause
we hate the last part so much, we sometimes handicap the input language
so that it becomes easier to implement.

Here are my design goals (pet likes and dislikes, remember!)
  1. It should look as much as possible like actual printed music.
  2. It should be usable by a secretary with elementary music education,
     but who is not an expert on music theory, computers, or TeX.

These goals are realized in the following features (or restrictions,
depending on your point of view):
  1. The music text is organized in paragraphs, and within each paragraph
     each line belongs to a different line of notes or lyrics in the
     printed music.  However, the paragraph itself need not describe a
     single, complete, system on the printed page -- that decision is left
     to PMX.
  2. The top-to-bottom sequence of the printed music is respected in the
     input language, not inverted as MusicTeX, MusiXTeX and unfortunately
     even PMX does.
  3. The first paragraph has a different structure from the others, and is
     used to describe things that must be done before the music gets into
     its stride.
  4. In music lines, the user must indicate bars: they are not optional
     as in PMX.  (But in lyrics lines they are not used.)

Given these hints, see if you can understand the first two paragraphs of
input that I quote below (the lyrics are not in English, but I hope you
can at least see where they are and how they are entered).

---------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Voices: S,A T,B
Clefs: G F
Choir: 1-2
Sharps: 2
Meter: 3/4
Pages: 1
Systems: 4

f f f | e2s e4  | f2 b4 | a2d | g4 g g | f2 f4  | g2 c4n | b2d  |
d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4  | f2d  |
L: Net soos ek is, geen hulp na-by, Al-leen U bloed ge-stort vir my,
L: Net soos ek is, nooi U vir my, Ver-ge-we rei-nig en be-vry,
L: Net soos ek is, U lief-de teer, werp al-le hin-der-pa-le neer.
a a a | g2s g4  | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4  | ds2d |
d d d | d2 d4   | d2 g4 | f2d | e4 e e | a2 a4  | g2 g4  | b2d  |

--------------------------------------------------------------------------

For the sake of those fluent in PMX, here is the PMX input produced
by these lines: 
following PMX input:

--------------------------------------------------------------------------
2 2 3 4 3 4  0.00000 2 1 4 20 0


bt
./
\\input musixcho\songtop2\songbottom1\
Tt
Net soos ek is
Tc
Charlotte Elliott
d43 d4 d4 //
a43 a4 a4 /
\Ttx Net|Net|Net*\ d44 \Ttx soos|soos|soos*\ d4 \Ttx ek|ek|ek*\ d4 //
f44 f4 f4 /
d2 d4 //
g2s g4 /
\Ttx is,|is,|is,*\ d2r \Ttx geen|nooi|U*\ d4r //
e2s e4 /
d2 g4 //
a2 g4 /
\Ttx hulp|U|lief-*\ d2 \Ttx na-|vir|de*\ d4 //
f2 b4 /
f2d //
a2d /
\Ttx by,|my,|teer,*\ d2d //
a2d /
e4 e4 e4 //
b4 b4 b4 /
\Ttx Al-|Ver-|werp*\ e4 \Ttx leen|ge-|al-*\ e4 \Ttx U|we|le*\ e4 //
g4 g4 g4 /
a2 a4 //
c2n c4 /
\Ttx bloed|rei-|hin-*\ d2s \Ttx ge-|nig|der-*\ d4 //
f2 f4 /
g2 g4 //
b2 e4 /
\Ttx stort|en|pa-*\ e2 \Ttx vir|be-|le*\ f4 //
g2 c4n /
b2d //
ds2d /
\Ttx my,|vry,|neer.*\ f2d //
b2d /
--------------------------------------------------------------------------

At this stage I am still designing the input language, and would be happy
to receive any comments.  My reprehensible method is to add a new feature
to the code as I go along, instead of planning the whole language and then
writing the code.

Dirk Laurie


From mutex-owner@mail2.gmd.de Fri Mar  7 10:11:07 1997
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From: C.Walshaw@greenwich.ac.uk
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Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@Danann.hea.ie, MORRIS@LISTSERV.IUPUI.EDU,
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* examples of abc usage
	* a list of web-accessible abc tune collections
	* the web-wide abc index (over 5000 web-accessible tunes listed)
	* the sectionalised web-wide abc index (split into bite-sized chunks)
	* link to the abc user group mailing list
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Fri Mar  7 15:43:18 1997
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199703071543.RAA21135@calvyn.puk.ac.za>
Subject: Re: Choral scores
To: mutex@gmd.de (Music Tex List)
Date: Fri, 7 Mar 1997 17:43:18 +0200 (SAT)
Cc: mig@ncc.up.pt (Miguel Filgueiras)
In-Reply-To: <199703070934.JAA09993@khako.ncc.up.pt> from "Miguel Filgueiras" at Mar 7, 97 09:34:41 am
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Miguel Figueras wrote:
> 
> I am also working on a music symbolic system, that started from being a
> pre-processor to MusicTeX, and I have also designed my own languages.
> Your proposal is quite similar to one of my languages (FVL). Maybe you
> want to give a look at the WWW page about my system at
> 
>   http://www.ncc.up.pt/~mig/SceX.html
[...]
> 
> One of the features of FVL is that you may define and change the layout of
> the document, i.e. what is the order of the voice fragments. I went to
> this solution because about 2 years ago there was a discussion in the
> mutex list about top-down vs. bottom-up order, and there is no consensus.
> 
Yes, that is necessary.  What I do is:
  All lines except voices must be labelled (e.g. L: for lyrics).
  Voices may be labelled (e.g. S: for soprano -- that is what the line
    "Voices: S,A T,B" at the top is for -- it identifies the labels.)
  An unlabelled line is taken to belong to the next voice in top-bottom
    order.  So if you like bottom-to-top (which probably means you are
    so used to MusicTeX etc. that you sneer at preprocessors) you can do
    it, but you must label each voice line.

I've had a look at your WWW page.  For the sake of those who haven't, 
we should indulge in detail only in personal e-mail, but I have a few
comments that could go to this list.

1. It really looks as if you are doing the whole thing in TeX.
   Wow!  Many people thought in last year's discussion that that
   is impossible.
2. It breaks my heart to see the typical MusicTeX look after I have got
   used to MusiXTeX.  Since your system is designed to support a variety
   of output languages I think you should bring in MusiXTeX as soon as
   possible.
3. "The first three kinds of processing are already possible with the
   prototypes (at present not publicly available) ..."
   You're not going to build up a fan club unless you are willing to
   make your implementation available.  People will listen politely
   but what they want is to see their own scores in print.
4. "Blanks have no special meaning and act only as a separator."
   This really makes life hard.  Your line of lyrics reads
     @ $ Bro - > ther > John > Bro - > ther > John $
   and most of that is caused by the decision relating to blanks.
   I write
     L:  Bro-ther John, Bro-ther John
   (the hyphen and space both act as syllable terminators) and
   hate the fact that I can't get rid of the L:.

In my opinion, the hardest part of writing a preprocessor is the expertise
in MusiXTeX that it takes.  Only someone who is a virtuoso in MusiXTeX can
produce beautiful output.  (In translating literature, the language into 
which you translate is the one you must know intimately.)  That is why I
hook up to PMX -- Don Simons has done the hard part, and it takes little
more than shuffling around the input to go from my notation to his.

Among the things in PMX that are obviously the product of a great deal
of experience and make typing the music fast are:

1. Notes are like words: one or more blanks separate them.
2. Pitch names are simply a to g.  No capitals or j, k, l etc.
   And they always appear as the first letter of a word.  So you know
   at a glance whether the word is a note or something else.
3. Almost everything takes one keystroke (it does take all of ten seconds
   to get used to the idea of only typing the first digit of 16, 32,
   and 64).  One advantage of this is that you no longer need a / to
   separate octave number and duration.
4. You only use the shift key when you do something unusual:
   everything ordinary is lower case.
4. You only need to know about octaves for the first note of a piece.
   After that, the closest note with the given pitch name is taken, and
   you only type another symbol if there is a jump of a fifth or more.

The only things about PMX that I really don't like are the horrid
Fortran data called "setup lines" at the start, the bottom-up coding,
and of course the fact that lyrics are not part of its design.

Dirk Laurie

From mutex-owner@mail2.gmd.de Fri Mar  7 19:06:16 1997
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From: taupin@lps.u-psud.fr
Subject: musixtex T.70 available
To: mutex@gmd.de (MusiXTeX list (gmd.de))
Date: Fri, 7 Mar 97 18:31:59 MET
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Subject: MusiXTeX version T.70
New version T.70 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.70  spurious fault corrected when \instrumentnumber not at right place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 
Daniel Taupin


From mutex-owner@mail2.gmd.de Fri Mar  7 17:48:15 1997
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Date: Fri, 7 Mar 1997 17:48:15 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
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Please forgive my naive question, but I am still using MusicTeX.  I keep
promising myself I will start to use MusixTeX (or MusiXTex whichever).
What confuses me is the plethora of pre-processors people keep referring
to.  I have just finished typesetting a song which has one line for a
flute part, one for the singer's melody, two for the lyrics (for which I
have a simple macro allowing me to offset them left or right by any
arbitrary amount) and two for the piano, which has several parts echoing
the flute and singer's melodies.  What would be the best pre-processor
for something like this ?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)


From mutex-owner@mail2.gmd.de Fri Mar  7 21:56:05 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Preprocessors
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Paul McIlroy <pmcilroy@bt-sys.bt.co.uk> wrote

>I have just finished typesetting a song which has one line for a flute 
>part, one for the singer's melody, two for the lyrics (for which I have 
>a simple macro allowing me to offset them left or right by any arbitrary 
>amount) and two for the piano, which has several parts echoing the flute 
>and singer's melodies.  What would be the best pre-processor for 
>something like this ?

I can only speak for PMX.  It doesn't do lyrics (yet).  It can do the 
rest of your job with one small caveat.  In its current incarnation, 
it can set off--with a left-margin bracket--a piano part as a separate 
instrument of two staves, provided it is the lowest in each system.  
Within each staff, there may be one or two independent lines of music, 
and chords are easy, so piano parts are easy.  

One thing that PMX does well is insert little bits of extra space 
anywhere they are needed to avoid collisions of all sorts between 
adjacent symbols.  Anyone who has ever used raw MusiXTeX to set a 
score of any length (and tried to make it look really good) knows that 
lots of time can be spent in this area.

From recent postings to this list, it looks like Dirk Laurie is at 
work on a choral pre-preprocessor for PMX.  It may very well spur me 
to get to work on incorporating lyrics directly into PMX.  

--Don Simons (dsimons@logicon.com)

From mutex-owner@mail2.gmd.de Fri Mar  7 23:08:27 1997
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Greetings!!

The current thread on Musi?TeX preprocessors, design requirements, and 
the like (which I am most interested in!) leads me to observe that the
"Grand Daddy" of all pre-processor langauage definition tools is actually
TeX itself, as evidenced by Latex, Mutex, MusicTeX and MusixTex....
which are extensive macro definition exercises using the language
alone.  While becoming engrossed at trying the processors (an entertaining
distraction) I had resorted to a number of TeX macro activities within
my own MusiXTex files...  

In the interest of promoting the sport, and maybe encourating a few
"newbies (me too)"... here's a few short examples.. My goal:  Anyone can
save a lot of time and error correction by learning how to make TeX
macros do the work... Successful pre-processors are always going to
reflect someone elses preferences (as they should.)  Your personal macros 
will be rooted in your own perpespective of what is right.  I guess it is
sort of amazing that the Mutex/MusicTex/MusiXTex.... authors managed to
create a such an adequate suite of macros to form a package that so 
entices the rest of us to complain about the fine points!  :=))

That said, here's some examples...

My objective was to more easily type set choral music (SATB with Piano
accompaniment).  I liked a lot of the things in musixcho.tex, and
I do use it for multiple word lines, but one project I had was a single
word line throughout about six pages of SATB/Piano score.  Along the
way several macro ideas came to life... Most were fostered by the
annoyance of having to type the same housekeeping stuff over and over.
This is my personal guideline for writing macros... What am I typing again
and again that does not represent new or changing material, and how can I
minimize the number of characters I have to type?

First, I wanted to deal with the words with out much extra typing.  (What
follows did not necessarily evolve as most efficiently, it just came to rest
in the form shown below, and since it works for me, who cares.... let the 
PC do the work.)

I imagined that the least I could get away with was something like
\words{Twin-}<notes>
\words{kle}<notes>
\words{Twin-}<notes>
\words{kle}<notes>

That idea led to simply defining a words macro as follows...

\def\words#1{\zmidstaff{#1}}  % Words centered on the note

This doesn't save too much typing, but is easy to type and very readable :))
(but it won't make it into the TeX Hall of Fame, certainly.)

Since I had elected to use TWO instruments, each with two staves
(e.g. Voice SA and TB as two staves, and Piano Right and Left hands, as
expected)... I could proceed with a little more time saving macro definition.

(Time Out:)  Two comments at this point.

1)  Decisions just like the above... (my preference as to how SATB with
Piano Accompaniment should be structured) point out why NO pre-processor
language will ever be fully acceptable to anyone but the orignal authors;
and
2)  I also observe that my macro definitions, no matter how good for me,
will never be fully usable by anyone else... In fact, I will probably
change them all around again the next time I use them.  Even I can't
be trained to want just the same things I wanted before.  The real secret to
success is getting good at doing the best definitions on the fly at
the time you need them.

Next, I looked at what I was intending to enter, and how it would be
structured...

\Notes<piano left hand stuff>|%
<piano right hand stuff>&%
<words><tenor/bass stuff>|%
<soprano/alto stuff>\en%

To be quite honest, I had hacked the piano part into place some time
before, and was already done with it.  It was a stand alone piano part
at first, but I came at it with the VI editor, and did global substitutions
to insert the empty extra instrument (with two staves) for vocal parts.
I was most motivated to just get the vocal part in place and printed before
the next choir rehearsal.

The material I had to enter had the MOST influence on what followed.  It was
largely SATB, single line of words, with typical homophonic structure, quarter
notes, eighth notes, dotted eight-sixteenth along the way... (Yawn).
I say this because I am observing that the material alone dictates what
might be the most efficient approach to expressing it.  No simplified
input language can ever anticipate and simplify every possible expression
of input.... That is precisely why TeX itself remains (in my opinion) the
most versatile tool for optimizing Musi?TeX input.  (Notice that I did not
say it was the easiest for every form of input!)

Since I was faced with the following kind of thing...

\Notes<piano already done|both hands...>&%
\words{Twin-}\zq N\ql G|\zq b\qu g\en%

I identified what I did not need to type over and over again, and defined
the following macro...

% Quarter note - \satbq
\def\satbq#1#2#3#4{\zq{#3}\ql{#4}\nextinstrument%
   \zq{#2}\qu{#1}}

The four argments of the macro are just the Soprano, Alto, Tenor and
Bass notes respectively.... (Note that I preferred to arrange them
top to bottom.)

Now I could (at least for quarter note things), just type

..... <stuff already there for piano>&%
\words{Twin-}\satbq gbNG\en%

Now... here are a few notes that will make a difference.

First, I followed the lead of MusixTeX authors in utilizing a macro
name scheme that helped "recall", and didn't just become something else to 
recall.

Notice the macro name \satbq... This means (to me) that the arguments
that appear are notes for satb and that they are quarter notes.   It
follows that one could hack out macros (easy!!) called \satbh, \satbc,
\satbcc, \satbw,... for Half, Eight, Sixteenth, and Whole.  Cut and Paste...
my favorite trick!
Similar macros that evolved from this were:
\satbqp    Dotted quarter notes.
\satbhp    (Can you guess...)

This definition process went onward as needed, (determined by input 
repitition) and rather quickly grew into a quite usable simple set for
that particular piece (which I don't want to bore you with further...)

Another thing, (newcomers take note)... In macro definitions, one cannot
use | or & because they get expanded in the wrong context.  They are
(after all) just simplifications for \nextstaff and \nextinstrument.
So, take note :=)... Macro definitions have to have to use \nextstaff
and \nextinstrument.

Also, put Braces {} around arguments in macros to assure that you will always
be coping with arguments that have more than one character, like
\satbq {#g}ebM.

When I needed to state the SA part differently from the TB part, I just
defined...

\def\saq#1#2{\zq{#1}\qu{#2}}%Soprano/alto quarters
\def\btq#1#2{\zq{#2}\ql{#1}}%Bass/tenor quarters

(and hacked their relatives into place with the editor also).

When I got the complete six-page thing done, I had an undeniable sense
of satisfaction... A sort of mastery of the brute elements for the most noble
purposes!!  However, I also realized that this macro package was unique,
because it was derived from the needs of that particular piece.  I won't
even offer it up for consideration... I may not throw it away, but I see
that the next piece will make different demands on my willingness to
typeset it.

My most serious philosophical observation at this point is.... My choir
sounds about the same as they did with the hand-written score, and after
all (as my wife observes), I wrote that out by hand a lot faster than I
was able (yet) to do with the computer... so... Maybe I LIKE to use
MusixTeX, but maybe I am also spending my limited energy in working on the
wrong problem.  After we sing the thing, it probably will get filed in a
drawer and look real nice for years to come.  I shut my computer off, and
went to bed too late!

Anyway, thanks for listening, and keep on 'Texin'.

Joel Hunsberger
hunsberg@sqa1.si.com


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To: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Cc: mutex@gmd.de
Subject: Re: Choral scores 
In-Reply-To: Your message of "Sat, 07 Mar 1997 17:43:18 +0200."
             <199703071543.RAA21135@calvyn.puk.ac.za> 
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dirk-lys@calvyn.puk.ac.za said:
> 1. It really looks as if you are doing the whole thing in TeX. 

No, I do not use TeX for anything at all. The languages I defined
seem LaTeX code but the connection ends there.

> 2. It breaks my heart to see the typical MusicTeX look

Well, up to now the MusicTeX macros that are generated by SceX
are the same as in MusiXTeX (as far as I know). As soon as work
on things like slurs, in which MusicTeX differs from MusiXTeX,
begin I will consider what to do.

>    You're not going to build up a fan club unless you are willing to
>   make your implementation available.

Of course you are right, and I have had little (though valuable!)
input from others. But this is not a question of willingness
from my part in making the software available. The fact is that as it
is it would be of little use for most people (can you run a big Prolog
program in your machine? would you be interested in having a
pre-processor that at present only produces a skeleton of the
MusicTeX code so that you need to fill in the rest?).

> 4. "Blanks have no special meaning and act only as a separator."
>   This really makes life hard.

Here I do not agree: LaTeX deals with spaces in exactly the same way,
with several spaces meaning just one separator. If you need more
than one space you resort to special commands (like "~", "\ ",
or "\hspace" in LaTeX).

> In my opinion, the hardest part of writing a preprocessor is the expertise
> in MusiXTeX that it takes.

I have been learning MusicTeX (with great help from Daniel and Werner)
in the process of implementing SceX.

> Among the things in PMX that are obviously the product of a great deal
> of experience and make typing the music fast are:
> [...]

Maybe my choice of syntax for the languages was not the best. My main
goal was to make them expressive enough for describing music pieces.
My experience in using them led me to write a macro processor (very
similar to the pre-processor for the C language) and with it I can
simplify a lot of the typing chores. Another thing is that it will
be easy to write translators from other languages into mine if they
are well defined syntactically and follow more or less the same
philosophy of having voices. For instance, I think it would be
unproblematic to translate the PMX notation.

Many thanks for your comments!

Miguel Filgueiras



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To: hunsberg@sqa1.si.com (Joel Hunsberger)
Cc: mutex@gmd.de (MusiXTex Mailinglist)
Subject: Re: Why does my life not have a good macro definition facility? 
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hunsberg@sqa1.si.com said:
> [...]
> Successful pre-processors are always going to reflect someone elses
> preferences (as they should.)

This is true but the same holds for programming languages,
computer programs, and operating systems and we all live with that.

There are at least 2 advantages in having pre-processors for things like
TeX or Musi?TeX:
 - you use a more abstract language and you gain in having more
legible and easier to maintain documents (compare TeX with LaTeX,
for instance; or your own macros, for that matter)
 - repeated work may be avoided and standard techniques of typesetting
(or music copying) can be automatically enforced as a default; this
is very important for beginners, while non-beginners should be given the
means to express their own solutions if needs be.

> 1)  Decisions just like the above... (my preference as to how SATB with
> Piano Accompaniment should be structured) point out why NO pre-processor
> language will ever be fully acceptable to anyone but the orignal authors;

My opinion is different: when you use a pre-processor you
must conform with its syntax, although if it supports macro definitions
you may define macros to define your own syntax. But this does not
mean that all the decisions of the kind you mentioned are fixed by
pre-processors. Just an example: using the FVL language in SceX
you can say that you have the S, A, T, B, piano_lh and piano_rh
voices and then use
 \layout{S / A / T / B / piano_lh / piano_rh}
to fix the order in which fragments of these voices will appear
(and you may alter this layout whenever you want).

> 2)  I also observe that my macro definitions, no matter how good for me,
> will never be fully usable by anyone else...
> [...]
>  The real secret to
> success is getting good at doing the best definitions on the fly at
> the time you need them.

No! Does this mean you built your own computer and wrote your own
operating system? We must avoid duplicate efforts and probably your
macros will be very useful for someone else --- that is the key
idea behind public-domain software!

>  No simplified input language can ever anticipate and simplify
> every possible expression of input....

But the pre-processors may provide the means to extend their languages:
that is what macro processors do. And if you write macros in LaTeX,
say, you get more power (less work) than if you write macros in TeX.

> However, I also realized that this macro package was unique,
> because it was derived from the needs of that particular piece.  I won't
> even offer it up for consideration...

I hope you publicize it: I am not personally interested, but there
surely will be other people doing similar things and that may profit
from parts of your package if not from the whole of it.

>  Maybe I LIKE to use MusixTeX, but maybe I am also spending my
> limited energy in working on the wrong problem.

I sincerely hope that some system becomes available that makes you
spend much less time with the computer but yet allows you to get a
printed score in the end. That is what I aiming at with my work
on SceX.

Miguel Filgueiras



From mutex-owner@mail2.gmd.de Sun Mar  9 14:20:01 1997
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From: Savochkin Andrey Vladimirovich <saw@castle.nmd.msu.ru>
Message-Id: <199703091420.RAA21877@castle.nmd.msu.ru>
Subject: attn MusixTeX and Linux users
To: mutex@gmd.de
Date: Sun, 9 Mar 1997 17:20:01 +0300 (MSK)
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For people using MusixTeX on computers with Red Hat distribution of Linux
ready-to-install packages are available:

ftp://ftp.redhat.com/pub/Incoming/musixtex-T70s-1.i386.rpm
ftp://ftp.redhat.com/pub/Incoming/musixtex-docs-T70s-1.i386.rpm
ftp://ftp.redhat.com/pub/Incoming/musixtex-examples-T70s-1.i386.rpm

The packages are signed by <saw@msu.ru>.

Comments are welcome.
					Andrey V.
					Savochkin

From mutex-owner@mail2.gmd.de Mon Mar 10 01:35:39 1997
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Date: Sun, 9 Mar 1997 20:35:39 -0500 (EST)
From: "Gene W. Hsu" <genehsu@umich.edu>
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Subject: Early Music Songs
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I am looking for early music choral works in MusiXTeX.  I have started to
recode some music I have into modern clefs and notation and have posted
the two pieces I have set on my home page.  If anyone else has set
Madrigals/Motets/Masses by Lassus, Josquin, Schutz, Monteverdi, Byrd,
etc., please reply to me.  The two pieces I have set are the following:

Italian madrigal by Schutz: O primavera
French chanson by Lassus: Mon Coeur

-- Gene <genehsu@umich.edu>

<http://www.dmsv.med.umich.edu/~genehsu/music/>


From mutex-owner@mail2.gmd.de Mon Mar 10 16:18:02 1997
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Date: Mon, 10 Mar 1997 11:18:02 -0500 (EST)
From: "Gene W. Hsu" <genehsu@umich.edu>
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Subject: Early music songs
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I am looking for early music choral works in MusiXTeX.  I have started to
recode some music I have into modern clefs and notation and have posted
the two pieces I have set on my home page.  If anyone else has set
Madrigals/Motets/Masses by Lassus, Josquin, Schutz, Monteverdi, Byrd,
etc., please reply to me.  The two pieces I have set are the following:

Italian madrigal by Schutz: O primavera
French chanson by Lassus: Mon Coeur

-- Gene <genehsu@umich.edu>

<http://www.dmsv.med.umich.edu/~genehsu/music/>


From mutex-owner@mail2.gmd.de Mon Mar 10 17:33:39 1997
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	Mon, 10 Mar 1997 19:33:39 +0200
From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199703101733.TAA07269@calvyn.puk.ac.za>
Subject: Re: Preprocessors
To: mutex@gmd.de (Music Tex List)
Date: Mon, 10 Mar 1997 19:33:39 +0200 (SAT)
In-Reply-To: <00006FBF.1941@logicon.com> from "Don Simons" at Mar 7, 97 01:56:05 pm
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Don Simons (dsimons@logicon.com) wrote
> 
> Paul McIlroy <pmcilroy@bt-sys.bt.co.uk> wrote
> 
> >I have just finished typesetting a song which has one line for a flute 
> >part, one for the singer's melody, two for the lyrics (for which I have 
> >a simple macro allowing me to offset them left or right by any arbitrary 
> >amount) and two for the piano, which has several parts echoing the flute 
> >and singer's melodies.  What would be the best pre-processor for 
> >something like this ?
[...]
> From recent postings to this list, it looks like Dirk Laurie is at 
> work on a choral pre-preprocessor for PMX.  It may very well spur me 
> to get to work on incorporating lyrics directly into PMX.  
> 
I've just spent most of a weekend writing documentation for the current
version.  Here is an extract from it:

---------------------------------------------------------------------------
My \MTx\ translator is written in Turbo Pascal. It can be used if you 
have a Turbo Pascal compiler; or a C compiler and Dave Gillespie's 
\texttt{p2c} Pascal-to-C converter.  At this stage I would like to know 
that you have a copy of the code, so that I can email you when important 
bug fixes occur.  In return you get the noble title of `beta tester'.  
So please send an e-mail to me. 
---------------------------------------------------------------------------

Actually I have second thoughts on showing my dirty Pascal code to people,
but the C files look nice and clean.  So if you have p2c, I can offer you
the C files, and if you have MSDOS, I can offer a binary executable.

Dirk

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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
Message-Id: <199703101741.TAA07353@calvyn.puk.ac.za>
Subject: Re: Choral scores
To: mig@ncc.up.pt (Miguel Filgueiras)
Date: Mon, 10 Mar 1997 19:41:28 +0200 (SAT)
Cc: mutex@gmd.de (Music Tex List)
In-Reply-To: <199703081155.LAA12232@khako.ncc.up.pt> from "Miguel Filgueiras" at Mar 8, 97 11:55:53 am
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Miguel Filgueras wrote
> 
> 
> dirk-lys@calvyn.puk.ac.za said:
> 
> > 4. "Blanks have no special meaning and act only as a separator."
> >   This really makes life hard.
> 
> Here I do not agree: LaTeX deals with spaces in exactly the same way,
> with several spaces meaning just one separator. If you need more
> than one space you resort to special commands (like "~", "\ ",
> or "\hspace" in LaTeX).
> 
Here is a misunderstanding.  I thought you meant that blanks are optional:
type them if you think they look good and leave them out if you are lazy.
To design a compiler to cope such latitude is hard.  And think of the
many Fortran programmers that have typed DO 30 I=1.10 instead of
DO 30 I=1,10 and got no error message from their compiler.

Of course I agree that several consecutive blanks should act like one.

Dirk


From mutex-owner@mail2.gmd.de Mon Mar 10 21:20:32 1997
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Date: Mon, 10 Mar 1997 22:20:32 +0100
To: mutex@gmd.de
From: Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl>
Subject: available music?
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Hi all,

Is there any place (ftp/www site) where Music/xTeX files are collected??
I can imagine that some people started collecting MusicTeX files.

I play the clarinet and use MusicTeX to set my favourite pieces on paper
with the transpose function I can easily make sheet music for other
instruments to, to play together.

Biggest problem is probably the copyright, I dont think I am allowed to
publish 
some songs of the beatles, although all the lyrics of these songs are
freely available and there is also a lot of material (chords) available for
guitar on the internet

Greetings,
Maarten





----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl 
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387           
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From: dsimons@logicon.com (Don Simons)
Subject: Re: available music?
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Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl> wrote

>Is there any place (ftp/www site) where Music/xTeX files are 
>collected?? I can imagine that some people started collecting MusicTeX 
>files.

There are some freely available scores in *postscript* format that 
were generated using Musi(c/X)TeX:

ftp://ftp.gmd.de/music/README.html (Werner Icking's server and the 
home of this mailing list)

http://www.lysator.liu.se/runeberg/roman/index.e.html  (This is part 
of Project Runeberg, a site devoted to Nordic culture.  There are some 
scores by Johan Helmich Roman, an 18th c. Swedish composer.  Soon 
there will be many more.)

--Don Simons (dsimons@logicon.com)

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Date: Wed, 12 Mar 1997 14:18:55 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: Don Simons <dsimons@logicon.com>
Cc: mutex@gmd.de
Subject: Re: available music?
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On Mon, 10 Mar 1997, Don Simons wrote:

> Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl> wrote
> 
> >Is there any place (ftp/www site) where Music/xTeX files are 
> >collected?? I can imagine that some people started collecting MusicTeX 
> >files.
> 
> There are some freely available scores in *postscript* format that 
> were generated using Musi(c/X)TeX:
> 
> ftp://ftp.gmd.de/music/README.html (Werner Icking's server and the 
> home of this mailing list)
> 
> http://www.lysator.liu.se/runeberg/roman/index.e.html  (This is part 
> of Project Runeberg, a site devoted to Nordic culture.  There are some 
> scores by Johan Helmich Roman, an 18th c. Swedish composer.  Soon 
> there will be many more.)

Pressure is a good thing sometimes :-)

I just made available some duets for flute or violin by (among others)
Johan Agrell, a swedish 18th c. composer. They are not completely
finished, but I thought that they were a lot better than nothing.
Available from:

http://www.lysator.liu.se/runeberg/as2flvln/

These sonatas are maybe not the best music I've seen, but they are free.
:-)

They were written using PMX, and I'm thinking of how to distribute the
sources too.

/Johan Tufvesson
email: tuben@lysator.liu.se


From mutex-owner@mail2.gmd.de Thu Mar 13 08:42:53 1997
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Subject: Re: Preprocessors
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Hi All,

>I can only speak for PMX.  It doesn't do lyrics (yet).  It can do the=20
>rest of your job with one small caveat.  In its current incarnation,=20

Well since the sonata's from Johan Tufvesson look very nice, I am very
interested in this package. Anyone where I can get it?

Second question, everytime I am posting something to this newsgropup I get
back  some error messages, but the posting always work
first error msg with: Empf=E4nger Georg Strueder @ KR unbekannt!
and another one: rmail: prw-b-music -- unknown user or mailbox
Seems some people subscribed tot he list and there email doesnt work
anymore???

Does anyone know something about copyrights on music? Is there a certain
time between the dead of the composer before it gets into the public domain
or???
Well I have a collection of old Dutch songs, guess they are not copyrighted
so I will publish them in time.

Greetings,
Maarten

----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl=20
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387          =20
----------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Mar 13 11:59:06 1997
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From: Johan Tufvesson <tuben@lysator.liu.se>
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On Thu, 13 Mar 1997, Maarten van den Hoek wrote:

> Well since the sonata's from Johan Tufvesson look very nice, I am very
> interested in this package. Anyone where I can get it?

Well, thank you :-)
The sources, documentation and DOS executables can be fetched from
ftp://ftp.gmd.de/music/musixtex/software/pmx/
The binaries I'm using (solaris-2.4-sparc) is available from
http://www.lysator.liu.se/~tuben/pmx/ together with some older versions
for other platforms. There is a C-port (it's originally written in
Fortran) available from ftp.mathematik.uni-stuttgart.de in
pub/software/pmx, but I don't know if there are any binaries for other
platforms.

> Second question, everytime I am posting something to this newsgropup I =
get
> back  some error messages, but the posting always work
> first error msg with: Empf=E4nger Georg Strueder @ KR unbekannt!
> and another one: rmail: prw-b-music -- unknown user or mailbox
> Seems some people subscribed tot he list and there email doesnt work
> anymore???

I get errors too. Perhaps this can be fixed when Werner Icking returns(?)

> Does anyone know something about copyrights on music? Is there a certai=
n
> time between the dead of the composer before it gets into the public do=
main
> or???

Depends on the laws in each different country. In Sweden, it is 70 years
from the composers death. Remember that if you use a modern edition as
your source, there is probably someone who owns copyright for that
specific edition. I use facsimiles as originals for all the music I
typset.

> Well I have a collection of old Dutch songs, guess they are not copyrig=
hted
> so I will publish them in time.

The note above is probably true for other countries as well. Looking
forward to more free music.

/Johan Tufvesson   tuben@lysator.liu.se



From mutex-owner@mail2.gmd.de Thu Mar 13 12:18:28 1997
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From: Gregoire Favre <favre@iishp1.unil.ch>
Date: Thu, 13 Mar 97 13:18:28 +0100
To: mutex@gmd.de
Subject: MIDI2Tex Pascal source
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Hello

I have tried MIDI2TEX on PC (version P1.3) at college and on Amiga (version C  
1.2) and the Pascal one is better. Why is there no Pascal source with it? So I  
could compile it on my amiga?

Thanks you,

		Greg

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Date: Thu, 13 Mar 97 14:03:05 GMT
From: mclem@medphys.ucl.ac.uk (Matthew Clemence)
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To: mutex@gmd.de
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Is there anyone out there who has managed to get lilypond (the new mpp)
working on a Sun (sunos 4.1.4) who would be willing to exchange a 
few emails with someone who can't ?

Thanks
Matthew



-- 
**************************************************************************
Dr. Matthew Clemence              ___      email mclem@medphys.ucl.ac.uk
University College London
11-20 Shropshire House,
London, England, WC1E 6JA                           	
+44 171 387 9300 x 8448/8264    
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From mutex-owner@mail2.gmd.de Fri Mar 14 11:09:49 1997
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Date: Fri, 14 Mar 97 09:46:52
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To: mutex@gmd.de
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Subject: musixtex in documents
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I have recently been trying to find a satisfactory way of using sections of
music within a document as part of my research work. Much of my time has
been spent messing around with musixtex.sty which seems to have massive
limitations in that it appears impossible to have more than one line used in
a fragment. So, I examined the musixdoc.tex file only to discover that you
can use its .sty and .cls files to build up your own document. This is
answering all of my problems as I can now use latex2e with sections of
musixtex in it at no loss in section size. Maybe everyone already knows this
info, but for anyone that doesn't then just ask me and I'll post an example
through. You must remember to
\input musixcpt or there will be errors. One thing, it mentions in the
musixtex doc that musixtex is hardly compatible with latex because of the
amount of registers and memory it uses. As of yet I have no problem with
this, who knows maybe I never will - any thoughts?
best regards to all
Ben Challis
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
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From: Dirk Laurie <dirk-lys@calvyn.puk.ac.za>
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Subject: Re: musixtex in documents
To: bpc@minster.cs.york.ac.uk (Ben Challis)
Date: Fri, 14 Mar 1997 15:28:36 +0200 (SAT)
Cc: mutex@gmd.de (Music Tex List)
In-Reply-To: <1.5.4.16.19970314094650.26376b1a@minster.cs.york.ac.uk> from "Ben Challis" at Mar 14, 97 09:46:52 am
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Ben Challis wrote:
> 
> I have recently been trying to find a satisfactory way of using sections of
> music within a document as part of my research work. Much of my time has
> been spent messing around with musixtex.sty which seems to have massive
> limitations in that it appears impossible to have more than one line used in
> a fragment. So, I examined the musixdoc.tex file only to discover that you
> can use its .sty and .cls files to build up your own document. This is
> answering all of my problems as I can now use latex2e with sections of
> musixtex in it at no loss in section size. Maybe everyone already knows this
> info, but for anyone that doesn't then just ask me and I'll post an example
> through. You must remember to
> \input musixcpt or there will be errors. One thing, it mentions in the
> musixtex doc that musixtex is hardly compatible with latex because of the
> amount of registers and memory it uses. As of yet I have no problem with
> this, who knows maybe I never will - any thoughts?

I head my LaTeX2e+MusiXTeX documents with

\documentclass[11pt]{article}
\usepackage{musixtex} 

and have no problems, except when inputting something vast like musixadd.
I can even usepackage{palatino} or some other nice font.

As far as I know, you only need musixcpt if you are using musictex.
                                                              ^
                                                              
Dirk


From mutex-owner@mail2.gmd.de Fri Mar 14 13:46:57 1997
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From: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
Message-Id: <1994.9703141346@euclid.maths.qmw.ac.uk>
Subject: Misplaced clefs.
To: mutex@gmd.de
Date: Fri, 14 Mar 1997 13:46:57 +0000 (GMT)
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Dear All,
I've just installed the new version of Musixtex on my system, and all of a
sudden the clef symbols are out of place - the treble clef is one staff line
too high and the bass clef appears off the top of the staff! Does anyone else
have these problems, or have I set something up wrong? - the previous version I
had worked fine!


Another thing I'd like to do is have barlines that run all the way through some
sets of staffs, but have gaps between others (Like an orchestral score, with
all woodwind having one barline, all brass another, all strings a third). 
Does anyone know if this is possible?

Many thanks,

Andrew




  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/

A.E.R.Usher@qmw.ac.uk

>       2 + 2 = 5 for sufficiently large values of 2.

From mutex-owner@mail2.gmd.de Fri Mar 14 16:15:23 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Misplaced clefs.
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Andrew Usher <A.E.R.Usher@qmw.ac.uk> wrote

>I've just installed the new version of Musixtex on my system, and all 
>of a sudden the clef symbols are out of place 

Sounds like you need to reinstall the fonts.  Somewhere along the way 
the fonts were changed such that failing to reinstall them would cause 
the problem you describe.

--Don Simons (dsimons@logicon.com)


From mutex-owner@mail2.gmd.de Fri Mar 14 18:02:00 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re:  Misplaced clefs.
To: mutex@gmd.de (MusiXTex Mailinglist)
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Andrew Usher <A.E.R.Usher@qmw.ac.uk> wrote...

>Dear All,
>I've just installed the new version of Musixtex on my system, and all of a
>sudden the clef symbols are out of place - the treble clef is one staff line
>too high and the bass clef appears off the top of the staff! Does anyone else
>have these problems, or have I set something up wrong? - the previous version I
>had worked fine!
>
 Andrew:

Good news.. You need to regenerate all the fonts... They were changed to fix
a bug related to this some time ago...(ah.. around T.62??)

I use Emtex, so for me is was as simple as deleting all the musixtex .PK
files and making an appropriate MfJob file to process.

Also, you can just delete the .PK files and let MfJob regenerate what
you need when you need it.

I went through this same transition a few weeks ago, and it is
survivable!

Regards,
Joel Hunsberger
hunsberg@sqa1.si.com

From mutex-owner@mail2.gmd.de Sat Mar 15 16:18:37 1997
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Date: Sat, 15 Mar 1997 17:18:37 +0100
To: mutex@gmd.de
From: Maarten van den Hoek <M.J.v.d.Hoek@stud.tue.nl>
Subject: space between two stafs
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Hi All,

I wonder if anyone solved this problem before, I do have 
a document written in LaTeX&MusiXTex for myself with some
theory about music (tempo's, scales, transposition, etc) I
want to add a chapter about my instrument, the clarinet and I
wanted to add which register you can play.

And now the problem is it possible to adjust the space 
between two staffs of one instrument in such away that the 
middle C is exactly in between the two staffs

Here is what I would like to have.


--------------------------------
--------------------------------
--------------------------------     < Violin key (g key)
-------------------------------
---------------------O----------
                 O
            -O-
         O
-----O--------------------------
--------------------------------
--------------------------------   < bass key (f key)
--------------------------------
--------------------------------
     a   b   c   d   e  


Ciao
Maarten


----------------------------------------------------------------
Maarten van den Hoek           email:   M.J.v.d.Hoek@stud.tue.nl 
Australielaan 33                        mjh@worldaccess.nl
5691 JK  Son                   phone:   +31 499 471944
The Netherlands                buzzer:  06 - 59835387           
----------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Mar 18 16:28:21 1997
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From: rdt@qucis.queensu.ca (Robert Tennent)
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Date: Tue, 18 Mar 1997 11:28:21 -0500
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To: mutex@gmd.de
Subject: two choirs
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I want to put heavy braces around two groups of staffs in Musixtex.
The manual explains how to use \songtop/bottom for one brace and says
that two are possible when \musixcho is used.  I don't see how.

Bob Tennent

From mutex-owner@mail2.gmd.de Tue Mar 18 21:18:25 1997
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Date: Tue, 18 Mar 1997 15:18:25 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex@gmd.de
Cc: dsimons@logicon.com
Subject: New version: PMX for Macintosh
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Hello fellow Musi[c|x]TeX'ers,

I have finally finished the latest version of PMX for Macintosh.  PMX for
Macintosh is a quick and dirty port of Don Simons' PMX, A preprocessor for
MusiXTeX.

                     What's New In This Release 03/18/97

Working directories are now supported. You can place your .pmx files where
you want.

The list goes on... If you are interested, go to

  http://www.aem.umn.edu/people/students/epeterse/PMX/

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Mar 19 08:27:59 1997
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From: Rainer Dunker <rainer@dunker.e.ruhr.de>
To: mutex@gmd.de
Subject: Re: two choirs
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On Tue, 18 Mar 1997, Robert Tennent wrote:

> I want to put heavy braces around two groups of staffs in Musixtex.
> The manual explains how to use \songtop/bottom for one brace and says
> that two are possible when \musixcho is used.  I don't see how.

I don't either. So I've hacked my own solution for arbitrarily many
left brackets; it is included below. It works with MusiXTeX T.62, and
I guess it also does with newer versions.

Regards,

Rainer Dunker

----------------------------------------------------------------------
\input musixtex
%
% Code for multiple left brackets:
%
% usage:
% \akkoladen{<akk1lower><akk1upper><akk2lower><akk2upper>...}
%
\makeatletter

\let\orig@writ@staffs\writ@staffs
\def\writ@staffs{%
  \orig@writ@staffs
  \ifx\@akks\empty\else\expandafter\@akkoladen\@akks\ende\fi}

\let\@akks\empty
\def\akkoladen#1{\def\@akks{#1}}

\def\@akkoladen#1#2#3\ende{%
  \rlap{\noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
	\noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
	\advance\b@zii-\b@zi
	\advance\b@zii\nblines\internote
	\advance\b@zii\nblines\internote
	\advance\b@zi-\internote
	\raise\b@zi\llap{\uplap{\offinterlineskip
	\hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\b@zii
	  \@width\Internote}\hbox{\musixfont\fiv@t@@n}}\kern\Internote}}%
  \ifx\empty#3\else\@akkoladen#3\ende\fi}

\makeatother

%
% the example score
%
\instrumentnumber6
\akkoladen{134566}
\startpiece
\notes\en
\Endpiece
\end




From mutex-owner@mail2.gmd.de Wed Mar 19 09:14:40 1997
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Date: Wed, 19 Mar 1997 03:14:40 -0600 (CST)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
Reply-To: "Jerome S. Colburn" <jscolbur@prairienet.org>
Subject: Shape-note setting with MusicTeX and snote
To: mutex@gmd.de
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Shape-note music is an American form of polyphonic hymnody that is 
printed with note heads that have different shapes that indicate the 
degree of the scale. Such music can now be printed using MusicTeX with 
the aid of macros and fonts now available on CTAN in the directory 
support/snote. More detailed information is available in the file 
snreadme.txt in that directory.

Jerome S. Colburn
jscolbur@prairienet.org




From mutex-owner@mail2.gmd.de Fri Mar 21 19:01:55 1997
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From: taupin@lps.u-psud.fr
Subject: MusixTeX T.71 available
To: mutex@gmd.de
Date: Fri, 21 Mar 97 18:22:19 MET
Cc: icking@gmd.de
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Subject: MusiXTeX version T.71
New version T.71 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Caution: - you have to update the x* fonts for T.63
         - you have to update the musix* fonts if your version is <T.60
Changes:
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 
Daniel Taupin


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Hello,

I have a problem with using the automatic stem selection macros; in =
particular, the \ha p macro. When I run tex with the musixtex format =
provided this macro stops working; however, when I run tex with a plain =
format and include all the .tex files needed, this problem does not =
occur.

Does anyone know what the problem might be, or have a solution to this =
problem?

Cheerio,
Mthimkhulu Molekwa
(mmolekwa@rrs.co.za)


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Dear List Members:

I am transscribing a hand-written piece into MusicTex, and, being new
to it, am having a few problems.

First, the piece is in three sections, and are sung Refrain, Verse 1,
Refrain, Verse 2, Refrain.  As it is written, the composer wants,
after the refrain and each verse, a double-bar, then a key signature
on staff lines without a final bar -- the staffs just stop.  Also, the
\signo appears above the double bar.

Does anyone know how I can get these effects.

Thank you.

-jack

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To: mmolekwa@rrs.co.za
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In-Reply-To: <01BC39D8.D7192600@mmolekwa.rrs.co.za> (message from Mthimkhulu
	Molekwa on Wed, 26 Mar 1997 11:28:32 +-200)
Subject: Re: Automatic selection of stems in MusixTeX
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> I have a problem with using the automatic stem selection macros; in =
> particular, the \ha p macro. When I run tex with the musixtex format =
> provided this macro stops working; however, when I run tex with a plain =
> format and include all the .tex files needed, this problem does not =
> occur.

> Does anyone know what the problem might be, or have a solution to this =
> problem?

My best guess is that there were files missing in musictex.ini when
musictex.fmt was created.  Check musictex.ini and rerun initex.

-jack



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Date: Thu, 27 Mar 1997 00:16:16 GMT
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: How to denote an ostinato ?
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I have written a simple guitar duet in which the principle guitar plays
the melody and the second guitar plays an ostinato part (two bars in
length) in the background. The ostinato does not alter in any way
throughout the piece.  What is the standard way of denoting that this
two bar motif should be played again and again?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

From mutex-owner@mail2.gmd.de Thu Mar 27 16:09:42 1997
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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
Cc: mutex@gmd.de
Subject: Re: How to denote an ostinato ?
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On Thu, 27 Mar 1997, Paul McIlroy wrote:

> I have written a simple guitar duet in which the principle guitar plays
> the melody and the second guitar plays an ostinato part (two bars in
> length) in the background. The ostinato does not alter in any way
> throughout the piece.  What is the standard way of denoting that this
> two bar motif should be played again and again?

I believe it is a percent sign through the bar between the 2 repeating 
measures. 

> 
> Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)
> 


Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


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Date: Thu, 27 Mar 1997 09:48:33 -0800
From: Willy Vera <vera@platsol.com>
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Subject: Re: How to denote an ostinato ?
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Han-Wen Nienhuys wrote:
> 
> On Thu, 27 Mar 1997, Paul McIlroy wrote:
> 
> > I have written a simple guitar duet in which the principle guitar plays
> > the melody and the second guitar plays an ostinato part (two bars in
> > length) in the background. The ostinato does not alter in any way
> > throughout the piece.  What is the standard way of denoting that this
> > two bar motif should be played again and again?
> 
> I believe it is a percent sign through the bar between the 2 repeating
> measures.
> 
> >
> > Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)
> >
> 
> Han-Wen Nienhuys, hanwen@stack.nl
> http://www.stack.nl/~hanwen

More accurately, it follows the 2 ostinato measures as below:

				2	   2	   cont. (ad nauseaum:-)	
----------------|---------|----------|----------|------------
--O-----|-------|---{}----|-----//---|-----//---|------------
--|-----|---@---|---------|---o//----|---o//----|------------
--|-----@---|---|---------|---//o----|---//o----|------------
------------|---|---------|--//------|--//------|------------
 
Where the percent-like symbol is vertically centered on the measure
(unable to do so here), and there is an additional short vertical line
through the center of it to denote (with the numeral 2 above it) a
repetition of the preceding 2 measures (as opposed to a single measure,
where no numeral is required).  This should appear on all aligned staves
of a system.  I've also seen "repetire" instead of "cont." used in some
works.  Just how this is done with MusixTeX?... I don't remember if I
saw the notation on the documentation or not. 

- William V. Vera			mailto:vera@platsol.com
  Network Computing Services      	- = - = - = - = - = - =
  PLATINUM technology - Solutions	http://www.platsol.com

From mutex-owner@mail2.gmd.de Thu Mar 27 20:42:59 1997
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Date: Thu, 27 Mar 1997 21:42:59 +0100
From: Frederic Baumann <fbaumann@worldnet.fr>
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I am using MusixTeX T65 under Linux, with teTeX.

My problem is that I have typeset scores 
(including the provided samples) and they all
appear cleanly on xdvi. But when I print them on my Epson Stylus Color
500 (with 360 dpi fonts), all is fine excepted vertical lines (for
instance, bars and notes queues).

Some lines are perfectly thin, while some others 
have 2mm width !

I have successfully installed the 360 dpi fonts of MusiXTeX.

Thank you for your help,
Frederic


-- 
#############################################
#  Pour se distraire :
#  http://home.worldnet.fr/~fbaumann
#  (support Java indispensable)
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From mutex-owner@mail2.gmd.de Thu Mar 27 21:33:08 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: How to denote an ostinato ?
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Willy Vera <vera@platsol.com> wrote
>...
>More accurately, it follows the 2 ostinato measures as below:
>
>                               2          2       cont. (ad nauseaum:-)  
  
>----------------|---------|----------|----------|------------ 
>--O-----|-------|---{}----|-----//---|-----//---|------------ 
>--|-----|---@---|---------|---o//----|---o//----|------------ 
>--|-----@---|---|---------|---//o----|---//o----|------------ 
>------------|---|---------|--//------|--//------|------------
>
>Where the percent-like symbol is vertically centered on the measure 
>(unable to do so here), and there is an additional short vertical 
>line through the center of it to denote (with the numeral 2 above it) 
>a repetition of the preceding 2 measures (as opposed to a single 
>measure, where no numeral is required).  This should appear on all 
>aligned staves of a system.  I've also seen "repetire" instead of 
>"cont." used in some works.  Just how this is done with MusixTeX?... 
>I don't remember if I saw the notation on the documentation or not. 

I can't point to a reference for this, but another option is exactly 
as described, except having the percent sign horizontally centered on 
a *bar line* rather than a short vertical line.  The following example 
does this (in MusiXTeX):

Begin TeX example ============
%%%%%%%%%%%%%%%%%
%
% junk.tex
%
%%%%%%%%%%%%%%%%
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{2}
\setstaffs11
\setclef16
\setname1{ }
\setstaffs21
\setclef20
\setname2{ }
\generalsignature{ 0}%
\generalmeter\meterC%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\readmod{junk}
\def\rtux{\off{-\afterruleskip}\ccharnote0\duevolte%
\ccharnote9{\meterfont\rtutxt}\off{\afterruleskip}}%
\def\rtu{\def\rtutxt{2}\rtux}%
\def\rtun{\def\rtutxt{\empty}\rtux}%
\startmuflex\startpiece\addspace\afterruleskip%
\znotes&\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% bar  1
\def\NOTES{\vnotes5.66\elemskip}%
\NOTES\wh{'C}&\wh c\en%
% bar  2
\xbar
\NOTES\wh G&\wh{`g}\en%
% bar  3
\xbar
\NOTES&\en%
\def\wbrest{\centerbar\sk}%
\def\atnextbar{\znotes\wbrest&\wbrest\en}%
% bar  4
\xbar
\NOTES\rtun&\rtu\en%
\def\wbrest{\centerbar\sk}%
\def\atnextbar{\znotes\wbrest&\wbrest\en}%
\Endpiece
\vfill\eject\endmuflex
\bye
=====End example

--Don Simons (dsimons@logicon.com)

P.S.  this coding was generated by the following input file to PMX:

Begin PMX example=========================
2 2 4 4 0 6 0 0 
1 1 20 0


bt
c:\pctex\texinput\
\\def\rtux{\off{-\afterruleskip}\ccharnote0\duevolte\
\\ccharnote9{\meterfont\rtutxt}\off{\afterruleskip}}\
\\def\rtu{\def\rtutxt{2}\rtux}\
\\def\rtun{\def\rtutxt{\empty}\rtux}\
c03 g rb \rtun\ rb /
c04 g rb \rtu\  rb /
End PMX example===========================


From mutex-owner@mail2.gmd.de Tue Apr  1 16:54:41 1997
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Date: Tue, 01 Apr 1997 16:54:41 +0000
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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This is a multi-part message in MIME format.

--------------181734A936BD
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(Note that T.72 has not been released. I keep it in my files, in case of
troubles with the multiple choir new feature.)
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

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Subject: MusiXTeX version T.73
New version T.73 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 
Daniel Taupin


--------------181734A936BD--


From mutex-owner@mail2.gmd.de Tue Apr  1 16:43:52 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199704011643.SAA28152@calvyn.puk.ac.za>
Subject: M-Tx 0.12: A preprocessor that handles lyrics
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M-Tx is a music-from-text language designed to look as much as possible
like printed music.  To give you an idea of what that means, here is some
typical input code:

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
PMX: w190m 
Space: 9

b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2  e4  | d2d of 
d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2  c4  | d2d    
LA: @-2 Net soos ek is, net soos ek is, O Lam~van God, ek kom.
LT:       Net~soos ek is, O Lam van God, ek kom.
rp      | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4 | f2d    
a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2  a4- | d2d 
LB: Net soos ek is, net soos ek is, O Lam~van God, ek kom.
------------------------------------------------------------------------

Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "PMX: w190m" means "Issue PMX command 'w190m'" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the alto, tenor and bass voice lines.
  6. Notes are written in the PMX language developed by Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "Lam~van" means "use exactly one blank between 'Lam' and 'van',
     but still treat them as two syllables."
 10. "@-2" means "set this line of lyrics 2 internotes lower than usual."
 11. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.12 from
  ftp://calvyn.puk.ac.za/dirk/mtx
You will need the README and mtx012.zip files, and depending on your
printer either the mtx012lj.zip or mtx012ps.zip files.  The latter two
are optional, since there is a .dvi file in mtx012.zip (but it does use
MusiXTeX and palatino fonts).

To run M-Tx, you need MusiXTeX 0.66 or later (I used 0.67) and PMX 1.10
(the current version).  

I'd be very grateful if you have any comments on it whatsoever, even
that allegedly given by Pravda and Izvestya on the Metro-Goldwyn-Moskva 
production of "Lobachevsky" (i.e. "It steenks.")   At present development
is steered by my own needs --- if I need a new feature, I put it in.  It
would be much better if driven by the needs of others. 

Dirk Laurie    

From mutex-owner@mail2.gmd.de Thu Apr  3 02:25:59 1997
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Date: Thu, 3 Apr 1997 12:25:59 +1000 (EST)
From: Peter Billam <pjb@ml.csiro.au>
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To: mutex@gmd.de
Subject: comparative music languages ?
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On Tue, 1 Apr 1997, Dirk Laurie wrote:
>
> M-Tx is a music-from-text language designed to look as much as possible
> like printed music.  Here is some typical input code:
> 
> ------------------------------------------------------------------------
> Title: Net soos ek is
> Composer: Charlotte Elliott
> Style: SATB
> Sharps: 2
> Meter: 3/4
> PMX: w190m 
> Space: 9
> 
> b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2  e4  | d2d of 
> d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2  c4  | d2d    
> LA: @-2 Net soos ek is, net soos ek is, O Lam~van God, ek kom.
> LT:       Net~soos ek is, O Lam van God, ek kom.
> rp      | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4 | f2d    
> a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2  a4- | d2d 
> LB: Net soos ek is, net soos ek is, O Lam~van God, ek kom.
> ------------------------------------------------------------------------
> 
Lots of people are defining their own music languages, so maybe what
ought to be happening is a comparative study of music languages as
such, to create the kind of evolution in completeness and compactness
that we have seen over the last few decades in computer programming
languages ...

My "muscript" input language currently looks like

   3 systems /23 29 23 39 23 29 23/23 29 23 39 23 29 23/23 29 23 39 23 29 23/
   /
   4 bars | 1.5 | 4 | 4 | 4 |
   |
   b1.1 Johannes Brahms
   I0.35          p
   is0.35                         Andante con espressione
   =1 treble 1# 6/4 cro D
   r0.5     1.   I
   =2 treble 1# 6/4 cro A_
   r0.4     2.   I
   =3 treble 1# 6/4 cro F
   r0.5     3.  So
   =4 bass   1# 6/4 cro d
   |
   =1 min G cro G min D cro c
   r0.5   take        my  leave,    since
   =2 min B_ cro D min A_ cro C
   r0.4   tell        you   on  -  -  -  ly
   =3 min G cro G min F cro G
   r0.5   keep      your  pro  -  -  mise
   =4 min G cro B min d cro e

and so on ...  Various syntactic sugar is pending which will allow
things to be more compact.  It handles macro-definitions, multiple
voices per stave, etc.

Muscript is not strictly relevant to this mailing list because it's a
Perl script produces Postscript output directly.  However, the latest
version of muscript (handles key signatures ! but alas quaver beams not
implemented yet) and an html page which documents it, and a sample
sheet of music are available at

   ftp://ftp.marine.csiro.au/software/pjb/mus

Regards,  Peter Billam

System Administrator; Tel: (03) 62 325442, Fax: (03) 62 325000; CSIRO
Division of Marine Research, GPO Box 1538, Hobart TAS 7001, Australia

+-------------------------- 150 Years Ago -----------------------------+
|"All England stands wringing its hands ... mumbling to ourselves some |
| vague janglement of Laissez-faire,  Supply-and-demand,  Cash payment |
| the one nexus of man to man: Free-trade, Competition, and Devil take |
| the hindmost, our latest Gospel yet preached !"       Thomas Carlyle |
+----------------------------------------------------------------------+


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From: Mark Zimmerman <markzimm@rmi.net>
Message-Id: <199704030336.UAA00332@oak.jamar.com>
Subject: printing musixdoc.tex
To: mutex@gmd.de
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Greetings:

I am completely new to musixtex and I am trying to print out the documentation.
When I try to generate the dvi file I am getting errors that I don't know
how to handle.  I have copied musixdoc.tex to an empty directory and have set my
TEXINPUTS environment variable to include the path to the files it references.

(TEXINPUTS=.:/usr/lib/texmf/texmf/tex/musix:/usr/lib/texmf/texmf/tex/latex/base)

Then:

latex musixdoc

It seems to make a lot of progress but it generates some warnings and finally
stops with the error:

! Bad character code (-2).
\C@TR ... \hbox {\musixchar 69}\hfill \T@ii \n@ii 
                                                  }
l.3672 \Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2
                                              |\qu{hgfedc}\enotes


Following is some of the other output.  Can anyone help me past this??

-- Mark Zimmerman

-- Excerpts from the log file follow... --

This is TeX, Version 3.14159 (C version 6.1) (format=latex 96.12.20)  2 APR 1997 20:14
**musixdoc
(musixdoc.tex
LaTeX2e <1996/06/01>
Hyphenation patterns for english, german, loaded.
(/usr/lib/texmf/texmf/tex/latex/base/report.cls
Document Class: report 1996/05/26 v1.3r Standard LaTeX document class
(/usr/lib/texmf/texmf/tex/latex/base/size11.clo
File: size11.clo 1996/05/26 v1.3r Standard LaTeX file (size option)
)


From mutex-owner@mail2.gmd.de Thu Apr  3 10:21:06 1997
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Date: Thu, 03 Apr 1997 09:21:06 -0100
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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Subject: Re: printing musixdoc.tex
References: <199704030336.UAA00332@oak.jamar.com>
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Mark Zimmerman wrote:
> =

> Greetings:
> =

> I am completely new to musixtex and I am trying to print out the docume=
ntation.
> When I try to generate the dvi file I am getting errors that I don't kn=
ow
> how to handle.  I have copied musixdoc.tex to an empty directory and ha=
ve set my
> TEXINPUTS environment variable to include the path to the files it refe=
rences.
> =

> (TEXINPUTS=3D.:/usr/lib/texmf/texmf/tex/musix:/usr/lib/texmf/texmf/tex/=
latex/base)
> =

> Then:
> =

> latex musixdoc
> =

> It seems to make a lot of progress but it generates some warnings and f=
inally
> stops with the error:
> =

> ! Bad character code (-2).
> \C@TR ... \hbox {\musixchar 69}\hfill \T@ii \n@ii
>                                                   }
> l.3672 \Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2
>                                               |\qu{hgfedc}\enotes
> =

> Following is some of the other output.  Can anyone help me past this??
> =

 Bug corrected in the T.73 version available at
 ftp://ftp.lps.u-psud.fr/pub/musixtex

(take all the musix*.tex and all the musix*.sty new files) or get the
new zipped release in

ftp://ftp.lps.u-psud.fr/pub/music_zips/musixtex.zip


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Apr  3 14:30:34 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: comparative music languages ?
To: pjb@ml.csiro.au (Peter Billam)
Date: Thu, 3 Apr 1997 16:30:34 +0200 (SAT)
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Peter Billam wrote:

> Lots of people are defining their own music languages, so maybe what
> ought to be happening is a comparative study of music languages as
> such, to create the kind of evolution in completeness and compactness
> that we have seen over the last few decades in computer programming
> languages ...
[ ... plus examples from two music languages ... ]

As in the case of computer languages, there are unavoidable tradeoffs.

  Easy to learn ----------------------------------- Hard to master
  Limited in scope -------------------------------------- Powerful
  Readable ----------------------------------------------- Cryptic
  User-friendly -------------------------------- Computer-oriented
  Compact ----------------------------------------------- Complete

Things in the left column tend to go together (I have tried to put
M-Tx squarely there) and so do things in the right column (I hope
it is not unfair to think that MusiXTeX is like that).  What we 
should avoid is UNNECESSARY limitations in the left column and
UNNECESSARY complexity and computerese in the second.  For example,
I applaud (and imitate!) the ability of PMX (by Don Simons) to
have a little loophole directly to TeX itself (including therefore
MusiXTeX) for the sake of incorporating features that would be too
cumbersome to design into PMX.  And I abhor (no names, no pack drill)
"features" of music languages that are better aimed at making life
easy for the programmer of the compiler than for the user of the
language.

If I may go off-topic (the temptation is irresistible): the past 25
years has not seen any improvement in compactness over Pascal (Turing,
from Toronto, comes close).  Completeness, yes, but at what price:
just look at C++, Fortran 90, Ada etc.  

Dirk

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Peter Billam <pjb@ml.csiro.au> wrote

>Lots of people are defining their own music languages...

Apologies to all...I did get this post from the mailing list.  The 
universe is still in order. :-)

--Don Simons



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From: dsimons@logicon.com (Don Simons)
Subject: Re: comparative music languages ?
To: pjb@ml.csiro.au (Peter Billam), Dirk Laurie <dirk@calvyn.puk.ac.za>,
        mutex@gmd.de
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Dirk Laurie <dirk@calvyn.puk.ac.za> wrote
>Peter Billam wrote:

...>>[ ... plus examples from two music languages ... ]

I didn't receive Peter's post...was it private?  I would be interested 
in seeing the examples...maybe Dirk or Peter could forward me the 
post.

>As in the case of computer languages, there are unavoidable tradeoffs.

>Easy to learn ----------------------------------- Hard to master 
>Limited in scope -------------------------------------- Powerful 
>Readable ----------------------------------------------- Cryptic 
>User-friendly -------------------------------- Computer-oriented 
>Compact ----------------------------------------------- Complete

I don't get the distinction between "Limited in scope/powerful" and 
"Compact/complete".

Aside from that, I generally agree with Dirk's categorization of 
tradeoffs.  One feature of PMX--and M-Tx by direct extension--is that 
they relieve the user of a great deal of decision-making.  In the 
process of making these decisions, they do *more* than the underlying 
MusiXTeX.  The exact word for this quality doesn't come right to mind. 
 "Enhanced functionality" isn't right, though; indeed, MusiXTeX is 
*more* functional than PMX, or certainly no less.  

Maybe my fuzziness here is a symptom that there are at least two 
different classes of attributes that could be described in a music 
language, relating to abstract musical content or typography.  In our 
context we are not really interested in any language that doesn't 
include both.  This suggests a tradeoff in the degree of explicitness 
required to describe the typographic attributes.  PMX obviously aims 
to minimize that level compared with MusiXTeX.

--Don Simons (dsimons@logicon.com)

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From: Peter Billam <pjb@ml.csiro.au>
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To: mutex@gmd.de
Subject: Re: comparative music languages ?
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On Thu, 3 Apr 1997, Don Simons wrote:

> Dirk Laurie <dirk@calvyn.puk.ac.za> wrote
> >Peter Billam wrote:
> 
> ...>>[ ... plus examples from two music languages ... ]
> 
> Maybe my fuzziness here is a symptom that there are at least two 
> different classes of attributes that could be described in a music 
> language, relating to abstract musical content or typography.
>
"muscript" is explicitly a music-typesetting language.  Perhaps like
Postscript it could be called a Music Page-Description language.  First
you draw the systems (like choosing which manuscript paper to buy),
then you move to the first system and draw in the barlines, and so on
just like you would with pen and ink.

But muscript is unaware, for example, of whether the composer
intends accidentals to remain valid for the remainder of the bar,
so is unaware of the abstract musical content.

> In our context we are not really interested in any language that
> doesn't include both.
>
Well, I wrote muscript to typeset my compositions ( and arrangements )
so that's what it's for.  But in so far as the resultant page can be
read by a musician  ( who would make appropriate assumptions about
such questions such as accidentals remaining valid ) then the abstract
musical content _is_ specified by muscript, as unambiguously as
conventional musical notation specifies it.


Regards,  Peter Billam

System Administrator; Tel: (03) 62 325442, Fax: (03) 62 325000; CSIRO
Division of Marine Research, GPO Box 1538, Hobart TAS 7001, Australia


From mutex-owner@mail2.gmd.de Fri Apr  4 02:31:20 1997
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From: Chuck <crtb@capecod.net>
To: Mark Zimmerman <markzimm@rmi.net>
Cc: mutex@gmd.de
Subject: Re: printing musixdoc.tex
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On Wed, 2 Apr 1997, Mark Zimmerman wrote:
(apropos compiling musixdoc.tex) 
> latex musixdoc
> 
> It seems to make a lot of progress but it generates some warnings and finally
> stops with the error:
> 
> ! Bad character code (-2).
> \C@TR ... \hbox {\musixchar 69}\hfill \T@ii \n@ii 
>                                                   }
> l.3672 \Notes\tten2\whp E\sk\sk\sk\sk\Ttrille2
>                                               |\qu{hgfedc}\enotes

First, you can blunder through by entering 'r', in which case TeX will
go into "nonstop mode" and it will finish.  Better, download T.71, and
the Ttrille problem is fixed.

Second, here is what you must do

	latex musixdoc		assuming this works, then
	rm musixdoc.aux		(I'll say why below)
	musixflx musixdoc	Read .mx1, create .mx2
	latex musixdoc		Create .aux with correct page nos.
	latex musixdoc		Insert page numbers

What, trying to wear out the computer?
No, but here is what happens:
The first latex creates .aux, which tells how to do page numbers in
forward references.  Normally the second latex pass will insert these
page numbers, and the contents, index, and all internal references
are correct.  However, musixtex has created a bad spacing, which
musixflx fixes.  Latex and musixtex BOTH create auxiliary files, and
both of these need fixing, the .aux file because the page numbers are
messed up, and the .mx1->.mx2 because that's how musixtex works (eh?).

Sorry, I'm not really that clever about why, but the above sequence
gave me a gorgeous-looking musixdoc.  I spent an afternoon standing
at the printer, grabbing each paper and flipping it over to the other
side, so I could have a nice edition!  Now I suppose I'll have to
RTFM so I can learn something!

	Chuck Bacon -- crtb@capecod.net


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From: Peter Billam <pjb@ml.csiro.au>
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To: Dirk Laurie <dirk@calvyn.puk.ac.za>
Cc: mutex@gmd.de
Subject: Re: comparative music languages ?
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On Thu, 3 Apr 1997, Dirk Laurie wrote:
>
> Peter Billam wrote:
> > Lots of people are defining their own music languages, so maybe what
> > ought to be happening is a comparative study of music languages as
> > such, to create the kind of evolution in completeness and compactness
> > that we have seen over the last few decades in computer programming
> > languages ...
> [ ... plus examples from two music languages ... ]
> 
> If I may go off-topic (the temptation is irresistible): the past 25
> years has not seen any improvement in compactness over Pascal (Turing,
> from Toronto, comes close).  Completeness, yes, but at what price:
> just look at C++, Fortran 90, Ada etc.  
> 
Tcl might be a good model to check out, very speech-like and flexible ...
With the right subroutines, music could be expressed IN tcl, not just
in some langauge modelled after it.

My favourite programming language is Perl, probably looking too much
like a computer programming language to be a good syntax for describing
music.

When I started designing muscript I went out from how one musician
would describe a page of music over the phone to another musician,
rather like "pic" from the troff world aims at (Sorry TeXfolk!).
The basic thing that most needs changing in muscript ( I reckon )
is its use of the new-line as syntax rather than white-space,
which leads to lots of lines which are much too short, and some
which are much too long.

The "Composer:" lines in your M-Tex langauge reminds me of a
chess-game-specification format I've seen.  How would it handle
pieces where the time-sig changed most bars, or with different
key-sigs in each stave ?

Lilypond is very important model syntax, and Abc too, and there may
be others outside of either programming or music.

Ideally, you should be able to express a page of music in not _too_
much more than a page of ascii.

There may grow up a need for utilities to translate one music-
-description language to another, in which case we'll be wanting
to invent an equivalent of RTF ( from word-processing ).

Someone ought to get a collection together of the various music-
-description languages so they could be looked at side-by-side
expressing a selection of types of pieces ...

We're probably more likely to evolve a common language by pinching
each other's best ideas than by trying to _agree_ on one in a sort
of design committee.

Lots of 0.02$'s worth there ... hmm ... best get back to work now ...

Interesting topic !  Best regards,  Peter Billam

System Administrator; Tel: (03) 62 325442, Fax: (03) 62 325000; CSIRO
Division of Marine Research, GPO Box 1538, Hobart TAS 7001, Australia


From mutex-owner@mail2.gmd.de Fri Apr  4 12:25:02 1997
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Date: Fri, 4 Apr 1997 14:25:02 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: mutex@gmd.de
Subject: languages
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anybody interested in music languages *should* take a look at lilypond.

  http://www.stack.nl/~hanwen/lilypond/index.html


[long example, hit n if not interested]

%  "Ah, vous dirais-je, maman" 
%  "Altijd is Kortjakje ziek"
%  "Twinkle twinkle little star"
% 
% Copyright: none

melody = \melodic{
        \clef\violin
        c4 c | g g | a a | g g |
        f f | e e | d d8.( e16 | )c2 | % :|

        g g | f f | e e | d d |
        g g | f f | e( e8. f16 | e )d |

        c c | g g | a a | g g |
        f f | e e | d d8.( e16 | )c2 % :|
        \bar ":|"
}

accompany = \melodic{
        \clef \bass
        \octave{'c}\duration{4}
        c4 c' | e' c' | f' c' | e' c' | 
        d' b | c' a | f g | c2 | 

        e' g | d g | c' g | b g | 
        e' g | d' g | c' c'8.( d'16 | c' )b |

        c c' | e' c' | f' c' | e' c' | 
        d' b | c' a | f g | c2 
        \bar ":|"
}

global = \melodic{
                \meter {2 / 4}
                \skip {2*24}
%               \bar "||"
        }

tekst = \lyric{ 
        Al- tijd is Kort- jak- je ziek,2
        midden in_de week maar s'_zon- dags niet.2
        s'_Zon- dags gaat ze naar de kerk,2
        met een boek vol zil- ver werk.2
        Al- tijd is Kort- jak- je ziek,2
        midden in_de week maar s'_zon- dags niet.2
}

hegedraagjetekst = \lyric{ 
        Al- tijd zuigt Bill Gates mijn piek,2
        "\TeX" is slecht- ser dan mu- ziek.2
        s'_Zon- dags gaat het door een raam,2
        Weet dat ik me er- voor schaam.2
        Al- tijd zuigt Bill Gates mijn piek,2
        "\TeX" is slecht- ser dan mu- ziek.2
}
texte = \lyric{ 
         
        \textstyle "italic" 
        Ah! vous dir- ai_- je ma man2
        Ce qui cau- se mon tour- ment2
        Pa- pa veut que je rai- sonne2
        Comme un- e grand- e per- sonne2
        Moi je dis que les bon- bons2
        Val- ent mieux que la rai- son2
        
}

texti = \lyric{
        
        \textstyle "roman"
        Twin- kle, twin- kle, lit- tle star,2
        How I won- der what you are.2
        Up a- bove the world so high,2
        Like a dia- mond in the sky.2
        Twin- kle, twin- kle, lit- tle star,2
        How I won- der what you are!2
}

textii = \lyric{
        \textstyle "roman"
        When the bla- zing sun is gone,2
        When he no- thing shines up- on,2
        Then you show your lit- tle light,2
        Twin- kle, twin- kle, all the night.2
        Twin- kle, twin- kle, lit- tle star,2
        How I won- der what you are!2
        
}

textiii = \lyric{
        
        \textstyle "roman"
        Then the tra- veler in the dark2
        Thanks you for your ti- ny spark;2
        He_could not see which way to go,2
        If you did not twin- kle so.2
        Twin- kle, twin- kle, lit- tle star,2
        How I won- der what you are!2
        
}

\score{
        \staff{ melodicregs global melody }
        \staff{ lyricregs global tekst hegedraagjetekst }
        \staff{ lyricregs global texte }
        \staff{ lyricregs global texti textii textiii }
        \staff{ melodicregs global accompany }
        \paper{
                \unitspace 2.5\cm
        }
}

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


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Date: Fri, 4 Apr 1997 09:11:07 -0500
From: PERRY ROLAND <pdr4h@poe.acc.virginia.edu>
Message-Id: <199704041411.JAA50331@poe.acc.Virginia.EDU>
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On Apr 4, 12:40, Peter Billam wrote:
> Subject: Re: comparative music languages ?
>
> Someone ought to get a collection together of the various music-
> -description languages so they could be looked at side-by-side
> expressing a selection of types of pieces ...


Eleanor Selfridge-Field's forthcoming book "Beyond MIDI: The Handbook
of Musical Codes" attempts to do just what you're proposing.  The
same examples are expressed (as far as possible) in each of the
codes.  Werner Icking contributed the M*TeX examples.  The book is
broken into 3 sections: Sound, Notation, & Data Management, Analysis,
and Interchange.  This book should help musician's find some "common
ground."

If you'll permit a shameless plug, my proposal for including musical
characters in the ISO 10646 (Unicode) character encoding scheme is
also included in Selfridge-Field's book.  I think the adoption of a
common set of characters would help further discussions of the kind
Mr. Billam is suggesting.  For example, we might be able to display
a brief snippet of music in our email correspondence without resorting
to crude ASCII 'drawings' like
                |     |
              ()|   ()|
for quarter notes. You can find the text of the proposal and examples
of the characters at

http://www.lib.virginia.edu/dmmc/Music/UnicodeMusic/.

Please have a look.  I'd like to hear your comments.

        ___________________________________________________
   ____|                   Perry Roland                    |____
   \   |           Digital Media and Music Center          |   /
    \  |               University of Virginia              |  /
     \ |         http://poe.acc.virginia.edu/~pdr4h        | /
     / |                 pdr4h@virginia.edu                | \
    /  |    VOX (804) 924-7474       FAX (804) 924-7468    |  \
   /   |___________________________________________________|   \
  /_________)                                       (___________\


From mutex-owner@mail2.gmd.de Fri Apr  4 17:18:10 1997
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To: Han-Wen Nienhuys <hanwen@stack.nl>
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Subject: Re: languages 
In-Reply-To: Your message of "Fri, 04 Apr 1997 14:25:02 +0200."
             <Pine.BSF.3.91.970404142250.7883B-100000@turtle.stack.nl> 
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hanwen@stack.nl said:
> anybody interested in music languages *should* take a look at
> lilypond. 

... as well as other systems. I contribute with some references:


\bibitem[Blostein and Haken 94]{BlosH94}
D. Blostein, L. Haken, The Lime Music Editor: a Diagram Editor
Involving Complex Translations. {\em
Software --- Practice and Experience}, Vol. 24(3), 289--306, 1994.

\bibitem[Brinkman 90]{Brin90}
Alexander Brinkman, {\em PASCAL Programming for Music Research}.
The University of Chicago Press, 1990.

\bibitem[Filgueiras 96]{Filg96}
Miguel Filgueiras, Implementing a Symbolic Music Processing
System. LIACC, Universidade do Porto, 1996; submitted.

\bibitem[Filgueiras {\em forth}.]{Filgforth}
Miguel Filgueiras, Some Music Typesetting Algorithms. LIACC,
Universidade do Porto, {\em forthcoming}.

\bibitem[Filgueiras and Leal 93a]{FilgL93a}
 Miguel Filgueiras and Jos\'e Paulo Leal, A First Formulation of
\SceX, a Music Typesetting System. Centro de Inform\'atica da
Universidade do Porto, 1993.

\bibitem[Filgueiras and Leal 93b]{FilgL93b}
Miguel Filgueiras and Jos\'e Paulo Leal. Representation and
manipulation of music documents in \SceX. {\em Electronic Publishing},
vol. 6 (4), 507--518, 1993.

\bibitem[Foxley 87]{Foxl87}
Eric Foxley, Music --- A language for typesetting music scores. {\em
Software --- Practice and Experience}, Vol. 17(8), 485--502, 1987.

\bibitem[Gourlay 86]{Gour86}
John S. Gourlay, A language for music printing. {\em Communications of
the ACM}, Vol. 29(5), 388--401, 1986.

\bibitem[Grande 95]{Gran95}
Cindy Grande, NIFF6a Notation Interchange File Format.
Grande Software Inc., 1995. {\tt ftp:blackbox.cartah.washington.edu}

\bibitem[Jalbert 89]{Jalb89}
Fran\c{c}ois Jalbert, Mu\TeX\  User's Guide (Version $1.1$). Computer
Science Department, University of British Columbia, 1989.

\bibitem[Langston 90]{Lang90}
Peter S. Langston, Unix music tools at Bellcore. {\em
Software --- Practice and Experience}, Vol. 20(S1), S1/47--S1/61, 1990.

\bibitem[Mahling {\em et al}. 90]{Mahletal90}
Andreas Mahling, J. Herczeg, M. Herczeg and H.-D. B\"ocker, Beyond
visualization: knowing and understanding. In P.~Gorny, M.~J. Tauber
(eds.), {\em Visualization in Human-Computer Interaction}, Lecture
Notes in Computer Science, 439, 16--26, Springer-Verlag, 1990.

\bibitem[Nieuwenhuizen 95]{Nieu95}  % mpp
Jan Nieuwenhuizen, Using \TeX\ and the MusiX\TeX\  macro package to
write parts and scores of music. Department of Physics, Eindhoven
University of Technology, 1995.

\bibitem[Simons 96]{Simo96}
Don Simons, PMX, A Preprocessor for MusiX\TeX\  (Version 1.04).
dsimons@logicon.com.

\bibitem[Taupin 96]{Taup96}
Daniel Taupin. Music\TeX: Using \TeX\  to Write Polyphonic or
Instrumental Music (Version 5.17). Laboratoire de Physique des
Solides, Centre Universitaire, Orsay, 1996.

\bibitem[Taupin {\em et al}. 96]{Taupetal96}
Daniel Taupin, Ross Mitchell and Andreas Egler, Musix\TeX: Using \TeX\
to Write Polyphonic or Instrumental Music (Version T.64). Laboratoire
de Physique des Solides, Centre Universitaire, Orsay, 1993.

\bibitem[Vercoe 86]{Verc86}
Barry Vercoe, Csound --- A Manual for the Audio Processing System and
Supporting Programs with Tutorials. Media Lab, M.I.T., Cambridge,
Massachusetts, 1986 (rev. 1992).

\bibitem[Walshaw 93]{Wals93}
Chris Walshaw, {\tt ABC2M\TeX} --- An easy way of transcribing folk
and traditional music. School of Maths, University of Greenwich, 1993.



From mutex-owner@mail2.gmd.de Mon Apr  7 00:38:01 1997
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From: Peter Billam <pjb@ml.csiro.au>
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To: Han-Wen Nienhuys <hanwen@stack.nl>
Cc: mutex@gmd.de
Subject: Re: languages
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On Fri, 4 Apr 1997, Han-Wen Nienhuys wrote:
> 
> anybody interested in music languages *should* take a look at lilypond.
> 
>   http://www.stack.nl/~hanwen/lilypond/index.html
> 
Lilypond uses [] for beams, () for slurs, and <> for chords.
Muscript currently uses
  -  to join up beamed notes (currently unimplemented),
  /\ for slurs (also currently unimplemented), and
  () for chords.
I reckon it would save more strife than it would cause if I changed
muscript to use <> for chords and then to conform to Lilypond's use
of all these brackets.  Next version.

Most of the other syntax differences would be harder to average out ...

Are there any plans anywhere for a direct mudela-to-postscript
translator, to run on machines without TeX ?

Regards,  Peter Billam


From mutex-owner@mail2.gmd.de Mon Apr  7 15:00:32 1997
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To: pjb@ml.csiro.au, mutex@gmd.de
Date: Mon, 07 Apr 1997 13:14:49
Subject: Re: comparative music languages ?
From: Nigel Warner <nwarner@sprogins.win-uk.net>
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 Dear All,

        As it seems to be show and tell time around here may I 
 draw your attention to yet another music language, Loki the MIDI
 compiler.
 
        It started life as a Tex preprocessor, it has ended up
 unable to scribe a single crotchet but instead translates it's
 input markup directly into MIDI. You can view and copy the
 documentation/shareware at:

        www.ibmpcug.co.uk/~loki/ 

        Here is a whirlwind tour of the language. Unlike the
 previous examples given in this group Loki contains procedural
 commands as well as data. The first and foremost is assignment.
 Users of other languages than English find "Hemidemisemiquaver"
 less than intuitive, Loki allows

        %define 1/64 %hemidemisemiquaver
        %define 1/4  %crotchet

 which will enable you to set four crotchets on the current stave
 as
        1/4 C5 E5 G5 B5.

        Here is a fully working Loki program, with comments. You 
 can save this message from your mail system and then after having 
 aquired the shareware program from the above address you can run 
 it through and you should hear C major notes on the tubular-bells. 

        ----------------------------------------------------------

        /*

        Loki V1.Heron

        A C Major scale
 
        */
        
        %midi cscale.mid        /* output file                  */

        %playmidi $ c:\windows\mplayer.exe /play /close $
                                /* the glyph "$" delimits strings */
                                /* Identify your MIDI player software */

        %include glyph.htm      /* plain format , short commands */
        %include gm_patch.htm   /* Loki removes HTML tags on input */
                                /* you can therefore use HTML markup */
                                /* in source files (almost always) */

        %use_staves TUBULAR-BELLS /* one stave, 128 possible */
                                  /* channels are assigned modulo 16 */
        
        /*

        Now a two octave scale is built. The file scales.htm in the
        distribution kit sets up the major/minor scales and the modes 
        on all possible roots to be used as harmonic resources as we
        shall see later.

        */

        %begin_store 2_octave_scale
        C4 %up 2 %up 2 %up 1 %up 2 %up 2 %up 2 %up 1
           %up 2 %up 2 %up 1 %up 2 %up 2 %up 2 %up 1
        %end_store

        /*

        The file chords.htm creates standard chords to use when
        creating tracks. We will also demonstrate Loki's inbuilt
        harmonisation command.           
 
        Bar 1. This plays a chord, derived from the setup file
               and then 2 notes from a scale. First we need a MACRO
               to set the notes from a stored string as a chord in
               as short a form as possible. 
        */

        %begin_macro chord
         %begin_chord
          %dump *
         %end_chord
        %end_macro

        %include scales.htm
        %include chords.htm
        
        /*

        The short form of the above macro made possible by glyph.htm
        is
        
        !* chord ( %dump * ) *!
        
        The glyph "*" in this context stands for the parameter consumed
        by the macro.

        Now we use it.
        
        */

        %begin_bar
         1/2 chord C4Maj 
         %select_pearls 2_octave_scale 1/4 #2 #3 
        %end_bar

        /*

        Bar 2. Now we use one of the features of Loki to
               harmonise using the scale above.
        
        */

        %harmonic_schema 2_octave_scale /* this can be a mode or contrived
                                           scale */

        %position 2                     /* seed note is the second */
        %harmonise F4 f_harm            /* note of a triad */

        %position 1                     /* seed is root */
        %cluster_size 4                 /* to get Gdom7 */
        %harmonise G4 G_harm

        %position     3                 /* seed note is top of triad */
        %gap          3                 /* built from fourths        */
        %cluster_size 3 
        %harmonise B5 b_harm

        [ 1/4 chord f_harm
              chord G_harm
              chord A4min
              chord b_harm
        ]
        /*

        And now for a flourish, we slice a whole bars worth 
        of time into 15 slivers and play the whole two octave
        scale.          

        */

        [ 1/1 %slice 15 %dump 2_octave_scale ]


        ------------------------------------------------------------

 Larger examples are available for inspection on the web page.
 The current version of Loki is reasonably stable, should you experience
 problems please mail any bug reports/suggestions to: 

        Loki@btinternet.com

        Have fun. 

        Loki.

        



From mutex-owner@mail2.gmd.de Mon Apr  7 13:30:10 1997
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To: Han-Wen Nienhuys <hanwen@stack.nl>, mutex@gmd.de
Subject: Re: languages 
In-Reply-To: Your message of "Fri, 04 Apr 1997 18:18:10 BST."
             <199704041718.SAA13729@khako.ncc.up.pt> 
Date: Mon, 07 Apr 1997 15:30:10 +0200
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On Friday, 4 April 1997, Miguel Filgueiras writes:
> 

wow.
daar moeten ik eens naar kijken.
maar niet alle hebben een ftp adres,
en zelfs musixtex staat ertussen...

> hanwen@stack.nl said:
> > anybody interested in music languages *should* take a look at
> > lilypond. 
> 
> ... as well as other systems. I contribute with some references:
> 
> 
> \bibitem[Blostein and Haken 94]{BlosH94}
> D. Blostein, L. Haken, The Lime Music Editor: a Diagram Editor
> Involving Complex Translations. {\em
> Software --- Practice and Experience}, Vol. 24(3), 289--306, 1994.
> 
> \bibitem[Brinkman 90]{Brin90}
> Alexander Brinkman, {\em PASCAL Programming for Music Research}.
> The University of Chicago Press, 1990.
> 
> \bibitem[Filgueiras 96]{Filg96}
> Miguel Filgueiras, Implementing a Symbolic Music Processing
> System. LIACC, Universidade do Porto, 1996; submitted.
> 
> \bibitem[Filgueiras {\em forth}.]{Filgforth}
> Miguel Filgueiras, Some Music Typesetting Algorithms. LIACC,
> Universidade do Porto, {\em forthcoming}.
> 
> \bibitem[Filgueiras and Leal 93a]{FilgL93a}
>  Miguel Filgueiras and Jos\'e Paulo Leal, A First Formulation of
> \SceX, a Music Typesetting System. Centro de Inform\'atica da
> Universidade do Porto, 1993.
> 
> \bibitem[Filgueiras and Leal 93b]{FilgL93b}
> Miguel Filgueiras and Jos\'e Paulo Leal. Representation and
> manipulation of music documents in \SceX. {\em Electronic Publishing},
> vol. 6 (4), 507--518, 1993.
> 
> \bibitem[Foxley 87]{Foxl87}
> Eric Foxley, Music --- A language for typesetting music scores. {\em
> Software --- Practice and Experience}, Vol. 17(8), 485--502, 1987.
> 
> \bibitem[Gourlay 86]{Gour86}
> John S. Gourlay, A language for music printing. {\em Communications of
> the ACM}, Vol. 29(5), 388--401, 1986.
> 
> \bibitem[Grande 95]{Gran95}
> Cindy Grande, NIFF6a Notation Interchange File Format.
> Grande Software Inc., 1995. {\tt ftp:blackbox.cartah.washington.edu}
> 
> \bibitem[Jalbert 89]{Jalb89}
> Fran\c{c}ois Jalbert, Mu\TeX\  User's Guide (Version $1.1$). Computer
> Science Department, University of British Columbia, 1989.
> 
> \bibitem[Langston 90]{Lang90}
> Peter S. Langston, Unix music tools at Bellcore. {\em
> Software --- Practice and Experience}, Vol. 20(S1), S1/47--S1/61, 1990.
> 
> \bibitem[Mahling {\em et al}. 90]{Mahletal90}
> Andreas Mahling, J. Herczeg, M. Herczeg and H.-D. B\"ocker, Beyond
> visualization: knowing and understanding. In P.~Gorny, M.~J. Tauber
> (eds.), {\em Visualization in Human-Computer Interaction}, Lecture
> Notes in Computer Science, 439, 16--26, Springer-Verlag, 1990.
> 
> \bibitem[Nieuwenhuizen 95]{Nieu95}  % mpp
> Jan Nieuwenhuizen, Using \TeX\ and the MusiX\TeX\  macro package to
> write parts and scores of music. Department of Physics, Eindhoven
> University of Technology, 1995.
> 
> \bibitem[Simons 96]{Simo96}
> Don Simons, PMX, A Preprocessor for MusiX\TeX\  (Version 1.04).
> dsimons@logicon.com.
> 
> \bibitem[Taupin 96]{Taup96}
> Daniel Taupin. Music\TeX: Using \TeX\  to Write Polyphonic or
> Instrumental Music (Version 5.17). Laboratoire de Physique des
> Solides, Centre Universitaire, Orsay, 1996.
> 
> \bibitem[Taupin {\em et al}. 96]{Taupetal96}
> Daniel Taupin, Ross Mitchell and Andreas Egler, Musix\TeX: Using \TeX\
> to Write Polyphonic or Instrumental Music (Version T.64). Laboratoire
> de Physique des Solides, Centre Universitaire, Orsay, 1993.
> 
> \bibitem[Vercoe 86]{Verc86}
> Barry Vercoe, Csound --- A Manual for the Audio Processing System and
> Supporting Programs with Tutorials. Media Lab, M.I.T., Cambridge,
> Massachusetts, 1986 (rev. 1992).
> 
> \bibitem[Walshaw 93]{Wals93}
> Chris Walshaw, {\tt ABC2M\TeX} --- An easy way of transcribing folk
> and traditional music. School of Maths, University of Greenwich, 1993.
> 
> 

From mutex-owner@mail2.gmd.de Mon Apr  7 18:44:41 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: incomplete nat. sign after DVIPS
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This may not be a real Musi*TeX problem.  I will be posting this question
elsewhere as well.

I have been getting my feet wet with DVIPS and have encountered an odd problem.

I coded a piece in PMX, processed it, ran it through MusiXTeX using OzTeX
3.0 and the .dvi is just fine.  No problems.

Then I decided to run the .dvi through DVIPS and view the output (I have
ghostview and viewps on my system).  All seemed to go well.  When I looked
at the first page, however, I found that the natural signs were missing the
rightmost vertical line.  It appears on-screen like this as well as in
print.  At first I thought this was the "unpleasant results" that DVIPS
warned me of when I did not have it make the missing PK fonts.  I did it
again and had the PK fonts made.  No difference.  The naturals are missing
the rightmost vertical line.  I would repeat at this point that the .dvi
file did not exhibit this phenomenon.

Ideas?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Apr  7 19:59:21 1997
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Date: Mon, 7 Apr 1997 21:59:21 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Peter Billam <pjb@ml.csiro.au>
Cc: mutex@gmd.de
Subject: Re: languages
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> Lilypond uses [] for beams, () for slurs, and <> for chords.
> Muscript currently uses
>   -  to join up beamed notes (currently unimplemented),
>   /\ for slurs (also currently unimplemented), and
>   () for chords.
> I reckon it would save more strife than it would cause if I changed
> muscript to use <> for chords and then to conform to Lilypond's use
> of all these brackets.  Next version.
> 
> Most of the other syntax differences would be harder to average out ...
> 

LilyPond is more powerful (judging from the examples I saw. Btw is 
measure 20 in Poet in the clouds has too many beats?) 

> Are there any plans anywhere for a direct mudela-to-postscript
> translator, to run on machines without TeX ?

There are fuzzy ones, but given the size of todays machines (TeX takes 
about 20 mb space), this might not be worthwile. at this point I have too 
much work for other stuff anyway. 

But if you feel like adding PS to lilypond, we will gladly accept input

BTW, I must say ScEX looks pretty good too. May be a bit too technic for 
the average musician.

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Tue Apr  8 06:23:25 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199704080623.IAA05738@calvyn.puk.ac.za>
Subject: Re: languages
To: pjb@ml.csiro.au (Peter Billam)
Date: Tue, 8 Apr 1997 08:23:25 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <Pine.SOL.3.95.970407095231.24895A-100000@strait> from "Peter Billam" at Apr 7, 97 10:38:01 am
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Peter Billam wrote:
> 
> Are there any plans anywhere for a direct mudela-to-postscript
> translator, to run on machines without TeX ?
> 
MACHINES WITHOUT TEX??  What heresy is this?  Why bother switching
them on at all???

More seriously, many of us poor folks still manage with oldish HP
Laserjets that just won't break and still print perfectly, so we
can't just throw them away.  So we would also need a direct
mudela-to-HP translator.  Etcetera.  It is from precisely this
Babel that TeX and .dvi files rescues us.

Dirk 


From mutex-owner@mail2.gmd.de Tue Apr  8 08:08:38 1997
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On Mon, 7 Apr 1997, Han-Wen Nienhuys wrote:
> 
> LilyPond is more powerful (judging from the examples I saw.)
>
Muscript has definitely less functionality than Lilypond; my long-term
plans for it would bring it up to about where Lilypond is now.
 
Still, I've spruced up muscript and muscript.html and annointed them with
a version 1.0 and they're in ftp://ftp.marine.csiro.au/software/pjb/mus
 
Mudela looks like a pretty good language, a bit more techie than Muscript
but about as compact - in fact rather similar.  I prefer the way Muscript
reads out loud, but then I'm English.  I'll obviously have to look at
Muscript<->Mudela translation utilities ...

> (Btw is measure 20 in Poet in the clouds has too many beats?) 
> 
There was a quaver short in the bass, dating from the version before
double-dots were supported.  I'll fix it eventually.  Was that what you
meant ?  It is a 6/4 bar (min.. qua cro. qua) ...

> > Are there any plans anywhere for a direct mudela-to-postscript
> > translator, to run on machines without TeX ?
> 
> There are fuzzy ones, but given the size of todays machines (TeX takes 
> about 20 mb space), this might not be worthwile. at this point I have too 
> much work for other stuff anyway. 
> But if you feel like adding PS to lilypond, we will gladly accept input
> 
I'll have to get some of that hard stuff like quaver beams sorted out
first.  Leave that question with me for a while.

> BTW, I must say ScEX looks pretty good too. May be a bit too technic for 
> the average musician.
> 
It is, by and large, the musicians who will be editing these text files.


On Tue, 8 Apr 1997, Dirk Laurie wrote:
>
> Peter Billam wrote:
> >
> > Are there any plans anywhere for a direct mudela-to-postscript
> > translator, to run on machines without TeX ?
> >
> MACHINES WITHOUT TEX??  What heresy is this?  Why bother switching
> them on at all???
>
I realise I'm a bit off topic, and I certainly don't want to revive
any religious wars - put it down to a spasm of heretical delusion.
 
The portability of Perl gives muscript Mac and DOS too for free, and
installation would be easier than for TeX. It's true that the need for
a postscript printer (or ghostscript) is the biggest portability problem.


Regards,  Peter Billam

System Administrator; Tel: (03) 62 325442, Fax: (03) 62 325000; CSIRO
Division of Marine Research, GPO Box 1538, Hobart TAS 7001, Australia


From mutex-owner@mail2.gmd.de Tue Apr  8 09:04:26 1997
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From: C.Walshaw@greenwich.ac.uk
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Subject: Re: languages
To: pjb@ml.csiro.au (Peter Billam)
Date: Tue, 8 Apr 1997 10:04:26 +0100 (BST)
Cc: mutex@gmd.de
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> Are there any plans anywhere for a direct mudela-to-postscript
> translator, to run on machines without TeX ?
> 
	There is an abc to postscript code (abc2ps) - have a look
at the abc home page:

	http://www.gre.ac.uk/~c.walshaw/abc

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


From mutex-owner@mail2.gmd.de Thu Apr 10 09:00:23 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199704100900.LAA16794@calvyn.puk.ac.za>
Subject: M-Tx uploaded 
To: mutex@gmd.de (List for MusicTeX etc)
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M-Tx 0.12 has been uploaded to

http://www.gmd.de/Misc/Music/musixtex/software/mtx
ftp://ftp.gmd.de/music/musixtex/software/mtx

from where it will presumably automagically reach CTAN.

M-Tx is a music-from-text language that operates as a front
end to PMX, which in turn is a front end to MusiXTeX.  Its
main merit is that it allows the easy insertion of lyrics,
in particular into music for four-part choir on two staves.
It also tries to be as non-technical as possible.

Dirk Laurie
dlaurie@na-net.ornl.gov

From mutex-owner@mail2.gmd.de Thu Apr 10 15:29:35 1997
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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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To: "Andy Austin, Mathematical Studies, Year 3" <A.AUSTIN@kcl.ac.uk>
Cc: mutex list <mutex@gmd.de>
Subject: Re: musicflx.exe
References: <009B2891.378AF4D0.424@alder.cc.kcl.ac.uk>
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Andy Austin, Mathematical Studies, Year 3 wrote:
> 
> The musicflx.exe supplied with musixtex T.73 has been compiled to make use of
> 386 numeric coprocessor instructions, hence it is not usable by anyone who owns
> a standard 386 machine (like me!).  As I haven't got a compatible C compiler, I
> cannot recompile the supplied source code myself.  Any chance of putting in
> a musicflx.exe in the next release which has not been compiled to make use of a
> 386 coprocessor?

 No chance, my C compiler is math coprocessor addicted. Try to recompile
it with a turbo C, if you have.
> 
> AndyA
> a.austin@kcl.ac.uk

-- 
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Apr 10 15:19:15 1997
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Date: Thu, 10 Apr 1997 16:19:15 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: What's the difference?
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Forgive me (please) for asking a heretical question, but I'm still happily
using MusicTeX, and I don't want to struggle up the learning curve trying
to learn MusixTeX and the mysteries of preprocessing unless there's some
obvious advantages in doing so.  So - please may I ask - what is the
benefit of switching from MusicTeX to MusixTeX ?  All I have understood
so far (I'm a slow learner) is that takes it charge of note spacing and draws
nice slurs.  What other features do you think an old stick-in-the-mud like
me should know about MusixTex ?

Any words of wisdom much appreciated,

Paul McIlroy

pmcilroy@bt-sys.bt.co.uk

From mutex-owner@mail2.gmd.de Thu Apr 10 18:13:13 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: What's the difference?
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Paul McIlroy <pmcilroy@bt-sys.bt.co.uk> wrote

>Forgive me (please) for asking a heretical question, but I'm still 
>happily using MusicTeX, and I don't want to struggle up the learning 
>curve trying to learn MusixTeX and the mysteries of preprocessing 

Preprocessing is no more necessary for MusiXTeX than for MusicTeX.

>unless there's some obvious advantages in doing so.  So - please may I 
>ask - what is the benefit of switching from MusicTeX to MusixTeX ?  All I 
>have understood
>so far (I'm a slow learner) is that takes it charge of note spacing and 
draws >nice slurs.  

For me, those two attributes were enough.  After several years with 
MusicTeX I got very tired of the manual, visual, iterative use of 
\autolines and the need to readjust the parameters after practically 
every editorial change.  And even after getting a score to a state I 
was satisfied with then, it still could have noticeable spacing 
problems...now when I look at some of the old .dvi's, my eye is 
immediately drawn to places where spacing is still out of proportion, 
especially after bar lines.  If I'm going to put in the sweat equity 
to set up a score using a system like this, I want the result to come 
out looking as close to publication quality as possible, every time, 
with a minimum of iteration.  After the learning curve (which won't be 
as bad as you think), it's about 10 times *easier* to get pleasing 
spacing, even with raw MusiXTex, and it's possible to get 
decent-looking slurs where it was impossible (at least I found it so) 
with MusicTeX.

--Don Simons (dsimons@logicon.com)



From mutex-owner@mail2.gmd.de Thu Apr 10 19:09:54 1997
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Date: Thu, 10 Apr 1997 21:09:54 +0200 (MET DST)
From: Rainer Dunker <rainer@dunker.e.ruhr.de>
To: mutex@gmd.de
Subject: MusiXTeX lyrics: yet another approach
Message-Id: <Pine.LNX.3.91.970410165122.304C-100000@dunker.e.ruhr.de>
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Hello all,

I'd like to announce musixlyr, a MusiXTeX extension for convenient
lyrics handling (admittedly a bit late with respect to the recent
lyrics and preprocessor discussion).  My first posting to this list
concerning musixlyr is several months ago; now it's uploaded--at
last!--to

   ftp://ftp.gmd.de/music/musixtex/add-ons/musixlyr.zip

(also accessible via http://www.gmd.de/Misc/Music/).

musixlyr is *not* yet another MusiXTeX preprocessor; instead, it's
simply a .tex file which has to be \input in your score source.  The
lyrics commands are also typed into the source file, along with the
MusiXTeX commands.

These are musixlyr's goals:

  1. simplification of entering, correcting and changing lyrics with
     regard to barely using \csong, \zsong etc.
     
  2. smart handling of hyphens and "word extension underlines" (I
     don't know whether this is offered by any of the other lyrics
     solutions.)

Here are its main features:

  * Lyrics are entered entirely in one place, e.g.
  
      \setlyrics{soprano}{This is the so-pra-no verse}
      % if several voices have the same lyrics:
      \copylyrics{soprano}{alto}
  
    instead of spreading the syllables all over the music code. This
    dramatically simplifies corrections and changes of lyrics.
  
  * Automatic syllable-to-note assignment. In the simplest case (each
    note or chord gets a syllable) simply type the lyrics just as normal
    text--that's all.

  * Avoidance of overlapping lyrics.
  
  * Automatic placement of hyphens centered between the belonging
    syllables, also respecting line breaks (be they "soft" or "hard").
  
  * Melismas: Just mark the first and the last note of a melisma for
    appropriate lyrics setting.
  
  * Individual manual modifications of syllable-to-note assignments wherever
    necessary.
  
  * Arbitrarily many lines of lyrics (e.g. verses) per staff; these can
    be manipulated all at once or individually.
  
  * Word labeling and a "lyrics goto". With this, you can skip over
    arbitrary passages of lyrics back or forth without explicitly coding it
    within \setlyrics. This is useful for polyphonic pieces where some 
    voices repeat parts of the lyrics (or skip over certain phrases) 
    while other voices don't (or do elsewhere).
  
  * To be done: support of multiple staves per instrument (e.g. for piano
    arrangements of songs with lyrics between the staves).

I invite you to try musixlyr and send comments about bugs and
suitability for your needs.  Full documentation with many examples is 
included; the PKZIPped archive is about 50 kB.

Regards,

Rainer Dunker

PS. My e-mail address mentioned in musixlyr's documentation, 
    different from the current one, is still valid.


From mutex-owner@mail2.gmd.de Thu Apr 10 19:17:42 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: musicflx.exe
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Thu, 10 Apr 1997 15:17:42 -0400 (EDT)
In-Reply-To: <334D075F.60A6@lps.u-psud.fr> from "Daniel TAUPIN" at Apr 10, 97 03:29:35 pm
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Daniel Taupin wrote:
> 
> Andy Austin, Mathematical Studies, Year 3 wrote:
> > 
> > The musicflx.exe supplied with musixtex T.73 has been compiled to make use of
> > 386 numeric coprocessor instructions, hence it is not usable by anyone who owns
> > a standard 386 machine (like me!).  As I haven't got a compatible C compiler, I
> > cannot recompile the supplied source code myself.  Any chance of putting in
> > a musicflx.exe in the next release which has not been compiled to make use of a
> > 386 coprocessor?
> 
>  No chance, my C compiler is math coprocessor addicted. Try to recompile
> it with a turbo C, if you have.
> > 
> > AndyA
> > a.austin@kcl.ac.uk
> 
> -- 
> -------------------------------------------------------------------------
>   Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
>   E-mail : mailto:taupin@lps.u-psud.fr
>   Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
> -------------------------------------------------------------------------
> 

Andy:

I know how frustrating this problem can be... !!!  Some of us are provided
machines (say, at work) where we don't need (they say) language support,
things, like C++, Pascal, or (pardon me Don) even Fortran.  Last time
around I was fortunate enough to have a friend compile musixflx without
co-processor dependencies and came out just fine.  My experiences getting
a working version of abc2mtex have been otherwise disastrous along these
same lines, so I don't yet know the "formula" for success.

However, when I ran into this problem with a version of PMX, I had some
success on my PC by using an 8087 Co-Processor emulator.  I simply
won't assert that this will work for everyone, but it did allow me
to run PMX (when I did run it, back then, before finding mpp, which is
broken just the way I like it....:^))

Here's a suggestion....

Get the package EM87V1_3.ZIP from the Simtel Archives.

From a Web Browser... contact http://www.simtel.net/simtel.net/
(man, I hope that's right).... (Or just search for "simtelnet" from
one of the search engines.)

Once "on-line," search in MS-DOS collections for EM87V1_3.zip...
There are others, and there are ones for windows too, but this
one worked for me because I run all this stuff from a DOS shell.

When you get the package, PKunzip it, and install it as a TSR.
Thereafter, your co-processor dependent software will (apparently)
get the job done anyway.

If you don't have a Web access, get ahold of Dr. Bob Rankin's
FAQ on Internet Access by E-Mail, or send a message to 
someone like ftpmail@doc.ic.ac.uk with HELP in the body of
the message.  The same site could be contacted by mail to
ftpmail@doc.ic.ac.uk, with a body message something like
this

connect simtelnet
binary
uuencode
cd /pub/simtelnet/msdos/mathcopr
get em87v1_c.zip
quit

(The only thing that might be wrong is that the mathcopr sub directory
doesn't seem to be familiar... it may be some other sub directory...
which you could find by doing a cd /pub/simtelnet/msdos and then asking
for "dir" to be shown (on the next line.)  You will get the package as
a uuencoded, zipped mail message...)  My appolgies... it has been a while.

If none of the above makes sense, take heart... you are only a few
FAQs and hours reading away from a brave new world!  Keep on.

Good Luck.

Joel Hunsberger
hunsberg@sqa1.si.com

From mutex-owner@mail2.gmd.de Thu Apr 10 20:48:00 1997
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From: joel@exc.com (Dr. Joel M. Hoffman)
To: dsimons@logicon.com
Cc: mutex@gmd.de
In-Reply-To: Don Simons's message of Thu, 10 Apr 1997 11:13:13 -0700 <00019294.1941@logicon.com>
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>with a minimum of iteration.  After the learning curve (which won't be 
>as bad as you think), it's about 10 times *easier* to get pleasing 
>spacing, even with raw MusiXTex, and it's possible to get 
>decent-looking slurs where it was impossible (at least I found it so) 
>with MusicTeX.

The one exception, I've found, is that lyrics are actually >harder< to
get right with MusiXTeX than with its predecessor Musictex, unless
you're willing to live with unconnected 8th notes.

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Tue Apr 15 06:54:49 1997
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Date: Tue, 15 Apr 1997 07:54:49 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
Subject: Page numbers
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I don't like using pagenumbers on a single page document.  In TeX the
\nopagenumbers macro takes care of that.  If I'm doing a piece in
MusicTeX (a morceau, not an extrait) \def\outmorceau{\plainoutput}\relax
does the trick nicely.  If, however, I'm writing a page of text with a
short \debutextrait.....\finextrait within it I can't find any way to
suppress the page number.  Any suggestions?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

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Date: Tue, 15 Apr 1997 16:37:31 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199704151437.AA03060@sunick.gmd.de>
To: mutex@gmd.de
Subject: MusiXTeX example for orchestral scores
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After Daniel Taupin has released MusiXTeX T.73 with up to 3 choir brackets
I can provide an example to use this feature. The example shows orchestral
scores e.g. the beginning and ending of the first movement of Mozart's
"Haffner Sinfonie", KV 385. The example contains a PS-File and the 
MusiXTeX-source.

  http://www.gmd.de/Misc/Music/  skip to "MusiXTeX" "add-ons"

Enhancements, corrections, modifications, ... welcome	-- Werner Icking

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From: MARKUS GAIDA <markus.gaida@ins.Uni-Stuttgart.DE>
Subject: tslur without islur?
To: mutex@stolaf.edu
Date: Wed, 16 Apr 1997 15:48:26 METDST
Cc: markus.gaida@ins.Uni-Stuttgart.DE (Markus Gaida)
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Dear Musixtex users,

I am using musixtex-T73 and want to typeset the end of a slur
just after a \rightrepeat (which is the end of a \setvolta1-bar
and the beginning of a  \setvolta2-bar). In the bar just before
the \setvolta1-bar the slur was started and it ends within
the \setvolta1-bar. As a symbol, that the slur should be 
performed as well in the case of repetition I'd like
to typeset something like the last half of a slur.
Does someone know how to code this?

Thank you in advance.
   M. Gaida

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Date: Wed, 16 Apr 97 11:02 EDT
From: joel@exc.com (Dr. Joel M. Hoffman)
To: markus.gaida@ins.Uni-Stuttgart.DE
Cc: mutex@stolaf.edu, markus.gaida@ins.Uni-Stuttgart.DE
In-Reply-To: MARKUS GAIDA's message of Wed, 16 Apr 1997 15:48:26 METDST <199704161348.PAA10802@artemis.rus.uni-stuttgart.de>
Subject: tslur without islur?
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>I am using musixtex-T73 and want to typeset the end of a slur
>just after a \rightrepeat (which is the end of a \setvolta1-bar
>and the beginning of a  \setvolta2-bar). In the bar just before
>the \setvolta1-bar the slur was started and it ends within
>the \setvolta1-bar. As a symbol, that the slur should be 
>performed as well in the case of repetition I'd like
>to typeset something like the last half of a slur.
>Does someone know how to code this?

I did something like this.  I don't remember the details, but
basically I inserted a dummy islur just after the repeat symbol, so
that the tslur would have something to terminate.

Worked fine for me.

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Wed Apr 16 20:20:48 1997
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Date: Wed, 16 Apr 1997 16:20:48 -0400
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To: mutex@gmd.de
Subject: left-right repeats at page
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I'm setting a baroque allemande in usual AABB form, using MusixTex.
The A and B parts are on separate pages.  The problem is that there 
is a pick-up 16th note to the B part that is "officially" part of the 
last bar of the A part but should appear on the second page.  I can't 
manage to set this right.  The best I can do is as follows:

\notes ... \enotes% last notes of A part
\setrightrepeat%
\advance\barno by -1%
\alapage%
\leftrepeat%
\advance\barno by -1%
\notes ... \enotes % pick-up notes
\bar%  
\notes ... \enotes  % B part proper

Apart from the fact that the two \advance\barno by -1 don't feel right,
the system bar number at the top of the second page doesn't have the
\writezbarno flag that should be there.  Can anyone help me?

Bob T.

From mutex-owner@mail2.gmd.de Thu Apr 17 08:17:46 1997
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Date: Thu, 17 Apr 1997 10:17:46 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199704170817.AA03610@sunick.gmd.de>
To: mutex@gmd.de, rdt@qucis.queensu.ca
Subject: Re: left-right repeats at page
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I solved similar cases in Mozart's KV424 with:

\mulooseness=<???>\setrightrepeat\stoppiece\advance\barno-1%
\barnofalse\eject\contpiece\leftrepeat\advance\barno-1%

and (in mymusix.tex):

\makeatletter

\def\barnotrue{\let\z@sw\empty}
\def\barnofalse{\let\z@sw\@ne}

\makeatother

Another more general solution is for all those repeats with pick-ups:

\makeatletter

\def\zleftrightrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \leftrightrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}
\def\zrightrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \rightrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}
\def\zleftrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \leftrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}

\makeatother

and then forcing the wanted line break by e.g. \mulooseness, \xbar, ...

The additional eject can then be done by \def\atnextline{\eject} , what
I prefer in most cases instead of the "fixed" \alapage.

\zleftrigthrepeat, ... could be done more elegant if they were integrated
into musixtex.tex. I would like if Daniel Taupin could offer \barnotrue,
\barnofalse, \zleftrightrepeat, ... within musixtex.tex. 

Daniel, do you hear me :-)

Werner

From mutex-owner@mail2.gmd.de Thu Apr 17 15:41:42 1997
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From: MARKUS GAIDA <markus.gaida@ins.uni-stuttgart.de>
Subject: tslur without islurOK!
To: mutex@stolaf.edu
Date: Thu, 17 Apr 1997 15:11:02 METDST
Cc: markus.gaida@ins.Uni-Stuttgart.DE (Markus Gaida)
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Dear Musixtex users,

my problem with the last half of a slur starting
after a \rightrepeat-bar was resolved with:

\font\xslhdfont=xslhd20 scaled \magstep1
\def\finslurd#1{\loffset{2.0}{\zcharnote{#1}{\xslhdfont\char0}}}
  .
  .
  .
\rightrepeat
% Takt17
\NOtes\qsk\finslurd{d}\qu{g}\en
  .
  .
  .
based on a suggestion of Werner Icking.

Many thanks to him as well as to Dr. Joel M. Hoffman
for their contributions to resolve the problem.

(Unfortunately the pitch of my \finslurd{d} is not the same as
the pitch of the note that follows - but it looks nice.)

M. Gaida

From mutex-owner@mail2.gmd.de Thu Apr 17 14:14:50 1997
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From: rdt@qucis.queensu.ca (Robert Tennent)
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Date: Thu, 17 Apr 1997 10:14:50 -0400
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To: Werner.Icking@gmd.de, mutex@gmd.de
Subject: Re: left-right repeats at page
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Thanks Werner for the suggestions.  I finally decided that \writezbarno
was ugly; I now use \nobarnumbers before the page break, place the
bar number myself at the \bar, and then turn \systemnumbers on again.
But of course there should be a general way to treat repeats not at a
bar break!

Bob T.

From mutex-owner@mail2.gmd.de Thu Apr 17 14:32:02 1997
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Date: Thu, 17 Apr 1997 16:32:02 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199704171432.AA04005@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Rest, multibar rests and PMX
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Dear MusiXTeX-ers, some time ago ...

> Date: Mon, 17 Feb 1997 16:58:24 +0100
> From: Werner Icking <Werner.Icking@gmd.de>
[...] 
> I've prepared a little MusiXTeX-source concerning typesetting rests.
> 
> Besides other things it demonstrates how to typeset multibar rests.
[...]
> % rests.tex
> %
> % (c) 1996, Werner Icking
[...]
> \footline{\smalltype Edited by Werner.Icking@gmd.de using \it Herbert Chlapik, 
>  Die Praxis des Notensetzers, Doblinger Wien 1987, ISBN 3-9000~035-96-2 \hfil}
[...]

This version has been updated a little bit and stored to

  http://www.gmd.de/Misc/Music/      See MusiXTeX, add-ons.

Werner

PS: I've been told that my source has been ported to the documentation
    of another TeX-macro package for typesetting music without any remark
    of the origin (\subsection{*Rests}). When upgrading it, it would be 
    nice[tm] to add something like the above \footline.

From mutex-owner@mail2.gmd.de Thu Apr 17 17:04:58 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199704171704.TAA03272@calvyn.puk.ac.za>
Subject: Idiotic MusiXTeX mistake
To: mutex@gmd.de (List for MusicTeX etc)
Date: Thu, 17 Apr 1997 19:04:58 +0200 (SAT)
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This story will make you all feel good, knowing there is someone
dumber than yourself fooling around.

I'd just installed musixtex 0.73 and tested it with some of my
sources -- do they still work?  All did except one.  That one
simply would not make a .mx1 file, and of course after that things
go wrong.

After a while, in desperation, I renamed the offending file.  It
now suddenly worked!  Rename it back -- no.

Dimly remembering that MusiXTeX won't make a .mx1 file if it finds
a .mx2 file, I started looking for .mx2 files in my TeX include path.
There it was: somehow my working directory and all its subdirectories,
including an old copy of my current files, had got into the path.  
(I'm not willing to tell you how it got there --
you do not need to know the full extent of my dumbness.)

Which brings me to a question.  In view of the inexpressible
dumbness of dolts like myself, might it not be a reasonable
idea for musixtex to look for ./\jobname.mx1 and ./\jobname.mx2
instead of just \jobname.mx1 and \jobname.mx2?  Or would this
spoil something else?

Dirk

From mutex-owner@mail2.gmd.de Fri Apr 18 14:56:24 1997
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* examples of abc usage
*new*	* some abc packages can now handle lyric as well as music
		- try abc2ps or abc4mac
*new*	* arranger reads abc files, adds chords and rewrites the abc.
	* a list of web-accessible abc tune collections
	* the web-wide abc index (over 5000 web-accessible tunes listed)
	* the sectionalised web-wide abc index (split into bite-sized chunks)
	* link to the abc user group mailing list
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Fri Apr 18 15:37:48 1997
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Date: Fri, 18 Apr 1997 16:37:48 +0100
From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@gmd.de
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How is MusixTeX told to produce a .mx1 file rather than a DVI file?

Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)

From mutex-owner@mail2.gmd.de Mon Apr 21 06:55:31 1997
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Paul McIlroy wrote:
> 
> How is MusixTeX told to produce a .mx1 file rather than a DVI file?
> 
> Paul McIlroy (pmcilroy@bt-sys.bt.co.uk)
> 

1.  It always produces a .dvi file (but the first one looks
    terrible).

2.  It looks for a .mx2 file.  If it can't find it, it makes
    a .mx1 file.  CAUTION - if a suitably named .mx2 file is
    anywhere in your TEXINPUT path, it will be used, even if
    there is none in the current directory.  This can cause
    some incredibly mystifying behaviour.  The right advice 
    is not to put any working directory in the TEXINPUT path.

Dirk

From mutex-owner@mail2.gmd.de Mon Apr 21 09:35:00 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Fri, 18 Apr 1997 16:37:48 +0100
> From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>

> How is MusixTeX told to produce a .mx1 file rather than a DVI file?

MusiXTeX produces a .mx1 file if no .mx2 file exists.
The dvi-file is produces nevertheless.

So the normal musixtex procedure is:

1  erase <job>.mx1
2  musixtex job           produces .mx1, .log, .dvi (horrible)
3  musixflx job           produces .mx2
4  musixtex job           produces       .log, .dvi (final)

I normally keep .mx2 and reuse it if there are only minor changes which
do not affect the spacing e.g. correcting pitches, adding text, adding
accidentals, ... Reusing occurs by executing only step 4.

You have to run the complete procedure if you change e.g. \notes to 
\Notes, add notes, remove notes, change signatures, replace \bar by
\xbar, introduce \zbar, change \muloosennes, etc.

Werner

From mutex-owner@mail2.gmd.de Tue Apr 22 13:44:45 1997
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From: JOHANID <JOHANID@aos.hisf.no>
Organization: Hogskulen i Sogn og Fjordane
To: mutex@stolaf.edu
Date: Tue, 22 Apr 1997 13:44:45 GMT+0100
Subject: Problems with pmx
Priority: normal
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Hello friends,
I tried pmx on the example file barsanti.pmx. 
It seemed to work fine but
when I run TeX on the all the notes are in a heap
on the left side of the paper. 
I got the message:

Underfull \vbox (badness 1810) has occurred while \output is active [1]

Wnat is wrong?

This is the message I got:
This is TeX, Version 3.14159 (no format preloaded)
**&Plain barsanti.tex
(barsanti.tex (:TeX-inputs:MusiXTeX:musixtex.tex
MusiXTeX(c) T.73 <31 March 1997>
) (:TeX-inputs:Pmx:pmx.tex
PMX, a Preprocessor for MusiXTeX, v1.1 <4 January 1997>
) (:TeX-inputs:MusiXTeX:musixmad.tex (:TeX-inputs:MusiXTeX:musixadd.tex
MusiXADDitional instruments T.73 <31 March 1997>
)
MusiXMore ADditional instruments T.73 <31 March 1997>
) bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7 bar 8 bar 9 bar 10 bar 11 
bar 12
bar 13 bar 14 bar 15 bar 16 bar 17
Underfull \vbox (badness 1810) has occurred while \output is active [1]
Memory usage before: 24230&22320; after: 220&21224; still untouched: 
36102
 )
(see the transcript file for additional information)
Output written on barsanti.dvi (1 page, 23304 bytes).
Transcript written on barsanti.log.

Memory allocated: 1543022 bytes.
Time elapsed: 6.7 seconds.


Regards
Johannes Idso 


From mutex-owner@mail2.gmd.de Tue Apr 22 14:19:10 1997
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Date: Tue, 22 Apr 1997 16:19:10 +0200
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@stolaf.edu
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> From: JOHANID <JOHANID@aos.hisf.no>
> Date: Tue, 22 Apr 1997 13:44:45 GMT+0100
> 
> I tried pmx on the example file barsanti.pmx. [...]

> when I run TeX on the all the notes are in a heap
> on the left side of the paper.

continue your work with:    musixflx   barsanti
                            tex &Plain barsanti


MusiXTeX is a three phase system. So a typical musixtex procedure
running <source> looks like:

  erase      <source>.mx2        (rm, del, erase, ...)
  tex &plain <source>         --> .mx1, .log, .dvi
  musixflx   <source>         --> .mx2
  tex &plain <source>         -->       .log, .dvi (final)

It can be beautified by replacing &plain by a &musixtex format, which
is described in the musixtex documentation and can be found in the index
under "format".

Werner

From mutex-owner@mail2.gmd.de Thu Apr 24 09:22:02 1997
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From: JOHANID <JOHANID@aos.hisf.no>
Organization: Hogskulen i Sogn og Fjordane
To: mutex@stolaf.edu
Date: Thu, 24 Apr 1997 9:22:02 GMT+0100
Subject: Problems, pmx, linebreak
Priority: normal
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Musix-friends,
I am very new to pmx. And tried to do something 
simple. With the following pmx-file I want 3 lines of
music. It is all written in 1 very long line (no linebreak)

1 1 4 4 0 6 0 0
0 7 20 0.07
t
\ . 
% Bar 
c44 d e f g a b b  
  g44 e d c b c f f /  
% Bar 
  g44 e d c b c f f / 

How do I get linebreaks? I thought / was the thing.

Regards
Johannes Ids\o


From mutex-owner@mail2.gmd.de Thu Apr 24 09:56:00 1997
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Date: Thu, 24 Apr 1997 11:56:00 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199704240956.AA06161@sunick.gmd.de>
To: mutex@stolaf.edu, JOHANID@aos.hisf.no
Subject: Re: Problems, pmx, linebreak
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> From: JOHANID <JOHANID@aos.hisf.no>
> Date: Thu, 24 Apr 1997 9:22:02 GMT+0100
> 
> [...] With the following pmx-file I want 3 lines of
> music. It is all written in 1 very long line (no linebreak)
> 
> 1 1 4 4 0 6 0 0
> 0 7 20 0.07
  ^^^  you asked for seven bars per line.
  1 3
  ^^^  requests 3 lines of music put onto 1 page.
> t
> \ . 
> % Bar 
> c44 d e f g a b b  
>   g44 e d c b c f f /  
> % Bar 
>   g44 e d c b c f f / 
> 
> How do I get linebreaks? I thought / was the thing.

/ terminates voices; after some bars (at least 15?) you have to break the
  input and switch to the next voice. For single voice music it's only
  used to seperate the music in input blocks (of up to 15 bars).

Line and page breaking is automatically done by pmx. But you can force
it by "L" maybe followed by "P" e.g. "L16P3": start line 16 here and begin
the 3rd page.

Werner

PS: Imho you should use "|" as bar indicator. PMX uses it only for checking
    but it makes it easier to read the source.

From mutex-owner@mail2.gmd.de Thu Apr 24 11:44:09 1997
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Date: Thu, 24 Apr 1997 11:44:09 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Re: Problems, pmx, linebreak
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Johannes,

You had a question about this PMX input;

>1 1 4 4 0 6 0 0
>0 7 20 0.07
>t
>\ .
>% Bar
>c44 d e f g a b b
>  g44 e d c b c f f /
>% Bar
>  g44 e d c b c f f /
>
>How do I get linebreaks? I thought / was the thing.

The / character has nothing to do with linebreaks.  It is used only to
separate blocks of input into chunks small enough for PMX to process (no
more than 15 measures per block).

In the documentation, section 2-Elements of PMX, in about the the ninth
paragraph it says;

If npages>0 ,it is the number of pages and nsyst is the total number of
systems inthe entire piece.

You have

>0 7 20 0.0

in your second line of PMX input.  To PMX this means ? number of pages, 7
measures (on average) per system (line), 20pt music, no indent.  Try
changing this to;

1 3 20 0.0

To PMX this means 1 page, 3 systems (lines) per page, 20pt music, no indent.

One further warning.  I was not able to check this out myself.  I don't
currently have PMX or MusiXTeX on my system due to disk crowding.  You may
find that this doesn't fix it for you.  If not, it is probably due to some
deeper issue in PMX or MusiXTeX which, at the moment, I am not prepared to
handle.

It may be that you will have to make some minor adjustments in the .tex
ouput from PMX in order to get the linebreaks where you want them.  It is
an inconvenience, but a minor one.  I'm sure, however, that you will get
more detailed answers from others on the list.

Good luck,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Tue May  6 17:48:08 1997
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Date: Tue, 6 May 97 15:27:58
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To: mutex@gmd.de
From: Ben Challis <bpc@minster.cs.york.ac.uk>
Subject: slides
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Is there a way to use musixtex extracts within the slide environment. I need
to include some short extracts for a seminar using overhead projector
slides. The fragment I used below complains that certain fonts are not
loaded. When I use any other document class, like article, report etc it
works fine so there are no problems with the actual extract I just can't use
it in {slides}. Any suggestions please?

\documentclass{slides}
\includepackage{musixtex}

\begin{document}
\begin{slide}
\begin{music}
%settings here

\startpiece
%extract to go here
\endpiece

\end{music}
\end{slide}
\end{document}
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
*********************************


From mutex-owner@mail2.gmd.de Tue May 13 15:22:22 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Vacation from May 16th to June 8th
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Dear subscribers of the MuTeX mailing list,

from May 16th to June 8th this list will run unattended. From my
experience up to now this should be possible without any problems.

Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request ( don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.

If there seem to be major problems with the list, please inform
listmaster@gmd.de

Regards, Werner

PS: In the same way the music part of ftp.gmd.de runs unattended.
    That means that new versions of e.g. MusiXTeX or PMX will not
    automatically be distributed as far as they are mirrored from
    ftp.gmd.de. I informed the persons involved by separate mails.

From mutex-owner@mail2.gmd.de Wed May 14 13:02:08 1997
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Date: Wed, 14 May 1997 15:02:08 +0200
From: Oliver Broeker <oliver.broeker@gmd.de>
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        G.Lewis@astro.cf.ac.uk
Subject: guitar tablature
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Hi All!

I would like to ultimately produce standard sheet music for
guitar with MusiXTex. What I am thinking of is the following very standard
way of transcribing rock/pop/jazz songs for guitar:

  Rythm guitar       (just Chords and Rythmic Notes)
  Melody for singing 
  Words
  Guitar 1 Notes
  Guitar 1 Tablature (6 lines, numbers on lines and rythm underneath)
  [optionally: 
  Guitar 2 Notes
  Guitar 2 Tablature (6 lines, numbers on lines and rythm underneath)]

I see two major things to be done:
a) writing macros for easy transcription of the numbers
b) writing macros for things like bend, hammer-on, slide, etc.

I have seen many requests for type of transcription, but I have never seen
any answers.

I would like to share experiences.
=== Oliver ===

From mutex-owner@mail2.gmd.de Wed May 14 16:09:08 1997
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Date: Wed, 14 May 1997 11:09:08 -0500
From: "Darlene J. Chatham" <darlene@chatham.org>
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Subject: Re: guitar tablature
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Hi,

Although I have not used MusixTeX, I have compiled a set of macros for
guitar tab and variuos other markings in MusicTeX. I'm not sure how
different these two programs are but I was under the assumption they
were similar. They both use TeX, right?  I had to read up on TeX to do
what I wanted, such as, put the word "TAB" on the staff lines in a
verticle form. Then I /def'd the long code into a one word macro. If
you would like to see an example visit my web page at:

http://www.chatham.org/chatham/darlene/musictex.html

I haven't updated in quite a while but I'd be happy to explain further
if you wish.

Darlene
http://www.chatham.org

From mutex-owner@mail2.gmd.de Fri May 30 23:57:26 1997
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Date: Fri, 30 May 1997 16:57:26 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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Subject: musixflx for amiga
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Musixflx for amiga now posted in

ftp://ftp.lps.u-psud.fr/pub/musixtex/musixflx/amiga

and in

ftp://ftp.lps.u-psud.fr/pub/music_zips/musixflx.zip
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Jun  5 13:48:24 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Structure of .ROL files?
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A popular item of software usually bundled free with an Ad Lib or better
sound card is "composer" which allows one to enter multi-voice music
on pseudo-staves labelled by a keyboard along the left of the screen.
A utility is then provided which plays the polyphonic piece with the
aid of the card.

It struck me that it should be fairly straightforward to translate
the .ROL files produced by "composer" to MusiXTeX, if only one knew
the structure of these files.  Maybe a reader of this list knows a
useful reference?

Dirk


From mutex-owner@mail2.gmd.de Mon Jun  9 20:39:19 1997
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Date: Mon, 9 Jun 1997 13:39:19 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Some wierd MusiXTeX behavior.
To: mutex@gmd.de, dsimons@logicon.com
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The following MusiXTeX files runs OK, but when I change "d" to "e" as 
indicated, it fails with the following message:

=================
This is TeX, Version 3.14 (PCTeX)
  (BIG PCTeX386 3.14b, (c)Personal TeX, Inc 1985-1992.)
**junk
(C:\PCTEX\TEXINPUT\JUNK.TEX (C:\PCTEX\TEXINPUT\MUSIXTEX.TEX
MusiXTeX(c) T.73 <31 March 1997>
)
! Bad character code (256).
<argument> ...ame sl\@slope \endcsname \char \n@v
                                                  \hss }\kern -\y@iv
...
l.33 \tslur1e
             \zqb0f\normalnotesize\off{6.0pt}\en%
? x
No pages of output.
Transcript written on C:\PCTEX\TEXINPUT\JUNK.LOG.
==================

This one has me stumped.  I'd appreciate it if anyone out there can 
figure out what's going on.  Short of that, it would be useful to know 
whether anyone else can reproduce this behavior, so I'll know it's not 
my version of TeX that's at fault.

--Don Simons

==================
\input musixtex
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{ 1}%
\generalmeter\meterC%
\parindent 21pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\startmuflex\startpiece\addspace\afterruleskip%
% bar  1
\def\NOTes{\vnotes2.83\elemskip}%
%\NOTes\qu c\qu c\qu c\islurd8c\qu c\en%
\NOTes\qu c\qu c\qu c\islurd1c\qu c\en%
\znotes\tinynotesize\off{-60.0pt}\ibu0f5\zqb0d\off{6.0pt}\zqb0e%
\off{6.0pt}\zqb0f\off{6.0pt}\zqb0g\off{6.0pt}\zqb0{'a}\off{6.0pt}\zqb0b%
\off{6.0pt}\zqb0c\off{6.0pt}\zqb0d\off{6.0pt}\zqb0e\off{6.0pt}\tbu0%
%
%  If the next line is used instead of the one following, this bombs!?
%
%\tslur1e\zqb0f\normalnotesize\off{6.0pt}\en%
\tslur1d\zqb0f\normalnotesize\off{6.0pt}\en%
\Endpiece
\vfill\eject\endmuflex
\bye



From mutex-owner@mail2.gmd.de Tue Jun 10 06:54:30 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199706100654.IAA14473@calvyn.puk.ac.za>
Subject: Re: Some wierd MusiXTeX behavior.
To: dsimons@logicon.com (Don Simons)
Date: Tue, 10 Jun 1997 08:54:30 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <0002CE3A.1941@logicon.com> from "Don Simons" at Jun 9, 97 01:39:19 pm
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Don Simons wrote:
> 
> The following MusiXTeX files runs OK, but when I change "d" to "e" as 
> indicated, it fails with the following message:
> 
> =================
> This is TeX, Version 3.14 (PCTeX)
>   (BIG PCTeX386 3.14b, (c)Personal TeX, Inc 1985-1992.)
> **junk
> (C:\PCTEX\TEXINPUT\JUNK.TEX (C:\PCTEX\TEXINPUT\MUSIXTEX.TEX
> MusiXTeX(c) T.73 <31 March 1997>
> )
> ! Bad character code (256).
> <argument> ...ame sl\@slope \endcsname \char \n@v
>                                                   \hss }\kern -\y@iv
> ...
> l.33 \tslur1e
>              \zqb0f\normalnotesize\off{6.0pt}\en%
> ? x
> No pages of output.
> Transcript written on C:\PCTEX\TEXINPUT\JUNK.LOG.
> ==================
> 
> This one has me stumped.  I'd appreciate it if anyone out there can 
> figure out what's going on.  Short of that, it would be useful to know 
> whether anyone else can reproduce this behavior, so I'll know it's not 
> my version of TeX that's at fault.
> 
> --Don Simons
> 
> ==================
> \input musixtex
> \normalmusicsize%
> \nopagenumbers
> \tracingstats=2\relax
> \hsize=524pt
> \vsize=740pt
> \def\nbinstruments{1}
> \setstaffs11
> \setclef10
> \setname1{ }
> \generalsignature{ 1}%
> \generalmeter\meterC%
> \parindent 21pt
> \elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
> \stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
> \nostartrule
> \startmuflex\startpiece\addspace\afterruleskip%
> % bar  1
> \def\NOTes{\vnotes2.83\elemskip}%
> %\NOTes\qu c\qu c\qu c\islurd8c\qu c\en%
> \NOTes\qu c\qu c\qu c\islurd1c\qu c\en%
> \znotes\tinynotesize\off{-60.0pt}\ibu0f5\zqb0d\off{6.0pt}\zqb0e%
> \off{6.0pt}\zqb0f\off{6.0pt}\zqb0g\off{6.0pt}\zqb0{'a}\off{6.0pt}\zqb0b%
> \off{6.0pt}\zqb0c\off{6.0pt}\zqb0d\off{6.0pt}\zqb0e\off{6.0pt}\tbu0%
> %
> %  If the next line is used instead of the one following, this bombs!?
> %
> %\tslur1e\zqb0f\normalnotesize\off{6.0pt}\en%
> \tslur1d\zqb0f\normalnotesize\off{6.0pt}\en%
> \Endpiece
> \vfill\eject\endmuflex
> \bye
> 
It isn't just your installation; I get the same.  But to compound the
quandary: if instead of typing x, you just type <return> to ignore the
error, and then musixflx as if nothing was wrong, the second tex run
no longer produces an error, and the output looks at it should.

Dirk

From mutex-owner@mail2.gmd.de Tue Jun 10 07:54:42 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: MusiXTex weirdness, me too
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Don Simons posted a strange problem with MusiXTeX.  I ran the input file
through my system and got a similar result.  As he said, bombed with the
`e' but not the `d'. Below is what my system said.  For what it's worth,
I'm using a Mac with OzTeX v3.0.

I know this doesn't solve the problem, Don, but maybe it helps.

David Bobroff
bobroff@centrum.is
=================================================
This is TeX, Version 3.14159 (no format preloaded)
**&Plain junk.tex
(junk.tex (:TeX-inputs:MusiXTeX 73:musixtex.tex
MusiXTeX(c) T.73 <31 March 1997>
)
! Bad character code (256).
<argument> ...slope \endcsname \char \n@v
                                          \hss }\kern -\y@iv
\llap #1->\hbox to\z@ {\hss #1
                              }
\writ@slur ...e \char \n@v \hss }\kern #4}
                                          \fi
\t@slur ...t@slur \s@y \n@i \y@v {-\y@iv }
                                          \global \s@s {x}\let \T@i \...
l.28 \tslur1e
             \zqb0f\normalnotesize\off{6.0pt}\en%
?
====================================================



From mutex-owner@mail2.gmd.de Tue Jun 10 08:08:49 1997
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Date: Tue, 10 Jun 1997 10:08:49 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199706100808.AA00485@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Some wierd MusiXTeX behavior.
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Tue, 10 Jun 1997 08:54:30 +0200 (SAT)
> 
> Don Simons wrote:
> > 
> > The following MusiXTeX files runs OK, but when I change "d" to "e" as 
> > indicated, it fails with the following message:
[...]
> > ! Bad character code (256).
> > <argument> ...ame sl\@slope \endcsname \char \n@v
> >                                                   \hss }\kern -\y@iv
> > ...
> > l.33 \tslur1e
[...]
> It isn't just your installation; I get the same.  But to compound the
> quandary: if instead of typing x, you just type <return> to ignore the
> error, and then musixflx as if nothing was wrong, the second tex run
> no longer produces an error, and the output looks at it should.

Some time ago I already pointed Daniel Taupin at this minor problem and
provided a circumvention. The problem comes up only in the first TeX-phase
when the notes are produced with a fixed, possibly completely unusable
elementary skip (\elemskip). Then the notes may exceed the staff line so
much that an invalid character (greater 256) may be choosen from the slur
fonts when generating the slurs done by \tslur. This explains why the
problem depends on the pitch choosen in \tslur.

Werner

PS: I proposed the following fix; but maybe it has some bad side effects:


There seems to be an error in slur processing, which selects an
undefined character of the slur fonts. The error occurs in
phase 1 of musixtex if a slur starts behind the end of the line --
which seems to be possible.

t@slur then assumes that the slur has to be clipped at the end of
the line and calls in sequence writ@slur with a negative length.

I tried a solution by inserting a test into t@slur to avoid end-of-
line clipping if the slur starts already behind the end of the line.

The first test-case produces the error; so you have to accept the
error message.

As usual I'm not sure whether I found the right correction. Another
possibility could be to test in writ@slur for a negative length.


\startmuflex\startpiece
\NOtes	\ibu0{'b}0\qb0a\en
\notes	\nbbbu0\qb0{'a`ef}\tbu0\qb0g%
	\ibbbl0{'b}3\qb0{abcdefg}\nbbbbl0\qb0{'b}\tbl0\qb0a\en
\bar
\Notes	\ibbu0{'e}2\qb0f\en
\notes	\nbbbu0\qb0{''a}\tbbu0\qb0{`g}\en
\NOtes	\tbu0\qb0{''a}\en
\notes	\roff{\ibbbl0{''c}{-4}}\qb0{``c}\qb0{''ba`gfed}%
	\nbbbbl0\qb0e\tbl0\qb0c\en
\notes	\ibbbu0{'a}{-2}\qb0{dab`gecd}\tbu0\qb0b%
	\ibbbu0f3\qb0{adf'aced}\tbu0\qb0a\en
\notes	\ibbbu0{'a}{-2}\islurd0d\qb0{dab`gecd}\tslur0b\tbu0\qb0b%
	\ibbbu0f3\qb0{adf'aced}\tbu0\qb0a\en
\stoppiece


\makeatletter

\def\t@slur#1#2#3{%
  \s@l@ctslur#2\relax
  \y@iv#1\qn@width
  \def\@sense{\the\s@s}%
% test for missing \islur
  \if x\@sense \errmessage{\@mis\noexpand\islur#2}\fi
% test for \invertslur
  \if D\@sense \s@s{u}\let\@invert\@ne \fi
  \if U\@sense \s@s{d}\let\@invert\@ne \fi
% compute length
  \getcurpos
  \advance\y@v\y@iv
% eoline
  \y@eol\advance\y@-\beforeruleskip
% clip slur at eoline
  \ifdim\s@x<\y@              % <========================================ick=
  \ifdim\y@v>\y@ \y@v\y@ \advance\y@v\beforeruleskip \y@iv\beforeruleskip \fi
  \fi                         % <========================================ick=
  \advance\y@v-\s@x
  \ifx\T@i\@c \n@i\s@y \else \inhgetn@i#3\relax \fi
  \writ@slur\s@y\n@i\y@v{-\y@iv}%
% reset sense of slur
  \global\s@s{x}\let\T@i\empty
  \global\advance\N@s\m@ne}% update slur counter

\makeatother

\startpiece
\NOtes	\ibu0{'b}0\qb0a\en
\notes	\nbbbu0\qb0{'a`ef}\tbu0\qb0g%
	\ibbbl0{'b}3\qb0{abcdefg}\nbbbbl0\qb0{'b}\tbl0\qb0a\en
\bar
\Notes	\ibbu0{'e}2\qb0f\en
\notes	\nbbbu0\qb0{''a}\tbbu0\qb0{`g}\en
\NOtes	\tbu0\qb0{''a}\en
\notes	\roff{\ibbbl0{''c}{-4}}\qb0{``c}\qb0{''ba`gfed}%
	\nbbbbl0\qb0e\tbl0\qb0c\en
\notes	\ibbbu0{'a}{-2}\qb0{dab`gecd}\tbu0\qb0b%
	\ibbbu0f3\qb0{adf'aced}\tbu0\qb0a\en
\notes	\ibbbu0{'a}{-2}\islurd0d\qb0{dab`gecd}\tslur0b\tbu0\qb0b%
	\ibbbu0f3\qb0{adf'aced}\tbu0\qb0a\en
\stoppiece

\bye

From mutex-owner@mail2.gmd.de Thu Jun 12 00:40:37 1997
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Date: Wed, 11 Jun 1997 22:40:37 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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There were errors in the bars 68 and 69: new printout posted
at ftp://ftp.lps.u-psud.fr/pub/music_scores.zip/organ/widor/widor*.zip
and
ftp://ftp.lps.u-psud.fr/pub/music_scores.ps.gz/organ/widor/widor*.ps.gz
=2E

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jun 16 20:39:28 1997
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Dear Webmaster:

Congratulations. The following URL at your site has been selected to be
included in the PC Webopaedia:

     http://celtic.stanford.edu/pub/tunes/Music.TeX/FAQ

For more information about the PC Webopaedia, visit our home page at:

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From mutex-owner@mail2.gmd.de Wed Jun 18 16:22:39 1997
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Date: Wed, 18 Jun 1997 09:22:39 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: PMX Version 1.2 -- a preprocessor for MusiXTeX
To: mutex@gmd.de
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PMX is a preprocessor for MusiXTeX that produces nearly professional 
looking scores and parts with far less effort than would be required 
using MusiXTeX alone.

The distribution is available at http://www.gmd.de/Misc/Music/ .  The 
package contains manuals, DOS binaries, FORTRAN source code, and 
example input files.  The manual has information for UNIX and MAC 
users.
 
What's new since Version 1.1?

New ornaments: fermata (up or down), tenuto, staccato.
Option to change height of ornaments.
Ornaments work on xtuplets.
User-defined hardspace.
Limited ability to change up-downness of beam from start to end.
After- and Way-after graces.
Literal TeX strings can have 128 characters.
Exit code set to 1 when input errors are detected.
Xtuplets can be embedded in normal beams.
Beams can contain rests.
Shortcut notation for dotted rhythms.
Key signature changes.
Multi-bar rests are now compound printed characters.
Many bug fixes (as usual).

--Don Simons

From mutex-owner@mail2.gmd.de Fri Jun 20 14:40:37 1997
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From: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
Message-Id: <199706201440.PAA25686@galois.maths.qmw.ac.uk>
Subject: PMX compilation problems
To: dsimons@logicon.com
Date: Fri, 20 Jun 1997 15:40:37 +0100 (BST)
Cc: mutex@gmd.de
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I have been trying to use pmx, but have come across some bizarre
problems when compiling it.  I don't know whether it is a compiler bug
or a problem with the code.  Details follow.

I am using PMX version 1.2, dated 15 June 1997.  All of the following
problems relate to pmxa.for and the executable pmxa.  (I got no
further....)

----

On a SUN SparcStation 20 running SunOS 5.5.1, compiling with f77
version SC3.0.1, 13 Jul 1994.

Running pmxa on barsanti.pmx gave the error messages:

syntax error in format: [1000] error in format
lately: reading sequential formatted external IO
part of last format: 
*** TERMINATING pmxa
*** Received signal 11 (SIGSEGV)
Segmentation Fault (core dumped)

-----

Compiling on a Linux box, using g77 version 0.5.19.1 with no command
line options gave the following output when run on barsanti:

 Now processing bar # 1
 [... lines deleted ...]
 Now processing bar # 17
 Last non-blank character is "@", not "/"
STOP 1 statement executed

although the file barsanti.pmx looks perfectly healthy.

And with optimisation switches:

g77 -O3 -m486 -fno-strength-reduce -malign-loops=2 -malign-jumps=2 \
-malign-functions=2 -DCPU=586 pmxa.for -o pmxa

the output was the same, except that the error message was:

 Last non-blank character is ", not "/"

------

Do you have any ideas what the problem might be, or how I could get
around it?

Thanks,

   Andrew

  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/

A.E.R.Usher@qmw.ac.uk

>       Smash forehead on keyboard to continue.....

From mutex-owner@mail2.gmd.de Fri Jun 20 16:44:57 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199706201644.SAA16317@calvyn.puk.ac.za>
Subject: Re: PMX compilation problems
To: A.E.R.Usher@qmw.ac.uk (Andrew Usher)
Date: Fri, 20 Jun 1997 18:44:57 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199706201440.PAA25686@galois.maths.qmw.ac.uk> from "Andrew Usher" at Jun 20, 97 03:40:37 pm
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Andrew Usher wrote:
> 
> I have been trying to use pmx, but have come across some bizarre
> problems when compiling it.  I don't know whether it is a compiler bug
> or a problem with the code.  Details follow.
> 
> I am using PMX version 1.2, dated 15 June 1997.  All of the following
> problems relate to pmxa.for and the executable pmxa.  (I got no
> further....)
>
[...] 
> 
> Do you have any ideas what the problem might be, or how I could get
> around it?
> 

Did you convert the text files from DOS to UNIX format?  I.e.
  unzip -aL ../pmx12.zip

I've put a GNU-friendly version of the PMX code in
ftp://calvyn.puk.ac.za/dirk/mtx/pmx-gnu.zip

Dirk Laurie

From mutex-owner@mail2.gmd.de Fri Jun 20 16:46:00 1997
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Date: Fri, 20 Jun 1997 09:46:00 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMX compilation problems
To: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
Cc: mutex@gmd.de
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Andrew--

Although I don't normally operate under UNIX (leave it to the 
professionals) I did a few experiments on several Sun machines 
accessible to me.  At one point I actually got an error message very 
much like the first one you did.  Thinking that some funny characters 
may have crept into the input file during one of the transfers, I vi'd 
barsanti.pmx, went to the end to look for funny stuff, saw none, 
resaved the file, and then it worked fine.  Don't ask me why.  But why 
don't you try the same and let me know what happens.  BTW, in 2 years 
or so of involvement in this project, I can't recall any problem like 
this ever coming up.  Maybe some of the regular UNIX users will 
comment.

--Don

______________________________ Reply Separator _________________________________
Subject: PMX compilation problems
Author:  Andrew Usher <A.E.R.Usher@qmw.ac.uk> at INTERNET-MAIL
Date:    6/20/97 3:40 PM


I have been trying to use pmx, but have come across some bizarre 
problems when compiling it.  I don't know whether it is a compiler bug 
or a problem with the code.  Details follow.

I am using PMX version 1.2, dated 15 June 1997.  All of the following 
problems relate to pmxa.for and the executable pmxa.  (I got no 
further....)

----

On a SUN SparcStation 20 running SunOS 5.5.1, compiling with f77 
version SC3.0.1, 13 Jul 1994.

Running pmxa on barsanti.pmx gave the error messages:

syntax error in format: [1000] error in format 
lately: reading sequential formatted external IO 
part of last format: 
*** TERMINATING pmxa
*** Received signal 11 (SIGSEGV)
Segmentation Fault (core dumped)

-----

Compiling on a Linux box, using g77 version 0.5.19.1 with no command 
line options gave the following output when run on barsanti:

 Now processing bar # 1
 [... lines deleted ...]
 Now processing bar # 17
 Last non-blank character is "@", not "/"
STOP 1 statement executed

although the file barsanti.pmx looks perfectly healthy.

And with optimisation switches:

g77 -O3 -m486 -fno-strength-reduce -malign-loops=2 -malign-jumps=2 \ 
-malign-functions=2 -DCPU=586 pmxa.for -o pmxa

the output was the same, except that the error message was:

 Last non-blank character is ", not "/"

------

Do you have any ideas what the problem might be, or how I could get 
around it?

Thanks,

   Andrew

  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/

A.E.R.Usher@qmw.ac.uk

>       Smash forehead on keyboard to continue.....

From mutex-owner@mail2.gmd.de Fri Jun 20 17:57:00 1997
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Date: Fri, 20 Jun 97 13:57 EDT
From: joel@exc.com (Dr. Joel M. Hoffman)
To: dsimons@logicon.com
Cc: A.E.R.Usher@qmw.ac.uk, mutex@gmd.de
In-Reply-To: Don Simons's message of Fri, 20 Jun 1997 09:46:00 -0700 <0003109D.1941@logicon.com>
Subject: PMX compilation problems
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>much like the first one you did.  Thinking that some funny characters 
>may have crept into the input file during one of the transfers, I vi'd 
>barsanti.pmx, went to the end to look for funny stuff, saw none, 
>resaved the file, and then it worked fine.  Don't ask me why.  But why 

This usually indicates a problem with new-lines.  Many editors are
more lenient than other programs, and re-saving the file fixes the
new-line problems.

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Fri Jun 20 18:32:18 1997
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Date: Fri, 20 Jun 1997 13:32:18 -0500 (CDT)
From: Alex N T Wan <umwan010@cc.UManitoba.CA>
To: mutex@gmd.de
Subject: Re: PMX compilation problems
In-Reply-To: <0003109D.1941@logicon.com>
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On Fri, 20 Jun 1997, Don Simons wrote:
> much like the first one you did.  Thinking that some funny characters 
> may have crept into the input file during one of the transfers, I vi'd 
> barsanti.pmx, went to the end to look for funny stuff, saw none, 
> resaved the file, and then it worked fine.  Don't ask me why.  But why 

Yeah, probably some control characters or nulls in it (error in
downloading?) but I think they should be visible in vi.... 


| WAN, Nga Ting Alex =|:)>+<             | Internet: umwan010@cc.umanitoba.ca |
| Department of Computer Science,        |           awan@cs.umanitoba.ca     |
| University of Manitoba, Canada R3T 2N2 |------------------------------------|
| ********* alex secret URL:  http://home.cc.umanitoba.ca/~umwan010 ********* |


From mutex-owner@mail2.gmd.de Fri Jun 20 19:03:56 1997
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From: Paul McIlroy <pmcilroy@bt-sys.bt.co.uk>
To: mutex@mail2.gmd.de
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I have a small C program that does a HexDump of binary or text files
in the fashion of DEC's ancient VMS.  Seven years old, only one previous
owner, under 10kb.  Let me know if you would like the source C-code and
I'll mail it to you.

Paul Mc.

From mutex-owner@mail2.gmd.de Fri Jun 20 22:10:34 1997
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>>>>> On Fri, 20 Jun 1997, "PM" == Paul McIlroy
>>>>> <pmcilroy@bt-sys.bt.co.uk> wrote:

  PM> I have a small C program that does a HexDump of binary or text
  PM> files in the fashion of DEC's ancient VMS.  Seven years old, only
  PM> one previous owner, under 10kb.  Let me know if you would like the
  PM> source C- code and I'll mail it to you.

I've such a program as well. It's not small, but almost every Unix user 
has it anyway. It's called emacs.

  M-x hexl-find-file RET testfile.txt RET



Best regards
				--- Henrik
---
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key



From mutex-owner@mail2.gmd.de Fri Jun 20 22:05:01 1997
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>>>>> On Fri, 20 Jun 1997, "ANTW" == Alex N T Wan
>>>>> <umwan010@cc.umanitoba.ca> wrote:

  ANTW> On Fri, 20 Jun 1997, Don Simons wrote:

  +> much like the first one you did.  Thinking that some funny
  +> characters may have crept into the input file during one of the
  +> transfers, I vi'd barsanti.pmx, went to the end to look for funny
  +> stuff, saw none, resaved the file, and then it worked fine.  Don't
  +> ask me why.  But why

  ANTW> Yeah, probably some control characters or nulls in it (error in
  ANTW> downloading?) but I think they should be visible in vi....

Hey, I thought this problem is THAT old that I it's no longer a problem
at all. It's not a downloading problem. It's a difference between Unix
and Dos/Win in their end-of-line handling. Unix has just one control
character for newline. This is the ASCII control character 10 (LF -
Line feed). Dos/Win uses two characters (13 and 10, CR and LF, carriage
return and line feed). This comes probably from the old days when a
printer was actually a type writer that had to do these two things. So
if you use Unix and try to read a file that was saved with the Dos
convention, then there are lots of carriage returns that aren't 
expected in Unix ASCII texts. Some Unix programs can deal with those 
carriage returns (some even don't display them, notably 'vi' and 
'less'), some programs can't.

Therefore, most Unix systems have commands like "unix2dos" and 
"dos2unix" that can convert between the two different conventions.
Furthermore, many utilities that are supposed to transfer files between 
platforms (for example, 'unzip') have some switch that tells them to 
convert line endings to the local convention. And if all this is still 
too difficult, a simple

  tr -d '\015' < oldfile > newfile

reads oldfile and generates newfile as a copy without carriage returns.

Best regards
				--- Henrik
---
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key



From mutex-owner@mail2.gmd.de Mon Jun 23 15:22:43 1997
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From: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
Message-Id: <199706231522.QAA19396@lagrange.maths.qmw.ac.uk>
Subject: PMX problems - fixed.
To: mutex@gmd.de
Date: Mon, 23 Jun 1997 16:22:43 +0100 (BST)
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Thanks to those who replied to the problems I had....
I tried the suggestions, which didn't all work, BUT, adding a slash character 
on its own line at the end of the .pmx file did work.
So I can now look forward to learning how to use PMX :)

Till the next problem I have... 

Cheers,
Andrew


  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/

A.E.R.Usher@qmw.ac.uk

>       Smash forehead on keyboard to continue.....

From mutex-owner@mail2.gmd.de Mon Jun 23 17:25:09 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: M-Tx (Music from Text) version 0.24 uploaded
To: mutex@gmd.de
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M-Tx is a music-from-text language designed to look as much as possible
like printed music.  If you know Version 0.12, you can skip the following
and go directly to "What's new". 

To give you an idea of what that means, here is some typical input code:

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
PMX: w190m
Space: 9

@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
@^+5   rp   | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4  | f2d     |]
LT:           Net soos ek is, O Lam van God, ek kom. 
    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
------------------------------------------------------------------------
             
Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "PMX: w190m" means "Issue PMX command 'w190m'" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the soprano, tenor and bass voice lines.
  6. Notes and ornaments are written in the PMX language developed by 
     Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "@^+5" means "set this line of lyrics above the stave and 5 internotes 
     higher than usual."
 10. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.24 from
  ftp://ftp.gmd.de/music/... == http://www.gmd.de/Misc/Music/...
in the .../musixtex/software/mtx/ directory.

To run M-Tx, you need MusiXTeX 0.66 or later (I used 0.73) and PMX 1.2
(the current version), both available from the same source.  You also
need musixlyr.tex 1.02 (newer than the current version) which by kind
permission of Rainer Dunker is included in mtx024.zip.


    What's new:

1. M-Tx now also supports a convenient notation for chords.
2. Lyrics look much nicer and require almost no tuning thanks
   to the musixlyr add-on to MusiXTeX by Rainer Dunker.
3. Nested slurs, continuation slurs.
4. Many small enhancements and bug corrections.


Dirk Laurie    


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>>>>> On Mon, 23 Jun 1997, "AU" =3D=3D Andrew Usher <A.E.R.Usher@qmw.ac.u=
k>
>>>>> wrote:

  AU> Thanks to those who replied to the problems I had....  I tried the
  AU> suggestions, which didn't all work, BUT, adding a slash character
  AU> on its own line at the end of the .pmx file did work.

I consider this more a hack than a fix. There is REALLY a problem with
reading the last line of a file. When 'lastchar' is true, the variables
'charq' and 'charlq' have unreasonable values. For example, here are the
values of 'charq' and 'charlq' after the last call to getchar in line
547 of pmxa.for:

charq =3D 8
charlq =3D 191

However, this is not constant (depending on optimization flags...). =

There seems to be some memory violation (maybe in read10() ?)

BTW, I am using g77 2.7.2.1.f.1.

So Don, looking forward hearing from you.

Best regards
				--- Henrik
---
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key



From mutex-owner@mail2.gmd.de Wed Jun 25 13:53:33 1997
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Date: Wed, 25 Jun 97 12:33:18
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I have only been using musixtex to create short examples in documents but I
thought I would try out PMX to get into producing scores in a bigger way.
I've set PMX up without problem but when I try to tex the final output file
I receive an error message about not having enough room for a new dimension.
I've included the part from the .log file where the error message happens.
Could someone explain to me what this message means as I am keen to use PMX.
Ben Challis

******************************************************************
) (C:/TEX/LATEX209/musixmad.tex (C:/TEX/LATEX209/musixadd.tex
MusiXADDitional instruments T.65 <15 December 1996>
! No room for a new \dimen .
\ch@ck ...rrmessage {No room for a new #3}
                                          \fi 
\alloc@ ... \count 1#1by\@ne \ch@ck #1#4#2
                                          \allocationnumber =\count 1...
l.58 \newdimen\s@xix
                    
? x
 
Here is how much of TeX's memory you used:
 1640 strings out of 11977
 11435 string characters out of 87608
 38508 words of memory out of 262141
 3569 multiletter control sequences out of 9500
 31222 words of font info for 115 fonts, out of 100000 for 255
 14 hyphenation exceptions out of 607
 6i,0n,8p,164b,7s stack positions out of 300i,40n,60p,3000b,4000s
No pages of output.
*******************************************************************
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
*********************************


From mutex-owner@mail2.gmd.de Wed Jun 25 12:35:48 1997
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To: Ben Challis <bpc@minster.cs.york.ac.uk>
Cc: mutex@gmd.de
Subject: Re: PMX and latex209 
In-Reply-To: Your message of "Wed, 25 Jun 1997 12:33:18."
             <1.5.4.16.19970625123316.29b78b24@minster.cs.york.ac.uk> 
Date: Wed, 25 Jun 1997 13:35:48 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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TeX has a maximum of 256 dimen registers

You don't say which document class you're using: I find that latex
2.09 with article class uses at least 99 of those dimen registers
(latex itself is even worse: the same measure says 103!)

Your diagnostic implies that musixtex (+ musixmad + ...)
takes the TeX engine over the top of the 256: this isn't particularly
surprising, though it _is_ a bit depressing.  Roll on Omega[*]

Use plain tex as a base for your musixtex, rather than (any version
of) LaTeX: it starts allocating dimens at number 16.

MusicTeX, BTW, works quite happily with current LaTeX (let alone 2.09)
    ^
so one does have *some* chance of generating music examples in a run-
of-the-mill document.

Robin

[*] Omega is a TeX extension that includes up to 65536 dimen registers

From mutex-owner@mail2.gmd.de Wed Jun 25 12:42:03 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bpc@minster.cs.york.ac.uk
Subject: Re: PMX and latex209
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> Date: Wed, 25 Jun 97 12:33:18
> From: Ben Challis <bpc@minster.cs.york.ac.uk>

> ) (C:/TEX/LATEX209/musixmad.tex (C:/TEX/LATEX209/musixadd.tex
         ^^^^^^^^^^^^^^^

Don't combine PMX/MusiXTeX and LaTeX.

Use plain TeX to process the TeX-source generated by PMX       -- Werner

From mutex-owner@mail2.gmd.de Wed Jun 25 12:56:23 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: bpc@minster.cs.york.ac.uk, Robin.Fairbairns@cl.cam.ac.uk
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> Date: Wed, 25 Jun 1997 13:35:48 +0100
> From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>

> MusicTeX, BTW, works quite happily with current LaTeX (let alone 2.09)
>     ^

MusiXTeX, too, if you do not use musixadd or musixmad to have more
than six "instruments" as PMX does. The MusiXTeX documentation is 
a LaTeX document.

Werner

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Date: Wed, 25 Jun 1997 14:18:19 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: PMX problem at end of input file.
Cc: mutex@gmd.de
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Henrik Seidel <henrik@satchmo.physik.TU-Berlin.DE> wrote
> On Mon, 23 Jun 1997, "AU" == Andrew Usher <A.E.R.Usher@qmw.ac.uk> >>>>> 
>wrote:
>
  >AU> Thanks to those who replied to the problems I had....  I tried the 
  >AU> suggestions, which didn't all work, BUT, adding a slash character 
  >AU> on its own line at the end of the .pmx file did work.
>
>I consider this more a hack than a fix. There is REALLY a problem with 
>reading the last line of a file. When 'lastchar' is true, the variables 
>'charq' and 'charlq' have unreasonable values. For example, here are 
>the values of 'charq' and 'charlq' after the last call to getchar in 
>line 547 of pmxa.for:
>
>charq = 8
>charlq = 191
>
>However, this is not constant (depending on optimization flags...). 
>There seems to be some memory violation (maybe in read10() ?)

This is the first time this problem has come up.  I have tried to 
reproduce it and failed.  I put a print* in getchar after line 549:

     if (lastchar) then
     print*,'Lastchar is true, charq, charlq:',ichar(charq),
    *ichar(charlq)

The only values I can get in several trials with a nominally 
legitimate input file (one where the last visible nonblank character 
is '/') are 47 ('/') for charlq, and either 47 or 32 (blank) for 
charq, depending on whether there are any blanks after the '/'.  I 
tried this on two platforms (DOS and IBM RISC 6000 using xlf) and two 
different levels of optimization on the RISC.  I did notice that on 
the RISC, when I tried to add blanks to the input file after the '/', 
using vi, they apparently didn't get saved unless I also hit return 
(which I suppose puts in a CR).  In contrast, on the clone, I could 
insert blanks after the '/' on the last line, using a DOS version of 
vi.  I'd be glad to try to fix the problem, but at this point I have 
no idea how to attack it if I can't reproduce it.  

Any suggestions?

--Don Simons

From mutex-owner@mail2.gmd.de Wed Jun 25 21:11:44 1997
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Date: Wed, 25 Jun 1997 16:11:44 -0500 (CDT)
From: Eric Petersen <epeterse@aem.umn.edu>
To: mutex@gmd.de, dsimons@logicon.com
Subject: PMX 1.2 for MacOS now available
Message-Id: <Pine.SGI.3.91.970625160737.12575A-100000@favonius.aem.umn.edu>
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The new version of PMX is available for the Mac. See 

    http://www.aem.umn.edu/people/students/epeterse/PMX/

for downloading info. 
Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Jun 25 22:13:55 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: PMX/MusiXTeX-->LaTeX
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>Don't combine PMX/MusiXTeX and LaTeX.
>
>Use plain TeX to process the TeX-source generated by PMX       -- Werner

Alright.  Fair enough, but would you expand on that a bit, Werner?  I was
planning to do exactly that with a text with a number of musical examples.
Is there a way around this other than using plain TeX?  Or, does this
warning only apply to LaTeX 2.09 and not LaTeX2e?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Jun 26 07:09:08 1997
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From: Henrik Seidel <henrik@satchmo.physik.tu-berlin.d400.de>
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>>>>> On Wed, 25 Jun 1997, "DS" =3D=3D Don Simons <dsimons@logicon.com>
>>>>> wrote:

  +> I consider this more a hack than a fix. There is REALLY a problem
  +> with reading the last line of a file. When 'lastchar' is true,
  +> the variables 'charq' and 'charlq' have unreasonable values. For
  +> example, here are the values of 'charq' and 'charlq' after the last
  +> call to getchar in line 547 of pmxa.for:

  +> charq =3D 8 charlq =3D 191

  +> However, this is not constant (depending on optimization flags...).
  +> There seems to be some memory violation (maybe in read10() ?)

  DS> This is the first time this problem has come up.  I have tried to
  DS> reproduce it and failed.  I put a print* in getchar after line
  DS> 549:

  DS> if (lastchar) then
  DS>   print*,'Lastchar is true, charq, charlq:',ichar(charq),
  DS>   *ichar(charlq)

Well, I did pretty much the same. Here is what I get:

-------------- changed code --------------------------------------
1     call getchar(lineq,iccount,charq)
      if (lastchar) then
          print*,' charq:',ichar(charq),' charlq:',ichar(charlq)
      end if
      if (charq .ne. ' ') charlq =3D charq
      if (lastchar) then
        if (charlq .ne. '/') then
          stop 1
        end if
        return
      end if
------------------------------------------------------------------

g77 -g pmxa.for -o pmxa

barsanti:   charq: 8 charlq: 191
jhrtsg:     charq: 8 charlq: 191
most:       charq: 8 charlq: 191
mwalmnd:    charq: 32 charlq: 191

g77 -O pmxa.for -o pmxa

barsanti:   charq: 0 charlq: 0
jhrtsg:     charq: 0 charlq: 0
most:       charq: 0 charlq: 0
mwalmnd:    charq: 32 charlq: 0

g77 -g -O pmxa.for -o pmxa

barsanti:   charq: 0 charlq: 0
jhrtsg:     charq: 0 charlq: 0
most:       charq: 0 charlq: 0
mwalmnd:    charq: 32 charlq: 0

g77 -O2 pmxa.for -o pmxa

barsanti:   charq: 0 charlq: 0
jhrtsg:     charq: 0 charlq: 0
most:       charq: 0 charlq: 0
mwalmnd:    charq: 32 charlq: 0

g77 -O6 pmxa.for -o pmxa

barsanti:   charq: 0 charlq: 0
jhrtsg:     charq: 0 charlq: 0
most:       charq: 0 charlq: 0
mwalmnd:    charq: 32 charlq: 0

--------------------------------------------------------------------

Here are the last bytes of barsanti.pmx as I have it on my system:

00000820: 6338 2073 2061 206f 7020 6720 6f70 2066  c8 s a op g op f
00000830: 2b20 7320 7c0a 2020 6520 7320 612d 2064  + s |.  e s a- d
00000840: 6420 6f74 2063 3120 2063 3220 2f0a       d ot c1  c2 /.

--------------------------------------------------------------------

This MAY be a compiler problem. I am not familiar enough with FORTRAN to
decide whether this is a bug in the program or in the compiler.

Anyway, disabling the test "last char =3D '/' ?" makes the program work
for me. This is just a hack and I'd prefer a clean solution. However,
currently I cannot see where the problem comes from.


Best regards
				--- Henrik
---
Henrik Seidel, http://satchmo.physik.tu-berlin.de/~henrik/
TU Berlin, Inst. f. Theor. Physik, Sekr. PN 7-1, Hardenbergstr. 36
10623 Berlin, GERMANY, tel: +49-30-314-23000 fax: +49-30-314-21130
use "finger henrik@satchmo.physik.tu-berlin.de" to get my public pgp key




From mutex-owner@mail2.gmd.de Thu Jun 26 10:24:13 1997
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199706261024.AA03410@sunick.gmd.de>
To: mutex@gmd.de, bobroff@centrum.is
Subject: Re: PMX/MusiXTeX-->LaTeX
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> Date: Wed, 25 Jun 1997 22:13:55 +0000
> From: David Bobroff <bobroff@centrum.is>
> 
> >Don't combine PMX/MusiXTeX and LaTeX.
> >
> >Use plain TeX to process the TeX-source generated by PMX       -- Werner
> 
> Alright.  Fair enough, but would you expand on that a bit, Werner?  I was
> planning to do exactly that with a text with a number of musical examples.
> Is there a way around this other than using plain TeX?  Or, does this
> warning only apply to LaTeX 2.09 and not LaTeX2e?

PMX delivers TeX-sources which are suitable to plain TeX. They do not
  need a MusiXTeX-format nor a LaTeX-format.

The problem with *PMX/MusiXTeX* and LaTeX is, that PMX forces inclusion of
musixmad.tex (More ADitional instruments). musixmad eats so much TeX-ressources
that it cannot be used together with LaTeX or other packages which itsself
require so much TeX-ressources.

That shouldn't be a problem, because PMX's goal is to deliver complete
works and not musical examples to be included into other TeX documents.
(Nevertheless that's possible, too, if one uses the TeX-source delivered
by PMX for postediting and e.g. by replacing all \islur8... by \islur1...).

As you can see with musixdoc.tex it's possible to combine musixtex and
LaTeX.

I hope that's it what you wanted to know                          -- Werner

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From: Dirk Laurie <dirk@wskdpl.puk.ac.za>
Message-Id: <199706270828.KAA17314@wskdpl.puk.ac.za>
Subject: Re: PMX/MusiXTeX-->LaTeX
To: Werner.Icking@gmd.de (Werner Icking)
Date: Fri, 27 Jun 1997 10:28:38 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199706261024.AA03410@sunick.gmd.de> from "Werner Icking" at Jun 26, 97 12:24:13 pm
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Werner Icking wrote:
> 
> > Date: Wed, 25 Jun 1997 22:13:55 +0000
> > From: David Bobroff <bobroff@centrum.is>
> > 
> > >Don't combine PMX/MusiXTeX and LaTeX.
> > >
> > >Use plain TeX to process the TeX-source generated by PMX       -- Werner
> > 
> > Alright.  Fair enough, but would you expand on that a bit, Werner?  I was
> > planning to do exactly that with a text with a number of musical examples.
> > Is there a way around this other than using plain TeX?  Or, does this
> > warning only apply to LaTeX 2.09 and not LaTeX2e?
> 
> PMX delivers TeX-sources which are suitable to plain TeX. They do not
>   need a MusiXTeX-format nor a LaTeX-format.
> 
> The problem with *PMX/MusiXTeX* and LaTeX is, that PMX forces inclusion of
> musixmad.tex (More ADitional instruments). musixmad eats so much TeX-ressources
> that it cannot be used together with LaTeX or other packages which itsself
> require so much TeX-ressources.
> 
> That shouldn't be a problem, because PMX's goal is to deliver complete
> works and not musical examples to be included into other TeX documents.
> (Nevertheless that's possible, too, if one uses the TeX-source delivered
> by PMX for postediting and e.g. by replacing all \islur8... by \islur1...).
> 
> As you can see with musixdoc.tex it's possible to combine musixtex and
> LaTeX.
> 
> I hope that's it what you wanted to know                          -- Werner
> 
I do the following:
1. Use a stripped-down version (included below) of musixadd --- very few
   PMX scores actually need musixmad.
2. Call a small script to replace \input musixmad by an input of
   this version and to delete a few other things that are inappropriate
   in LaTeX.  The M-Tx documentation contains several music examples
   that were produced via PMX and processed in this way.

Dirk


\ifx\staffspacingix\undefined\else\endinput\fi

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11

\let\@wloG\wlog
\def\wlog#1{}

\let\maxinstruments\nin@

\newdimen\s@xvii
\newdimen\s@xviii
\newdimen\s@xix
\newdimen\s@Yvii
\newdimen\s@Yviii
\newdimen\s@Yix
\newskip\s@avii
\newskip\s@aviii
\newskip\s@aix
\newtoks\s@svii \s@svii={x}
\newtoks\s@sviii\s@sviii={x}
\newtoks\s@six  \s@six={x}
\newcount\s@yvii
\newcount\s@yviii
\newcount\s@yix
\newcount\s@Nvii
\newcount\s@Nviii
\newcount\s@Nix
\newcount\s@zvii \s@zvii\maxdimen
\newcount\s@zviii\s@zviii\maxdimen
\newcount\s@zix  \s@zix\maxdimen

\newcount\a@svii \newcount\o@svii
\newcount\a@sviii\newcount\o@sviii
\newcount\a@six  \newcount\o@six

\newtoks\a@cvii  \a@cvii={{\z@}{\z@}{\z@}{\z@}}
\newtoks\a@cviii \a@cviii={{\z@}{\z@}{\z@}{\z@}}
\newtoks\a@cix   \a@cix={{\z@}{\z@}{\z@}{\z@}}

\newtoks\o@cvii
\newtoks\o@cviii
\newtoks\o@cix

\newtoks\m@tvii
\newtoks\m@tviii
\newtoks\m@tix


\let\wlog\@wloG

\catcode`\@=\catcodeat
\endinput

From mutex-owner@mail2.gmd.de Fri Jun 27 07:37:22 1997
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Date: Fri, 27 Jun 1997 03:37:22 -0400
From: Bill Whiting <whiting@inmind.com>
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I am trying to install MusicTeX so that I can use it with the rosegarden
notation program.  I have had various amounts of success, but the real
problem seems to be getting the fonts installed.  The installation
instructions have more detail for a dos installation can anyone help me
get the font files put in the right place?

I am running RedHat Linux v4.01.  This includes teTeX.  I can include
the tex tree structure if that's helpful.

Bill Whiting

From mutex-owner@mail2.gmd.de Fri Jun 27 14:19:22 1997
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Subject: Re: musictex fonts
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On Fri, 27 Jun 1997, Bill Whiting wrote:

> I am trying to install MusicTeX so that I can use it with the rosegarden
> notation program.  I have had various amounts of success, but the real
> problem seems to be getting the fonts installed.  The installation
> instructions have more detail for a dos installation can anyone help me
> get the font files put in the right place?
>
> I am running RedHat Linux v4.01.  This includes teTeX.  I can include
> the tex tree structure if that's helpful.
>
Doesn't MusixTeX handle the Rosegarden output? If i were you i'd
rather install the more advanced MusixTeX which comes with a very
handy "install.sh" for teTeX. Maybe it could be rewritten to fit in as
well for installation of MusicTeX?
                                    Cheers, P. *8^)
--
   Paul Seelig                         pseelig@goofy.zdv.uni-mainz.de
   African Music Archive - Institute for Ethnology and Africa Studies
   Johannes Gutenberg-University   -  Forum 6  -  55099 Mainz/Germany
   Our AMA Homepage  in  the WWW at  http://www.uni-mainz.de/~bender/




From mutex-owner@mail2.gmd.de Fri Jun 27 18:20:34 1997
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Rosegarden doesn't handle MusixTeX directly. You have to insert the
line that makes MusixTeX handle MusicTeX source (Don't remember what
line it is, but it's in the documentation). But then it works all
right. I made some patches to make Rosegarden handle that. I need to
clean up source and such things, so until that...

/Jackson

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On Fri, 27 Jun 1997, Bill Whiting wrote:

> I am trying to install MusicTeX so that I can use it with the rosegarden
> notation program.  I have had various amounts of success, but the real
> problem seems to be getting the fonts installed.  The installation
> instructions have more detail for a dos installation can anyone help me
> get the font files put in the right place?
>
> I am running RedHat Linux v4.01.  This includes teTeX.  I can include
> the tex tree structure if that's helpful.
>
Doesn't MusixTeX handle the Rosegarden output? If i were you i'd
rather install the more advanced MusixTeX which comes with a very
handy "install.sh" for teTeX. Maybe it could be rewritten to fit in as
well for installation of MusicTeX?
                                    Cheers, P. *8^)
--
   Paul Seelig                         pseelig@goofy.zdv.uni-mainz.de
   African Music Archive - Institute for Ethnology and Africa Studies
   Johannes Gutenberg-University   -  Forum 6  -  55099 Mainz/Germany
   Our AMA Homepage  in  the WWW at  http://www.uni-mainz.de/~bender/





--Multipart_Fri_Jun_27_20:20:31_1997-1--

From mutex-owner@mail2.gmd.de Sun Jun 29 09:15:04 1997
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Date: Sun, 29 Jun 1997 05:15:04 -0400
From: Bill Whiting <whiting@inmind.com>
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To: mutex mailing list <mutex@gmd.de>
Subject: Re: musictex fonts
References: <33B36DB2.FF1F506@inmind.com> <33B42499.7493@lps.u-psud.fr>
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Daniel TAUPIN wrote:
> 
> Bill Whiting wrote:
> >
> > notation program.  I have had various amounts of success, but the real
> > problem seems to be getting the fonts installed.  The installation
> > instructions have more detail for a dos installation can anyone help me
> > get the font files put in the right place?
> >
> 
>  Put the TFMs in the same directory as .../fonts/tfm/misc
>  Rename the *.PK => *.300pk and put them in the same directory as things
> like lasy10.300pk or similar.
> 
>  Put the *.mf in a [sub]directory of the *.mf files.
> --
> 
> ------------------------------------------------------------------------
>   Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY

My thanks for the many replies. I can print music!

The teTeX base directory is /usr/lib/texmf/ 
I put the *.mf files in texmf/fonts/source/public/music,  *.tfm files in
texmf/fonts/tfm/public/music, and *.sty and *.tex files in
texmf/tex/music/base
I ran texhash and everything seems to work fine except for slurs (before
I wasn't 
getting clefs or rests).   I couldn't find any *.pk files tex built new
*.pk files
in /var/lib/texmf/fonts/...

Best Regards,
Bill Whiting

From mutex-owner@mail2.gmd.de Mon Jun 30 14:39:51 1997
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Date: Mon, 30 Jun 1997 09:39:51 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex@gmd.de
Subject: PMX 1.2 for MacOS updated
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Hello all,

  As Werner graciously pointed out to me last week, the previously
announced version of PMX 1.2 for MacOS didn't run on PowerMacs. This was
due to the compiler settings I used. [Insert your favorite frownie here.]
A new version, which runs correctly on PowerMacs as well as on 68k Macs,
is available at 

    http://www.aem.umn.edu/people/students/epeterse/PMX/

and has also been uploaded to ftp.gmd.de where it should appear in the
appropriate directory shortly. If you only use PMX on a 68k Mac you do not
need to download the new version. My apologies to anyone inconvenienced,

  Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Tue Jul  1 06:30:05 1997
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From: "Vincent Osele" <Vincent.Osele@meteo.fr>
To: "Mutex" <mutex@gmd.de>
Subject: Hello and Midi2Tex
Date: Tue, 1 Jul 1997 08:30:05 +0200
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Hello,

I am new to this list and almost new to MusiXTeX.

I try to build the Messiah from Handel for chors (and piano, accompagnement in
french ?!?).
I saw lot of Midi files on the net but no TeX file so I try to create this.

As the midi file exist I try to use Midi2Tex but it doesn't work on the midi
file I found and create MusicTex files, not MusiXTeX file.
So I transform Midi2Tex to handle new music notations (the source are given).

It's on http://www.mygale.org/~osele/Midi2Tex.zip

I'm not sure of this prg. All I know is that it work (almost, some bug still
here) on the midi files I have, not more. So don't expect something miraculous
!

I will try to work on it as I have time and as my knowlegde on TeX & MusiXTex
progress...

Good luck :-)

\bye
Vincent

From mutex-owner@mail2.gmd.de Tue Jul  1 06:33:54 1997
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From: "Vincent Osele" <Vincent.Osele@meteo.fr>
To: "Mutex" <mutex@gmd.de>
Subject: Position of Pause
Date: Tue, 1 Jul 1997 08:33:54 +0200
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Hello,

I wonder if it is possible to put a pause centered between two bars ?

I know I can put some \sk before. But I think it is possible to let TeX,
MusiXTeX  (or Musiflex) to center it, without my intervention.

Vincent


From mutex-owner@mail2.gmd.de Tue Jul  1 18:44:56 1997
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Date: Tue, 1 Jul 1997 13:44:56 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex@gmd.de
Subject: PMX 1.2 for MacOS updated again (pmxb only)
Message-Id: <Pine.SGI.3.95.970701133949.10440B-100000@i9.msi.umn.edu>
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Hello,

  A bug has been discovered and fixed in the pmxb program of PMX 1.2 for
MacOS. This bug could affect all users. The new pmxb is available
separately as well as in the full archive. See

    http://www.aem.umn.edu/people/students/epeterse/PMX/

My apologies again,

  Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-7347 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Thu Jul 10 12:10:04 1997
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From: coulon@lalcls.in2p3.fr
Date: Thu, 10 Jul 1997 14:10:04 +0200
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To: MUTEX@gmd.de
Subject: Coulon's contributions.
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My contributions to the GMD Musice Archive have been recently improved :

- I mention the public domain edition I used for a better netiquette.
- Some mistakes found in Ketterer and Quidant.
- Visual comfort improved.

A modification to facilitate letter-size printing is under study.

                          Jean-Pierre Coulon

From mutex-owner@mail2.gmd.de Fri Jul 11 11:22:37 1997
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To: mutex@gmd.de
Subject: [Q] Clefs Placement
Date: Fri, 11 Jul 97 10:25:37 CEST
From: Guido Milanese <MC1194@mclink.it>
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I am not an expert user of MusiXTeX, although I have a reasonable
experience as (La)TeX user. With PMX and the MusiXTeX version
installed in my CDRom (4allTeX: version T.392, 16 May 1995) I had
no problems. Since I am now producing vocal music, I tried the
very good M-TX pre-preprocessor (along with PMX) and I had to
update the version of MusiXTeX because the input file
MUSIXLYR.TEX requires MusiXTeX T.52 or later. I have now version
T.73 (31 March 1997).

        The funny thing is that with this new version all the
preprocessors and inputs work well, but in the output the clefs
(both violin and bass) are higher of one space (violin) or two
spaces (bass). Probably this is not a font problem (I also
checked if the situation changed replacing the old fonts with the
new ones).

        Please help!
        Many thanks, guido


% Guido Milanese                     email mc1194@mclink.it %
% Universita' Cattolica del Sacro Cuore                     %
% smail: Largo Gemelli 1, I-20123 Milano MI                 %
% Phone: +39.2.72342-750  Fax -740                          %
% Home : Salita del Passero 11, I-16126 Genova GE           %
# Homepage in English: http://www.geocities.com/Vienna/3023 #
# Homepage in Italian: http://www.mclink.it/personal/MC1194 #

* Sed nomini tuo da gloriam *                    MMMR 4.70reg

From mutex-owner@mail2.gmd.de Fri Jul 11 17:36:58 1997
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Date: Fri, 11 Jul 1997 10:36:58 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Re: [Q] Clefs Placement
To: mutex@gmd.de
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Guido Milanese <MC1194@mclink.it> wrote

>...I have now version T.73 (31 March 1997). 
>
>The funny thing is that with this new version all the 
>preprocessors and inputs work well, but in the output the clefs 
>(both violin and bass) are higher of one space (violin) or two 
>spaces (bass). Probably this is not a font problem (I also 
>checked if the situation changed replacing the old fonts with 
>the new ones).
>
There was indeed a change in the fonts somewhere along the way that 
affected the vertical positions of clefs.  I'm sorry but I don't know 
exactly when it took place.  My font files are dated 9/24/96 and they 
work fine with PMX 1.2 + MusiXTeX 0.73.  

I built a patch into PMX related to this.  One quick way to check 
without downloading and installing any more new fonts would be to go 
into the file pmx.tex, and uncomment the line near the top 

%\oldertrue%

Then run PMX on the following input:

================================
1 1 4 4 0 6 0 -2                                                                
1 1 20 0.07                                                                     

t                                                                             
c:\pctex\texinput\
c44 Cb cd2 /
================================

If the clefs come out right, then you will know you do not have the 
most up-to-date fonts.  I assume you realize that you need to replace 
both the pixel files and the .tfm's when you install a new font.

--Don Simons

From mutex-owner@mail2.gmd.de Sat Jul 12 01:39:26 1997
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To: mutex@gmd.de
Subject: [Summary] Clefs Placement
Date: Sat, 12 Jul 97 0:50:29 CEST
From: Guido Milanese <MC1194@mclink.it>
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I posted a note concerning wrong position of keys. Dirk Laurie
and Don Simons kindly replied in a few hours, suggesting that the
reason of the error was in the fonts, and I could fix the
problem. It was a very trivial matter, as usually in TeX: I have
the old MusiXTeX fonts in the CD, and the new ones in the hard
disk. I had to tell the compiler: check FIRST in the HD, and then
in the CD!

                Everything OK, now.
                Many thanks to Don Simons and Dirk Laurie!

                GM

% Guido Milanese                     email mc1194@mclink.it %
% Universita' Cattolica del Sacro Cuore                     %
% smail: Largo Gemelli 1, I-20123 Milano MI                 %
% Phone: +39.2.72342-750  Fax -740                          %
% Home : Salita del Passero 11, I-16126 Genova GE           %
# Homepage in English: http://www.geocities.com/Vienna/3023 #
# Homepage in Italian: http://www.mclink.it/personal/MC1194 #

* Sed nomini tuo da gloriam *                    MMMR 4.70reg

From mutex-owner@mail2.gmd.de Mon Jul 14 17:25:21 1997
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Date: Mon, 14 Jul 1997 19:25:21 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199707141725.AA06488@sunick.gmd.de>
To: mutex@gmd.de
Subject: The MuTeX mailing list
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Dear List-Members,

as you all may know there is an archive of the MuTeX mailing list:

  ftp://ftp.gmd.de/music/mutex/archive

It's size is approx. 3.5 MB. This archive is presented on the WEB as 
hypermail archive http://www.gmd.de/Mail/mutex-archive/

At the moment it contains ~ 1.500 mails and the index-files have
a size of up to 200 KB. So it may take some time for loading these
files. Therefore I created a shorter version which contains only the
mails from last months. At the moment it starts at 01 Oct 1996 and
I'll shorten it as time goes on. Just now it contains 390 Mails and 
the index-files occupy ~ 40 KB. It's pointed at by the same address

  http://www.gmd.de/Mail/mutex-archive/


The number of subscribers of the list has now reached 390. The names 
of some of them seem to be sub-lists. So the total number of recipients 
may be a little bit larger.

Werner


PS: As usual some of the addresses on the list bounce. I try to avoid
    that such mails bounce back to the sender. I do not succeed in
    any case. So please either ignore such bounces or forward them
    to me - not to the list.

From mutex-owner@mail2.gmd.de Fri Jul 18 21:20:35 1997
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Date: Fri, 18 Jul 1997 14:20:35 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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To: mutex list <mutex@gmd.de>
Subject: Musixtex T.74
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This is a multi-part message in MIME format.

--------------34E379183C14
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-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

--------------34E379183C14
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Subject: MusiXTeX version T.73
New version T.74 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 - T.64  missing fonts declared in musixsty.tex
 
Daniel Taupin


--------------34E379183C14--


From mutex-owner@mail2.gmd.de Tue Jul 15 15:47:44 1997
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'MusixTeX Mailing List'" <Mutex@gmd.de>
Subject: Problem Beam
Date: Tue, 15 Jul 1997 13:47:44 +-200
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Hello MusiXTeXers,

Included with this note is a source that contains a beam problem. (It is =
an excerpt of a 62 bar piece.) In bar 3 I have 3 notes attached to a =
beam; however, the beam does not start at the first note but halfway =
between the first and second notes. The presence or absence of the =
cadenza (?) has no effect on this problem. It's interesting that every =
bar in the piece except bar 3 has no such problem.

(I'm using MusiXTeX version T.73)

Please help with this problem!

%%%%%%%%%%%%

\input musixeng

%%%%%% Setting up the score
\instrumentnumber3
\setstaffs12
\setclef1\bass
\generalsignature{-1}
\generalmeter{\meterfrac{3}{8}}
\setname1{Piano}
\setname2{Tenor}
\setname3{Soprano}
\sepbarrules
\relativeaccidentals
\interstaff{14}
\interinstrument=3D2\internote
\stafftopmarg=3D6\Interligne
\staffbotmarg=3D6\Interligne
\parindent12mm
\systemnumbers
\geometricskipscale

%%%%%% Macros
\def\writebarno{\eightbf\the\barno\barnoadd}
\def\Tenorclef{\zchar{-6}{\eightrm \kern -2\Interligne 8}}
\def\nnotes{\vnotes1\elemskip}
\catcodesmusic
\def\ctpt{\def\atnextbar{\znotes&\centerpause\en}}
\def\ctps{\def\atnextbar{\znotes&&\centerpause\en}}
\def\lift#1#2{\raise #1\Internote\hbox{#2}}
\def\mtt{\multnoteskip\tinyvalue\tinynotesize}
\def\everystaff{\znotes&\Tenorclef\en}

%%%%%% Start the music
\startpiece
% bar 1
\notes\zmidstaff{\mf}\Ibl0FC4\qb0F\bsk\lift2\er|\lift{-6}\eer\bsk
  \Ibu1ml4\zq{=3Dfh}\qb1m&\Uptext{\mf\ \it urgently}\ca m%
  &\Na f\ca f\en
\notes|\Ibbl2cc4\zq f\qb2h\en
\notes\lift{-7}\er\bsk\zq J\cu a|\lift{-7}\eer\bsk\zq e\qb1l&\ca =
l&\er\en
\notes|\zq f\qb2h\en
\notes\tqb0C\bsk\er|\lift{-8}\eer\bsk\zq d\tqh1k&\ca k&\er\en
\notes|\zq f\tqb2h\en\bar
% bar 2
\notes\Ibl0FC4\qb0F\bsk\lift2\er|\lift{-9}\eer\bsk
  \Ibu1ji4\zq c\qb1j&\isluru1j\Ibl3ji2\qb3j\en
\notes|\Ibbl2cc4\zq f\qb2h\en
\notes\lift{-7}\er\bsk\zq J\cu =
M|\lift{-4}\eer\bsk\qb1{^i}&\tslur1i\tqb3{^i}\en
\notes|\zq{cf}\qb2h\en
\notes\tqb0C\bsk\er|\lift{-4}\eer\bsk\tqh1{=3Di}&\Na i\ca i\en
\notes|\zq c\tqb2f\en\ctps\bar
% bar 3
\notes\zmidstaff{\p}\Ibl0FC4\qb0F\bsk\lift2{\er}|\Ibu1kk7\qh1h&\ca h\en
\nnotes|\mtt\issluru1n\Ibbu2ih3\qb2{ih^g}\tqh2h&\mtt\issluru2n\Ibbu3ih3\q=
b3{ih^g}\tqh3h\en
\notes\lift{-7}\er\bsk\zq J\cu =
a|\tslur1l\qb1k\bsk\lift{-4}\eer&\tslur2l\ca k\en
\notes|\Ibbl2ff2\zq f\qb2h\en
\notes\tqb0C\bsk\er|\lift{-2}\eer\bsk\tqh1j&\ca j\en
\notes|\zq f\tqb2h\en\ctps\bar
% bar 4
\notes\Ibl0GJ4\qb0G\bsk\lift2\er|\Ibbu1jg5\qb1{.j}\bsk
  \lift{-4}\eer&\isluru1j\Ibbl3ji3\qb3{.j}&\er\en
\nnotes|\zq e\ccl g\tbbbu1\qb1i&\sk\tbbbl3\tslur1i\tqb3i\en
\notes\lift{-4}\er\bsk\zq{JL}\cu b|\tbu1\qb1{=3Dg}&\Na g\ca g&\eer\en
\notes\zmidstaff{\pp}|\upz p\Ibbl2ll2\zq{ln}\qb2{^p}&%
  &\uptext{\it lightly}\Sh i\cca i\en
\notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb2q&\er&\cca j\en
\notes\zq L\ccu b|\upz q\zq{ln}\tqb2{^q}&&\Sh j\cca j\en\bar
% bar 5
\notes\Ibl0LJ4\qb0L\bsk\lift8\eer|\upz r\Ibbl1ll5\zq{ln}\qb1r%
  &\ca i&\Uptext{\it happily}\isluru0l\Ibbl2kk1\qb2k\en
\notes\zq N\rq c\cu b|\usf s\upz r\zq{ln}\qb1{_r}&&\usf =
m\tslur0l\tqb2{_k}\en
\notes\lift{-2}\er\bsk|\upz q\zq{ln}\qb1{=3Dq}&\er&\Na j\cca j\en
\notes\Ibbu2cc2\zq N\rq c\qb2{=3Db}|\upz p\zq{ln}\qb1{^p}&%
  &\Sh i\cca i\en
\notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb1q&\ca i&\cca j\en
\notes\zq N\rq c\tqh2b|\upz q\zq{ln}\tqb1{^q}&&\Sh j\cca j\en\bar
% bar 6
\notes\Ibl0LJ4\qb0L\bsk\lift8\eer|\upz r\Ibbl1ll5\zq{ln}\qb1r%
  &\ca i&\isluru0l\Ibbl2kk1\qb2k\en
\notes\zq N\rq c\cu b|\usf s\upz r\zq{ln}\qb1{_r}&&\usf =
m\tslur0l\tqb2{_k}\en
\notes\lift{-2}\er\bsk|\upz q\zq{ln}\qb1{=3Dq}&\er&\Na j\cca j\en
\notes\Ibbu2cc2\zq N\rq c\qb2{=3Db}|\upz p\zq{ln}\qb1{^p}&%
  &\Sh i\cca i\en
\notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb1q&\ca i&\cca j\en
\notes\zq N\rq c\tqh2b|\upz q\zq{ln}\tqb1{^q}&&\Sh j\cca j\en
\Endpiece
\bye


From mutex-owner@mail2.gmd.de Sat Jul 19 16:34:51 1997
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Date: Sat, 19 Jul 1997 14:34:51 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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To: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
Cc: mutex list <mutex@gmd.de>
Subject: Re: Problem Beam
References: <01BC9125.B102CEE0@mmolekwa.rrs.co.za>
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Mthimkhulu Molekwa wrote:
> =

> Hello MusiXTeXers,
> =

> Included with this note is a source that contains a beam problem. (It i=
s an excerpt of a 62 bar piece.) In bar 3 I have 3 notes attached to a be=
am; however, the beam does not start at the first note but halfway betwee=
n the first and second notes. The presence or absence of the cadenza (?) =
has no effect on this problem. It's interesting that every bar in the pie=
ce except bar 3 has no such problem.
> =

> (I'm using MusiXTeX version T.73)
> =

> Please help with this problem!

 Your (excusable) mistake is in the definition of \lift. It posts the
rest (or anything) within a \hbox so that local computation of spacings
is erased when exiting the box. You should never code notes or rests
inside braces, but only at the \notes...\enotes level. Otherwise there
is a misfit between the \hbox spacing and the recorded spacings in
musixtex's macros.

 Note that this wold have been harmless if you had said \rlap or \llap
instead of \hbox, in which case you should have forgotten a spacing
which was cancelled by the zero lenth box anyway.

 Suggestions:

 1. \def\lift#1{\raise #1\Internote}    (and remove braces around \er at
bar 3)
 2. \def\lift#1#2{\raise #1\Internote\rlap{#2}} (Then you find some
others errors due to lack of spacings when \lift is the last command of
an instrument, but this is easy to correct).

 The manual is updated as T.74 today to warn people about this trick.
> =

> %%%%%%%%%%%%
> =

> \input musixeng
> =

> %%%%%% Setting up the score
> \instrumentnumber3
> \setstaffs12
> \setclef1\bass
> \generalsignature{-1}
> \generalmeter{\meterfrac{3}{8}}
> \setname1{Piano}
> \setname2{Tenor}
> \setname3{Soprano}
> \sepbarrules
> \relativeaccidentals
> \interstaff{14}
> \interinstrument=3D2\internote
> \stafftopmarg=3D6\Interligne
> \staffbotmarg=3D6\Interligne
> \parindent12mm
> \systemnumbers
> \geometricskipscale
> =

> %%%%%% Macros
> \def\writebarno{\eightbf\the\barno\barnoadd}
> \def\Tenorclef{\zchar{-6}{\eightrm \kern -2\Interligne 8}}
> \def\nnotes{\vnotes1\elemskip}
> \catcodesmusic
> \def\ctpt{\def\atnextbar{\znotes&\centerpause\en}}
> \def\ctps{\def\atnextbar{\znotes&&\centerpause\en}}
> \def\lift#1#2{\raise #1\Internote\hbox{#2}}
> \def\mtt{\multnoteskip\tinyvalue\tinynotesize}
> \def\everystaff{\znotes&\Tenorclef\en}
> =

> %%%%%% Start the music
> \startpiece
> % bar 1
> \notes\zmidstaff{\mf}\Ibl0FC4\qb0F\bsk\lift2\er|\lift{-6}\eer\bsk
>   \Ibu1ml4\zq{=3Dfh}\qb1m&\Uptext{\mf\ \it urgently}\ca m%
>   &\Na f\ca f\en
> \notes|\Ibbl2cc4\zq f\qb2h\en
> \notes\lift{-7}\er\bsk\zq J\cu a|\lift{-7}\eer\bsk\zq e\qb1l&\ca l&\er\=
en
> \notes|\zq f\qb2h\en
> \notes\tqb0C\bsk\er|\lift{-8}\eer\bsk\zq d\tqh1k&\ca k&\er\en
> \notes|\zq f\tqb2h\en\bar
> % bar 2
> \notes\Ibl0FC4\qb0F\bsk\lift2\er|\lift{-9}\eer\bsk
>   \Ibu1ji4\zq c\qb1j&\isluru1j\Ibl3ji2\qb3j\en
> \notes|\Ibbl2cc4\zq f\qb2h\en
> \notes\lift{-7}\er\bsk\zq J\cu M|\lift{-4}\eer\bsk\qb1{^i}&\tslur1i\tqb=
3{^i}\en
> \notes|\zq{cf}\qb2h\en
> \notes\tqb0C\bsk\er|\lift{-4}\eer\bsk\tqh1{=3Di}&\Na i\ca i\en
> \notes|\zq c\tqb2f\en\ctps\bar
> % bar 3
> \notes\zmidstaff{\p}\Ibl0FC4\qb0F\bsk\lift2{\er}|\Ibu1kk7\qh1h&\ca h\en=

> \nnotes|\mtt\issluru1n\Ibbu2ih3\qb2{ih^g}\tqh2h&\mtt\issluru2n\Ibbu3ih3=
\qb3{ih^g}\tqh3h\en
> \notes\lift{-7}\er\bsk\zq J\cu a|\tslur1l\qb1k\bsk\lift{-4}\eer&\tslur2=
l\ca k\en
> \notes|\Ibbl2ff2\zq f\qb2h\en
> \notes\tqb0C\bsk\er|\lift{-2}\eer\bsk\tqh1j&\ca j\en
> \notes|\zq f\tqb2h\en\ctps\bar
> % bar 4
> \notes\Ibl0GJ4\qb0G\bsk\lift2\er|\Ibbu1jg5\qb1{.j}\bsk
>   \lift{-4}\eer&\isluru1j\Ibbl3ji3\qb3{.j}&\er\en
> \nnotes|\zq e\ccl g\tbbbu1\qb1i&\sk\tbbbl3\tslur1i\tqb3i\en
> \notes\lift{-4}\er\bsk\zq{JL}\cu b|\tbu1\qb1{=3Dg}&\Na g\ca g&\eer\en
> \notes\zmidstaff{\pp}|\upz p\Ibbl2ll2\zq{ln}\qb2{^p}&%
>   &\uptext{\it lightly}\Sh i\cca i\en
> \notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb2q&\er&\cca j\en
> \notes\zq L\ccu b|\upz q\zq{ln}\tqb2{^q}&&\Sh j\cca j\en\bar
> % bar 5
> \notes\Ibl0LJ4\qb0L\bsk\lift8\eer|\upz r\Ibbl1ll5\zq{ln}\qb1r%
>   &\ca i&\Uptext{\it happily}\isluru0l\Ibbl2kk1\qb2k\en
> \notes\zq N\rq c\cu b|\usf s\upz r\zq{ln}\qb1{_r}&&\usf m\tslur0l\tqb2{=
_k}\en
> \notes\lift{-2}\er\bsk|\upz q\zq{ln}\qb1{=3Dq}&\er&\Na j\cca j\en
> \notes\Ibbu2cc2\zq N\rq c\qb2{=3Db}|\upz p\zq{ln}\qb1{^p}&%
>   &\Sh i\cca i\en
> \notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb1q&\ca i&\cca j\en
> \notes\zq N\rq c\tqh2b|\upz q\zq{ln}\tqb1{^q}&&\Sh j\cca j\en\bar
> % bar 6
> \notes\Ibl0LJ4\qb0L\bsk\lift8\eer|\upz r\Ibbl1ll5\zq{ln}\qb1r%
>   &\ca i&\isluru0l\Ibbl2kk1\qb2k\en
> \notes\zq N\rq c\cu b|\usf s\upz r\zq{ln}\qb1{_r}&&\usf m\tslur0l\tqb2{=
_k}\en
> \notes\lift{-2}\er\bsk|\upz q\zq{ln}\qb1{=3Dq}&\er&\Na j\cca j\en
> \notes\Ibbu2cc2\zq N\rq c\qb2{=3Db}|\upz p\zq{ln}\qb1{^p}&%
>   &\Sh i\cca i\en
> \notes\tqb0J\bsk\lift6\eer|\upz q\zq{ln}\qb1q&\ca i&\cca j\en
> \notes\zq N\rq c\tqh2b|\upz q\zq{ln}\tqb1{^q}&&\Sh j\cca j\en
> \Endpiece
> \bye

-- =


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jul 21 16:26:41 1997
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Date: Mon, 21 Jul 1997 18:26:41 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX - 1.2.2  Unix/C version available (finally!)
Message-Id: <Pine.A32.3.95.970721182443.17169A-100000@cip40.mathematik.uni-stuttgart.de>
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I've just release the Unix/C port of PMX-1.2 including changes up to
PMX-1.2.2
The package is available by anonymous ftp from

ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.2.2.tar.gz


-Stefan


************************************************************             
**     May the Schwartz be with you.                      **            
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [download the demo version of Treebuilder-97 now!]     **
**--------------------------------------------------------**
** evert@mathematik.uni-stuttgart.de       (Stefan Evert) **
************************************************************       


From mutex-owner@mail2.gmd.de Wed Jul 23 12:43:06 1997
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'MusixTeX Mailing List'" <Mutex@gmd.de>
Subject: FW: Automatic selection of stems in MusixTeX
Date: Wed, 23 Jul 1997 10:43:06 +-200
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Dear MusiXTeXer's

----------

> I have a problem with using the automatic stem selection macros; in =
particular, the \ha p macro. When I run tex with the musixtex format =
provided this macro stops working; however, when I run tex with a plain =
format and include all the .tex files needed, this problem does not =
occur.
>=20
> Does anyone know what the problem might be, or have a solution to this =
problem?
>=20
> Cheerio,
> Mthimkhulu Molekwa
> (mmolekwa@rrs.co.za)
>=20
Did you rebuild your format the last time you upgraded your MusiXTeX?
I.e. you have to run initex, or tex -i, again.

Dirk

I have subsequently discovered that the problem is located in =
musixcpt.tex which contains the following line:

\let\ha\hu

Commenting this line and rebuilding the format solved the problem.

MK




From mutex-owner@mail2.gmd.de Thu Jul 24 16:12:41 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199707241612.SAA18886@calvyn.puk.ac.za>
Subject: Re: PMX - 1.2.2 bug
To: evertsn@cip.mathematik.uni-stuttgart.de (Stefan Evert)
Date: Thu, 24 Jul 1997 18:12:41 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <Pine.A32.3.95.970721182443.17169A-100000@cip40.mathematik.uni-stuttgart.de> from "Stefan Evert" at Jul 21, 97 06:26:41 pm
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Stefan Evert wrote:
> 
> I've just release the Unix/C port of PMX-1.2 including changes up to
> PMX-1.2.2
> The package is available by anonymous ftp from
> 
> ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.2.2.tar.gz
> 
There is a bug in PMX-1.2.2 that is not present in PMX-1.2, which is
as far as I know the most recent public release sanctioned by Don Simons.
This bug causes any piece with flats in its key signature to have one 
flat too few.

The bug occurs in line 2213 of pmxa.f, which reads:
      newkey = readin(lineq,iccount,nline)+.1
One way of correcting it, is to replace the line by:
      newkey = readin(lineq,iccount,nline)*1.01

A similar correction should be made in line 3443 of pmxa.c.

Dirk

From mutex-owner@mail2.gmd.de Sat Jul 26 05:26:21 1997
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Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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To: mutex list <mutex@gmd.de>
Subject: Musixtex T.75
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Subject: MusiXTeX version T.75
New version T.75 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right
place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly
modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 
Daniel Taupin

 
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sat Jul 26 18:19:17 1997
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	  Sat, 26 Jul 1997 14:19:17 -0400 (EDT)
Date: Sat, 26 Jul 1997 14:19:17 -0400 (EDT)
From: Bobroff@aol.com
Message-Id: <970726141913_-1442271494@emout16.mail.aol.com>
To: mutex@gmd.de
Subject: slightly off-topic
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Fellow MusixTex people,

I have been trying to track down what TeX implementation is popular on the
NeXT computer hardware.  Would any of you happen to use a NeXT machine or
know someone who does?

Thanks for your time,

David Bobroff
Bobroff@aol.com



From mutex-owner@mail2.gmd.de Mon Jul 28 08:57:44 1997
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Subject: Re: slightly off-topic 
In-Reply-To: Your message of "Sat, 26 Jul 1997 14:19:17 EDT."
             <970726141913_-1442271494@emout16.mail.aol.com> 
Date: Mon, 28 Jul 1997 09:57:44 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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The tex-live CD has a web2c for nexts, and the next-users in this lab
managed to get it installed on their machine with only a certain
amount of wailing and gnashing of teeth.

See http://www.tug.org/texlive.html for details of the CD -- I can put
you in touch with the relevant person here if it would help.

Robin Fairbairns

From mutex-owner@mail2.gmd.de Mon Jul 28 14:43:15 1997
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Date: Mon, 28 Jul 1997 16:43:15 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: gnu music discuss <gnu-music-discuss@vuse.vanderbilt.edu>
Cc: mutex <mutex@stolaf.edu>
Subject: pre-announce
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Hi guys,

Our release of lilypond 0.1 is scheduled at august 1. (If you don't know
what LilyPond is, then you should skip to the announce) I would appreciate
it, if all you guys could check out if the latest version of lilypond:

	- is clear in install/compile/running instructions
	- works
	- has oddities, or buglets.

Following is  a draft of the announce. btw 0.1 isn't out yet, you'll have 
to do with 0.0.76 for now.

Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen

      We are proud to announce the birth of "GNU LilyPond 0.1", a.k.a.
 
                Lily 0.1
 
        born August 1, 1997
 
        daughter to Jan 'Janneke' Nieuwenhuizen and Han-Wen 'Wendy'
        Nienhuys
 
Lily is a healthy, bouncing baby weighing 335 kilobytes
 
Visiting hours: 24hrs a day at
 
        ftp://pcnov095.win.tue.nl/pub/lilypond/lilypond-0.1.tar.gz
 
you can see some babyfood, diapers and pictures at
 
        http://www.stack.nl/~hanwen/lilypond/index.html
 
You can send your congratulations to Janneke (jan@digicash.com) and
Wendy (hanwen@stack.nl)
 
 
[ And now the serious part ]
 
        Announcing
                        
        GNU LilyPond
 
        The Music Typesetter
 
Do you pine for the nice days of Linux 0.95, when men were men and
wrote their own applications? Are you without a nice project and just
dying to cut your teeth into a bleeding edge application you can
modify for your needs?  Do you find it frustrating that everything
works in LaTeX?  No more all-nighters to get a nifty program working?
Then this post might be just for you!
 
I have been working very hard on a music typesetting system (called
GNU LilyPond) the past half year, and I finally think it is ready to be
used and hacked at by a larger public than me and my co-developer.
 
Sources for this project are on:
 
        ftp://pcnov095.win.tue.nl/pub/lilypond/
 
detailed info and examples can be found on the webpage at:
 
        http://www.stack.nl/~hanwen/lilypond/index.html
 
It isn't flashy, but then I wasn't born to be a webartist.
 
 
[DETAILED DESCRIPTION]
 
WHAT IS GNU LilyPond?
 
GNU LilyPond which converts music definition files into visual or
audio output: it can typeset formatted sheet music to a TeX file and
and (mechanical) performances to MIDI files.
 
WHY?
 
We want to create tools which can produce production quality scores
and parts of public music. We haven't quite reached that goal:
 
* The quality of the output isn't good enough yet due to
some (still) insophisticated algorithms
 
* A number of features haven't been implemented (although they can be
quite simple)
 
We Want You!  You can become a user, but we'd really appreciate to
have some Hackers to help advance our project more quickly.
 
WHAT IS NEEDED?
 
for compilation you need
 
        Unix. (windows32 is known to work, too)
        GNU C++ v2.7 or better, with libg++ installed.
        GNU make. 
        Flex (2.5.1 or better). 
        Bison. (1.25 or better)
 
for running you need
 
        TeX
        MusiXTeX fonts 
 
The MusiXTeX fonts are part of the MusiXTeX package version T.73,
available at http://www.gmd.de/Misc/Music/ 
 
WHAT CAN LILYPOND DO?
 
ASCII script input (mudela), with identifiers (for music reuse),
customizable notenames
 
MIDI output lets you check if you have entered the correct notes.
MIDI to Mudela conversion through the mi2mu program.
 
Multiple staffs in one score. Each staff can have a different meters.
Multiple voices within one staff (up to four handled graciously);
beams optionally shared between voices.  Multiple scores within one
input file. Each score is output to a different file.
 
Beams, slurs, chords, super/subscripts (accents and text), 
general n-plet (triplet, quadruplets, etc.), lyrics, transposition
dynamics (both absolute and hairpin style), clef changes, meter
changes, cadenza-mode, key changes, repeat bars
 
Integration with LaTeX through scripts.
 
                              --- * ---
 
    We would like to dedicate this program to all the friends that we
                         met through music. 
 
 
        Those deserving special mention (in no particular order):
Esther, Marijke, Heike, Inge, Judith, Hannah, Auke, Ilse, Evelyn,
Maartje, Suzanne, Ilse (gee, again?) and last (but certainly not least)
Janneke!
 
        HWN
 
        That's a nice thought, Wendy.  I've got a few too, to spread
the credits a bit (Again, no particular order) Michelle, Illushka, 
Ruth, Eva, Fro/ydis, Monique, Noor, Sascha, Monique, Ilse, Monique, 
Eva, Roos, Judith, and, of course, Wendy!
 
        JCN
 
 
Of course, our other friends in the `Eindhovens Jongeren Ensemble'
(http://www.stack.nl/~hanwen/eje.html) cannot go unmentioned either.
 
 
                               --- * ---


From mutex-owner@mail2.gmd.de Tue Jul 29 06:48:05 1997
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Han-Wen Nienhuys writes:

> Our release of lilypond 0.1 is scheduled at august 1. (If you don't know
> what LilyPond is, then you should skip to the announce) I would appreciate
> it, if all you guys could check out if the latest version of lilypond:

> 	- is clear in install/compile/running instructions

I was unable to compile it on Solaris 2.5.  GNU C++ 2.7.2.2 crashed
with an internal compiler error :-(

This will probably be fixed with the next release of g++.


I also missed the ability to build lilypond in a temporary directory
while keeping the sources in another directory (using --srcdir=).  The
configure scripts and the Makefiles depend on finding the files in the
local directories.

-- 
Alexandre Oliva
mailto:oliva@dcc.unicamp.br mailto:aoliva@acm.org
Universidade Estadual de Campinas, SP, Brasil

From mutex-owner@mail2.gmd.de Tue Jul 29 15:27:04 1997
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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: mutex <mutex@stolaf.edu>,
        gnu music discuss <gnu-music-discuss@vuse.vanderbilt.edu>
Cc: gnu-music-info@vuse.vanderbilt.edu
Subject: thanks and more!
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Thanks for the feedback, I fixed everything I could find, so good luck 
with stress-testing pl 77.

pl 77
        - some fixes for internal compiler errors 
derive from Pointer_list with default dtor gives error with -O2
        - .ini -> .ly
        - lyrics fix 
        - Performer beautification: got rid of set_track(), midi_output()
        - pseudo RTTI for midi-items
        - bf: Performer*::print() 
        - links.pod
        - Voice_element -> Request_chord
        - fixed flex problems: stdin input works again 
        - Documentation/Rules.make, make-website via make
        - spacing: now add basicspace
 


Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


From mutex-owner@mail2.gmd.de Tue Jul 29 19:05:47 1997
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Subject: LilyPond pl 77.jcn1
Date: Tue, 29 Jul 1997 21:05:47 +0200
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Sorry,

pl 77 has some silly bugs...

pl 77.jcn1
        - init/*.ly in dist
        - bf: string-convert.cc: return local buf
        - bf: debug.cc: <new.h>
        - bf: template4.cc: #includes

Have Fun,

jan.

Jan Nieuwenhuizen <jan@digicash.com>
http://www.digicash.com/~jan

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To: Werner Icking <Werner.Icking@gmd.de>
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        evertsn@cip.mathematik.uni-stuttgart.de,
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Taking Werner Icking's rebuke

On Thu, 24 Jul 1997, Werner Icking wrote:
> PS: Imho releases not santioned by Don should neither be propagated nor
>     discussed in the MuTeX-list. I know that it's not my "job" to tell
>     that, but as far as I know, Don makes holidays. So (imho) Stefan
>     should hide his pmx-1.2.2.tar.gz
> 

to heart, I've removed pmx-1.2.2.tar.gz and replaced it with the official
release pmx-1.2.tar.gz 

As usual, you'll find it in

ftp.mathematik.uni-stuttgart.de:/pub/software/pmx/pmx-1.2.tar.gz


See you,
	Stefan


************************************************************             
**     May the Schwartz be with you.                      **            
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [download the demo version of Treebuilder-97 now!]     **
**--------------------------------------------------------**
** evert@mathematik.uni-stuttgart.de       (Stefan Evert) **
************************************************************       


From mutex-owner@mail2.gmd.de Thu Jul 31 14:03:15 1997
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Date: Thu, 31 Jul 1997 16:03:15 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: gnu music discuss <gnu-music-discuss@vuse.vanderbilt.edu>,
        mutex <mutex@stolaf.edu>
Cc: "GNU Music: info" <info-gnu-music@vuse.vanderbilt.edu>
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Hi Y'all
 
it's finally here, the long awaited BugFree pl 78 of LilyPond

Notes:
 
        - could you try testing the multi-arch building, to see
if it is remotely useful?
        - What do you think: should binary packages (such as .rpm and .deb)
include formatted documentation, or source (.pod). If you think #1, then
which format should be packaged?
 

NEWS:
 
pl 78
        - bf: Midi_instrument
        - added  enable/disable defaults to help.
        - incredibly ugly NAME_MEMBERS(); bug. Immediately changed to
DECLARE_MY_RUNTIME_TYPEINFO;
        - \stem -1 -> \stem \down in input
        - bf: slurchar index
        - configure warnings
        - preliminary stuff for multiarch building
        - #!/usr/bin/perl fixes (AO)
        - some Makefile cleanups: now faster.
 
pl 77.jcn2
        - Midi_instrument
 
 


Han-Wen Nienhuys, hanwen@stack.nl
http://www.stack.nl/~hanwen


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Date: Thu, 31 Jul 1997 17:52:27 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199707311552.AA03181@sunick.gmd.de>
To: mutex@gmd.de
Subject: Vacation from August 1st to August 17th
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Dear subscribers of the MuTeX mailing list,

from August 1st to August 17th this list will run unattended. From my
experience up to now this should be possible without any problems.

Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request ( don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.

If there seem to be major problems with the list, please inform
listmaster@gmd.de

Regards, Werner

PS: In the same way the music part of ftp.gmd.de runs unattended.
    That means that new versions of e.g. MusiXTeX or PMX will not
    automatically be distributed as far as they are mirrored from
    ftp.gmd.de.

From mutex-owner@mail2.gmd.de Fri Aug  1 11:51:21 1997
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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: "GNU Music: info" <info-gnu-music@vuse.vanderbilt.edu>,
        gnu music discuss <gnu-music-discuss@vuse.vanderbilt.edu>,
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Subject: Finally! It's There
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Keywords: midi notation music typesetting gnu
Subject: LilyPond 0.1 released - The GNU Project music typesetter

	BORN

	August 1, 1997

		Lily

		(GNU LilyPond 0.1)

	daughter to Jan 'Janneke' Nieuwenhuizen and Han-Wen 'Wendy' Nienhuys

Lily is a healthy, bouncing baby weighing 345 kilobytes

Visiting hours: 24 hours a day at

	ftp://pcnov095.win.tue.nl/pub/lilypond/lilypond-0.1.0.tar.gz (Europe)
	ftp://alpha.gnu.ai.mit.edu/gnu/lilypond-0.1.0.tar.gz (US)

You can see some babyfood, diapers and pictures at

	http://www.stack.nl/~hanwen/lilypond/index.html

You can send your congratulations to Janneke (jan@digicash.com) and
Wendy (hanwen@stack.nl)


GNU LilyPond - The GNU Project Music Typesetter



``WHAT IS GNU LilyPond?''

Well Mike, GNU LilyPond is a program which converts music definition
files into visual or auditive output: it can typeset formatted sheet
music to a TeX file and (mechanical) performances to MIDI files.


We have been working very hard on this system for the past year, and
we finally think that it is ready to be used and hacked at by a larger
public than us. 


WHY ?

We want to create tools to produce production quality scores and parts
of public domain music.


BUT ..

We haven't yet reached that goal:

* The quality of the output isn't good enough yet due to some
unsophisticated algorithms

* Some features haven't been implemented, due to lack of time; most of
them can be done quite simply

This is why we don't consider this software stable yet. It generally
does what it is supposed to, but we reserve the right to make
(incompatible) changes to the input format.  We consider it
of BETA quality.


WE WANT YOU!

You can become a user, but we'd really appreciate it if you would start 
hacking at Lily, and help us advance our project more quickly.


``YES, IT IS FANTASTIC! WHAT DO I NEED?''

For compilation you need

	Unix. (windows32 is known to work, too)
	GNU C++ v2.7 or better, with libg++ installed.
	GNU make. 
	Flex (2.5.1 or better). 
	Bison. (1.25 or better)

For running you need

	TeX
	MusiXTeX fonts

The MusiXTeX fonts are part of the MusiXTeX package version T.73,
available at any CTAN mirror, or http://www.gmd.de/Misc/Music/ 


``WHAT CAN LILYPOND DO?''

ASCII script input (mudela), with identifiers (for music reuse),
customizable notenames.

MIDI output lets you check if you have entered the correct notes.
MIDI to Mudela conversion through the mi2mu program.

Multiple staffs in one score. Each staff can have a different meters.
Multiple voices within one staff (up to four handled graciously);
beams optionally shared between voices.  Multiple scores within one
input file. Each score is output to a different file.

Beams, slurs, chords, super/subscripts (accents and text), 
general n-plet (triplet, quadruplets, etc.), lyrics, transposition,
dynamics (both absolute and hairpin style), clef changes, meter
changes, cadenza-mode, key changes, repeat bars.

Integration with LaTeX through Perl scripts.


``WHERE CAN I FIND MORE INFO?''

Sources for this project are on

	ftp://pcnov095.win.tue.nl/pub/lilypond/ (Europe)
	ftp://alpha.gnu.ai.mit.edu/gnu/ (US)

More detailed info and examples can be found on the webpage at

	http://www.stack.nl/~hanwen/lilypond/index.html


THANK YOU,

Thanks go out to Mats Bengtsson, Werner Lemberg and Richard Stallman
for comments and contributions.


****	NOTE

LilyPond might have a minor bug if  you use glibc-2; we will look into it
If you use glibc-2, please try 0.1.0 to see if it works and, download 0.1.1
when it's available.  

LilyPond might exhibit a g++ bug on Solaris 1.5 (The stack frame gets corrupted
by a constructor) if you compile with -O2. We don't know workarounds.  

			      --- * ---

    We would like to dedicate this program to all the friends that we
			 met through music. 


	Those deserving special mention (in no particular order):
Esther, Marijke, Heike, Inge, Judith, Hannah, Auke, Ilse, Evelyn,
Maartje, Suzanne, Ilse (gee, again?) and last (but certainly not least)
Janneke!

	HWN

	That's a nice thought, Wendy.  I've got a few too, to spread
the credits a bit (Again, no particular order) Michelle, Illushka, 
Ruth, Eva, Fro/ydis, Monique, Noor, Sascha, Monique, Ilse, Monique, 
Eva, Roos, Judith, Tim and, of course, Wendy!

	JCN
 

Of course, our other friends in the `Eindhovens Jongeren Ensemble'
(http://www.stack.nl/~hanwen/eje.html) cannot go unmentioned either.


			       --- * ---



Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen       | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Wed Aug  6 04:52:05 1997
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Date: Tue, 5 Aug 1997 21:52:05 -0700
Message-Id: <00040FFA.1941@logicon.com>
From: dsimons@logicon.com (Don Simons)
Subject: Slurs and staccatos (staccati?) in PMX
To: mutex@gmd.de
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PMX 1.2 raises or lowers a slur start or stop by one \internote if 
there is a staccato or tenuto on the notehead on the same side as the 
slur.  Johan T. has pointed out a that this is generally inadequate if 
the note is on a line, because MusiXTeX itself moves the ornament by 
one \internote.  I've worked out an algorithm that avoids 
staccato-slur collisions, but I'm not sure the result is always 
pleasing to the eye.  I would appreciate others' opinions on the 
appearance of the following line of music.

--Don Simons

=====================
\input musixtex
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{-1}%
\generalmeter\meterC%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\startmuflex\startpiece\addspace\afterruleskip%
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\NOtes\ibl1a2\upz{`g}\isluru8{'a}\qb1{`g}\upz{'a}\tslur8c\qb1a\upz b%
\isluru8c\qb1b\upz c\tslur8e\tbl1\qb1c\ibl1e2\upz d\isluru8e\qb1d\upz e%
\tslur8g\qb1e\upz f\isluru8g\qb1f\upz g\tslur8{'b}\tbl1\qb1{`g}\en%
% bar  2
\xbar
\NOtes\ibl1{'a}2\upz{`g}\isluru8{'b}\qb1{`g}\upz{'a}\tslur8b\qb1a\upz b%
\isluru8d\qb1b\upz c\tslur8d\tbl1\qb1c\ibl1e2\upz d\isluru8f\qb1d\upz e%
\tslur8f\qb1e\upz f\isluru8g\qb1f\upz g\tslur8{'a}\tbl1\qb1{`g}\en%
% bar  3
\xbar
\NOtes\ibu1b1\lpz{`g}\islurd8f\qb1g\lpz{'a}\tslur8{`g}\qb1{'a}\lpz b%
\islurd8a\qb1b\lpz c\tslur8b\tbu1\qb1c\ibu1e2\lpz d\islurd8c\qb1d\lpz e%
\tslur8d\qb1e\lpz f\islurd8e\qb1f\lpz g\tslur8e\tbu1\qb1g\en%
% bar  4
\xbar
\NOtes\ibu1{'a}2\lpz{`g}\islurd8e\qb1g\lpz{'a}\tslur8{`g}\qb1{'a}\lpz b%
\islurd8{`g}\qb1{'b}\lpz c\tslur8b\tbu1\qb1c\ibu1e2\lpz d\islurd8b\qb1d%
\lpz e\tslur8d\qb1e\lpz f\islurd8d\qb1f\lpz g\tslur8f\tbu1\qb1g\en%
\Endpiece
\vfill\eject\endmuflex
\bye





From mutex-owner@mail2.gmd.de Wed Aug  6 07:45:04 1997
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From: Johan Tufvesson <tuben@lysator.liu.se>
To: Don Simons <dsimons@logicon.com>
Cc: mutex@gmd.de
Subject: Re: Slurs and staccatos (staccati?) in PMX
In-Reply-To: <00040FFA.1941@logicon.com>
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On Tue, 5 Aug 1997, Don Simons wrote:

> PMX 1.2 raises or lowers a slur start or stop by one \internote if 
> there is a staccato or tenuto on the notehead on the same side as the 
> slur.  Johan T. has pointed out a that this is generally inadequate if 
> the note is on a line, because MusiXTeX itself moves the ornament by 
> one \internote.  I've worked out an algorithm that avoids 
> staccato-slur collisions, but I'm not sure the result is always 
> pleasing to the eye.  I would appreciate others' opinions on the 
> appearance of the following line of music.

Maybe the slurs "disappear" a bit in the last bar, but I can't think of
how to do it better. At least I will stop complain if this becomes the
normal PMX output.

PS. For the lazy ones the example can be viewed at
http://www.lysator.liu.se/~tuben/tmp/slurtest.gif


/Johan Tufvesson


From mutex-owner@mail2.gmd.de Wed Aug 13 00:50:09 1997
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Subject: MusiXTeX version T.76
New version T.76 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right
place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 - T.67  musixgre corrected and enhanced. Gregorian fonts slightly
modified.
 - T.66  musixpk.zip removed => only musixpk3.zip and musixpk6.zip
 - T.65  musixadd, musixmad corrected; choral layouts corrected
 
Daniel Taupin


-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Aug 12 19:06:31 1997
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From: rdt@qucis.queensu.ca (Robert Tennent)
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      Subject: MusiXTeX version T.76
      Changes:
       - T.76  added subbass clef and french violin clef (thanks to W. Icking)

Would it be possible to provide octave clefs, which are needed
for soprano recorder (G clef, octave up) and bass recorder (F clef,
octave up) as well as tenor parts (G clef, octave down)?  Putting in the 
little 8's explicitly is fussy and dependent on spacing decisions 
that have nothing to do with clefs.

Bob T.

From mutex-owner@mail2.gmd.de Wed Aug 13 13:15:01 1997
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From: Ivan.Keglevic@FernUni-Hagen.de (Ivan Keglevic)
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Subject: musix13.mf
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Hallo everybody!

I've just received the new version of mustxtex T76. By compiling the fonts
with Metafont 2.718 in the font musix13.mf, character 114 I get the message:

> 0 ESE SSE SSW 1 (SSE ESE) ENE ESE 2 ENE 3 (NNE NNW) WNW 0 (NNW NNE ENE)
! Strange path (turning number is zero).
<to be read again> 
                   ;
doublesharp->...'{dir35}..{se}z2l--z2r--z1--cycle;
                                                  fill.z1..{dir35}z4'{dir-12...
l.451   doublesharp (.95nhw,0.025nhw)

Nearly the same message appears for the character 53, only the line number
is 705, not 451. 

I've compiled it in teTeX with MakeTeXPK musix13 600 600 1+0/600 ljfour.
Since Metafont did not succeed, I don't have the font musix13.600pk, which
makes the output very poor.

Bye!
Ivan Keglevic 

From mutex-owner@mail2.gmd.de Wed Aug 13 15:41:53 1997
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      From: Ivan.Keglevic@FernUni-Hagen.de (Ivan Keglevic)
      Subject: musix13.mf
      
      I've just received the new version of mustxtex T76. By compiling the fonts
      with Metafont 2.718 in the font musix13.mf, character 114 I get the message:
      
      > 0 ESE SSE SSW 1 (SSE ESE) ENE ESE 2 ENE 3 (NNE NNW) WNW 0 (NNW NNE ENE)
      ! Strange path (turning number is zero).
      <to be read again> 
                         ;
      doublesharp->...'{dir35}..{se}z2l--z2r--z1--cycle;
                                                        fill.z1..{dir35}z4'{dir-12...
      l.451   doublesharp (.95nhw,0.025nhw)
      
      Nearly the same message appears for the character 53, only the line number
      is 705, not 451. 
      
      I've compiled it in teTeX with MakeTeXPK musix13 600 600 1+0/600 ljfour.
      Since Metafont did not succeed, I don't have the font musix13.600pk, which
      makes the output very poor.
      
I've previously had the same behaviour, so it's not just a T76 problem.
I used metafont "by hand", ignoring the error messages, to create
the fonts.

Bob T.

From mutex-owner@mail2.gmd.de Thu Aug 14 07:20:06 1997
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From: Dirk Laurie <dirk@wskdpl.puk.ac.za>
Message-Id: <199708140737.JAA07739@wskdpl.puk.ac.za>
Subject: Re: Music notation program?
To: redhat-list@redhat.com
Date: Thu, 14 Aug 1997 09:20:06 +0200 (SAT)
Cc: rcarpen@network1.net
In-Reply-To: <Pine.LNX.3.95.970813140801.10279A-100000@celt.network1.net> from "Randy Carpenter" at Aug 13, 97 02:10:21 pm
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Randy Carpenter wrote:
> 
> Are there any programs for X for notating and printing music?  I dont
> necessarily need a MIDI interface or anything (Although it would be nice
> :) )  I just need to print out some music, and I want it to look pretty..
> 

\begin{disclaimer}  I'm biased, having contributed to the following
  software myself.  On the other hand, I have actually tried out
  all but one of the packages discussed.
\end{disclaimer}

The following packages are all based on TeX and work well with the
standard tetex distribution that comes with Red Hat.  None of them
has any X interface for input, and no X output apart from what comes
with TeX itself, i.e. xdvi.  Most of them run on any TeX platform,
but you may need compilers for C, C++ and/or Fortran. Latest official 
versions are available from 
  ftp://ftp.gmd.de/music 
and CTAN mirrors, or if you prefer the WWW, from  
  http://www.gmd.de/Misc/Music/

(Note: names below contain capitals for easier reading but actual
 filenames on the archive mostly don't.)

1. MuTeX  The original music package for TeX.  No longer maintained.
          Interesting for historical reasons only.  Not recommended
          to new users.

2. MusicTeX  The first TeX music package that could produce multi-stave
          output.  Output good, but not of professional quality.  Still 
          being maintained, but largely superseded by MusiXTeX.

   2.1  MPP  Preprocessor to MusicTeX.  Very convenient input language.  
          No longer maintained, its developers having switched their
          interests to LilyPond.  

  ( The following packages are still being maintained at the time of
    writing, i.e. 14 Aug 1997.)

3. MusiXTeX  Produces multistave output, sloped slurs and beams, and
          is capable of producing printed music indistinguishable from
          professionally engraved scores.  Very powerful and flexible,
          but has a steep learning curve.  Best used in conjunction
          with one or more of the following.

  3.1 ABC2MTeX  Preprocessor to MusiXTeX or MusicTeX.  Intended for
          single-stave songs only.  Very convenient intuitive music
          notation, filing system for organizing libraries of tunes.
          Can play tunes on speaker of IBM PC.  Recommended for 
          collectors of folk tunes.

  3.2 PMX  Preprocessor to MusiXTeX.  Intended for instrumental scores,
          particularly music from the late Renaissance and baroque
          period.  Can handle up to seven staves, two voices (note stems
          up or down) per stave.  Very convenient intuitive notation.
          Allows use of raw musixtex commands.
    
    3.2.1 M-Tx  Preprocessor to PMX.  Intended for vocal and especially
          choral scores.  Even simpler to use than PMX itself.  In the
          hands of a disciplined typist, layout of the input language
          resembles that of an actual score.  Recommended to beginners.

4. OpusTeX  Branched off from MusixTeX (note lower case x) when authors
          developed irreconcilable differences of opinion on what should
          be done next.  Reputed to be faster than MusiXTeX but no
          longer backward compatible with MusicTeX.  This is the package 
          I have not actually tried.
          
5. LilyPond  Huge C++ package that produces its own TeX output directly.
          Part of the GNU effort.  Quality of output not yet as good as
          PMX.  Also produces MIDI output.  Not so much being maintained
          as being under continual development, but first beta release
          came out recently.  Recommended to adventurous spirits.

Dirk Laurie


From mutex-owner@mail2.gmd.de Thu Aug 14 07:40:29 1997
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From: Dirk Laurie <dirk@wskdpl.puk.ac.za>
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I've a posted a long message containing thumbnail reviews of available
TeX-based music packages.  This was in response to a query on a Linux
mailing list, and it is perhaps a little gratuitous to crosspost it
here.  Still, similar questions have appeared here, so it might be
of interest.

Dirk


From mutex-owner@mail2.gmd.de Mon Aug 18 14:01:09 1997
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Date: Mon, 18 Aug 1997 16:01:09 +0200
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199708181401.AA00345@sunick.gmd.de>
To: mutex@gmd.de
Subject: Lilypond announcements (bounced e-mail from Han-Wen Nienhuys <hanwen@stack.nl>)
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I don't know why, but the following announcement bounced when sent by Han-Wen
Nienhuys to the mutex mailing list. So I try to forward it. Sorry for the delay:

----- Begin Included Message -----

Date: Tue, 5 Aug 1997 16:06:11 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: mutex <mutex@gmd.de>
Subject: LilyPond announcements
Message-Id: <Pine.BSF.3.91.970805160416.464A-100000@turtle.stack.nl>

With this note, i'd like to inform you, that LilyPond announcements will 
no longer be sent to the mutex mailing list. If you want to keep in 
touch, subscribe to info-gnu-music (which has its mail adress in our docs)


Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen       | http://www.stack.nl/~hanwen/lilypond/

----- End Included Message -----


From mutex-owner@mail2.gmd.de Mon Aug 18 20:23:28 1997
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Date: Mon, 18 Aug 1997 22:23:28 +0200
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> From: rdt@qucis.queensu.ca (Robert Tennent)
> Date: Wed, 13 Aug 1997 11:41:53 -0400
> 
>       From: Ivan.Keglevic@FernUni-Hagen.de (Ivan Keglevic)
>       
>       [... Metafont error reports ...]
>       
> I've previously had the same behaviour, so it's not just a T76 problem.
> I used metafont "by hand", ignoring the error messages, to create
> the fonts.

I use emTeX. Since a long time it's neccessary to

  set mfjobopt=/3 /i

to make the automatic font generation work by "/i"gnoring errors. So it's
really not a T76 problem. As far as I know the resulting fonts are ok.

Werner

From mutex-owner@mail2.gmd.de Tue Aug 19 12:04:05 1997
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Cc: werner.icking@gmd.de
Subject: octave clefs
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I asked about clefs with little 8s above the bass or treble clef
symbol for use in recorder music.  Werner Icking has kindly suggested the 
following definitions (slightly adapted):

\makeatletter

\def\trebleoct{\trebleclef\raise 9\internote\hbox\@to\z@{\smalltype\it\kern -1.8\Interligne 8\hss}}
\def\bassoct{\bassclef\raise 2\internote\hbox\@to\z@{\smalltype\it\kern -2.3\Interligne 8\hss}}

\makeatother

Then a typical SATB recorder quartet would be set up as follows:

\instrumentnumber4
\setclef1\bass\setbassclefsymbol1\bassoct
\setclef4\treble\settrebleclefsymbol4\trebleoct
...

Another method, described in the manual for tenor violin clef,
uses \everystaff.

Thanks to Werner and Daniel for their responses to my query.

Bob T.

From mutex-owner@mail2.gmd.de Wed Aug 20 21:15:45 1997
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Date: Wed, 20 Aug 1997 15:15:45 -0600 (MDT)
From: Anthony Fok <foka@gpu.srv.ualberta.ca>
To: mutex@gmd.de
Subject: Music typesetting software available as Debian packages
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Hello!

I would like to announce that various music typesetting packages are now
available as Debian packages.  They can be used on any Debian GNU/Linux
system.  They can also be installed on Slackware or Red Hat Linux using
the "alien" package available on various Sunsite and Debian mirrors. 

MusiXTeX, PMX, M-Tx (and musixlyr), ABC2MTeX, LilyPond

     ftp://ftp.debian.org/debian/hamm/contrib/binary-i386/
 or  ftp://ftp.debian.org/debian/dists/unstable/contrib/binary-i386/

OpusTeX

     ftp://ftp.debian.org/debian/hamm/non-free/binary-i386/
 or  ftp://ftp.debian.org/debian/dists/unstable/non-free/binary-i386/

For Debian GNU/Linux users, it is recommended to use "dselect" to select,
download and install the packages automatically.  (Note: they are in the
unstable (Debian GNU/Linux-2.0-in-development) distribution, and you might
need to install libc6 (glibc 2.0.4) too.  Fortunately, libc6 can co-exist
safely with libc5). 

Sidenote:
    The current version of PMX on the Debian archive is 1.2.2.
    It is a developmental version and not officially sanctioned
    by its author Dr. Don Simons.  (I uploaded it too soon,
    and now I can't fix it.  Oops!)

    Anyway, you may find PMX v1.2 in:

       ftp://llug.sep.bnl.gov/debian/Incoming/pmx_1.2-2_i386.deb

Other excellent software such as abc2ps, abcmidi, etc. may be packaged in
the future.  Of course, if you would like to help, please do so!  ^_^
(Come join us as a volunteer Debian developer!  ^_^)

For more information about the Debian GNU/Linux project, please visit
the Debian Home Page at

	http://www.debian.org/

Cheers,

Anthony

-- 
Anthony Fok Tung-Ling            foka@gpu.srv.ualberta.ca
Civil Engineering                http://www.ualberta.ca/~foka/
University of Alberta, Canada    Keep smiling!  *^_^*


From mutex-owner@mail2.gmd.de Mon Aug 25 12:53:34 1997
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From: "V. Osele" <Vincent.Osele@meteo.fr>
To: "Mutex" <mutex@gmd.de>
Subject: MusiXLyr
Date: Mon, 25 Aug 1997 14:53:34 +0200
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Hello,

Is there some MusiXLyr's users ?

I wonder if it's possible to include some sequence control in text
definition ? like \nolyr ...

I test this:
  \setlyrics{tenor}{Bu-vons bien, \nolyr bu-vons mes a-mis,}
                                  ^^^^^^

I remark that "bu" is on 2 notes.

I don't understand why this works, and I don't know how to skip 2 notes
inside the text, \nolyr\nolyr doesn't work :-(

(I know I can put \nolyr inside notes definition but want to keep text and
notes separate if possible)

Thank you for your answer(s)...
Vincent

From mutex-owner@mail2.gmd.de Wed Aug 27 19:49:20 1997
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Date: Wed, 27 Aug 1997 12:49:20 -0700
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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To: mutex list <mutex@gmd.de>, Werner Icking <Werner.Icking@gmd.de>
Subject: MusiXTeX T.77 available
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Subject: MusiXTeX version T.77
New version T.77 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right
place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 
Daniel Taupin
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Aug 27 13:26:41 1997
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Date: Wed, 27 Aug 1997 15:26:41 +0200
From: Philip Kollmannsberger <bs144@fen.baynet.de>
Reply-To: bs144@fen.baynet.de
Organization: Freenet Erlangen-Nuernberg
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Hello,

I'm currently working on an organ score with musixtex.
The composer used two symbols in the pedal bass to indicate
whether a bass note is to be played with the heel or with the toes.

(Organ players will probably know what I mean.)

I have no idea how I should code these symbols. The one for the
heel looks like an "u", the one for the toes is similar to the
"upper sforzato" (\usfz in musixtex).

The manuscript is hand-written, so I don't know how these symbols
should look on a printed score...

Does anybody ever have used these symbols or knows how to code them?

Greetings,

Philip
bs144@fren.baynet.de

From mutex-owner@mail2.gmd.de Wed Aug 27 15:11:53 1997
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Date: Wed, 27 Aug 97 10:11:53 CDT
From: baumgart@sgsn01.nmg.sms.siemens.com (John Baumgart)
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To: bs144@fen.baynet.de
Cc: mutex@gmd.de
Subject: Re: musixtex: foot symbols for organ
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> Date: Wed, 27 Aug 1997 15:26:41 +0200
> From: Philip Kollmannsberger <bs144@fen.baynet.de>
> Reply-To: bs144@fen.baynet.de
> Organization: Freenet Erlangen-Nuernberg
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> 
> Hello,
> 
> I'm currently working on an organ score with musixtex.
> The composer used two symbols in the pedal bass to indicate
> whether a bass note is to be played with the heel or with the toes.
> 
> (Organ players will probably know what I mean.)
> 
> I have no idea how I should code these symbols. The one for the
> heel looks like an "u", the one for the toes is similar to the
> "upper sforzato" (\usfz in musixtex).
> 
> The manuscript is hand-written, so I don't know how these symbols
> should look on a printed score...
> 
> Does anybody ever have used these symbols or knows how to code them?
> 
> Greetings,
> 
> Philip
> bs144@fren.baynet.de
> 

Perhaps simply using the math characters \cup and \wedge with \zchar
would work for you. (\zchar{-5}$\cup$ or \zchar{-5}$\wedge$)

John Baumgart

From mutex-owner@mail2.gmd.de Wed Aug 27 15:22:48 1997
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Subject: Re: musixtex: foot symbols for organ
References: <34042B11.779B@fen.baynet.de>
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From: Fran\gois Pinard <pinard@iro.umontreal.ca>
Date: 27 Aug 1997 11:22:48 -0400
In-Reply-To: Philip Kollmannsberger's message of "1997-08-27 15:26:41 +02:00"
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Philip Kollmannsberger <bs144@fen.baynet.de> writes:

| I'm currently working on an organ score with musixtex.  [...] The one
| for the heel looks like an "u", the one for the toes is similar to the
| "upper sforzato" (\usfz in musixtex).  The manuscript is hand-written,
| so I don't know how these symbols should look on a printed score...

I usually see two typographic versions of those.  In one set, the U is
rather round, large and thick, and the /\ is sized accordingly, but
not wider.  Lines having one orientation are thicker than the other,
like it often happens with fonts.  In another set, the U rather looks
like squared, a bit like |_| but less wide, and is made of thin lines,
even more thin than the staff lines.  The /\ use the same thin lines.

--=20
Fran=E7ois Pinard                          mailto:pinard@iro.umontreal.ca
Support Programming Freedom, join our League!  Ask lpf@lpf.org for info

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From: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
Message-Id: <199708271619.RAA04702@dirac.maths.qmw.ac.uk>
Subject: Re: musixtex: foot symbols for organ
To: bs144@fen.baynet.de, mutex@gmd.de
Date: Wed, 27 Aug 1997 17:19:15 +0100 (BST)
In-Reply-To: <34042B11.779B@fen.baynet.de> from "Philip Kollmannsberger" at Aug 27, 97 03:26:41 pm
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Philip Kollmannsberger wrote:
> Hello,
> I'm currently working on an organ score with musixtex.
> The composer used two symbols in the pedal bass to indicate
> whether a bass note is to be played with the heel or with the toes.

G'day!

Daniel Taupin will possibly have his own thoughts on this; I would suggest
using the plain.tex symbols used in mathmode: 

$\vee$ and $\cup$ for toe & heel above the staff (right foot)
$\wedge$ and $\cap$ for toe & heel below the staff (left foot).

(use \zcharnote to get it in the right spot, I presume)

Some organ music uses a small circle to indicate using the heel (a bit like
\flagolett (?) ), others just have a line under the notes with the letter "r"
or "l" (in english at any rate :) ) to indicate they should be played with the
right or left foot.

Such markings are (in my view :) ) more useful than necessary - a bit like
fingerings in a piano part. They do not (usually) affect the sound, rather they
suggest what could be the easiest way of playing the notes.

Any other suggestions?

Cheers,
Andrew

> I'm currently working on an organ score with musixtex.
> The composer used two symbols in the pedal bass to indicate
> whether a bass note is to be played with the heel or with the toes.
> (Organ players will probably know what I mean.)
> I have no idea how I should code these symbols. The one for the
> heel looks like an "u", the one for the toes is similar to the
> "upper sforzato" (\usfz in musixtex).
> The manuscript is hand-written, so I don't know how these symbols
> should look on a printed score...
> Does anybody ever have used these symbols or knows how to code them?
> Greetings,
> Philip
> bs144@fren.baynet.de


  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/

A.E.R.Usher@qmw.ac.uk


>       Cannot find REALITY.SYS. Universe halted.

From mutex-owner@mail2.gmd.de Thu Aug 28 18:20:46 1997
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Date: Thu, 28 Aug 1997 20:20:46 +0200 (MET DST)
From: Rainer Dunker <rainer@dunker.e.ruhr.de>
To: "V. Osele" <Vincent.Osele@meteo.fr>
Cc: Mutex <mutex@gmd.de>
Subject: Re: MusiXLyr
In-Reply-To: <199708251253.MAA01556@cadillac.meteo.fr>
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On Mon, 25 Aug 1997, V. Osele wrote:

> I test this:
>   \setlyrics{tenor}{Bu-vons bien, \nolyr bu-vons mes a-mis,}
>                                   ^^^^^^
> 
> I remark that "bu" is on 2 notes.
> 
> I don't understand why this works, and I don't know how to skip 2 notes
> inside the text, \nolyr\nolyr doesn't work :-(

Hello Vincent,

the \nolyr command sets a flag that inhibits posting a syllable to the
next note.  But in your example, \nolyr is attached to the syllable
"bu-"; thus it is invoked when this syllable is already being
processed, so its effect takes place at the note after the one which
gets the syllable.  Setting that flag again once it has been set (as
with \nolyr\nolyr) has no further effect.

Anyway, \nolyr is meant to be used within the music, not within \setlyrics.

> (I know I can put \nolyr inside notes definition but want to keep text and
> notes separate if possible)

Indeed -- but don't you agree that melismas (or what else is this?)
are a property of the tune rather than of the lyrics?  Imagine that
you'd like to exchange the lyrics with some others, or, vice versa,
assign the lyrics to another melody or vocal score.  This can be
accomplished without further changes only if the allocation of the
syllables is coded at the notes.  Furthermore, melismas are usually
marked with slurs, and you definitely can't code them within
\setlyrics :-) -- so if you'd like to have those slurs, you'll have to
do more than solely adding \setlyrics and \assignlyrics anyway.

Best regards,

Rainer

From mutex-owner@mail2.gmd.de Fri Aug 29 06:35:51 1997
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From: "V. Osele" <Vincent.Osele@meteo.fr>
To: "Rainer Dunker" <rainer@dunker.e.ruhr.de>
Cc: "Mutex" <mutex@gmd.de>
Subject: Re: MusiXLyr
Date: Fri, 29 Aug 1997 08:35:51 +0200
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Hello,

Thanks for your interesting answer.

> >   \setlyrics{tenor}{Bu-vons bien, \nolyr bu-vons mes a-mis,}
> the \nolyr command sets a flag that inhibits posting a syllable to the

Ah, ok, fine.

> Anyway, \nolyr is meant to be used within the music, not within
\setlyrics.

I know :-)

> > (I know I can put \nolyr inside notes definition but want to keep text
and
> > notes separate if possible)
> Indeed -- but don't you agree that melismas (or what else is this?)
> are a property of the tune rather than of the lyrics?  Imagine that

I agree this, you're rigth 100% but... the context drive me to ask this
question because my TeX file is produce by Midi2TeX (or MidiXTeX if you
want). And I have not finish to arrange the midi file, but want already to
work on lyrics. So I want to minimize the changes on TeX file because I
have to do every time I generate it. I put all my lyrics in a lyr file that
I include once in the TeX file.
I know it sound an horrible way to work but I try to produce the final
result quickly and don't have all the material and need to work in
parallel...

Is there anyway to build a \nolyr[n} that set n time the skip flag or
regenerate it n time after each note ?

Anyway MusiXLyr is a very good add-on, thanks for the creator.

\bye
Vincent


From mutex-owner@mail2.gmd.de Fri Aug 29 17:59:05 1997
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Subject: 'super-staffs'?
To: mutex@gmd.de
Date: Fri, 29 Aug 1997 19:59:05 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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hello musiXTeXpeditors!

I am presently writing an essay on 'basso continuo'.
Since in the end it might be quite a big LaTeX-source, 
I am scared to include
'musixadd' (or even  'musixmad').
Anyway most of the examples use only few staffs.
*But* a few examples are extracts from scores 
of baroque oratorios with choir and 'many' instruments 
(referring to baroque taste)...

Since MusiXTeX provides the possibility to have *four* staffs
for each instrument it is possible to 'cheat': Let the choir be
*one* instrument, the wood wind instruments another, the strings etc.

Now you will see my problem:
Is there a possibility to change the brace 
(shaped like $\leftbrace$ or $\{$) 
in front the staffs of an instrument into that brace produced by
\songtop.. and \songbottom..  or those \group...-commands?

A different question:
Thanks to W.Icking, version T.75 (or later?) provides the subbass clef and the 
French Violin clef as Daniel Taupin has let us know.

Early Italian and British music prints (or manuscripts) 
used *more* than fives lines per staff.
(famous examples: Girolamo Frescobaldi, Fitzwilliam Virginal Book)
(they might have nine lines for the left hand,
putting the F-clef *and* the
C-clef in the front, the latter naturally 
a fifth above the other - and for the right hand
six lines, using G-clef in the front.)

Does anybody consider to develop this feature? Or would it demand to 
much effort?

thanks for reading (or even answering)
 Eckart

-- 
Eckart Begemann     ms4a004@math.uni-hamburg.de   (presumably until Dec'97)
 This is a story about four people named Everybody, Somebody, Anybody and
 Nobody. There was an important job to be done and Everybody was sure that
 Somebody would do it. Anybody could have done it, but Nobody did it.
 Somebody got angry about that, because it was Everybody's job. Everybody
 thought Anybody could do it, but Nobody realized that Everybody wouldn't
 do it. It ended up that Everybody blamed Somebody when Nobody did what
 Anybody could have done!                         (from Ireland: Whose Job?)

From mutex-owner@mail2.gmd.de Sat Aug 30 00:44:02 1997
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Date: Sat, 30 Aug 1997 02:44:02 +0200 (MET DST)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Eckart Begemann <begemann@math.uni-hamburg.de>
Cc: mutex@gmd.de
Subject: Re: 'super-staffs'?
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> 
> Early Italian and British music prints (or manuscripts) 
> used *more* than fives lines per staff.
> (famous examples: Girolamo Frescobaldi, Fitzwilliam Virginal Book)
> (they might have nine lines for the left hand,
> putting the F-clef *and* the
> C-clef in the front, the latter naturally 
> a fifth above the other - and for the right hand
> six lines, using G-clef in the front.)
> 
> Does anybody consider to develop this feature? Or would it demand to 
> much effort?

It should be possible to extend lilypond quite easily to do this. If you
are interested, then please reply; For info on lilypond, check the www
adress in my sig

Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen       | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Fri Aug 29 21:56:57 1997
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Date: Fri, 29 Aug 1997 23:56:57 +0200 (MET DST)
From: Rainer Dunker <rainer@dunker.e.ruhr.de>
To: "V. Osele" <Vincent.Osele@meteo.fr>
Cc: Mutex <mutex@gmd.de>
Subject: Re: MusiXLyr
In-Reply-To: <199708290635.GAA06341@cadillac.meteo.fr>
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On Fri, 29 Aug 1997, V. Osele wrote:

> I agree this, you're rigth 100% but... the context drive me to ask this
> question because my TeX file is produce by Midi2TeX (or MidiXTeX if you
> want). And I have not finish to arrange the midi file, but want already to
> work on lyrics. So I want to minimize the changes on TeX file because I
> have to do every time I generate it. I put all my lyrics in a lyr file that
> I include once in the TeX file.

Yes, I'm aware of the problem of adding things to an automatically
generated file, and I think that this should be considered in a more
general context since it applies to many other things (like slurs,
ornaments etc.), too.  A quick-and-dirty solution concerning the
lyrics allocation is putting an "empty word" between syllables where a
note shall be skipped, e.g.

  \setlyrics{abc}{two {} words}

Repeating this, as in {two {} {} {} words}, skips the respective
number of notes.  A blank space after a hyphen (e.g. {hy- phen})
also skips a note.  The drawback of this method is, however, that it
corrupts proper hyphenation handling.

> Is there anyway to build a \nolyr[n} that set n time the skip flag or
> regenerate it n time after each note ?

... for use within \setlyrics, you mean?  Yes, this should be
possible in the next release, but please don't rely on the near 
future ... :-)

Regards,

Rainer


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Subject: 'super staffs II' (a suggestion)
To: mutex@gmd.de
Date: Wed, 3 Sep 1997 18:18:46 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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Thinking again about the 'problem' of having a varying number of lines
on each staff I would like to suggest that some commands
be implemented.
Since I do not know the inside of MusiXTeX these suggestions might
be stupid.  In which case you just forget this mail.
If it would be great if those capable of writing them 
do so some time in the future.... :-)
If commands like these are available yet, let me know, please ...


\setlines{x}{p}{q}{r}{s}
could assign
p, q, r, and s lines to the four staffs of instrument number x.

The range of the integers  p, q, r, and s   should be
from 0 to 10 at least.

\putclef{x}{k}{\Gclef}{1}
could put the \Gclef on line number 1  of staff number k of
instrument number x  (resulting in the French Violin clef).

Thanks for reading ...

Eckart              begemann@math.uni-hamburg.de






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From: Daniel Taupin <taupin@lps.u-psud.fr>
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To: Han-Wen Nienhuys <hanwen@stack.nl>
Cc: Eckart Begemann <begemann@math.uni-hamburg.de>, mutex@gmd.de
Subject: Re: 'super-staffs'?
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Han-Wen Nienhuys wrote:

> >
> > Early Italian and British music prints (or manuscripts)
> > used *more* than fives lines per staff.
> > (famous examples: Girolamo Frescobaldi, Fitzwilliam Virginal Book)
> > (they might have nine lines for the left hand,
> > putting the F-clef *and* the
> > C-clef in the front, the latter naturally
> > a fifth above the other - and for the right hand
> > six lines, using G-clef in the front.)
> >
> > Does anybody consider to develop this feature? Or would it demand to
>
> > much effort?
>
> It should be possible to extend lilypond quite easily to do this. If
> you
> are interested, then please reply; For info on lilypond, check the www
>
> adress in my sig
>
> Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music
> typesetter
> http://www.stack.nl/~hanwen       |
> http://www.stack.nl/~hanwen/lilypond/

 Command \setlines (see manual).
--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Thu Sep  4 18:07:34 1997
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Subject: wipe out the staff?
To: mutex@gmd.de
Date: Thu, 4 Sep 1997 20:07:34 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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It is me again ...
I almost dare not ask this question
because I suppose it is a nasty one ...
... probably quite impossible ...

MusiXTeX provides the possibility to
"put anything anywhere", especially
text.

At times it might be useful to 'wipe out' the
lines of a staff within a certain area in order
to replace it by a paragraph of text, 
commenting a composition or giving instructions
for performance, e.g. stage instructions for operas.

I guess it would be quite impossible to 
wipe out the lines crossing the text, right?

best regards
from 
Eckart Begemann

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From: piperx@globalnet.co.uk
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To: <mutex@gmd.de>
Subject: Re: wipe out the staff?
Date: Fri, 5 Sep 1997 00:11:29 +0100
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I use bagpipe.tex, and in pipe music often you have a number of pieces on
the same sheet with gaps for the title.  A snapshot of one of my typeset
pieces is:

% line 2
\autolines{10}{4}{13}
\barBA\barBB\barBC\barBD\setrightrepeat\suspmorceau\bigskip
\line{\twelvebf Will Ye No Come Back Again\hss}
\bigskip\reprmorceau
% line 3
\pickup{\grg\qla}\barCA\barCB\barCC\barCD\alaligne

This suspends the music with suspmorceau; I presume I'm then in normal TeX
mode for entering text (I'm not a TeXpert yet so this may be wrong, but I
seem then to be in a position where I could enter any sort of text I
wanted), then reprmorceau starts the music off again.

This allows for the layout:

music music music music 
music music music music 
 text  text  text  text 
 text  text  text  text 
music music music music 
music music music music 

if on the other hand you want to do:

music music music music 
music music music music 
music  text  text music 
music  text  text music 
music music music music 
music music music music 

I haven't got a clue how you would do this.

I think suspmorceau and reprmorceau are standard MusicTeX macros; I don't
know the equivalent for MuTeX and MusiXTeX.
----------
> From: Eckart Begemann <begemann@math.uni-hamburg.de>
>
> At times it might be useful to 'wipe out' the
> lines of a staff within a certain area in order
> to replace it by a paragraph of text, 
> commenting a composition or giving instructions
> for performance, e.g. stage instructions for operas.
> 
> I guess it would be quite impossible to 
> wipe out the lines crossing the text, right?


From mutex-owner@mail2.gmd.de Fri Sep  5 21:38:38 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: 'super staffs'
To: mutex@gmd.de
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A question has been raised and discussed concerning drawing staves 
with more than 5 lines.  I forget the original context, but for the 
point I want to make, I don't think it matters.  

Before typesetting a piece in some outdated notation, one should ask 
whether it might be better to "translate" it to modern notation.  I 
have in mind a specific example from my own experience.  When I first 
started making editions of 17th century chamber music, I followed 
strictly whatever convention was used in my source (a facsimile of an 
engraving or a munuscript).  This usually meant that accidentals only 
applied to the note they appeared with, and often that the notated 
accidentals corresponded with what in MusiXTeX we call relative 
accidentals, e.g., in F major with one flat in the signature, b 
natural would be notated b sharp.  I was surprised to receive a 
comment from a very accomplished baroque violinist that she found it 
confusing to see these outdated conventions in otherwise modern 
notation such as produced by MusiXTeX.  I thought about it some, and 
decided to take her seriously; that in this case "purity" should take 
a back seat to "practicality."  I wanted to make editions that were 
easy for good musicians to read and play.  Here was a very good 
musician who was confused by my adherence to the old notations.  So 
ever since, I have converted everything to modern notation and 
conventions.  

For the same reasons, I believe that before anyone tries to typeset 
something in a seven-line staff, he should at least consider what he 
is trying to accomplish.  If it is to make an edition to be played (or 
sung), I think he should seriously consider converting it to modern 
notation and conventions.

--Don Simons

From mutex-owner@mail2.gmd.de Sat Sep  6 13:49:57 1997
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Date: Sat, 6 Sep 1997 14:49:57 +0100
To: mutex@gmd.de
From: Alex Kruczkowski <alex@roman.demon.co.uk>
Subject: Guitar tab
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Just a quickie -- what's the estimated timescale for introducing guitar
tablature support into MusixTeX?

Cheers

Alex




From mutex-owner@mail2.gmd.de Sat Sep  6 17:05:31 1997
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From: David Bobroff <bobroff@centrum.is>
Subject: RE: guitar tablature
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>Just a quickie -- what's the estimated timescale for introducing guitar
>tablature support into MusixTeX?
>
>Cheers
>
>Alex


It is already there.  In the extension library there is a file called
<musixgui>.  That is for guitar tablature.  I am looking at a hardcopy
printout of the manual for version T.60 (although I have T.77 installed)
and it is on page 81 (section 2.26.9).

Good luck,

David Bobroff
bobroff@centrum.is



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Subject: notes in time signature?
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I am trying to typeset a modern piece in MusiXTeX which has some unusual
time signatures.  The score/parts are hand written.  In one case the time
signature is 4/<dotted eighth> and in another it is 4/<quarter tied to a
sixteenth>.  Is there a way to do this?

I realize that 4/<dotted eighth> is the same as 3/4 or 6/8 or 12/16 and
4/<quarter tied to a sixteenth> is equal to 5/4 but it is notated like this
and I wanted to preserve the original indications.

Can it be done?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Sun Sep  7 11:01:11 1997
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From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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To: Don Simons <dsimons@logicon.com>
Cc: mutex list <mutex@gmd.de>
Subject: Re: 'super staffs'
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Don Simons wrote:
> =

> A question has been raised and discussed concerning drawing staves
> with more than 5 lines.  I forget the original context, but for the
> point I want to make, I don't think it matters.
> =


> For the same reasons, I believe that before anyone tries to typeset
> something in a seven-line staff, he should at least consider what he
> is trying to accomplish.  If it is to make an edition to be played (or
> sung), I think he should seriously consider converting it to modern
> notation and conventions.
> =

> --Don Simons

 I fully agree with Don Simons. I also have seen a paper who explained
how to build
a baroque score (in PostScript) using the same kind of old fashioned
design of beams (slightly curved).
And I asked whether the purpose was to give more information about
interpretation, or to produce a "false authentic" manuscript of the
18-th century...

 But this is a reas music problem: when people want to retrieve the true
execution of ancient music, they also mislead themselves in using
obsolete techniques for the sake of going back to past. If they are
right,
then one should forbid recording on CD any performance of baroque music,
and this performance should be done ONLY in buildings of the XVIII
century or older, only with candle lights and the audience should be
closed with ancient clothes, not with today's ones!

 Personally, I think that scores are modern information, but they must
give the correction informatrion to execute what the ancient author
wanted. But now, should one forbid executing the Wohltemperiertes
Klavier by Bach on any instrument except a clavichord or a baroque
organ. In this respect, I feel guilty since I usually play it on a
pianoforte by Pleyel, dated 1936!

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sun Sep  7 18:04:14 1997
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Date: Sun, 7 Sep 1997 20:04:14 +0200
To: mutex@gmd.de
From: p96raa@princeps.matematik.su.se (Rahman Amanullah)
Subject: musixflx for mac?
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Hi!

I have just downloaded MusiXTeX and I realised that you need a program
called musixflx to run the package. My question is if anyone has compiled
this program for the Macintosh platform,?

/Rahman - (hey this MusiXTeX thing is really fun!!!!)


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=A4=A4=A4=A4=A4=A4=A4=A4
Rahman Amanullah                        http://wwwes.matematik.su.se/~p96raa=
/
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S - 175 42 J=C4RF=C4LLA                   17d50' E
SWEDEN                                          59d26' N

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for a good place to live"

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From mutex-owner@mail2.gmd.de Mon Sep  8 09:30:30 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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> I think suspmorceau and reprmorceau are standard MusicTeX macros; I don't
> know the equivalent for MuTeX and MusiXTeX.

MuTeX is completely different from MusicTeX and MusiXTeX.

MusiXTeX has a compatibility package for MusicTeX (musixcpt.tex).

I'm not quite sure but it maybe that \stoppiece and \contpiece are the 
MusiXTeX equivalent to  \suspmorceau and \reprmorceau

The solution for the other problem is to put the music on the left side
and on the right side into a hboxes using \startextract, \endextract [*] and
setting the boxes and the text into a quite normal TeX line.

[*] this may be done by redefining  \extractline   e.g.
      \newbox\lextractbox\def\extractline{\setbox\lextractbox\hbox}

An example can be found via  http://www.gmd.de/Misc/Music/  following
"MusixTeX", "add-ons", "typesetting rests".

Werner

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Rahman Amanullah wrote:

> Hi!
>
> I have just downloaded MusiXTeX and I realised that you need a program
>
> called musixflx to run the package. My question is if anyone has
> compiled
> this program for the Macintosh platform,?
>
> The annswer is YES. Look at
> ftp://ftp.lps.u-psud.fr/pub/musixtex/musixflx/mac



--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Mon Sep  8 13:51:20 1997
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Date: Mon, 8 Sep 1997 13:51:20 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Notes in time sig
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Werner Icking wrote:

>I didn't understand how it looks in the original:
>
>         4
>        ---
> <dotted eighth note>

Yes, this is what is notated.




>Try something like:
>
>\generalmeter{\meterfrac4{\kern-2pt\zcup0}}
>
>If it is what you wanted, please, let the list know.

The above suggestion does almost exactly what I need.  This produces the
"4" a bit higher than "normal" (the crossbar of the "4" is resting on top
of the fourth line) and the dotted eighth is on the first line with the
stem up.  I need the stem down.  If I change the above macro to;

\generalmeter{\meterfrac4{\kern-2pt\zclp0}}

to make the stem point down, the "4" is still too high and the note head
now rests on the fourth line, colliding with the "4".

I tried changing the value following \zclp and got some unexpected results.
Ledger lines appeared within the staff but at odd distances.  They are
equal distances apart from each other but they occur between the staff
lines.

What I would like is to have the "4" in its normal placing with the
down-stemmed dotted eighth located with its head in the second space.

I'm sure there is a logical explanation that has to do with the internal
workings of TeX/MusiXTeX which I don't yet understand.

Thanks for your help, Werner, this was almost the answer.

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Sep  8 16:09:43 1997
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Date: Mon, 8 Sep 1997 17:09:43 +0100
To: David Bobroff <bobroff@centrum.is>
Cc: mutex@gmd.de
From: Alex Kruczkowski <alex@roman.demon.co.uk>
Subject: Re: guitar tablature
In-Reply-To: <l03010d01b0373551a8a5@[193.4.241.116]>
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Hi all

Thanks for the replies.  When I read the T.77 manual, it said that the
lines existed, but no macros... now that I know where to look for
macros, I'll get myself sorted :-)


Cheers

Alex


In message <l03010d01b0373551a8a5@[193.4.241.116]>, David Bobroff
<bobroff@centrum.is> writes
>>Just a quickie -- what's the estimated timescale for introducing guitar
>>tablature support into MusixTeX?
>>
>>Cheers
>>
>>Alex
>
>
>It is already there.  In the extension library there is a file called
><musixgui>.  That is for guitar tablature.  I am looking at a hardcopy
>printout of the manual for version T.60 (although I have T.77 installed)
>and it is on page 81 (section 2.26.9).
>
>Good luck,
>
>David Bobroff
>bobroff@centrum.is
>
>




From mutex-owner@mail2.gmd.de Tue Sep  9 09:15:11 1997
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From: C.Walshaw@greenwich.ac.uk
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Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@LISTSERV.HEA.IE, MORRIS@LISTSERV.IUPUI.EDU,
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* listings of all known abc software packages
	* examples of abc usage
*new*	* some abc packages can now handle lyric as well as music
		- try abc2ps or abc4mac
*new*	* arranger reads abc files, adds chords and rewrites the abc.
	* a list of web-accessible abc tune collections
	* the web-wide abc index (over 6000 web-accessible tunes listed)
	* the sectionalised web-wide abc index (split into bite-sized chunks)
	* link to the abc user group mailing list
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Tue Sep  9 13:47:44 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: notes in time sig; solved?
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Werner,

I took your example and worked with the values a bit.  I also looked at
some examples in The TeXbook.  I came up with this;

\generalmeter{\lower1.05ex\hbox{\meterfrac4{\lower1.75ex\hbox{\kern-4pt\zclp0}}}
}%

It does what I want but I'm sure it is less than elegant.  My understanding
of many of the internal workings of TeX are limited.

I have tried it with \zclp and \zccl and it works for both.  If I try \zql
or \zcccl, the figures are shifted vertically.  I suppose it must be due to
different box sizes.  The above command will do the job for the project at
hand.  Now I just have to figure out how to lower the dot.  It sits right
on the middle line now.

Any other suggestions are welcome.

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Tue Sep  9 15:38:10 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bobroff@centrum.is
Subject: Re: notes in time sig; solved?
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> Date: Tue, 9 Sep 1997 13:47:44 +0000
> From: David Bobroff <bobroff@centrum.is>
> 
> \generalmeter{\lower1.05ex\hbox{\meterfrac4{\lower1.75ex\hbox{\kern-4pt\zclp0}}}
> }%
> 
> It does what I want but I'm sure it is less than elegant.  My understanding
> of many of the internal workings of TeX are limited.

Same for me. But we learn from such experiments like this.
> 
> I have tried it with \zclp and \zccl and it works for both.  If I try \zql
> or \zcccl, the figures are shifted vertically.  I suppose it must be due to
> different box sizes.  The above command will do the job for the project at
> hand.  Now I just have to figure out how to lower the dot.  It sits right
> on the middle line now.

\zclp0 positions the dot above the middle of the note; \lpt0\zcl0 positions it 
below the middle of the note. Both because normally a line crosses the note head.
So you may use e.g. \zclp{1} and adjust shifting the note and the meterbox.

\generalmeter{\lower1.1ex\hbox{\meterfrac4{\lower2.1ex\hbox{\kern-10pt\zclp1}}}}

Werner

PS: Using MusiXTeX I normally prefer \Interligne instead of "ex" or "pt" because
    this may make the expression independant of the musicsize:

    \generalmeter{\lower 0.95\Interligne\hbox{\meterfrac4{
                  \lower 2.70\Interligne\hbox{\kern-10pt\zclp1}}}}

    Doesn't look better   :-(

From mutex-owner@mail2.gmd.de Tue Sep  9 15:56:47 1997
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Subject: three elementary questions
To: mutex@gmd.de
Date: Tue, 9 Sep 1997 17:56:47 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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hello MusiXians!

0) Thanks for all the hints concerning
   my question 'wiping-out a staff'.
   I cannot report about my experience with
   it yet, but I will try later and let you know
   any interesting experiences.
     Thanks for the comments on 'super staves'
   (Don Simon: The correct plural is 'staves', right?), too.
   This morning I wrote answer explaining my point of view.
   But it obviously got lost. Since it took some while
   I do not want to go through it again, right now.
     Maybe I do it later again.
   

Now I would like to ask three probably quite simple questions:

1) Is there a command to put some text above an
   "extract" or a "piece" of music in the 
   following manner:
     I want the text to be "rechtsbuendig" with
   the music, i.e. it should end exactly above
   the end of the staves. 
     Of course I could use \uptext or \Uptext
   and locate it by trial and error. 
   But is there a more elegant way?

2) Writing a 'piece' of a score I got the impression that
   MusiXTeX likes to put the final bar on a separate line
   (or even page) even if there is no need to do that: 
   I had to use \xbar to inhibit this tendency.
      How can you explain this feature?

3) Concerning an "increasing number of beams":  (\nbbu0.../\nbbl0...)
   I used this command to write a 'daktylus' the first note (an 8th)
   of which would  *hang*  underneath the beam but the following
   two 16ths would stand on it. And I got the following result:
   
            o      o 
            |      |
     -------+------+       ,  which is perfect.
     |      + -----+
     |
     o

    But is there a way to influence the decision of MusiXTeX
    on which side it would add the new bar: above the already 
    existing or below?
       I would prefer a shape like this:
            
             o     o
             |     |
             +-----+
      +------+-----+
      |
      o


Thanks for reading!

Best regards
Eckart Begemann       

From mutex-owner@mail2.gmd.de Tue Sep  9 16:56:58 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: three elementary questions
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1.)

\startextract\Notes\qu{aaaa}\zcharnote{'g}{\llap{rechtsbuendig}\en\endextract

Use e.g. \zcharnote  where the text to be right adjusted should end and
  post the text using \llap

2.) ? one cannot answer the question in general. I don't know the tendency.

    - use  e.g. \mulooseness-1  before  \stoppiece to reduce the number of lines
    - force a specific line break by  \alaligne
    - ... 

3.) after \ibu  MusiXTeX adds additional beams below the starting beam;
    after \ibl  above.

    to get       +-----+
            +----+-----+

    you have to start with \ibl.
    Because the note is below the beam you have to use \roff

    e.g.   \roff{\ibl0{'g}0}\qb0{`c}\nbbl0\qb0{'e}\tbl0\qb0e


Warning: all examples un-tested :-)                            -- Werner


From mutex-owner@mail2.gmd.de Tue Sep  9 19:24:54 1997
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Date: Tue, 9 Sep 1997 19:24:54 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: more; notes in time sig
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Werner Icking wrote:

> Using MusiXTeX I normally prefer \Interligne instead of "ex" or "pt" because
>    this may make the expression independant of the musicsize:

Yes, I was hoping I could come up with something that would be independant
of musicsize.

>
>    \generalmeter{\lower 0.95\Interligne\hbox{\meterfrac4{
>                  \lower 2.70\Interligne\hbox{\kern-10pt\zclp1}}}}

Unfortunately, the above macro isn't.  I thought it would be.  I tried it
with \normalmusicsize and it works fine.  With \smallmusicsize, the note
from the bottom of the \meterfrac is moved up, crashing into the "4".  With
\largemusicsize the two elements drifted apart *and they were not in \large
size*.  I suspect it will be necessary to find a way to make the macro more
general in order for it to work at \<any>musicsize.

>
>    Doesn't look better   :-(

No, but it doesn't look worse, either ;-)

I think I'll have to try to take apart the \meterfrac \def with the TeXbook
by my side and lots of free time.  Any further suggestions are welcome.  At
least I have it worked out for the project at hand.

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Tue Sep  9 19:47:12 1997
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Date: Tue, 9 Sep 1997 19:47:12 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: MusiXTeX and DC/EC fonts
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MusiXTeX has supported the DC/EC fonts for a few versions now.  Does it
contain a switch or is it necessary to redefine the font commands?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Wed Sep 10 09:18:56 1997
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From: Daniel Taupin <taupin@lps.u-psud.fr>
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David Bobroff wrote:

> MusiXTeX has supported the DC/EC fonts for a few versions now.  Does
> it
> contain a switch or is it necessary to redefine the font commands?
>
> Thanks,
>
> David Bobroff
> bobroff@centrum.is

 It looks at the name of the font produced by \rm, ancheck whether, cm,
dc, or ec.


--
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  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
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From mutex-owner@mail2.gmd.de Tue Sep  9 21:58:34 1997
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Date: Tue, 9 Sep 1997 23:58:34 +0200 (MET DST)
From: Rainer Dunker <rainer@dunker.e.ruhr.de>
To: mutex@gmd.de
Subject: Re: three elementary questions
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On Tue, 9 Sep 1997, Eckart Begemann wrote:

> 1) Is there a command to put some text above an
>    "extract" or a "piece" of music in the 
>    following manner:
>      I want the text to be "rechtsbuendig" with
>    the music, i.e. it should end exactly above
>    the end of the staves. 

If the system in question ends with a barline and you determine the
break manually, you can say:

  \def\atnextbar{\znotes\uptext{\llap{flush right}}\en}\zalaligne

Otherwise, you'll have to hook it on to some internal MusiXTeX line-ending
macro, which is possible but more complicated. 

Regards,

Rainer


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Date: Wed, 10 Sep 1997 13:56:32 -0700
From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9709102056.AA17556@troy.la.platsol.com>
To: mutex@stolaf.edu
Subject: overfull *and* underfull hboxes, beam problem
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I've been setting songs using MusixTex for awhile, but now I'm having
a problem I can't figure out.  I have two problems here.

The first problem is that I'm getting "Overfull" and "Underfull" hboxes
on the same "paragraph" -- at the end of the line in both cases.

The second problem is that my beams are ending short of the note they
should connect to.

Thanks in advance for any help you can give.

Here's the output from pass 3:

	-------------------------------------------------------------

This is TeX, Version 3.1415 (C version 6.1)
(sunset.tex (musixtex.tex
MusiXTeX(c) T.44 <26 January 1996>
) (musixpoi.tex
MusiXPOInted shorties 0.36 <1 March 1995>
) (sunset.mx2) < 1> bar 1 bar 2 bar 3 < 2> bar 4 bar 5 < 3> bar 6 bar 7 < 4>
bar 8 bar 9 < 5> bar 10 bar 11 bar 12
Overfull \hbox (8.59958pt too wide) in paragraph at lines 108--126
[][][] [][][][][][][][][][][][][][][][][][]|

Underfull \hbox (badness 10000) in paragraph at lines 108--126

< 6> bar 13 bar 14 bar 15
Overfull \hbox (6.00009pt too wide) in paragraph at lines 126--138
[][][] [][][][][][][][][][][][][]|

Underfull \hbox (badness 10000) in paragraph at lines 126--138

[1] )
(see the transcript file for additional information)
Output written on sunset.dvi (1 page, 6560 bytes).
Transcript written on sunset.log.

	-------------------------------------------------------------

And here's the input:

	-------------------------------------------------------------

\hoffset=.05in
\voffset=.15in%
\font \twelverm=cmr12
% \def\hy{\thinspace\thinspace-\kern -6.66676 pt}
\def\hy{\thinspace\thinspace-}
\def\emdash{\thinspace---\thinspace}
\hsize=7in%
\headline{\twelverm Xenofilkia \#55\hfill page 1014}%
% \vskip 6pt%
% \line{\twelverm Xenofilkia \#55\hfill page 1014}%
\vskip 12pt%
\line{\twelverm THE SUNS SHALL NEVER SET ON SETI\hfill}%
\line{\twelverm Words and Music \copyright\ 1996 by H. Paul Shuch\hfill}%
\vskip .33in
\input musixtex
\input musixpoi
\hoffset=.1in
\hsize=7in
% \input musixsty
\instrumentnumber{1}
\generalsignature{2}
\generalmeter{\meterfrac44}
%
%
\startmuflex%
\startpiece%
\nobarnumbers
\mulooseness=2%
% room for lyrics
\staffbotmarg 4 \Interligne%
\stafftopmarg 7 \Interligne%
%\font\helv=unmr
%\setinterinstrument 1{.45in}%
%
% start the song
%
%
%1
\qspace
\qspace
\qspace
\Notes\hsong{The}\cu b\en\bar
%2
\Notes\Uptext{Em}\Ibu0ee8\hsong{gi\hy}\qu e\en
\Notes\hsong{ant}\tqb0e\en
\Notes\Ibu0ef4\hsong{SE\hy}\qu e\en
\Notes\hsong{TI}\tqb0f\en
\Notes\Ibu0gf5\hsong{te\hy}\qu g\en
\Notes\hsong{le\hy}\qu g\en
\NOtes\hsong{scopes}\tqb0f\en
%\qspace
\Notes\hsong{we}\cu e\en\bar
%3
\Notes\Ibu0ff5\Uptext{B}\hsong{ty\hy}\qu f\en
\Notes\hsong{pi\hy}\qu f\en
\Notes\hsong{cally}\tqb0f\en
\Notes\hsong{ap\hy}\qu f\en
\NOTes\hsong{ply}\qup b\en
\Notes\hsong{At}\cu b\en\bar
%4
\Notes\Ibu0dd4\hsong{a\hy}\qu d\en
\Notes\hsong{ny}\tqb0d\en
\Notes\hsong{time}\cu d\en
\Notes\hsong{can}\cu e\en
\Notes\Ibu0ff4\hsong{on\hy}\qu f\en
\Notes\hsong{ly}\tqb0f\en
\Notes\hsong{see}\cu e\en
\Notes\hsong{a}\cu d\en\bar
%5
\Notes\Ibu0eb4\Uptext{Em}\hsong{mil\hy}\qu e\en
\NOtes\hsong{lionth}\tqb0b\en
\Notes\hsong{of}\cu e\en
\Notes\hsong{the}\cu g\en
\Notes\hsong{sky.}\qu i\en
\Notes\hsong{So}\cu b\en
\Notes\hsong{the}\cu b\en\bar
%6
\Notes\Ibu0ee4\hsong{chan\hy}\qu e\en
\Notes\hsong{ces}\tqb0e\en
\Notes\hsong{we'll}\cu e\en
\Notes\hsong{be}\cu f\en
\Notes\Ibu0gg4\hsong{mis\hy}\qu g\en
\Notes\hsong{sing}\tqb0g\en
\Notes\Ibu0fe4\hsong{a\hy}\qu f\en
\Notes\hsong{ny}\tqb0e\en\bar
%7
\Notes\Uptext{Am}\Ibu0he4\hsong{sig\hy}\qu h\en
\Notes\hsong{nal}\tqb0e\en
\Notes\hsong{that}\cu h\en
\Notes\hsong{is}\cu i\en
\NOTes\hsong{sent}\qup j\en
\Notes\hsong{Are}\cu j\en\bar
%8
\NOtes\Uptext{Em}\Ibu0ih4\hsong{rough\hy}\qu i\en
\NOtes\hsong{ly}\tqb0h\en
\NOtes\Ibu0gi4\hsong{nine\hy}\qu g\en
\NOtes\hsong{ty}\tqb0i\en
\NOtes\Uptext{B}\hsong{nine}\cu h\en
\Notes\hsong{point}\cu g\en
\NOtes\hsong{nine}\qu f\en\bar
%9
\Notes\Uptext{Em}\hsong{nine}\cu e\en
\Notes\hsong{nine}\cu b\en
\Notes\Uptext{Am}\hsong{nine}\cu g\en
\Notes\hsong{per\hy}\cu f\en
\Notes\Uptext{Em}\hsong{cent}\qu e\en
\setsign1{4}%
\bar%
%10
\Notes\hsong{But}\cu e\en
\NOtes\hsong{when}\cu f\en\bar
%11
\NOtes\Uptext{E}\Ibu0gg4\hsong{Pro\hy}\qu g\en
\NOtes\hsong{ject}\tqb0g\en
\Notes\Ibu0fe4\hsong{Ar\hy}\qu f\en
\Notes\hsong{gus}\tqb0e\en
\NOTes\Uptext{B}\hsong{grows}\qu f\en
\Notes\hsong{to}\cu g\en
\Notes\hsong{full}\cu f\en\bar
%12
\NOTes\Uptext{A}\hsong{strength,}\qu e\en%
\Notes\hsong{we}\cu e\en%
\Notes\hsong{will}\cu h\en%
\Notes\hsong{show}\qu j\en%
\Notes\hsong{That}\cu i\en%
\Notes\hsong{the}\cu h\en\bar%
%13
\NOTes\Uptext{E}\hsong{suns}\qup g\en
\Notes\hsong{shall}\cu h\en
\Notes\Ibu0ii4\hsong{ne\hy}\qu i\en
\Notes\hsong{ver}\tqb0i\en
\Notes\hsong{set}\cu g\en
\Notes\hsong{on}\cu e\en\bar
%14
\NOTEs\Uptext{B}\hsong{SE\hy}\hu f\en%
\NOTes\Uptext{E}\hsong{TI.}\qup e\en%
\Notes\hsong{The}\cu b\en\bar%
\Endpiece%
\vfill
\end%

	-------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Sep 10 22:31:26 1997
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Date: Wed, 10 Sep 1997 22:31:26 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: DC/EC fonts in MusiXTeX
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Daniel Taupin wrote:

>It looks at the name of the font produced by \rm, ancheck whether, cm,
>dc, or ec.

Well, I have looked at the TeXbook as well as the MUSIXTEX.TEX file to try
to fathom the command that would do this and have failed.  Anyone care to
give me a hint?

Thanks,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Thu Sep 11 09:45:52 1997
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199709110945.LAA01058@sunick.gmd.de>
To: mutex@gmd.de, barry@troy.la.platsol.com
Subject: Re: overfull *and* underfull hboxes, beam problem
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> Date: Wed, 10 Sep 1997 13:56:32 -0700
> From: barry@troy.la.platsol.com (Barry Gold)
>
> The first problem is that I'm getting "Overfull" and "Underfull" hboxes
> on the same "paragraph" -- at the end of the line in both cases.

I didn't find the error in your source, but in most cases it's the problem
discussed somewhere in the documentation maybe under the title "MusiXTeX 
forgives nothing". It's interspersing some quite normal text within 
\startpiece...\endpiece. The quite normal text may be a TeX-command without 
the leading backslash (e.g. \Notes qa a\en). Then it is visible in the output.
In most cases the text is blank, so it's not so easy to detect. Blanks are
interspersed if an input line does not end with a simple TeX-atom like
\en, \bar, \relax, ... or with "%" which eat up the leading blanks in the next
line, too. So MusiXTeX-input between \startpiece...\endpiece should look
like e.g.

\Notes	\ibu0..\qb0...\tbu0\qb0..%
	\ibu0..\qb0...\tbu0\qb0..\en


But again I didn't detect such cases in your source :-(

> The second problem is that my beams are ending short of the note they
> should connect to.

Your usage of \Ibu..\qu ...\tqb0.. is wrong. I don't use "\Ib..." but
"\ib.." and write  \ibu...\qb..\tbu..\qb..

So for your case replace "\qu" - a quarter note with stem up - by "\qb"
- a note belonging to a beam; in case of "\ibu" replace "\tqb" by "\tbu.\qb"
which is equivalent to "\tqh" - terminate an UPPER beam with a note
*h* hanging on the beam.

Werner

PS: Please do not use "mutex@stolaf.edu" but "mutex@gmd.de". Since a long time
    the list has moved and I don't know how long the first address will work
    further more.

From mutex-owner@mail2.gmd.de Thu Sep 11 10:05:00 1997
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To: David Bobroff <bobroff@centrum.is>
Cc: mutex@gmd.de
Subject: Re: DC/EC fonts in MusiXTeX 
In-Reply-To: Your message of "Wed, 10 Sep 1997 22:31:26 -0000."
             <l03010d00b03ccfd79be6@[193.4.241.148]> 
Date: Thu, 11 Sep 1997 11:05:00 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> Daniel Taupin wrote:
> 
> >It looks at the name of the font produced by \rm, ancheck whether, cm,
> >dc, or ec.
> 
> Well, I have looked at the TeXbook as well as the MUSIXTEX.TEX file to try
> to fathom the command that would do this and have failed.  Anyone care to
> give me a hint?

It's in musixtex.tex : look for the comment

  %%
  % Find current font prefix (cm, dc, ec)
  %%

It sets up two conditionals, \iflongDCfontnames and
\iflongECfontnames, which are then used in the specification of the
\eight* \nine* and so on fonts

This code blows up if you're using the psnfss under LaTeX (though it's
more robust than when I last looked at it).

I'm not sure how one should address the psnfss problem (I _have_ to do
it in musi*c*tex for documents I've written that use psnfss: as a
result I have a hacked version of musictex, which isn't terribly
satisfactory, though musictex is pretty static just now).  When the
(4th?) millenium comes, perhaps I'll have got around to converting the
music examples in those documents to musixtex, and will have a hacked
version of that too...

R

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Date: Thu, 11 Sep 1997 13:18:23 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: DC/EC one more time
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In my unsuccessful search for the command to use DC/EC fonts with MusiXTeX
I have looked at the font section of musixtex.tex.  I recognized that a
conditional was set up to check the current font prefix.  I have been
unable to cause it to be changed to dc.

My question consists of three parts;

a) Is there a simple command to change from cm to dc/ec?

b) Will it affect all font sizes?

c) What is the command?

Thank you,

David Bobroff
bobroff@centrum.is



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From: Daniel Taupin <taupin@lps.u-psud.fr>
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David Bobroff wrote:

> In my unsuccessful search for the command to use DC/EC fonts with
> MusiXTeX
> I have looked at the font section of musixtex.tex.  I recognized that
> a
> conditional was set up to check the current font prefix.  I have been
> unable to cause it to be changed to dc.
>
> My question consists of three parts;
>
> a) Is there a simple command to change from cm to dc/ec?

No. It uses your normal font setting. If you work with plain, chanfe the
\rm font before inserting musixtex.sty... or have a variant of plain.tex
which uses ec* instead of cm* (and rebuild the format).

>
>
> b) Will it affect all font sizes?

In any case, no.

>
>
> c) What is the command?
>
> Thank you,
>
> David Bobroff
> bobroff@centrum.is



--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Thu Sep 11 17:56:12 1997
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Date: Thu, 11 Sep 1997 19:56:12 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199709111756.TAA01473@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: overfull *and* underfull hboxes, beam problem
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> Date: Thu, 11 Sep 1997 11:45:52 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>
> 
> > Date: Wed, 10 Sep 1997 13:56:32 -0700
> > From: barry@troy.la.platsol.com (Barry Gold)
> >
> > The first problem is that I'm getting "Overfull" and "Underfull" hboxes
> > on the same "paragraph" -- at the end of the line in both cases.
> 
> I didn't find the error in your source, but in most cases it's the problem
> discussed somewhere in the documentation maybe under the title "MusiXTeX 
> forgives nothing". It's interspersing some quite normal text within [...]

As I found later the problem was, that Barry used \setsign14 without using
\changesignature, \changecontext or \zchangecontext afterwards. So the new
signature was longer than the old resulting in overfull hboxes.

Werner

From mutex-owner@mail2.gmd.de Thu Sep 11 15:25:20 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: three elementary questions
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begemann@math.uni-hamburg.de (Eckart Begemann) wrote

>3) Concerning an "increasing number of beams":  (\nbbu0.../\nbbl0...)
>I used this command to write a 'daktylus' the first note (an 8th) of 
>which would  *hang*  underneath the beam but the following
>two 16ths would stand on it. And I got the following result:

            o      o 
            |      |
     -------+------+       ,  which is perfect. 
     |      + -----+
     |
     o

>But is there a way to influence the decision of MusiXTeX on which 
>side it would add the new bar: above the already existing or below?
>I would prefer a shape like this:

             o     o
             |     |
             +-----+
      +------+-----+
      |
      o


>Thanks for reading!

I hope the diagrams survived my reply mechanism, and I apologize if 
someone else already answered this.  My empirical conclusion about 
this is that the direction of the added beams is controlled solely by 
the direction in which the beam is *started*, and cannot be altered in 
any other way.  So to get the added bar above (as in the 2nd picture), 
you must start the beam as a lower beam, with the starting position 
offset vertically as needed.  Unfortunately you also have to shift the 
beam start horizontally: 

\NOtes\roff{\ibl1{'g}{-2}}\qb1{`c}\en%
\Notes\nbbl1\qb1{'c}\tbl1\qb1c\en%

Or (here comes the advertisement) you could use PMX, which generated 
the above code from the following input:

[l+9-2 c84 c15 c ] c4

--Don Simons

From mutex-owner@mail2.gmd.de Thu Sep 11 19:11:56 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Thu, 11 Sep 1997 08:25:20 -0700
> From: dsimons@logicon.com (Don Simons)

> I hope the diagrams survived my reply mechanism, and I apologize if 
> someone else already answered this.

Yes; yes.  

>                                    My empirical conclusion about 
> this is that the direction of the added beams is controlled solely by 
> the direction in which the beam is *started*, and cannot be altered in 
> any other way. [...]

As usual: it can - but only with tricks. And I did it somewhere in my
edition of the solo sonatas. You can do it by terminating the
current beam and starting a new one at the right positiion and height.
The easiest case is if the slope is zero, but there are solutions for
other slopes, too:

\startextract
\notes	\ibu0b0\qb0c\nbbu0\qb0c\tbu0\qb0c%
	\loffset{2}{\ibbl0{''a}0}\nbbbl0\qb0{`g}\tbbl0\qb0g\tbl0\qb0g\en
\endextract
\end

:-)

> Or (here comes the advertisement) you could use PMX, which generated 
> the above code from the following input:
> 
> [l+9-2 c84 c15 c ] c4

Yeah, that's it! But how is my example expressed with PMX :-)

-- Werner

From mutex-owner@mail2.gmd.de Thu Sep 11 23:51:33 1997
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Date: Thu, 11 Sep 1997 23:51:33 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: EC/DC fonts, thanks Werner
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Werner Icking wrote:

>As far as I see, David just wants to know, how this "changing a plain format
>or finding a plain format which uses ec-fonts" is done. I don't know the
>answer but I'm interested in it, because there may be advantages using the
>newer fonts.

Yes, exactly.  I thought that since this capability appeared to be
controllable in MusiXTeX that the answer could be found here.

But....
>
>If you don't know the answer, then David should e.g. ask in the news group
>comp.text.tex, because it isn't a specific MusicTeX problem.

So, I will follow this last bit of advice and let the list know when I find
an answer.

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Sun Sep 14 17:33:17 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: DC/EC + MusiXTeX
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I posed my question concerning the DC/EC fonts in plain.tex (and MusiXTeX)
to the comp.text.tex newsrgoup.

> ...how do I go about changing a plain format to
> use DC/EC fonts?

       *********************************************************
                          ONE ANSWER
       *********************************************************

Look at the file "plain.tex", it contains the macro definitions
that constitute plain tex. In it you'll find font assignments
like
 \font\tenrm=cmr10
 \font\sevenrm=cmr7
 [etc.]

You have to change the \tenrm etc. assignments to the
corresponding ec-fonts.  Rename the file to, e.g., ecplain.tex,
and run initex on it. Then you have to tell virtex to use the
format file you produced. It depends of your TeX distribution how
this to be done (and it is certainly safe to look into the manual
how to do this).

[I assume ``virtex'' is his TeX compiler.]

Of course you can use ec-fonts without building a new fmt-file.
Say you do a \font\ECrm=ecrm1000 you'll have the font available.
But this is not a very flexible method (and TeX has a upper limit
in loading fonts).


       *********************************************************
                  ANOTHER ANSWER--VERY SIMILAR
       *********************************************************

The plain.tex format file contains a section where fonts are defined
by statements like \font\tenrm = cmr10 etc.
You have to replace this by   \font\tenrm = dcr10
                         or   \font\tenrm = ecr1000 ( I think )
Of course, you have to run iniTeX afterwards ( to generate the new format )
and you have to have installed the dc or ec fonts.
Moreover, you should be aware that accents like \"a, or some glyphs like
\ss might not be produced correctly if MusicTeX does not take care of
these changes.

       *********************************************************
                 MY ATTEMPT, NOT ENTIRELY SUCCESSFUL
       *********************************************************

I simpley placed the following in my input file and all was well
*except_for_the ten_point_fonts* or, at least ten point roman.  I wasn't
using anything else.  I have not yet tried the above solutions yet.

%%%%%%%%BEGIN DC FONTS%%%%%%%%%%%%% (I haven't upgraded to EC yet)
\font\eightrm=dcr0800
\font\eightbf=dcbx0800
\font\eightit=dcti0800

\font\tenrm=dcr1000	%For some reason, the ten poin fonts
\font\tenbf=dcbx1000	%aren't affected.  I still get cm*
\font\tenit=dcti1000	%fonts.

\font\twelverm=dcr1200
\font\twelvebf=dcbx1200
\font\twelveit=dcti1200

\font\tenrm=dcr1000
\font\tenbf=dcbx1000
\font\tenit=dcti1000

\font\bigfont=dcbx1200 scaled \magstep1 % 14pt, formerly \moyen.
\font\Bigfont=dcbx1200 scaled \magstep2 % 17pt, formerly \gros.
\font\BIgfont=dcbx1200 scaled \magstep3 % 20pt.
\font\BIGfont=dcbx1200 scaled \magstep4 % 25pt, formerly \emorme.
%%%%%%%%%%%%%%%%%%END DC FONTS%%%%%%%%%%%%%%%%%%%%%%%

And, yes, Werner, there are indeed advantages to using the T1 fonts.  For
example, when typesetting a piece with an Icelandic title one often needs
the characters \symbol{D0}, \symbol{F0}, \symbol{DE}, and \symbol{FE}.
They are not available in cm.

David Bobroff
bobroff@centrum.is



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Date: Sun, 14 Sep 97 14:16 EDT
From: joel@exc.com (Dr. Joel M. Hoffman)
To: bobroff@centrum.is
Cc: mutex@gmd.de
In-Reply-To: David Bobroff's message of Sun, 14 Sep 1997 17:33:17 +0000 <l03010d00b041ca75059f@[193.4.241.93]>
Subject: DC/EC + MusiXTeX
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>\font\tenrm=dcr1000	%For some reason, the ten poin fonts
>\font\tenbf=dcbx1000	%aren't affected.  I still get cm*
>\font\tenit=dcti1000	%fonts.

I think the problem here is that \rm has already been defined.  Try defining

	\let\rm\tenrm
	\let\bf\tenbf
	\let\it\tenit

-Joel
(joel@exc.com)

From mutex-owner@mail2.gmd.de Mon Sep 15 11:17:13 1997
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Date: Mon, 15 Sep 1997 11:17:13 +0000
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To all,

I made an error recently.  I quoted to the list something from a private
mail that I thought had been posted to the list.  It contained a remark
that could be taken badly (e-mail lacks the nuances of speech).  It was a
error on my part.  I should have paid closer attention to the sender and
acted accordingly.  I should not have quoted it to the list.

May this be the worst thing that happens on this list.

Regards,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Mon Sep 15 13:11:14 1997
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From: Daniel Taupin <taupin@lps.u-psud.fr>
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For the people who want en EC-font based plain tex (especially useful
for MusiXTeX users), my sources for ec-plain format is posted in

ftp://ftp.lps.u-psud.fr/pub/formats-src/ec-plain

Contains hyphenations for French, English, German, Italian and Spanish.
Contains additional features for compiling with emTeX (esp. page codes).

-
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Mon Sep 15 17:57:20 1997
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Date: Mon, 15 Sep 1997 10:57:20 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: ANNOUNCE: PMX Version 1.3
To: mutex@gmd.de
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PMX Version 1.3 is now available.

PMX is a preprocessor for MusiXTeX that produces near-publication 
quality scores and parts with far less effort than would
be required using MusiXTeX alone.  

Among the new features are several that facilitate detailed editing, 
for example fine-tuning positions of dots, ornaments, and xtuplet 
numbers.   

The files are available at http://www.gmd.de/Misc/Music/
or if you prefer, ftp.gmd.de/music/ .  This distribution has all files 
necessary for the DOS version.  All files are compressed into 
pmx13.zip.  The full instruction manual is in pmx13.tex (use LaTeX 
2.09).  There is also a postscript image in case you have problems 
TeX'ing it.  ref13.tex is a summary of all the legal PMX "symbols".  

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other versions
may appear on ftp.gmd.de.
 
What's new since Version 1.2?

User-defined hardspaces and horizontal shifts.
Shortcut 2:1 rhythms, e.g., a4,b = a4 b8
User options to fine-tune dot position
Automatically raise ornaments (except staccato, tenuto) if slur start or stop. 
Automatic slur height adjustment if staccato or tenuto at slur start or stop.
Macros, MR: record & execute, MS record only, MP playback  (no variables)
Repeat ornament:  "o(orn):" = start repeating ornament,  "o:" = stop 
Redefine default ornament height in chords to go with highest note in chord. 
Movement breaks.
User options to flip xtup number, fine-tune height & horiz pos'n of number
Arpeggios '?'.
Allow comments in setup data at start of input file.
Literal TeX input block for top of .tex file: "---" at start of first line in
  .pmx file
Enable midbar doublebar
Automatic check for crashes with right-shifted chord notes (not in xtups)
Correct width of brace above xtup for added accidental hardspace
Many bug fixes, as usual.

--Don Simons (dsimons@logicon.com)

From mutex-owner@mail2.gmd.de Tue Sep 16 13:08:07 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: EC and MusiXTex once more
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Thank you Daniel for posting the location of your ec-plain.tex file.  I
downloaded it and all of the files necessary for making the EC fonts.  I
built a format with ec-plain and MusiXTeX T.77 (I found it necessary to
change some values in my Config file to make room for it).

Now, however, when I try to run a piece through MusiXTeX I get the
following message:

! Font \tempo=ecbx12 not loadable: Metric (TFM) file not found.
<to be read again>
                   \font
l.138 \font
           \dyn=\fontid bx10%

It should be calling for ecbx1200 but it isn't.  Is there something else I
should know?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Wed Sep 17 19:11:42 1997
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Date: Wed, 17 Sep 1997 14:11:42 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: PMX 1.3 for MacOS available
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Greetings,
  I just placed PMX 1.3 for MacOS into Werner's /incoming/music directory,
so it should show up at

    http://www.gmd.de/Misc/Music/

shortly. As always it can also be downloaded from

    http://www.aem.umn.edu/people/students/epeterse/PMX/

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Thu Sep 18 11:05:48 1997
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Date: Thu, 18 Sep 1997 09:05:48 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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Cc: mutex list <mutex@gmd.de>
Subject: Re: found it
References: <l03010d00b04433a1805a@[193.4.241.117]>	
	 <l03010d00b045880539a6@[193.4.241.180]>
	 <l03010d00b045dff82275@[193.4.241.175]> <l03010d00b045fdb5b80d@[193.4.241.165]>
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David Bobroff wrote:
> =

> > Look at files implicitly included and search them for the definition
> >\font\dyn ...
> >--
> =

> It was in pmx.tex on line 144.  I tried to change it to match the
> definitions in MusiXTeX but got the same error message.
> =

> I am sending a message to Don Simons.
> =

 Then, this is a bug in PMX!
> Thanks for your help,
> =

> David Bobroff
> bobroff@centrum.is

-- =


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Sep 18 16:27:22 1997
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Date: Thu, 18 Sep 1997 18:27:22 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX - 1.3 / Unix version
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I've just put together the Unix/C version of PMX - 1.3
As usual it's available from

ftp.mathematik.uni-stuttgart.de: /pub/software/pmx/pmx-1.3.tar.gz

Hope it's OK, I haven't been able to check it thoroughly.

-Stefan


************************************************************             
**     May the Schwartz be with you.                      **            
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [download the demo version of Treebuilder-97 now!]     **
**--------------------------------------------------------**
** evert@mathematik.uni-stuttgart.de       (Stefan Evert) **
************************************************************       


From mutex-owner@mail2.gmd.de Wed Sep 24 16:47:59 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Key change, new signature question
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Wed, 24 Sep 1997 12:47:59 -0400 (EDT)
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Greetings:

Normally, (and nicely!) when one changes key, the new key signature is
published along with naturals where needed to cancel out the previous
sharps or flats that no longer apply.  This desirable most of the time
and technically correct all of the time.

Is it possible to accomplish a key change without having the cancelling
naturals appear along with the new key signature?

(Why ... too much to explain, but my particular output will look better
in that format if possible, although not technically correct... This is
part of a set of instrumental exercises, where two-measure sets are connected
together and progress chromatically through key changes, and the next set is 
not musically related to the previous set, but I want them to flow along
on the same staff.)

Thanks,
Joel Hunsberger
hunsberg@sqa1.si.com

From mutex-owner@mail2.gmd.de Thu Sep 25 09:01:37 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: Key change, new signature question
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> From: hunsberg@sqa1.si.com (Joel Hunsberger)
> Date: Wed, 24 Sep 1997 12:47:59 -0400 (EDT)

> Normally, (and nicely!) when one changes key, the new key signature is
> published along with naturals where needed to cancel out the previous
> sharps or flats that no longer apply.  [...]

> Is it possible to accomplish a key change without having the cancelling
> naturals appear along with the new key signature?

Try:

\setsign1{-3}\startextract
\Notes\qa{ccc}\en\setsign13\changesignature\Notes\qa{ccc}\en
\endextract

\makeatletter
% use newsign only immediately before typesetting notes with the
% new signature. Otherwise you may get wrong accidentals e.g.
% when using \relativeaccid
\def\newsign#1#2{\noinstrum@nt#1\relax
  \let\Writ@newsigns\writ@newsigns % only write them, when they are touched
  \s@l@ctsigns % select instrument
  \o@s#2\relax % set remembered old to new
  \a@s#2\relax %
}
\makeatother

\setsign1{-3}\startextract
\Notes\qa{ccc}\en\newsign13\changesignature\Notes\qa{ccc}\en
\endextract

\end

From mutex-owner@mail2.gmd.de Thu Sep 25 08:54:52 1997
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From: Daniel Taupin <taupin@lps.u-psud.fr>
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--------------A8A5C72A2571FF31F40C0834
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-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



--------------A8A5C72A2571FF31F40C0834
Content-Type: text/plain; charset=us-ascii; name="MUSIX.msg"
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Subject: MusiXTeX version T.79
New version T.79 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed
 
Daniel Taupin


--------------A8A5C72A2571FF31F40C0834--


From mutex-owner@mail2.gmd.de Thu Sep 25 10:37:25 1997
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Subject: MusiXTeX version T.80
New version T.80 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)

 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
 - T.71  Ttrille and dousharps corrected thanks to Julian Gilbey
 - T.70  spurious fault corrected when \instrumentnumber not at right
place
 - T.69  error in trill continuation over line break corrected
 - T.68  missing trill begin/end diagnosed

Daniel Taupin


-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Thu Sep 25 12:58:18 1997
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From: hunsberg@malibu.si.com (Joel Hunsberger)
Subject: Re: Key change, new signature question
To: Werner.Icking@gmd.de (Werner Icking)
Date: Thu, 25 Sep 1997 08:58:18 -0400 (EDT)
Cc: mutex@gmd.de (MusiXTex Mailinglist)
In-Reply-To: <199709250901.LAA05352@sunick.gmd.de> from "Werner Icking" at Sep 25, 97 11:01:37 am
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Werner Iking wrote (in reply)
> 
> > Is it possible to accomplish a key change without having the cancelling
> > naturals appear along with the new key signature?
> 
> Try:
> 
> \setsign1{-3}\startextract
> \Notes\qa{ccc}\en\setsign13\changesignature\Notes\qa{ccc}\en
> \endextract
> 
> \makeatletter
> % use newsign only immediately before typesetting notes with the
> % new signature. Otherwise you may get wrong accidentals e.g.
> % when using \relativeaccid
> \def\newsign#1#2{\noinstrum@nt#1\relax
>   \let\Writ@newsigns\writ@newsigns % only write them, when they are touched
>   \s@l@ctsigns % select instrument
>   \o@s#2\relax % set remembered old to new
>   \a@s#2\relax %
> }
> \makeatother
> 
> \setsign1{-3}\startextract
> \Notes\qa{ccc}\en\newsign13\changesignature\Notes\qa{ccc}\en
> \endextract
> 
> 
[...]

This works like a charm!  Thanks!

For those of you interested in "off-beat" tricks, here's some of the
background (because it was so much fun)...

I needed a sheet of brass instrument scale and slurring exercises for
one of my students, and (of course) didn't want to spend too much time
doing it...  Also, these exercises (fortunately) are the same pattern
translated into all the keys, chromatically sequenced.

The approach went as follows...

1)  Using MPP (does anyone remember mpp?)... The initial patterns were
set and checked (first using MPP then Musixtex).

2)  Next, also using MPP, the pattern was cloned as many times as needed,
with only a few additions, like forcing direction of the beams for
better placement.  Also, MPP "comments" were entered (to write to the
.tex file for use later).  An example of the (bass clef) mpp input looks
like this:


\title{Slur Exercise}
%
\slope{5}
\meter{5/4}
\key\Bes
\clef\bass  
\duration8  
[ Bes^{OOO}( F d Bes f d Bes f d )Bes ] |
%%\transpose=-1\generalsignature{3}\setdoublebar\changecontext% Key of A major
[ Bes^{O@O}( F d Bes f d Bes f d )Bes ] |
%%\generalsignature{-4}\setdoublebar\changecontext% Key of Ab
[ Bes^{@OO}( F d Bes f d Bes f d )Bes ] |
[... and so it goes to the end of the file....]

The text fragments {OOO} and {O@O}... are later turned into valve fingering
indications.

3)  After the mpp file was successfully processed, it was musixtex'd
and checked for correctness without alteration... THEN

4)  I edited the .tex file to "turn on" the key signature changes (also removing
the \bar commands just before the \changecontext...) and the transposition
activity.  I also did a little miscellaneous tweaking to get the output look
I wanted, and called it done!

The neat part of this activity was using MPP to flesh out the .tex file
with all the note patterns, and letting musixtex do the transposition
work (which it does very nicely!)

Tweaking for fussy little appearance things was (as usual) the bigger part
of the job!  The icing on the cake is Werner's fix for the key signature
change noise!

Thanks again.
Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Thu Sep 25 13:28:04 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: MusiXTeX T.79
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> Date: Thu, 25 Sep 1997 11:54:52 +0300
> From: Daniel Taupin <taupin@lps.u-psud.fr>

> Changes:
>  - T.79  dotted slurs (thanks to W. Icking)

... and I have to thank William P. Houser, who did the main work modifying
the slur fonts. William offered his help after a discussion of dotted slurs
in this list more than a year ago. Thanks, William!


My edition of the Bach's Cello suites uses this slurs, because I wanted to
make an Urtext-Edition which is really hard in this special case where
four manusscripts are available. The edition is for Cello, Viola or Violin.
One may either get a complete edition for one of these instruments or
an edition for each single suite for all three instruments. Part of the
edition has been pre-processed by PMX and then post-edited. So my thanks
go to Don Simons, too, and last not least to the authors of MusiXTex,
esp. Daniel Taupin.

The edition is now available at 

   http://www.gmd.de/Misc/Music/scores/

For a quick view on a dotted slur (Oh, I saw one :-) one may access:

   http://www.gmd.de/Misc/Music/scores/cello_suites/vc100712.gif


And as I'm just announcing I may add that the 3rd Sonata of Bach's Sonatas and
Partitas for Violin Solo is now available too, as well as a PMX-draft of the
2nd Partita, the one with the great Ciaconna (I'm rehearsing just know if
time permits). The others have been replaced too for some beautifying.

-- Werner

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From: rdt@qucis.queensu.ca (Robert Tennent)
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Date: Thu, 25 Sep 1997 11:28:14 -0400
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To: mutex@gmd.de
Subject: trill accidentals
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A question about music typography.  How does one indicate that the upper note
of a trill should be, say, sharpened?  I've seen small accidentals *under*
a mordent.  Would the analogous indication for a trill be a small 
accidental *above* the shake?  

Bob T.

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Date: Thu, 25 Sep 1997 18:25:33 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Thu, 25 Sep 1997 15:28:04 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>

Sorry, there was a typo in my previous post                   -- Werner

> For a quick view on a dotted slur (Oh, I saw one :-) one may access:
> 
>    http://www.gmd.de/Misc/Music/scores/cello_suites/vc100712.gif


     http://www.gmd.de/Misc/Music/scores/bach/cello_suites/vc100712.gif
                                        ^^^^^^

From mutex-owner@mail2.gmd.de Thu Sep 25 16:52:39 1997
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From: rdt@qucis.queensu.ca (Robert Tennent)
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Date: Thu, 25 Sep 1997 12:52:39 -0400
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With new versions coming quickly and furiously, I would like to ask whether
it might be made easier for us to upgrade.  As far as I can tell, there is
no easy way to recognize which of the files need replacement.  If I go
to hprim.lps.u-psud.fr/pub/musixtex, most of the files there were created
or updated Sept 25, 1996.  Presumably the 1996 should be 1997, but
does this mean I have to download all of these files to get a consistent 
and up to date musixtex?  It's possible but I doubt it.

Bob T.
      
      

From mutex-owner@mail2.gmd.de Thu Sep 25 18:10:43 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, rdt@qucis.queensu.ca
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> From: rdt@qucis.queensu.ca (Robert Tennent)
> Date: Thu, 25 Sep 1997 12:52:39 -0400
> 
> With new versions coming quickly and furiously, I would like to ask whether
> it might be made easier for us to upgrade.  [...]

If MusiXTeX-version XX is out and MusiXTeX-version YY is announced then
you may refer to:

   ftp://ftp.gmd.de/music/musixtex/diff-files/musixtex.XX-YY.zip

These files contain only those files which have been modified. They do
not contain musixdoc.dvi because it's big and may be generated by yourself
using the other musixdoc.* files.

Be cautious when fetching the diff-files not to replace your musixtex.zip,
because some ftp-programs only take the beginning of the name plus the
extension.

Hope this hilft                                                  -- Werner

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From: barry@troy.la.platsol.com (Barry Gold)
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To: dlaurie@na-net.ornl.gov
Subject: M-Tx question
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I don't seem to have understood the M-Tx manual, as I got an error
message I don't understand.  I'm also looking for answers to the
following:
    1. My PMX: line is uncomfortably long.  Is there a way to continue
    it onto multiple lines?
    2. I want a key change (to 4 sharps) at the start of the chorus
    (before the lyrics "But when Pro-ject Ar-gus grows...")  The
    manual describes how to put in meter changes but not key changes.
    3. I couldn't determine from the manual what the parts of the
    Space: preamble command mean.  Is this one number per system, one
    per staff, or do the 3 numbers (in the sample preamble in section 7)
    correspond to various places (above, below the staff, below the
    lyrics? some other assignment?)

Here's the output I got:

Writing to sunset1.pmx
I can handle too few voices but not too many - skipping paragraph: ERROR on line 17


And here's my input:

Title: THE SUNS SHALL NEVER SET ON SETI
Composer: Words and Music \copyright\ 1996 by H. Paul Shuch
PMX: w7i \\hoffset=.1in\voffset=.15in\font \twelverm=cmr12\ \def\hy{\thinspace\thinspace-}\ \def\emdash{\thinspace---\thinspace}\ 
Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1

b8 | \Uptext{Em}\ e e e f g g f e | \Uptext{B}\ f f f f bd4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At
d d d e f f e d | \Uptext{Em}\ e b e g b4 d b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the
e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are
\Uptext{Em}\ b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b |
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

e8 \Uptext{Chorus:}\ f | \Uptext{E}\ g g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: But when Pro-ject Ar-gus grows to full strength, we will show That the
\Uptext{E}\ gd4 a b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

From mutex-owner@mail2.gmd.de Thu Oct  9 13:37:35 1997
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: M-Tx question
To: barry@troy.la.platsol.com (Barry Gold)
Date: Thu, 9 Oct 1997 09:37:35 -0400 (EDT)
Cc: mutex@gmd.de (MusiXTex Mailinglist), dlaurie@na-net.ornl.gov
In-Reply-To: <9710082316.AA56838@troy.la.platsol.com> from "Barry Gold" at Oct 8, 97 04:16:12 pm
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barry@troy.la.platsol.com (Barry Gold), wrote:

>I don't seem to have understood the M-Tx manual, as I got an error
>message I don't understand.  I'm also looking for answers to the
>following:
>    1. My PMX: line is uncomfortably long.  Is there a way to continue
>    it onto multiple lines?
>    2. I want a key change (to 4 sharps) at the start of the chorus
>    (before the lyrics "But when Pro-ject Ar-gus grows...")  The
>    manual describes how to put in meter changes but not key changes.
>    3. I couldn't determine from the manual what the parts of the
>    Space: preamble command mean.  Is this one number per system, one
>    per staff, or do the 3 numbers (in the sample preamble in section 7)
>    correspond to various places (above, below the staff, below the
>    lyrics? some other assignment?)
>
>Here's the output I got:
>
>Writing to sunset1.pmx
>I can handle too few voices but not too many - skipping paragraph: ERROR on line 17
>

Barry:

In my short experience with M-Tx I have encountered many of the beginner
pitfalls and offer the following suggestions... (I can't answer all your
questions... I still have a lot to learn!)

First, you need to have a blank line between all the voice/lyric systems.
This is how M-Tx knows to move on.  Note that your error message pointed to
line 17, but that was the first blank line it found after your first full
block of input.

I put in the blank lines and ran prepmx... Other problems in the input
then came up.  However, I made a few stabs at fixes just to see of it
would process through PMX and through Musixtex.

I was essentially successful at guessing a few necessary fixes, but there is
one problem I cannot yet explain...  See my comments interspersed in the
revised file below. (My comments are inserted with > in col 1.)

>------- here starts your M-Tx input ----------------
Title: THE SUNS SHALL NEVER SET ON SETI
Composer: Words and Music \copyright\ 1996 by H. Paul Shuch
PMX: w7i \\hoffset=.1in\voffset=.15in\font \twelverm=cmr12\ \def\hy{\thinspace\thinspace-}\ \def\emdash{\thinspace---\thinspace}\ 
Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1

> The above combination causes the problem I can't explain... (Don Simons
may be able to shed some light on this.)  It appears that something in
the combined Title/Composer/PMX fields is too long... I could not convince
myself that it was the PMX line,.. Everything appears to get through M-Tx
and then PMX processes it without complaint, except that the \title macro
that PMX writes to the .TEX file contains arbitrary characters and is not
formatted properly... It looks to me like a buffer overflow problem, where
something is grabbed out of the PMX buffer and written to the .Tex output.
However, if you edit the .TEX file to fix the title macro (and you have to
delete all the strange characters and add a }{ pair that appears to be 
missing between arguments 6 and 7.... sigh :-(   Then... It works okay.

b8 | \Uptext{Em}\ e- e e f g g f e | \Uptext{B}\ f f f f bd4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

> Note the blank line between each system.  Also, I took the liberty to
add the - after the first e above... Otherwise I wouldn't want to sing that
high :0()

d d d e f f e d | \Uptext{Em}\ e b e g b4 b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the

> In the original, there appeared to be an extra b just before b-8 near
the end.  This caused a bar count to be wrong... I just took it out, so
you will have to decide just what part was "too much"

e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are

\Uptext{Em}\ b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b |
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

r2 r4 e8 \Uptext{Chorus:}\ f | \Uptext{E}\ g g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: But when Pro-ject Ar-gus grows to full strength, we will show That the

> Above, at the start you had just e8 ... f |  ... That looked like a few
pick-up beats just inserted (which would sing okay but messes up the count
of bars and beats in the system when PMX runs.)  That is, M-Tx processes it
fine, but cannot tell PMX that the first bar is missing beats... It can only
do that at the very first bar.  I simply added the rests r2 r4 necessary
to make the first bar a full bar, and everybody was happy.... (It may not
be what you actually want though.)

\Uptext{E}\ gd4 a8 b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

>  The above bar had (perhaps) omitted changing time (to a8) just after the
gd4... So when I did that, then the last line had enough counts.
____________________

Don't give up... I have made all these mistakes and more... Statistically
speaking... My Number 1 most often made mistake is to forget to restate
the time when it changes from longer notes (like c4 or c2) back to eighths
again.  The second most frequent mistake for me is to forget putting the
octave skip (-,+) in when I need it.  Your input made me feel right at
home! 

Joel Hunsberger
hunsberg@sqa1.si.com

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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx question
Cc: mutex@gmd.de (MusiXTex Mailinglist)
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hunsberg@sqa1.si.com (Joel Hunsberger)wrote

>------- here starts your M-Tx input ---------------- 
>Title: THE SUNS SHALL NEVER SET ON SETI
>Composer: Words and Music \copyright\ 1996 by H. Paul Shuch 
>PMX: w7i \\hoffset=.1in\voffset=.15in\font \twelverm=cmr12\
>\def\hy{\thinspace\thinspace-}\ \def\emdash{\thinspace---\thinspace}\ 
>Sharps: 2
>Meter: 4/4
>Style: SINGER
>Systems: 6
>Pages: 1
>
> The above combination causes the problem I can't explain... (Don Simons 
>may be able to shed some light on this.)  It appears that something in
>the combined Title/Composer/PMX fields is too long... I could not 
>convince myself that it was the PMX line,.. Everything appears to 
>get through M-Tx and then PMX processes it without complaint, except 
>that the \title macro that PMX writes to the .TEX file contains 
>arbitrary characters and is not formatted properly... It looks to me 
>like a buffer overflow problem, where something is grabbed out of 
>the PMX buffer and written to the .Tex output.

Dead on.  Damn dimensions!  I think there's a fundamental rule of 
dimensions:  No matter how big you make them, someone will want them 
to be bigger.  In this case there is a limit of 75 or so on the 
combined length of the title and composer, even though each one 
individually can be up to 60 characters.  I'll try to remember to fix 
this in the next release.  Meanwhile maybe you could try some sort of 
workaround...maybe just put in the composer with an \lcharnote at the 
end of the first line instead of using the PMX command.

The sun never sets on SETI???  I sat next to someone on an airplane 
once who was involved in that project.  He gave me some glossy info 
pamphlets and a few pins, one of which adorns my bulletin board.  I 
don't remember the fellow's name, but I do remember he seemed 
enthusiastic enough about the project to have written a song about it. 
 Barry, any chance either you or H. Paul Shuch is him?  

--Don Simons 

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From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9710092059.AA40102@troy.la.platsol.com>
To: mutex@gmd.de
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I made the very helpful changes suggested by Dirk Laurie and Joel
Hunsberger.  That got it through prepmx and mtx, but then I got errors
running TeX:

=== RUNNING MUSIXTEX: 1st pass (tex) ===
This is TeX, Version 3.1415 (C version 6.1)
(sunset1.tex (musixtex.tex
MusiXTeX(c) T.44 <26 January 1996>
) (pmx
! You can't use `macro parameter character #' in vertical mode.
<recently read> ##
                  
l.1 #
     !/bin/sh
? X
No pages of output.
Transcript written on sunset1.log.


I'm not sure where the "#!/bin/sh" came from, unless for some reason
TeX decided to process the pmx command file itself.  It's a shell
script, so it starts with that line.

Here's my mtx input:

Title: THE SUNS SHALL NEVER SET ON SETI
Composer: H. Paul Shuch
Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1

%% w7i
%% \\hoffset=.1in\voffset=.15in\font\ 
%% \\twelverm=cmr12\ 
%% \\def\hy{\thinspace\thinspace-}\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
b8 | \Uptext{Em}\ e- e e f g g f e | \Uptext{B}\ f f f f bd4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

d d d e f f e d | \Uptext{Em}\ e b e g b4 b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the

e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are

\Uptext{Em}\ b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b |
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

%% K+0+4
r2b r4b e8 \Uptext{Chorus:}\ f | \Uptext{E}\ g g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: But when Pro-ject Ar-gus grows to full strength, we will show That the

\Uptext{E}\ gd4 a8 b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

 ---------------------------------------------------------------------

And here's the generated pmx:

1 1 4 4 4 4  0.50000 2 1 6 20 0

t
./
Tt
THE SUNS SHALL NEVER SET ON SETI
Tc
H. Paul Shuch
\\setsongraise1{0\internote}\
% Paragraph 2 line 9 bar 0
 w7i
 \\hoffset=.1in\voffset=.15in\font\ 
 \\twelverm=cmr12\ 
 \\def\hy{\thinspace\thinspace-}\ 
 \\def\emdash{\thinspace---\thinspace}\ 
\\\setlyrics{11}{The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At}\
\\\assignlyrics1{11}\
\\\auxlyr{\assignlyrics1{}}\
b8a4 \Uptext{Em}\ e8a- e8a e8a f8a g8a g8a f8a e8a /

%Bar 2
\Uptext{B}\ f8a f8a f8a f8a b4d b8a | /

% Paragraph 3 line 17 bar 3
\\\setlyrics{11}{a-ny time can on-ly see a mil-lionth of the sky.  So the}\
d8a d8a d8a e8a f8a f8a e8a d8a /

%Bar 4
\Uptext{Em}\ e8a b8a e8a g8a b4 b8a- b8a | /

% Paragraph 4 line 20 bar 5
\\\setlyrics{11}{chan-ces we'll be mis-sing a-ny sig-nal that is sent Are}\
e8a e8a e8a f8a g8a g8a f8a e8a /

%Bar 6
\Uptext{Am}\ a8a e8a a8a b8a c4d c8a | /

% Paragraph 5 line 23 bar 7
\\\setlyrics{11}{rough-ly nine-ty nine point nine nine nine nine per-cent.}\
\Uptext{Em}\ b8a a8a g8a b8a \Uptext{B}\ a8a g8a f4 /

%Bar 8
\Uptext{Em}\ e8a b8a \Uptext{Am}\ g8a+ f8a \Uptext{Em}\ e4 r4b | /

% Paragraph 6 line 26 bar 9
 K+0+4
\\\setlyrics{11}{But when Pro-ject Ar-gus grows to full strength, we will show That the}\
r2b r4b e8a \Uptext{Chorus:}\ f8a /

%Bar 10
\Uptext{E}\ g8a g8a f8a e8a \Uptext{B}\ f4 g8a f8a /

%Bar 11
\Uptext{A}\ e4 e8a a8a c4 b8a a8a | /

% Paragraph 7 line 30 bar 12
\\\setlyrics{11}{suns shall ne-ver set on SE-TI.  The}\
\Uptext{E}\ g4d a8a b8a b8a g8a e8a /

%Bar 13
\Uptext{B}\ f2 \Uptext{E}\ e4d b8a /

 ---------------------------------------------------------------------

I have to add that if I can get this to work right, it will make my
life even easier than MusiXTeX did -- and that was a vast improvement
over dragging bitmaps of notes onto drawings of staves with a desktop
publisher, which is what I was doing before MusiXTeX!

From mutex-owner@mail2.gmd.de Fri Oct 10 02:06:17 1997
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Date: Fri, 10 Oct 1997 12:06:17 +1000 (EST)
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> The sun never sets on SETI???  I sat next to someone on an airplane 
>once who was involved in that project.  He gave me some glossy info 
>pamphlets and a few pins, one of which adorns my bulletin board.  I 
>don't remember the fellow's name, but I do remember he seemed 
>enthusiastic enough about the project to have written a song about it. 
> Barry, any chance either you or H. Paul Shuch is him?  
>
>--Don Simons 


looks like we have lots of SETI connections in this mailing list !
i happen to be an astronomer.  now although I am not involved
directly with the SETI institute, my institute (Australia
Telescope National Facility)  supported (well, SETI paid,
we gave) a SETI experiment on our telescopes a couple of years 
ago for a few months.  I was one of the happy band of ATNF astronomers
and support staff  who were on call all hours of the night and day should there
be problems.  

cheers
Neil

From mutex-owner@mail2.gmd.de Mon Oct 13 06:52:32 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199710130652.QAA25787@molly.cs.monash.edu.au>
Subject: installing muTeX or MusicTex?
To: mutex@gmd.de
Date: Mon, 13 Oct 1997 16:52:32 +1000 (EST)
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Hi,

I've just joined this list; so I apologise for posting right away!

Can anyone give me a brief idea of how involved installing MuTeX or
MusicTex is?

Thanks!

-- 
Brendan Macmillan	
bren@cs.monash.edu.au

From mutex-owner@mail2.gmd.de Mon Oct 13 09:31:52 1997
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Date: Mon, 13 Oct 1997 11:31:52 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bren@cs.monash.edu.au
Subject: Re: installing muTeX or MusicTex?
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> From: Brendan Macmillan <bren@cs.monash.edu.au>
> Date: Mon, 13 Oct 1997 16:52:32 +1000 (EST)
        ^^^^^^^^^^^^^^^^^^^^^^^^^ very fast - reached me Mon Oct 13 09:24:18

> Can anyone give me a brief idea of how involved installing MuTeX or
> MusicTex is?

MuTeX and MusicTeX are out of date although the later is maintained
by Daniel Taupin nevertheless.

So take MusiXTeX.

For all these packages you need a TeX-system as basis.

Installing MusixTeX means getting the appropriate package e.g. from
http://www.gmd.de/Misc/Music/. Have a look at the README(!) files.

Take "tar.gz" for Unix-Systems, "zips" for DOS and Mac. 

Unpack the archives and move the files to the locations where they
have to be stored. More detailed instructions are in the manual
or have been posted to this mailing list. So look-up the archive
of the mailing list  http://www.gmd.de/Mail/

For beginners it may be advisable to take a preprocessor, too,
e.g. PMX.

Hope this hilft -- Werner

PS: Just now there was another newcomer who got much help from this list
    and afterwards by private mail, so that he was up within a short time.
    Maybe he could post his fresh experience with the installation to the
    list.

From mutex-owner@mail2.gmd.de Mon Oct 13 09:42:39 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Thu, 9 Oct 1997 09:36:31 -0700
> From: dsimons@logicon.com (Don Simons)

> [...] this in the next release.  Meanwhile maybe you could try some sort of 
> workaround...maybe just put in the composer with an \lcharnote at the 
> end of the first line instead of using the PMX command.


\\def\mylongtitle{Dieses Werk hat einen Titel,\ 
\\der die Dimensionen von PMX zum Platzen bringt,\
\\bis Don sich daran erinnert, es zu \"andern.}\
\\def\mycomposer{Wolfgang(erl) Amadeus Gottlieb\
\\Chrisostomus Mozart, geboren anno domimi ...}\ 
Tc
\mycomposer
Tt
\mylongtitle


I am not sure, but maybe one has to use {} e.g. {\mylongtitle}


-- Werner

From mutex-owner@mail2.gmd.de Mon Oct 13 09:50:15 1997
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Subject:  Re: Unix question (was PMX question (was M-Tx question))
To: barry@troy.la.platsol.com (Barry Gold)
Date: Mon, 13 Oct 1997 11:50:15 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9710092059.AA40102@troy.la.platsol.com> from "Barry Gold" at Oct 9, 97 01:59:46 pm
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Barry Gold wrote:
> 
> I made the very helpful changes suggested by Dirk Laurie and Joel
> Hunsberger.  That got it through prepmx and mtx, but then I got errors
> running TeX:
> 
> === RUNNING MUSIXTEX: 1st pass (tex) ===
> This is TeX, Version 3.1415 (C version 6.1)
> (sunset1.tex (musixtex.tex
> MusiXTeX(c) T.44 <26 January 1996>
> ) (pmx
> ! You can't use `macro parameter character #' in vertical mode.
> <recently read> ##
>                   
> l.1 #
>      !/bin/sh
> ? X
> No pages of output.
> Transcript written on sunset1.log.
> 
> 
> I'm not sure where the "#!/bin/sh" came from, unless for some reason
> TeX decided to process the pmx command file itself.  It's a shell
> script, so it starts with that line.
> 
It did just that -- see the line
  ) (pmx
which means TeX is reading the file called 'pmx'.  Better get some
local Unix guru who knows the shell are using to write you another
script.  My guess is that your script contains something like
  tex $0
which will translate into 
  tex pmx
if you invoke the script by just typing e.g. 'pmx myfile'.  If you want 
it to translate to
  tex myfile
the command should be
  tex $1

HTH

Dirk

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From: Neil Killeen <nkilleen@atnf.CSIRO.AU>
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Date: Mon, 13 Oct 1997 20:04:26 +1000 (EST)
Message-Id: <199710131004.UAA19186@elara.atnf.CSIRO.AU>
To: mutex@gmd.de, bren@cs.monash.edu.au
Subject: Re: installing muTeX or MusicTex?
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Brendan

> Can anyone give me a brief idea of how involved installing MuTeX or
> MusicTex is?
> 
> Thanks!
> 
> -- 
> Brendan Macmillan	

as someone who just installed this sofwatre a week ago or
so perhaps I can comment.

. You probably don't want to install either of MuTeX or
  MusicTeX, as these are both deprecated.   The current crop
  is  MusiXTeX (central engine),  MusiXLyr (lyrics macros), PMX (simplfied language
  preprocessor to MusiXTeX), M-Tx (preprocessor to PMX to 
  simplify lyric addition).

  I gather from some things I have read that some prefer MusicTeX
  still to MusiXTeX, but I gather this is not the majority path
  these days

. I installed on a Unix Solaris 2.5 platform with a well organized
  TeX installation to work from.   

. I had no installation problems.   All binaries (source in
  reaosnably standard fortran or C) built first time
  and all the TeX files that live under /usr/local/texmf  
  worked properly

. If you install M-Tx make sure you use the  pre-release version
  of MusiXLyr that comes with it

. Perhaps the poorest area of the installation was the descriptions
  of how to install  in the range of manuals for these products !
  They all tended to  put the cart slightly before the horse I
  felt, but it was no big deal to work out what to do if it
  was a little unclear here and there.

. If you chance to be installing on a Unix platform, I can send
  you a tar file with the source for all these packages arranged
  logically (I think) together, and a summary of the installaiton
  process (i.e. what files went where).



regards
Neil




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From: cannam <cannam@zands.demon.co.uk>
Message-Id: <9710131244.ZM8066@amanita.zands.demon.co.uk>
In-Reply-To: Dirk Laurie <dirk@calvyn.puk.ac.za>
        "Re: Unix question (was PMX question (was M-Tx question))" (Oct 13, 11:50am)
References: <199710130950.LAA06705@calvyn.puk.ac.za>
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Dirk Laurie [dirk@calvyn.puk.ac.za] writes:
:
: It did just that -- see the line
:   ) (pmx
: which means TeX is reading the file called 'pmx'.  Better get some
: local Unix guru who knows the shell are using to write you another
: script.  My guess is that your script contains something like
:   tex $0

Surely more likely just that the pmx script happens unhappily to
be in the TEXINPUTS path, and it's being pulled in by "\input pmx"
in preference to the intended pmx.tex?


Chris

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From: barry@janus.la.platsol.com (Barry Gold)
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Subject: Re: Unix question (was PMX question (was M-Tx question))
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   Surely more likely just that the pmx script happens unhappily to
   be in the TEXINPUTS path, and it's being pulled in by "\input pmx"
   in preference to the intended pmx.tex?

Yes, that's what happened.  The intended file, pmx.tex, wasn't in the
TEXINPUTS path, so TeX read the pmx shell script instead.  I moved
pmx.tex into the working directory and got much farther.
Unfortunately, I now get:


! Undefined control sequence.
<recently read> \qlrlap 
                        
<argument> ...rlap \else \aftergroup \qlrlap \fi }
                                                  {\expandafter \ifnum \csna...

\rlap #1->\hbox to\z@ {#1
                         \hss }
\@lyric ...zwr@\text@name \endcsname {0}\fi \fi }}
                                                  }
\@schreibetext ...evtl@punktweg {#1}}\evtl@komma }
                                                  \ifx #2\relax \expandafter...

\evtl@next@lyr ...@schreibetext \@nochtext \relax 
                                                  \relax \fi 
...
l.46 \NOtes\cl{'b}
                  \en%
? X

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From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9710132108.AA42164@troy.la.platsol.com>
To: mutex@gmd.de
Subject: New problem with my M-Tx input
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Well, I downloaded the latest MusiXTex files, which got me past the
earlier problem I was having.  I was able to get some output, and I
started trying to fix some infelicities.  I put in "blind" meter
changes using %% to get rid of the space taken up by the invisible
rests I put in to get the preprocessors to accept the "pickup" bar
for my chorus.  I found I had to put a lot of things in %% lines that
had been part of my running notes.  But I can live with slightly
tortuous ways of doing something that I'll end up doing once a song.

However, the text I put at the top of the page was supposed to have an
internal vskip that got lost somehow.  And I'd like to get rid of the
boxed numbers (bar numbering?) that got generated on the second system
et seq.

Unfortunately, after I downloaded the latest musixlyr.tex from the
add-ons, I got the following errors:

=== RUNNING MUSIXTEX: 1st pass (tex) ===
This is TeX, Version 3.1415 (C version 6.1)
(sunset1.tex (musixtex.tex
MusiXTeX(c) T.80 <25 September 1997>
) (pmx.tex
PMX, a Preprocessor for MusiXTeX, v1.1 <23 January 1997>
) (musixmad.tex (musixadd.tex
MusiXADDitional instruments T.79 <24 September 1997>
)
MusiXMore ADditional instruments T.79 <24 September 1997>
) (sunset1.mod
M-Tx 0.24 (Music from TeXt) <15 June 1997>
(musixlyr.tex
MusiXLYRics 1.0 <12 November 1996>
)
! Undefined control sequence.
l.3 \input musixlyr\:\enableauxlyrics
                                     \def\AL{\auxlyr\lyr\nolyr}
? X
No pages of output.
Transcript written on sunset1.log.

	----------------------------------------------------------------

Here is my input.  I had to put the \Uptext into a %% line because
prepmx got confused about how many voices there were when I started
the notes with an \ (insert TeX) command after the %% lines.

	----------------------------------------------------------------

Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1
Space: 3

%% w7i
%% \\hoffset=.1in\voffset=.15in\font\ 
%% \\twelverm=cmr12\ 
%% \\def\hy{\thinspace\thinspace-}\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\headline{\twelverm Xenofilkia \#55\hfill page 1014}\ 
%% \\vskip 12pt\ 
%% \\line{\twelverm THE SUNS SHALL NEVER SET ON SETI\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1996 by H. Paul Shuch\hfill}\ 
%% \\vskip .33in\ 
b8 | \Uptext{Em}\ e- e e f g g f e | \Uptext{B}\ f f f f bd4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

d d d e f f e d | \Uptext{Em}\ e b e g b4 b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the

e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are

\Uptext{Em}\ b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b |
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

%% L
%% m1400
%% K+0+4
%% \Uptext{Chorus:}\ 
e8 f |
L: But when

%% m4400
%% \Uptext{E}\ 
g8 g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: Pro-ject Ar-gus grows to full strength, we will show That the

\Uptext{E}\ gd4 a8 b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

From mutex-owner@mail2.gmd.de Tue Oct 14 01:31:43 1997
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Date: Mon, 13 Oct 1997 18:31:43 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Re: New problem with my M-Tx input
To: mutex@gmd.de
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barry@troy.la.platsol.com (Barry Gold) wrote

>And I'd like to get rid of the boxed numbers (bar numbering?) that 
>got generated on the second system et seq.

The MusiXTeX command is \nobarnumbers
The PMX command is \\nobarnumbers\
So I suppose the mtx command is %% \\nobarnumbers\

>Here is my input.  
>...
>
>\Uptext{Em}\ b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 
>\Uptext{Em}\ e4 r4b |
>L: rough-ly nine-ty nine point nine nine nine nine per-cent.
>
>%% L
>%% m1400

The PMX command L must include a number representing the number of the 
new line.  So I stuck one in,  I also had to combine both of the 1st 2 
lines in the snippet above into one line.  (Does mtx have some special 
rules for line-folding?  I also find I have to manually add blank 
spaces at the ends of many lines in the .pmx file produced by mtx.)  
Then it went through my system just fine.  

>Unfortunately, after I downloaded the latest musixlyr.tex from the 
>add-ons, I got the following errors:
>
>! Undefined control sequence.
>l.3 \input musixlyr\:\enableauxlyrics
>                                       \def\AL{\auxlyr\lyr\nolyr}


I can't see why you got the TeX error, unless you are still having 
path problems.  When you get these sorts of errors, you should try to 
identify the source file that has the definition in it, then figure 
out why it hasn't been loaded.  For example, after running mtx, then 
moving on to TeX (without using a script, although it may be time to 
write one), I invariably get a similar error.  It is because I forgot 
to move the <jobname>.mod file into my TeX input directory, and that 
file contains the command 
\input musixlyr .

--Don

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From: "Ivan O. Zayats" <zayats@cscd.lviv.ua>
To: <mutex@gmd.de>
Subject: vusictex question
Date: Tue, 14 Oct 1997 08:40:16 +0300
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I tried to run musictex.tex and recieved the following:

! TeX capacity exceeded, sorry [hash size=3050].
l.1548 \xdef\
             bbb@z{\csname bbb@z\romannumeral\n@i\endcsname}%

What does it mean?


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From: "Ivan O. Zayats" <zayats@cscd.lviv.ua>
To: <mutex@gmd.de>
Subject: musictex question
Date: Tue, 14 Oct 1997 08:42:41 +0300
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I tried to run musictex.tex and recieved the following:

! TeX capacity exceeded, sorry [hash size=3050].
l.1548 \xdef\
             bbb@z{\csname bbb@z\romannumeral\n@i\endcsname}%

What does it mean?


From mutex-owner@mail2.gmd.de Tue Oct 14 08:23:11 1997
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To: "Ivan O. Zayats" <zayats@cscd.lviv.ua>
Cc: mutex@gmd.de
Subject: Re: musictex question 
In-Reply-To: Your message of "Tue, 14 Oct 1997 08:42:41 +0300."
             <199710140546.IAA02017@xl2.cscd.lviv.ua> 
Date: Tue, 14 Oct 1997 09:23:11 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I tried to run musictex.tex and recieved the following:
> 
> ! TeX capacity exceeded, sorry [hash size=3050].
> l.1548 \xdef\
>              bbb@z{\csname bbb@z\romannumeral\n@i\endcsname}%
> 
> What does it mean?

It means you have a very small implementation of TeX indeed.

It may be that you're completely stuck, and can't proceed further, but
if you have a remotely modern computer I would suggest finding a more
recent copy of your TeX system.

As a general rule, when you're reporting TeX capacity exceeded error
messages, you should also tell people which version of TeX you're
running.  The log file always contains it (for example, the installed
system here tells me

  This is TeX, Version 3.1415 (C version 6.1) (format=latex 97.6.21)  ...

)

Robin

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Date: Tue, 14 Oct 1997 13:49:38 -0700
From: barry@janus.la.platsol.com (Barry Gold)
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To: dsimons@logicon.com
Cc: mutex@gmd.de
In-Reply-To: <0005B82B.1941@logicon.com> (dsimons@logicon.com)
Subject: Re: New problem with my M-Tx input
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I wrote:

   >Unfortunately, after I downloaded the latest musixlyr.tex from the 
   >add-ons, I got the following errors:
   >
   >! Undefined control sequence.
   >l.3 \input musixlyr\:\enableauxlyrics
   >                                       \def\AL{\auxlyr\lyr\nolyr}

Don Simons replied:
   I can't see why you got the TeX error, unless you are still having 
   path problems.  When you get these sorts of errors, you should try to 
   identify the source file that has the definition in it, then figure 
   out why it hasn't been loaded.  For example, after running mtx, then 
   moving on to TeX (without using a script, although it may be time to 
   write one), I invariably get a similar error.  It is because I forgot 
   to move the <jobname>.mod file into my TeX input directory, and that 
   file contains the command 
   \input musixlyr .


So I checked, and the \enableauxlyrics command is being generated into
the .mod file:

\immediate\write10{M-Tx 0.24 (Music from TeXt) <15 June 1997>}
\sepbarrules\let\:=\relax
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
\staffbotmarg3\Interligne

If I remove the .mod file, it gets regenerated by prepmx.  If I
manually remove the \enableauxlyrics from the .mod file, the \auxlyr
gets rejected later on.  My only guess is that enableauxlyrics should
be in some .tex file that I need to download a new version of, but
that didn't come automatically with the new version of MusiXTeX that I
downloaded.  I'm particularly suspicious of the version of
musixlyr.zip that I downloaded from www.gmd.de, as it seems to me that
the problem only started after I replaced my old musixlyr.tex.


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Subject: Re: New problem with my M-Tx input
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> I'm particularly suspicious of the version of
> musixlyr.zip that I downloaded from www.gmd.de, as it seems to me that
> the problem only started after I replaced my old musixlyr.tex.
> 
> 

The README for M-Tx says that you should use the pre-release version
of musixlyr.tex that is distributed with M-Tx.  Possibly this
is your problem.  

I believe that error message rings a bell for me when I didn't
do this at first

Neil

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From mutex-owner@mail2.gmd.de Wed Oct 15 13:36:18 1997
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From: Neil Killeen <nkilleen@atnf.CSIRO.AU>
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Date: Wed, 15 Oct 1997 23:36:18 +1000 (EST)
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To: mutex@gmd.de
Subject: MusiXTeX key change notation
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I notice that MusiXTeX uses what I think is
an unconventional notational choice 
when changing key signatures

For example, consider going from
5 flats to 3 flats

I would expect to see first natural signs
for d and g flat followed by flat signs
for b e and a.  however, what I get is
flat signs for b e and a, followed
by the d and g natural signs.

I think the convention is to always
lead with the naturalizing signs followed
by the new key signature

on actually trying to play the music, i found
my pattern recognition neurons got rather
confused at the key change !

my file was processed by PMX, but it just uses
the standard \generalsignature MusiXTeX 
command in the output .tex file

There does not appear to be any command in MusiXTeX
to do anything otherwise.

any ideas ?

regards
Neil





From mutex-owner@mail2.gmd.de Wed Oct 15 16:25:13 1997
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From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9710151625.AA49989@troy.la.platsol.com>
To: mutex@gmd.de
Subject: Re: New problem with my M-Tx input
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Thanks to Neil Killeen for pointing out that I needed to replace
musixlyr.tex with the version from the M-TX zip file.  I am now able
to get output again.  This leaves me with the following problems:

1. The heading is supposed to have 12 points of vskip between the
first and second lines, but they print right next to each other.

2. The lyrics overlap the chords (\Uptext) from the next system down.
Increasing the spacing (Space:) doesn't help, it just pushes the
lyrics and everything else further down.  Is there a clean way of
doing this, or should I just manually move the lyrics up with @2 on
every paragraph?

3. I tried putting in some forced beams, and the alignment between
lyrics and notes went haywire.  Here's the first paragraph with forced
beams.  Try setting it and see how SE-TI tries to span 5 notes instead
of 2, then the last three syllables disappear off the end of the
system.

b8 | \Uptext{Em}\ [ e- e ] [ e f ] [ g g f ] e | \Uptext{B}\ [ f f f ] f b-d4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

4. The key signature change to four sharps occurs in an otherwise
empty pseudo-bar at the end of system 4.  I had specifically put in
    %% L5
to force a new line before the key change, but it didn't do what
I wanted.  Is there a way to avoid this?  It may be useful as a
warning for instrument players, but I don't really want it on my lead
sheets.

5. When converting the output for printing, I got the following
message:

    This is dvips 5.55 Copyright 1986, 1994 Radical Eye Software
    ' TeX output 1997.10.15:0909' -> sunset1.ps
    dvips: Checksum mismatch in font musix20.300pk

I'm not sure what (if anything) to do about it, it doesn't seem to affect
the output.

Here's my input:

Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1
Space: 6

%% w7i
%% \\hoffset=.1in\voffset=.15in\font\ 
%% \\twelverm=cmr12\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\headline{\twelverm Xenofilkia \#55\hfill page 1014}\ 
%% \\vskip 12pt\ 
%% \\line{\twelverm THE SUNS SHALL NEVER SET ON SETI\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1996 by H. Paul Shuch\hfill}\ 
%% \\nobarnumbers\ 
%% \\vskip .33in\ 
b8 | \Uptext{Em}\ e- e e f g g f e | \Uptext{B}\ f f f f b-d4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

d d d e f f e d | \Uptext{Em}\ e b e g b4 b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the

e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are

%% \Uptext{Em}\ 
b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b |
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

%% L5
%% m1400
%% K+0+4
%% \Uptext{Chorus:}\ 
e8 f |
L: But when

%% m4400
%% \Uptext{E}\ 
g8 g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: Pro-ject Ar-gus grows to full strength, we will show That the

\Uptext{E}\ gd4 a8 b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

From mutex-owner@mail2.gmd.de Wed Oct 15 17:05:12 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: MusiXTeX key change notation
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If you like another way, a more modern way, then you should
use \ignorenats whenever the signature remains positive or
negative in terms of MusiXTeX notation e.g:

\generalsignature5
...
\ignorenats\generalsignature3\changesignature
...
\ignorenats\generalsignature2\changesignature
...
\generalsignature{-3}\changesignature % 2 -> -3 without \ignorenats
...
\ignorenats\generalsignature{-2}\changesignature
...
\generalsignature0\changesignature    % -2 -> 0 without \ignorenats

From mutex-owner@mail2.gmd.de Thu Oct 16 08:01:16 1997
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	Thu, 16 Oct 1997 10:01:16 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199710160801.KAA25591@calvyn.puk.ac.za>
Subject: Re: New problem with my M-Tx input
To: barry@troy.la.platsol.com (Barry Gold)
Date: Thu, 16 Oct 1997 10:01:16 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9710151625.AA49989@troy.la.platsol.com> from "Barry Gold" at Oct 15, 97 09:25:13 am
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Barry Gold wrote:
> 
> 1. The heading is supposed to have 12 points of vskip between the
> first and second lines, but they print right next to each other.
> 
I don't understand MusiXTeX well enough to know why that happens,
but a fix is to use \line{\twelverm~} instead of \vskip 12pt.

> 2. The lyrics overlap the chords (\Uptext) from the next system down.
> Increasing the spacing (Space:) doesn't help, it just pushes the
> lyrics and everything else further down.  Is there a clean way of
> doing this, or should I just manually move the lyrics up with @2 on
> every paragraph?
> 
Not in every paragraph, just on the first.  @2 remains in effect
until modified by another @.  Actually on your score @4 looks better
than @2.

> 3. I tried putting in some forced beams, and the alignment between
> lyrics and notes went haywire.  
>
|This DEFINITELY must go in the M-Tx FAQ -- here is the reply I sent to
|Neil Killeen on the same topic:
|The aim of M-Tx is to make the standard way of doing things easy.
|Unfortunately this has the side effect of making non-standard ways
|a little more cumbersome than needed.
|
|In particular, I do not want the user to worry about indicating 
|when more than one note goes to a syllable.  So I use the standard
|convention that notes explicitly beamed or slurred together are
|sung to one syllable ('melisma' in musixlyr terminology).  This 
|pre-empts the use of forced beams so that they are no longer available 
|for cosmetic purposes.
|
|For the sake of those who nevertheless like an unbeamed look I
|provide the -b option.  All that this does is to remove the "unbeam"
|modifier from the notes passed to PMX, with the result that you get
|the default PMX beaming method.  PMX in its turn makes the standard
|way of beaming easy and forces you to do some work if you want
|non-standard beams.
|
|What you might do is what I suggest in Q* of the FAQ: run the thing
|through M-Tx with no forced beams, make a copy of the generated .pmx 
|file and edit it to put in the forced beams you need.  Since you have
|passed the stage when forced beams imply melismas, this will do what you
|want.  Now compare the two files using diff.  This utility produces a 
|patch file that allows you to transform either file into the other
|using patch.  When you change the M-Tx file, run its PMX file through 
|patch and it will make the same changes as before, which one hopes is 
|what you want.   diff/patch is a pair of standard Unix utilities but 
|there must be DOS clones in SimTel.


> 4. The key signature change to four sharps occurs in an otherwise
> empty pseudo-bar at the end of system 4.  
I'd code the last bar of system 4 thus:
\Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 || K+0+4 \Uptext{Chorus:}\ e8 f |
No blind rest, no meter change.  This is what the double-bar is for.

Those \Uptext's really bug me.  Maybe I'll get down to writing the
extension envisaged in 'Future Plans'.

HTH

Dirk

From mutex-owner@mail2.gmd.de Thu Oct 16 09:57:11 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199710160958.LAA26084@calvyn.puk.ac.za>
Subject: musixtex-T80.tar.gz permissions
To: mutex.gmd.de@calvyn.puk.ac.za
Date: Thu, 16 Oct 1997 11:57:11 +0200 (SAT)
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The file permissions in the above-mentioned file are all set to
user read-write only.  This is OK if you wish to install it in
your own home directory and don't want to let on that you have
such subversive and pornographic material ;-), but if you install
it in e.g. /usr/local/musixtex it is inconvenient.  As root you then
have to type:
  chmod -R a+r *
  chmod a+x * systems/*
to get the permissions right.

May I respectfully suggest to the creator of the file that if possible
the above permissions should be the standard ones?

Dirk



From mutex-owner@mail2.gmd.de Thu Oct 16 11:43:26 1997
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Date: Thu, 16 Oct 1997 13:43:26 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199710161143.NAA11694@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: musixtex-T80.tar.gz permissions
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Thu, 16 Oct 1997 11:57:11 +0200 (SAT)
> 
> The file permissions in the above-mentioned file are all set to
> user read-write only.  [...]

Thanks for the hint.

> May I respectfully suggest to the creator of the file that if possible
> the above permissions should be the standard ones?

Being not sufficiently trained as a unix user I always use an umask
so that I too have difficulties to read my own files :-)
This is to avoid world-writeable files.

I now modified the procedure which generates the tar-files as you
proposed it and run it for "tex" and "exa". Should I mark "install.sh" 
as x-able, too?

Werner

PS: The same has been done with the tar-files for MusicTeX
PPS: It's possible that these changes will not propagate automagically
     to the CTAN servers but with the next version because the
     tar-files always have the same time-stamp as the zip-files, 
     which normally have the same time-stamp as the zip-files on 
     Daniel Taupin's server.
PPPS: But maybe Robin will do it manually.

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From: Neil Killeen <nkilleen@atnf.CSIRO.AU>
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Date: Fri, 17 Oct 1997 00:19:43 +1000 (EST)
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> 
> Neil Killeen wrote:
> >
> > I think the convention is to always
> > lead with the naturalizing signs followed
> > by the new key signature
> 
> Daniel Taupin wrote:
> 
> When goin from sharps to flats, then one first naturalise the shaps. But
> when reducing the number of flats, the naturals are in the place the
> previous were.
> 

i have looked in a number of commercial printed scores
(they are for piano music)

when reducing the number of sharps and flats, they
all first print the natural signs followed by
the remaining sharps or flats.

Even an authority as high as Heinrich Schenker 
does it this way !

anyway it makes sense to me that this is the
right way since you are first alerted
that someting is changing and then told 
what it changed to for subsequent use.

i will try your suggestions werner. thanks.


cheers
Neil

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Date: Thu, 16 Oct 1997 12:25:32 -0700
From: barry@janus.la.platsol.com (Barry Gold)
Message-Id: <9710161925.AA60926@janus.la.platsol.com>
To: dirk@calvyn.puk.ac.za
Cc: mutex@gmd.de
In-Reply-To: <199710160801.KAA25591@calvyn.puk.ac.za> (message from Dirk Laurie on Thu, 16 Oct 1997 10:01:16 +0200 (SAT))
Subject: Re: New problem with my M-Tx input
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     > 4. The key signature change to four sharps occurs in an otherwise
     > empty pseudo-bar at the end of system 4.  
   I'd code the last bar of system 4 thus:
   \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 || K+0+4 \Uptext{Chorus:}\ e8 f |
   No blind rest, no meter change.  This is what the double-bar is for.

When I did that, the pickup bar for the chorus completely disappeared.
Btw, I had to add a rest before the double-bar, otherwise the measure
is incomplete:

%% \Uptext{Em}\ 
b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b ||
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

K+0+4 \Uptext{Chorus:}\ e8 f |

Here's the input as it now exists, with spacing=7 and @+5 on the lyrics.

Sharps: 2
Meter: 4/4
Style: SINGER
Systems: 6
Pages: 1
Space: 7

%% w7i
%% \\hoffset=.1in\voffset=.15in\font\ 
%% \\twelverm=cmr12\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\headline{\twelverm Xenofilkia \#55\hfill page 1014}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm THE SUNS SHALL NEVER SET ON SETI\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1996 by H. Paul Shuch\hfill}\ 
%% \\nobarnumbers\ 
@+5 b8 | \Uptext{Em}\ e- e e f g g f e | \Uptext{B}\ f f f f b-d4 b8 |
L: The Gi-ant SE-TI te-le-scopes we ty-pi-cally ap-ply At

d d d e f f e d | \Uptext{Em}\ e b e g b4 b-8 b |
L: a-ny time can on-ly see a mil-lionth of the sky.  So the

e e e f g g f e | \Uptext{Am}\ a e a b cd4 c8 |
L: chan-ces we'll be mis-sing a-ny sig-nal that is sent Are

%% \Uptext{Em}\ 
b a g b \Uptext{B}\ a g f4 | \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 r4b ||
L: rough-ly nine-ty nine point nine nine nine nine per-cent.

K+0+4 \Uptext{Chorus:}\ e8 f |
L: But when

%% \Uptext{E}\ 
g8 g f e \Uptext{B}\ f4 g8 f | \Uptext{A}\ e4 e8 a c4 b8 a |
L: Pro-ject Ar-gus grows to full strength, we will show That the

\Uptext{E}\ gd4 a8 b b g e | \Uptext{B}\ f2 \Uptext{E}\ ed4 b8
L: suns shall ne-ver set on SE-TI.  The

From mutex-owner@mail2.gmd.de Fri Oct 17 06:35:05 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: New problem with my M-Tx input
To: bgold@platinum.com
Date: Fri, 17 Oct 1997 08:35:05 +0200 (SAT)
In-Reply-To: <9710161925.AA60926@janus.la.platsol.com> from "Barry Gold" at Oct 16, 97 12:25:32 pm
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Barry Gold wrote:
> 
>      > 4. The key signature change to four sharps occurs in an otherwise
>      > empty pseudo-bar at the end of system 4.  
>    I'd code the last bar of system 4 thus:
>    \Uptext{Em}\ e8 b \Uptext{Am}\ g+ f8 \Uptext{Em}\ e4 || K+0+4 \Uptext{Chorus:}\ e8 f |
>    No blind rest, no meter change.  This is what the double-bar is for.
> 
> When I did that, the pickup bar for the chorus completely disappeared.
> Btw, I had to add a rest before the double-bar, otherwise the measure
> is incomplete:
> 
I should have said: make sure your PMX has been upgraded to 1.3.  Indeed in
1.2 the double bar could not appear in the middle of a measure.  

Dirk

From mutex-owner@mail2.gmd.de Fri Oct 17 11:42:14 1997
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From: Daniel Taupin <taupin@lps.u-psud.fr>
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The sources for my ec-plain format I posted several weeks ago were
wrong, since
it did not call the right accent macro files. This ec-plain format is
especially useful for MusiXTeX typesetters who do not want to use LaTeX.

It is now updated in

ftp://ftp.lps.u-psud.fr/pub/formats-src/ec-plain

The whole is also posted as a zip: ec-plain.zip

Note that is uses a specific series of fonts "ecmi*.mf/tfm" which
contain not only the cmmi* 128 characters but also upright greek
capitals (which were in CM fonts but no more in EC ones). Except
possible mistakes, all needed sources are porvided in this directory.

--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Fri Oct 17 17:05:26 1997
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Subject: size of newest release
To: mutex@gmd.de
Date: Fri, 17 Oct 1997 19:05:26 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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... just being curious:

why is the newest version of MusiXTeX THAT big?
The zip-files have to be split,
and you need almost double space ...

-Eckart

From mutex-owner@mail2.gmd.de Fri Oct 17 23:20:39 1997
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Eckart Begemann wrote:
> =

> ... just being curious:
> =

> why is the newest version of MusiXTeX THAT big?
> The zip-files have to be split,
> and you need almost double space ...
> =

> -Eckart

Because it contains a lot of new fonts needed to have dotted slurs.
-- =


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Oct 20 17:58:56 1997
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Date: Mon, 20 Oct 1997 19:58:56 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: WWW-Page on Music Engraving Conventions 
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This is the top page of a lot of pages concerning engraving music

   http://www.cc.colorado.edu/MU/Musicpress/


There is already a lot of information. Nevertheless the pages seem to 
be "under construction".

-- Werner

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From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: WWW-Page on Music Engraving Conventions 
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> This is the top page of a lot of pages concerning engraving music
> 
>    http://www.cc.colorado.edu/MU/Musicpress/
> 
> 
> There is already a lot of information. Nevertheless the pages seem to 
> be "under construction".

Last time I looked, there was not all that much info.  If you really want
to get educated on engraving, check out these books

Helene Wanske.  ``Musiknotation --- Von der Syntax des Notenstichs zum
EDV-gesteuerten Notensatz'', Schott-Verlag, Mainz 1988.ISBN 3-7957-2886-x.

Ted Ross. ``Teach yourself the art of music engraving and processing''
(3rd edition). Hansen House, Miami Beach, FLorida.

BTW, I have this alternate adrress for the Colorado page

	http://obenamots.cc.colorado.edu/Musicpress/engraving.html


Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen       | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Tue Oct 21 01:04:55 1997
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> From Werner.Icking@gmd.de Tue Oct 21 06:42:10 1997

> This is the top page of a lot of pages concerning engraving music
> 
>    http://www.cc.colorado.edu/MU/Musicpress/
> 
> 
> There is already a lot of information. Nevertheless the pages seem to 
> be "under construction".
> 
> -- Werner
> 

i think you left something out of the  address werner.

http://www.cc.colorado.edu/Dept/MU/Musicpress/

is what i had to use.   Looks an interesting site


Neil

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From: Dirk Laurie <dirk@wskdpl.puk.ac.za>
Message-Id: <199710211058.MAA22701@wskdpl.puk.ac.za>
Subject: MusiXTeX T.77 works, T.80 does not
To: mutex@gmd.de
Date: Tue, 21 Oct 1997 12:58:14 +0200 (SAT)
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I need to include musical examples into a Latex document, so I use
musixtex.sty.  Some of them have high slur numbers (produced by PMX)
but musixmad.tex pushes the dimension count above limit, so I have
by experiment found a stripped-down set of commands from it that do
only the slurs.  This combination of techniques has served me well
from T.67 to T.77.  On T.80, one of my examples now fails and I don't
understand MusiXTeX well enough to find out why.

In the hope that some of the more expert members of this list may
rise to the challenge, I give the file below.  On T.77 it works,
on T.80 it gives errors.  The pmx.tex file I use is the one that
comes with PMX 1.3.

Dirk Laurie

\documentclass[11pt]{article}
\usepackage{musixtex}
% Stripped-down version of MusiXMAD.tex 
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11

\let\@wloG\wlog
\def\wlog#1{}

\let\maxinstruments\nin@

\newdimen\s@xvii
\newdimen\s@xviii
\newdimen\s@xix
\newdimen\s@Yvii
\newdimen\s@Yviii
\newdimen\s@Yix
\newskip\s@avii
\newskip\s@aviii
\newskip\s@aix
\newtoks\s@svii \s@svii={x}
\newtoks\s@sviii\s@sviii={x}
\newtoks\s@six  \s@six={x}
\newcount\s@yvii
\newcount\s@yviii
\newcount\s@yix
\newcount\s@Nvii
\newcount\s@Nviii
\newcount\s@Nix
\newcount\s@zvii \s@zvii\maxdimen
\newcount\s@zviii\s@zviii\maxdimen
\newcount\s@zix  \s@zix\maxdimen

\newcount\a@svii \newcount\o@svii
\newcount\a@sviii\newcount\o@sviii
\newcount\a@six  \newcount\o@six

\newtoks\a@cvii  \a@cvii={{\z@}{\z@}{\z@}{\z@}}
\newtoks\a@cviii \a@cviii={{\z@}{\z@}{\z@}{\z@}}
\newtoks\a@cix   \a@cix={{\z@}{\z@}{\z@}{\z@}}

\newtoks\o@cvii
\newtoks\o@cviii
\newtoks\o@cix

\newtoks\m@tvii
\newtoks\m@tviii
\newtoks\m@tix

\let\wlog\@wloG

\catcode`\@=\catcodeat
% ---------------------------------------------------------------


\input musixcho
\input pmx
\textheight 240mm
\textwidth 160mm
\evensidemargin 0mm
\oddsidemargin 0mm
\topmargin -13mm

\begin{document}

\hskip -20mm
\begin{music}
\small
\sepbarrules
\normalmusicsize
\tracingstats=2\relax
\hsize=539pt
\vsize=740pt
\def\nbinstruments{2}
\setstaffs11
\setclef16
\setname1{ }
\setstaffs21
\setclef20
\setname2{ }
\generalsignature{ 2}%
\generalmeter{\meterfrac{3}{4}}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\readmod{netsoos1}
\setinterinstrument1{9\Interligne}%
\grouptop12\groupbottom11%
\setsongraise2{0\internote}%
\startpiece\addspace\afterruleskip%
\znotes&\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% bar  1
\def\NOTes{\vnotes2.83\elemskip}%
\def\NOTesp{\vnotes3.46\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\def\NOTEsp{\vnotes4.90\elemskip}%
\NOTes\ql{''E}\ql E\ql G\nextvoice\qu{'''B}\qu B\bigfl B\qu B&\ql g\ql g%
\ql e\nextvoice\qu{'b}\qu b\qu c\en%
% bar  2
\xbar
\NOTEs\hl{''F}\nextvoice\hu{'''A}&\hl d\nextvoice\hu{'d}\en%
\NOTes\ql{''F}\nextvoice\qu{'''A}&\ql d\nextvoice\qu{'a}\en%
% bar  3
\xbar
\NOTEs\hl{''E}\nextvoice\hu{'''B}&\hl d\nextvoice\hu g\en%
\NOTes\ql{''A}\nextvoice\qu{'''A}&\ql c\nextvoice\qu{'a}\en%
% bar  4
\xbar
\NOTEs\hl{''D}\nextvoice\hu{'''A}&\hl d\nextvoice\hu f\en%
\NOTes\ql{''D}\nextvoice\qu{'''A}&\ql d\nextvoice\qu f\en%
% bar  5
\xbar
\NOTEs\hl{''D}\nextvoice\bigsh{''G}\hu G&\hl b\nextvoice\hu e\en%
\NOTes\ql{''C}\nextvoice\qu{'''A}&\ql e\nextvoice\qu{'a}\en%
% bar  6
\xbar
\NOTes\islurd8{''B}\ql B\ts8E{-.8}\ql E\ql E\nextvoice\hu{'''A}\sk%
\bigsh{`G}\qu G&\islurd8f\ql f\ts8e{-.8}\ql e\ql d%
\nextvoice\isu8{'d}{.8}\qu d\\tslur8c\qu c\qu b\en%
\let\Endpiece=\endpiece%
% bar  7
\xbar
\NOTEsp\hlp{'''A}\nextvoice\hup{'''A}&\hlp c\nextvoice\hup{'a}\en%
\Endpiece
\end{music}
\end{document} 
 


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To: mutex@gmd.de
From: Ben Challis <bpc@minster.cs.york.ac.uk>
Subject: symbols in text
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Is there a proper way to include a symbol (in particular sharp/natural/flat)
within a line of text in a document. I have used the following extract to
print dynamic markings in this way:
\begin{music}\mf\end{music}
within a latex2e document and the result was fine. However, I realise that
this is probably an unorthodox usage and I can't find a way to repeat this
for other symbols. Anybody know a hack to get around this.

Ben Challis
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
*********************************


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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199710211240.OAA12983@sunick.gmd.de>
To: mutex@gmd.de, dirk@calvyn.puk.ac.za
Subject: Re: MusiXTeX T.77 works, T.80 does not
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> From: Dirk Laurie <dirk@wskdpl.puk.ac.za>
> Date: Tue, 21 Oct 1997 12:58:14 +0200 (SAT)
> 
> In the hope that some of the more expert members of this list may
> rise to the challenge, I give the file below.  On T.77 it works,
> on T.80 it gives errors.  The pmx.tex file I use is the one that
> comes with PMX 1.3.

From T.77 to T.80 I introduced dotted slurs. Therefore I had to
change musixadd and musixmad. So add to your example

  \newtoks\s@dvii
  \newtoks\s@dviii
  \newtoks\s@dix

and everything should again run well. I found this by comparing
version T.77 with version T.80 of musixadd.tex

Another trick is to replace the slur reference numbers in your example
from 8 to e.g. 5  (islur8->islur5, isu8->isu5, tslur8->tslur5) and
to do the same for beams, if there are any. 

It may help to ask Don for another allocation scheme for slurs and beams 
which uses reference numbers above 5 only when needed, so that including
musixadd.tex is done only when needed ;-(

-- Werner


PS: In addition:

[...]
> % Stripped-down version of MusiXMAD.tex 

It's MusixADD, not MusiXMAD - musixmad allows up to twelve instruments.

[...]
> \bigsh{`G}\qu G&\islurd8f\ql f\ts8e{-.8}\ql e\ql d%
> \nextvoice\isu8{'d}{.8}\qu d\\tslur8c\qu c\qu b\en%
> \let\Endpiece=\endpiece%

What does \\tslur8c mean? I had to correct it to \tslur8c.

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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bpc@minster.cs.york.ac.uk
Subject: Re: symbols in text
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> Date: Tue, 21 Oct 97 13:17:42
> From: Ben Challis <bpc@minster.cs.york.ac.uk>
> 
> Is there a proper way to include a symbol (in particular sharp/natural/flat)
> within a line of text in a document. [...]

Have a look at the SOURCE of the MusiXTeX documentation. There are a
lot of such usages e.g. \ccu1 in the \subsection{Easy selecting ...}
So it's always a good hint to look into musixdoc.tex.

So you may use \sh1 \na1 \fl1; use other numbers to shift the symbol.
Often you have to supply some space, because a lot symbols do not
advance the "cursor". Try ~\sh1~~ or use \hbox to ...{...}.


Another possibility for small tiny extracts within a line is:

blabla
{\let\extractline\hbox
\smallmusicsize\setsize1\tinyvalue\nobarnumbers\staffbotmarg0pt\stafftopmarg0pt
\settrebleclefsymbol1\empty\hbox{\startextract
\NOtes....\en
\zendextract}}~
blabla
{\let\extractline\hbox
\smallmusicsize\setsize1\tinyvalue\nobarnumbers\staffbotmarg0pt\stafftopmarg0pt
\settrebleclefsymbol1\empty\hbox{\startextract
\NOtes....\en
\zendextract}}~
blabla

Have a look at the forword of Bach's Suites for Cello solo where I used
small tiny extracts this way ( http://www.gmd.de/Misc/Music/scores/ )

-- Werner

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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: symbols in text
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Tue, 21 Oct 1997 10:53:58 -0400 (EDT)
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Ben Challis <bpc@minster.cs.york.ac.uk> wrote:

>Is there a proper way to include a symbol (in particular sharp/natural/flat)
>within a line of text in a document. I have used the following extract to
>print dynamic markings in this way:
>\begin{music}\mf\end{music}
>within a latex2e document and the result was fine. However, I realise that
>this is probably an unorthodox usage and I can't find a way to repeat this
>for other symbols. Anybody know a hack to get around this.
>

Ben:  Yes indeed, and this can be great fun.

I once developed a useful .Tex file I call "fonttest.tex", which I have
essentially included in this mailing... (the reader will have to
complete the exercise... :-).  Since fonts are fonts are fonts, they
can be named and used in any way that a Tex/Latex document would
be able to...  The only trick is to know what character to use
in your document.

For example, if you can say

\font\myfont=cmr10 scaled \magstep2

... then you can also say...

\font\mufont=\musix20

Notice that when you say {\myfont See this text.} you are really entering 
just a set of characters to Tex and they happen (for cmr10) to view as the
usual ASCII bunch we are used to seeing.  When one builds a specialized
font such as musix20, all that happens is that special characters are
mapped to some, or all, of the available font table positions.  Therefore,
typesetting {\mufont See this text.} is the same functional activity
for Tex, but the appearance and spacing corresponds to the bitmaps created by
the font associated with \musix20 for those characters.

The attached file example, (fonttest.tex) is a LaTex 2.09 file that
sets an example text, and then spews a combination of character codes
shown in roman font, along with their symbol in the font you name.
The original file has every character mapping (but it has been abbreviated
here to minimize this mailing.)  However, it illustrates what you want
to accomplish, I believe.  Notice that normal use is as follows for testing
(viewing) the font musix20: 

> latex fonttest
Enter the font TFM base name and scale:  musix20
..... tex runs to completion....

Now you just view or print fonttest.dvi as you normally would.
I have found this file to be particularly useful for previewing a font
and finding which \char?? I should use to get a symbol or other
character.

Hopes this opens new horizons in 'TeXing.

Joel Hunsberger
hunsberg@sqa1.si.com


%----- Begin File Example "fonttest.tex" -----------
\documentstyle{article}
% E.g.  cmr10 scaled \magstep2
\typein[\myfont]{Enter the font TFM base name and scale: }
\font\tf =\myfont
\pagestyle{empty}
\setlength{\textheight}{10.25in}
\setlength{\textwidth}{5.6in}
\hoffset=-1.6in
\voffset=-1.4in
\gdef\ftest#1#2#3{\mbox{(#1, #2\  is #3)}\ }
\gdef\k{\par\smallskip}
\begin{document}

\raggedright
This is a font test of {\large\bf \myfont}.
\tracinglostchars=1
\k
{\tf The quick brown fox jumps over the lazy dog.}
\k
{\tf THE QUICK BROWN FOX JUMPS OVER THE LAZY DOG.}
\k
{\tf The general appearance of this font is what you see here.  There may be
10 or 11 more lines, possibly more?  What we want is to just flow several
lines together to note how the font looks in a paragraph.  Although enough
text may be already here, we will try some different capital leters.  Maybe
M is good.  No N is the not the same as saying ``O''.  Quit writing as soon
as this line ends.}
\k
\ftest{0}{\char0}{{\tf \char0}}\
\ftest{1}{\char1}{{\tf \char1}}\
\ftest{2}{\char2}{{\tf \char2}}\
\ftest{3}{\char3}{{\tf \char3}}\
\ftest{4}{\char4}{{\tf \char4}}\
\ftest{5}{\char5}{{\tf \char5}}\
\ftest{6}{\char6}{{\tf \char6}}\
\ftest{7}{\char7}{{\tf \char7}}\
\ftest{8}{\char8}{{\tf \char8}}\
\ftest{9}{\char9}{{\tf \char9}}\
\ftest{10}{\char10}{{\tf \char10}}\
\ftest{11}{\char11}{{\tf \char11}}\
\ftest{12}{\char12}{{\tf \char12}}\
\ftest{13}{\char13}{{\tf \char13}}\
% [..snip...] I think you get the point... Replace all the missing
% pieces... by using (say) a simple BASIC program that cranks it out.
\ftest{249}{\char249}{{\tf \char249}}\
\ftest{250}{\char250}{{\tf \char250}}\
\ftest{251}{\char251}{{\tf \char251}}\
\ftest{252}{\char252}{{\tf \char252}}\
\ftest{253}{\char253}{{\tf \char253}}\
\ftest{254}{\char254}{{\tf \char254}}\
\ftest{255}{\char255}{{\tf \char255}}\

\end{document}
% end example file "fonttest.tex"


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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199710211531.RAA25853@calvyn.puk.ac.za>
Subject: Re: symbols in text
To: bpc@minster.cs.york.ac.uk (Ben Challis)
Date: Tue, 21 Oct 1997 17:31:25 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <1.5.4.16.19971021131849.25b7178e@minster.cs.york.ac.uk> from "Ben Challis" at Oct 21, 97 01:17:42 pm
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Ben Challis wrote:
> 
> Is there a proper way to include a symbol (in particular sharp/natural/flat)
> within a line of text in a document. I have used the following extract to
> print dynamic markings in this way:
> \begin{music}\mf\end{music}
> within a latex2e document and the result was fine. However, I realise that
> this is probably an unorthodox usage and I can't find a way to repeat this
> for other symbols. Anybody know a hack to get around this.
> 
I'm also waiting for a good answer -- in the meantime I use good old
plain TeX $\sharp$, $\natural$ and $\flat$.  For dynamic markings {\ppff mf}
is a little more efficient than the music environment.

Dirk

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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re: symbols in text - Oops, mistake corrected
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Tue, 21 Oct 1997 12:15:43 -0400 (EDT)
In-Reply-To: <m0xNfh1-0002qcC@sqa1.si.com> from "Joel Hunsberger" at Oct 21, 97 10:53:58 am
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Earlier today I wrote:

> \font\mufont=\musix20

This is not correct, and should have been...

\font\mufont=musix20

Just one of those "Bad TeX days" I figure.

Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Tue Oct 21 16:59:39 1997
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Re; symbols in text
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Ben Challis wrote:

>Is there a proper way to include a symbol (in particular sharp/natural/flat)
>within a line of text in a document. I have used the following extract to
>print dynamic markings in this way:
>\begin{music}\mf\end{music}
>within a latex2e document and the result was fine. However, I realise that
>this is probably an unorthodox usage and I can't find a way to repeat this
>for other symbols. Anybody know a hack to get around this.

If it is for accidentals in running text, what I have done is B$\flat$,
C$\sharp$, A$\natural$.  Anything between the $...$ is in math mode.
Sharps, flats and naturals are available as math symbols.  It has worked
for me.  I don't even need to go into \begin{music}...\end{music}.

Hope this helps.

David Bobroff
bobroff@centrum.is



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In order to avoid problems with people transferring the distrib on
diskettes,
1. No more PK's in musixtex.zip (nov 600 kbytes)
2. PKs are in musix300.zip, musix360.zip, musix600.zip.
 Only musix600.zip is more than 1.44 Mbytes.
3. musixpk*.zip removed.

--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Thu Oct 23 13:40:36 1997
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Date: Thu, 23 Oct 97 12:11:54
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Many thanks to those who responed to my enquiry. I am now able to process my
document in the way I had hoped for.
Ben Challis
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
*********************************


From mutex-owner@mail2.gmd.de Tue Oct 28 07:30:05 1997
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From: Paul Seelig <pseelig@goofy.zdv.Uni-Mainz.de>
Newsgroups: local.mutex
Subject: [FYI] Rosegarden-2.1 released
Date: 28 Oct 1997 08:30:05 +0100
Organization: En Casa, S.A.
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From the ANNOUNCE file in the source code distribution:
-------------begin----------------------------------------------
Rosegarden is a free integrated musical notation editor and MIDI
sequencer for Unix/X platforms, with specific support for Linux PCs
and SGI IRIX workstations.  Binaries for these machines are available
by ftp, together with (we hope) fairly portable sources.

Version 2.1 is now available.  A number of new features have been
introduced since the previous 2.0.1 release.

See the Rosegarden Web page at http://www.bath.ac.uk/~masjpf/rose.html
for more information, or anonymous ftp to ftp.maths.bath.ac.uk,
directory /pub/dream/ROSE .
-------------end-----------------------------------------------------

And from the "changelog":
-------------begin----------------------------------------------
Output to OpusTeX and PMX are now included as an alternative to
MusicTeX.  The OpusTeX output in particular needs more work, but
from now on it'll probably get more development time than the
MusicTeX code.
-------------end-----------------------------------------------------

An unofficial binary for Debian Linux is available from
"ftp://ietpd1.sowi.uni-mainz.de/pub/debian/unofficial/" as
"binaries/rosegarden_2.1-0.1_i386.deb".  The original source code
along with the Debian specific customization diffs is available at the
same site from the "source" subdirectory.

                                Thank you, P. *8^)
-- 
   Paul Seelig                         pseelig@goofy.zdv.uni-mainz.de
   African Music Archive - Institute for Ethnology and Africa Studies
   Johannes Gutenberg-University   -  Forum 6  -  55099 Mainz/Germany
   My Homepage in the WWW at the URL http://www.uni-mainz.de/~pseelig 

From mutex-owner@mail2.gmd.de Sat Nov  1 06:53:26 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199711010653.RAA16703@molly.cs.monash.edu.au>
Subject: extracting examples & LaTeX
To: mutex@gmd.de (mutex)
Date: Sat, 1 Nov 1997 17:53:26 +1100 (EST)
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Hi,

Another question: How do you integrate MusixTeX output with LaTeX?
I want to include short examples in a LaTeX document, and I found
the \startextract & \endextract commands; but couldn't work out
how to combine the documents, including the initialisation stuff.

Ideally, I'd like to use M-Tx to generate the examples.

Thanks
-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"    People of the same trade seldom meet together, even for
merriment and diversion, but the conversation ends in a conspiracy
against the public, or in some contrivance to raise prices.	"

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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199711030526.QAA03627@molly.cs.monash.edu.au>
Subject: M-Tx Beams
To: mutex@gmd.de (mutex)
Date: Mon, 3 Nov 1997 16:26:17 +1100 (EST)
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Hi,

I'm sorry to be monopolising this mailing list with my questions. :)
But here's another: NOT urgent  :)

M-Tx follows the vocal music custom to use beams only when the notes are
sung to the "same single syllable" [p5-6, section 4 of doc]. Can you turn
this off?

The manual suggests using [ and ] for a PMX "forced beam" to over-ride this,
but I found it insisted on stretching a syllable out over all the beamed
notes (like a slur). This upset the lyric-melody correspondance.

I found a workaround: edit the .pmx file directly. But it would be nice
if M-Tx did this...


-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"    People of the same trade seldom meet together, even for
merriment and diversion, but the conversation ends in a conspiracy
against the public, or in some contrivance to raise prices.	"

From mutex-owner@mail2.gmd.de Mon Nov  3 08:56:24 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199711030856.KAA04986@calvyn.puk.ac.za>
Subject: Re: extracting examples & LaTeX
To: bren@cs.monash.edu.au (Brendan Macmillan)
Date: Mon, 3 Nov 1997 10:56:24 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199711010653.RAA16703@molly.cs.monash.edu.au> from "Brendan Macmillan" at Nov 1, 97 05:53:26 pm
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Brendan Macmillan wrote:
> 
> Another question: How do you integrate MusixTeX output with LaTeX?
> I want to include short examples in a LaTeX document, and I found
> the \startextract & \endextract commands; but couldn't work out
> how to combine the documents, including the initialisation stuff.
> 

The M-Tx manual is prepared as follows:

  1. Put the examples through M-Tx and PMX until the TeX files are OK.
  2. Edit one of the TeX files as follows:
   - Remove all \input instructions and put them in the LaTeX file
       instead. 
   - Remove the \nopagenumbers line.
   - Remove \startmuflex from the line on which it appears.
     (Not necessary, only saves warnings.)
   - Remove the lines \vfill\eject\endmuflex and \bye.
  3. Make a patch file using the Unix utility diff between the original
     TeX file and the one I edited.
  4. Apply the patch to all the other examples using the Unix utility
     patch.
  5. \usepackage{musixtex} in the LaTeX file.
  6. Input each example between \begin{music} and \end{music}.

On my MSDOS system I don't have patch/diff so I use a little Pascal program
to automate the editing.

HTH

Dirk

From mutex-owner@mail2.gmd.de Mon Nov  3 10:49:11 1997
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From: Daniel Taupin <taupin@lps.u-psud.fr>
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To: Dirk Laurie <dirk@calvyn.puk.ac.za>, mutex list <mutex@gmd.de>
Subject: Re: Largemusicsize bug
References: <199711031119.NAA05579@calvyn.puk.ac.za>
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Dirk Laurie wrote:

> I'm using MusixTeX T.80, and encounter the following problem:
>
>
>
> ! Undefined control sequence.
> <argument> \ppff
>                  {sf}
> \rlap #1->\hbox to\z@ {#1
>                          \hss }
> l.9 \NOtes\zchar{-5}{\ppff{sf}}
>                                \cl{'c}\en%
>
> If I use "largemusicsize" instead of "Largemusicsize" the problem
> goes away.
>
> Dirk Laurie

The bug is easy to correct: look in musixtex.tex and search for
\ppfftwentyfour. You will see that in one place there are two
\let\ppfftwentyfour, the first one leading to ...\magstep2, the second
one the \magstep3. Obviously, the second should be \let\ppfftwentynine.

To be corrected in next release.


--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Mon Nov  3 17:56:51 1997
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Date: Mon, 3 Nov 97 10:50:45
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To: mutex@gmd.de, Brendan Macmillan <bren@cs.monash.edu.au>
From: Ben Challis <bpc@minster.cs.york.ac.uk>
Subject: Re: extracting examples & LaTeX
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This is something that I have had to do many times now and to save the
fingers of all those who kindly answered all my enquiries before - the best
source for all kinds of examples of extracts used in a document is the .tex
file for the Musixtex manual (musixdoc.tex). I have included a basic start
up that I have been using below, it's not too exiting but it serves the
purpose. I use latex2e hence the \documentclass{xxxxx} at the beginning. In
fact musixdoc.tex uses 'musixdoc.sty' which sets up everything nicely for
documents, the only problem for me with this was that the extracts tend to
stray into the left hand margin. A good solution would be to hack this file
around until it suits your document specs. Anyway, for latex 2.09 use
something like:

\documentstyle[musixdoc]{article}
\begin{document}
\begin{music}
\begin{extract}
%% 
%%
\end{extract}
\end{music}
\end{document}

for latex2e use:

\documentclass{article}
\usepackage{musixdoc}
\begin{document}
\begin{music}
\begin{extract}
%% 
%%
\end{extract}
\end{music}
\end{document}

/* example using latex2e*/
How I do my docs - probably not perfect but I cannot fault it for
desired output:

\documentclass{article}
\usepackage{musixtex}%%this is the only difference
\begin{document}

\begin{music}
\def\freqbarno{5}
\instrumentnumber{1}
\generalsignature{-2}%
\generalmeter\meterC
\hsize=120mm
\parindent 0pt

\startpiece
%% GROUP 1 %%
\Notes \lsf c\lst d\qu d\zcharnote N{\f}\hsk\lsf e\lpz f\qu f\hsk\en
\Notes \ds \lsf d\cu d\ds \itenl0 a\lsf b\cu b\en\bar
\NOTes \tten0\hu b\en
\NOtes \qu d\qu f\en\bar
\NOtes \ql k\qu f\en
\Notes \zcharnote N{\mf}\ds \slur ddd4\cu d \ibu0c{1}\qb0 c\tbu0\itenl0
c\qb0 d\en\bar
\NOTEs \tten0\wh d\en\bar
%% GROUP 2 %%
\Notes \zcharnote N{\f}\slur ged3\ds\cl{_k}\Dqbu
jg\ibl0i0\isluru0k\qb0{iij}\tslur0i\itenl0 g\tqb0g\en\bar
\NOtes \tten0\qu g\en
\Notes \Dqbu ig\ibl0i0\isluru0k\qb0{iij}\tslur0i\tqb0g\en\bar
\NOtes \slur kgu2\ql k\en
\Notes \Dqbl jg\isluru0k\ibl0i0\qb0{iij}\tslur0i\itenl0 g\tqb0g\en\bar
\barno=16
\NOTEs \tten0\wh g\en
\setrightrepeat
\endpiece
\end{music}

\begin{center}Fig. 4\end{center}
\begin{center}\parbox{6cm}{\footnotesize Example extract of common musical
notation.}\end{center}

\end{document}

REMEMBER:
When using a bibtex
 latex musixflx latex
 becomes
 latex bibtex musixflx latex latex

I hope this all works okay for you. 

Regard
Ben Challis
-- 
*************************************************************************
* Ben Challis			| Tel : +44 (0)1904 432765 		*
* Dept. Computer Science	| web : http://www.cs.york.ac.uk/~bpc/	*
* York				| fax : +44 (0)1904 432767		*
* YO1 5DD			|****************************************
*********************************


From mutex-owner@mail2.gmd.de Tue Nov  4 15:43:53 1997
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Subject: MusiXTeX version T.81
New version T.81 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)

 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)

Daniel Taupin

-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Te'l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------




From mutex-owner@mail2.gmd.de Wed Nov  5 12:27:39 1997
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Date: Wed, 5 Nov 1997 12:27:39 +0000 (   )
From: Aleksei Makarov <makarov@iitam.omsk.net.ru>
To: music TeX <mutex@gmd.de>
Subject: Q: mtx, visible meter change
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Hi!

Compiling such input:

---------------------
Flats: 1
Meter: 6/4
My: Voices A,B; Clefs G; Vocal
Style: My

a4 c c b8 a g4 c |
f4 a a g8 f g4 a |
LB: blah-blah blah-blah-blah blah-blah 

%%m2424

a c 
f r    
LB: blah
-------------------

I get the file:

-------------------
    1 1 6 4 6 4  0.00000 -1 1 1 20 0

    t
    ./
    \\auxsetsongraise1{0\internote}\
    % Paragraph 2 line 6 bar 1
    \\\setlyrics{21}{blah-blah blah-blah-blah blah-blah }\
    \\\assignlyrics1{}\
    \\\auxlyr{\assignlyrics1{21}}\
    \AL\ f44 \AL\ a4 \AL\ a4 \AL\ g8a \AL\ f8a \AL\ g4 \AL\ a4 | //
    \nolyr\ a44 \nolyr\ c4 \nolyr\ c4 \nolyr\ b8a \nolyr\ a8a \nolyr\ g4 \nolyr\ c4 | /

    % Paragraph 3 line 10 bar 2
1>  m2424
    \\\auxlyr{\assignlyrics1{}}\
    % Paragraph 4 line 12 bar 2
    \\\setlyrics{21}{blah}\
    \\\auxlyr{\assignlyrics1{21}}\
2>  m2400 
    \AL\ f4 r4 //
    \nolyr\ a4 \nolyr\ c4 /
--------------------

and pmx does blind meter change.
If I use 'Meter: 2/4' line instead of '%%m2424' 
as described in  tutorial (p. 5),
mtx reports errors.

Is there any examples of usage explicit meter change? 

I use Linux, M-Tx 0.24, PMX-1.3

Excuse my english.
Thanks.

A. Makarov








From mutex-owner@mail2.gmd.de Fri Nov  7 08:10:41 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199711070810.KAA30328@calvyn.puk.ac.za>
Subject: M-Tx (Musix from Text) 0.30 uploaded
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M-Tx is a music-from-text language designed to look as much as possible
like printed music.  To give you an idea of what that means, here is some
typical input code (users of M-Tx 0.24 may skip to "What's New?"):

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
Space: 9

%% w190m
@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
@^+5   rp   | b4 e d | c2d    | a4 d c  | ( b2d | b2 ) g4     | f2d     |]
LT:           Net soos ek is, O Lam van God, ek kom. 
    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
------------------------------------------------------------------------
             

Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "%% w190m" means "Issue PMX command 'w190m' here" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the alto, tenor and bass voice lines.
  6. Notes and ornaments are written in the PMX language developed by 
     Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "@^+5" means "set this line of lyrics above the stave and 5 internotes 
     higher than usual."
 10. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.30 from
    http://www.gmd.de/Misc/Music/musixtex/software/mtx
(or if you prefer FTP)
    ftp://ftp.gmd.de/music/musixtex/software/mtx
The score is in netsoos.gif or netsoos.ps.gz.  To make your own scores, 
you will need README.030 and mtx030.zip, and depending on your
printer either mtx030lj.zip or mtx030ps.zip.   The latter two
are optional, since mtx030.dvi is in mtx030.zip (but it does use
MusiXTeX fonts).

To run M-Tx, you need MusiXTeX 0.73 or later (I used 0.80) and PMX 1.3
(the current version).  You also need musixlyr.tex 1.02 (newer than the
current version) which by kind permission of Rainer Dunker is included
in mtx030.zip.
 

            What's new?

- Bar symbols | in C: lines to reduce need for ~ spacers
- Braces/parentheses option to distinguish between s and t slurs.
- PMX: preamble option still supported but barely documented.
  Use of %% encouraged instead.
- Meter: preamble option now also accepts PMX-formatted meter words.
- Comma shortcut for 2:1 rhythms.
- Voltas, key changes may now appear in any voice, but only have an
  effect in the bottom voice.  Meter changes MUST still appear in
  all voices.  
- No more modfiles: use Type 4 TeX strings
- Word on C: line may start with ? for arpeggio of whole chord
- (( {{ [[ to inhibit melismas
- = in note resets octave to default 
- Uptext lines U:
     @^ @v @=4 @+4 @-4 in U: line similar to lyrics adjustments
       (U: @v actually is Downtext)
     @< and @> uptext adjustments for horizontal positioning
     # and % characters for sharp/flat translated to TeX
     Words like mp, sf etc set in \ppff font
     !\bf !\it. etc defines font for uptext, remains in effect till changed
     Note and bar spacers ~ and | as on C: lines
  -x compiler option
- Many new diagnostic messages.
- User's Manual substantially expanded.
- TeX and M-Tx sources for manual included.
- Uses Type 4 inline TeX instead of .mod files.
- Corrected bugs in code and documentation: many.
- FAQ file greatly expanded thanks to Joel Hunsberger, Barry Gold,
    Neil Killeen and others.

Happy music typesetting!

Dirk Laurie    




From mutex-owner@mail2.gmd.de Fri Nov  7 08:17:26 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Q: mtx, visible meter change
To: mutex@gmd.de
Date: Fri, 7 Nov 1997 10:17:26 +0200 (SAT)
In-Reply-To: <Pine.LNX.3.95.971105122502.587B-100000@scout.iitam.omsk.net.ru> from "Aleksei Makarov" at Nov 5, 97 12:27:39 pm
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Aleksei Makarov wrote:
> 
> 
> Hi!
> 
> Compiling such input:
> 
> ---------------------
> Flats: 1
> Meter: 6/4
> My: Voices A,B; Clefs G; Vocal
> Style: My
> 
> a4 c c b8 a g4 c |
> f4 a a g8 f g4 a |
> LB: blah-blah blah-blah-blah blah-blah 
> 
> %%m2424
> 
> a c 
> f r    
> LB: blah
> -------------------
> 
> I get the file:
> 
> -------------------
>     1 1 6 4 6 4  0.00000 -1 1 1 20 0
> 
>     t
>     ./
>     \\auxsetsongraise1{0\internote}\
>     % Paragraph 2 line 6 bar 1
>     \\\setlyrics{21}{blah-blah blah-blah-blah blah-blah }\
>     \\\assignlyrics1{}\
>     \\\auxlyr{\assignlyrics1{21}}\
>     \AL\ f44 \AL\ a4 \AL\ a4 \AL\ g8a \AL\ f8a \AL\ g4 \AL\ a4 | //
>     \nolyr\ a44 \nolyr\ c4 \nolyr\ c4 \nolyr\ b8a \nolyr\ a8a \nolyr\ g4 \nolyr\ c4 | /
> 
>     % Paragraph 3 line 10 bar 2
> 1>  m2424
>     \\\auxlyr{\assignlyrics1{}}\
>     % Paragraph 4 line 12 bar 2
>     \\\setlyrics{21}{blah}\
>     \\\auxlyr{\assignlyrics1{21}}\
> 2>  m2400 
>     \AL\ f4 r4 //
>     \nolyr\ a4 \nolyr\ c4 /
> --------------------
> 
> and pmx does blind meter change.
> If I use 'Meter: 2/4' line instead of '%%m2424' 
> as described in  tutorial (p. 5),
> mtx reports errors.
> 
> Is there any examples of usage explicit meter change? 
> 
> I use Linux, M-Tx 0.24, PMX-1.3
> 
You must not put a meter change instruction in a %% line which goes
straight to PMX, since M-Tx cannot see it.  Instead, you must put
it in EVERY music line.  So the last five lines of your input should
be replaced by:

2/4 a c
2/4 f r
LB: blah

or

m2424 a c
m2424 f r
LB: blah

Dirk

From mutex-owner@mail2.gmd.de Sat Nov  8 12:09:16 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199711081209.XAA11806@molly.cs.monash.edu.au>
Subject: M-Tx \emph{lyric} & bar-alignment
To: mutex@gmd.de (mutex)
Date: Sat, 8 Nov 1997 23:09:16 +1100 (EST)
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Hi,

Is there any way to emphasis certain lyrics in M-Tx? The escapes to
PMX seem to work on a whole line, rather than a word.

I tried editing the .tex file, but it didn't like this.


Also, is there a way to make bars line up vertically? Bars
appear to adjust to accomodate their lyrics, and so are often
different in successive systems.

Thanks!

-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"    People of the same trade seldom meet together, even for
merriment and diversion, but the conversation ends in a conspiracy
against the public, or in some contrivance to raise prices.	"

From mutex-owner@mail2.gmd.de Sat Nov  8 17:56:50 1997
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Message-Id: <199711081756.EAA16572@elara.atnf.CSIRO.AU>
To: mutex@gmd.de, bren@cs.monash.edu.au
Subject: Re: M-Tx \emph{lyric} & bar-alignment
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> Hi,
> 
> Is there any way to emphasis certain lyrics in M-Tx? The escapes to
> PMX seem to work on a whole line, rather than a word.
> 

i just tried this with M-Tx version 0.30, which Dirk just
released.  i don't know what happenes with earlier versions.

I find that a line such as

L: \it It is \bf very late and I \it should be in bed


ends up writing lyrics which have the font applied *only* 
to the word that succeeds the font.  In this case,
"It", "very" and "should"

Looking at the .tex the whole line is encased in the font
but muisxlyr appears to do someting to it which gives the above
behaviour.  

> 
> Also, is there a way to make bars line up vertically? Bars
> appear to adjust to accomodate their lyrics, and so are often
> different in successive systems.
> 

dunno.  i don't think this is a common  music type setting practice
owing to the changing nature of successive bars in general.


neil


From mutex-owner@mail2.gmd.de Sat Nov  8 20:07:27 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx \emph{lyric} & bar-alignment
To: mutex@gmd.de (mutex)
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Brendan Macmillan <bren@cs.monash.edu.au> wrote

>Is there any way to emphasis certain lyrics in M-Tx? The escapes to 
>PMX seem to work on a whole line, rather than a word.

I'll let Dirk handle that one.

>Also, is there a way to make bars line up vertically? Bars 
>appear to adjust to accomodate their lyrics, and so are often 
>different in successive systems.

I have spent literally hundreds of hours working out algorithms and 
coding in PMX to make horizontal spacing come out in a way that most 
people find most pleasing to the eye.  There is no straightforward way 
in PMX to override that, there never will be, and I can't imagine why 
you would ever want to.

--Don Simons

From mutex-owner@mail2.gmd.de Sun Nov  9 22:50:45 1997
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>,
        "'Brendan Macmillan'"
	 <bren@cs.monash.edu.au>
Subject: AW: M-Tx \emph{lyric} & bar-alignment
Date: Sun, 9 Nov 1997 23:50:45 +0100
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Hello Brendan,

>Is there any way to emphasis certain lyrics in M-Tx? The escapes to PMX
>seem to work on a whole line, rather than a word.
>
>I tried editing the .tex file, but it didn't like this.

Using musixlyr (as with M-Tx), style changes have to be expressed by the
\lyrlayout{...} macro. Please take the following as an example:

\setlyrics{words}
          {These \lyrlayout{\bf}two words\lyrlayout{\rm} get bold.}

Note that the change to \bf style has to be cancelled explicitly by
switching back to \rm (or whatever style was in effect before) and that
no spaces must occur between the \lyrlayout{...} commands and the words
they are attached to.

Since I don't use M-Tx so far, please don't ask me how the can be
accomplished within the M-Tx language. As a resort, editing the
resulting  .tex file should work.

>Also, is there a way to make bars line up vertically? Bars
>appear to adjust to accomodate their lyrics, and so are often
>different in successive systems.

I would be surprised about lyrics that influence the music spacing. If
you have evidence for this, could you please send an example to me?

Regards,

Rainer
>

From mutex-owner@mail2.gmd.de Mon Nov 10 08:17:54 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199711100818.KAA15809@calvyn.puk.ac.za>
Subject: Re: AW: M-Tx \emph{lyric} & bar-alignment
To: rainer.dunker@munich.ixos.de (Rainer Dunker)
Date: Mon, 10 Nov 1997 10:17:54 +0200 (SAT)
In-Reply-To: <c=DE%a=_%p=ixos%l=BAROCCO-971109225045Z-22678@barocco.ixos.de> from "Rainer Dunker" at Nov 9, 97 11:50:45 pm
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Brendan Macmillan asked:
> 
> >Is there any way to emphasis certain lyrics in M-Tx? The escapes to PMX
> >seem to work on a whole line, rather than a word.
> >
> >I tried editing the .tex file, but it didn't like this.
> 
Rainer Dunker replied:

> Using musixlyr (as with M-Tx), style changes have to be expressed by the
> \lyrlayout{...} macro. Please take the following as an example:
> 
> \setlyrics{words}
>           {These \lyrlayout{\bf}two words\lyrlayout{\rm} get bold.}
> 
...
> Since I don't use M-Tx so far, please don't ask me how the can be
> accomplished within the M-Tx language. As a resort, editing the
> resulting  .tex file should work.
> 
M-Tx passed all lyrics straight through to musixlyr, so in M-Tx you would
write

L: These \lyrlayout{\bf}two words\lyrlayout{\rm} get bold.

Neil Killeen wrote:

> I find that a line such as

> L: \it It is \bf very late and I \it should be in bed

> ends up writing lyrics which have the font applied *only* 
> to the word that succeeds the font.

Actually, it would apply only to the *syllable* that succeeds the font.


From mutex-owner@mail2.gmd.de Mon Nov 10 19:46:51 1997
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Date: Mon, 10 Nov 1997 11:46:51 -0800
From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9711101946.AA32459@troy.la.platsol.com>
To: mutex@gmd.de
Subject: is my problem with triplets?
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X-Charset: LATIN1
X-Char-Esc: 29

Sharps: 1
Meter: 4/4
Style: SINGER
Bars/line: 2
Space: 7

%% w7i
%% \\hoffset=.1in\voffset=.15in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\chorus{\sevtrm\bf{Chorus:}}\ 
%% \\headline{\twelverm Xenofilkia \#57\hfill page 1128}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FOOTLESS AND FANCY-FREE\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by Mara, Harry, and Madeline Brener\hfill}\ 
%% \\nobarnumbers\ 
@+6 d+8 | \Uptext{G}\ b b b a a g d+ | \Uptext{C}\ e e e4x3 d c \Uptext{G}\ d4.d |
L: I've al-ways had two left feet, but now I'm missing a right; Ex-

\Uptext{C}\ e4x3 e e e4x3 d c d8 b b b | \Uptext{A}\ a a b cs \Uptext{D}\ d4d d8 |
L: cept for a cou-ple re-place-ments made of car-bon and gra-phite.  Un-


	Here's the results I got:

prepmx footless 
M-Tx 0.29 (Music from TeXt) <21 October 1997>
Writing to footless.pmx
Explicit duration probably needed in next paragraph: WARNING on line
19
PrePMX done.  Now run PMX.
{barry@troy:161} !pm
pmx footless 
=== RUNNING PMXA (1st pass) ===
 Please type a basename (<9 characters, no dots): 


 ERROR in line 28, bar 2: Bar line marker out of place

     v
 ... a b8a a8a a8a g8a d8a+ \Uptext{C}\ e8a e8a e4x3 d c \Uptext{G}\ d4d d8a | 

     ^
STOP 1 statement executed


	And here's the start of the generated pmx.  It seems odd to me
	that prepmx didn't generate a bar after the pickup note (d8a5).


---
\immediate\write10{M-Tx 0.29 (Music from TeXt) <21 October 1997>}
\let\:=\relax\input musixtex\:\sepbarrules
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
---
1 1 4 4 4 4  3.50000 1 0 2 20 0

0
./
\\staffbotmarg7\Interligne\
\\setsongraise1{0\internote}\
% Paragraph 2 line 7 bar 0
 w7i
 \\hoffset=.1in\voffset=.15in\ 
 \\font\twelverm=cmr12\ 
 \\font\sevtrm=cmr17\ 
 \\def\emdash{\thinspace---\thinspace}\ 
 \\def\chorus{\sevtrm\bf{Chorus:}}\ 
 \\headline{\twelverm Xenofilkia \#57\hfill page 1128}\ 
 \\line{\twelverm ~\hfill}\ 
 \\line{\twelverm ~\hfill}\ 
 \\line{\twelverm FOOTLESS AND FANCY-FREE\hfill}\ 
 \\line{\twelverm Words and Music \copyright~1997 by Mara, Harry, and Madeline Brener\hfill}\ 
 \\nobarnumbers\ 
\\\setlyrics{11}{I've al-ways had two left feet, but now I'm missing a right; Ex-}\
\\\assignlyrics1{11}\
\\\auxlyr{\assignlyrics1{}}\
\\\setsongraise1{6\internote}\ d8a5 \Uptext{G}\ b8a b8a b8a a8a a8a g8a d8a+ \Uptext{C}\ e8a e8a e4x3 d c \Uptext{G}\ d4d d8a | /

% Paragraph 3 line 22 bar 2
\\\setlyrics{11}{cept for a cou-ple re-place-ments made of car-bon and gra-phite.  Un-}\
\Uptext{C}\ e4x3 e e e4x3 d c d8a b8a b8a b8a | /

From mutex-owner@mail2.gmd.de Tue Nov 11 07:02:33 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199711110702.JAA06560@calvyn.puk.ac.za>
Subject: Re: is my problem with triplets?
To: barry@troy.la.platsol.com (Barry Gold)
Date: Tue, 11 Nov 1997 09:02:33 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9711101946.AA32459@troy.la.platsol.com> from "Barry Gold" at Nov 10, 97 11:46:51 am
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Barry Gold wrote:

> Meter: 4/4
...
> %% \\nobarnumbers\ 
> @+6 d+8 | \Uptext{G}\ b b b a a g d+ | \Uptext{C}\ e e e4x3 d c \Uptext{G}\ d4.d |
...

The first bar after the upbeat is of length 7/8.  M-Tx should have diagnosed
an error, not a warning.  

BTW, M-Tx 0.30 coding reads (spaces optional, included here for readability):

U:  ~     G              | C ~ ~    ~ ~ G
@+6 d+8 | b b b a a g d+ | e e e4x3 d c d4.d |

Unfortunately the 0.30 error detection is no better than 0.29 in this case.

Dirk

From mutex-owner@mail2.gmd.de Tue Nov 11 14:55:37 1997
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From: john@minster.cs.york.ac.uk
Date: Tue, 11 Nov 97 10:26:38
Message-Id: <swordfish.879244781@minster.cs.york.ac.uk>
To: mutex@gmd.de (TeX music mailing list)
Subject: A traditional manual page for musixflx(1)
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I enclose the source of a traditional UNIX manual page for Ross Mitchell's
musixflx(1) program. Pardon me if I'm wrong, but I couldn't find one in
the MusiXTeX distribution. Lots of people still like the `one brief quick-
reference page per command' that UNIX manual pages afford, and I'm told
that tools exist to translate UNIX manual page sources into GNU Info,
HTML, XML etc. if that's what you prefer.

I'm sure someone out there could do a better job of the manual page than I
have, and I offer my effort as the basis of an improved version. (I'm not
a frequent MusiXTeX user, and don't subscribe to this mailing list.)

John A. Murdie
Department of Computer Science
University of York
England
------------------------------------------------------------------------------
.TH MUSIXFLX 1 MusiXTeX
.SH NAME
musixflx \- line-breaking program for MusiXTeX
.SH SYNOPSIS
.B musixflx
[
.B dmfs
]
.I file
.SH DESCRIPTION
.I Musixflx
processes the
.F .mx1
file output when processing the MusiXTeX document named on the command line
(the
.F .tex
suffix is assumed). It
produces a line-break table, and writes it as the file
.IR file .mx2.
This file is then subsequently used by MusiXTeX to produce
correctly-laid out output.
.SH OPTIONS
.TP
.B d
Write debug information to standard error.
.TP
.B f
Write debug information to a file.
.TP
.B s
Write the computed lines to standard output.
.SH SEE ALSO
.nf
``MusiXTeX - Using TeX to write polyphonic or instrumental music'',
Daniel Taupin, Ross Mitchell and Andreas Egler,
1997.
.SH DIAGNOSTICS
It returns 0 if successful, 3 if an error has been detected.
.SH BUGS
The user interface is chatty and un-UNIX-like.


From mutex-owner@mail2.gmd.de Tue Nov 11 16:22:41 1997
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Date: Tue, 11 Nov 1997 08:22:41 -0800
From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9711111622.AA23562@troy.la.platsol.com>
To: mutex@gmd.de
Subject: line/page control in m-tx & pmx
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I tried to force a page break, but apparently got something wrong.
Here's the output I got

% prepmx footless 
M-Tx 0.29 (Music from TeXt) <21 October 1997>
Writing to footless.pmx
Explicit duration probably needed in next paragraph: WARNING on line 30
Explicit duration probably needed in next paragraph: WARNING on line 33
Explicit duration probably needed in next paragraph: WARNING on line 36
Explicit duration probably needed in next paragraph: WARNING on line 42
Explicit duration probably needed in next paragraph: WARNING on line 45
Explicit duration probably needed in next paragraph: WARNING on line 48
PrePMX done.  Now run PMX.
% pmx footless 
Deleting footless.tex
Deleting footless.log
=== RUNNING PMXA (1st pass) ===
 Please type a basename (<9 characters, no dots): 

  Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10
  Bar 11  Bar 12
 WARNING! You forced a line break at line  7 but npage = 0.  Continue?
fmt: end of file
apparent state: unit 5 (unnamed)
last format: (a)
lately reading sequential formatted external IO
/autohome/barry/bin/pmx: 50138 Abort - core dumped

		----------------
		Here's my input

Sharps: 1
Meter: 4/4
Style: SINGER
Bars/line: 2
Space: 7

%% h10i
%% w7i
%% \\hoffset=.1in\voffset=.15in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm\bf{Chorus:}}\ 
%% \\headline{\twelverm Xenofilkia \#57\hfill page 1128}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FOOTLESS AND FANCY-FREE\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by Mara, Harry, and Madeline Brener\hfill}\ 
%% \\nobarnumbers\ 
@+6 d+8 | \Uptext{G}\ b b b a a g4 d8+ |
L: I've al-ways had two left feet, but

\Uptext{C}\ e e e4x3 d c \Uptext{G}\ d4.d | \Uptext{C}\ e4x3 e e e4x3 d c d8 b b b |
L: now I'm mis-sing a right; Ex-cept for a cou-ple re-place-ments made of

\Uptext{A}\ a a b cs \Uptext{D}\ d4d d8 | \Uptext{C}\ b8 b b8.a a8 g4 d+8 |
L: car-bon and gra-phite.  Un-til I lost the wal-ker, they

\Uptext{C}\ e8 f g e d4.d |
L: called me "Hop-A-long". Now

\Uptext{C}\ g8 g g e \Uptext{G}\ d b b b | a a b cs d4.d |
L: Peo-ple won't you join in a one leg-ged mar-ching song? I

\Uptext{G}\ b1 b b8 b a a g4 d+1 d | \Uptext{C}\ e8 e1 e e4x3 d c d4.d \Uptext{G}\ |
L: have-n't a leg to stand on, but I don't have a foot in the grave.  Back

\Uptext{C}\ e8.e e c \Uptext{B}\ d b4 b1 b |
L: on my own two feet now, if the

\Uptext{A}\ a8 a d cs \Uptext{D}\ d4.d |
L: new one will be-have.  I'll

L7P2 \Uptext{G}\ b8 b b a a g4 d+8 | \Uptext{C}\ e8 f g e \Uptext{D}\ f4.f |
L: put my best foot for-ward; don't call me cy-ni-cal; I'm

\Uptext{C}\ e4 \Uptext{D7}\ f8.f \Uptext{G}\ g g \Uptext{Am}\ a8.a |
L: foot-less and fan-cy free, and

\Uptext{G}\ b8 g \Uptext{D}\ a f \Uptext{G}\ ( g2 | g0 ) ||
L: I can't kick at all.

		----------------------------
		And here's the generated PMX

---
\immediate\write10{M-Tx 0.29 (Music from TeXt) <21 October 1997>}
\let\:=\relax\input musixtex\:\sepbarrules
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
---
1 1 4 4 4 4  0.50000 1 0 2 20 0

0
./
\\staffbotmarg7\Interligne\
\\setsongraise1{0\internote}\
% Paragraph 2 line 7 bar 0
 h10i
 w7i
 \\hoffset=.1in\voffset=.15in\ 
 \\font\twelverm=cmr12\ 
 \\font\sevtrm=cmr17\ 
 \\def\emdash{\thinspace---\thinspace}\ 
 \\def\hy{\thinspace-}\ 
 \\def\chorus{\sevtrm\bf{Chorus:}}\ 
 \\headline{\twelverm Xenofilkia \#57\hfill page 1128}\ 
 \\line{\twelverm ~\hfill}\ 
 \\line{\twelverm ~\hfill}\ 
 \\line{\twelverm FOOTLESS AND FANCY-FREE\hfill}\ 
 \\line{\twelverm Words and Music \copyright~1997 by Mara, Harry, and Madeline Brener\hfill}\ 
 \\nobarnumbers\ 
\\\setlyrics{11}{I've al-ways had two left feet, but}\
\\\assignlyrics1{11}\
\\\auxlyr{\assignlyrics1{}}\
\\\setsongraise1{6\internote}\ d8a5 \Uptext{G}\ b8a b8a b8a a8a a8a g4 d8a+ | /

% Paragraph 3 line 24 bar 2
\\\setlyrics{11}{now I'm mis-sing a right; Ex-cept for a cou-ple re-place-ments made of}\
\Uptext{C}\ e8a e8a e4x3 d c \Uptext{G}\ d4d d8a | /

%Bar 3
\Uptext{C}\ e4x3 e e e4x3 d c d8a b8a b8a b8a | /

% Paragraph 4 line 27 bar 4
\\\setlyrics{11}{car-bon and gra-phite.  Un-til I lost the wal-ker, they}\
\Uptext{A}\ a8a a8a b8a c8as \Uptext{D}\ d4d d8a | /

%Bar 5
\Uptext{C}\ b8a b8a b8ad a1a a8a g4 d8a+ | /

% Paragraph 5 line 30 bar 6
\\\setlyrics{11}{called me "Hop-A-long". Now}\
\Uptext{C}\ e8a f8a g8a e8a d4d d8a | /

% Paragraph 6 line 33 bar 7
\\\setlyrics{11}{Peo-ple won't you join in a one leg-ged mar-ching song? I}\
\Uptext{C}\ g8a g8a g8a e8a \Uptext{G}\ d8a b8a b8a b8a | /

%Bar 8
a8a a8a b8a c8as d4d d8a | /

% Paragraph 7 line 36 bar 9
\\\setlyrics{11}{have-n't a leg to stand on, but I don't have a foot in the grave.  Back}\
\Uptext{G}\ b1a b1a b8a b8a a8a a8a g4 d1a+ d1a | /

%Bar 10
\Uptext{C}\ e8a e1a e1a e4x3 d c d4d d8a \Uptext{G}\ | /

% Paragraph 8 line 39 bar 11
\\\setlyrics{11}{on my own two feet now, if the}\
\Uptext{C}\ e8ad e1a e8a c8a \Uptext{B}\ d8a b4 b1a b1a | /

% Paragraph 9 line 42 bar 12
\\\setlyrics{11}{new one will be-have.  I'll}\
\Uptext{A}\ a8a a8a d8a c8as \Uptext{D}\ d4d d8a | /

% Paragraph 10 line 45 bar 13
\\\setlyrics{11}{put my best foot for-ward; don't call me cy-ni-cal; I'm}\
L7P2 \Uptext{G}\ b8a b8a b8a a8a a8a g4 d8a+ | /

%Bar 14
\Uptext{C}\ e8a f8a g8a e8a \Uptext{D}\ f4d f8a | /

% Paragraph 11 line 48 bar 15
\\\setlyrics{11}{foot-less and fan-cy free, and}\
\Uptext{C}\ e4 \Uptext{D7}\ f8ad f1a \Uptext{G}\ g8a g8a \Uptext{Am}\ a8ad a1a | /

% Paragraph 12 line 51 bar 16
\\\setlyrics{11}{I can't kick at all.}\
\Uptext{G}\ b8a g8a \Uptext{D}\ a8a f8a \Uptext{G}\beginmel\ g2 s | /

%Bar 17
\endmel\ g0 s Rd
 /


From mutex-owner@mail2.gmd.de Tue Nov 11 17:20:41 1997
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Date: Tue, 11 Nov 1997 09:20:41 -0800
From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9711111720.AA58353@troy.la.platsol.com>
To: mutex@gmd.de
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Never mind.  I realized that I was still using the initial "Bars/line"
in the preamble instead of the "Pages" and "Systems".  So I guess
PMX couldn't manage a page break when I hadn't told it to use more than
one page.

Now, for my next trick....

Since the sheet music is going to overflow onto a second page, I'd
like to be able to attach the rest of the lyrics, after the last
system.  Preferably in PlainTeX or LaTeX or something else relatively
simple.

I had trouble doing that back when I was setting directly in MusiXTeX,
so any hints on how to do that now that I have even more preprocessors
would be appreciated.

Btw, I hope all these questions from clueless newbies like myself are
going into a future version of the manual or into a FAQ.

From mutex-owner@mail2.gmd.de Tue Nov 11 21:35:04 1997
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From: dsimons@logicon.com (Don Simons)
Subject: PMX/M-Tx FAQ (Was Re: line/page control in m-tx & pmx)
To: mutex@gmd.de
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barry@troy.la.platsol.com (Barry Gold) wrote

>Btw, I hope all these questions from clueless newbies like myself are 
>going into a future version of the manual or into a FAQ.

Well, they are going into the mutex mailing list archives.  I 
personally have not been saving such inquiries, even when the are 
obviously related to PMX rather than M-Tx.  But in this particular 
case, from the PMX standpoint, I believe the PMX warning message 
should be sufficient to point to the source of the problem.  It may be 
that M-Tx terminology differs enough to make the PMX message unclear, 
but that moves this out of the realm of a PMX-problem.

If you, Barry, or anyone else out there cares to compile a FAQ on 
these matters, I have absolutely no objection, and would be willing to 
review it, and I'd guess that Werner would be happy to post it/them on 
his server.  I would rather not do it myself, simply because of the 
time and attention it would take away from other activities.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Nov 12 07:12:21 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Music examples imported into LaTeX (was Re: line ...)
To: barry@troy.la.platsol.com (Barry Gold)
Date: Wed, 12 Nov 1997 09:12:21 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9711111720.AA58353@troy.la.platsol.com> from "Barry Gold" at Nov 11, 97 09:20:41 am
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Barry Gold wrote:
> 
> Since the sheet music is going to overflow onto a second page, I'd
> like to be able to attach the rest of the lyrics, after the last
> system.  Preferably in PlainTeX or LaTeX or something else relatively
> simple.
> 
The M-Tx 0.30 distribution contains the sources used to make the
User's Manual.  You could use essentially the same technique for
making a document such as you describe, i.e. once you have got your
sheet music the way you like it, put it through tex2ex or its
equivalent and import it into a LaTeX document.   In principle
there is nothing to stop you from making a whole book of songs
this way, complete with title page, Table of Contents etc.
Personally I use it to get some nice readable fonts like New Century
Schoolbook for the lyrics instead of Computer Modern (nothing against
CM in principle, but it is a little too anaemic for the bad lighting
that seems to be the norm for choir venues). 

I haven't myself tried this with multipage music examples, so tex2ex
probably does some wrong things in that case.

Dirk

From mutex-owner@mail2.gmd.de Sat Nov 15 18:07:51 1997
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From: dsimons@logicon.com (Don Simons)
Subject: DC/EC fonts with PMX
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Is anybody using DC/EC fonts with PMX?  I recently tried to build in 
that capability, but I don't use the fonts myself, so I'd appreciate 
some feedback.

--Don Simons

From mutex-owner@mail2.gmd.de Mon Nov 17 12:42:39 1997
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Subject: Including M-Tx examples in LaTeX
To: dirk@calvyn.puk.ac.za (Dirk Laurie)
Date: Mon, 17 Nov 1997 23:42:39 +1100 (EST)
Cc: mutex@gmd.de
In-Reply-To: <199711070810.KAA30328@calvyn.puk.ac.za> from "Dirk Laurie" at Nov 7, 97 10:10:41 am
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Dirk helped me out with how to include .tex files generated by M-Tx
in a LaTeX document.

Dirk wrote a pascal program to convert the .tex file to a .ex file,
but without a pascal compiler, I tried diff and patch as suggested.
Finally, I wrote my first sed script to do it. Hope someone needs it!
[NOTE: tested with previous version; not the one just released.
This is for a unix system.]

FILE: tex2ex.sed
/input/ D
/nopagenumbers/ D
/startmuflex/  s_\\startmuflex__
/endmuflex/ D
/bye/	D

You can run it like this -

FILE tex2ex:
sed -f tex2ex.sed $1.tex > $1.ex

Don't forget:
chmod a+x tex2ex

And this fits neatly into Dirk's makefile:
%.ex: %.mtx
	prepmx $*
	echo $* | pmxa
	pmxb
	tex2ex $*
	rm pmxtex.* $*.pmx

-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"What is bought with money or with goods is purchased by labour as much
as what we acquire by the toil of our own body."

From mutex-owner@mail2.gmd.de Wed Nov 19 10:48:49 1997
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Date: Wed, 19 Nov 1997 12:48:49 +0200
From: Daniel Taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.82
New version T.82 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)

Daniel Taupin



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Wed Nov 19 23:08:48 1997
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Subject: musixlyr problem
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Hi all, 

I use musixlyr 1.02 <13 May 1997> and I had a little problem with this.
When I did not \forcelyrhyphenstrue and the syllables were too close
for a hyphen between them, there was no hyphen printed. But the 
syllables did not close up, and this gap in the middle of the word
did not look nice. I just fixed this with a change in musixlyr.tex
in the macro \@lyric.
Here is my new \@lyric :

--------------------------------------------------------------------
\def\@lyric#1#2{%
  % Parameter:
  % #1: 1 -> Bindestrich initiieren; kein Verl.-Strich, auch wenn verlangt
  %     0 -> kein Bindestrich
  % #2: Text
  \evtl@offset
    % Alles Folgende ist Argument fuer obiges \evtl@offset:
    {\the\csname llay@\text@name\endcsname% Layoutkontext abrufen
     \lyr@processingtrue
     \setbox\lyr@box=\hbox{#2}%
     \setbox\lyr@hyphen@box=\hbox{\lyrhyphenchar}%
     % Zwischenraum zu voriger Silbe ermitteln:
     \get@lyrspace
     \ifleftlyr\else
       % Silbe zentriert -> Zwischenraum entspr. kleiner:
       \advance\y@v by -0.5\wd\lyr@box%
       \advance\y@v by 0.5\qn@width%    halbe Notenkopfbreite dazu
     \fi
     % Bindestrich von voriger Silbe anhaengig?
     \expandafter\ifnum\csname zwr@\text@name\endcsname = 1%
       % Minimalzwischenraum entsprechend aendern:
       \ifforcelyrhyphens
         % Min. Zw.-R. mindestens so breit wie Bindestrich:
         \ifdim\minlyrspace < \wd\lyr@hyphen@box
           \minlyrspace=\wd\lyr@hyphen@box
         \fi
       \else
         % Kein Zwischenraum noetig:
         \minlyrspace=0pt\relax
       \fi
     \fi
     % Zwischenraum zu klein?
     \ifdim\y@v < \minlyrspace
       % Silbe um Differenz nach rechts verschieben:
       \lyr@shift=\minlyrspace
       \advance\lyr@shift by -\y@v
       % Zwischenraumbreite = geg. Minimum:
       \y@v=\minlyrspace
     \else
       % Wenn Bindestrich vorhanden, aber nicht gefordert ist und der % This
       % Zwischenraum kleiner als die Bindestrichbreite ist, dann wird% is the
       % der Zwischenraum = 0 gesetzt                           % new part
       \expandafter\ifnum\csname zwr@\text@name\endcsname = 1%  %
         \ifforcelyrhyphens%                                    % 
         \else%                                                 %
           \ifdim\y@v < \wd\lyr@hyphen@box%                     %
             \advance\lyr@shift by -\y@v%                       %
           \fi%                                                 %
         \fi%                                                   %                  
       \fi%                                                     %     
     \fi
     \rlap{%
       \hskip\lyr@shift
       {\ifleftlyr
          \aftergroup\rlap% linksbuendig
        \else
          \aftergroup\qlrlap% zentriert
        \fi}%
       % Alles Folgende ist Argument fuer obiges \qlrlap bzw. \rlap:
       {% Ist von voriger Silbe noch ein Bindestrich anhaengig?
        \expandafter\ifnum\csname zwr@\text@name\endcsname = 1%
          % Bindestrich nur setzen, wenn Platz genug vorhanden:
          \ifdim\y@v < \wd\lyr@hyphen@box\else
            \print@hyphen
          \fi
        \fi
        \ifshowlyrshift
          % Mit Rechteck Wortverschiebung zeigen:
          \llap{\vrule width \lyr@shift height \ht\strutbox}%
        \fi
        % Wort setzen:
        \unhcopy\lyr@box%
        % Startposition des nachfolgenden Zwischenraums festhalten:
        \getcurpos
        \advance\y@v by \lyr@shift
        \ifleftlyr
          \advance\y@v by \wd\lyr@box%
        \else
          \advance\y@v by 0.5\wd\lyr@box%
          \advance\y@v by 0.5\qn@width%    halbe Notenkopfbreite dazu
        \fi
        % Startposition setzen:
        \global\csname stp@\text@name\endcsname=\y@v
        % Bindestrich gefordert?
        \if 1#1%
          \expandafter\gdef\csname zwr@\text@name\endcsname{1}%
        \else
          % Verlaengerungs-Strich gefordert?
          \if@strich
            \expandafter\gdef\csname zwr@\text@name\endcsname{2}%
          \else
            % Nichts gefordert:
            \expandafter\gdef\csname zwr@\text@name\endcsname{0}%
          \fi
        \fi}}}}
----------------------------------------------------------------

It would be good if Rainer can include this in his next release
of musixlyr.

hope this helps somebody

Sebastian

**************************************
Mail: sc2@inf.tu-dresden.de
WWW: http:\\www.inf.tu-dresden.de\~sc2
**************************************


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From: David Bobroff <bobroff@centrum.is>
Subject: examples on a line
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I am trying to put two short examples on the same line to save a bit of
vertical space.  I tried putting them together in an \hbox but the second
one came out WAY outside the page. (I'm using Plain)

How do I do this?

Thank you,

David
bobroff@centrum.is



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Subject: PMX and figures for MusiXTeX
To: mutex@gmd.de
Date: Fri, 21 Nov 1997 20:16:18 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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hello, ProMusiXperts!

I have collected a few  questions/suggestions/'curiousnesses':

After having a rest with any MusiXTeXing for some while
I am getting acquainted with PMX since yesterday:
I am glad to experience its capability,
especially to handle
figured bass.
Thanks to Don Simons and his supporters for constructing
this miraculous program!
(I also thank you for that Allemande by M.Weckmann ...,
could you send me the other movements, too? :-)

1) I think it would be very useful it the precedures PMX uses to locate
   the figures could be transferred to MusiXTeX 
   (or rather to some extra-package).
   
2) I even think it might be worth making it possible to put figures
   not only in the lowest staff but in any staff, as it can be seen
   in, say, JSB's StMatthew's Passion: Two choruses, each with its
   own figuring.
     Maybe this is no problem, if you just use the macros
   \Figu{}{}, I don't know: Is it?

3) Talking of \Figu{}{}: What does the 'u' stand for?  
    (Or is it just the rest of 'Figure' minus 're'?)
   What does the 'fsm' in \fsmfl stand for?
   And why are those accidentals \sharpfig etc.
   ca 1 unit lower than the figures?

4) As I understand those continuo-macros are prepared to put the
   accidentals alsways just in *front* of the figure they refer to,
   as it is in the case of notes, too. But I am quite accustomed to
   the habit that they stand immediately after their figures.
   Truely both manners exist, and I don't mind to read the other way,
   but still it would be nice if both ways were possible. Possible?
     
5) There are also a number of 'shortcuts' for special combinations
   of accidentals with figures: crossing out a number at a certain
   spot raises it a 'semitone'. In French music there even exist
   different spots to cross the figure '5': One means the
   'false five' (diminished fifth), the other one the augmented one.
   I append here a file which shows how I hacked these symbols in
   LaTeX2e. I am not saying: "Add these macros to MusiXTeX". 
   It is just to see what those figures look like: Maybe you could
   write more professional flexible macros to achieve the same result.
     Actually the best way would probably be to include them in some
   musixfonts by some metafont-file, 
   but I have never done that before ...

%NeedsLaTeX2e!!   
%some special figures 
\def\ncd{\newcommand}
\ncd{\shtwo}{$2$\kern-0.4ex\raisebox{-0.25ex}[\height][\depth]{$\scriptscriptstyle+$}}
\ncd{\shfour}{$4$\kern-0.5ex\raisebox{0.2ex}{$\scriptscriptstyle +$}}
\ncd{\shfive}{$5$\kern-0.6ex\raisebox{1ex}[\height][\depth]{$\scriptscriptstyle+$}}
\ncd{\shsix}% erhoehte Sechs
   {6\kern-1.04ex\raisebox{0.9ex}{$\scriptscriptstyle\backslash$}\hspace{0.32ex}}
\ncd{\shseven}% erhoehte Sieben
   {7\kern-1.04ex\raisebox{0.9ex}{$\scriptscriptstyle\slash$}\hspace{0.3ex}}
\ncd{\flsfour}{4\kern-0.9ex\raisebox{0.5ex}{$\scriptstyle\backslash$}}   
\ncd{\flsfive}{5\kern-0.9ex\raisebox{-0.1ex}{--}}
\ncd{\flsseven}{7\kern-0.85ex\raisebox{0.4ex}{$\scriptscriptstyle\backslash$}}

6)  *If* you provide the PMX-figured-bass-macros separate in some package
    it would also be nice - I think - to provide a possibility to adjust
    the size of the figures, 
    similar to \smallmusicsize and \normalmusicsize ...

    And concerning PMX itself I would like to ask:
7)    Which is the reason for pmxa not to accept a parameter on the
    Commandline?  ('pmxa  pmx-file')

8)  ... and: What's wrong with the following file?
    pmxa  accepts it without any errors.
    But pmxb tells me some strange error concerning the
    pmxtex.dat-File. I forgot the number of the errormessage,
    but it deals somehow with the end of that file, as if it
    does not have a proper end. (But it does have a finite length ...)
    Which is my problem really?

%   The following is this *.pmx-file causing trouble when pmxb is run:
%nvoices, ninst mtrnumlog  mtrdenlog   mtrnumprt mtrdenprt upbeatmtrnum  inisignature
  2  1   4  4   0  6    0    1
%  npages  nsystems  musicsize  fracindent  (% of \hsize)
  0    2    20   0.07
%Namen der Instrumente:
1.
%clefs: bass, treble
bt
%*.tex Datei ins laufende Verzeichnis:
./
h
Hausaufgabe
g43 f 6 e 6 d 6 |
c2 6 x146 b2 7 x146 |
a2 7 x146 g8 9 d+ g 68 a1 g |
f1 7 e f 6 d e 7 d e 6 a- d8 4 a 6 x115 d-  d+ |
e8 6  d1 e f8 5 e1 f g8 9 a 7 x116 b8 b- |
c8 9 a 3 x112 d 47 d- 3 g2  / /
%END of this file 
 
     The intended output is a few bars of figured bass without any
     notes in the part of the right hand.

9)  A question concerning only MusiXTeX on itself:
    Using smallmusicsize I discover that the noteheads are not
    centered exactly on (or between) the lines of the staves.  
    I made this experience several times, honestly. 
      The tiny noteheads are not centered exactly, either,
    according to my experience.
    Any suspects, hints?
    Maybe I should give you the source code, so you can just tell me
    that it *does* work on your computer.
    I will send it by separate mail, so you save time browsing through
    this mail.

Now, I am sorry for this long mail, 
but now you are done with it ... :-)
If you have read until here I am grateful for your patience.

Best regards!

Eckart Begemann

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Subject: my source file
To: mutex@gmd.de
Date: Fri, 21 Nov 1997 20:23:24 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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%NEEDS LATEX2e unless you modify it ...
\documentclass[a4paper,draft,twoside,notitlepage]{article}
\usepackage{german}
\usepackage{musixtex}\nobarnumbers\smallmusicsize
\pagestyle{headings}
\newcommand{\currSem}{ws97}
\newcommand{\StdHinw}[2][\currSem]{\ifx#1\currSem\rightline{\sf\footnotes=
ize #2}\nopagebreak\fi}
\newcommand{\Tcl}{{Tenor-Clausel}}
\newcommand{\Dcl}{{Discant-Clausel}}
\newcommand{\Bcl}{{Bass-Clausel}}
\newcommand{\Acl}{{Alt-Clausel}}
\newcommand{\Cad}{{Kadenz}}
\newcommand{\No}{N\raisebox{0.6ex}{\underline{o}}\ }
\newcommand{\neu}{\textbf}
\newcommand{\nam}{\textsc}

\begin{document}
\section{Clauselbildungen}
 \StdHinw{1. Stunde (15.~Oktober 1997)}
 Intervalle hoeren.
 kleine Septime?
 Mit der kleine Septime assoziieren wir fast unwillkuerlich die Auf"|loes=
ung
 des oberen Tones abwaerts zur grossen Sext:
 Was ist das? "`Quartvorhalt mit Quinte in der Unterstimme ohne Grundton.=
"'
 Eine komplizierte Beschreibung:=20
 Ist es sinnvoll, einen so elementaren, fundamentalen Vorgang=20
 zu beschreiben, indem man erklaert, es fehle etwas, naemlich der
 Grundton? Was ist es wirklich?
=20
 Die beiden melodischen "`Elementarereignisse"' sind wahrlich fundamental=
 fuer die
 mehrstimmige Musik des Abendlandes.
 Es handelt sich um die
 Tenor-Clausel und die Discant- oder Sopran-Clausel:
 \index{Clausel!Tenor}\index{Clausel!Sopran}\index{Clausel!Discant}
 Die \neu{Tenor-Clausel} erreicht die Finalis
 im Schritt einer grossen Sekunde abwaerts.
 Komplementaer dazu erreicht die \neu{Discant-Clausel}
 die Finalis im Schritt einer kleinen Sekunde aufwaerts.
 Zwar suggeriert die Namensgebung mit Absicht eine Zuordnung
 auf das "`substantielle"' Stimmenpaar Tenor bzw.\ Sopran,
 die nach der alten Tradition das Geruest des Satzes bilden
 und seinen Modus bestimmen,
 aber mit dem Zurueckweichen dieses Denkens geht diese Notwendigkeit
 ebenso verloren: die Clauseln koennen in
 \emph{jeder} Stimme erscheinen.
 Die \neu{Finalis}\index{Finalis}
 ist der Schlusston (\neu{Ultima})\index{Ultima}
 dieser Clauseln und zugleich der
 Grundton im Sinne der Funktionstheorie,
 nach ihm wird die \Cad ebene benannt:
 "`Kadenz in D\nolinebreak(-dur)"'. Auf der Ultima befinden sich
 \Tcl\ und \Dcl\ also \emph{im Einklang!}

 Liegt die \Tcl\ im Bass, so spricht
 \nam{Johann David Heinichen} von der
 \neu{tenorisierenden Cadenz}\index{Cadenz!tenorisierend};
 liegt die \Dcl\ im Bass, so spricht er entsprechend von
 der \neu{discantisierenden Cadenz}\index{Cadenz!discantisierend}.
 Auch die Begriffe
 \neu{Clausula tenoricans (in fundamento)}\index{Clausula!tenoricans}
 und
 \neu{Clausula canticans (in fundamento)}\index{Clausula!canticans}
 sind dafuer im Schwange.

 Der vorletzte Ton in der Clauselbildung
 wird \neu{Penultima}, der vorvorletzte \neu{Antepenultima}
 genannt. Wir benoetigen diese Begriffe um einen Konflikt
 zwischen Tenor- und Discant-Clausel zu beschreiben,
 der in den meisten Clauselsituationen wahrgenommen wird und
 der sich in der
 \neu{Synkopation} der Discant-Clausel aeussert:
 \index{Synkopation!der Discant-Clausel}

 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw e\tten0\hu k\hu{^j}\enotes\bar
    \NOTEs\zw d\wh k\enotes\setdoublebar
  \endextract
 \end{music}
 Mit dem Auftreten der Penultima der Tenor-Clausel
 auf relativ schwerer Zeit
 bildet sich ein dissonantes Intervall zwischen
 Tenor- und Sopran-Clausel: In diesem Spannungsverhaeltnis
 gibt es eine klare "`Rollenverteilung"'.
 Der schwache Ton ist naemlich die Antepenultima der Discant-Clausel,
 denn er muss abwaerts aufgeloest werden \emph{und} vorbereitet sein.

 Diesen Prozess loest der starke Ton, naemlich die Penultima
 der \Tcl\ aus: Er ist der
 dissonanz\neu{ausloesende} Ton.
 Dagegen ist die Antepenultima der \Dcl\ passiv:
 Sie erleidet, auf schwerer Zeit zu einem
 \neu{dissonierenden} Ton zu werden,
 der \neu{auf"|loesungsbeduerftig} ist.

 Mit einem alten Begriffspaar werden die Rollen dieses
 Kraeftespiels auch mit den Worten
 "`agens"' (\Tcl) und "`patiens"' (\Dcl) beschrieben.
 Diese Begriffe erklaeren angemessen, was bei der Synkope
 der \Dcl\ vor sich geht und wie=20
 es zu dem "`Komplemtaerrhythmus"' kommt: Die schwache Stimme
 muss naemlich (auf schwacher Zeit) \neu{vorbereitet} sein,
 sonst kann sich die starke Stimme nicht vor ihr profilieren.
 Die Synkope ist ein Ornament und verleiht der Kadenz staerkeres
 Gewicht. Im Rahmen einer nur fluechtigen Kadenz kann daher
 die Synkope der \Dcl\ fehlen: Dann spricht man von der
 \neu{Clausula simplex}\index{Clausula!simplex}
 im Gegensatz zur bisher
 besprochenen
 \neu{Clausula formalis}, \index{Clausula!formalis}
 der die  synkopierte \Dcl\ eignet.

 Ultima und Penultima der Clauseln sind also genormt,
 und im Rahmen einer Clausula formalis ist darueber hinaus auch
 die Antepenultima der \Dcl\ genormt.

 \medskip
 Uebrigens kann die \Tcl\ auch im Halbtonschritt gehen,
 wenn gleichzeitig die \Dcl\ im Ganztonschritt die Finalis erreicht.

 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw{_e}\tten0\hu k\hu j\enotes\bar
    \NOTEs\zw d\wh k\enotes\setdoublebar
  \endextract
 \end{music}
 Diese Clauselbildung wird als
 \neu{prhygischer Halbschluss}\index{Halbschluss!phrygischer}
 oder \neu{Mi-Clausel}\index{Mi-Clausel}\index{Clausula!in mi}
 bezeichnet.
 Beide Clauselbildungen sind grundsaetzlich als gleichberechtigt anzusehe=
n:
 Sie unterscheiden sich nur in ihren Akzidentien --
 der oben dargestellte Konflikt hat auch im Rahmen der Mi-Clausel statt.
=20
 \StdHinw{2. Std. (22.~Oktober 1997)}
 Auch die \Bcl \index{Bass-Clausel}\index{Clausel!Bass-}
 befindet sich auf der Ultima im Einklang mit=20
 \Dcl\ und \Tcl: Sie erreicht die Finals im Quintsprung abwaerts
 (daher urspruenglich der Name "`Cadentia"') oder ebensogut
 im Quartsprung aufwaerts.
=20
 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw a\zw e\tten0\hu k\hu{^j}\enotes\bar
    \NOTEs\zw K\zw d\wh k\enotes\setdoublebar
  \endextract
 \end{music}
 Liegt die \Bcl\ im Bass, so heisst die \Cad\ eine
 \neu{Clausula perfecta}\index{Clausula!perfecta},
 tenorisierende und discantisierende \Cad en dagegen heissen
 \neu{Clausula semiperfecta}\index{Clausula!semiperfecta}:
 Ihre Gliederungsfaehigkeit ist nicht ganz so ausgepraegt.
=20
 Tatsaechlich dienen die Clauselbildungen zur Gliederung eines
 Musikstueckes. Daher sind sie fuer ein besseres Hoerverstaendnis,
 also fuer die Gehoer-Bildung
 von so herausragender Bedeutung.%
    \footnote{Es ist ein schoenes Zusammentreffen,
    dass sich die Bedeutung des Wortes "`Cadentia"'
    auch auf das Abfallen des Spannungsbogens,=20
    auf das Sinken der Atemkurve beziehen laesst.
    So trifft das Wort wohl seine tiefere Bedeutung
    und ist unabhaengig von der tatsaechlichen Bewegungsrichtung
    der \Bcl.}
   =20
 Die Kunst eines guten Komponisten zeigt sich in der=20
 subtilen Abstufung seiner \Cad bildung:
 Werden alle \Cad ansaetze vollendet, so entsteht leicht
 der Eindruck von Kurzatmigkeit, und der Hoerer fuehlt sich durch
 kurze Spannungsboegen und haeufige Neuansaetze nach
 den \Cad en enttaeuscht.
 Das Mittel, mit Hilfe dessen dies verhindert wird,
 heisst \neu{\Cad-Imperfektion}:
 \index{|Cad-Imperfektion}\index{Imperfektion}
 Die \Cad\ wird eben nur im Ansatz gebildet,
 jedoch wird sie nicht in allen Stuecken vollendet.
 Man spricht auch von
 \neu{Cadenze fuggite} oder
 \neu{Cadenze sfuggite}:
 \index{Cadenza!fuggita}\index{Cadenza!sfuggita}
 Die \Cad\ wird geflohen,
 stattdessen wird das Absinken der Spannung aufgefangen.
 Dafuer gibt es unzaehlige Moeglichkeiten.
 Eine haeufig anzutreffende und weithin bekannte ist der
 \neu{Trugschluss}\index{Trugschluss}:
 Der Quintfall der \Bcl\ wird nicht vollzogen, stattdessen wird sie
 eine Sekunde aufwaerts in die Unterterz der Finalis gefuehrt.
 \Tcl\ und \Dcl\ aber verhalten sich gewissermassen "`ahnungslos"'!
 Dies fuehrt zu der beruechtigten "`Terzverdopplung"' beim Trugschluss,
 die nun ihre gueltige Erklaerung gefunden hat:
 In Wahrheit ist die urspruenglich anvisierte Finalis verdoppelt,
 nur ist sie in der Fundamentstimme "`unterterzt"' worden,
 die Finalis ist Terz eines unerwarteten Fundamenttones geworden.

 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw a\zw e\tten0\hu k\hu{^j}\enotes\bar
    \NOTEs\zw b\zw d\wh k\enotes\setdoublebar
  \endextract
 \end{music}=20
 Es ist durchaus nicht untypisch, eine \Cad\ zu imperfizieren, indem
 die "`fundamentale"' Wirkung der Finalis durch ihre Unterterz
 (im wahrsten Sinne des Wortes) "`untergraben"' wird.
 Auch die Mi-Clausel laesst sich auf diese (erlesene) Weise
 imperfizieren. Da sie allerdings niemals die \Bcl\ unter sich duldet,
 erfordert dies einen \emph{Einsatz} einer tiefen, bis dahin
 pausierenden Stimme auf der Unterterz der Finalis:
=20
 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\liftpause{-4}\zw{_e}\tten0\hu k\hu{j}\enotes\bar
    \NOTEs\lifthpause{-4}\zw d\wh k\hl{_b}\shake{b}\enotes
  \endextract
 \end{music} =20

 Die tenorisierende \Cad\ wurde oben nur zu zwei Stimmen gesetzt.
 Eine Mittelstimme kann sich leicht an den Bass anlehnen,
 indem sie sich in Terzparallelen bewegt:
=20
 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw e\zw g\tten0\hu k\hu{^j}\enotes\bar
    \NOTEs\zw d\zw{^f}{\tinynotesize\rw h}\wh k\enotes\setdoublebar
  \endextract
 \end{music}
 Die klein gedruckte, nach rechts verschobene Note deutet=20
 eine Alternative an:
 Die Mittelstimme kann sich auch
 parallel zur \emph{Oberstimme} in die Ultima bewegen,
 so dass sie auf der Quinte der Finalis landet.
=20
 Nun wollen wir noch eine eine vierte Stimme hinzusetzen.
 Fuer den ersten Akkord kann die Terz des Basstones verdoppelt werden
 oder der Basston selbst: Der dissonierende Ton wird nicht verdoppelt!
 \begin{itemize}
  \item
 Verdoppelt man also die Terz (das \ton{g}), so wird es sich
 zur Ultima "`verzweigen"':=20
 Das eine schreitet abwaerts (hier das \ton{g''}),
 das andere aufwaerts (hier das \ton{g'}).

 \begin{music}
  \startextract
    \NOtes\itenu0k\hu k\zw e\zw g\hroff{\tten0\zhu k}\wh n\hu{^j}\enotes\=
bar
    \NOTEs\zw d\zw{h}\zw k\wh{^m}\enotes\setdoublebar
  \endextract
 \end{music}
 \begin{small}
   Koennte hier auch umgekehrt das \emph{untere} \ton{g} abwaerts gefuehr=
t
   und folglich das \emph{obere} \ton{g} aufwaerts gefuehrt werden?
 \end{small}
  \item
 Den Fall der Basstonverdoppelung (also \ton{e} in einer der Oberstimmen)
 notieren wir:
=20
 \begin{music}
  \startextract
    \NOtes\itenl0k\hu k\zw e\zw g\zw l\roff{\tten0\hu k}\hu{^j}\enotes\ba=
r
    \NOTEs\zw d\zw{^f}\zw h\wh k\enotes\setdoublebar
  \endextract
 \end{music}
 Das \ton{e} faellt um eine Quinte in das \ton{a}, so dass eine
 Stimmkreuzung zwischen den Oberstimmen entsteht. Diese Wendung laesst si=
ch als
 \neu{transponierte \Bcl} bezeichnen.
 \index{Bass-Clausel!transponierte}
 \index{Clausel!Bass-!transponierte}

  \begin{music}%EG275 (Heinrich Schuetz) EVTL in richtiten MODUS TRANSPON=
IEREN!
 \end{music}

 Beim phrygischen Halbschluss wird sie in der Regel
 gemieden, weil sie auf eine verminderte Quinte hinausliefe.
\end{itemize}

\StdHinw{3.~Std. (29.~Okt. 1997)}
Hoeren der vielfaeltigen Moeglichkeiten von \Cad-Imperfektionen am Beispi=
el von
\nam{G.P.~Palestrina}, Magnificat secundi Toni (Liber primus, "`Deposuit"=
') und
\JSB, Contrapunctus I:
\index{\Cad-Imperfektionen}\relax
Haengenbleiben der \Dcl\ auf der Penultima,
Alteration der Penultima der \Dcl, Ausbleiben der
Ultima der \Bcl\ (stattdessen Pause), Unterterzen der Finalis,
eilfertiges Verlassen der Finalis nach vollzogener semiperfekter \Cad.

\StdHinw{4.~Std (12.~Nov 1997)}
Die genannten Stuecke werden durch die Abstufungen der \Cad en
in subtiler Weise gegliedert.
Hoerbeispiele (zur Wiederholung):
\nam{G.P.~Palestrina}: Magnificat
secundi Toni (\No 2),=20
versus 3 (Quia respexit, S.~6) und=20
versus 7 (Deposiut potentes, S.~8)

\smallskip
\noindent
Wir koennen die Aufzaehlung der Moeglichkeiten zum
\emph{fuggir la cadenza} ergaenzen (nicht vervollstaendigen):
\index{fuggir la cadenza}
\index{cadenza!fuggir la }
\index{\Cad-Imperfektion}
\begin{enumerate}
 \item Ellipse (Auslassung) der Ultima in einer der Clauseln
 \item eilfertiges Verlassen der Ultima
 \item Unterterzen der Finalis
 \item Unterquintieren der Finalis
 \item \neu{Phrasenverschraenkung}, \index{Phrasenverschraenkung}\index{V=
erschraenkung!der Phrasen}
       will sagen:\\
       Waehrend des \Cad-Prozesses (oder noch waehrend des Erklingens der=
 Ultima)
       er"-oeffnet eine der Stimmen mit
       ihrem Einsatz die naechste "`Imitations-Phrase"'.
       Auf diese Weise wird das Abfallen der Spannung=20
       in der \Cad\ aufgefangen,=20
       weil gleichzeitig ein neuer Spannungsbogen beginnt:
       Die \Cad\ ist mit einem Neuansatz \neu{verschraenkt}. \index{versc=
hraenken}
 \item Alteration der Penultima der \Dcl     =20
 \item Bildung einer Vorhaltsdissonanz zur Ultima -- Beispiele:
    \begin{enumerate}
     \item Haengenbleiben der Penultima der \Dcl\ bei einer
	   tenorisierenden \Cad\ fuehrt zu einem 7-6-Vorhalt.
     \item Ein 4-3-Vorhalt entsteht, in dem die=20
           Oberterz der Penultima der=20
           \Tcl\footnote{In Begriffen der Funktionstheorie gesagt handelt=
 es sich
                         also um die Dominantseptime, die liegen bleiben =
kann.}=20
           zur Ultima hin liegenbleibt.
    \end{enumerate}
 \item Flucht in die \neu{capacitas sextae} anstelle der
       \neu{capacitas quintae} \index{capacitas!sextae}\index{capacitas!q=
uintae}
       auf der Finalis.=20
      =20
       \begin{music}
        \generalsignature{-1}
        \startextract
         \NOtes\itenu0k\hu k\zw e\hroff{\zhu{.g}}\tten0\hu k\enotes
         \notes\hu{^j}\qa h\enotes\bar
         \NOTEs\zw d\hroff{\zhu i}\wh k\hu h\enotes\setdoublebar
        \endextract
       \end{music}
      =20
 \item Die erwartete \Bcl\ der Unterstimme wird zur=20
       \Acl\ (in Gestallt eines Terzfalles) geschwaecht,
       so dass die Finalis nicht in der Unterstimme liegt, sondern
       deren Oberterz: Der Klang der Ultima ist damit ein Sextakkord.
       (Durch das Ausweichen in die Oberterz der Finalis=20
       kann die Unterstimme uebrigens auch eine tenorisierende oder
       -- noch schoener --
       eine discantisierende \Cad\ imperfizieren.)
\end{enumerate}

\StdHinw{5.~Std. (19.~Nov. 1997)}
Weitere Hoerbeispiele:
\nam{G.P.~Palestrina}, Magnificat primi Toni, versus 3 und ultimus.
Magnificat secundi Toni, versus 7 (?),
JSB, Contrapunctus II,
\nam{Antonio Cabez=A2n}, Differencias sobre el canto llano del caballero
\end{document}

From mutex-owner@mail2.gmd.de Fri Nov 21 21:24:51 1997
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Date: Fri, 21 Nov 1997 15:24:51 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: musixflex d or f option anyone?
In-Reply-To: <3472C411.B953584D@lps.u-psud.fr>
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Hello all,

  Does any use the d or f option of musixflex?  On both SGI and 
Mac, with 0.44/T.63dt (latest) source, I get an apparent hang, not a
crash, just ...

  I just verified that this behavior also occurs with the 0.44/T.44dt
derived execuatable for the Mac that is officially distributed. So, can
anybody testify that these work on some machine?

Thanks in advance,
  Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Nov 24 10:53:32 1997
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199711241053.LAA01453@sunick.gmd.de>
To: mutex@gmd.de, bobroff@centrum.is
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> Date: Fri, 21 Nov 1997 19:44:38 +0000
> From: David Bobroff <bobroff@centrum.is>
> 
> I am trying to put two short examples on the same line to save a bit of
> vertical space.  I tried putting them together in an \hbox but the second
> one came out WAY outside the page. (I'm using Plain)
> 
> How do I do this?

Don't know :-(
But I did it some time ago :-)

http://www.gmd.de/Misc/Music/    contains a topic "Add-ons" to MusiXTeX. Under

this topic there is an example for typesetting rests with MusiXTeX-source. Here
you may find a solution for your problem. It's a solution but may be not the
best.

-- Werner

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Subject: triplet rests
To: mutex@gmd.de
Date: Mon, 24 Nov 1997 20:06:13 +0100 (MET)
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Dear MusiXperts,

I would like to typeset a piece in 4-4 time, where one bar contains triplet
quavers with rests in the triplets - what I would naively hope to encode in PMX
notation as

r4x3 c d

or   c4x3 r d

Is this at all possible in PMX? The method above doesn't work on my system at
all. (So I've left that bar blank until I get the time to work on it properly!)


I am also thinking of arranging Moussorgsky's 'Pictures at an Exhibition' for
Organ. Does anyone know if such a transcription already exists, and if so how I
could obtain a copy of it?

Many thanks in advance,
Andrew



  /\    /\   --| \_| /-| | | \    /
 /  \  /  \  __| / | | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/


andrew.usher@math.ethz.ch
A.E.R.Usher@qmw.ac.uk

Personalhaus Bachwiesen
Flurstr. 132/302
CH-8047 Zurich
Switzerland

From mutex-owner@mail2.gmd.de Mon Nov 24 20:02:22 1997
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Date: Mon, 24 Nov 1997 21:02:22 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, usher@math.ethz.ch
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> From: usher@math.ethz.ch
> Date: Mon, 24 Nov 1997 20:06:13 +0100 (MET)
> 
> Dear MusiXperts,

PMXperts?

> I would like to typeset a piece in 4-4 time, where one bar contains triplet
> quavers with rests in the triplets - what I would naively hope to encode in PMX
> notation as
> 
> r4x3 c d
> 
> or   c4x3 r d

AFAIK it's not possible with PMX up to now. So you have to do one of
the usual tricks. In the second case "c4x3 r d":

\\let\qbsav\qb\ 
\\def\qbtods{\def\qb##1##2{\zcharnote{##2}{~}\ds\let\qb\qbsav}\ 
...
c4x3 \qbtods\ c d ...

That means replace \qb by a new \qb which generates a \ds; in addition
it generates an empty text using \zcharnote, if the pitch in #2 does
do any change in the octaviation; then it restores the old \qb.

The first case is more sophisticated, because the start of the beam
\ib... has to be ported to the next note :-(


In some case the problem can be fixed by blind meter changes. But then
you have to suppress the barlines.

-- Werner

From mutex-owner@mail2.gmd.de Tue Nov 25 01:27:59 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199711250128.MAA18807@molly.cs.monash.edu.au>
Subject: turning off system numbering? M-Tx
To: mutex@gmd.de (mutex)
Date: Tue, 25 Nov 1997 12:27:59 +1100 (EST)
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Hi,

Is there a way to turn off the little boxed number at the start of
each new system?

I just want a little extra room: when I add labels to the start of a
lyric line, they print over the system number in its box. I could
increase the spacing, but I'd like to keep the vertical space used
small.

Thanks


-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"What is bought with money or with goods is purchased by labour as much
as what we acquire by the toil of our own body."

From mutex-owner@mail2.gmd.de Tue Nov 25 06:47:14 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: turning off system numbering? M-Tx
To: bren@cs.monash.edu.au (Brendan Macmillan)
Date: Tue, 25 Nov 1997 08:47:14 +0200 (SAT)
In-Reply-To: <199711250128.MAA18807@molly.cs.monash.edu.au> from "Brendan Macmillan" at Nov 25, 97 12:27:59 pm
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Brendan Macmillan wrote:
> 
> Is there a way to turn off the little boxed number at the start of
> each new system?
> 
> I just want a little extra room: when I add labels to the start of a
> lyric line, they print over the system number in its box. I could
> increase the spacing, but I'd like to keep the vertical space used
> small.
> 
A TeX command that does it, is:

\def\writebarno{\rule{0pt}{12pt}}

This replaces the bar number by an invisible strut of height 12pt.
There is a MusiXTeX command to switch off the bar numbers, but then
their vertical space disappears too, which is usually not what is wanted.

If you are using LaTeX with included music examples, you need

\renewcommand{\writebarno}{\rule{0pt}{12pt}}

in the LaTeX preamble.

Dirk



From mutex-owner@mail2.gmd.de Tue Nov 25 14:47:31 1997
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Subject: Re: triplet rests - Thanks!
To: Werner.Icking@gmd.de (Werner Icking)
Date: Tue, 25 Nov 1997 15:47:31 +0100 (MET)
Cc: mutex@gmd.de, usher@math.ethz.ch
In-Reply-To: <199711242002.VAA01639@sunick.gmd.de> from "Werner Icking" at Nov 24, 97 09:02:22 pm
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Thank you, Werner, for your prompt reply!
I've tried your suggestion, & it works well for what I want - although there are
still potential problems with the vertical placement of the quaver rest; in my
own case it will possibly be simpler to edit the .tex file by hand, an
alternative I suppose would be to define eg \raiseqbtods#1 similarly 
to adjust the height from within the .pmx file.

 
> AFAIK it's not possible with PMX up to now. So you have to do one of
> the usual tricks. In the second case "c4x3 r d":
> 
\\let\qbsav\qb\ 
\\def\qbtods{\def\qb##1##2{\zcharnote{##2}{~}\ds\let\qb\qbsav}}\ 
> ...
> c4x3 \qbtods\ c d ...
> 
> That means replace \qb by a new \qb which generates a \ds; in addition
> it generates an empty text using \zcharnote, if the pitch in #2 does
> do any change in the octaviation; then it restores the old \qb.
> -- Werner
(I've added a `}' at the end of the line, to make it work - the defn wasn't
complete as it stood. A.)


> > Dear MusiXperts,
> PMXperts?
My intention was to refer to Music/XTeX, PMX, M-Tx, etc, together, although I
suppose PMX is the most relevant to my query!

Cheers, all!
Andrew
 

  /\    /\   --| \_| /-| | | \    /
 /  \  /  \  __| / | | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/


andrew.usher@math.ethz.ch
A.E.R.Usher@qmw.ac.uk

From mutex-owner@mail2.gmd.de Mon Nov 24 22:14:53 1997
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Date: Mon, 24 Nov 1997 23:14:53 +0100
From: Reto Hubmann <cal@datacomm.ch>
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Hello there,

I need some help to install MusiXTeX on my emTeX-system.
Can anyone give me some instructions or hints how to get it working?

Thanks in advance for any help

Greetings,
Reto


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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Mon, 24 Nov 1997 23:14:53 +0100
> From: Reto Hubmann <cal@datacomm.ch>
> 
> I need some help to install MusiXTeX on my emTeX-system.
> Can anyone give me some instructions or hints how to get it working?

RTFM? Most is described in the documentation.

Here some short hints esp. for emTeX:

Unzip musixtex.zip into a temporary directory.

Make following directories:

  \emtex\mfinput\musixtex
        \texinput\musixtex
        \tfm\musixtex
      
From the temporary directory move in this(!) sequence:

    musixdoc.*   to a directory where you want to keep the docs.
    musix*.tex   to emtex\texinput\musixtex
    musix*.sty   to emtex\texinput\musixtex
    *.sty        to the docs directory
    *.mf         to emtex\mfinput\musixtex
    *.tfm        to emtex\tfm\musixtex
    musixflx.exe to a directory in your PATH.

Generate a TeX-format in emtex\btexfmt as described in the docs;
e.g. create a file musixtex.ini
 \input plain
 \input musixtex
 \dump
and run
 tex386 -i musixtex.ini

Don't use musixtex.ins or makefmt.bat unless you want a musiCtex
compatible format, which is incompatible to pure MusiXTeX. So
delete the files or save them for later use.

Make a nice musixtex.bat nicer as  (according to musixtex.bat)
 if not exist %1.tex goto error
 if exist %1.mx2 del %1.mx2
 tex386 -ms1800 &musixtex %1
 if errorlevel 2 goto error
 musixflx %1
 if errorlevel 1 goto error
 tex386 -ms1800 &musixtex %1
 goto end

 :error
 echo An error occured; the error occured rather early.

 :end

Delete the delivered musixtex.bat

Delete musixflx.c unless you want compile it yourself.

One file remains: install.sh. Donate it to a loser.

[Install one of the many pre-processors: abc2mtex, PMX, M-Tx, ...]


Read the documentation again.

Read the source of the documentation.

Unpack and read(!) musixexa.zip

Repeat the last three steps.



Put the generated music to  ftp://ftp.gmd.de/incoming/music/ as
decribed in http://www.gmd.de/Misc/Music/                    :-)

-- Werner

From mutex-owner@mail2.gmd.de Thu Nov 27 01:19:45 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199711270119.MAA09493@molly.cs.monash.edu.au>
Subject: M-Tx unwanted beam
To: mutex@gmd.de (mutex)
Date: Thu, 27 Nov 1997 12:19:45 +1100 (EST)
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Hi,

I'm getting an unwanted beam in M-Tx version 0.24
It's not an urgent problem (I can live with it). But it would be nice...


The relevant part of the .mtx file is:
	Style: singer
	Meter: 4/4

	( f4 f8 )     ( f8 f2 ) |
	L: 1/4~+~1/8  1/8~+~1/2
	L: 2~+~1      1~+~4

The problem is that the two 1/8 notes are beamed in the .dvi file,
despite this being across the half-way point of the bar.

Note that it is a lyric style, and option -b is not used, so beams
shouldn't be there anyway (the notes aren't 'sung' to the same syllable)>

I tried remving the spaces between the ) and (, thus:
	( f4 f8 )( f8 f2 ) |
but this puts two ties on the first 1/8 note, which is not what's wanted.
 
-- 
bren@cs.monash.edu.au				 Brendan Macmillan 
"What is bought with money or with goods is purchased by labour as much
as what we acquire by the toil of our own body."

From mutex-owner@mail2.gmd.de Thu Nov 27 07:03:23 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199711270703.JAA04643@calvyn.puk.ac.za>
Subject: Re: M-Tx unwanted beam
To: bren@cs.monash.edu.au (Brendan Macmillan)
Date: Thu, 27 Nov 1997 09:03:23 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199711270119.MAA09493@molly.cs.monash.edu.au> from "Brendan Macmillan" at Nov 27, 97 12:19:45 pm
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Brendan Macmillan wrote:
> 
> 	Style: singer
> 	Meter: 4/4
> 
> 	( f4 f8 )     ( f8 f2 ) |
> 	L: 1/4~+~1/8  1/8~+~1/2
> 	L: 2~+~1      1~+~4
> 
> The problem is that the two 1/8 notes are beamed in the .dvi file,
> despite this being across the half-way point of the bar.
> 
The melisma placement algorithm disables the automatic unbeaming
of notes that otherwise occurs in vocal styles, thus reverting to
PMX default.  The easiest solution is to put unbeaming in manually,
i.e. 

	( f4 f8a )     ( f8a f2 ) | 

You probably need only one a.

Dirk

From mutex-owner@mail2.gmd.de Mon Dec  1 11:23:06 1997
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Date: Mon, 01 Dec 1997 09:23:06 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
Reply-To: taupin@lps.u-psud.fr
Organization: CNRS
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Subject: MusiXTeX T.83
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Subject: MusiXTeX version T.83
New version T.83 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta"
numbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
=20
Daniel Taupin

=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Dec  1 19:03:29 1997
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Subject: b-flat in soprano clef
To: mutex@gmd.de
Date: Mon, 1 Dec 1997 20:03:29 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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MusiXTeX places the b-flat of the \generalsignature{n}  (n negative)
just below the staff if the soprano clef is used.  But I think the
(modern :-) custom is to put it on the fourth line from the bottom.
(I am (still) using T77 as far as I remember.)
Or am I mistaken? 

bassed regards
-- Eckart

From mutex-owner@mail2.gmd.de Mon Dec  1 23:07:55 1997
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Date: Tue, 2 Dec 1997 00:07:55 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: MusiXTeX T83
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MusiXTeX T83 requires the latest musixflx.

So I collected some executables for different systems. Up to now I got
variants for OSF1-alpha, SunOS_sparc, win32 and dos16. These are stored
at ftp://ftp.gmd.de/music/musixtex/musixflx.zip from where they will
spread to CTAN and it's mirrors.

Win32 is a 32-bit console mode application, dos16 a 16-bit version which
should run on any Dos (without DMPI, Windows, ...)

I hope that one or two Mac-Versions are on the way and that I can generate
tomorrow further versions like a LINUX-alpha, LINUX-I86, Free-BSD-I86, ...

Is there anyone who can generate an amiga version as it was in the previous
musixflx.zip?

If you can provide a version please do so, e.g. by uploading it to
ftp.gmd.de/incoming/music/ and sending an e-mail to me. And do not
forget to as exact as possible for which system and machine the version is.

Hope this hilft -- Werner


From mutex-owner@mail2.gmd.de Tue Dec  2 13:15:04 1997
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Subject: b-flat in soprano clef, II
To: mutex@gmd.de
Date: Tue, 2 Dec 1997 14:15:04 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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I just want to correct:  The version on the PC I
am working at now is T73. So if this changes
the matters you'd better know it ...

--- Eckart Begemann

From mutex-owner@mail2.gmd.de Tue Dec  2 14:39:30 1997
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From: Julian Gilbey <J.D.Gilbey@qmw.ac.uk>
Message-Id: <199712021439.OAA07246@dirac.maths.qmw.ac.uk>
Subject: tex2ex
To: mutex@gmd.de
Date: Tue, 2 Dec 1997 14:39:30 +0000 (GMT)
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I remember that someone once posted a shell-script for tex2ex.  Would
it be possible to email me a copy of it as my system does not have p2c
installed.

Thanks,

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )
From mutex-owner@mail2.gmd.de Tue Dec  2 13:23:42 1997
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Message-Id: <199712021323.OAA12210@mathsem1.math.uni-hamburg.de>
Subject: M-Tx,  lyrics.
To: mutex@gmd.de
Date: Tue, 2 Dec 1997 14:23:42 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Thanks, Dirk, for your fabulous M-Tx!
I am just beginning to deal with it.

My simple question is:
  Which is the command I have to include to
make M-Tx provide the musixlyr-package?
Obviosly it is not enough just to have a
"L:   stay tonight"-line. 
It is not enough to have Voices called T, either.
If I put the word "Choral" it works. But this
(is not mentioned in the Documentation) and has
other effects, too. 
Is there a straightforward method to include
musixlyr so I can put "L: ...."-lines??

Thanks in advance
++ Eckart



From mutex-owner@mail2.gmd.de Tue Dec  2 22:54:40 1997
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Date: Tue, 2 Dec 1997 15:54:40 -0700 (MST)
From: dick carlson <carlson@nmt.edu>
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To: mutex@gmd.de
Subject: xslhz20d.tfm is bad in the T.83 (also T.82) distribution
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   The file ``xslhz20d.tfm '' is bad.  It was also bad in T.82, but I
was able to compile files from musixexa.zip by replacing the T.83
distribution.  xslhz20d.tfm file with one from an older T.78 or T.80.

This is emTeX (tex386), Version 3.14159 [4b] (preloaded format=plain 96.4.12)  2 DEC 1997 07:48
**angescao.tex
(angescao.tex (d:/emtex/texinput/musixtex/musixtex.tex
MusiXTeX(c) T.83 <30 November 1997>
\n@i=\count26

==== 150 or so additional lines of the original log file are deleted ====

\group@no=\count64
! Font \xtied=xslhz20d not loadable: Bad metric (TFM) file.
<to be read again> 
                   \par 
l.578 
      
? x
No pages of output.
=============================================================================
End of emtex log file.

dick
carlson@nmt.edu
http://www.nmt.edu/~carlson

From mutex-owner@mail2.gmd.de Wed Dec  3 06:03:27 1997
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: M-Tx,  lyrics.
To: begemann@math.uni-hamburg.de
Date: Wed, 3 Dec 1997 08:03:27 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199712021323.OAA12210@mathsem1.math.uni-hamburg.de> from "Eckart Begemann" at Dec 2, 97 02:23:42 pm
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Eckart Begemann wrote:
> 
> My simple question is:
>   Which is the command I have to include to
> make M-Tx provide the musixlyr-package?
At least one voice must be in a style marked "Vocal", or a group
of voices in a style marked "Choral".  

Dirk

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Date: Wed, 3 Dec 1997 11:02:09 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199712031002.LAA03583@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: xslhz20d.tfm is bad in the T.83 (also T.82) distribution
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> Date: Tue, 2 Dec 1997 15:54:40 -0700 (MST)
> From: dick carlson <carlson@nmt.edu>
> 
>    The file ``xslhz20d.tfm '' is bad.  It was also bad in T.82, but I
> was able to compile files from musixexa.zip by replacing the T.83
> distribution.  xslhz20d.tfm file with one from an older T.78 or T.80.

xslhz20d.tfm files in T.83, T.82, T.80 and T.79 are identical. I tested 
that under Unix with diff and under Dos with fc. I tested it using the 
ZIP-files distributed by from ftp.gmd.de. The files have a size 1028 and
are time-stamped 9-24-97 6:45p 

-- Werner


PS: Where did you get the defective file from? (Please reply to me, not
    to the list; if we can solve the mysterium and if it is of interest
    for the list, we can inform the list lateron.)

From mutex-owner@mail2.gmd.de Wed Dec  3 18:32:45 1997
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Subject: Re: tex2ex
To: mutex@gmd.de
Date: Wed, 3 Dec 1997 18:32:45 +0000 (GMT)
Cc: epeterse@msi.umn.edu (Eric Petersen [Aero]),
        bren@cs.monash.edu.au (Brendan Macmillan)
In-Reply-To: <Pine.SGI.3.96.971202144050.25046A-100000@i2.msi.umn.edu> from "Eric Petersen [Aero]" at Dec 2, 97 03:03:05 pm
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Thanks to those who sent me copies of the sed script.  Based on what I
received from Brendan and some comments from Eric Petersen, I have
improved the script, so there is now no necessity for a separate sed
file.  I've also borrowed the structure of the pmx script.  I hope
this is of some use.  (It also only looks for the search strings when
they appear at the beginning of a line.)  The script is included
below.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

The script (called tex2ex):

#!/bin/sh

# Based on a shell script by Brendan Macmillan <bren@cs.monash.edu.au>
# Modifed based on a comment by Eric Petersen [Aero] <epeterse@msi.umn.edu>
# Julian Gilbey <J.D.Gilbey@qmw.ac.uk>  3 December 1997

# in case the noclobber environment variable is set
unset noclobber

if [ "$1" != "" ]
then
  FILE=$1
  if [ ! -f $FILE ]
  then
    FILE=$1".tex"
  fi
  if [ -f $FILE ]
  then
    BASE=`basename $FILE .tex`
    EX=$BASE".ex"
    sed '
    /^\\immediate/ d
    /^\\let\\:/d 
    /^\\nopagenumbers/ d
    /^\\input/ d
    /^\\readmod/ d
    /^\\vfill\\eject/ d
    /^\\bye/ d
    /^\\startmuflex/  s/\\startmuflex//' $FILE > $EX
  else
    echo "Can't find either $1 or $FILE"
  fi
else
  echo "tex2ex: Strip .tex input file to give a .ex output file"
  echo "Usage: $0 filename"
fi

From mutex-owner@mail2.gmd.de Wed Dec  3 19:19:01 1997
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Date: Wed, 3 Dec 1997 13:19:01 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
Reply-To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: dick carlson <carlson@nmt.edu>
Cc: mutex@gmd.de
Subject: Re: xslhz20d.tfm is bad in the T.83 (also T.82) distribution
In-Reply-To: <199712031002.LAA03583@sunick.gmd.de>
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>> Date: Tue, 2 Dec 1997 15:54:40 -0700 (MST)
>> From: dick carlson <carlson@nmt.edu>
>>
>>    The file ``xslhz20d.tfm '' is bad.  It was also bad in T.82, but I
>> was able to compile files from musixexa.zip by replacing the T.83
>> distribution.  xslhz20d.tfm file with one from an older T.78 or T.80.
>
>xslhz20d.tfm files in T.83, T.82, T.80 and T.79 are identical. I tested
>that under Unix with diff and under Dos with fc. I tested it using the
>ZIP-files distributed by from ftp.gmd.de. The files have a size 1028 and
>are time-stamped 9-24-97 6:45p
>
>-- Werner

I just successfully processed ANGESCAO.TEX with T.83, so xslhz20d.tfm
appears to be OK.
Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+



From mutex-owner@mail2.gmd.de Thu Dec  4 22:19:38 1997
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To: mutex@gmd.de
Subject: MusiXTeX probem
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Hi,

I use MusiXTeX T83 and I have two little problems with it:

1. I can place choral brackets (by using \grouptop, \groupbottom) only
   around two or more staffs. It would be nice, if these brackets can 
   also be placed around only one staff. When I try this now, only the 
   thin rule appears.

2. When I compute the .pk fonts from the .mf sources there is everything
   ok but the bass clef. It has only the upper dot and the lower dot
   is missing. I found out, that in musixgen.mf in the part, which
   defines the bass clef, there is a call to an add_mirror function, that
   does not work. When i place the missing dot "by hand" (with another
   fill_circle instruction) it works. 
   Can someone explain me this stange behavior?
   (I use the metafont program that comes with teTeX)

Regards

Sebastian

------------------------------------------------------------------------
eMail: sc2@inf.tu-dresden.de
------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sat Dec  6 07:31:19 1997
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Date: Sat, 06 Dec 1997 05:31:19 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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Organization: CNRS
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Subject: Re: MusiXTeX probem
References: <m0xdjcQ-000CptC@clauss.priv.de>
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sc2@inf.tu-dresden.de wrote:
>=20
> Hi,
>=20
> I use MusiXTeX T83 and I have two little problems with it:
>=20
> 1. I can place choral brackets (by using \grouptop, \groupbottom) only
>    around two or more staffs. It would be nice, if these brackets can
>    also be placed around only one staff. When I try this now, only the
>    thin rule appears.

I shall look...
>=20
> 2. When I compute the .pk fonts from the .mf sources there is everythin=
g
>    ok but the bass clef. It has only the upper dot and the lower dot
>    is missing. I found out, that in musixgen.mf in the part, which
>    defines the bass clef, there is a call to an add_mirror function, th=
at
>    does not work. When i place the missing dot "by hand" (with another
>    fill_circle instruction) it works.
>    Can someone explain me this stange behavior?
>    (I use the metafont program that comes with teTeX)
>=20
Try another metafont. If other work, this not a MusiXTeX problem, this
is a Metafont Problem. I transmit your=20
remark to the metafont group.

> Regards
>=20
> Sebastian
>=20
> -----------------------------------------------------------------------=
-
> eMail: sc2@inf.tu-dresden.de
> -----------------------------------------------------------------------=
-

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sat Dec  6 15:04:30 1997
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'sc2@inf.tu-dresden.de'" <sc2@inf.tu-dresden.de>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: MusiXTeX probem
Date: Sat, 6 Dec 1997 16:04:30 +0100
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Hello Sebastian,

>1. I can place choral brackets (by using \grouptop, \groupbottom) only
>   around two or more staffs. It would be nice, if these brackets can 
>   also be placed around only one staff. When I try this now, only the 
>   thin rule appears.

please try the following hack. The digits in the argument of \akkoladen
must be given pairwise: The first one is the number of the lowest, the
second one the number of the highest staff of a bracketed group. An
arbitrary number of groups can be built that way. The last three or four
lines serve as an example.

Regards

Rainer


\input musixtex

\makeatletter
  \let\orig@writ@staffs\writ@staffs
  \def\writ@staffs{%
    \orig@writ@staffs
    \ifx\@akks\empty\else\expandafter\@akkoladen\@akks\ende\fi}
  
  \let\@akks\empty
  \def\akkoladen#1{\def\@akks{#1}}
  
  \def\@akkoladen#1#2#3\ende{%
    \rlap{\noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
	  \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
	  \advance\b@zii-\b@zi
	  \advance\b@zii\nblines\internote
	  \advance\b@zii\nblines\internote
	  \advance\b@zi-\internote
	  \raise\b@zi\llap{\uplap{\offinterlineskip
	  \hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\b@zii
	    \@width\Internote}\hbox{\musixfont\fiv@t@@n}}\kern\Internote}}%
    \ifx\empty#3\else\@akkoladen#3\ende\fi}
\makeatother

\instrumentnumber6
\akkoladen{134566}

\startpiece\addspace\afterruleskip\endpiece\bye


From mutex-owner@mail2.gmd.de Wed Dec 17 08:07:06 1997
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Date: Wed, 17 Dec 1997 09:07:06 +0100
To: mutex@gmd.de
From: Markus Lazanowski <lazanows@stud.uni-frankfurt.de>
Subject: stem length problems
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Hi anybody,

I would like to ask, if there is any way to increase the stem length of
single eighth notes (same for sixteenth notes ...). 
I realised that \stemlength does not work with notes that have flags.

Thanks for any help!

Markus 

ps. sorry for the wrong email-address of the first mail.

From mutex-owner@mail2.gmd.de Wed Dec 17 13:47:05 1997
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Date: Wed, 17 Dec 1997 14:47:05 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Wed, 17 Dec 1997 09:07:06 +0100
> From: Markus Lazanowski <lazanows@stud.uni-frankfurt.de>
> 
> I would like to ask, if there is any way to increase the stem length of
> single eighth notes (same for sixteenth notes ...). 
> I realised that \stemlength does not work with notes that have flags.

There must be a way because sometimes it *is* done automatically:

   \startextract\Notes\ca{`d'''g}\en\endextract\bye

-- Werner

From mutex-owner@mail2.gmd.de Thu Dec 18 11:49:57 1997
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Date: Thu, 18 Dec 1997 12:49:57 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Wed, 17 Dec 1997 14:47:05 +0100 (MET)
> From: Werner Icking <Werner.Icking@gmd.de>
> 
> > Date: Wed, 17 Dec 1997 09:07:06 +0100
> > From: Markus Lazanowski <lazanows@stud.uni-frankfurt.de>
> > 
> > I would like to ask, if there is any way to increase the stem length of
> > single eighth notes (same for sixteenth notes ...). 
> > I realised that \stemlength does not work with notes that have flags.
> 
> There must be a way because sometimes it *is* done automatically:
> 
>    \startextract\Notes\ca{`d'''g}\en\endextract\bye

After a PM with Markus the problem could be solved. The problem was
a single note for drum notation on a single line: \cl{h}. The stem
of this note should be crossed by a short double beam. So there was
a conflict between flag and double beam.

My dirty trick for solving the problem: raise the note so that it gets 
a longer stem; then lower it:
 
    \cl{h}   ==>  \lower 10\internote\hbox{\cl{''d}}

Another possibility could be to make \cl{h} into a chord with a phantom
note somewhere below "h". But how are phantom notes done?

Any less dirty solution?

-- Werner

PS: Some days ago the MuTeX mailing list got it's 400th subscriber.

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From: Daniel Taupin <taupin@lps.u-psud.fr>
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If you start a slur in a staff of reduced size, and if you terminate it i=
n a staff of different
sice (i.e. line spacing), then the notes posted at the erroneouly ending =
place will have the line spacing of the stff
beginning. Of course this applies only to note heads, not to staff lines.=
 In other words, the result is WRONG buy the
cause is NOT obvious...

:=3D))

--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Sun Dec 21 19:58:36 1997
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Date: Sun, 21 Dec 1997 17:58:36 -0200
From: Daniel TAUPIN <taupin@lps.u-psud.fr>
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Correction to musixtex to enable choir braces (Akkoladenklammer)
around a unique staff (was a wrong text: "greater" instaed of
"greater-or-equal"):

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D old =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D
% 'Akkoladenklammer' don't know the english word
  \g@loop
  \ifnum\uppersonginstrum>\lowersonginstrum
    \global\advance\g@h-\stem@skip \global\advance\g@h-\g@b
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D correction =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D
% 'Akkoladenklammer' don't know the english word
  \g@loop
  \ifnum\uppersonginstrum<\lowersonginstrum
   \else
    \global\advance\g@h-\stem@skip \global\advance\g@h-\g@b
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

Please accept also all my season's greetings (and any others if needed)
:=3D))

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Dec 22 00:40:51 1997
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Subject: MusiXTeX version T.85
New version T.85 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled if you had a version < T.83
(provided for PCs in the distrib)

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta"
numbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected
 - T.74  weird diagnostic with slurs inhibited
 - T.73  up to 3 choirs allowed. musixmad/musixadd LaTeX compatible.
 - T.72  musixtex also recognises EC fonts (+DC1.3 and DC1.2)
=20
Daniel Taupin

=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Dec 22 01:52:07 1997
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Subject: Intend to increase number of fonts in MusiXTeX
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I found problems with slurs in MUsiXTeX when the altitude difference
between slur begin and slur end is > 16 \Internote (i.e. more than one
octave). But many scores need a larger slur extension.
This can be done splitting all slur fonts having 128 chars of same
convexity&slope into two fonts of 256 characters.

But the consequence is that the number of fonts will go from approx. 70
to 140 fonts, knowing that
at present time ALL fonts are invoked as TFMs
when loading musixtex.tex.


=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D>=
 Question to all TeXers (musicians or NOT):

Do you know of a current implementation of TeX or drivers which would be
limited to 128 different fonts?
(instead of the usual value of 256).

The consequence is that:
  - if everybody accepts 256 fonts of 255 characters, all is OK,
  - if some people are limited to 128, I must maintain a "poor man's
version" od MusiXTeX using NOT more than
128 fonts each time.

Thanks in advance.

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Dec 22 16:01:48 1997
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Lyrics package musixlyr now available as version 1.1
Date: Mon, 22 Dec 1997 17:01:48 +0100
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Hello MusiXTeXers,

I'd like to announce the new musixlyr version 1.1 to your interest. It's
available as

  ftp://ftp.gmd.de/music/musixtex/add-ons/musixlyr.zip

or via the GMD music page

  http://www.gmd.de/Misc/Music/ .


A short reminder: musixlyr enhances MusiXTeX's capability of typesetting
vocal music in two ways: (1) Entering, changing and correcting lyrics
are simplified, and (2) the typeset result is more beautiful, especially
with respect to horizontal positioning and hyphenation.

The main new feature in this version is the capability of typesetting
two "threads" of lyrics independently per staff, one of them above and
the other one below it, providing a way to set up two polyphonic voices
with lyrics within the same staff. While this feature has already been
available to M-Tx users, it now can be used with "plain" MusiXTeX and,
including special comfort, with PMX. Two minor enhancements of musixlyr
concern hyphenation in dense spatial situations (thanks to Sebastian
Clauss) and vertical spacing of multiple verses.

Version 1.1 should be backward compatible with 1.0. On the other hand,
you should not use musixlyr 1.1 together with M-Tx 3.0; instead, keep
using M-Tx with the supplied musixlyr version.

I invite you to check out the new musixlyr version and enjoy it.
Comments, suggestions and bug reports are welcome.

Regards, Rainer


From mutex-owner@mail2.gmd.de Mon Dec 22 16:56:29 1997
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From: Julian Gilbey <J.D.Gilbey@qmw.ac.uk>
Message-Id: <199712221656.QAA11515@dirac.maths.qmw.ac.uk>
Subject: Re: Intend to increase number of fonts in MusiXTeX
To: taupin@lps.u-psud.fr
Date: Mon, 22 Dec 1997 16:56:29 +0000 (GMT)
Cc: mutex@gmd.de, gut@ens.fr, tex-euro@relay.urz.uni-heidelberg.de
In-Reply-To: <349DC7C7.44C@lps.u-psud.fr> from "Daniel TAUPIN" at Dec 21, 97 11:52:07 pm
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>  Question to all TeXers (musicians or NOT):
> 
> Do you know of a current implementation of TeX or drivers which would be
> limited to 128 different fonts?
> (instead of the usual value of 256).

teTeX 0.4 (and I presume 0.9) are fine.
To check your implementation of TeX if you have the source code, you
will need to look in the file tex.ch for a line beginning @!font_max.
The first such line will say @!font_max=75; ..., and is TeX's original
limit.  The next such line gives the new limit, and should be
something like @!font_max=255; ....

If you so not have the source, you could try the following.  Find out
how many fonts the current MusiXTeX uses on your system by doing the
following: run initex, and in response to the ** prompt type:
&plain musixtex \dump
TeX will chug away, and will finally finish, producing a lot of output
on the screen and two files called musixtex.fmt and musixtex.log.
Near the end of the screen and log output will be a line which reads
something like
34224 words of font info for 120 preloaded fonts

So the idea is then: can you load MusiXTeX and more than 8 more fonts?
So run tex, \input musixtex and then include say 10 lines like this:
\font\preloaded=cmr10 at 10.1pt
\font\preloaded=cmr10 at 10.2pt
\font\preloaded=cmr10 at 10.3pt
\font\preloaded=cmr10 at 10.4pt
\font\preloaded=cmr10 at 10.5pt
\font\preloaded=cmr10 at 10.6pt
\font\preloaded=cmr10 at 10.7pt
\font\preloaded=cmr10 at 10.8pt
\font\preloaded=cmr10 at 10.9pt
\font\preloaded=cmr10 at 11.0pt

Then tex will attempt to load another 10 fonts, and will soon complain
if it can't manage this feat.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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Subject: Key signature changes 
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% A note on key signature changes as it is done by MusiXTeX and 
% proposed by Music Publishers' Association or Herbert Chlapik.
%
% What do other sources tell?                              -- Werner

\input musixtex

\hsize 6.5in\vsize 9in\hoffset 0in\voffset 0in

{\bigtype Key signature changes}

\parskip 12pt\nobarnumbers\nopagenumbers

{\medtype\bf \musixtex}

Since version T.81 \musixtex\ writes {\bf first} the cancellation, {\bf
then} the new signature.  The cancellation can be suppressed by
$\backslash$ignornats.

\smallskip\parindent 65pt
\setname1{\vbox{\hbox{sharps to}\hbox{fewer sharps}}}
\generalsignature{+5}\startextract\Notes\sk\Uptext{standard}\en
\generalsignature{+2}\changesignature\Notes\sk\en\bar
\generalsignature{+5}\changesignature
	\Notes\sk\Uptext{with $\backslash$ignorenats}\en
\generalsignature{+2}\ignorenats\changesignature\Notes\sk\en
\endextract

\setname1{\vbox{\hbox{flats to}\hbox{fewer flats}}}
\generalsignature{-5}\startextract\Notes\sk\Uptext{standard}\en
\generalsignature{-2}\changesignature\Notes\sk\en\bar
\generalsignature{-5}\changesignature
	\Notes\sk\Uptext{with $\backslash$ignorenats}\en
\generalsignature{-2}\ignorenats\changesignature\Notes\sk\en
\endextract

\setname1{\vbox{\hbox{flats to sharps}\hbox{sharps to flats}}}
\generalsignature{-2}\startextract\Notes\sk\Uptext{standard}\en
\generalsignature{+2}\changesignature\Notes\sk\en
\generalsignature{-2}\changesignature
	\Notes\sk\Uptext{with $\backslash$ignorenats}\en\bar
\generalsignature{+2}\ignorenats\changesignature\Notes\sk\en
\generalsignature{-2}\ignorenats\changesignature\Notes\sk\en
\endextract\parindent 0pt


{\medtype\bf Music Publishers' Association: Standard music notation practice}

When going from sharps to fewer sharps or from flats to fewer flats,
the new signature is {\bf followed} by the cancellation.  The
cancellation may be omitted.  \musixtex's standard is mentioned as
{\bf wrong}.

When going from flats to sharps or vice versa the cancellation is not
necessary or written {\bf before} the new signature; as it is
\musixtex's standard.  [This seems to be inconsequent to me.]

\smallskip\parindent 65pt
\setname1{\vbox{\hbox{sharps to}\hbox{fewer sharps}}}
\generalsignature{+5}\startextract\Notes\sk\Uptext{either}\en
\generalsignature{+2}\ignorenats\changesignature\Notes\roffset{0.8}{\na{'g}}
	\roffset{1.6}{\na d}\roffset{2.4}{\na a}\sk\en\bar
\generalsignature{+5}\changesignature\Notes\sk\Uptext{or}\en
\generalsignature{+2}\ignorenats\changesignature\Notes\sk\en\bar
\generalsignature{+5}\changesignature\Notes\sk\Uptext{but not}\en
\generalsignature{+2}\changesignature\Notes\sk\en\endextract

\setname1{\vbox{\hbox{flats to}\hbox{fewer flats}}}
\generalsignature{-5}\startextract\Notes\sk\Uptext{either}\en
\generalsignature{-2}\ignorenats\changesignature\Notes\roffset{0.8}{\na{'a}}
	\roffset{1.6}{\na d}\roffset{2.4}{\na{`g}}\sk\en\bar
\generalsignature{-5}\changesignature\Notes\sk\Uptext{or}\en
\generalsignature{-2}\ignorenats\changesignature\Notes\sk\en\bar
\generalsignature{-5}\changesignature\Notes\sk\Uptext{but not}\en
\generalsignature{-2}\changesignature\Notes\sk\en\endextract

\setname1{\vbox{\hbox{flats to sharps}\hbox{sharps to flats}}}
\generalsignature{-2}\startextract\Notes\sk\Uptext{either}\en
\generalsignature{+2}\ignorenats\changesignature\Notes\sk\en
\generalsignature{-2}\ignorenats\changesignature\Notes\sk\Uptext{or}\en
\generalsignature{+2}\changesignature\Notes\sk\en
\generalsignature{-2}\changesignature\Notes\sk\en
\endextract\parindent 0pt


{\medtype\bf Herbert Chlapik: Die Praxis des Notengraphikers}

Herbert Chlapik prefers what is \musixtex's standard.  He mentions
omitting the cancellation as modern, but not standard up to now (1991).

\smallskip\parindent 65pt
\setname1{\vbox{\hbox{sharps to}\hbox{fewer sharps}}}
\generalsignature{+5}\startextract\Notes\sk\Uptext{either}\en
\generalsignature{+2}\changesignature\Notes\sk\en
\generalsignature{+5}\changesignature\Notes\sk\Uptext{or}\en
\generalsignature{+2}\ignorenats\changesignature\Notes\sk\en
\endextract\parindent 0pt

\bye

From mutex-owner@mail2.gmd.de Mon Dec 22 20:47:40 1997
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Subject: MusiXTeX font increase
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Daniel,

Regarding your question about font limits, the following comes from the
Config file for OzTeX 3.1 (this is a Macintosh TeX compiler).

====================================================================
% TeX parameters (the values in brackets show the possible ranges):

font_max            = 120     (1..256)
====================================================================

Notice "font_max" can be set as high as 256.  That should make it safe to
expand the number of MusiXTeX fonts for use with OzTeX.

David Bobroff
bobroff@centrum.is





From mutex-owner@mail2.gmd.de Tue Dec 23 06:17:28 1997
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To: MUTEX@gmd.de
Subject: Re: key signature changes. 
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From mutex-owner@mail2.gmd.de Tue Dec 23 06:18:01 1997
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Date: Tue, 23 Dec 1997 08:18:01 +0200
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To: MUTEX@gmd.de
Subject: Re: key siganture changes.
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I had a look to my collection of piano sheet music (from about 
1800 to nowadays) . When going from say, 4 sharps to 3 sharps, the
scores published before 1900 and the former versions of Musixtex both 
put the natural sign _after_ the 3 sharps. 

Almost all modern scores I have agree with the new Musixtex behaviour.
( especially the authoritative Henle )

                              Jean-Pierre Coulon.

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Subject: Re: Key signature changes 
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> % A note on key signature changes as it is done by MusiXTeX and 
> % proposed by Music Publishers' Association or Herbert Chlapik.
> % What do other sources tell?

Though there is no recognizable difference in your example
(cancellation _always_ follows new signature) I was able to understand
what you mean.  :)

From my experience as an orchestra musician the MPA version (new
signature followed by cancellation; better yet: omitting cancellation)
is commonly used and thus more readable when playing prima vista.


Regards, Andreas.
-- 
Andreas Kurth    Mannheim, Germany



From mutex-owner@mail2.gmd.de Tue Dec 23 11:54:33 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Tue, 23 Dec 1997 09:19:39 +0100
> From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
> 
> > % A note on key signature changes as it is done by MusiXTeX and 
> > % proposed by Music Publishers' Association or Herbert Chlapik.
> > % What do other sources tell?
> 
> Though there is no recognizable difference in your example
> (cancellation _always_ follows new signature) I was able to understand
> what you mean.  :)

Then you are using an old MusiXTeX version; older than T.81  :-(

(Replace the first occurance of "\musixtex" by "\musixtex~\mxversion".)

> From my experience as an orchestra musician the MPA version (new
> signature followed by cancellation; better yet: omitting cancellation)
> is commonly used and thus more readable when playing prima vista.

Do you have any explanation why it is more readable (easier, faster)
if the new key signature comes first? The cancellation is possibly not 
recognized at all. What is the cancellation good for if there are
"normal" key signatures?

I see that there is need for "unusual" key signatures like "b-flat plus 
d-flat" maybe going to "a-sharp plus c-sharp".


-- Werner


From mutex-owner@mail2.gmd.de Tue Dec 23 09:56:24 1997
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Date: Tue, 23 Dec 1997 11:56:24 +0200
From: Daniel Taupin <taupin@lps.u-psud.fr>
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David Bobroff wrote:

> Daniel,
>
> Regarding your question about font limits, the following comes from the
> Config file for OzTeX 3.1 (this is a Macintosh TeX compiler).
>
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
> % TeX parameters (the values in brackets show the possible ranges):
>
> font_max            =3D 120     (1..256)
> =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>
> Notice "font_max" can be set as high as 256.  That should make it safe =
to
> expand the number of MusiXTeX fonts for use with OzTeX.

 The question is: is font_max a "soft" change, easy to increase, or does =
it require an awful reconstruction of formats?
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Dec 23 14:56:24 1997
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Daniel Taupin wrote:

> The question is: is font_max a "soft" change, easy to increase, or does
>it require an awful reconstruction of formats?

The top three lines of the parameters are as follows:

===================================================================
% TeX parameters (the values in brackets show the possible ranges):

mem_max             = 70000   (mem_top..100000000)
font_max            = 120     (1..256)
font_mem_size       = 38000   (8..100000000)
===================================================================

I built a musixtex.fmt with ec-plain requiring that I increase
font_mem_size to 50000 before it would build without running out of room.
All of these values are simply changed in the Config file with a text
editor and then it is necessary to quit OzTeX and start it again so it
reads in the new Config.  It is NOT necessary to re-build formats.  I think
this is your "soft" change.  There are other parameters which require a
rebuilding of formats when changed.  They are:

===================================================================
mem_top             = 70000   (mem_min+1100..mem_max)
hash_size           = 5000    (325..31000)
hash_prime          = 4253    (prime about 85% of hash_size)
hyph_size           = 307     (prime from 1..16382)
===================================================================

Hope this helps,

David
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Tue Dec 23 15:18:39 1997
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Subject: MusixTeX T.86
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Subject: MusiXTeX version T.86
New version T.86 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected

Daniel Taupin



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Dec 23 17:24:57 1997
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From: Werner Icking <Werner.Icking@gmd.de>
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To make the fast version changes of MusiXTeX easier for you I provided
following files at ftp://ftp.gmd.de/music/musixtex/diff-files - as usual
mirrored by CTAN:

   220698 Dec 23 17:38 musixtex.T81-T86.zip
   166655 Dec 23 17:38 musixtex.T83-T86.zip
    43090 Dec 23 17:38 musixtex.T85-T86.zip

With these files you may switch from Version T.81 or newer (or T.83 or
T.85) to version T.86. These files do NOT contain the updated musixdoc.dvi
but all file to generate it in a single path.

So with T81-T86 you get the last changes like the new way to post signature
changes or the new musixflx with the new /linegoal-ferature and some old 
damned errors fixed by Joel Hunsberger.

Same for "musixexa" starting either with T79 (97-09-25) or T83 (97-12-01)

    69451 Dec 23 17:38 musixexa.T79-T86.zip
    10283 Dec 23 17:38 musixexa.T83-T86.zip 


Now waiting for Santa Claas bringing the Mac-Version of the new musixflx :-)


Merry Xmas and all the best for 1998!      Werner Icking - list administrator

From mutex-owner@mail2.gmd.de Tue Dec 23 17:35:07 1997
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Werner Icking wrote:

> > Though there is no recognizable difference in your example
> > (cancellation _always_ follows new signature) I was able to
> > understand what you mean.  :)
> 
> Then you are using an old MusiXTeX version; older than T.81  :-(

You are right, I didn't check that before.

> Do you have any explanation why it is more readable (easier, faster)
> if the new key signature comes first? The cancellation is possibly
> not recognized at all. What is the cancellation good for if there
> are "normal" key signatures?

Of course the cancellation should be omitted for best readability like
it is done in most newer editions.
But IMO the MPA version has been kind of a standard in older editions.
So if you really want to explicitly set cancellations you should do it
the way musicians are used to in order not to confuse them.


Regards, Andreas.
-- 
Andreas Kurth    Mannheim, Germany



From mutex-owner@mail2.gmd.de Tue Dec 30 01:58:09 1997
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From: barry@troy.la.platsol.com (Barry Gold)
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I looked over the output of my first attempt at using triplets in M-Tx
and found that some of them had the little "3" above the notes and
some had it below the notes.  I would like to force all of them below
the notes.

Another minor annoyance is that the eight note triplets are connected
with beams.  I would prefer to use slurs -- I'm much more used to
seeing the little 3 with slurs than with beams.

Btw, all the triplets have downward stems.

From mutex-owner@mail2.gmd.de Tue Dec 30 06:16:59 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: controlling triplet marks
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barry@troy.la.platsol.com (Barry Gold) wrote 

>I looked over the output of my first attempt at using triplets in 
>M-Tx and found that some of them had the little "3" above the notes 
>and some had it below the notes.  I would like to force all of them 
>below the notes.

     In PMX the default position of an xtuplet number may be above or below 
the staff regardless of the direction of the beam.  The position is 
chosen to minimize the distance of the number from the middle line of 
the staff, while still positioning it outside the staff.  

     To override this positioning, according to the manual for PMX 
Version 1.3:

"After [the first note name. optional duration, and optional octave] 
(with no space, as always) comes 'x' followed by a one- or two-digit 
integer for the number of notes in the xtuplet, then optionally an 'n' 
to control the printing of the number. A blank following 'n' signals 
that the number should not be printed. On the other hand, if one or 
two decimal numbers follow 'n', each preceded by '+' or '-', the first 
is a vertical shift in \internotes, and the second, a horizontal shift 
in notehead widths.  A final option after 'n' is 'f', to flip the 
number vertically from its default position."

I don't know whether M-Tx admits these features or not.

>Another minor annoyance is that the eight note triplets are connected 
>with beams.  I would prefer to use slurs -- I'm much more used to 
>seeing the little 3 with slurs than with beams.

Disconnecting the beam is not an option (yet) in simple PMX.  Slurring 
is possible, with fine control of the starting and ending positions of 
the slurs.  Depending on how much effort you care to invest, you could 
cancel out the beaming with inline TeX.  For example:

=================
 1 1 4 4 4 4 0 0 
 1 1 20  0.0

t
c:\pctex\texinput\
w2i
c45
\def\ibl#1#2#3{\zcharnote{#1}{\empty}}\def\tbl#1{\empty}\def\qb#1#2{\cl{#2}}\ 
c4x3nf s+2 d e s+2 c2 /
==================

The \zcharnote is there so that if the first argument of \ibl has an 
octave change in it, the \transpose register will be adjusted 
correctly. You'd have to do things to preserve and restore the old 
definitions if you needed to use any of the redefined commands with 
their original meanings before the end of the notes group.

I'm even less sure how M-Tx handles this matter. since I understand 
its default when there are lyrics is no beams at all.

--Don Simons


From mutex-owner@mail2.gmd.de Tue Dec 30 09:48:57 1997
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From: =?iso-8859-1?Q?FRAPPE_Fran=E7ois=2DNicolas_108324?=
	 <FRAPPE@mandrake.ipsn.fr>
To: mutex@gmd.de
Subject: M-Tx : baroque figured bass and titles?
Date: Tue, 30 Dec 1997 10:48:57 +0100
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I use M-Tx to write my figured bass accompaniments at organ.

1) Is it possible to=A0:
create figured bass with more than 2 figures, as {2}{4+}{6}=A0?
create special figures as XVIIe century french authors=A0?

For example (cf. Michel Corrette, Le maitre de clavecin),=20
	a 6 with the tail slashed for the "=A0petite sixte=A0"
		approximatively=A0:

		  \/
	     /\
	    /\
	   (__)

	a 7 with its horizontal bar slashed for the seventh of dominant
	     |
	    -+--
	     | /
	      /
	     /
	etc.

	If not, is possible to add a + as 6+ or 7+=A0?

2) 	For the titles, I wish to obtain similar results as with
musixsty.tex in musixtex

But when I give the "=A0Title:=A0" and "=A0Composer:=A0" lines in preambl=
e,
I cannot add some space just between the composer name and the first
system (because some notes on supplementary lines).
I tried using \\, or \, or space: 6, ... without the wanted result. The
space obtained is always after the first system, not before it ...

Is it possible to span my title, or author, or... on several lines
as (also in Michel Corrette)
Title: Le maitre de clavecin
       Lecons chantantes
Author: Michel Corrette
        (Paris, 1753)

And also,

how to change the size of the font of these titles (as \eightpoint, \it,
...)=A0?
how to add some titles as \shortauthor, \subtitle, \shorttitle,
\othermention
as with musixsty.tex

Thank you for help.

Dr F.N. Frapp=E9
IPSN/DPHD/SDOS
BP 6
F 92265 Fontenay-aux-Roses Cedex
France
+++++++++++++++++++++++++++++++++++++++
Tel : +33 01 46 54 80 43
Fax : +33 01 46 54 93 65
email=A0: francois-nicolas.frappe@ipsn.fr

From mutex-owner@mail2.gmd.de Tue Dec 30 17:08:10 1997
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From: Kurt Starsinic <kstar@mail.gmd.de>
Message-Id: <199712301708.SAA10640@gil>
Subject: Tenor clef?
To: mutex@gmd.de (mutex)
Date: Tue, 30 Dec 1997 12:08:10 -0500
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Hello all,

    Is anyone aware of an easy way to get a tenor clef (i.e., a treble
clef, with or without a small ``8'' below, which sounds one octave lower
than written) in MusiXTeX?  The docs don't seem to mention this clef, but
it's frequently used in choral music.

    Peace,
*---- Kurt Starsinic (kstar@isinet.com) ------ Senior Programmer/Analyst ---*
|   Institute for Scientific Information             (215) 386-0100 x1108   |
|     "The price of tribal life is no pianos.  If a Beethoven is born,      |
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*------------------------   http://www.isinet.com   ------------------------*


From mutex-owner@mail2.gmd.de Tue Dec 30 16:47:36 1997
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From: dsimons@logicon.com (Don Simons)
Subject: Re: triplet marks (correction)
To: mutex@gmd.de
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Corrections noted below:

>Disconnecting the beam is not an option (yet) in simple PMX.  Slurring 
>is possible, with fine control of the starting and ending positions of 
>the slurs.  Depending on how much effort you care to invest, you could 
>cancel out the beaming with inline TeX.  For example:
>
>=================
 >1 1 4 4 4 4 0 0 
 >1 1 20  0.0
>
>t
>c:\pctex\texinput\
>w2i
>c45
>\def\ibl#1#2#3{\zcharnote{#1}{\empty}}\def\tbl#1{\empty}\def\qb#1#2{\cl{#2}}\ 
                            ^^
                 should be #2

>c4x3nf s+2 d e s+2 c2 /
>==================
>
>The \zcharnote is there so that if the first argument of \ibl has an 
                                        ^^^^^
                             should be second

>octave change in it, the \transpose register will be adjusted 
>correctly. 

--Don Simons

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To: kstarsinic@isinet.com, mutex@gmd.de
Subject: Re: Tenor clef?
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 >     Is anyone aware of an easy way to get a tenor clef (i.e., a treble
 > clef, with or without a small ``8'' below, which sounds one octave lower
 > than written) in MusiXTeX?  The docs don't seem to mention this clef, but
 > it's frequently used in choral music.
 > 
Look at section 2.21.2.2 (Octave Clefs) to get the clefs themselves,
but you'll have to do the transposition yourself.

Bob T.

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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de (mutex)
Subject: Re: Tenor clef?
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Kurt Starsinic wrote

    >Is anyone aware of an easy way to get a tenor clef (i.e., a treble
>clef, with or without a small ``8'' below, which sounds one octave 
>lower than written) in MusiXTeX?  

I don't know how to do it in general.  In PMX, if you only had one 
staff in the score, you could enter the actual pitches, set treble 
clef, and transpose the whole thing up an octave.  I suppose you could 
do the same thing in MusiXTeX by altering the baseline transpose 
register (\normaltranspose?).  But I don't know how to do this in one 
staff of a multi-staff score.

BTW, to me (and to PMX) a tenor clef is a C-clef (looks like an alto 
clef) centered on the 4th line from the bottom.  But I don't have a 
better name for the octave-transposed G-clef.  Anyone else care to 
comment on the terminology?

--Don Simons

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Subject: Tenor clef?
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From mutex-owner@mail2.gmd.de Tue Dec 30 18:52:39 1997
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Subject: Re: M-Tx : baroque figured bass and titles?
To: FRAPPE@mandrake.ipsn.fr (=?iso-8859-1?Q?FRAPPE_Fran=E7ois=2DNicolas_108324?=)
Date: Tue, 30 Dec 1997 19:52:39 +0100 (NFT)
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From: begemann@math.uni-hamburg.de (Eckart Begemann)
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>=20
> I use M-Tx to write my figured bass accompaniments at organ.
>=20
> 1) Is it possible to=A0:
> create figured bass with more than 2 figures, as {2}{4+}{6}=A0?
> create special figures as XVIIe century french authors=A0?
>=20
> For example (cf. Michel Corrette, Le maitre de clavecin),=20
> 	a 6 with the tail slashed for the "=A0petite sixte=A0"
> 		approximatively=A0:
>=20
> 		  \/
> 	     /\
> 	    /\
> 	   (__)
>=20
> 	a 7 with its horizontal bar slashed for the seventh of dominant
> 	     |
> 	    -+--
> 	     | /
> 	      /
> 	     /
> 	etc.
>=20
> 	If not, is possible to add a + as 6+ or 7+=A0?

I am in kind of a hurry (have to leave this building in ten minutes...
otherwise I have to celebrate the New Year here ...)
so excuse the style and any mistakes.


I think I can contribute  something to your question on figured
bass because I had a talk about this topic with Don recently.

But my hints are only helpful if you use LaTeX.
If you use just TeX, you will have to change some commands.
E.g. kill the commands having the word 'package' in their name .... :-)

There are no special figures available yet, so you would have to
'hack' them yourself within (La)TeX.

I did that some time ago, but of course this list is not complete.
But here are some macros you may try:
%% LaTeX2e : %%  \newcommand{\x}{y} means \def\x{Y}
\newcommand{\phig}{\phantom{8}} %Phantom-Ziffer, freier Platz
\newcommand{\pphig}{\phantom{18}}
\newcommand{\shtwo}{$2$\kern-0.4ex\raisebox{-0.25ex}[\height][\depth]{$\s=
criptscriptstyle+$}}
\newcommand{\shfour}{$4$\kern-0.5ex\raisebox{0.2ex}{$\scriptscriptstyle +=
$}}
\newcommand{\shfive}{$5$\kern-0.6ex\raisebox{1ex}[\height][\depth]{$\scri=
ptscriptstyle+$}}
\newcommand{\shsix}% erhoehte Sechs
   {6\kern-1.04ex\raisebox{0.9ex}{$\scriptscriptstyle\backslash$}\hspace{=
0.32ex}}
\newcommand{\shseven}% erhoehte Sieben
   {7\kern-1.04ex\raisebox{0.9ex}{$\scriptscriptstyle\slash$}\hspace{0.3e=
x}}
\newcommand{\flsfour}{4\kern-0.9ex\raisebox{0.5ex}{$\scriptstyle\backslas=
h$}}
             %{4\kern-1.2ex\raisebox{0.1ex}{--}}  =20
\newcommand{\flsfive}{5\kern-0.9ex\raisebox{-0.1ex}{--}}
\newcommand{\flsseven}{7\kern-0.85ex\raisebox{0.4ex}{$\scriptscriptstyle\=
backslash$}}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%


Still it is worthwhile to create these figures by METAFONT.
Who would like to do that?

I also wrote two style-files providing some commands to put
figures. Here they are:
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%% File: etMusix.sty %%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\ProvidesPackage{etMusix}[1997/04/05  EBg: Makros zur Verwendung mit Musi=
XTeX]%
\ifx\undefined\Archive\else% =20
     \Archive{etMusix.sty}%
     \Record[1997/04/06]{etMusix.sty}%
\fi%
%
%Macros zu Verwendung mit MusiXTeX von Eckart Begemann
\RequirePackage{etSig}%
\bigaccid% I prefer big accidentals to the small ones.
\def\figsize{\footnotesize}
\newcommand{\csongfig}[1]{\csong{\figsize\msig[0]{#1}}}
\newcommand{\rsongfig}[1]{\rsong{\figsize\msig[0]{#1}}}
\newcommand{\cfignote}[2]{\ccharnote{#1}{\figsize\msig[0]{#2}}}
\newcommand{\zfignote}[2]{\zcharnote{#1}{\figsize\msig[0]{#2}}}
\newcounter{NBctr}\setcounter{NBctr}{0}
\def\cntmusic{\refstepcounter{NBctr}\marginpar[\sf\tiny NB \arabic{NBctr}=
]{\hfill\sf\tiny NB \arabic{NBctr}}}
\def\bbar{\doublebar\bar}
\def\hchordluu#1#2#3{\zhl#1\hroff{\zhu#2}\hu#3}
\def\qchordluu#1#2#3{\zql#1\hroff{\zqu#2}\qu#3}
\def\cchordluu#1#2#3{\zcl#1\hroff{\zcu#2}\cu#3}
\newenvironment{mxClavier}%
 {\begin{music}\instrumentnumber1\setstaffs12\setclefs1{6000}}%
 {\end{music}}%
\newenvironment{mxNoten}%
 {\begin{music}\instrumentnumber1}%
 {\end{music}}%
%\newenvironment{mxFigBass}{}{}%fuer Bass mit Ziffern
%\newenvironment{mxFigClavier}{}{}%fuer Claviersystem mit Ziffern.
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%  File :   etSig.sty %%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
\ProvidesPackage{etSig}[1997/04/05  EBg: Makros fuer Signaturen im Text]%
\ifx\undefined\Archive\else% =20
     \Archive{etSig.sty}%
     \Record[1997/06/12]{etSig.sty}%
\fi%
%
% Aus amsMath.sty genommen und z.T. veraendert:
%
%
%\newcommand{\substack}[1]{\subarray{c}#1\endsubarray}
%\newenvironment{smallmatrix}{\null\,\vcenter\bgroup
%  \Let@\restore@math@cr\default@tag
%  \baselineskip6\ex@ \lineskip1.5\ex@ \lineskiplimit\lineskip
%  \ialign\bgroup\hfil$\m@th\scriptstyle##$\hfil&&\thickspace\hfil
%  $\m@th\scriptstyle##$\hfil\crcr
%}{%
%  \crcr\egroup\egroup\,%
%}
\newcount\c@MaxMatrixCols \c@MaxMatrixCols=3D10
\renewenvironment{matrix}{%
  \hskip -\arraycolsep\array{*\c@MaxMatrixCols c}%
}{%
  \endarray \hskip -\arraycolsep
}
\newenvironment{zmatrix}{\matrix}{\endmatrix}
\renewenvironment{pmatrix}{\left(\matrix}{\endmatrix\right)}
\newenvironment{bmatrix}{\left[\matrix}{\endmatrix\right]}
\newenvironment{smatrix}{\left\lbrace\matrix}{\endmatrix\right\rbrace}
%\newenvironment{vmatrix}{\left\lvert\matrix}{\endmatrix\right\rvert}
%\newenvironment{Vmatrix}{\left\lVert\matrix}{\endmatrix\right\rVert}
\newsavebox{\fmatrixbox}
\newenvironment{fmatrix}%
   {\begin{lrbox}{\fmatrixbox}\(\matrix}{\endmatrix\)\end{lrbox}\fbox{\us=
ebox{\fmatrixbox}}}


\newcommand{\msig}[2][1]%
 {%Beginn /newcommand
  \bgroup\def\arraystretch{0.6}\setlength{\arraycolsep}{2pt}
   \ifcase#1\(\begin{zmatrix}#2\end{zmatrix}\)
    \or\(\begin{fmatrix}#2\end{fmatrix}\)
    \or\(\begin{smatrix}#2\end{smatrix}\)
    \or\(\begin{pmatrix}#2\end{pmatrix}\)
    \or\(\begin{bmatrix}#2\end{bmatrix}\)
    \or\(\begin{smallmatrix}#2\end{smallmatrix}\)
   \fi=20
  \egroup
 }%Ende /newcommand
  =20
\newcommand{\mfnsig}[2][1]%
 {%Beginn /newcommand
  \bgroup\def\arraystretch{0.6}\setlength{\arraycolsep}{2pt}\footnotesize
   \ifcase#1\(\begin{zmatrix}#2\end{zmatrix}\)
    \or\(\begin{fmatrix}#2\end{fmatrix}\)
    \or\(\begin{smatrix}#2\end{smatrix}\)
    \or\(\begin{pmatrix}#2\end{pmatrix}\)
    \or\(\begin{bmatrix}#2\end{bmatrix}\)
    \or\(\begin{smallmatrix}#2\end{smallmatrix}\)
   \fi=20
  \egroup
 }%Ende /newcommand

\let\hdots\@ldots
\newcommand{\hdotsfor}[1]{%
  \ifx[#1\@xp\shdots@for\else\hdots@for\@ne{#1}\fi}
\newcommand{\csongfig}[1]{\csong{\footnotesize\msig[0]{#1}}}
\newcommand{\rsongfig}[1]{\rsong{\footnotesize\msig[0]{#1}}}
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
The File etMusix.sty needs the file etSig.sty.
In File etMusix.sty you find the definition of
some macros
\csongfig{..}
\zfignote{}{}

Your figure could be put as
\csongfig{6\\4+\\2}

If you want to put a sharp sign you code
\csongfig{6\\4\sharp\\2}
or if you prefer:
\csongfig{6\\\sharp4\\2}  %the other way round.

If you want to influence the exact position of the figure
use
\zfignote{pitch}{7\\5\\2}
where pitch is some letter coding the height where you want the
figure to go. (This command parallels \zcharnote{}{})

If you want to put figures within M-Tx
you have to know how PMX does it because
M-Tx just passes them on (as I understood it.)
So read PMX-Manual .. :-)

It will tell you some restrictions on figures:
only one digit figures (no 10, no 11, no 12, as far as I know)
accidentals come always *after* their figure
and of course no special figures.

How this is done you can see in the following Example



%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%% and an M-Tx-File %%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Title:  (28) Jesus, unser Trost und Leben
Composer: Freylinghausen 1714
Style: Melodie Piano
Melodie: Voices S; Vocal; Clefs s
Flats: 2
Meter: 3/4
Size: 20
Pages: 1
Systems: 4


( d4++ c ) b | c2  f4- | ( b [ a8 g ] ) c4 | a2 f4 :|
L: Je-sus un-ser Trost und Le-ben,
L: der dem To-de war er-ge-ben,
r2db   | rdb | rdb | rdb :|
b4- a 6 g 7 | a 6 b8 c d4 7 | g- 7 c 64 c- 5n | f c+ f of :|

( b c ) d | g2-   g4 | ( a b ) c | f2sd- of |
L: der hat herr-lich und mit Macht,
r2db | rdb | rdb | rdb |
d4 6 c 6 b | e8 9 f g 6 f e d | c4 6 b 6 x185 a 7 | d4d # e8 d c |

d2+ e4 | ( d g- ) c | b2  [ a8 b ] | g2d of |
L: Sieg und Le-ben wie-der-bracht.
r2db | rdb | rdb | rdb |
b8 6 a g4 c 65 s | c s 6#42 b 6 e 6 | d 64 c d 5# | g2d- of |

c2 b4 | a [ f8 g a b ] | c4 [ b8 a b g ] | a2 f4 of |
L: Er ist aus des To-des Ban-den
r2db | rdb | rdb | rdb |
en8+ 6 d c n d e 65 c | f4 f- f+ | e8n 6 f g4 n643 c- 7n | f2 f4- of |

( d4+ c ) d | b [ g8 a b c ] | ( d4 c ) d | b2 g4 of |
L: als ein Sie-ges-f\"urst er-stan-den
r2db | rdb | rdb | rdb |
f8n+ 6 en d 7# e fs 6 d 7 | g4 g- g+ | fs8 6 g a4 #643  d- 6# x185 | g2 g=
4- of |

e4+ e d | ( c b8 a b4 ) | [ c8 d ] a4d  b8 | b2d |]
L: Al-le-lu-ja! Al-le-lu-ja!
r2db | rdb | rdb | rdb |]
g8+ 6 f g a b4 | e- 6 f 75 g | e 65 f f- | b2d |]
%%%%%%%%%%%% cut here: END %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

As for you wishes concerning the Title
I guess you would have to go in PMX
or even TeX.

But listen to the advice of the authors of
M-Tx and PMX ....

Best wishes for '98

Eckart Begemann



>=20
> 2) 	For the titles, I wish to obtain similar results as with
> musixsty.tex in musixtex
>=20
> But when I give the "=A0Title:=A0" and "=A0Composer:=A0" lines in pream=
ble,
> I cannot add some space just between the composer name and the first
> system (because some notes on supplementary lines).
> I tried using \\, or \, or space: 6, ... without the wanted result. The
> space obtained is always after the first system, not before it ...
>=20
> Is it possible to span my title, or author, or... on several lines
> as (also in Michel Corrette)
> Title: Le maitre de clavecin
>        Lecons chantantes
> Author: Michel Corrette
>         (Paris, 1753)
>=20
> And also,
>=20
> how to change the size of the font of these titles (as \eightpoint, \it=
,
> ...)=A0?
> how to add some titles as \shortauthor, \subtitle, \shorttitle,
> \othermention
> as with musixsty.tex
>=20
> Thank you for help.
>=20
> Dr F.N. Frapp=E9
> IPSN/DPHD/SDOS
> BP 6
> F 92265 Fontenay-aux-Roses Cedex
> France
> +++++++++++++++++++++++++++++++++++++++
> Tel : +33 01 46 54 80 43
> Fax : +33 01 46 54 93 65
> email=A0: francois-nicolas.frappe@ipsn.fr
>=20


From mutex-owner@mail2.gmd.de Wed Dec 31 09:09:30 1997
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199712310909.UAA21354@molly.cs.monash.edu.au>
Subject: MTx separate directories
To: mutex@gmd.de (mutex)
Date: Wed, 31 Dec 1997 20:09:30 +1100 (EST)
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I prepared each of my chapters in separate directories, using LaTeX
and MTx. Now, I want to combine them all into a thesis.


Just inputting them from a main file doesn't seem to work -
do the packages need access to all those extra files in each 
directory?

Because when LaTeX \inputs{} a file, it doesn't change the current directory;
and so I guess it can't find these extra files?

I'm thinking that I could just copy *all* the directories into one
directory, and run it from there - that may be the easiest.

Anyway, here's the error I'm getting so far:


[1] [2] [3] [4] (/u/postg/bren//w/rhythm/ref.ex
! You can't use `\relax' after \the.
<recently read> \azt1 
                      
l.26 \auxlyr{\assignlyrics1{}}


Thanks!
& Happy new year!
-- 
Brendan Macmillan				     bren@cs.monash.edu.au
http://www.cs.monash.edu.au/~bren	  Occam's razor melody composition
"I get knocked down But I get up again You're never gonna keep me down" 
     					

From mutex-owner@mail2.gmd.de Fri Jan  2 20:34:55 1998
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Date: Fri, 2 Jan 1998 14:34:55 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Cc: Werner Icking <Werner.Icking@gmd.de>
Subject: Mac musixflx and M-Tx now shipping
In-Reply-To: <199712231724.SAA07453@sunick.gmd.de>
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Werner Icking wrote: 
> Now waiting for Santa Claas bringing the Mac-Version of the new musixflx
> :-)

For the adventurous MusiXTeX'ers with Macs: I am announcing support for
the new musixflx

http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/#musixflex

and for Dirk Laurie's M-Tx

http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/#mtx

These programs are in the form of MPW tools, i.e., they require either MPW
or ToolServer to run. Instructions for downloading ToolServer are included
at the previously noted URLs. AppleScript droplets for easy drag-and-drop
processing of files are also included. (AppleScript is required for this
to work. It would also be possible to write ToolServer scripts to do this
if someone didn't have AS, but I'm not supporting that at the moment. If
you are interested, contact me.)

Happy new year to all,
Eric

+++

Werner,
  Since these archives are not complete, I'm a bit hesitant about putting
them at GMD. What do you think? I suppose we could roll a big archive,
containing ToolServer, etc, for GMD, or we could put up instructions and
pointers like at my site. Let me know how you want to handle this.
Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


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Subject: slur <-> tie <-> ten
To: mutex@gmd.de
Date: Mon, 5 Jan 1998 16:42:00 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello everybody,


Recently I had a closer at the slur and tie commands of
MusixTeX (T.75), reading the paragraphs dealing
with this subject (2.12).

I am not sure whether it is sensible to name some
printing mistakes here - I think this version has been
updated since quite a while. But still I would like to
ask some questions:

1) I am not sure whether I understood the advantage of the command
   \iten...  and \tten.
   (although I do not hesitate to use it.)

   In 2.12.1.4. there are two 'drawbacks' of the
   'traditional' way of using "\slur" and "\tie" listed:

   -- in some special cases, a tie might be confused with a tie and conversely.
   -- chord ties cannot be implemented with the slur starting above or below
      the note, but only starting just right of the notehead (misprint there)
      and finishing just left of the other note head.

   As for the first drawback I cannot the point, even if I change
   one of the two words 'tie' into 'slur' which I guess was meant.
     Are you saying the printed output can be confused?
   But does the command \iten\tten introduced here to avoid the
   confusion really help to avoid the confusion?
     Anyway this confusion is found everywhere is it not?

   But may I did not get the point of the confusion you are talking of:
   Are you talking of tex's problem to confuse the different registers?
   So maybe I have to ask:

   Does the reference number of "\iten..." use a tex-register on its own,
   whereas "\itie..., \ttie.."
   uses the same register as "\islur...., \tslur..."?

   As for the second drawback I still cannot see the necessity for
   the commands "\iten...\tten" (but do not cancel them, since I am
   using them .. :-) ):
   As I understand the explanation of "\itie..." and "\ttie."
   they *do* provide those *short* slurs (=ties) you are talking of,
   starting just right of the notehead and finishing just left of
   the other one: They exaclty perform the same as the commands
   "\isslur.... \tsslur.."

   So what *is* the point of the newly introduced commands "\iten..., \tten.."?

2) Around these paragraphs there are a number of misprints I guess.
   But possibly I am wrong so I would rather like to ask to be sure:
   Which of the following commands exist:
    \tstie...or  \ttie... (or both?)
    \tdbslur...,  \tbslurd...    ??
    \tubslur...,  \tbsluru...    ??




2) (just being curious:) Why did you change the letter 'l' for 'lower'
   to 'd' (for 'down') when dealing with the commands
   "\slur..., \tie"?
   (Is one of the commands
   \islurl,\tslurl, \itiel,\ttiel already defined?)

Thanks for your answers!

### Eckart

From mutex-owner@mail2.gmd.de Mon Jan  5 15:35:11 1998
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Subject: figured bass (continued), (Corrette ...)
To: FRAPPE@mandrake.ipsn.fr (=?iso-8859-1?Q?FRAPPE_Fran=E7ois=2DNicolas_108324?=)
Date: Mon, 5 Jan 1998 16:35:11 +0100 (NFT)
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In-Reply-To: <199712300949.KAA26609@muguet.saclay.cea.fr> from "=?iso-8859-1?Q?FRAPPE_Fran=E7ois=2DNicolas_108324?=" at Dec 30, 97 10:48:57 am
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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(continueing hints on figured bass dating from last year:)

A drawback (feature:-) of my macros '\csongfig{}, \cfignote{}{}'
is the following: They do not align the figures vertically, but they
are vertically centered. (I am not sure whether I expressed this
correctly but you will see what I mean, if you 
have a look at the output of, say:
\NOtes\wh G\csongfig{5}\sk\csongfig{6\\4}\sk\csongfig{7\\4\\2}\sk\enotes
Compare the output to the output of the following:
\NOtes\wh G\csongfig{5\\\phig\\\phig}\sk\csongfig{6\\4\\\phig}\sk\csongfig{7\\4\\2}\sk\enotes

(\phig puts a phantom cypher, that is a cypher which is invisible.)


A different miraculous drawback of my macros '\csongfig{}',
'\cfignote{}{}' etc is that the figures are not placed
*exactly* above the notes they refer to. (At least on
the screen I observed this feature.)
I have not searched for the reason yet.

So you could try to improve them or use the ready made
macros by Don Simons:

Using PMX you generate a tex-file containing the command
'\input pmxtex'. (Possibly it is '\input pmx', I am not absolutely sure.)
If you look in the file pmxtex.tex  (pmx.tex?)
you will find the definition of
the command \Figu{drop}{each_cypher}.
  This command is used by PMX to handle figured bass and
can of course be used by anybody to achieve nice results
on figured bass.
  Instead of \csongfig{7\sharp\\5\\2}\wh D
you could code
\Figu{0}{7\sharp}\Figu{4}{5}\Figu{8}{2}\wh D.   (or
\Figu{0}{\sharp7}\Figu{4}{5}\Figu{8}{2}\wh D,
if you prefer to have the accidental in front of the cipher '7')
  So each of the cyphers, which stand above each other and
belong to the signature "7# // 5 // 2",
takes its own \Figu-command the first argument of which
controls the vertical position of the cipher in the second
argument. PMX uses a distance of 4 units between two
ciphers standing one beneath the other.
  PMX also avoids in an admirable way any collision
of figures and bass notes and manages at the same time
the horizontal alignment of the figures of one line/system:
  You will find out how that is done
if you look at the "\case....\fi"-command
at the beginning of the tex-file output by PMX.

So a possible way to achieve the output you want should be
1)  Use M-Tx,
     passing figures (,ornaments and anything) on to PMX
     (a very useful feature of M-Tx, I am grateful to Dirk!)
     using only cyphers from 2 to 9 (no French/German baroque ones)
     putting accidentals in the usual way.
2)  Run PMX to generate the tex-file
3)  Manipulate the tex-file in the way you want:
     replace a 3 by 10 (wherever you need it), 4 by 11, etc
     replace a sharpened 6 by any macro hacked by yourself
     or anybody else (mine would be \shsix).
    In order to do that you will find out that PMX codes the
     accidentals on its own, so a sharpened six is coded like this
     \Figu{4}{6}\Figu{3}{\sharpfig}  (or similar, I don't know by heart).
     And you might change it into
     \Figu{4}{\shsix}

The best result could be achieved by persuading someone to write
a METAFONT-code for those special French/German figures...
(and persuade Don to enable PMX to accept two-digit cyphers, too...)

That's more or less the way I would try to handle your case.

I would be interested to learn about the titles problem, too.


a Happy NeW YeaR
Eckart

From mutex-owner@mail2.gmd.de Mon Jan  5 19:11:28 1998
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Eckart Begemann wrote:

>    Does the reference number of "\iten..." use a tex-register on its ow=
n,
>    whereas "\itie..., \ttie.."
>    uses the same register as "\islur...., \tslur..."?

ties and slurs share the same registers. Difference is only in the behavi=
our.

>
>
>    "
>
>    So what *is* the point of the newly introduced commands "\iten..., \=
tten.."?

Make ties able to go over long bars.

> 2) (just being curious:) Why did you change the letter 'l' for 'lower'
>    to 'd' (for 'down') when dealing with the commands
>    "\slur..., \tie"?
>    (Is one of the commands
>    \islurl,\tslurl, \itiel,\ttiel already defined?)

I did not change that. Ask Andreas Egler.

>
>
> Thanks for your answers!
>
> ### Eckart



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Jan  6 15:40:11 1998
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Date: Tue, 06 Jan 1998 16:40:11 +0100
From: Frank Stefani <F.Stefani@gap.baynet.de>
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First I wish everybody on the list a happy new year 1998!

Here's my simple question concerning M-Tx:

  How can I typeset a song with unisono (one stave) verses and
  SATB (2 staves with the 4 voices) refrain?

I tried it first with SATB style but it M-Tx produced one stave
with soprano notes (as expected) and the other three voices
filled with rests throughout the whole verse.

Any help appreciated,

Frank.
-- 
--------------------------------------------------------------
                      <=============\                        
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\   
      X     |              < \                 -- <\    ()/() 
    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
        <EAD-Frank.Stefani@t-online.de>
Packet: <dg4mls@db0gap.#bay.deu.eu>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jan  6 17:33:00 1998
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Subject: \zchangeclefs
To: mutex@gmd.de
Date: Tue, 6 Jan 1998 18:33:00 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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As I understand the manual the command
\zchangeclefs  acts like \lcharnote rather than
\zcharnote, right?
So why not call it \lchangeclefs?

-- Eckart 

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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Tue, 6 Jan 1998 18:33:00 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> As I understand the manual the command
> \zchangeclefs  acts like \lcharnote rather than
> \zcharnote, right?

Wrong.  \changeclefs  behaves like \charnotes;
        \zchangeclefs behaves like \zcharnotes.

> So why not call it \lchangeclefs?

2.) because it's called \zchangeclefs longer than MusiXTeX exists :-)

From mutex-owner@mail2.gmd.de Thu Jan  8 13:18:42 1998
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Subject: \usf{} 
To: mutex@gmd.de
Date: Thu, 8 Jan 1998 14:18:42 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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\usf{} and \lsf{}  (and probably all related, similar commands)
put accidentals if passed in the argument:
So \usf{^f} would not only put a sforzando at a suitable height
above an imaginary f but would also put a sharp in front of the
imaginary notehead.
Which is the purpose of this behaviour?

Of course usually you just would not pass over any accidentals
to \usf{} and similar commands.
But my question arose in a case of a self defined macro which takes
eight pitches putting chords in a certain way and putting sforzandi
above some of them. (My example was the beginning of J.Brahms's Sonata op 5)
So I would prefer MusiXTeX not to put the accidentals twice
in the following simplified sample:
 {\transpose=5\usf{#9}}\zq{#7#8}\qu{#9}
 where #9 equals  _g

Or am I failing to recognize some advantage of this feature?

Thanks for letting me know!

-- Eckart

From mutex-owner@mail2.gmd.de Thu Jan  8 15:45:51 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Thu, 8 Jan 1998 14:18:42 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> \usf{} and \lsf{}  (and probably all related, similar commands)
> put accidentals if passed in the argument:
> So \usf{^f} would not only put a sforzando at a suitable height
> above an imaginary f but would also put a sharp in front of the
> imaginary notehead.
> Which is the purpose of this behaviour?

There is no purpose of that behaviour. It's a side effect that
at many places where you can specify  "collective coding"  is
allowed.

If you write a Fortran programme you may write I = I+1-1+1+0-0;
but it's good for nothing.


> Of course usually you just would not pass over any accidentals
> to \usf{} and similar commands.

Yes.

> But my question arose in a case of a self defined macro which takes
> eight pitches putting chords in a certain way and putting sforzandi
> above some of them. (My example was the beginning of J.Brahms's Sonata op 5)
> So I would prefer MusiXTeX not to put the accidentals twice
> in the following simplified sample:
>  {\transpose=5\usf{#9}}\zq{#7#8}\qu{#9}
>  where #9 equals  _g

Where's the problem? Or do you see two accidentals?

But there is a problem. It arises from using ' or ` for octave switching.
Then the octave would be switched twice if #9 equals to 'g.

Therefor you should code e.g.

 \newcount\bege@i
 \def\...{...\bege@i\transpose\usf{#9}\transpose\bege@i\zq{#7#8}\qu{#9}...}

if you use a pitch parameter more than once in a macro. Maybe that

 \def\...{...{\usf{#9}}\zq{#7#8}\qu{#9}...}

works, too.

Notice that the sequence of the parameters and their occurance within
the macro-body are significant. So in your case I would prefer something like

 \def\...{...\zq{#7#8}{\usf{#9}}\qu{#9}...}

so that in the sequence of parameters the octaviation of the result can be
seen if you use only note names from a-g together with ' and `.


Werner

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Subject: Re: \usf{}
To: bobroff@centrum.is (David Bobroff)
Date: Thu, 8 Jan 1998 20:22:26 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <l03130301b0dabcf44e76@[193.4.136.30]> from "David Bobroff" at Jan 8, 98 05:30:33 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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> Eckart Begeman wrote:
> 
> > {\transpose=5\usf{#9}}\zq{#7#8}\qu{#9}
> > where #9 equals  _g
> >
> >Or am I failing to recognize some advantage of this feature?
> >
> >Thanks for letting me know!
> >
> >-- Eckart
> 
> If I understood your question correctly then your input should look like this
> 
> {\transpose=5\usf{9}}\zq{#7#8}\qu{#9}
> 		  ^
> 		  |
> 		No sharp
> 
> It is not necessary to put the sharp in the \usf{}.  It will be placed with
> the note writing macro.

no, the 'sharp' is not a musical sharp. It is TeX's marker for a parameter,
#9 expands to the nineth parameter passed on to the macro just being defined:
I refrained from putting the "\def\mymacroname" in front of the code.
(Anyway, MusiXTeX needs a "^" to put a musical sharp.)

My actual suggestion/question was whether it would be possible to
make \usf forget any accidentals passed as parameters, because 
I think it actually should only be the note writing macro's 
responsibility to put accidentals. 

But probably it is difficult(/impossible) to change this behaviour.


thanks for advice!

-- Eckart

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From: Zdenek Pytela <letty@phil.muni.cz>
Message-Id: <199801091543.QAA12656@lvt.phil.muni.cz>
Subject: Re: Tenor clef?
To: mutex@gmd.de
Date: Fri, 9 Jan 1998 16:43:56 +0100 (MET)
In-Reply-To: <000799E9.1941@logicon.com> from "Don Simons" at Dec 30, 97 08:58:05 am
Organization: Masaryk University, Faculty of Arts
Postal-Address: Arna Novaka 1, 660 88 Brno, Czech Republic
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Don Simons srote:
> Kurt Starsinic wrote
>     >Is anyone aware of an easy way to get a tenor clef (i.e., a treble
> >clef, with or without a small ``8'' below, which sounds one octave 
> >lower than written) in MusiXTeX?  
> 
> BTW, to me (and to PMX) a tenor clef is a C-clef (looks like an alto 
> clef) centered on the 4th line from the bottom.  But I don't have a 
> better name for the octave-transposed G-clef.  Anyone else care to 
> comment on the terminology?
	We call it either tenor clef or italian violin (viola, octave) clef.

-- 

--Zdenek <pytela@phil.muni.cz>


From mutex-owner@mail2.gmd.de Sun Jan 11 01:44:44 1998
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199801110144.MAA16020@molly.cs.monash.edu.au>
Subject: Music typesetting theory
To: mutex@gmd.de (mutex)
Date: Sun, 11 Jan 1998 12:44:44 +1100 (EST)
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This is a meta-question about music typesetting, rather than
specific to the musixTeX family.


Good typesetting leaves more space for longer notes; thus, the actual
*position* of notes within the bar is a cue to their rhythm. But
music theory only talks of the *duration* of the notes, with crotchet
and quavers etc defining the temporal positions of the notes.

My meta-question is: how important is this setting out seen to be?
	- It is more pleasing to the eye
	- It seems a very valuable cue for sight-reading the rhythm of a bar,
albeit unconscious perceived.
	- This is a more easily interpreted representation of rhythm
than the durations themselves, though a less precise one.


I think music typesetters would be more aquainted with this positioning
than musicians or musicologists, because they are the people who put
it there! Thanks very much for you thoughts on this - it relates to 
my masters thesis in computer science and music.


-- 
Brendan Macmillan				       bren@cs.monash.edu.au
http://www.cs.monash.edu.au/~bren   PROJECT: inferring the essence of melody
 "I get knocked down But I get up again You're never going to keep me down" 
     					

From mutex-owner@mail2.gmd.de Sun Jan 11 19:58:59 1998
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Subject: Re: Music typesetting theory
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On Sun, 11 Jan 1998, Brendan Macmillan wrote:


> My meta-question is: how important is this setting out seen to be?
> 	- It is more pleasing to the eye
> 	- It seems a very valuable cue for sight-reading the rhythm of a bar,
> albeit unconscious perceived.
> 	- This is a more easily interpreted representation of rhythm
> than the durations themselves, though a less precise one.
> 
> 
> I think music typesetters would be more aquainted with this positioning
> than musicians or musicologists, because they are the people who put
> it there! Thanks very much for you thoughts on this - it relates to 
> my masters thesis in computer science and music.

I have difficulty understanding what you want to know precisely.  You are
right with your 3 points.  If you want to know some more about spacing,
see

	John S. Gourlay. ``Spacing a Line of Music,'' Technical Report
	OSU-CISRC-10/87-TR35, Department of Computer and Information Science,
	The Ohio State University, 1987.

	[Algorithm for generating spacing in one line of (polyphonic) music,
	tailored for use with MusiCopy. LilyPond uses a variant of it (as of
	pl 76) HWN] 

You should keep in mind, though that music-typesetting is *much* more
graphical than musical.

Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/


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Subject: Re: Music typesetting theory
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On Sun, 11 Jan 1998, Brendan Macmillan wrote:


> My meta-question is: how important is this setting out seen to be?
> 	- It is more pleasing to the eye
> 	- It seems a very valuable cue for sight-reading the rhythm of a bar,
> albeit unconscious perceived.
> 	- This is a more easily interpreted representation of rhythm
> than the durations themselves, though a less precise one.
> 
> 
> I think music typesetters would be more aquainted with this positioning
> than musicians or musicologists, because they are the people who put
> it there! Thanks very much for you thoughts on this - it relates to 
> my masters thesis in computer science and music.

I have difficulty understanding what you want to know precisely.  You are
right with your 3 points.  If you want to know some more about spacing,
see

	John S. Gourlay. ``Spacing a Line of Music,'' Technical Report
	OSU-CISRC-10/87-TR35, Department of Computer and Information Science,
	The Ohio State University, 1987.

	[Algorithm for generating spacing in one line of (polyphonic) music,
	tailored for use with MusiCopy. LilyPond uses a variant of it (as of
	pl 76) HWN] 

You should keep in mind, though that music-typesetting is *much* more
graphical than musical.

Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Mon Jan 12 10:59:58 1998
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Date: Mon, 12 Jan 1998 11:59:58 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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> From: Brendan Macmillan <bren@cs.monash.edu.au>
> Date: Sun, 11 Jan 1998 12:44:44 +1100 (EST)
> 
> Good typesetting leaves more space for longer notes; [...]
> 
> My meta-question is: how important is this setting out seen to be?

I have some printed music which does not obbey this rule. E.g. a violin
sonata by Corelli with bars with triplets of beamed eights followed by
bars with normal beamed eights alternatively. At one place a line ends
with triplets of beamed eigths, which is followed by a line with similar
triplets but printed much wider. I tested it with many players and all 
players went into the trap by changing from triplet eigths to normal eights
at that place - and not only when sight-reading but whenever playing the 
piece after some time again. Only by adding a big exclamation mark with
a pencil this error can be avoided. But that's not good typesetting.

-- Werner

From mutex-owner@mail2.gmd.de Mon Jan 12 12:36:59 1998
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Subject: REMINDER: abc home page
To: abc@aisling.stanford.edu, abc-users@ecs.soton.ac.uk, mutex@gmd.de,
        IRTRAD-L@LISTSERV.HEA.IE, MORRIS@LISTSERV.IUPUI.EDU,
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A quick reminder of the abc home page!

(abc = ascii notation system for trad/folk music).

Contents:
	* the web-wide abc index (over 8000 titles for over 7500
					web-accessible tunes listed)
	* listings of all known abc software packages
	* examples of abc usage
	* some abc packages can now handle lyric as well as music
	* a list of web-accessible abc tune collections
	* the sectionalised web-wide abc index (split into bite-sized chunks)
	* link to the abc user group mailing list
	* abc international

Find it at:
	http://www.gre.ac.uk/~c.walshaw/abc/

	Chris Walshaw
	C.Walshaw@gre.ac.uk



From mutex-owner@mail2.gmd.de Thu Jan 15 15:25:05 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801151525.RAA03926@calvyn.puk.ac.za>
Subject: Bug in M-Tx C code 
To: frank@ead-systeme.de (Frank Stefani)
Date: Thu, 15 Jan 1998 17:25:05 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <34BCC4D6.F14DE319@ead-systeme.de> from "Frank Stefani" at Jan 14, 98 02:59:50 pm
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A bug has been found in the C code of M-Tx.  This does not
affect the MS-DOS executable prepmx.exe.

The bug appears in a low-level routine and it is difficult to
predict all possible errors caused by it.  Typically the
symptoms would be that a letter or two simply disappears
in the final output.  E.g. 

U: C#

will cause the C to be lost.

To correct the bug, replace the following lines in cfuncs.c
and recompile prepmx:

char *substr_(char *Result, char *s, short start, short count)
{ s += start-1;
  while (count--) *Result++ = *s++;
  *Result = '\0';
  return Result;
}

by:

char *substr_(char *Result, char *s, short start, short count)
{ char *R = Result;
  s += start-1;
  while (count--) *R++ = *s++;
  *R = '\0';
  return Result;
}

Dirk Laurie

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Dear subscribers of the MuTeX mailing list,
 
from Januar 27th to March 3rd this list will run unattended. From my
experience up to now this should be possible without any problems.
 
Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request (don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.
 
If there seem to be major problems with the list, please inform
listmaster@gmd.de

Regards, Werner Icking <mutex-owner@gmd.de>
 
PS: In the same way the music part of ftp.gmd.de runs unattended.
    That means that new versions of e.g. MusiXTeX or PMX will not
    automatically be distributed as far as they are mirrored from
    ftp.gmd.de. Files uploaded to /incoming/music may get lost.
 

From mutex-owner@mail2.gmd.de Mon Jan 19 21:18:49 1998
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From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9801192118.AA36887@troy.la.platsol.com>
To: mutex@gmd.de
Subject: Initial uptext and spacing
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I have started using M-Tx 30a and it has made it _much_ easier to
insert guitar chords and other "uptext".  Many thanks to Dirk for
this improvement.

But I am having a problem.  The staves are spaced too far apart, so
the last line of lyrics disappears entirely.  Can anyone suggest a way
to get less space between systems?  Or to move the first system up --
there's really too much space between the text at the top of the page
and the first system.

I'm also getting the following warning from TeX:

Underfull \vbox (badness 10000) has occurred while \output is active [1164]


Here's my input:

Meter: 3/4
Style: SINGER
Pages: 1
Systems: 8

%% h9i
%% w7i
%% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
%% \\pageno=1164\ 
%% \\headline{\twelverm Xenofilkia \#58\hfill page xxx4}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm THE MASTER OF GREYHAVEN\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by Leslie Fish\hfill}\ 
%% \\nobarnumbers\ 
U: Am   ~   ~   C     ~  ~   G   ~   ~   Am     ~
@-6 e4  e   e | e     e  c | b   c   d | e2     e4 |
L: Weep all ye  winds of the val-ley and hills, And

U: ~     ~  ~    G     ~  ~      Am ~    E    ~
   a.a      a  | g     a  bu | ( a2 g4 | e2 ) e4 |
L: mourn ye salt winds of the    bay.         For

U: Am  ~   ~    G   ~   ~   Dm  ~    ~   E      ~    ~
   a   a   a |  g   a   g | f   g    f | e.d         e |
L: who now will sum-mon the spi-rits of  Earth, When the

U: Dm  ~   ~   F  ~     ~   E       ~    ~
   f   f   e | f  g   f |  (  e2d | e2 ) e4 |
L: Mas-ter is  ta-ken   a-way?           He

U: Am   ~   ~    G    ~   ~   Dm   ~   ~   Am     ~  ~
   a.bue    ar | g.a      g | f    g   f | e.c       e |
L: wore the dark kilt and the spor-ran and skean, As he

U: C       ~   ~     G    ~    ~   Am      E    ~
   e.f         er |  e    c    d | ( e2d | e2 ) e4 |
L: waltzed the grand ball-room a-round.         His

U: Am    ~ ~     C    ~       ~    G     ~  ~   Am    ~
   e       e f |   ee   d       cr | b     c  d | e2    e4 |
L: ~~poems ~ still sing through the  halls of his keep, But

U: Dm   ~  ~    F  ~    ~     E   \chorus  ~
   f    f  f |  f  g    f | ( e2de | e2e ) e4e
L: here he will no more be    found.       And

U: Dm  ~   ~    F   ~   ~   Am    ~ ~   ~     ~   ~
   d4  d   d |  d   c   b | c       c b | a.be      c
L: who now will sum-mon the ~~poets ~ at  dusk, And in-

U: C     ~   ~   G   ~    ~     Am    E
   c     b   c | d   c    d | ( e2d | e2d )
L: spire all the sin-gers 'til  dawn?

U: Am  ~     ~   C    ~  ~
   a4  a     a | a    e  c |
L: Who shall be  Mast-er of

U: G   ~    Am  ~    ~   C   ~   ~   G    ~  ~     Am ~
@-8 d  g2 | e2  e8e  e   e4  d   c | d    c  b | ( a2d | a2d )
L: Rev-els  now That the Mas-ter of  Grey-ha-ven's gone?

From mutex-owner@mail2.gmd.de Tue Jan 20 01:28:32 1998
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From: barry@janus.la.platsol.com (Barry Gold)
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To: mutex@gmd.de
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Subject: Re: Initial uptext and spacing
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Many thanks to Werner, who pointed out that the problem lies in the
staves being auto-spaced to the page-length.  I took out the line:
%% \\vsize=10in\ 
and restored the page height to
%% h9.8i
and got reasonable output.

There are still two things I'd like to do to improve the appearance of
my output.

1. There's still too much space between my header and the first
system.  It would look nicer if that space were the same as
between the systems.

2. I notice that the lyrics are being approximately centered under the
note-heads.  Before I started using M-Tx I was just using MusiXTex and
coding my lyrics with \hsong.  Is there a way to force M-Tx do this --
generate the lyrics into \hsong instead of (apparently) \csong?

(Actually, I notice that the lyrics are generated using \setlyrics,
\assignlyrics, and \auxlyr.  Unfortunately, what few comments exist in
musixlyr.tex are in German, which I'm not very good at.)

From mutex-owner@mail2.gmd.de Tue Jan 20 09:16:17 1998
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199801200916.UAA14280@molly.cs.monash.edu.au>
Subject: error: musixlyr?
To: mutex@gmd.de (mutex)
Date: Tue, 20 Jan 1998 20:16:17 +1100 (EST)
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Hi,

I'm getting this error message; I suspect it is becuase I have quite a
large LaTeX document (200+ pages) with several music examples. Perhaps
too many?

It all works fine when I test it individually; problems
only occur when I combine it all. That is, I am writing separate
chapters in different directories for their individual preparation,
and then combining them all in one (huge) directory for the
complete document.


I guess the error message: " {No room for a new #3} " is the key
to it all. But what does it mean?



< 31> bar 5 bar 6 bar 7 bar 8) [184] (melody3.ex (melody3.mod
M-Tx 0.24 (Music from TeXt) <15 June 1997>
(/usr/monash/tex/lib/tex/inputs/musixlyr.tex)

! No room for a new \toks .
\ch@ck ...\else \errmessage {No room for a new #3}
                                                  \fi 
l.3 \input musixlyr\:\enableauxlyrics
                                     \def\AL{\auxlyr\lyr\nolyr}



Thanks!
-- 
Brendan Macmillan                                    bren@cs.monash.edu.au
http://www.cs.monash.edu.au/~bren             PROJECT: the essence of melody
	It was the best of times :) it was the worst of times :(

From mutex-owner@mail2.gmd.de Tue Jan 20 14:58:56 1998
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'Brendan Macmillan'" <bren@cs.monash.edu.au>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: error: musixlyr?
Date: Tue, 20 Jan 1998 15:58:56 +0100
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Hi Brendan,

please try the following: Edit "musixlyr.tex"; after the line

\def\enableauxlyrics{%

add the line:

  \global\let\enableauxlyrics\empty

If this solves the problem, I'll be willing to explain what has happened
(should this be necessary). :-)

Regards, Rainer


>----------
>Von: 	Brendan Macmillan[SMTP:bren@cs.monash.edu.au]
>Gesendet: 	Dienstag, 20. Januar 1998 10:16
>An: 	mutex@gmd.de
>Betreff: 	error: musixlyr?
>
>Hi,
>
>I'm getting this error message; I suspect it is becuase I have quite a
>large LaTeX document (200+ pages) with several music examples. Perhaps
>too many?
>
>It all works fine when I test it individually; problems
>only occur when I combine it all. That is, I am writing separate
>chapters in different directories for their individual preparation,
>and then combining them all in one (huge) directory for the
>complete document.
>
>
>I guess the error message: " {No room for a new #3} " is the key
>to it all. But what does it mean?
>
>
>
>< 31> bar 5 bar 6 bar 7 bar 8) [184] (melody3.ex (melody3.mod
>M-Tx 0.24 (Music from TeXt) <15 June 1997>
>(/usr/monash/tex/lib/tex/inputs/musixlyr.tex)
>
>! No room for a new \toks .
>\ch@ck ...\else \errmessage {No room for a new #3}
>                                                  \fi 
>l.3 \input musixlyr\:\enableauxlyrics
>                                     \def\AL{\auxlyr\lyr\nolyr}
>
>
>
>Thanks!
>-- 
>Brendan Macmillan                                   
>bren@cs.monash.edu.au
>http://www.cs.monash.edu.au/~bren             PROJECT: the essence of
>melody
>	It was the best of times :) it was the worst of times :(
>

From mutex-owner@mail2.gmd.de Wed Jan 21 16:21:36 1998
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Subject: MusicTex - help needed
To: mutex@gmd.de
Date: Wed, 21 Jan 1998 16:21:36 +0000 (GMT)
From: Tony Burton <tonyb@earthling.net>
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Hi

I am using musictex-520 on SunOS 5.5.1 to generate small (2-bar)
extracts of percussion scores, similar to that shown in section 2.23.3
on page 51 of musicdoc.dvi, included with the musictex-520 tar file. 

My problem is small but infuriating: how do I surpress the page
numbering ? I have tried the usual latex commands such as
\nopagenumbers and \pagestyle{empty}, yet neither works. Here is my
musictex code:

\def\wbarno{}
\input musicper.tex
\def\nbinstruments{1}\generalsignature{0}\def\stafflinesbi{5}
\generalmeter{\meterfrac44}
\cleftoksi={0000}\def\clefdesoli{\drumclefsymbol}
\normal
\debutextrait
\leftrepeat
\Notes\zq f\xcu{n}\ds\enotes
\Notes\xcu{n}\ds\enotes
\Notes\zq j\xcu{n}\ds\enotes
\Notes\zq f\xcu{n}\ds\enotes
\barre
\Notes\zq f\xcu{n}\ds\enotes
\Notes\xcu{n}\ds\enotes
\Notes\zq j\xcu{n}\ds\enotes
\Notes\xcu{n}\ds\enotes
\setrightrepeat\finextrait

Any help would be gratefully received.

Many thanks

Tony Burton.

From mutex-owner@mail2.gmd.de Wed Jan 21 18:18:28 1998
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From: MARAY Tamas <maray@fsz.bme.hu>
Message-Id: <199801211818.TAA11925@bagira.fsz.bme.hu>
Subject: m-tx question
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Hi,

I have a question to Dirk, or anyone else who knows the answer:

Is there a simple way in m-tx to put 'crescendo' and 'decrescendo' 
signs above the staffs? It is needed often for typesetting choral
music. 

Now I do something like this: 

U: ~ \crescendo{10\qn@width} ~ ~ ~ \decrescendo{4\qn@width} ~ ~

and so on.

But it is ugly and tiring to type.

Better solution?

Tamas
<maray@fsz.bme.hu>


From mutex-owner@mail2.gmd.de Thu Jan 22 00:31:15 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: m-tx question
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MARAY Tamas <maray@fsz.bme.hu> wrote

>Is there a simple way in m-tx to put 'crescendo' and 'decrescendo' 
>signs above the staffs? 

PMX doesn't have them (yet).  That's because PMX started out with a 
focus on baroque music, in which these sysmbols are never *printed*.  
That's not to say there were never gradual changes in volume, just 
that they were never notated. 

--Don Simons

From mutex-owner@mail2.gmd.de Thu Jan 22 07:48:58 1998
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Subject: Re: m-tx question
To: maray@fsz.bme.hu (MARAY Tamas)
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Cc: mutex@gmd.de
In-Reply-To: <199801211818.TAA11925@bagira.fsz.bme.hu> from "MARAY Tamas" at Jan 21, 98 07:18:28 pm
Reply-To: wskdpl@pukrs12.puk.ac.za
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MARAY Tamas wrote:
> 
> Is there a simple way in m-tx to put 'crescendo' and 'decrescendo' 
> signs above the staffs? It is needed often for typesetting choral
> music. 
> 
> Now I do something like this: 
> 
> U: ~ \crescendo{10\qn@width} ~ ~ ~ \decrescendo{4\qn@width} ~ ~
> 
> and so on.
> 
> But it is ugly and tiring to type.
> 
I have thought about this, and there is actually an undocumented
feature in M-Tx 0.30 for it.  It's undocumented because I have
not thought the matter through at M-Tx source code level, so
I don't want to commit myself to the syntax as currently
implemented.  Since it came up on the list, though:

WARNING  WARNING  WARNING  WARNING  WARNING  WARNING  WARNING 
The following will work in M-Tx 0.30 but is not guaranteed to
work under any future M-Tx release!

The coding 

U: ~ < | <. ~ > | >.
c d e f | g a b.c  | c0 

is equivalent to

U: ~ \icresc | \tcresc ~ \icresc | \tdecresc 
c d e f | g a b.c  | c0 

which gives a crescendo from 'd' to 'g' and a decrescendo 
from 'b' to 'c0'

(Remember that | in an uptext line is not cosmetic - it always skips 
 at least one note.) 

WARNING  WARNING  WARNING  WARNING  WARNING  WARNING  WARNING 
The above will work in M-Tx 0.30 but is not guaranteed to
work under any future M-Tx release!

POINTS FOR THOUGHT AND DISCUSSION

1.  MusiXTeX has a restriction on the maximum actual length of a 
    crescendo.  So if the actual distance between the notes asked
    for in < ... <. is too long, you'll get a shorter crescendo
    than you wanted without warning.
2.  Maybe the < signs should go in the music line, not the U: line.
3.  Maybe it's more intuitive to mark the crescendo start than the
    the finish, i.e.    >. >   or   >: >  instead of  > >.
4.  <10 could mean \crescendo{10\qn@width} 
5.  Uptext syntax will have to be extended to allow more than one
    word or maybe more than one line of uptext associated with a
    music line if people want to put in guitar chords, expression
    markings, crescendos etc.

Dirk    

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199801221001.LAA13638@sunick.gmd.de>
To: gnu-music-discuss@gnu.org
Subject: Re: accidentals
Cc: mutex@gmd.de
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> Date: Wed, 21 Jan 1998 22:57:33 +0100 (MET)
> From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>

[... original discussion in gnu-music-discuss@gnu.org ...]

> On Wed, 21 Jan 1998, Werner Icking wrote:
> 
> > MusicTeX and MusiXTeX have an interesting feature concerning accidentals
> > ands key: relative accidentals (\relativeaccid). I use this feature
> > for all my music typesetting, because it makes transposition so easy.
> > Assume a piece is coded with two sharps: f# and c#.
> > 
> > Coding ^c (c#) means then "double sharp"; _c (c-flat) means then "natural";
> > =c means then c-sharp. 
> > 
> > So a melody in C-major coded in C-major may look:  c ^c d ^f g c _b a ...
> > The same melody in D-major coded in D-major looks: d ^d e ^g a d _c b ...
> 
> In theory transposition may be easy, but in reality it isn't. There are
> many cases where you have to change automatically produced accidentals by
> hand. Consider a Horn in E playing B flat major. Shall I use f sharp major
> or g flat major for the Horn part?

You have choosen one of the only few cases which are ambiguous -- with
five or more accidentals in the key.
 
Nevertheless there is a generic solution for such cases, too. If the Horn 
plays B flat major the key should be g-flat. (If the Horn plays A-sharp 
major the key should be f-sharp.) Then "in reality" transposition *is* 
easy, because MusiXTeX's \relativeaccid does do the job for you. If you
input the logically correct note-names then there is no need to change 
the automtically generated accidentals. If you select the wrong key and 
correct it by using logically wrong accidentals then it doesn't work; but 
that's a user error.

I've prepared a MusiXTeX-example and put it to
 
  http://www.gmd.de/Misc/Music/     see "MusiXTeX", "Add-ons", "scales"

There are defined two scales
   C-major    c d e f g 'a  b  c   b  a `g f e d c  (MusiXTeX notation)
   A-minor    a b c d e ^f ^g 'a `=g =f  e d c b a

These scales are typeset using \relativeaccid by

  \transpose0 \generalsignature{-7} \scale...
  \transpose4 \generalsignature{-6} \scale...
  \transpose1 \generalsignature{-5} \scale...
  \transpose5 \generalsignature{-4} \scale...
...
  \transpose2 \generalsignature4 \scale...
  \transpose6 \generalsignature5 \scale...
  \transpose3 \generalsignature6 \scale...
  \transpose0 \generalsignature7 \scale...

Have a look at the convincing result.

It's really nice to see that this way
 \transpose0 \generalsignature{-7}   (seven flats)   results in C-flat major
 \transpose0 \generalsignature{00} (no flats/sharps) results in C major
 \transpose0 \generalsignature{07}   (seven sharps)  results in C-sharp major
  

>     Werner

CC: mutex@gmd.de  --  Mu(sic|X)TeX mailing list

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Date: Thu, 22 Jan 1998 15:04:05 +0100 (MET)
From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
To: gnu-music-discuss@gnu.org
Cc: mutex@gmd.de
Subject: Re: accidentals
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On Thu, 22 Jan 1998, Werner Icking wrote:

> > > So a melody in C-major coded in C-major may look:  c ^c d ^f g c _b a ...
> > > The same melody in D-major coded in D-major looks: d ^d e ^g a d _c b ...
> > 
> > In theory transposition may be easy, but in reality it isn't. There are
> > many cases where you have to change automatically produced accidentals by
> > hand. Consider a Horn in E playing B flat major. Shall I use f sharp major
> > or g flat major for the Horn part?
> 
> You have choosen one of the only few cases which are ambiguous -- with
> five or more accidentals in the key.
>  
> Nevertheless there is a generic solution for such cases, too.

My wording was bad.  Consider the following melody:

  c ges f g

For Horn in F this is the automatic transposition:

  f ces bes c

but this is in most cases better:

  f b bes c

because you can avoid accidentals.

This can never be done automatically; you have to add hints (preferably
already in the score) how to transpose.  Such a hint syntax is still
missing in lilypond. 


    Werner


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Subject: Re: accidentals
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In-Reply-To: <199801221001.LAA13638@sunick.gmd.de> from "Werner Icking" at Jan 22, 98 11:01:00 am
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As a small aside on transposing Horn parts...

If I remember correctly, Horn parts are traditionally printed with no key
signature, and all sharps/flats are added as they are needed.

I believe this is because the horn is so hard to play that trying to remember
key signatures is an added distraction. It causes a bit of trouble when the
conductor wants to start ,,from the key change'' though...!...

Does anyone else have any thoughts about this? - I've never tried to write (or
transpose!) horn parts on MusiXTeX, so I don't know how it would work.


Cheers,
Andrew

  /\    /\   --| \_| /-| | | \    /
 /  \  /  \  __| / | | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/


andrew.usher@math.ethz.ch
A.E.R.Usher@qmw.ac.uk

Personalhaus Bachwiesen
Flurstr. 132/302
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Date: Thu, 22 Jan 1998 17:16:10 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: gnu-music-discuss@gnu.org
Subject: Re: accidentals
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> Date: Thu, 22 Jan 1998 15:04:05 +0100 (MET)
> From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>

> On Thu, 22 Jan 1998, Werner Icking wrote:
> >  
> > Nevertheless there is a generic solution for such cases, too.
> 
> My wording was bad.  Consider the following melody:
> 
>   c ges f g
> 
> For Horn in F this is the automatic transposition:
> 
>   f ces bes c

This is a constructed case. The answers cannot be given without
context. The original melody may be c fis f g? Depend on the key.

> but this is in most cases better:
> 
>   f b bes c

No, the notation depends on the key and on the harmonic progression.
It *has* either to be  f ces bes c   or    f b bes c   depending
on the *context*. If you code it logically correct in MusiXTeX,
MusiXTeX will select the right accidentals - inclusive double sharp
and double flat.

>     Werner

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Date: Thu, 22 Jan 1998 18:04:46 +0100 (MET)
From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
To: gnu-music-discuss@gnu.org
Cc: mutex@gmd.de
Subject: Re: accidentals
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On Thu, 22 Jan 1998, Werner Icking wrote:

> > My wording was bad.  Consider the following melody:
> > 
> >   c ges f g
> > 
> > For Horn in F this is the automatic transposition:
> > 
> >   f ces bes c
> 
> This is a constructed case.

Believe me, it isn't. Creating large scores of my own works together with
extracting (and transposing) the parts using the SCORE program gives a lot
of experience with these things.

> The answers cannot be given without
> context.

This is exactly what I want to emphasize.

> The original melody may be c fis f g? Depend on the key.

Plain C major.

> > but this is in most cases better:
> > 
> >   f b bes c
> 
> No, the notation depends on the key and on the harmonic progression.
> It *has* either to be  f ces bes c   or    f b bes c   depending
> on the *context*. If you code it logically correct in MusiXTeX,
> MusiXTeX will select the right accidentals - inclusive double sharp
> and double flat.

Can you code my example with MusiXTeX to get the context-dependent
transposition?


    Werner


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From: Werner Icking <Werner.Icking@gmd.de>
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To: gnu-music-discuss@gnu.org
Subject: Re: accidentals
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> Date: Thu, 22 Jan 1998 18:04:46 +0100 (MET)
> From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
>
> On Thu, 22 Jan 1998, Werner Icking wrote:
> 
> > No, the notation depends on the key and on the harmonic progression.
> > It *has* either to be  f ces bes c   or    f b bes c   depending
> > on the *context*. If you code it logically correct in MusiXTeX,
> > MusiXTeX will select the right accidentals - inclusive double sharp
> > and double flat.
> 
> Can you code my example with MusiXTeX to get the context-dependent
> transposition?

Where's the problem?

\relativeaccid

\transpose=0\generalsignature{00}\startextract\Notes\qa{c_gf=g}\en\endextract
\transpose=3\generalsignature{-1}\startextract\Notes\qa{c_gf=g}\en\endextract

\transpose=0\generalsignature{00}\startextract\Notes\qa{c^f=fg}\en\endextract
\transpose=3\generalsignature{-1}\startextract\Notes\qa{c^f=fg}\en\endextract

1st line prints        c flat-g f natural-g  (c ges f   g)
2nd line for the horn  f flat-c b natural-c  (f ces bes c - bes from the key)

3rd line prints        c sharp-f natural-f g  (c fis f   g)
4th line for the horn  f natural-b flat-b  c  (f b   bes c)


So you can see, what I said:
  if the original is  c ges f g  then the transposition is  f ces bes c
  if the original is  c fis f g  then the transposition is  f b   bes c

That means if you expect "f b bes c" to be better for the Horn in F then
the original has to be "c fis f g"; if the original in C-major has to be
"c ges f g" then the transposition is "f ces bes c".


q.e.d.  -- Werner (Icking)


PS: And for me as a violinist "c fis f g" is something else as "f ges f g".
    But don't ask me what the difference is! It depends on the context :-)
    (And big books have been written on this!)

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Subject: Re: accidentals
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>>>>> "Werner" == Werner Icking <Werner.Icking@gmd.de> writes:

Werner> PS: And for me as a violinist "c fis f g" is something else as "f ges f g".
Werner>     But don't ask me what the difference is! It depends on the context :-)
Werner>     (And big books have been written on this!)

Why, it's one comma of pitch :) 1/9 of a whole step.

GD&R...

-- 
Carson Gaspar -- carson@cs.columbia.edu carson@tla.org carson@cugc.org
http://www.cs.columbia.edu/~carson/home.html
Queen Trapped in a Butch Body

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On Thu, 22 Jan 1998, Werner Lemberg wrote:
> 
> Believe me, it isn't. Creating large scores of my own works together with
> extracting (and transposing) the parts using the SCORE program gives a lot
> of experience with these things.

What is SCORE?   I have heard of it, but I don't know anything to add to 
Documentation/other-packages.pod about it.


Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Fri Jan 23 10:45:25 1998
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Date: Fri, 23 Jan 1998 11:45:25 +0100 (MET)
From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
To: gnu-music-discuss@gnu.org
Cc: mutex@gmd.de
Subject: Re: accidentals
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On Thu, 22 Jan 1998, Han-Wen Nienhuys wrote:

> On Thu, 22 Jan 1998, Werner Lemberg wrote:
> > 
> > Believe me, it isn't. Creating large scores of my own works together with
> > extracting (and transposing) the parts using the SCORE program gives a lot
> > of experience with these things.
> 
> What is SCORE?   I have heard of it, but I don't know anything to add to 
> Documentation/other-packages.pod about it.

I consider SCORE as the best program for typesetting classical music. If
you do a search in the internet with `+leland +smith +score' you'll find
some interesting things. The company selling score, San Andreas Press,
isn't yet in the internet AFAIK; the price is quite high (about US$ 1000) 
-- I'm using a 4 year old version running on plain DOS, having a lot of
limitions...

It has a graphical interface but to get all out of the program you have to
learn a 400 page manual almost by heart because you'll change most
features by inputting parameters (up to 20 for some items) on a command
line. Expect three months to master SCORE :-)


    Werner


From mutex-owner@mail2.gmd.de Fri Jan 23 11:01:02 1998
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Subject: Re: accidentals 
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sx0005@sx2.hrz.uni-dortmund.de said:
> I consider SCORE as the best program for typesetting classical music.
> If you do a search in the internet with `+leland +smith +score' you'll
> find some interesting things. The company selling score, San Andreas
> Press, isn't yet in the internet AFAIK; [...]


There is a Score Web page at
	http://www.ymusic.com/Score

Regards,
Miguel



From mutex-owner@mail2.gmd.de Fri Jan 23 11:24:33 1998
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From: MARAY Tamas <maray@fsz.bme.hu>
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Subject: Re: m-tx question
To: wskdpl@pukrs12.puk.ac.za
Date: Fri, 23 Jan 1998 12:24:33 +0100 (MET)
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In-Reply-To: <199801220748.JAA04826@calvyn.puk.ac.za> from Dirk Laurie at "Jan 22, 98 09:48:58 am"
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Dirk Laurie wrote:

> > Is there a simple way in m-tx to put 'crescendo' and 'decrescendo' 
> > signs above the staffs? It is needed often for typesetting choral
> > music. 
> > 
> > Now I do something like this: 
> > 
> > U: ~ \crescendo{10\qn@width} ~ ~ ~ \decrescendo{4\qn@width} ~ ~
> > 
> > and so on.
> > 
> > But it is ugly and tiring to type.
> > 
> I have thought about this, and there is actually an undocumented
> feature in M-Tx 0.30 for it.  It's undocumented because I have
> not thought the matter through at M-Tx source code level, so
> I don't want to commit myself to the syntax as currently
> implemented.  Since it came up on the list, though:
> 
> WARNING  WARNING  WARNING  WARNING  WARNING  WARNING  WARNING 
> The following will work in M-Tx 0.30 but is not guaranteed to
> work under any future M-Tx release!
> 
> The coding 
> 
> U: ~ < | <. ~ > | >.
> c d e f | g a b.c  | c0 
> 
> is equivalent to
> 
> U: ~ \icresc | \tcresc ~ \icresc | \tdecresc 
> c d e f | g a b.c  | c0 
> 
> which gives a crescendo from 'd' to 'g' and a decrescendo 
> from 'b' to 'c0'
> 
> (Remember that | in an uptext line is not cosmetic - it always skips 
>  at least one note.) 
> 
> WARNING  WARNING  WARNING  WARNING  WARNING  WARNING  WARNING 
> The above will work in M-Tx 0.30 but is not guaranteed to
> work under any future M-Tx release!

Thank you. I will use this feature right now since it makes my
work much easier, but I will not complain if it changes. :-)

> POINTS FOR THOUGHT AND DISCUSSION
> 
> 1.  MusiXTeX has a restriction on the maximum actual length of a 
>     crescendo.  So if the actual distance between the notes asked
>     for in < ... <. is too long, you'll get a shorter crescendo
>     than you wanted without warning.

I think, I can live with this.

> 2.  Maybe the < signs should go in the music line, not the U: line.

If piano and forte signs are placed in the U: line, crescendo and
decrescendo could stay there too.

> 3.  Maybe it's more intuitive to mark the crescendo start than the
>     the finish, i.e.    >. >   or   >: >  instead of  > >.
> 4.  <10 could mean \crescendo{10\qn@width} 

This would be really useful.

> 5.  Uptext syntax will have to be extended to allow more than one
>     word or maybe more than one line of uptext associated with a
>     music line if people want to put in guitar chords, expression
>     markings, crescendos etc.

I completely agree.

Tamas
<maray@fsz.bme.hu>


From mutex-owner@mail2.gmd.de Fri Jan 23 12:33:44 1998
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Subject: Re: accidentals (fwd)
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> Ummm... what kind of horn? Having played the "French Horn" or "Horn in F"
> (and Bb, and...), I've _never_ seen modern music printed sans key
> signatures. Of course, I frequently get to transpose on-the-fly from music


I stand corrected.

My apologies.

Andrew

> Carson Gaspar -- carson@cs.columbia.edu carson@tla.org carson@cugc.org
> http://www.cs.columbia.edu/~carson/home.html

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andrew.usher@math.ethz.ch
A.E.R.Usher@qmw.ac.uk

Personalhaus Bachwiesen
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andrew.usher@math.ethz.ch
A.E.R.Usher@qmw.ac.uk

Personalhaus Bachwiesen
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From mutex-owner@mail2.gmd.de Fri Jan 23 09:52:42 1998
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On Thu, 22 Jan 1998 usher@math.ethz.ch wrote:

> As a small aside on transposing Horn parts...
> 
> If I remember correctly, Horn parts are traditionally printed with no key
> signature, and all sharps/flats are added as they are needed.
> 
> I believe this is because the horn is so hard to play that trying to remember
> key signatures is an added distraction. It causes a bit of trouble when the
> conductor wants to start ,,from the key change'' though...!...

That is bull; it is tradition.  In the old days horns weren't chromatic,
and you'd have to use different pipes to get different keys.  The pitch
printed on top of the part (Horn in A) indicated which pipes to use, as a
consequence the key was allways C.  It is nothing more than tradition.

 

Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/


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Subject: Re: accidentals
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On Fri, 23 Jan 1998, Werner Lemberg wrote:
> > > Believe me, it isn't. Creating large scores of my own works together with
> > > extracting (and transposing) the parts using the SCORE program gives a lot
> > > of experience with these things.
> > 
> > What is SCORE?   I have heard of it, but I don't know anything to add to 
> > Documentation/other-packages.pod about it.
> 
> I consider SCORE as the best program for typesetting classical music. If
[..]
> line. Expect three months to master SCORE :-)

can I put this in?


Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
writes to me: I consider SCORE as the best program for
typesetting classical music. [..]  the price is quite high (about US$
1000) [..]  It has a graphical interface but to get all out of the
program you have to learn a 400 page manual almost by heart because
you'll change most features by inputting parameters (up to 20 for some
items) on a command line. Expect three months to master SCORE :-)




Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Fri Jan 23 14:19:39 1998
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From: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
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To: gnu-music-discuss@gnu.org
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Subject: Re: accidentals
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On Fri, 23 Jan 1998, Han-Wen Nienhuys wrote:

> can I put this in?

Of course :-) But I was informed that there exists a SCORE home page:
http://www.ymusic.com/Score; this should be put in also.

    Werner


> Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
> writes to me: I consider SCORE as the best program for
> typesetting classical music. [..]  the price is quite high (about US$
> 1000) [..]  It has a graphical interface but to get all out of the
> program you have to learn a 400 page manual almost by heart because
> you'll change most features by inputting parameters (up to 20 for some
> items) on a command line. Expect three months to master SCORE :-)
> 
> 
> 
> 
> Han-Wen Nienhuys            | LilyPond - The GNU Project music typesetter
> http://www.stack.nl/~hanwen | http://www.stack.nl/~hanwen/lilypond/
> 
> 



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Subject: a dirty trick ... :-)
To: tonyb@earthling.net (Tony Burton)
Date: Fri, 23 Jan 1998 16:06:47 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <m0xv2uG-000AuHC@melian.ee.surrey.ac.uk> from "Tony Burton" at Jan 21, 98 04:21:36 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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> Hi
> 
> I am using musictex-520 on SunOS 5.5.1 to generate small (2-bar)
> extracts of percussion scores, similar to that shown in section 2.23.3
> on page 51 of musicdoc.dvi, included with the musictex-520 tar file. 
> 
> My problem is small but infuriating: how do I surpress the page
> numbering ? I have tried the usual latex commands such as
> \nopagenumbers and \pagestyle{empty}, yet neither works.

I am writing this trick by heart, I have not tried it,
I used it some time ago, and it worked.
I hope I remember it correctly.
The idea is to force the page number to be an empty command:

So code in your source:
\def\thepage{} 

This will make tex put what it thinks is the pagenumber,
but you have cheated it so in fact it will do nothing at that
point.....


 Here is my
> musictex code:

This problem should not concern musictex.


> Any help would be gratefully received.

pleasure ...


From mutex-owner@mail2.gmd.de Fri Jan 23 15:14:45 1998
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Date: Fri, 23 Jan 1998 16:14:45 +0100 (MET)
From: Han-Wen Nienhuys <hanwen@stack.nl>
To: Werner Lemberg <sx0005@sx2.hrz.uni-dortmund.de>
Cc: gnu-music-discuss@gnu.org, mutex@gmd.de
Subject: Re: accidentals
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On Fri, 23 Jan 1998, Werner Lemberg wrote:

> 
> 
> On Fri, 23 Jan 1998, Han-Wen Nienhuys wrote:
> 
> > can I put this in?
> 
> Of course :-) But I was informed that there exists a SCORE home page:
> http://www.ymusic.com/Score; this should be put in also.

yup, I put it in


Han-Wen Nienhuys, hanwen@stack.nl | LilyPond - The GNU Project music typesetter
http://www.stack.nl/~hanwen       | http://www.stack.nl/~hanwen/lilypond/


From mutex-owner@mail2.gmd.de Fri Jan 23 15:15:18 1998
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Subject: a bug in PMX's figuring?
To: mutex@gmd.de
Date: Fri, 23 Jan 1998 16:15:18 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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I think I have come across a bug of PMX's algorithm
of putting figures: I tried to set a recitative
which contained a triple figure 6/4/2
all of which have an accidental as follows:
 #6#4n2
Everything is fine if it is just  6#4n2   or  #64n2
(see below)
BUT if you combine it to #6#4n2
pmx creates quite a weird tex-file.
Who can explain it ... :-)



Here is a short piece showing the problem (as an M-Tx file):
============================================================
Title: Recitativo
BCont: Voices BC; Clefs F
Style: BCont
Meter: 4/4

a0  6#4n2  |  a #64n2  |  a #6#4n2


From mutex-owner@mail2.gmd.de Fri Jan 23 15:17:41 1998
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Subject: M-Tx, some questions
To: mutex@gmd.de
Date: Fri, 23 Jan 1998 16:17:41 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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I have got some questions on M-Tx
resulting from the mtx-file I append
to this mail:

1) concerning the choice of the right octave in M-Tx:
   The first line has to be  d4++
   to get the right octave. But this causes
   PMX to warn me.
   How can I avoid this warning?
   In other words: Which is a clean way to make
   M-Tx choose any octave I want?

2) M-Tx also warns me about a "blind meter change".
   I guess it result from the "leftrightrepeat"-sign ':|:'
   at the beginning of the second paragraph:
   It is in mid of a bar.
   But the manual of M-Tx says that M-Tx does
   not consider ':|:' as a bar sign. In fact
   M-Tx does not put a bar line there.
   But is there a way to suppress the warning
   once I have convinced myself of the correctness?

3) concerning the defition of new styles:
   At first attempt I tried to start my mtx-source like this:
   (Actually I put in the file mtxstyle.txt, but this does not matter...)

   DISCANT: Voices Mel; Vocal; Clefs s
   ACCOMP: Voices RH LH; Continuo; Clefs G F
   SCHEMELLI: DISCANT ACCOMP
   Style: SCHEMELLI

   But M-Tx seemed to have forgotten the style DISCANT quite quickly :-)
   Is my interpretation right, or have I forgotten something? :-)

4) concerning line breaking:
   I think a line breaking right at the leftrightrepeat-sign ':|:'
   would be better than the line break chosen by M-Tx
   (or may be PMX?).
   Can M-Tx (resp PMX) be taught to break the line peferably at
   a a sign ':|:' instead of a bar line '|'? Especially when
   lyrics are involved?


Here is my mtx-file:
=================================================================
SCHEMELLI: Voices Mel; Vocal; Voices RH LH; Continuo; Clefs s G F
Style: Schemelli
Title: So gehst du nun, mein Jesu hin
Flats: 2
Systems: 2
Pages: 1

d4++ | d d c c | [ b8 a ] b4 a of a | b c [ d8 e1 f ] [ e8 d ] |
L: So gehst du nun, mein Je-su, hin, den Tod f\"ur mich zu
L: f\"ur mich, der ich ein S\"un-der bin, der dich be-tr\"ubt in
r4b | r0b                      | rb                    | rb                  |
g4 | fs 6 fn 6n42 en 6 ef 64#2 | d 64 cs 75 d # of d # | g a 6 b8 a g 6 f 64 |

c2 b4 of  :|: c | c c d of d | d d e of d | c4.d [ c8 a ] [ b c ] | a2 g4 of :|]
L: lei-den. Wohl-an! Fahr fort, du ed-ler Hort, mein Au-gen sol-len flie-\ss en,
L: Freu-den. ein Tr\"a-nen-see, mit Ach und Weh, dein Lei-den zu be-gei-\ss en.
r2db      :|:              r4b   | r0b               | r0b                   | r0b                | r2db          :|]
e4 65 f 8 x18 7 b- of :|: b+ #42 | a af g n of c #42 | bn 6 bf a #6-5 of b 6 | en- 6 ef d 7# cs 75 | d 4 d- # g of :|]

From mutex-owner@mail2.gmd.de Fri Jan 23 20:40:30 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: a bug in PMX's figuring?
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Good bug!  It's fixed, but I'll have to wait until I get home to make 
the binaries.  If you want to fix it yourself, in the FORTRAN source 
for version 1.31, go to line 7793.  Between the line "end if" and the 
line "ic = ic+1", insert

if (ic .ge. 6) go to 2

That's all there is to it.

--Don
______________________________ Reply Separator _________________________________
Subject: a bug in PMX's figuring?
Author:  begemann@math.uni-hamburg.de (Eckart Begemann) at INTERNET-MAIL
Date:    1/23/98 4:15 PM



I think I have come across a bug of PMX's algorithm 
of putting figures: I tried to set a recitative 
which contained a triple figure 6/4/2
all of which have an accidental as follows:
 #6#4n2
Everything is fine if it is just  6#4n2   or  #64n2 
(see below)
BUT if you combine it to #6#4n2
pmx creates quite a weird tex-file.
Who can explain it ... :-)



Here is a short piece showing the problem (as an M-Tx file): 
============================================================ 
Title: Recitativo
BCont: Voices BC; Clefs F
Style: BCont
Meter: 4/4

a0  6#4n2  |  a #64n2  |  a #6#4n2


From mutex-owner@mail2.gmd.de Fri Jan 23 20:59:54 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: a bug in PMX's figuring?
To: mutex@gmd.de
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Hold it!  The fix I proposed below is no good...it causes other 
problems.  Stay tuned for the real answer.

--Don


______________________________ Forward Header __________________________________
Subject: Re: a bug in PMX's figuring?
Author:  Don Simons at LRDA-LAX
Date:    1/23/98 12:40 PM


Good bug!  It's fixed, but I'll have to wait until I get home to make 
the binaries.  If you want to fix it yourself, in the FORTRAN source 
for version 1.31, go to line 7793.  Between the line "end if" and the 
line "ic = ic+1", insert

if (ic .ge. 6) go to 2

That's all there is to it.

--Don
______________________________ Reply Separator _________________________________
Subject: a bug in PMX's figuring?
Author:  begemann@math.uni-hamburg.de (Eckart Begemann) at INTERNET-MAIL 
Date:    1/23/98 4:15 PM



I think I have come across a bug of PMX's algorithm 
of putting figures: I tried to set a recitative 
which contained a triple figure 6/4/2
all of which have an accidental as follows:
 #6#4n2
Everything is fine if it is just  6#4n2   or  #64n2 
(see below)
BUT if you combine it to #6#4n2
pmx creates quite a weird tex-file.
Who can explain it ... :-)



Here is a short piece showing the problem (as an M-Tx file): 
============================================================ 
Title: Recitativo
BCont: Voices BC; Clefs F
Style: BCont
Meter: 4/4

a0  6#4n2  |  a #64n2  |  a #6#4n2


From mutex-owner@mail2.gmd.de Sat Jan 24 18:57:47 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx questions, PMX figure bug, interim PMX release.
To: mutex@gmd.de
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Begemann wrote:

>4) concerning line breaking:
>   I think a line breaking right at the leftrightrepeat-sign ':|:' 
>   would be better than the line break chosen by M-Tx
>   (or may be PMX?).
>   Can M-Tx (resp PMX) be taught to break the line peferably at 
>   a a sign ':|:' instead of a bar line '|'? Especially when
>   lyrics are involved?

Should I consider making a linebreak at an internal repeat *automatic* 
if it otherwise would comes in the first or last bar of a line?  This 
would be a little tricky to code, and maybe a little dangerous.  Or 
maybe some simple input command to force an internal linebreak.  That 
would seem more logical to me.  Meanwhile, you can define blind meter 
changes before and after the repeat, force a linebreak, and do some 
fiddling to get the bar number to come out right...see the example PMX 
below.  (I thought I could answer this more efficiently in PMX than 
M-Tx; not sure how to do all this in M-Tx).

I also mention that in my original prepmx run (M-Tx version 0.24, June 
97) all figures on the last note of a bar were incorrectly placed 
before the first note of the following bar...not a problem in the 
middle of an input block, but it crashed PMX if at the end of a block. 
Also, there was a missing clef symbol in the PMX file.  Have these 
bugs been fixed?  I manually moved the misplaced figures and inserted 
the missing clef in the PMX file.  

Re the PMX 6-character figure bug: I think the original fix was OK, 
and I was really seeing the effect of the M-Tx bug just noted.  I've 
put interim source, DOS binaries, and pmx.tex into 
ftp.logicon.com/ongoing/dswacwe/pmx/pmx132.zip  with the warning:  
This is not an official release and I take even less responsibility 
for it than usual.  But of course I'd still be glad to take bug 
reports.

Comments about the figures in the example:  In bar 4 on beat 2-1/2, 
the original file had "x18 7"  and it should be "x187" .  This syntax 
error is not detected by pmxa, and I'll fix that ASAP.  Also, for 
consistency with 6n42 on beat 2 bar 1, the figure on beat 4 bar 4 
should be n42 . Finally, there should probably be a 6 on beat 1 bar 5. 
 Interesting figures nevertheless!

Here is the revised PMX file: You may need to unwrap some lines!
================================================================= 
3 2 4 4 0 6  1.00000 -2 1 2 20 0


btt
c:\pctex\texinput\
Tt
So gehst du nun, mein Jesu hin 
\\setsongraise2{0\internote}\
% Paragraph 2 line 8 bar 0
\\\setlyrics{11}{So gehst du nun, mein Je-su, hin, den Tod f\"ur mich zu}\
\\\setlyrics{12}{f\"ur mich, der ich ein S\"un-der bin, der dich be-tr\"ubt in}\
\\\assignlyrics2{11,12}\
\\\auxlyr{\assignlyrics2{}}\
\\\assignlyrics1{}\
\\\auxlyr{\assignlyrics1{}}\
g43 f4s 6 f4n 6n42 e4n 6 e4f 64#2 /
r4b | r0b | /
d45 | d4 d4 c4 c4 | /

%Bar 2
d4 64 c4s 75 d4 # of d4 /
r0b | /
[ \beginmel\ b8a \endmel\ a8a ] b4 a4 of a4 # | /

%Bar 3
g4 a4 6 b8 a8 g8 6 f8 /
r0b | /
b4 c4 [ \beginmel\ d8a e1a \endmel\ f1a ] [ \beginmel\ e8a \endmel\ d8a ] | /

% Paragraph 3 line 14 bar 4
\\\setlyrics{11}{lei-den. Wohl-an! Fahr fort, du ed-ler Hort, mein Au-gen 
sol-len flie-\ss en, }\
\\\setlyrics{12}{Freu-den. ein Tr\"a-nen-see, mit Ach und Weh, dein Lei-den zu 
be-gei-\ss en. }\
%
% Add letter "a" after bar number.
%
\\\let\bnat\barnoadd\def\barnoadd{\writezbarno\let\barnoadd\bnat}\
%
m3400
e4 65 f4 8 x187 b4- of /
r2db | /
c2 b4 of | /

% Bar 4a
%
% Adjust bar numbering
%
\\\advance\barno-1\
%
L2 mo400
Rlr b4+ n42 /
r4b | /
c4 | /

%Bar 5
m4400
a4 6 a4f g4 n of c4 #42 /
r0b | /
c4 c4 d4 of d4 | /

%Bar 6
b4n 6 b4f a4 #6-5 of b4 6 /
r0b | /
d4 d4 e4 of d4 | /

%Bar 7
e4n- 6 e4f d4 7# c4s 75 /
r0b | /
c4d d8a [ \beginmel\ c8a \endmel\ a8a ] [ \beginmel\ b8a \endmel\ c8a ] | /

%Bar 8
m3400 
d4 4 d4- # g4 of /
r2db /
a2 g4 of /

From mutex-owner@mail2.gmd.de Wed Jan 28 10:39:32 1998
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From: Brendan Macmillan <bren@cs.monash.edu.au>
Message-Id: <199801281039.VAA22228@molly.cs.monash.edu.au>
Subject: latex2html for musixTeX...an expt
To: mutex@gmd.de (mutex)
Date: Wed, 28 Jan 1998 21:39:32 +1100 (EST)
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OK, I didn't think this would actually work, but it did (kinda).
I just put my latex with music examples straight through latex2html
(the perl script), and you can have a look at an example

	http://www.cs.monash.edu.au/~bren/thesis/r/sRhythm/img19.gif


Now, I acknowledge that it hasn't really worked - the filename has
become a heading, the alignment is excessivly creative, and the notes
are bunched up, like it didn't do musixflx.

I imagine that it wouldn't be too hard to hack the perl - I believe
it must simply run each LaTeX image (table etc) through some kind of
dvi2ps2gif converter, and snip the resulting image. It simply doesn't
know to do musixflx, and latex twice for music.ex files  :). Turning
off the labeling shouldn't be too hard; though the alignment may be
a puzzler. [I generate my music with .mtx files]

But after this imagining, I had a daydream that someone has already
done it - and rather than reinvent the wheel, I'd rather enjoy enjoying
their creation.  :)

Anybody know?

-- 
Brendan Macmillan                                    bren@cs.monash.edu.au
http://www.cs.monash.edu.au/~bren      PROJECT: Inferring `essence of melody'
 The more steeped in the art of programming, the more valued the direct hack

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Subject: latex2html for musixTeX...an expt
To: mutex@gmd.de (mutex)
Date: Wed, 28 Jan 1998 21:39:32 +1100 (EST)
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OK, I didn't think this would actually work, but it did (kinda).
I just put my latex with music examples straight through latex2html
(the perl script), and you can have a look at an example

	http://www.cs.monash.edu.au/~bren/thesis/r/sRhythm/img19.gif


Now, I acknowledge that it hasn't really worked - the filename has
become a heading, the alignment is excessivly creative, and the notes
are bunched up, like it didn't do musixflx.

I imagine that it wouldn't be too hard to hack the perl - I believe
it must simply run each LaTeX image (table etc) through some kind of
dvi2ps2gif converter, and snip the resulting image. It simply doesn't
know to do musixflx, and latex twice for music.ex files  :). Turning
off the labeling shouldn't be too hard; though the alignment may be
a puzzler. [I generate my music with .mtx files]

But after this imagining, I had a daydream that someone has already
done it - and rather than reinvent the wheel, I'd rather enjoy enjoying
their creation.  :)

Anybody know?

-- 
Brendan Macmillan                                    bren@cs.monash.edu.au
http://www.cs.monash.edu.au/~bren      PROJECT: Inferring `essence of melody'
 The more steeped in the art of programming, the more valued the direct hack

From mutex-owner@mail2.gmd.de Wed Jan 28 23:08:10 1998
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From: Kurt Starsinic <kstar@localhost>
Message-Id: <199801282308.AAA01235@gil>
Subject: Re: accidentals
To: mutex@gmd.de (mutex)
Date: Wed, 28 Jan 1998 18:08:10 -0500
Reply-To: kstarsinic@isinet.com
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carson@tla.org said:
> >>>>> "Werner" == Werner Icking <Werner.Icking@gmd.de> writes:
> 
> Werner> PS: And for me as a violinist "c fis f g" is something else as "f
> Werner> ges f g".
> Werner>     But don't ask me what the difference is! It depends on the
> Werner>     context :-)
> Werner>     (And big books have been written on this!)
> 
> Why, it's one comma of pitch :) 1/9 of a whole step.

    You're correct, and there's a more complex issue which Werner is
alluding to.

    The frequencies of notated pitches depend on context, and on the habits
of the performer.  Pitches don't occur in a vacuum, but in intervallic
relationship to other notes.  Here are two examples (please excuse poor
voice leading):

        Example 1           Example 2
        ----------          ----------
    S   C       F#          C       F#
    A   E       D           E       D#
    T   C       D           C       B
    B   A       A           A       A

    Please note that the ``B'' above is an American ``B'' (German ``H'').

    In both cases, the Soprano C and F# are harmonized against A in the
Bass, and in both cases, C:A is m3 (6:5 frequency ratio).

    In Example 1, the F# is P4 + M3 above the A (4:3 x 5:4, or 5:3).

    In Example 2, the F# is M2 + P5 above the A (9:8 x 3:2, or 27:16).

    They're written the same, but the F#'s should sound different.

    My example is based on Just intonation; different performance
sensibilities or musical contexts will change the details.

    Peace,
*---- Kurt Starsinic (kstar@isinet.com) ------ Senior Programmer/Analyst ---*
|   Institute for Scientific Information             (215) 386-0100 x1108   |
|     "The job of a citizen is to keep his mouth open." -- Gunter Grass     |
*------------------------   http://www.isinet.com   ------------------------*


From mutex-owner@mail2.gmd.de Thu Jan 29 07:22:29 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801290722.JAA15511@calvyn.puk.ac.za>
Subject: Re: M-Tx questions, PMX figure bug, interim PMX release.
To: dsimons@logicon.com (Don Simons)
Date: Thu, 29 Jan 1998 09:22:29 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <000832CC.1941@logicon.com> from "Don Simons" at Jan 24, 98 10:57:47 am
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Don Simons wrote:
> 
> I also mention that in my original prepmx run (M-Tx version 0.24, June 
> 97) all figures on the last note of a bar were incorrectly placed 
> before the first note of the following bar...not a problem in the 
> middle of an input block, but it crashed PMX if at the end of a block. 
> Also, there was a missing clef symbol in the PMX file.  Have these 
> bugs been fixed?  I manually moved the misplaced figures and inserted 
> the missing clef in the PMX file.  
> 
M-Tx 0.24 had a very naive algorithm for deciding which non-spacing
words come at the end of a bar and which at the start of the next.

In M-Tx 0.30 the algorithm is better but not perfect.  If there is
no bar line, the guesses may sometimes be wrong.  However, if you 
explicitly code a bar line, non-spacing words will remain in the bar 
where they are coded.

Dirk

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801290954.LAA16115@calvyn.puk.ac.za>
Subject: Re: M-Tx, some questions
To: begemann@math.uni-hamburg.de
Date: Thu, 29 Jan 1998 10:26:25 +0200 (SAT)
In-Reply-To: <199801231517.QAA07759@AMSUN05.math.uni-hamburg.de> from "Eckart Begemann" at Jan 23, 98 04:17:41 pm
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Eckart Begemann wrote:
> 
> 1) concerning the choice of the right octave in M-Tx:
>    The first line has to be  d4++
>    to get the right octave. But this causes
>    PMX to warn me.
>    How can I avoid this warning?
>    In other words: Which is a clean way to make
>    M-Tx choose any octave I want?
> 
At present M-Tx does not support the soprano clef.
In fact, M-Tx 0.30a changes it to treble.  The next
release will recognize all the clefs and choose intelligent
default octaves.  Your problem arises because the default
octave is 3.  But you get the correct result, don't you?

> 2) M-Tx also warns me about a "blind meter change".
>    I guess it result from the "leftrightrepeat"-sign ':|:'
>    at the beginning of the second paragraph:
>    It is in mid of a bar.
>    But the manual of M-Tx says that M-Tx does
>    not consider ':|:' as a bar sign. In fact
>    M-Tx does not put a bar line there.
>    But is there a way to suppress the warning
>    once I have convinced myself of the correctness?
> 
It's not a warning, it's information.  Warnings in M-Tx
have the form "WARNING: ..."  

> 3) concerning the defition of new styles:
>    At first attempt I tried to start my mtx-source like this:
>    (Actually I put in the file mtxstyle.txt, but this does not matter...)
> 
>    DISCANT: Voices Mel; Vocal; Clefs s
>    ACCOMP: Voices RH LH; Continuo; Clefs G F
>    SCHEMELLI: DISCANT ACCOMP
>    Style: SCHEMELLI
> 
>    But M-Tx seemed to have forgotten the style DISCANT quite quickly :-)
>    Is my interpretation right, or have I forgotten something? :-)
> 
That's what it should have been.  On some systems the mtxstyle.txt
file was not read properly.  Actually, the way you have coded it
now (with more than one Voices: etc.) should not work.  If it seems
to do so, it's due to an undocumented feature of the prepmx program
which I certainly do not guarantee for future releases. 

Dirk


From mutex-owner@mail2.gmd.de Thu Jan 29 11:17:49 1998
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Subject: Changing number of staffs in M-Tx/PMX ?
To: mutex@gmd.de
Date: Thu, 29 Jan 1998 12:17:49 +0100 (MET)
From: "Alastair D. Jenkins" <jenkins@fram.nrsc.no>
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Hi,

I'm new to music typesetting (though not to TeX), but now I've played about
a bit with M-Tx, PMX and MusiXTeX - many thanks to the authors for all
their hard work!

I'm trying to set rather complex choir parts which have lots of changes of
numbers of staffs, SATB labels etc. in the course of 2-3 pages (e.g.
changing from 4-staff layout to 2-staff layout to save space, dropping the
tenor and bass staves when only female voices are singing, etc).  Using M-Tx
I have had to generate a number of different .tex files, one for each section,
and then hack them together before running MusiXTeX.  This is OK for me
but time-consuming if I have to make corrections.

Is there any possibility/chance that M-Tx and/or PMX can be amended so that
you can generate a single .tex file - or does anyone have any alternative
ideas about how this can be done?  I suppose that one might generate a
Unix awk/sed/shell script to automate the process.

Thank you,

Alastair Jenkins
--
Alastair D. Jenkins
Do/renberg, Ho/go/y, Postboks 72, N-5350 Brattholmen, Norway
  email: Alastair.Jenkins@nrsc.no

From mutex-owner@mail2.gmd.de Thu Jan 29 13:23:57 1998
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Date: Thu, 29 Jan 1998 14:23:57 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: wskdpl@pukrs12.puk.ac.za
Cc: mutex-mailinglist <mutex@gmd.de>
Subject: Re: M-Tx, some questions
In-Reply-To: <199801290954.LAA16115@calvyn.puk.ac.za>
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On Thu, 29 Jan 1998, Dirk Laurie wrote:

> Eckart Begemann wrote:
> > 
> > 1) concerning the choice of the right octave in M-Tx:
> >    The first line has to be  d4++
> >    to get the right octave. But this causes
> >    PMX to warn me.
> >    How can I avoid this warning?
> >    In other words: Which is a clean way to make
> >    M-Tx choose any octave I want?
> > 
> At present M-Tx does not support the soprano clef.
> In fact, M-Tx 0.30a changes it to treble.  The next
> release will recognize all the clefs and choose intelligent
> default octaves.  Your problem arises because the default
> octave is 3.  But you get the correct result, don't you?

This is wrong IMHO. I want to be able to set an absolute pitch for the
first note, and not just a relative. If I today change clef at the
beginning of the file, prepmx chooses another octave for the first note,
which is not what I want.

prepmx should calculate a default octave if and only if I don't set one
myself.

/Johan,  tuben@lysator.liu.se



From mutex-owner@mail2.gmd.de Thu Jan 29 14:08:17 1998
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	for mutex@gmd.de; Thu, 29 Jan 1998 16:08:44 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801291408.QAA17041@calvyn.puk.ac.za>
Subject: Re: M-Tx, some questions
To: tuben@lysator.liu.se (Johan Tufvesson)
Date: Thu, 29 Jan 1998 16:08:17 +0200 (SAT)
In-Reply-To: <Pine.GSO.3.96rindlow.980129141645.26477A-100000@sandra.lysator.liu.se> from "Johan Tufvesson" at Jan 29, 98 02:23:57 pm
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Johan Tufvesson wrote:
> 
> prepmx should calculate a default octave if and only if I don't set one
> myself.
> 
Quote from the M-Tx user manual:

| The = suffix is not part of PMX 1.3.  Instead, PMX offers the ability to
| specify octaves by numbers. ** This feature is not supported by M-Tx. **

Like some other PMX features which M-Tx does not support, in some
contexts you still fortuitously get the result you expected.  But
you should not rely on it.

IMHO, the many context-dependent ways in which PMX handles the digits
0 to 9 is confusing.  E.g. in the following excerpt
  c4 cx4 c4
the three 4's mean three different things.  Also usually a digit stands
for a number even when flanked by other digits, but sometimes it combines
with the others.  E.g. m2400 is a blind meter change to 2/4 but m1400
is an error.

I'm not knocking PMX -- it is a great program and I utterly rely on it.
But things like these make it difficult to read and write, and the main
purpose of M-Tx is to be easy to read and write, not to be powerful.
PMX will always have features not directly represented in M-Tx, and
one hopes that the standard action, of simply passing them through
when not recognized, will work most of the time.

So I'm not budging on this one.  M-Tx does not know what you mean
if you code d44.  It might work if you use it.  But then again,
it might not.

Dirk


From mutex-owner@mail2.gmd.de Thu Jan 29 14:34:43 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801291435.QAA17164@calvyn.puk.ac.za>
Subject: Clef change at beginning
To: tuben@lysator.liu.se (Johan Tufvesson)
Date: Thu, 29 Jan 1998 16:34:43 +0200 (SAT)
In-Reply-To: <Pine.GSO.3.96rindlow.980129141645.26477A-100000@sandra.lysator.liu.se> from "Johan Tufvesson" at Jan 29, 98 02:23:57 pm
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Johan Tufvesson wrote:
> 
> This is wrong IMHO. I want to be able to set an absolute pitch for the
> first note, and not just a relative. If I today change clef at the
> beginning of the file, prepmx chooses another octave for the first note,
> which is not what I want.
> 
No, it doesn't.  The initial octave depends on the clef chosen in the
preamble.  M-Tx does not track clef changes, whether at the beginning
of the file or later.

Actually, in PMX 1.3 you can't change clef at the beginning.  The clef
change is ignored.  This is the reason why the Der Tod und das M"adchen
example in the M-Tx 0.30 manual is coded with two bass clefs, whereas
in the M-Tx 0.24 manual (still based on PMX 1.2) it was coded with a 
clef change at the beginning as it appears in the score.

I've discussed this with Don, who suggests as an interim workaround
that one should put a blind rest before the clef change.

Dirk


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Date: Thu, 29 Jan 1998 17:14:31 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: wskdpl@pukrs12.puk.ac.za
Cc: mutex-mailinglist <mutex@gmd.de>
Subject: Re: Clef change at beginning
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On Thu, 29 Jan 1998, Dirk Laurie wrote:

> Johan Tufvesson wrote:
> > 
> > This is wrong IMHO. I want to be able to set an absolute pitch for the
> > first note, and not just a relative. If I today change clef at the
> > beginning of the file, prepmx chooses another octave for the first note,
> > which is not what I want.
> > 
> No, it doesn't.  The initial octave depends on the clef chosen in the
> preamble.  M-Tx does not track clef changes, whether at the beginning
> of the file or later.

My fault, I was unclear. I meant if I change clef in the preamble. For
example, if I typeset an old piece with the voice in soprano clef, then I
would like too proof-read it in soprano-clef. Then, when I see that it is
like the original, I change to treble clef (for ease of use when modern
singers are invelved) and suddenly **the piece is in another octave**. 

How can I solve this and still proofread in the original clef?


/Johan


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From: dsimons@logicon.com (Don Simons)
Subject: Re: Changing number of staffs in M-Tx/PMX ?
To: mutex@gmd.de
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"Alastair D. Jenkins" <jenkins@fram.nrsc.no> wrote

>Is there any possibility/chance that M-Tx and/or PMX can be amended 
>so that you can generate a single .tex file - or does anyone have any 
>alternative ideas about how this can be done?  

Anything is possible.  But I'm afraid this is not high on the 
(ever-growing)to-do list for PMX.

>I suppose that one might generate a
>Unix awk/sed/shell script to automate the process.

That would not serve the MAC or DOS users.  Another possibility is to 
write TeX macros, then use them as in-line TeX commands in the .pmx 
file.

--Don Simons

From mutex-owner@mail2.gmd.de Thu Jan 29 16:54:17 1998
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Date: Thu, 29 Jan 1998 17:54:17 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: "Alastair D. Jenkins" <jenkins@fram.nrsc.no>
Cc: mutex@gmd.de
Subject: Re: Changing number of staffs in M-Tx/PMX ?
In-Reply-To: <199801291117.MAA20741@fram.nrsc.no>
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On Thu, 29 Jan 1998, Alastair D. Jenkins wrote:

> Is there any possibility/chance that M-Tx and/or PMX can be amended so that
> you can generate a single .tex file - or does anyone have any alternative
> ideas about how this can be done?  I suppose that one might generate a
> Unix awk/sed/shell script to automate the process.

Check out http://www.lysator.liu.se/runeberg/as2flvln/index_e.html
for an example of how to include 6 different PMX-files into one big score.
At the bottom of the page there is a link to a ZIP-file with all the
sources. All the PMX-files are with the same number of voices, but that is
not necessary.

If you want to have several PMX-files on one single page, you might want
to use these definitions:

\def\notitle#1#2#3#4#5#6#7{~}
\def\stopbr{\let\eject\empty
\let\titles\notitle
\let\vfill\nofill}
\def\contbr{\let\eject\origeject}

This probably can be done in a better way, I still consider myself a
newbie when it comes to plain TeX. It is used like this:

Lets consider 4 small PMX-files that would all fit in a single page.

\stopbr
\input file1
\input file2
\contbr
\input file3 % This file is still on the first page, but will end in a
             % pagebreak.
\input file4 % This file is on a second page


You might have to set the \interstaff by hand in the PMX-files (or did
recent PMX-versions have something built in for this purpose? I don't
remember.) so that they don't expand to fill out the whole page.

Hope this helped.

/Johan T


From mutex-owner@mail2.gmd.de Thu Jan 29 20:02:08 1998
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Date: Thu, 29 Jan 1998 14:02:08 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Mac MusiXFlx & PMXA, PMXB
Message-Id: <Pine.SGI.3.96.980129135229.15943A-100000@i12.msi.umn.edu>
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Hello MusiXTeX'ers:

I have a draft version of the documentation for the Mac MusiXFlx at

  <http://www.aem.umn.edu/people/students/epeterse/
    MusiXTeX_Tools/Mac_MusiXFlx_README.sit.hqx>  (67k)

Please comment on its usefulness. I also have compiled the latest 
_experimental_ version of PMXA & PMXB for Mac OS. 

  <http://www.aem.umn.edu/people/students/epeterse/
    MusiXTeX_Tools/pmx132.sit.hqx>   (491k)

More details (well, not too many more) are at

  <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Fri Jan 30 09:18:31 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199801301538.RAA22998@calvyn.puk.ac.za>
Subject: Re: Changing number of staffs in M-Tx/PMX ?
To: jenkins@fram.nrsc.no (Alastair D. Jenkins)
Date: Fri, 30 Jan 1998 11:18:31 +0200 (SAT)
In-Reply-To: <199801291117.MAA20741@fram.nrsc.no> from "Alastair D. Jenkins" at Jan 29, 98 12:17:49 pm
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Alastair D. Jenkins wrote:
> 
> I'm trying to set rather complex choir parts which have lots of changes of
> numbers of staffs, SATB labels etc. in the course of 2-3 pages (e.g.
> changing from 4-staff layout to 2-staff layout to save space, dropping the
> tenor and bass staves when only female voices are singing, etc).  Using M-Tx
> I have had to generate a number of different .tex files, one for each section,
> and then hack them together before running MusiXTeX.  This is OK for me
> but time-consuming if I have to make corrections.
> 
> Is there any possibility/chance that M-Tx and/or PMX can be amended so that
> you can generate a single .tex file - or does anyone have any alternative
> ideas about how this can be done?  I suppose that one might generate a
> Unix awk/sed/shell script to automate the process.
> 
The M-Tx manual is built from several .mtx files and one LaTeX file.
You can certainly use the same method here.

Each .mtx file goes through the processes
  .mtx (prepmx) .pmx (pmxa,pmxb) .tex (tex2ex) .ex
tex2ex exists as a Turbo Pascal program (for DOS users) or as a sed script
(for Unix).  I drive the whole process via a Makefile, so if I change
say one note in one of the .mtx files, only that .ex file is rebuilt
and LaTeX is run again.  If you are lucky, the old .mx2 file is still
good enough. 

Dirk 


From mutex-owner@mail2.gmd.de Fri Jan 30 20:15:51 1998
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Date: Fri, 30 Jan 1998 14:15:51 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: wskdpl@pukrs12.puk.ac.za
Cc: mutex list <mutex@gmd.de>
Subject: tex2ex (was Re: Changing number of staffs in M-Tx/PMX ?)
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> tex2ex exists as a Turbo Pascal program (for DOS users) or as a sed
> script (for Unix).

The Mac version of M-Tx also sports a tex2ex!

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Tue Feb 17 13:20:15 1998
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Subject: several questions
To: mutex@gmd.de
Date: Tue, 17 Feb 1998 14:20:15 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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hello, MusiXians!


MusiXTeX (still using T74)

0)  Having coded the Fugue BWV878 ("Welltempered Piano" II, E-major)
    the code of which I post as an extra file for those interested
    I noticed that MusiXTeX does not provide the commands
      \liftPAuse  (and \liftPAUSe).
    Of course *usually* these PAuses would be coded using the
    command \centerPAuse in \atnextbar (see the file).
    But if you raise them (it has to be done in \hbox as opposed
    to the '\qp'auses!) they lack the auxiliary lines which they
    should have in my humble opinion. (See JSB, Partita e-minor, Gigue)
    --+--+--
      |  |
    --+--+--

MTX und PMX:

1)  Could these two programs introduce an
    Environment Variable containing the number
    of the line in which the last error occored?
    This would help me working with my batch file ...

2)  Could they introduce a way of coding the duration
    of a Brevis (= musixTeX's \zbreve), and even
    \zlonga and \zmaxima?

    (suggestion (not deeply thought about though):
       \zbreve g       g0!      or   go
       \zlonga g       g0!!     or   gp
       \zmaxima g      g0!!!    or   gq

       \zwq            g0q           g0o     )


    And the same concerning the corresponding rests.
    (Then the right version would create incompatibilities to
     the existing command rp .... ;-(   )

3)  I have written the E-major Fugue mentioned above first in M-Tx and
    changed PMX'x output afterwards.
    the meter of this Fugue is C/ ("allabreve").
    But (since it is a fugue "in stilo antico") it has 4 half notes ('minimae')
    in a bar. So how can I make M-Tx believe it is a 4/2-meter,
    but print the C/ sign?

4) Concerning the case of two voices (lines of music) in one staff:
   Could PMX be taught to do vertically shifting of the dots
   of dotted notes automatically in the following manner?
     If the *lower* voice has a dotted note *on* a line (not between two lines)
      then lower its dot by 2\internote s.
      (As you will know this can be done by  \lower2\internote\hbox{\pt *}).

     (If the *upper* voice has a dotted note on a line (not in a space)
      then do NOT raise its dot, because this is already done by default.)

5) Can PMX (or I :-) be taught how to shift accidentals the the left
   in order to avoid any collision?
   (I had to fix that within MusiXTeX after PMX had done its job.)

6) Is there any difference between slurs (PMX: 's', MTx: '()')
   and ties (PMX: 't', MTx: '{}'). I thought there is a difference
   in Musixtex, concerning the exact starting and ending position of
   the slur resp. tie.
     If so, why does MTx not provide the command '}{'
   for ending and starting a tie on the same note?
     And I think MTx cannot handle a '{' at the beginning of a line:
   MTx does not give any error message but the PMX-source-code created
   "does not end with an '/' but with a '\'" and does not work.
   Is this  feature or a bug?  See the following source:
===========================================================================
Title: Brackets for ties and slurs
BASSO: Voices bs; Clefs F
Style: Basso
% The middle line which I put in as comment *after* %
% does not work: I guess MTx takes it for a Lyrics line
% because it starts with the 'unusual' character '{'.
% But 'strangely' the last line *does* work although the
% brackets do not fit each other.

( a a ) g g | f f e2 ||

%{ a4 a } g g | f f e2 ||

( a4 a } g g | f f e2 ||
===========================================================================

7)  PMX tries to spread a (short) piece of music over the whole page
    in order not leave a certain 'fraction' of the page free.
    In my experience this behaviour follows the conventions, so I am
    not complaining. But sometimes I would still prefer to have
    some free space beneath a short piece rather than having a
    big 'interstaff' distance which makes the eyes move more around...
    So, is there any command to avoid this 'vertical inflation' along
    the piece and to put a kind of 'vfill' *after* the piece,
    or to put it *between* the systems (and *not* between the staves,
    wenn writing piano music or any other score)?

8)  I also add a most beautiful piece by Henry Purcell in MT-x-code.
    It shows a behaviour of MT-x which I would like to question about:
    In bar you see that the '\lyrrule' follows the beaming.
    I know I could beam the whole bar, but I prefer to
    separate at least the quavers.
    Could MT-x be taught to be so clever to continue the \lyrrule
    inspite of the beaming? (I suppose a difficult problem...)


Thanks for reading!

-- Eckart Begemann

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Subject: JSB, Fugue E-major, MTx and TeX source
To: mutex@gmd.de
Date: Tue, 17 Feb 1998 14:22:04 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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%Options: v
Title: Fuga IX -- a 4 Voci
Composer: J.~S.~Bach
PIANO4VOCI: Voices S,A T,B; Continuo; Clefs G F
Style: Piano4voci
Sharps: 4
Meter: 4/2
%Bars/Line: 4
Systems: 12
Pages: 2

Ab

%1
r0 r    |
r0 r    |
r0+2 r0+2    |
e0  f2 a2 |

%2
r   r             |
r   r             |
r0+2   b              |
g f  e4  d8 c  d4 b |

%3
r r    |
r r    |
c2  e     d     c        |
e f g as  b8 f  b2 { an4 |

%4
r                 r       |
e0                f2   a2  |
b2d           b4  a4 b c d |
a4r } g8 f  g0         f2  |

%5
r            b          |
g2   f       e    r4  b |
e8 b e2 d4   e2   g4- f |
g    a4 b8 a g4 f e   d |

%6
c2  e     d         c       |
e f g as  b8 f  b2    { an4 |
g2  e   { f0                |
c0        b2       f        |

%7
{ b0 b4 } a8 g { a2 |
ar }  g8 f g2 c2-d  d8 e |
f4 } b-   e2d   c4 { f2  |
g2.e a2.f |

%8
a2 } g2 f e |
d2  e2.d c2 |
f4 } e8 f g4 a b8 f b2 as4 |
( b0 b0 )( |

%9
d r2 r0 |
f2- b c e |
b2 r e0- |
b2 ) r2 r0 |

%10
r0 r |
d c b4 e2 { d4 |
f2 a g f |
r0 b |

%11
e0 f2 an |
d4r } c2 b8 as b4 f2+   e8 d |
e4 aa2 g4 f e8 d e4  f |
c2 e d c |

%12
g2 f  es4 f g a |
e2.d c0 |
g4 a b8 f  a4 g2  { f |
b0 b2 a |

%13
b f b0 a2 |
b4 c d en  f c { f2 |
f } e d4 es f2 |
g0 f4 g a b |

%14
{ g0 g2d }  a8 b |
fr } e d0 |
c4 d en f g d { g2 |
c g c0 b2 |

%15
c4 bs c d b c2 b4 |
c4 d e f g2 f |
g } f2.e d2 ot |
a0 g |

%16
c0 rb |
e0  f2 a |
c4 g+ c2d b8 as  { b2 |
c2r r4 c dn2.ds |

%17
b0 c2 e |
g f e4 c { g2+ |
b4 }  an8 g a4  b8 a g2.g |
e2.d e c |

%18
d c b c |
g4 }  f8 es  f2d  en8 d e4 f8 e |
a2.as b.a |
f e d c |

%19
f4- e g2d f8 e { f2 |
d2.g- a.as |
b4.an  g8 f e d e2 r |
b0 c2 e |

%20
f4 }  e8 d e4  f8 e d4 b+  { es2- |
b2.as  b2 dnr |
f0 g2 b |
d2 c b4 g2 a8 b |

%21
e4 } f2 es4 c2+ { b |
c0.g+ |
a2 g2d f2 es4 |
c2 b a g |

%22
b4 } a2 g f es4 |
c2- b a g |
f2 dn { c0 |
f b cr c- |

%23
f0 g4 a { b2 |
a4 b c0 d4 es |
c2d } d4 es c g2+ |
f4 g a f c2+ b4 c |

%24
b4 } a g2 f e4 f |
f2.en d2 { c2 |
f2 g4 c2- bs4 c ds |
dn4 c bs cr f- g a2 |

%25
g2.aa g4 f e2 |
c4 } d8 c bs2 c4 d4 g2- |
e f8 e d0 e4 f |
g0 as4 bs { c2 |

%26
r0 r2 g2 |
d4+ e8 d c4 a+ bs- c2 b4 |
g2.f e d |
c4 } bn an2 { g0 |

%27
a4 c b a g2 as |
c2 d e4 g f e
e2 r2 r0 |
g2 } f e4 c f2 |

%28
{ b0  b2d } as4 |
d4 an+ g f e g f e |
r2 b+ c4 e d c |
b r2 r2 f+ |

%29
b g an b c d { e2 |
d e f g a2.g |
b dn c b a2 b |
g4 b a g f2 e |

%30
e2d } d4 e b2 as4 |
f4 e f2 e0 |
b2.a  g.c |
b+ b- c4 e d c |

%31
b2 r4 f4+ b- g a b |
f2 an g f |
f- d e f g b c d |
d b c d e2.d |

%32
c2 b a X0.5S g  |
e4 a2 g4 f dn+ c b |
g- e f g a b { c2 |
e c d es f2.e |

%33
X0.2S f4  e+ d c b2 { as |
a X0.4 fss g as g fs e2 |
c4 } c b as b d c2 |
f4 d es X0.8 fss g2.f |

%34
a4 } g8 fss { g2 g2d } f4 |
d css d0 |
b2d as8 g a4 b c2 |
g2 es d d- |

%35
g2 r4 b g e f g |
d2 b c er |
b r2 e0- |
g2 r2 r0 |

%36
a4 b c d e8 b e2  { d4 |
d c b b+ |
f2 a g f |
r0 b |

%37
d }  c8 b c2 b4 r e2 |
g4 e g as b8 f b2 { an4 |
e r2 r2 r4 e |
c2 e d c |

%38
f a g f |
a } d- e f g c a b |
d b+ c d  e8 b e2  { d4 |
b4 r4 r2 r0 |

%39
e d c { b |
g4 a f g e f d { e |
d8 } g- c2  b4.e- a2 g4 |
r0 r |

%40
b4 } c b a g2 r |
e } d8 c d2 r4 e8 f g4 as |
f0 e4 g c { f- |
b0 c2 e |

%41
r2 e+ d c |
b8 f b2 an4.d- g2 { f4 |
f } f g a b d- e f |
d c b a |

%42
b a g8 f g a b4 a |
f8 } b- e2 d4 e r4 r4 e |
g2 a b4 r4 r4 c |
g f e4 f g a |

%43
g2 f e0 of  ||
e2 d b0     ||
b2.a g0     ||
b0   e- ofd ||

==========================================================

%%%%%%%%%%%%%%%%%
%
% bwv878.tex
%
%%%%%%%%%%%%%%%%
\immediate\write10{M-Tx 0.30 (Music from TeXt) <2 November 1997>}
\let\:=\relax\input musixtex\:\sepbarrules
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{2}
\setstaffs11
\setclef16
\setname1{ }
\setstaffs21
\setclef20
\setname2{ }
\generalsignature{ 4}%
\generalmeter{\allabreve}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg0pt\interstaff{11.5}\relax
\readmod{bwv878}
\setsize2{\normalvalue}%
\startmuflex\startpiece\addspace\afterruleskip%
\znotes&\zcharnote{16}{\titles{2.2}{}{0}%
{Fuga IX -- a 4 Voci}{1.8}{J.~S.~Bach}{.9}}\en%
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOtesp{\vnotes2.45\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\def\NOTesp{\vnotes3.46\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\def\NOTEsp{\vnotes4.90\elemskip}%
\def\NOTES{\vnotes5.66\elemskip}%
\NOTES\wh{'E}%\nextvoice\liftpause2\sk&\liftpause{-2}\sk\nextvoice\liftpause1\sk%
\en%
\NOTEs\hl{'F}\hl{'A}%\nextvoice\liftpause2\sk&\liftpause{-2}\sk\nextvoice\liftpause1\sk%
\en%
\def\atnextbar{\znotes\nextvoice\raise2\Interligne\hbox{\centerPAuse}%
    \nextinstrument\lower1\Interligne\hbox{\centerPAuse}%
    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar  2
\xbar
\NOTEs\hl{'G}\hl F\nextvoice\liftpause2\sk&\en%\liftpause{-2}\sk\nextvoice\liftpause1\sk\en%
\NOTes\ql{'E}\nextvoice\wh{''B}&\en%\liftpause{-2}\sk\nextvoice\liftpause1\sk\en%
\NOtes\ibl1{'D}{-2}\qb1D\tbl1\qb1C\nextvoice&\nextvoice\en%
\NOTes\ql{'D}\ql B\nextvoice&\nextvoice\en%
\def\atnextbar{\znotes%\nextvoice\raise2\Interligne\hbox{\centerPAuse}%
    \nextinstrument\lower1\Interligne\hbox{\centerPAuse}%
    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar  3
\xbar
\NOTes\ql{'E}\ql F\ql G\bigsh{'A}\ql A\nextvoice\hu{''C}\sk\hu E&\en%
%\liftpause{-2}\sk\nextvoice\liftpause1\sk\en%
\NOtes\ibl1{''A}{-7}\qb1B\tbl1\qb1{`F}\nextvoice\hu{''D}&\en%
%\liftpause{-2}\sk\nextvoice\liftpause1\sk\en%
\NOTes\hl{''B}\sk\islurd8A\bigna A\ql A\nextvoice\sk\hu{''C}&\nextvoice%
\en%
\def\atnextbar{\znotes%\nextvoice\raise2\Interligne\hbox{\centerPAuse}%
    \nextinstrument\lower1\Interligne\hbox{\centerPAuse}%
    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar  4
\xbar
\NOTes\ts8{''A}{.2}\roff{\ql A}\nextvoice\raise1\internote\hbox{\pt{''B}}\hu{''B}&\wh e\nextvoice\en%
%\liftpause1\sk\en%
\NOtes\ibl1{'G}{-2}\qb1G\tbl1\qb1F\nextvoice&\nextvoice\en%
\NOTes\wh{'G}\sk\sk\sk\hl F\nextvoice\sk\qu{''B}\qu A\qu B\qu C\qu D&\sk%
\sk\hl f\sk\hl{'a}\nextvoice\sk\sk\en%\liftpause1\sk\en%
\def\atnextbar{\znotes%\nextvoice\raise2\Interligne\hbox{\centerPAuse}%
    \nextinstrument%\lower1\Interligne\hbox{\centerPAuse}%
    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar  5
\alaligne
\NOtes\hl{'G}\nextvoice\ibu3{''D}{-6}\qb3E\tbu3\qb3B&\hl g\nextvoice%
\liftpause1\sk\en%
\NOTes\sk\ql{''A}\nextvoice\hu{''E}&\sk\hl f\nextvoice\en%
\NOtes\ibl1{''B}{-2}\qb1B\tbl1\qb1A\nextvoice\qu{''D}&\nextvoice\en%
\NOTes\ql{'G}\ql F\ql E\ql D\nextvoice\hu{''E}\sk\qu{`G}\qu F&\hl e\sk%
\lower4\internote\qp\ql b\nextvoice\wh{'b}\en%
% bar  6
\xbar
\NOTes\wh{'C}\nextvoice\hu{'G}\sk\hu E&\ql e\ql f\ql g\bigsh{'a}\ql a%
\nextvoice\hu{'c}\sk\hu e\en%
\NOtes\hl{'B}\nextvoice\isu8{'F}{.8}\wh F&\ibl2{'a}{-6}\qb2b%
\tbl2\qb2{`f}\nextvoice\hu{'d}\en%
\NOTes\sk\hl F\nextvoice&\hl{'b}\sk\islurd7a\bigna a\ql a\nextvoice\sk%
\hu{'c}\en%
% bar  7
\xbar
\NOTes\hlp G\nextvoice\tslur8{'F}\qu F&\ts7{'a}{.2}\roff{\ql a}%
\nextvoice\isu8{'b}{.8}\wh b\en%
\NOtes\nextvoice\qu{'B}&\ibl2g{-2}\qb2g\tbl2\qb2f\nextvoice\en%
\NOTes\sk\ql E\hlp{'A}\nextvoice\hup{'E}&\hl g\sk\hlp c\nextvoice\sk\sk%
\tslur8{'b}\qu b\en%
\NOtes\nextvoice\qu{'C}&\nextvoice\ibu4{'a}{-2}\qb4a\tbu4\qb4{`g}\en%
\NOTes\nextvoice\isu8{'F}{.8}\hu F&\nextvoice\isu7{'a}{.8}\hu a\en%
\NOtes\ql F\nextvoice&\ibl2d2\qb2d\tbl2\qb2e\nextvoice\en%
% bar  8
\alaligne
\NOTes\islurd6{'B}\zbreve B\sk\nextvoice\tslur8{'F}\qu F&\hl d\nextvoice%
\tslur7{'a}\hu a\en%
\NOtes\nextvoice\ibu3{'E}2\qb3E\tbu3\qb3F&\nextvoice\en%
\NOTes\nextvoice\qu{'G}\qu{'A}&\lower2\internote\hbox{\pt e}\hl e\nextvoice\hu g\en%
\NOtes\sk\nextvoice\ibu3{''A}{-7}\qb3B\tbu3\qb3{`F}&\nextvoice\hu f\en%
\NOTes\nextvoice\hu{''B}\sk\bigsh A\qu A&\ql d\hl c\nextvoice\sk\hu e\en%
% bar  9
\xbar
\NOTEs\ts6{'B}{-.8}\hl B\lifthpause{-2}\sk\liftpause{-2}\sk\nextvoice%
\hu{''B}\lifthpause1\sk\wh{`E}&\hl{`f}\hl{'b}\hl c\hl e\nextvoice\hu d%
\lifthpause1\sk\liftpause1\sk\en%
% bar 10
\xbar
\NOTEs\liftpause{-2}\sk\nextvoice\hu{'F}\hu{'A}&\hl d\hl c\nextvoice\en%\liftpause1\en%
\NOTes\wh{'B}\nextvoice\hu{'G}\sk\hu F&\ql b\hl e\sk\islurd8d\ql d%
\nextvoice\en%\liftpause1\en%
\def\atnextbar{\znotes%\nextvoice\raise2\Interligne\hbox{\centerPAuse}%
    \nextinstrument%\lower1\Interligne\hbox{\centerPAuse}%
    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar 11
\xbar
\NOTes\hl{'C}\sk\hl E\nextvoice\qu{'E}\hu{'A}&\ts8d{.2}\roff{\ql d}\hl c%
\nextvoice\wh e\en%
\NOtes\nextvoice\qu{'G}&\ibl2b{-2}\qb2b\ast{.21}\sh a\tbl2\qb2a%
\nextvoice\en%
\NOTes\hl{'D}\nextvoice\qu{'F}&\ql b\nextvoice\hu f\en%
\NOtes\nextvoice\ibu3{'E}{-2}\qb3E\tbu3\qb3D&\hl f\nextvoice\en%
\NOTes\hl{'C}\nextvoice\qu{'E}&\nextvoice\bigna{'a}\hu a\en%
\NOtes\nextvoice\qu{'F}&\ibl2e{-2}\qb2e\tbl2\qb2d\nextvoice\en%
% bar 12
\alaligne
\NOTes\wh{'B}\nextvoice\qu{'G}\qu{'A}&\lower2\internote\hbox{\pt e}\hl e\nextvoice\hu g\en%
\NOtes\nextvoice\ibu3{''A}{-8}\qb3B\tbu3\qb3{`F}&\nextvoice\hu f\en%
\NOTes\sk\hl{'B}\sk\hl A\nextvoice\qu{''A}\hu{`G}\sk\isu8F{.8}\hu F&%
\ql d\wh c\nextvoice\sk\bigsh e\qu e\qu f\qu g\qu{'a}\en%
% bar 13
\xbar
\NOTes\wh G\sk\sk\sk\ql F\ql G\ql{'A}\ql B\nextvoice\tslur8{'F}\hu F\sk%
\hu E\sk\qu D\bigsh E\qu E\hu F&\ql b\ql c\ql d\bigna e\ql e\ql f\ql c%
\islurd8f\hl f\nextvoice\qu{'b}\qu{`f}\wh{'b}\sk\sk\sk\hu a\en%
% bar 14
\xbar
\NOTes\ql{'C}\ql{`G}\wh{'C}\sk\sk\sk\hl B\nextvoice\qu{'C}\qu D\bigna E%
\qu E\qu F\qu G\qu D\isu7G{.8}\hu G&\ts8f{.2}\roff{\hl f}\sk\hl e\sk%
\wh d\nextvoice\isu8g{.8}\wh g\sk\sk\sk\tslur8g\hup g\en%
\NOtes\nextvoice&\nextvoice\ibu4{'a}3\qb4a\tbu4\qb4b\en%
% bar 15
\hardspace{  .6pt}%
\xbar
\NOTes\wh{'A}\sk\sk\sk\wh{`G}\nextvoice\tslur7{'G}\hu G\sk\hup F\sk\sk%
\qu E\shake{'E}\hu{`D}&\ql c\ql d\ql e\ql f\hl g\sk\hl f\nextvoice%
\qu{'c}\bigsh b\qu b\qu c\qu d\qu b\hu c\sk\qu b\en%
% bar 16
\alaligne
\NOTes\roff{\hl{'C}}\sk\lower4\internote\qp\ql C\bigna D\hlp D\nextvoice%
\qu{'C}\qu G\hup{'C}&\wh e\sk\sk\sk\hl f\nextvoice\wh{'c}\sk\sk\sk\liftpause1\en%
\NOtes\nextvoice\ibu3{''B}{-2}\qb3B\sh A\tbu3\qb3A&\nextvoice\en%
\NOTes\sk\bigsh{'D}\ql D\nextvoice\isu8{''B}{.8}\hu B&\hl{'a}\nextvoice%
\en%
% bar 17
\xbar
\NOTes\hlp{'E}\nextvoice\tslur8{''B}\qu B&\hl g\nextvoice\wh{'b}\en%
\NOtes\nextvoice\ibu3{''A}{-2}\bigna A\qb3A\tbu3\qb3{`G}&\nextvoice\en%
\NOTes\nextvoice\qu{''A}&\hl f\nextvoice\en%
\NOtes\ql{'D}\nextvoice\ibu3{''B}{-2}\qb3B\tbu3\qb3A&\nextvoice\en%
\NOTes\hl{'E}\sk\hl C\nextvoice\hup{'G}\sk\sk\qu G&\ql e\ql c\islurd8g%
\hl g\nextvoice\hu{'c}\sk\hu e\en%
% bar 18
\xbar
\NOTes\hl{'F}\nextvoice\hup{''A}&\ts8g{-.8}\ql g\nextvoice\hu{'d}\en%
\NOtes\nextvoice&\ibl2f{-2}\qb2f\sh e\tbl2\qb2e\nextvoice\en%
\NOTes\hl{'E}\sk\hl D\nextvoice\sk\bigsh{''A}\qu A\hup B&\hlp f%
\nextvoice\hu{'c}\sk\hu b\en%
\NOtes\nextvoice&\ibl2e{-2}\bigna e\qb2e\tbl2\qb2d\nextvoice\en%
\NOTes\hl{'C}\nextvoice&\ql e\nextvoice\hu{'c}\en%
\NOtes\nextvoice\qu{''A}&\ibl2f{-2}\qb2f\tbl2\qb2e\nextvoice\en%
% bar 19
\alaligne
\NOTes\wh{'B}\nextvoice\qup{''B}&\hlp d\nextvoice\qu f\en%
\NOtes\nextvoice\sk\bigna{''A}\cu A\ibu3{`F}{-2}\qb3G\qb3F\qb3E%
\tbu3\qb3D&\sk\sk\sk\sk\ql{`g}\nextvoice\qu d\sk\hup g\en%
\NOTes\hl{'C}\nextvoice\hu{'E}&\hlp a\nextvoice\en%
\NOtes\nextvoice&\nextvoice\ibu4f{-2}\qb4f\tbu4\qb4e\en%
\NOTes\hl{'E}\nextvoice\lifthpause2\sk&\sk\bigsh a\ql a\nextvoice%
\isu8f{.8}\hu f\en%
% bar 20
\xbar
\NOTes\hl{'D}\nextvoice\wh{'F}&\hlp b\nextvoice\tslur8f\qu f\en%
\NOtes\nextvoice&\nextvoice\ibu4e{-2}\qb4e\tbu4\qb4d\en%
\NOTes\hl{'C}\nextvoice&\nextvoice\qu e\en%
\NOtes\nextvoice&\bigsh a\ql a\nextvoice\ibu4f{-2}\qb4f\tbu4\qb4e\en%
\NOTes\ql{'B}\hl{`G}\nextvoice\hu{'G}\sk\hu{'B}&\hl b\sk\loff{\bigna d}%
\roff{\hl d}\nextvoice\qu d\qu{'b}\isu8{`e}{.8}\bigsh e\hu e\en%
\NOtes\ibl1{'A}2\qb1A\tbl1\qb1B\nextvoice&\nextvoice\en%
% bar 21
\xbar
\NOTes\hl{'C}\sk\hl B\sk\hl A\sk\hl{`G}\nextvoice\hu{''A}\sk\hup{`G}\sk%
\sk\hu F\sk\bigsh E\qu E&\whp c\sk\sk\sk\sk\sk\hl g\nextvoice\tslur8e%
\qu e\hu f\sk\bigsh e\qu e\hu{'c}\sk\isu8b{.8}\hu b\en%
% bar 22
\stoppiece%
\vskip1.1\Interligne\eject%
\interstaff{12.3}\contpiece
\znotes&\zcharnote{16}{\titles{2.6}{}{0}{}{0}{}{0}}\en%
\NOTes\hl F\sk\hl{'B}\sk\roff{\hl C}\sk\hl{`C}\nextvoice\hu{'F}\sk%
\bigna D\hu D\sk\isu7C{.8}\wh C&\hl c\sk\hl b\sk\hl a\sk\hl{`g}%
\nextvoice\tslur8{'b}\qu b\hu a\sk\hu{`g}\sk\hu f\sk\bigsh e\qu e\en%
% bar 23
\xbar
\NOTes\ql F\ql G\ql{'A}\ql{`F}\hl{'C}\sk\ql B\ql C\nextvoice\tslur7{'C}%
\hup C\sk\sk\qu D\bigsh E\qu E\qu C\hu G&\ql a\ql b\wh c\sk\sk\sk\ql d%
\bigsh e\ql e\nextvoice\wh f\sk\sk\sk\qu g\qu{'a}\isu8b{.8}\hu b\en%
% bar 24
\xbar
\NOTes\ast{.17}\na{'D}\ql D\ql C\bigsh B\ql B\roff{\ql C}\ql{`F}\ql G%
\hl{'A}\nextvoice\ast{.17}\hu{'F}\sk\qu G\hu C\sk\bigsh B\qu B\qu C%
\bigsh D\qu D&\ast{.17}\hlp f\sk\sk\bigna e\ql e\hl d\sk\islurd7c\hl c%
\nextvoice\ast{.17}\tslur8{'b}\qu b\qu a\hu{`g}\sk\hu f\sk\qu e\qu f\en%
% bar 25
\xbar
\NOTes\wh G\nextvoice\qu{'E}&\ts7c{-.8}\ql c\nextvoice\hup g\en%
\NOtes\nextvoice\ibu3{'F}{-3}\qb3F\tbu3\qb3E&\ibl2d{-3}\qb2d\tbl2\qb2c%
\nextvoice\en%
\NOTes\sk\sk\ast{.34}\bigsh{'A}\ql A\bigsh B\ql B\islurd8C\hl C%
\nextvoice\ast{.34}\wh{'D}\sk\sk\sk\qu E\qu F&\ast{.34}\sh b\hl b\sk%
\ql c\ql d\hl{`g}\nextvoice\sk\ast{.34}\qu{'a}\qu{`g}\qu f\hu e\en%
% bar 26
\alaligne
\NOTes\ts8{'C}{-.8}\ql C\nextvoice\hup{'G}&\ql d\nextvoice\liftpause1\sk%
\en%
\NOtes\bigna{'B}\ql B\nextvoice&\ibl2e{-3}\qb2e\tbl2\qb2d\nextvoice\en%
\NOTes\bigna{'A}\hl A\sk\islurd8{`G}\wh G\nextvoice\sk\qu{'F}\hu E\sk%
\hu D&\ql c\ql{'a}\bigsh{`b}\ql b\hl c\sk\ql b\nextvoice\sk\sk%
\lifthpause1\sk\sk\hu g\en%
% bar 27
\xbar
\NOTes\ts8G{-.8}\hl G\sk\hl F\sk\ql E\ql C\hl F\nextvoice\hu{'E}\sk%
\lifthpause1\sk\sk\liftpause1\sk&\hl c\sk\hl d\sk\ql e\ql g\ql f\ql e%
\nextvoice\qu{'a}\qu c\qu b\qu a\hu{`g}\sk\bigsh{'a}\hu a\en%
% bar 28
\xbar
\NOTes\hl{'B}\sk\lifthpause{-2}\sk\sk\lifthpause{-2}\sk\sk\hl F%
\nextvoice\lifthpause1\sk\sk\hu{''B}\sk\qu C\qu E\qu D\qu C&\ql d%
\bigna{'a}\ql a\ql{`g}\ql f\ql e\ql g\ql f\ql e\nextvoice\isu8{'b}{.8}%
\wh b\sk\sk\sk\tslur8b\hup b\sk\sk\bigsh a\qu a\en%
% bar 29
\xbar
\NOTes\ql{'G}\ql{'B}\ql A\ql{`G}\hl F\sk\hl E\nextvoice\qu{''B}\bigna D%
\qu D\qu C\qu B\hu A\sk\hu B&\ql d\ql e\ql f\ql g\hlp{'a}\sk\sk\ql{`g}%
\nextvoice\qu{'b}\qu{`g}\bigna{'a}\qu a\qu b\qu c\qu d\isu8e{.8}\hu e\en%
% bar 30
\alaligne
\NOTes\hl{''B}\sk\hl{`B}\sk\ql C\ql E\ql D\ql C\nextvoice\hup{''B}\sk\sk%
\qu A\hup{`G}\sk\sk\qu{'C}&\ql f\ql e\hl f\sk\wh e\nextvoice\tslur8{'e}%
\hup e\sk\sk\qu d\qu e\hu b\sk\bigsh a\qu a\en%
% bar 31
\xbar
\NOTes\ql{'D}\ql B\ql C\ql D\hlp E\sk\sk\ql D\nextvoice\qu{'F}\qu D\qu E%
\qu F\qu G\qu{'B}\qu C\qu D&\hl f\sk\bigna{'a}\hl a\sk\hl{`g}\sk\hl f%
\nextvoice\hu{'b}\sk\raise4\internote\qp\qu f\qu b\qu{`g}\qu{'a}\qu b\en%
% bar 32
\xbar
\NOTes\ql{'E}\ql C\ql D\bigsh E\ql E\lower2\internote\hbox{\pt F}\hl F\sk\sk\ql E\nextvoice\qu{'G}%
\qu E\qu F\qu G\qu{'A}\qu B\isu8C{.8}\hu C&\ql e\hl{'a}\sk\ql{`g}\ql f%
\bigna{'d}\ql d\ql c\ql b\nextvoice\hu{'c}\sk\hu b\sk\hu a\sk\hroff{\hu{`g}}\en%
% bar 33
\xbar
\NOTes\ql{'F}\hqsk\ql D\bigsh E\ql E\qsk\loff{\bigdsh F}\ql F\hlp G\sk\sk\ql F\nextvoice%
\tslur8{''C}\qu C\hqsk\qu C\qu B\qsk\bigsh A\qu A\qu B\qu D\hu C&\ql{'a}%
\hqsk\bigdsh{`f}\ql f\ql g\qsk\bigsh{'a}\ql a\ql{`g}\bigsh f\ql f\hl e\nextvoice%
\hroff{\qu f}\hqsk\qu{'e}\qu d\qsk\qu c\hu b\sk\isu8a{.8}\bigsh a\hu a\en%
% bar 34
\alaligne
\NOTes\hl{'G}\nextvoice\hup{''B}&\hl d\nextvoice\tslur8{'a}\qu a\en%
\NOtes\nextvoice&\nextvoice\ibu4g{-2}\qb4g\bigdsh f\tbu4\qb4f\en%
\NOTes\bigsh{'E}\hl E\nextvoice&\bigdsh c\hl c\nextvoice\isu8g{.8}\hu g%
\en%
\NOtes\nextvoice\ibu3{''A}{-2}\bigsh A\qb3A\tbu3\qb3{`G}&\nextvoice\en%
\NOTes\hl{'D}\sk\hl{`D}\nextvoice\qu{''A}\qu B\hu C&\wh d\nextvoice%
\tslur8g\hup g\sk\sk\qu f\en%
% bar 35
\xbar
\NOTEs\hl G\nextvoice\hu{''B}&\hl d\nextvoice\hu g\en%
\NOTes\lifthpause{-2}\sk\sk\liftpause{-2}\sk\nextvoice\lifthpause1\sk\sk%
\wh{'E}&\hl b\sk\hl c\sk\roff{\hl e}\nextvoice\raise2\internote\qp%
\qu{'b}\qu{`g}\qu e\qu f\qu g\en%
% bar 36
\xbar
\NOTes\liftpause{-2}\sk\nextvoice\hu{'F}\sk\hu{'A}&\hl d\sk\hl c%
\nextvoice\qu{'a}\qu b\qu c\qu d\en%
\NOtes\wh{'B}\nextvoice\hu{'G}&\hl b\nextvoice\ibu4{'d}{-6}\qb4e%
\tbu4\qb4b\en%
\NOTes\nextvoice\sk\hu{'F}&\sk\hl{'b}\nextvoice\hu{'e}\sk\isu8d{.8}\qu d%
\en%
% bar 37
\alaligne
\NOTes\hl{'C}\nextvoice\hu{'E}&\ql g\nextvoice\tslur8{'d}\qu d\en%
\NOtes\nextvoice&\ql e\nextvoice\ibu4{'c}{-2}\qb4c\tbu4\qb4b\en%
\NOTes\hl{'E}\nextvoice\lifthpause2\sk&\ql g\bigsh{'a}\ql a\nextvoice%
\hu{'c}\en%
\NOtes\hl{'D}\nextvoice\lifthpause2\sk&\ibl2{'a}{-6}\qb2b\tbl2\qb2{`f}%
\nextvoice\qu{'b}\en%
\NOTes\sk\hl{'C}\nextvoice\sk\raise4\internote\qp\qu{'E}&\hl{'b}\sk%
\islurd8a\bigna a\ql a\nextvoice\raise4\internote\qp\hu{'e}\en%
% bar 38
\xbar
\NOTes\ql{'B}\lower4\internote\qp\lifthpause{-2}\sk\nextvoice\qu{'D}%
\qu{'B}\qu C\qu D&\ts8{'a}{-.8}\ql a\ql{`d}\ql e\ql f\nextvoice\hu{'f}%
\sk\hu{'a}\en%
\NOtes\liftpause{-2}\sk\nextvoice\ibu3{''D}{-6}\qb3E\tbu3\qb3B&\ql g%
\nextvoice\hu{'g}\en%
\NOTes\nextvoice\hu{''E}\sk\isu8D{.8}\qu D&\ql{'c}\ql a\ql b\nextvoice%
\sk\hu{'f}\en%
% bar 39
\xbar
\NOtes%\liftpause{-2}\sk
 \nextvoice\ibu3{''C}{-8}\tslur8D\qb3D%
 \tbu3\qb3{`G}&\ql g\nextvoice\hu{'e}\en%
\NOTes\nextvoice\hu{''C}\sk\qup B&\ql{'a}\ql{`f}\ql g\nextvoice\sk%
\hu{'d}\en%
\NOtes%\liftpause{-2}\sk
 \nextvoice\sk\cu{'E}&\ql e\nextvoice\hu{'c}\en%
\NOTes\nextvoice\hu{''A}\sk\qu{`G}&\ql f\ql d\islurd8e\ql e\nextvoice\sk%
\isu7{'b}{.8}\hu b\en%
\def\atnextbar{\znotes\lower2\Interligne\hbox{\centerPAuse}\nextvoice\en}%
%    \nextinstrument%\lower1\Interligne\hbox{\centerPAuse}%
%    \nextvoice\raise1\Interligne\hbox{\centerPAuse}\en}%
% bar 40
\alaligne
\NOTes\wh{'B}\nextvoice\wh{'F}&\ts8e{-.8}\ql e\nextvoice\tslur7{'b}\qu b%
\en%
\NOtes\nextvoice&\ibl2d{-3}\qb2d\tbl2\qb2c\nextvoice\qu{'c}\en%
\NOTes\sk\sk\hl{'C}\nextvoice\sk\sk\qu{'E}&\hl d\sk\lower8\internote\qp%
\nextvoice\qu{'b}\qu a\hu{`g}\en%
\NOtes\nextvoice\qu{'G}&\ibl2e3\qb2e\tbl2\qb2f\nextvoice\en%
\NOTes\hl{'E}\nextvoice\qu{''C}\isu8{`F}{.8}\qu F&\ql g\bigsh{'a}\ql a%
\nextvoice\lifthpause2\sk\en%
% bar 41
\xbar
\NOtes\hl{'D}\nextvoice\tslur8{'F}\qu F&\ibl2{'a}{-8}\qb2b\tbl2\qb2{`f}%
\nextvoice\lifthpause2\sk\en%
\NOTes\sk\hl{'C}\nextvoice\qu{'F}\qu G\qu{'A}&\hl{'b}\sk\bigna a\qlp a%
\nextvoice\sk\hu{'e}\en%
\NOtes\hl{'B}\nextvoice\qu{''B}&\sk\cl d\nextvoice\hu{'d}\en%
\NOTes\sk\hl{'A}\nextvoice\qu{'D}\qu E\qu F&\hl g\sk\islurd8f\ql f%
\nextvoice\sk\hu{'c}\en%
% bar 42
\xbar
\NOtes\hl G\nextvoice\hu{'G}&\ibl2e{-9}\ts8f{-.8}\qb2f\tbl2\qb2b%
\nextvoice\hu{'b}\en%
\NOTes\sk\hl F\nextvoice\sk\hu{''A}&\hl e\sk\ql d\nextvoice\sk\hu{'a}\en%
\NOtes\ql E\sk\ql F\nextvoice\qu{''B}\sk\raise2\internote\qp&\ql e\sk%
\lower8\internote\qp\nextvoice\ibu4g0\qb4g\qb4f\qb4g\tbu4\qb4{'a}\en%
\NOTes\ql G\ql{'A}\nextvoice\raise2\internote\qp\qu{''C}&%
\lower8\internote\qp\ql e\nextvoice\qu{'b}\qu a\en%
% bar 43
\xbar
\NOTEs\wh{'B}\nextvoice\hup{''B}&\hl e\nextvoice\hu g\en%
\NOTes\nextvoice\sk\qu{''A}&\hl d\nextvoice\hu f\en%
\NOTES\Fermatadown E\wh E\nextvoice\wh{'G}&\wh b\nextvoice\Fermataup{'e}%
\wh{`e}\en%
\Endpiece
\vskip1.3\Interligne\eject\endmuflex
\bye

From mutex-owner@mail2.gmd.de Tue Feb 17 14:18:08 1998
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Subject: H.Purcell, Song, MTx and TeX source
To: mutex@gmd.de
Date: Tue, 17 Feb 1998 15:18:08 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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Title: A single  SONG in Edipus
Composer: Henry Purcell (1659--1695)
Soprano: Voices S; Vocal; Clefs G
BCont: Voices bc; Clefs F
Style: Soprano BCont
%SopranoBC: Voices S; Vocal; Voices bc; Clefs G F
%Style: SopranoBC
Flats: 2
Meter: C
%Space: 6
%Bars/Line: 4
Pages: 2
Systems: 12

%I decided to follow the original handling of the accidentals here
%of course you can change it if you like. So all the 'sharps' referring
% to  'b-flats' and 'e-flats'  etc. are to be understood as 'naturals'
% (i.e. raising chromatically.) I put the a natural sign in bar 6
% because *I* added it: The original did not have it.

%%h
%%Orpheus Britannicus Book II, pg 126sq

r0 |
c8 g+ af c- d a+ b d- |

r0 |
e bs+ c es- f c+ d f- |

r0 |
g bs c e- f a g g- |

%bar 4, Beginn des Saengers
c4+.c r2 |
L: Mu-sick,
c8 g+ a c- d a+ b d- |

%bar 5
( g2+ g8 ) g ( af1 g ) ( f e ) |
L: Mu-sick for a
e8 bs+ c es- f c+ d f- |

%bar 6
d4 r8 g8 c- ( d3 e f1 ) e8.d |
L: while, shall all your Cares be-
g bn c e- f af g g- |

%bar 7
( e1 d c8 ) r8 c f4 r8 d |
L: guile; shall all, all,
c g+ a c- d a+ b d- |

%bar 8
g4 r8 c- a4 r8 d |
L: all, shall all, all,
e bs+ c es- f c+ d f- |

%bar 9
( bs1 a g8 ) r8 g+8 [ af1 g ] ( f1 e ) e8 ( d1 c ) |
L: all, shall all, your Cares be-guile;
g bs c e- f af g g- |

%bar 10,
c4 r ( f8.e d1 c b af |
L: guile wond'-
c g+ af c- d a+ b d-

%bar 11
g8 ) g r4  ( af+8.g f1 e d c |
L:  ring, wond'-
e bs+ c es- f c+ d d- |

%bar 12
bs8 ) g g+ g ( g8d af3 g   f8d ) f1 |
L:   ring how your Pains were
g bs c e- f af  g g- |

%bar 13
( f4 e8 ) r ( e4 d8 ) r |
L: eas'd, eas'd
c g+ af c- d a+ b d- |

%bar 14
( d4 c8 ) r  c4.d |
L: eas'd, and dis-
e bs+ c c- d fs g b- |

%bar 15 (neue Seite auf dem Originaldruck)
( e1 d ) ( c b ) b8 ( a1 g )  g4  r8   b1 g |
L: dain-ing to be pleas'd, till  A-
c e d d- g d+ e g-

%bar 16
( c8.d ) c4 ( d8.e d1 c ) ( d b ) |
L:  lec-to  free the
a es+ f a- b f+ g b- |

%bar 17
e4 r8  e1 c  ( f2 |
L: Dead, til A-lec-
c g+ a c- d a+ b d- |

%bar 18
f8 ) ( e1 d ) ( e d ) ( c b ) b4 r8 b |
L:  to free the Dead, from
e g f f- b f+ g b- |

%bar 19 (2. System im Original)
b8 b [ b1 c b c ] [ b8.c ]  [ b1 c ] [ b af ] |
L: their E-ter- ~ ~ ~
c g+ af c- d a+ b c- |

%bar 20
g8 g r8  g+ [ g1 af g af3 g ] { f4 |
L: ~ nal, E-ter- ~
e bs+ c es- f c+ d f- |

%bar 21
[ f1 } g f g3 f ]  { e4  [ e1 } f e f ] g8   ( f1 e )
L: ~ ~ nal
g d+ e g- af c b b- |

%bar 22
e2 r4 r |
L: Band;
e b+ e g- af c b b- |

%bar 23
r4 r8 g1 f es4 r8 af8 |
L: till the Snakes drop,
e f g g- c g+ af c- |

%bar 24
r8 f r d r g r c- |
L: drop, drop, drop, drop,
d a+ b d- e bs+ c es- |

%bar 25
r a r f+ r d r g |
L: drop, drop, drop, drop
f c+ d f- g bs c e- |

%bar 26
( f4 e8 ) ( d1 c ) c4   r8 c1 b |
L: from her Head; and the
f af g g- c g+ c c- |

%bar 27
a4 r8 d1 c ( d1 e ) ( d c ) b8 ( a1 g ) |
L: Whip, and the Whip from out her
d fs g b- c e d d- |

%bar 28
g2 r |
L: Hand;
g g+ e c f d g g- |

%bar 29
c4.c r2 |
L: Mu-sick,
c g+ af c- d a+ b d- |

%bar 30
( g2+  g8 ) g ( af1 g ) ( f e ) |
L: Mu-sick for a
e bs+ c es- f c+ d f- |

%bar 31
d4 r8 g c- ( d3 e f1 ) e8.d |
L: while shall all your cares be-
g bs c e- f af g g- |

%bar 32
( e1 d c8 ) r c  f4  r8 d |
L: guile; shall all, all,
c g+ af c-  d a+ b d- |

%bar 33
g4 r8 c- a4 r8 d |
L: all, all, all, all,
e bs+ c es- f c+ d f- |

%bar 34
( bs1 a g8 ) r8 g+ ( af1 g ) ( f e ) e8 ( d1 c ) |
L: all, shall all your cares be-
g bs c e- f af g g- |

%bar 35
c4 r8 e f4 r8 b- |
L: guile; all, all, all,
c g+ af c- d a+ b d- |

%bar 36
g4 r8 g+ af4 r8 d- |
L: all, all, all, all,
e bs+ c es- f c+ d f- |

%bar 37
bs4 r8 g+ af ( g1 f ) e8 ( d1 c ) |
L: all, shall all, your  cares  be-
g bs c e- f af g g- |

%bar 37, letzter Takt
c0 ||
L: guile.
c0 ||
===============================================================================
%%%%%%%%%%%%%%%%%
%
% purcell2.tex
%
%%%%%%%%%%%%%%%%
\immediate\write10{M-Tx 0.30 (Music from TeXt) <2 November 1997>}
\let\:=\relax\input musixtex\:\sepbarrules
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{2}
\setstaffs11
\setclef16
\setname1{ }
\setstaffs21
\setclef20
\setname2{ }
\generalsignature{-2}%
\generalmeter\meterC%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg0pt\interstaff{11.5}\relax
\readmod{purcell1}
\setsize2{\normalvalue}%
\startmuflex\startpiece\addspace\afterruleskip%
\znotes&\zcharnote{16}{\titles{2.2}{\rm Orpheus Britannicus Book II, pg 126sq}{-7}%
{\bigfont A single  SONG in Edipus}{1.8}{{\rm\bf Henry Purcell (1659--1695)}}{.9}}\en%
%\znotes&\zcharnote{16}{\titles{2.2}{}{0}%
%{A single  SONG in Edipus}{1.8}{Henry Purcell (1659--1695)}{.9}}\en%
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D%
\qb1{'A}\qb1B\tbl1\qb1{`D}&%
%\zcharnote{16}{\bigfont\kern-30pt Orpheus Britannicus Book II, pg 126sq}%
\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes&\wbrest\en}%
% bar  2
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}\qb1D\tbl1\qb1{`F}&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes&\wbrest\en}%
% bar  3
\xbar
\NOtes\ibl1{''A}{-1}\qb1{`G}\bigsh{'B}\qb1B\qb1C\tbl1\qb1{`E}\ibl1E{-3}%
\qb1F\qb1{'A}\qb1{`G}\tbl1\qb1{`G}&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes&\wbrest\en}%
\setlyrics{11}{Mu-sick,}%
\assignlyrics2{11}%
\auxlyr{\assignlyrics2{}}%
\assignlyrics1{}%
\auxlyr{\assignlyrics1{}}%
% bar  4
\def\notes{\vnotes1.00\elemskip}%
\def\notesp{\vnotes1.22\elemskip}%
\def\Notes{\vnotes1.41\elemskip}%
\def\Notesp{\vnotes1.73\elemskip}%
\alaligne
\NOtes\ibl1{'E}0\qb1C\qb1G\qb1{'A}\tbl1\qb1{`C}\ibl1F0\qb1D\qb1{'A}\qb1B%
\tbl1\qb1{`D}&\qlp{'c}\sk\sk\cl c\hpause\en%
\setlyrics{11}{Mu-sick for a}%
% bar  5
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}&\beginmel\isluru8{'g}\hl g\sk\sk\sk\endmel\tslur8g\cl g%
\cl g\en%
\Notes\qb1{''D}\sk\tbl1\qb1{`F}&\beginmel\ibbl2{'g}{-2}\isluru8{'a}%
\bigfl a\qb2a\endmel\tslur8{`g}\qb2g\beginmel\isluru8f\qb2f\endmel%
\tslur8e\tbl2\qb2e\en%
\setlyrics{11}{while, shall all your Cares be-}%
% bar  6
\xbar
\NOtes\ibl1{''A}{-1}\qb1{`G}\bigna{'B}\qb1B\qb1C\tbl1\qb1{`E}\ibl1E{-2}%
\qb1F&\ql{'d}\sk\ds\cl g\cl c\en%
\notes\bigfl{''A}\qb1A&\beginmel\ibbbl2{'d}3\isluru8d\qb2d\tbbbl2\qb2e%
\en%
\Notes&\endmel\tslur8{'f}\tbl2\qb2f\en%
\NOtes\qb1{'G}&\clp{'e}\en%
\Notes\tbl1\qb1G&\sk\ccl{'d}\en%
\setlyrics{11}{guile; shall all, all,}%
% bar  7
\alaligne
\Notes\ibl1{'E}0\qb1C&\beginmel\ibbl2{'d}{-2}\isluru8e\qb2e\tbbl2\qb2d%
\en%
\NOtes\qb1{'G}\qb1{'A}\tbl1\qb1{`C}\ibl1F0\qb1D\qb1{'A}\qb1B%
\tbl1\qb1{`D}&\endmel\tslur8{'c}\tbl2\qb2c\ds\cl c\ql f\sk\ds\cl d\en%
\setlyrics{11}{all, shall all, all,}%
% bar  8
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}\qb1D\tbl1\qb1{`F}&\ql{'g}\sk\ds\cl c\qu a\sk\ds\cl d\en%
\setlyrics{11}{all, shall all, your Cares be-guile;}%
% bar  9
\xbar
\Notes\ibl1{''A}{-1}\qb1{`G}&\beginmel\ibbu2{'a}{-2}\islurd8b\bigsh b%
\qb2b\tbbu2\qb2a\en%
\NOtes\bigsh{''B}\qb1B\qb1C\tbl1\qb1{`E}&\endmel\tslur8g\tbu2\qb2g\ds%
\cl{'g}\en%
\Notes\ibl1{'E}{-2}\qb1F\sk\bigfl{'A}\qb1A&\beginmel\ibbl2{''a}{-2}%
\bigfl a\qb2a\endmel\tbl2\qb2{`g}\beginmel\ibbl2f{-2}\isluru8f\qb2f%
\endmel\tslur8e\tbl2\qb2e\en%
\NOtes\qb1{'G}&\cl{'e}\en%
\Notes\tbl1\qb1G&\beginmel\ibbl2{'d}{-2}\isluru8d\qb2d\endmel\tslur8c%
\tbl2\qb2c\en%
\setlyrics{11}{guile wond'-}%
% bar 10
\alaligne
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D&%
\ql{'c}\sk\qp\sk\beginmel\ibl2f{-1}\isluru8f\qbp2f\en%
\Notes\qb1{''A}\sk\qb1B\sk\tbl1\qb1{`D}&\sk\tbbl2\tbl2\qb2{'e}%
\ibbl2c{-2}\qb2d\qb2c\qb2b\ast{.00}\fl a\tbl2\qb2a\en%
\setlyrics{11}{ring, wond'-}%
% bar 11
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1G{-1}%
\qb1F&\endmel\tslur8g\cu g\cu g\qp\sk\beginmel\ibl2{''a}{-1}\isluru8a%
\bigfl a\qbp2a\en%
\Notes\qb1{''C}\sk\qb1D\sk\tbl1\qb1{`D}&\sk\tbbl2\tbl2\qb2{'g}%
\ibbl2e{-2}\qb2f\qb2e\qb2d\tbl2\qb2c\en%
\setlyrics{11}{ring how your Pains were}%
% bar 12
\xbar
\NOtes\ibl1{''A}{-1}\qb1{`G}\bigsh{'B}\qb1B\qb1C\tbl1\qb1{`E}\ibl1D{-2}%
\qb1F&\endmel\tslur8{'b}\bigsh b\cl b\cu{`g}\cl{'g}\cl g\beginmel\ibl2g0%
\isluru8g\qbp2g\en%
\Notes\bigfl{''A}\qb1A&\en%
\notes&\bigfl{''a}\nbbbl2\qb2a\tbl2\qb2{`g}\en%
\NOtes\qb1{'G}&\endmel\tslur8{'f}\clp f\en%
\Notes\tbl1\qb1G&\sk\ccl{'f}\en%
\setlyrics{11}{eas'd, eas'd}%
% bar 13
\alaligne
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D%
\qb1{'A}\qb1B\tbl1\qb1{`D}&\beginmel\isluru8{'f}\ql f\sk\endmel\tslur8e%
\cl e\ds\beginmel\isluru8e\ql e\sk\endmel\tslur8d\cl d\ds\en%
\setlyrics{11}{eas'd, and dis-}%
% bar 14
\xbar
\NOtes\ibl1{'F}{-1}\qb1E\bigsh{'B}\qb1B\qb1C\tbl1\qb1{`C}\ibl1E{-1}\qb1D%
\bigsh F\qb1F\qb1G\tbl1\qb1B&\beginmel\isluru8{'d}\ql d\sk\endmel%
\tslur8c\cl c\ds\qlp c\sk\sk\cl d\en%
\setlyrics{11}{dain-ing to be pleas'd, till  A-}%
% bar 15
\xbar
\Notes\ibu1{'C}{-1}\qb1C\sk\qb1E&\beginmel\ibbl2{'d}{-2}\isluru8e\qb2e%
\endmel\tslur8d\qb2d\beginmel\isluru8c\qb2c\endmel\tslur8b\tbl2\qb2b\en%
\NOtes\qb1{'D}&\cl{'b}\en%
\Notes\tbu1\qb1D&\beginmel\ibbu2{'a}{-2}\islurd8a\qb2a\endmel\tslur8{`g}%
\tbu2\qb2g\en%
\NOtes\ibu1{'C}0\qb1{`G}\qb1{'D}\qb1E&\qu g\sk\ds\en%
\Notes\tbu1\qb1G&\ccl{'b}\ccu{`g}\en%
\setlyrics{11}{lec-to  free the}%
% bar 16
\alaligne
\NOtes\ibu1{'D}0\qb1A&\beginmel\ibl2{'c}1\isluru8c\qbp2c\en%
\Notes\bigsh{'E}\qb1E&\sk\endmel\tslur8{'d}\tbbl2\tbl2\qb2d\en%
\NOtes\qb1{'F}\tbu1\qb1A\ibl1D0\qb1B&\ql{'c}\sk\beginmel\ibl2d1\isluru8d%
\qbp2d\en%
\Notes\qb1{'F}\sk\qb1G\sk\tbl1\qb1B&\sk\tbbl2\tbl2\qb2{'e}\ibbl2c0\qb2d%
\endmel\tslur8c\qb2c\beginmel\isluru8d\qb2d\endmel\tslur8b\tbl2\qb2b\en%
\setlyrics{11}{Dead, til A-lec-}%
% bar 17
\xbar
\NOtes\ibl1{'E}0\qb1C\qb1G\qb1{'A}&\ql{'e}\sk\ds\en%
\Notes\tbl1\qb1{'C}&\ccl{'e}\ccl c\en%
\NOtes\ibl1{'F}0\qb1D\qb1{'A}\qb1B\tbl1\qb1{`D}&\beginmel\isluru8{'f}%
\hl f\en%
\setlyrics{11}{to free the Dead, from}%
% bar 18
\xbar
\NOtes\ibl1{'D}{-2}\qb1E&\endmel\ibl2{'f}{-2}\tslur8f\qb2f\en%
\Notes\qb1{'G}\sk\qb1F\sk\tbl1\qb1{`F}&\beginmel\isluru8{'e}\nbbl2\qb2e%
\endmel\tslur8d\tbl2\qb2d\beginmel\ibbl2d{-2}\isluru8e\qb2e\endmel%
\tslur8d\qb2d\beginmel\isluru8c\qb2c\endmel\tslur8b\tbl2\qb2b\en%
\NOtes\ibl1{'D}0\qb1B\qb1F\qb1G\tbl1\qb1B&\ql{'b}\sk\ds\cl b\en%
\setlyrics{11}{their E-ter- ~ ~ ~}%
% bar 19
\stoppiece%
\vskip1.1\Interligne\eject%
\interstaff{12.3}\contpiece
\znotes&\zcharnote{16}{\titles{2.6}{}{0}{}{0}{}{0}}\en%
\NOtes\ibl1{'E}0\qb1C\qb1G&\cl{'b}\cl b\en%
\Notes\bigfl{''A}\qb1A\sk\tbl1\qb1{`C}&\beginmel\ibbl2{'c}0\qb2b\qb2c%
\qb2b\endmel\tbl2\qb2c\en%
\NOtes\ibl1{'E}0\qb1D&\beginmel\ibl2{'b}1\qbp2b\en%
\Notes\qb1{''A}\sk\qb1B\sk\tbl1\qb1{`C}&\sk\endmel\tbbl2\tbl2\qb2{'c}%
\beginmel\ibbl2b2\qb2b\endmel\tbl2\qb2c\beginmel\ibbu2b{-2}\qb2b%
\ast{.10}\endmel\fl a\tbu2\qb2a\en%
\setlyrics{11}{~ nal, E-ter- ~}%
% bar 20
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E&\cu g\cu g%
\ds\cl{'g}\en%
\Notes\ibl1{''A}0\qb1{`F}\sk\ast{.10}\qb1{'C}&\beginmel\ibbl2{'g}0\qb2g%
\ast{.10}\fl{'a}\qb2a\qb2{`g}\en%
\notes&\ast{.10}\fl{''a}\nbbbl2\qb2a\endmel\tbl2\qb2{`g}\en%
\NOtes\qb1{''D}\tbl1\qb1{`F}&\beginmel\isluru8{'f}\ql f\en%
\setlyrics{11}{~ ~ nal}%
% bar 21
\xbar
\Notes\ibl1{''B}0\qb1{`G}\sk\qb1{'D}&\beginmel\ibbl2{'f}0\tslur8f\qb2f%
\qb2g\qb2f\en%
\notes&\nbbbl2\qb2{'g}\endmel\tbl2\qb2f\en%
\NOtes\qb1{''E}\tbl1\qb1{`G}&\beginmel\isluru8{'e}\ql e\en%
\Notes\ibl1{'F}{-2}\bigfl{'A}\qb1A\sk\qb1C&\beginmel\ibbl2{'f}0\tslur8e%
\qb2e\qb2f\qb2e\endmel\tbl2\qb2f\en%
\NOtes\qb1{''B}&\cl{'g}\en%
\Notes\tbl1\qb1{'B}&\beginmel\ibbl2{'f}{-2}\isluru8f\qb2f\endmel\tslur8e%
\tbl2\qb2e\en%
\setlyrics{11}{Band;}%
% bar 22
\alaligne
\NOtes\ibl1{'G}1\qb1E\qb1{'B}\qb1E\tbl1\qb1{`G}\ibl1G{-3}\bigfl{'A}\qb1A%
\qb1C\qb1B\tbl1\qb1{`B}&\hl{'e}\sk\sk\sk\qp\sk\qp\en%
\setlyrics{11}{till the Snakes drop,}%
% bar 23
\xbar
\NOtes\ibl1{'D}{-2}\qb1E\qb1F\qb1G&\qp\sk\ds\en%
\Notes\tbl1\qb1G&\ccl{'g}\ccl f\en%
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}&\bigsh{'e}\ql e%
\sk\ds\bigfl{'a}\cl a\en%
\setlyrics{11}{drop, drop, drop, drop,}%
% bar 24
\xbar
\NOtes\ibl1{'F}0\qb1D\qb1{'A}\qb1B\tbl1\qb1{`D}\ibl1G0\qb1E\bigsh{'B}%
\qb1B\qb1C\bigsh{`E}\tbl1\qb1E&\ds\cl{'f}\ds\cl d\ds\cl g\ds\cl c\en%
\setlyrics{11}{drop, drop, drop, drop}%
% bar 25
\alaligne
\NOtes\ibl1{''A}0\qb1{`F}\qb1{'C}\qb1D\tbl1\qb1{`F}\ibl1{'A}{-1}\qb1{`G}%
\bigsh{'B}\qb1B\qb1C\tbl1\qb1{`E}&\ds\cu{'a}\ds\cl f\ds\cl d\ds\cl g\en%
\setlyrics{11}{from her Head; and the}%
% bar 26
\xbar
\NOtes\ibl1{'E}{-3}\qb1F\bigfl{'A}\qb1A\qb1{`G}&\beginmel\isluru8{'f}%
\ql f\sk\endmel\ibl2e{-2}\tslur8e\qb2e\en%
\Notes\tbl1\qb1G&\beginmel\isluru8{'d}\nbbl2\qb2d\endmel\tslur8c%
\tbl2\qb2c\en%
\NOtes\ibl1{'E}0\qb1C\qb1G\qb1{'C}&\ql{'c}\sk\ds\en%
\Notes\tbl1\qb1{'C}&\ccl{'c}\ccl b\en%
\setlyrics{11}{Whip, and the Whip from out her}%
% bar 27
\xbar
\NOtes\ibl1{'E}{-1}\qb1D\bigsh F\qb1F\qb1G&\qu{'a}\sk\ds\en%
\Notes\tbl1\qb1{'B}\sk\ibu1C{-1}\qb1C\sk\qb1E&\ccl{'d}\ccl c\beginmel%
\ibbl2d0\isluru8d\qb2d\endmel\tslur8e\qb2e\beginmel\isluru8d\qb2d\endmel%
\tslur8c\tbl2\qb2c\en%
\NOtes\qb1{'D}&\cl{'b}\en%
\Notes\tbu1\qb1D&\beginmel\ibbu2{'a}{-2}\islurd8a\qb2a\endmel\tslur8{`g}%
\tbu2\qb2g\en%
\setlyrics{11}{Hand;}%
% bar 28
\alaligne
\NOtes\ibu1{'E}1\qb1{`G}\qb1{'G}\qb1E\tbu1\qb1C\ibl1E{-3}\qb1F\qb1D\qb1G%
\tbl1\qb1{`G}&\hu g\sk\sk\sk\hpause\en%
\setlyrics{11}{Mu-sick,}%
% bar 29
\xbar
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D%
\qb1{'A}\qb1B\tbl1\qb1{`D}&\qlp{'c}\sk\sk\cl c\hpause\en%
\setlyrics{11}{Mu-sick for a}%
% bar 30
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}&\beginmel\isluru8{'g}\hl g\sk\sk\sk\endmel\tslur8g\cl g%
\cl g\en%
\Notes\qb1{''D}\sk\tbl1\qb1{`F}&\beginmel\ibbl2{'g}{-2}\isluru8{'a}%
\bigfl a\qb2a\endmel\tslur8{`g}\qb2g\beginmel\isluru8f\qb2f\endmel%
\tslur8e\tbl2\qb2e\en%
\setlyrics{11}{while shall all your cares be-}%
% bar 31
\def\notes{\vnotes1.17\elemskip}%
\def\notesp{\vnotes1.37\elemskip}%
\def\Notes{\vnotes1.53\elemskip}%
\def\Notesp{\vnotes1.79\elemskip}%
\def\NOtes{\vnotes2.00\elemskip}%
\alaligne
\NOtes\ibl1{''A}{-1}\qb1{`G}\sh{'B}\qb1B\qb1C\tbl1\qb1{`E}\ibl1E{-3}%
\qb1F&\ql{'d}\sk\ds\cl g\cl c\en%
\notes\fl{''A}\qb1A&\beginmel\ibbbl2{'d}4\isluru8d\qb2d\tbbbl2\qb2e\en%
\Notes&\endmel\tslur8{'f}\tbl2\qb2f\en%
\NOtes\qb1{'G}&\clp{'e}\en%
\Notes\tbl1\qb1G&\sk\ccl{'d}\en%
\setlyrics{11}{guile; shall all, all,}%
% bar 32
\xbar
\Notes\ibl1{'E}0\qb1C&\beginmel\ibbl2{'e}{-3}\isluru8e\qb2e\tbbl2\qb2d%
\en%
\NOtes\qb1{'G}\fl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D\qb1{'A}\qb1B%
\tbl1\qb1{`D}&\endmel\tslur8{'c}\tbl2\qb2c\ds\cl c\ql f\sk\ds\cl d\en%
\setlyrics{11}{all, all, all, all,}%
% bar 33
\xbar
\NOtes\ibl1{'G}0\qb1E\sh{'B}\qb1B\qb1C\sh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}\qb1D\tbl1\qb1{`F}&\ql{'g}\sk\ds\cl c\qu a\sk\ds\cl d\en%
\setlyrics{11}{all, shall all your cares be-}%
% bar 34
\xbar
\Notes\ibl1{''A}{-1}\qb1{`G}&\beginmel\ibbu2{'b}{-3}\islurd8b\sh b\qb2b%
\tbbu2\qb2a\en%
\NOtes\bigsh{''B}\qb1B\qb1C\tbl1\qb1{`E}&\endmel\tslur8g\tbu2\qb2g\ds%
\cl{'g}\en%
\Notes\ibl1{'E}{-3}\qb1F\sk\bigfl{'A}\qb1A&\beginmel\ibbl2{'g}{-3}%
\isluru8{'a}\fl a\qb2a\endmel\tslur8{`g}\qb2g\beginmel\isluru8f\qb2f%
\endmel\tslur8e\tbl2\qb2e\en%
\NOtes\qb1{'G}&\cl{'e}\en%
\Notes\tbl1\qb1G&\beginmel\ibbl2{'d}{-3}\isluru8d\qb2d\endmel\tslur8c%
\tbl2\qb2c\en%
\setlyrics{11}{guile; all, all, all,}%
% bar 35
\def\notes{\vnotes1.00\elemskip}%
\def\notesp{\vnotes1.22\elemskip}%
\def\Notes{\vnotes1.41\elemskip}%
\def\Notesp{\vnotes1.73\elemskip}%
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOtesp{\vnotes2.45\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\def\NOTesp{\vnotes3.46\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\def\NOTEsp{\vnotes4.90\elemskip}%
\def\NOTES{\vnotes5.66\elemskip}%
\alaligne
\NOtes\ibl1{'E}0\qb1C\qb1G\bigfl{'A}\qb1A\tbl1\qb1{`C}\ibl1F0\qb1D%
\qb1{'A}\qb1B\tbl1\qb1{`D}&\ql{'c}\sk\ds\cl e\ql f\sk\ds\cl b\en%
\setlyrics{11}{all, all, all, all,}%
% bar 36
\xbar
\NOtes\ibl1{'G}0\qb1E\bigsh{'B}\qb1B\qb1C\bigsh{`E}\tbl1\qb1E\ibl1{'A}0%
\qb1{`F}\qb1{'C}\qb1D\tbl1\qb1{`F}&\qu g\sk\ds\cl{'g}\bigfl{'a}\ql a\sk%
\ds\cl{`d}\en%
\setlyrics{11}{all, shall all, your  cares  be-}%
% bar 37
\xbar
\NOtes\ibl1{''A}{-1}\qb1{`G}\bigsh{'B}\qb1B\qb1C\tbl1\qb1{`E}\ibl1E{-3}%
\qb1F&\bigsh{'b}\ql b\sk\ds\cl g\bigfl{'a}\cl a\en%
\Notes\bigfl{''A}\qb1A&\beginmel\ibbl2{'g}{-2}\isluru8g\qb2g\endmel%
\tslur8f\tbl2\qb2f\en%
\NOtes\qb1{'G}&\cl{'e}\en%
\Notes\tbl1\qb1G&\beginmel\ibbl2{'d}{-2}\isluru8d\qb2d\endmel\tslur8c%
\tbl2\qb2c\en%
\setlyrics{11}{guile.}%
% bar 38
\xbar
\NOTES\wh{'C}&\wh{'c}\en%
\Endpiece
\vskip1.3\Interligne\eject\endmuflex
\bye

From mutex-owner@mail2.gmd.de Tue Feb 17 21:23:10 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: several questions
To: mutex@gmd.de
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begemann@math.uni-hamburg.de (Eckart Begemann)  wrote
>
>1)  Could these two programs introduce an
    >Environment Variable containing the number 
    >of the line in which the last error 
    >occored?
    >This would help me working with my batch file ...

I think that is possible, but the FORTRAN syntax would probably be 
system-dependent, so I would not want to do it (for the same reason 
the jobname is not a command-line input).  I might be willing to set 
the exit code equal to the line number, if that would help.  That 
would represent a change from how I did it now, always setting exit 
code to 1 if the program terminates abnormally.  Comments about this 
backward incompatibility?

>2)  Could they introduce a way of coding the duration
    >of a Brevis (= musixTeX's \zbreve), and even 
    >\zlonga and \zmaxima?
>...
    >And the same concerning the corresponding rests.

Oh, I suppose I can put it on the list, but the list is so long 
already I may not get to it until my retirement (in about 2010).  
Meanwhile, you could use the in-line TeX capability and the 
redefinition trick to generate these symbols.  For example:

1 1 4 2 4 2 0 0
1 1 20 0
Bass Kazoo
b
c:\pctex\texinput\
\def\wh#1{\zbreve{#1}}\ c03 rb0 /

Although not an issue in this example, with type-1 in-line it is 
usually unnecessary to set the definition back to the original, 
because definitions made within a notes group have no further effect 
once that group ends.

BTW I assign the highest priority of items to fix/revise/update in PMX 
to those which affect my own typesetting.  Over the last few years, 
most of my programming time has been spent on items for which I found 
myself repeatedly using in-line TeX; e.g., beams across staves, and 
adjusting \interstaff.  And currently I'm reworking slurs so we can 
have them between chordal notes.

>4) Concerning the case of two voices (lines of music) in one staff: 
>Could PMX be taught to do vertically shifting of the dots of dotted 
>notes automatically in the following manner?
>If the *lower* voice has a dotted note *on* a line (not between two 
>lines)
>then lower its dot by 2\internote s.
>(As you will know this can be done by  \lower2\internote\hbox{\pt 
>*}).

Interesting you should mention this.  I just had a very nice, 
face-to-face visit with Werner Icking on his West Coast travels, and 
he mentioned exactly the same issue.  It's on the list.

>5) Can PMX (or I :-) be taught how to shift accidentals the the left 
>in order to avoid any collision?
>(I had to fix that within MusiXTeX after PMX had done its job.)

Again, why not use in-line TeX?  The whole objective of that 
capability is to avoid having to directly edit the TeX file.  One of 
the four different kinds of in-line should be able to handle 
practically all situations.  E.g., for this case, 

1 1 4 4 4 4 0 0
1 1 20 0

b
c:\pctex\texinput\
Ab
c03 | c | c | c | X.7 \loffset{.9}{\bigsh3}\ c zes | c | c | c /

>6) Is there any difference between slurs (PMX: 's', MTx: '()') 
>and ties (PMX: 't', MTx: '{}'). I thought there is a difference in 
>Musixtex, concerning the exact starting and ending position of the 
>slur resp. tie.

PMX's "t"-type objects are coded as slurs, not ties.  There are no PMX 
ties.  If you want a curvy line that starts and/or ends somewhere 
besides the default positions, you can use the height and 
horizontal-position adjustment options of the "s" command.  I 
introduced "t"-slurs to permit two simultaneous slurs.  Some options 
may not work with "t"-slurs.  In my current reworking of slurs, I will 
attempt to maintain backward compatibility, but also permit any number 
of simultaneous slurs (up to the MusiXTeX limit...9 I think), each with 
its own optional height, direction, and horizontal position 
adjustments.  I may also introduce the "(",")" syntax, but that's 
really a separate issue.

>7)  PMX tries to spread a (short) piece of music over the whole page
>in order not leave a certain 'fraction' of the page free.

That's not entirely correct.  If the piece is "short enough" (which 
depends both on number of staves and systems) it will NOT be spread 
out.  But I agree, there are many cases which do get spread out and 
look a little funny.  There is a way to fix this, relying both on 
in-line TeX and on a new option in ver 1.32 (but not 1.3) to multiply 
the PMX-computed \interstaff by a specified factor.  Here's an 
example:

2 2 4 4 4 4 0 0
1 4 20 0


bb
c:\pctex\texinput\
\\def\eject{\empty}\staffbotmarg5\Interligne\
AbI.5
c03 | c | c | c | X.7 \loffset{.9}{\bigsh3}\ c zes | c | c | c /
c03 | c | c | c | X.7 \loffset{.9}{\bigsh3}\ c zes | c | c | c /

(In case you missed it, the sources and DOS executables for Version 
1.32 are available in ftp.logicon.com/ongoing/dswacwe/pmx/pmx132.zip

--Don Simons


From mutex-owner@mail2.gmd.de Wed Feb 18 10:53:32 1998
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Message-Id: <199802181053.LAA24488@AMSUN13.math.uni-hamburg.de>
Subject: Re: several questions
To: dsimons@logicon.com (Don Simons)
Date: Wed, 18 Feb 1998 11:53:32 +0100 (MET)
Cc: mutex@gmd.de, wskdpl@pukrs12.puk.ac.za
In-Reply-To: <0008F34E.1941@logicon.com> from "Don Simons" at Feb 17, 98 04:15:09 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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> I'm forwarding you a separate copy of this, since it 
> hasn't shown up on the list yet.

I send this mail to the list and to you two, Don Simons and Dirk L.,
because both of you answered to the first question.

> --Don
> 
> ================================
> 
> begemann@math.uni-hamburg.de (Eckart Begemann)  wrote 
> >
> >1)  Could these two programs introduce an
>     >Environment Variable containing the number 
>     >of the line in which the last error 
>     >occored?

Sorry about this embarrassing spelling mistake.
Of course it has to be 'occured', I mistyped it.
(Or is it double-'rr'?)


>     >This would help me working with my batch file ...
> 
> I think that is possible, but the FORTRAN syntax would probably be 
> system-dependent, so I would not want to do it (for the same reason 
> the jobname is not a command-line input). 

By the way: I could solve that problem by piping:
"echo myfile.pmx | pmxa"
does what I wanted.

> I might be willing to set 
> the exit code equal to the line number, if that would help.  That 
> would represent a change from how I did it now, always setting exit 
> code to 1 if the program terminates abnormally.  Comments about this 
> backward incompatibility?

The reason for my question is the batch-file I am using under DOS.
(Do you think it is of any interest for the mailing list?)
If you put the line number as exit code (to be enquired by
"if errorlevel ....") then I do not have any idea how to
code the batch!  If my source file has 700 lines, I would have
to code 700 lines as follows:
 if errorlevel 700 q -n700
 if errorlevel 699 q -n699
 if errorlevel 698 q -n698
 etc...... :-)

(I use the q-Editor.)
So I think your offer would not really be help in my case,
unless you have another idea how to manage the batch file ... :-)

So maybe you should better not change the present behaviour.
unless it cannot be put as an environment variable (Can MT-x to that?)


Thanks a lot for you help.

Best regards
### Eckart

From mutex-owner@mail2.gmd.de Wed Feb 18 16:04:43 1998
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Message-Id: <199802181604.RAA25665@AMSUN13.math.uni-hamburg.de>
Subject: Re: several questions
To: dsimons@logicon.com (Don Simons)
Date: Wed, 18 Feb 1998 17:04:43 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <0008F34E.1941@logicon.com> from "Don Simons" at Feb 17, 98 04:15:09 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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> Eckart--
> 
> I'm forwarding you a separate copy of this, since it 
> hasn't shown up on the list yet.
> 
> --Don
> 
> ================================
> 

> >1) 
I replied already to that question.

> >2)  Could they introduce a way of coding the duration
>     >of a Brevis (= musixTeX's \zbreve), and even 
>     >\zlonga and \zmaxima?
> >...
>     >And the same concerning the corresponding rests.
> 
> Oh, I suppose I can put it on the list, but the list is so long 
> already I may not get to it until my retirement (in about 2010).  

ok, but I might still be using PMX then ... :-)
(Seriously: Would it be a lot of work? Just introcing a new symbol
to be translated?  I would have thought it is done by some 'simple'
copy and replace commands in the source code. But I maybe completely
mistaken ...)


> Meanwhile, you could use the in-line TeX capability and the 
> redefinition trick to generate these symbols.  For example:
> 
> 1 1 4 2 4 2 0 0
> 1 1 20 0
> Bass Kazoo
> b
> c:\pctex\texinput\
> \def\wh#1{\zbreve{#1}}\ c03 rb0 /
> 
> Although not an issue in this example, with type-1 in-line it is 
> usually unnecessary to set the definition back to the original, 
> because definitions made within a notes group have no further effect 
> once that group ends.

I admit I have not yet made use of the inline-capability of PMX yet.
(I would never tell PMX a lie like you are suggesting ... ;-)


> BTW I assign the highest priority of items to fix/revise/update in PMX 
> to those which affect my own typesetting.  Over the last few years, 
> most of my programming time has been spent on items for which I found 
> myself repeatedly using in-line TeX; e.g., beams across staves, and 
> adjusting \interstaff.  And currently I'm reworking slurs so we can 
> have them between chordal notes.

hm, sounds good ... :-)

> >4) Concerning the case of two voices (lines of music) in one staff: 
> >Could PMX be taught to do vertically shifting of the dots of dotted 
> >notes automatically in the following manner?
> >If the *lower* voice has a dotted note *on* a line (not between two 
> >lines)
> >then lower its dot by 2\internote s.
> >(As you will know this can be done by  \lower2\internote\hbox{\pt 
> >*}).
> 
> Interesting you should mention this.  I just had a very nice, 
> face-to-face visit with Werner Icking on his West Coast travels, and 
> he mentioned exactly the same issue.  It's on the list.

 will be done before 2010??? :-)


> >5) Can PMX (or I :-) be taught how to shift accidentals the the left 
> >in order to avoid any collision?
> >(I had to fix that within MusiXTeX after PMX had done its job.)
> 
> Again, why not use in-line TeX?  

shame on me ... ;-(

I will have to get familiar with this aspect of PMX-coding ...


> >6) Is there any difference between slurs (PMX: 's', MTx: '()') 
> >and ties (PMX: 't', MTx: '{}'). I thought there is a difference in 
> >Musixtex, concerning the exact starting and ending position of the 
> >slur resp. tie.
> 
> PMX's "t"-type objects are coded as slurs, not ties.  There are no PMX 
> ties.  If you want a curvy line that starts and/or ends somEwhere 
> besides the default positions, you can use the height and 
> horizontal-position adjustment options of the "s" command.  I 
> introduced "t"-slurs to permit two simultaneous slurs.  Some options 
> may not work with "t"-slurs.  In my current reworking of slurs, I will 
> attempt to maintain backward compatibility, but also permit any number 
> of simultaneous slurs (up to the MusiXTeX limit...9 I think), each with 
> its own optional height, direction, and horizontal position 
> adjustments.  I may also introduce the "(",")" syntax, but that's 
> really a separate issue.

So, 't' does exactly the same as 's' would do. But 's' can take
manipulations of positioning whereas 't' cannot?


> >7)  PMX tries to spread a (short) piece of music over the whole page 
> >in order not leave a certain 'fraction' of the page free.
> 
> That's not entirely correct.  If the piece is "short enough" (which 
> depends both on number of staves and systems) it will NOT be spread 
> out.  

yes, I am aware of that. That's what I wanted to say by "a certain fraction":
If more than this fraction would be left free PMX does (luckily) not try
to spread the piece over the page.

> But I agree, there are many cases which do get spread out and 
> look a little funny.  There is a way to fix this, relying both on 
> in-line TeX 

... again ... ;-)

> and on a new option in ver 1.32 (but not 1.3) to multiply 
> the PMX-computed \interstaff by a specified factor.  Here's an 
> example:
> 
> 2 2 4 4 4 4 0 0
> 1 4 20 0
> 
> 
> bb
> c:\pctex\texinput\
> \\def\eject{\empty}\staffbotmarg5\Interligne\ 
> AbI.5
> c03 | c | c | c | X.7 \loffset{.9}{\bigsh3}\ c zes | c | c | c / 
> c03 | c | c | c | X.7 \loffset{.9}{\bigsh3}\ c zes | c | c | c /
> 
> (In case you missed it, the sources and DOS executables for Version 
> 1.32 are available in ftp.logicon.com/ongoing/dswacwe/pmx/pmx132.zip

Thank you: It is just being transferred in this very moment ... :-)


I forgot to put two further questions:

8)  Somewhere I found your (?) file pmx-l2e.ps showing how to include
    PMX's output into a LaTeX file. I did not quite get the clue of this
    issue: It is obvious that you can include it by putting it
    inside the music-environment and cancelling some of the TeX-lines.
      Have I missed the point? 

    My question would be: Can PMX be taught to do that automatically?
    Can PMX be taught to output a small LaTeX(2e) file?

    (But do not give it a very high priority ...)

  
9)  More important: How can the PMX-user address the other arguments of the
    command \titles{1}{2}{3}{4}{5}{6}{7} in you PMX.tex? 
    Number 4 is availabel by the Tt command (Title in MTx)
    Number 6 is available by the Tc command (Composer in MTx)
    I am particularly interested in Number 2
    (as you might have noticed in Purcell's TeX source).
    It would be great if this could be done.


Thank you so much for all your work to faciliate the coding of music!

Best regards
### Eckart


From mutex-owner@mail2.gmd.de Wed Feb 18 18:12:43 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: several questions
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begemann@math.uni-hamburg.de (Eckart Begemann) wrote

>> >2)  Could they introduce a way of coding the 
>>>duration >     >of a Brevis (= musixTeX's \zbreve), 
>>>and even 
>>     >\zlonga and \zmaxima?
>> >...
>>     >And the same concerning the corresponding 
>>>rests. > 
>> Oh, I suppose I can put it on the list, but the list is so long 
>> already I may not get to it until my retirement (in about 2010).  

>ok, but I might still be using PMX then ... :-)
>(Seriously: Would it be a lot of work? Just introcing a new symbol 
>to be translated?  I would have thought it is done by some 'simple' 
>copy and replace commands in the source code. But I maybe 
>completely mistaken ...)

Things are not as simple as they seem.  If I were to introduce these, 
here are the items I can think of at the moment that I would need to 
address:

1. Invent appropriate PMX syntax.
2. Define more input duration codes
3. Modify subroutine that translates duration codes into durations. 
4. Modify subroutine that translates durations into printed output. 
5. Add more notes grouping categories.
6. Modify subroutine that assigns notes grouping categories.

All of the above are extensions of exisiting aglorithms.  In addition, 
and in contrast with all the other note-placement commands, these new 
TeX commands are *non-spacing*, so PMX would need to make special 
provisions for that when creating the TeX output.

Then there's the debugging process, which would surely identify other 
glitches that I haven't foreseen.

>> >Could PMX be taught to do vertically shifting of the dots of 
>>>dotted > >notes automatically in the following manner?
>>>...

> will be done before 2010??? :-)

Well, probably, since it meets the criterion for high priority...that 
it occurs in scores *I* typeset.

>So, 't' does exactly the same as 's' would do. But 's' can take 
>manipulations of positioning whereas 't' cannot?

Basically true.  But 't' also will (should) be automagically shifted 
vertically if it starts or ends on the same note as an 's'.

>8)  Somewhere I found your (?) file pmx-l2e.ps showing how to include 
>PMX's output into a LaTeX file. 

Not mine.  I don't know much at all about LaTeX.  When I had to use it 
to make up the reference card and the manual, I got a whole lot of 
help from Werner Icking.  And I've never tried to print any music in a 
LaTeX file.  Maybe whoever did that work will see your message or my 
reply and will respond.

>9)  More important: How can the PMX-user address the other arguments 
>of the
>command \titles{1}{2}{3}{4}{5}{6}{7} in you PMX.tex? Number 4 is 
>availabel by the Tt command (Title in MTx) Number 6 is available by 
>the Tc command (Composer in MTx) I am particularly interested in 
>Number 2
>(as you might have noticed in Purcell's TeX source). It would be 
>great if this could be done.

Argument #2 is the instrument name, and can be set with

Ti
Bass Kazoo

If you were asking about changing agruments #1,#3,#5,and #7, that's 
trickier.  They all affect vertical spacing.  By now you might be 
able to guess the response to this: "I'll put it on the low-priority 
list, but in the meantime ..."  Example:

1 1 4 4 4 4 0 0
1 8 20 0

b
c:\pctex\texinput\
\\let\ttmp\titles\
\\def\titles#1#2#3#4#5#6#7{\ttmp{#1}{#2}{10.4}{#4}{#5}{#6}{#7}\
\\let\titles\ttmp}\ 
% The previous line sets \titles back to its original def'n after 
% first use.  Not needed in the example, but would be in general.
Tt 
Title
Tc
Composer
Ti
Bass Kazoo
c03 /
c0 c c c c c c c c c c c /

--Don Simons











From mutex-owner@mail2.gmd.de Thu Feb 19 09:50:49 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199802190950.LAA01464@calvyn.puk.ac.za>
Subject: Re: several questions
To: begemann@math.uni-hamburg.de
Date: Thu, 19 Feb 1998 11:50:49 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199802181604.RAA25665@AMSUN13.math.uni-hamburg.de> from "Eckart Begemann" at Feb 18, 98 05:04:43 pm
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Eckart Begemann wrote:
> 
> 8)  Somewhere I found your (?) file pmx-l2e.ps showing how to include
>     PMX's output into a LaTeX file. I did not quite get the clue of this
>     issue: It is obvious that you can include it by putting it
>     inside the music-environment and cancelling some of the TeX-lines.
>       Have I missed the point? 
> 
>     My question would be: Can PMX be taught to do that automatically?
>     Can PMX be taught to output a small LaTeX(2e) file?
> 
It is ridiculously easy to do this by hand, and the process can
surely be automated if you have a decent command-driven text editor.

I've just spent exactly five minutes with the output from your Purcell
file.  Here is all I did:

At the top, put in:

\documentclass{article}
\usepackage{musixtex,pandora}

   (the 'pandora' is not required, but why not take advantage
    of LaTeX2e's nice font-changing features?)

Replace the following lines by LaTeX counterparts:

 \nopagenumbers        becomes        \pagestyle{empty}
 \hsize=524pt          becomes        \textwidth=524pt
 \vsize=740pt          becomes        \textheight=740pt

Override LaTeX's margin settings (music needs the whole page!)

\oddsidemargin=-15mm
\topmargin=-25mm

Just before \startmuflex, put in:

\begin{document}

Replace the last line by its LaTaX counterpart:

  \bye                 becomes        \end{document}

If you wish to include PMX output into a LaTeX text, it is more
tricky.  In the M-Tx documentation I say what I did.

Dirk

From mutex-owner@mail2.gmd.de Mon Feb 23 12:13:56 1998
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To: mutex@gmd.de
Subject: www score catalogue available?
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Date: Mon, 23 Feb 1998 13:13:56 +0100
From: Bernt Christandl <beb@mpe.mpg.de>
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Hello,

i apologize if this is off-topic, nevertheless i don't know
a better place to ask...

I have difficulties to find somewhere in the web a catalogue
of available (orderable) scores of music. While this is no problem with
books, until now, i could only find URLs for specific music-publishers,
but no searchable catalogue over several/most publishers.

Can someone please help me with an appropriate URL?

Tia!

Bernt Christandl
                                                                       
----------------------------------------------------------------------
- Bernt Christandl / Max Planck Institut - Extraterrestrische Physik -
- D-85740 Garching / Phone: +49/89/3299-3342 / Fax: +49/89/3299-3569 - 
-                    email: beb@mpe.mpg.de                           - 
----------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Feb 24 06:07:04 1998
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To: MUTEX@gmd.de, BEP@mpe.mpg.de
Subject: www score catalogue
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Try http://www.jwpepper.com     www.amazon.com has some scores too.

               Jean-Pierre Coulon

From mutex-owner@mail2.gmd.de Tue Feb 24 10:43:57 1998
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Hello,

it seems that there is no such thing. I did receive only one answer
which 2 URLs from a single publisher each.

In the meantime, i've found 2 other URLs (mainly from a german point of view)

   http://klassik.com/links/dindex.htm
        which has an incomplete and partly outdated list of URLs
        of single publishers and

   http://www.buchhandel.de/
        which has an entry to a list of available "Musikalien"
        (a searchable database interface), but it's still incomplete too
        and under construction...

Thank you all for the bandwidth!

Bernt Christandl      (beb@mpe.mpg.de)


From mutex-owner@mail2.gmd.de Tue Feb 24 16:36:27 1998
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Date: Tue, 24 Feb 1998 10:36:27 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: New Mac PrePMX (Was: Bug in M-Tx C code)
In-Reply-To: <199801151525.RAA03926@calvyn.puk.ac.za>
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I've posted an updated version of the PrePMX MPW Tool incorporating Dirk
Laurie's bug fix.  (Sorry this has taken so long to post; I've been
meaning to update the documentation to go along with it, but ...) 

<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/PrePMX.sit.hqx>

More details are posted in the M-Tx section of

<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Feb 25 10:49:50 1998
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beb@mpe.mpg.de said:
> I have difficulties to find somewhere in the web a catalogue of
> available (orderable) scores of music. While this is no problem with
> books, until now, i could only find URLs for specific
> music-publishers, but no searchable catalogue over several/most
> publishers. 


Check VLM following the Datenbanken link at  http://www.buchhandel.de/

Miguel Filgueiras

__________________________________________________________________________

Miguel Filgueiras / Dep. de Ciencia de Computadores & LIACC & CIUP
Universidade do Porto

mig@ncc.up.pt
http://www.ncc.up.pt/~mig

R. do Campo Alegre 823
4150 Porto / Portugal

Tel: 351-2-6078830 (changed July 97);  Fax: 351-2-6003654
__________________________________________________________________________



From mutex-owner@mail2.gmd.de Thu Feb 26 12:42:46 1998
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Date: Thu, 26 Feb 1998 14:42:46 +0200
From: Daniel Taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.86
New version T.87 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering

 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected

Daniel Taupin



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Mar  2 02:39:25 1998
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From: dsimons@emu.logicon.com (Don Simons)
Subject: PMX slurs: Request for feedback
To: mutex@gmd.de
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I'm making progress on upgrading slurs in PMX.  They will have the  
following properties:

1. Must start and end in the same "line of music".
2. May start and stop on chord notes as well as main notes of chords 
or single notes.
3. Horizontal and vertical positions of starts and stops will be amply 
"tweak"-able.
4. Up/down-ness cann always be overridden by user.
5. May start and stop in any sequence at all, provide no more than 9 
slurs are ever active at once.

Before distributing anything, I'd like to request feedback from users 
on the following additional proposed properties:

1. Default positioning of the ends of the slurs.
  (a) for single notes, up-slurs at top of chords, and down-slurs at 
bottoms of chords, about 2 \internote vertically offset, and 
horizontally aligned with center of notehead.  (for non-shifted 
noteheads, this is the MusiXTeX default). In addition, move 
horizontally (but not vertically) if necessary to avoid crossing a 
stem.  (For non-chord notes this is the same as before).
  (b) for middle notes in chords, vertical position shifted toward 
note level by one \internote, and horizontal position moved outside 
width of notehead.  (These will look like what some people call ties.)
  (c) All the above rules apply to left- or right-shifted noteheads as 
well.

2.  Default direction: Always based on first note of slur.
  (a) for single (non-chord) notes, as before: With one line of music, 
up if downstem and vice-versa.  With two lines of music, up in upper 
line and vice-versa.
  (b) In chords, up on top note, down on bottom note, and for middle 
notes set according to rule (a) based on stem direction.

3.  Relative or absolute tweaking.  I propose virtually all 
user-specified tweaks be interpreted *relative* to PMX's default 
position. 

4.  For backward compatibility "t"-slurs will still be permitted.  
They will be governed by all the above rules, and in addition, as 
before, will be moved vertically away from the notehead by one 
internote if they start/end on same note that another slur 
starts/ends.

I think that rule 3 will lead to some backward incompatibilities. But 
with the increased generality, I think there will probably be some 
incompatibilities no matter how we do it.  And with relative tweaking, 
you can look at the output and adjust from there.  If there is 
sufficient demand, I could introduce a subcommand that causes 
user-defined tweaks to be interpreted relative to the MusiXTeX default 
slur positions.

As before, I propose no distinction between ties and slurs.  You can 
always move the slur-ends to whatever position you want with the 
tweaking options.  But if there is sufficient demand, I could 
introduce a sub-command that automatically enforces tie-like 
positioning (as in 1(b) above, more in-line with notehead) as an 
alternative.  It can't be "t" since that means something else.  Maybe 
"st"?  Also, if there is sufficient demand, it would be possible to 
have PMX automatically assign tie-like positioning if a slur starts 
and ends at the same pitch.  (That would definitely cause backward 
incompatibility).

I append an example (you'll need pmx.tex to run it).

--Don Simons

========================================
%%%%%%%%%%%%%%%%%
%
% junk.tex
%
%%%%%%%%%%%%%%%%
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{~}
\generalsignature{-3}%
\generalmeter{\meterfrac{4}{4}}%
\parindent 21pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{junk}
\startmuflex\startpiece\addspace\afterruleskip%
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% bar  1
\def\NOTes{\vnotes2.83\elemskip}%
\NOTes\zcharnote{16}{\bigfont\kern-30pt %
\rm \#1 Proposed default positions}\islurd8f\isd7{'b}{.8}\isu6c{.8}\zq a%
\zq c\qu{`f}\tslur8f\islurd8f\ts7{'b}{-.8}\isd7b{.8}\tslur6c\isu6c{.8}%
\zq a\zq c\qu{`f}\ts8f{-.8}\islurd8f\ts7{'b}{-.8}\isd7b{.8}\tslur6c%
\isluru6c\zq a\zq c\ql{`f}\tslur8f\ts7{'b}{-.8}\tslur6c\zq a\zq c\qu{`f}%
\en%
% bar  2
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt \rm \#2 ``Tie" positions}%
\isd8g{.8}\isd7{'b}{.8}\isu6b{.8}\zq a\zq c\qu{`f}\ts8g{-.8}\isd8g{.8}%
\ts7{'b}{-.8}\isd7b{.8}\ts6b{-.8}\isu6b{.8}\zq a\zq c\qu{`f}\ts8g{-.8}%
\isd8g{.8}\ts7{'b}{-.8}\isd7b{.8}\ts6b{-.8}\isu6b{.8}\zq a\zq c\ql{`f}%
\ts8g{-.8}\ts7{'b}{-.8}\ts6b{-.8}\zq a\zq c\qu{`f}\en%
% bar  3
\setdoublebar
\alaligne
\NOTes\zcharnote{18}{\bigfont\kern-30pt \rm \#3 Default positions}%
\islurd8a\isd7f{1.8}\isd6g{.8}\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}%
\tslur8a\ts7f{.2}\ts6g{-.8}\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}%
\isluru8{'f}\isu7d{-.2}\isu6b{.8}\islurd5a\lq e\zq c\zq a\ql f\tslur8f%
\ts7d{-1.8}\ts6b{-.8}\ts5a{-.8}\lq e\zq c\zq a\ql f\en%
% bar  4
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt \rm \#4 Directions tweaked}%
\islurd8a\isd7f{1.8}\isu6e{.8}\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}%
\tslur8a\ts7f{.2}\ts6e{-.8}\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}%
\isluru8{'f}\isd7f{-.2}\isd6d{.8}\islurd5a\lq e\zq c\zq a\ql f\tslur8f%
\ts7f{-1.8}\ts6d{-.8}\ts5a{-.8}\lq e\zq c\zq a\ql f\en%
% bar  5
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt %
\rm \#5 Directions + h-pos'n tweaked}\islurd8a\isd7f{1.8}\isu6e{.8}%
\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}\tslur8a\ts7f{.2}\ts6e{-.8}%
\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}\isluru8{'f}\isd7f{.8}\isd6d{.8}%
\islurd5a\lq e\zq c\zq a\ql f\tslur8f\ts7f{-1.8}\ts6d{-.8}\ts5a{-.8}%
\lq e\zq c\zq a\ql f\en%
\Endpiece
\vfill\eject\endmuflex
\bye


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I'm making progress on upgrading slurs in PMX.  They will have the  
following properties:

1. Must start and end in the same "line of music".
2. May start and stop on chord notes as well as main notes of chords 
or single notes.
3. Horizontal and vertical positions of starts and stops will be amply 
"tweak"-able.
4. Up/down-ness cann always be overridden by user.
5. May start and stop in any sequence at all, provide no more than 9 
slurs are ever active at once.

Before distributing anything, I'd like to request feedback from users 
on the following additional proposed properties:

1. Default positioning of the ends of the slurs.
  (a) for single notes, up-slurs at top of chords, and down-slurs at 
bottoms of chords, about 2 \internote vertically offset, and 
horizontally aligned with center of notehead.  (for non-shifted 
noteheads, this is the MusiXTeX default). In addition, move 
horizontally (but not vertically) if necessary to avoid crossing a 
stem.  (For non-chord notes this is the same as before).
  (b) for middle notes in chords, vertical position shifted toward 
note level by one \internote, and horizontal position moved outside 
width of notehead.  (These will look like what some people call ties.)
  (c) All the above rules apply to left- or right-shifted noteheads as 
well.

2.  Default direction: Always based on first note of slur.
  (a) for single (non-chord) notes, as before: With one line of music, 
up if downstem and vice-versa.  With two lines of music, up in upper 
line and vice-versa.
  (b) In chords, up on top note, down on bottom note, and for middle 
notes set according to rule (a) based on stem direction.

3.  Relative or absolute tweaking.  I propose virtually all 
user-specified tweaks be interpreted *relative* to PMX's default 
position. 

4.  For backward compatibility "t"-slurs will still be permitted.  
They will be governed by all the above rules, and in addition, as 
before, will be moved vertically away from the notehead by one 
internote if they start/end on same note that another slur 
starts/ends.

I think that rule 3 will lead to some backward incompatibilities. But 
with the increased generality, I think there will probably be some 
incompatibilities no matter how we do it.  And with relative tweaking, 
you can look at the output and adjust from there.  If there is 
sufficient demand, I could introduce a subcommand that causes 
user-defined tweaks to be interpreted relative to the MusiXTeX default 
slur positions.

As before, I propose no distinction between ties and slurs.  You can 
always move the slur-ends to whatever position you want with the 
tweaking options.  But if there is sufficient demand, I could 
introduce a sub-command that automatically enforces tie-like 
positioning (as in 1(b) above, more in-line with notehead) as an 
alternative.  It can't be "t" since that means something else.  Maybe 
"st"?  Also, if there is sufficient demand, it would be possible to 
have PMX automatically assign tie-like positioning if a slur starts 
and ends at the same pitch.  (That would definitely cause backward 
incompatibility).

I append an example (you'll need pmx.tex to run it).

--Don Simons

========================================
%%%%%%%%%%%%%%%%%
%
% junk.tex
%
%%%%%%%%%%%%%%%%
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{~}
\generalsignature{-3}%
\generalmeter{\meterfrac{4}{4}}%
\parindent 21pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{junk}
\startmuflex\startpiece\addspace\afterruleskip%
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% bar  1
\def\NOTes{\vnotes2.83\elemskip}%
\NOTes\zcharnote{16}{\bigfont\kern-30pt %
\rm \#1 Proposed default positions}\islurd8f\isd7{'b}{.8}\isu6c{.8}\zq a%
\zq c\qu{`f}\tslur8f\islurd8f\ts7{'b}{-.8}\isd7b{.8}\tslur6c\isu6c{.8}%
\zq a\zq c\qu{`f}\ts8f{-.8}\islurd8f\ts7{'b}{-.8}\isd7b{.8}\tslur6c%
\isluru6c\zq a\zq c\ql{`f}\tslur8f\ts7{'b}{-.8}\tslur6c\zq a\zq c\qu{`f}%
\en%
% bar  2
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt \rm \#2 ``Tie" positions}%
\isd8g{.8}\isd7{'b}{.8}\isu6b{.8}\zq a\zq c\qu{`f}\ts8g{-.8}\isd8g{.8}%
\ts7{'b}{-.8}\isd7b{.8}\ts6b{-.8}\isu6b{.8}\zq a\zq c\qu{`f}\ts8g{-.8}%
\isd8g{.8}\ts7{'b}{-.8}\isd7b{.8}\ts6b{-.8}\isu6b{.8}\zq a\zq c\ql{`f}%
\ts8g{-.8}\ts7{'b}{-.8}\ts6b{-.8}\zq a\zq c\qu{`f}\en%
% bar  3
\setdoublebar
\alaligne
\NOTes\zcharnote{18}{\bigfont\kern-30pt \rm \#3 Default positions}%
\islurd8a\isd7f{1.8}\isd6g{.8}\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}%
\tslur8a\ts7f{.2}\ts6g{-.8}\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}%
\isluru8{'f}\isu7d{-.2}\isu6b{.8}\islurd5a\lq e\zq c\zq a\ql f\tslur8f%
\ts7d{-1.8}\ts6b{-.8}\ts5a{-.8}\lq e\zq c\zq a\ql f\en%
% bar  4
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt \rm \#4 Directions tweaked}%
\islurd8a\isd7f{1.8}\isu6e{.8}\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}%
\tslur8a\ts7f{.2}\ts6e{-.8}\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}%
\isluru8{'f}\isd7f{-.2}\isd6d{.8}\islurd5a\lq e\zq c\zq a\ql f\tslur8f%
\ts7f{-1.8}\ts6d{-.8}\ts5a{-.8}\lq e\zq c\zq a\ql f\en%
% bar  5
\xbar
\NOTes\zcharnote{16}{\bigfont\kern-30pt %
\rm \#5 Directions + h-pos'n tweaked}\islurd8a\isd7f{1.8}\isu6e{.8}%
\isu5{'c}{.8}\rq{`e}\zq f\zq{'c}\qu{`a}\tslur8a\ts7f{.2}\ts6e{-.8}%
\tslur5{'c}\rq{`e}\zq f\zq{'c}\qu{`a}\isluru8{'f}\isd7f{.8}\isd6d{.8}%
\islurd5a\lq e\zq c\zq a\ql f\tslur8f\ts7f{-1.8}\ts6d{-.8}\ts5a{-.8}%
\lq e\zq c\zq a\ql f\en%
\Endpiece
\vfill\eject\endmuflex
\bye


From mutex-owner@mail2.gmd.de Mon Mar  2 18:11:22 1998
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Subject: Meters and Division by zero ....
To: mutex@gmd.de
Date: Mon, 2 Mar 1998 19:11:22 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello again,
 I hope not to bother you too much ...

I append my last attempt to code a piece by
Claudio Monteverdi (though not sure). My questions are:

1) PMX and M-Tx: What's wrong with my code in bar 47?
   M-Tx has no complaints but pmxa tries a
   division by zero. I know this an undefined
   operation. But where did I tell PMX to do it?


2) M-Tx: Is my coding of the meter changes correct/good?

3) M-Tx: In bar 5 the question of beaming is again raised.

4) PMX: In bar 12 there are "x-tuplets". PMX obviously
   calculates the number of beams by itself.
   In this style of music (recitative, concertato, rappresentativo)
   this might often not coincide with the original way.
   Do you think it is worth to provide a possibility to
   influence the result directly?
   For example:
      "c8b2x10n " to tell PMX
      "c is the first note of a 10-tuplet occupying the value of
      an 8th note. print it using two beams (like 16th), do not print
      the number 10."

5) PMX (and MusixTeX): In that style of music (and earlier) you would often encounter
   "compound meters", such as consisting of \meterC  *and* a 3 put
   right after, or a circle with a stroke going through and
   a \meterfrac{3}{1} put immediately afterwards.
      Could MusiXTeX provide a possibility for all those
   combinations of
   "tempus (im)perfectus cum prolatione minore/majore"
   and all those "proportiones" (tripla, sesquialtera, just to name
   the most common) to put right after?

6) PMX (and M-Tx): Tt (resp Title), Tc (resp Composer) and
   Ti (M-Tx ??) address entries of PMX's macro
         \titles{}{instruments}{}{Title}{}{Composer}{},
   how can I address the other ones which influence the vertical spacing?


Here comes M-Tx's source code:

====================================================================
Title: O quam Pulchra
Options: n
Flats: 1
Meter: C
TENORE: Voices T; Vocal; Clefs n
BC: Voices BCont; Clefs F
Style: Tenore BC
Space: 9
Bars/Line: 6

%1
a0 |
L: O
d0 |

%2
d2d fs4- |
L: O quam
( g0- |

%3
g0 |
L: Pul-
g0 )

%4
a2.a |
L: chra quam
d2+.cs

%5
a4 [ a8d c3 b  b1 b b b  b8 a1 b ] |
L: Pul-chra
d2 g2-

%6
c4.c c ot b ot |
L: es a-mi-ca
f2 f4 g |

%7
a2 a |
L: me-a
a2 # a |

%8
r4 c c ot b ot |
L: co-lum-ba
r4 f f g |

%9
a2 a |
L: me-a
a2 a |

%10
r4 c c ot b ot |
L: For-mo-sa
r4 f f g |

%11
a8 a ( b8.c d4d  c1 b |
L: me-a o
a4 g ( fs2 |

%12
a4  b8 c8x10n b a g f e d e f e d2x12n e f g a g f g a b c a |
fs0 )

%13
a4 b c8 b c a |
fs0 |

%14
b8 a c b  a g a e ) |
g0 |

%15
( fs8 g b a  c b4d ) |
L: Pul-
( d0+

%16
a0 ot |
L: chra
d0 )

%17
g0 |
L: es
( g0-

%18
r4 ( d4+ { ef2 |
L: o
g0 ) |

%19
e4 } ) c c2 |
L: quam Pul-
f0 |

%20
b0
L: chra
b0 |

%21
d4.d d ( d |
L: o-cu-li o-
b0 |

%22
d8 ) c b4 a8.a a b |
L: cu-li tu-i co-lum-
b2 f4+.g |

%23
( g2d a8 b |
L: ba-
ef0 |

%24
c8 b c g  b a c d |
c0 |

%25
ef1 g- a b  a2   a8.g ) |
c0 |

%26
f2 r4 a |
L: rum ca-
d2 d |

%27
a2 ( b8 g a b ) |
L: pil-li
d2 g |

%28
c4.c c.d |
L: tu-i si-cut
f0 |

%29
b2 a4 fs |
L: gre-ges ca-
g2 d |

%30
g0 |
L: pro-
g0- |

%31
a0 of |
L: rum
d0+ ofd |

%32
a2 a4 ( a |
L: den-tes den-
d2 # d4 # ( d # |

%33
a4 ) b c2 |
L: tes tu-
d4 ) g f2 |

%34
c2 r4 ( a |
L: i si-
f0 |

%35
a4 ) g ( g2 |
L: cut gre-
g0-

%36
g2 ) f4.e |
L: ges ton-
( a0 |

%37
e0 |
L: sa-
a0 ) |

%38
e0 of |
L: rum
d0 of |

%39
( d8+.e d.e d.e d1.e d1.e |
L: quam
d4 c b a |

%40
d1 d d d  d d d d  d d d d  d e f g |
g0 |

%41
c4- b a4x6n a a a a a  a8.g ) |
g0

%42
( fs4 g2 ) f4 |
L: Pul-chra
d0+ |

%43
g0 ||
L: es
g0- ||

%44 -- 46
m3o3o g0 g fs | g0 d+ g- | a0d a2 a0 | 
L: quam Pul-chra es o Pul-cher-ri-ma 
m3o3o g0 g d+ | g g g | d0+d d2 d0 | 

%47
b b c |
L: quam Pul-chra
b b f+ |

%48  -- 52
m4406 d0 | g | a2 b | c2.c | b0 ||
L: es in-ter mu-li-e-res
m4406 b0- | ef | f2 g | f0 | b- ||
============================================================================

Of course the piece does not end at this point, 
but my work was ended here ....     

Thanks,
### Eckart
 

From mutex-owner@mail2.gmd.de Tue Mar  3 06:49:27 1998
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From: dsimons@emu.logicon.com (Don Simons)
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Eckart Begemann wrote

>1) PMX and M-Tx: What's wrong with my code in bar 47? 
>   M-Tx has no complaints but pmxa tries a
>   division by zero. I know this an undefined
>   operation. But where did I tell PMX to do it? 
>
>2) M-Tx: Is my coding of the meter changes correct/good?

I don't think there's anything wrong with it, except PMX is too dumb 
to understand it.
I had not carefully checked out what happens with the meter 3/1 .  In 
looking at the PMX code and experimenting a little, it seems that 
using m3030 (instead of 3o3o) makes things work (?!).  When I did 
this, and got rid of all the lyrics (see below), it worked fine.  
Please let me know if it works for you.

>4) PMX: In bar 12 there are "x-tuplets". PMX obviously 
>   calculates the number of beams by itself.
>   In this style of music (recitative, concertato, rappresentativo) 
>   this might often not coincide with the original way.
<   Do you think it is worth to provide a possibility to 
>   influence the result directly?
>   For example:
>      "c8b2x10n " to tell PMX
>      "c is the first note of a 10-tuplet occupying the value of
>      an 8th note. print it using two beams (like 16th), do not print 
>      the number 10."

I would use "c8x10m2n" .  "m" stands for "multiplicity", I have 
already used that in beamed grace notes.  I'll put it on the list (I 
may actually get to this before the milennium, since it's something 
that I could occasionally use myself).

>5) PMX (and MusixTeX): In that style of music (and earlier) you would 
>often
>encounter
>   "compound meters", such as consisting of \meterC  *and* a 3 put 
>   right after, or a circle with a stroke going through and
>   a \meterfrac{3}{1} put immediately afterwards.
>      Could MusiXTeX provide a possibility for all those 
>   combinations of
>   "tempus (im)perfectus cum prolatione minore/majore"
>   and all those "proportiones" (tripla, sesquialtera, just to name 
>   the most common) to put right after?

I don't fully understand the question.  Does this only refer to the 
_printed_ meters?  If so, couldn't this be accomplished by redefining 
\meterfrac using in-line TeX ?  Can you make up an example using raw 
TeX?

>(6) PMX (and M-Tx): Tt (resp Title), Tc (resp Composer) and 
>Ti (M-Tx ??) address entries of PMX's macro 
>\titles{}{instruments}{}{Title}{}{Composer}{},
>how can I address the other ones which influence the vertical 
>spacing?

Sometime before the command, use in-line TeX, for example

\\\let\ttitles\titles\def\titles#1#2#3#4#5#6{\
\\\ttitles7{#2}3{#4}6{#6}2\let\titles\ttitles}\

By changing the amount of vertical space inserted in the title, you 
might confuse PMX about the vertical spacing in the rest of the page.  
But PMX doesn't do that great a job with vertical spacing anyhow, and 
we do have the new commands Ai[x] and AI[x] which multiply PMX's 
\interstaff by x.

When working through this example, I had problems with the musixlyr 
commands, e.g.,

===================================
This is TeX, Version 3.14 (PCTeX)
  (BIG PCTeX386 3.14b, (c)Personal TeX, Inc 1985-1992.)
**beg4
(C:\PCTEX\TEXINPUT\BEG4.TEX (C:\PCTEX\TEXINPUT\MUSIXTEX.TEX
MusiXTeX(c) T.74 <17 July 1997>
) (C:\PCTEX\TEXINPUT\PMX.TEX
PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
) (C:\PCTEX\TEXINPUT\MUSIXMAD.TEX (C:\PCTEX\TEXINPUT\MUSIXADD.TEX
MusiXADDitional instruments T.40 <12 September 1995>
)
MusiXMore ADditional instruments T.40 <12 September 1995>
) (C:\PCTEX\TEXINPUT\MUSIXLYR.TEX
MusiXLYRics 1.02 <13 May 1997>
)
! You can't use `\relax' after \the.
<recently read> \azt2

...
l.42 \auxlyr{\assignlyrics2{}}
                              %
?
================================

Maybe I have outdated versions?.  I ended up commenting them all out 
rather than fighting. 

--Don Simons

From mutex-owner@mail2.gmd.de Tue Mar  3 10:52:20 1998
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Subject: MusiXTeX's  meters,  musixlyr, 
To: dsimons@emu.logicon.com (Don Simons)
Date: Tue, 3 Mar 1998 11:52:20 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <00013255.3305@logicon.com> from "Don Simons" at Mar 2, 98 10:49:27 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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> Eckart Begemann wrote
> 
> >1) PMX and M-Tx: What's wrong with my code in bar 47? 
> >   M-Tx has no complaints but pmxa tries a
> >   division by zero. I know this an undefined
> >   operation. But where did I tell PMX to do it? 
> >
> >2) M-Tx: Is my coding of the meter changes correct/good?
> 
> I don't think there's anything wrong with it, except PMX is too dumb 
> to understand it.

What a shame ... ;-) :-)
And I conceived it to be so intelligent ... ;-)


> I had not carefully checked out what happens with the meter 3/1 .  In 
> looking at the PMX code and experimenting a little, it seems that 
> using m3030 (instead of 3o3o) makes things work (?!).  When I did 
> this, and got rid of all the lyrics (see below), it worked fine.  
> Please let me know if it works for you.

I will check it out -- but of course I need the lyrics.
But I think the problem concerning the lyrics is a separate one.
As I understand you, you described the error message below.
I had this errormessage several times, too. 
As far as I remember (vaguely) I could solve it by assigning the
zero string to some voice, or by entering \resetlyrics.
The problem might be interesting for Rainer Dunker?



> 
> >4) PMX: In bar 12 there are "x-tuplets". PMX obviously 
> >   calculates the number of beams by itself.
> >   In this style of music (recitative, concertato, rappresentativo) 
> >   this might often not coincide with the original way.
> <   Do you think it is worth to provide a possibility to 
> >   influence the result directly?
> >   For example:
> >      "c8b2x10n " to tell PMX
> >      "c is the first note of a 10-tuplet occupying the value of
> >      an 8th note. print it using two beams (like 16th), do not print 
> >      the number 10."
> 
> I would use "c8x10m2n" .  "m" stands for "multiplicity", I have 
> already used that in beamed grace notes.  I'll put it on the list (I 
> may actually get to this before the milennium, since it's something 
> that I could occasionally use myself).

That's fine (I don't mind the 'm':-) Thanks a lot!
(but it does not work yet, does it?)


> >5) PMX (and MusixTeX): In that style of music (and earlier) you would 
> >often
> >encounter
> >   "compound meters", such as consisting of \meterC  *and* a 3 put 
> >   right after, or a circle with a stroke going through and
> >   a \meterfrac{3}{1} put immediately afterwards.
> >      Could MusiXTeX provide a possibility for all those 
> >   combinations of
> >   "tempus (im)perfectus cum prolatione minore/majore"
> >   and all those "proportiones" (tripla, sesquialtera, just to name 
> >   the most common) to put right after?
> 
> I don't fully understand the question.  Does this only refer to the 
> _printed_ meters?  If so, couldn't this be accomplished by redefining 
> \meterfrac using in-line TeX ?  Can you make up an example using raw 
> TeX?

I will try. The problem is that MusiXTeX does not provide this
possibility, either! So I would have to hack it somehow (if this is the
right expression.)  
  But in any case I am not able to hack the circle (the meaning of which is
"tempus perfectum") nor the vertical stroke as in \allabreve, not the dot.
If you want to see these have a look at Frescobaldi's Libre di Toccate,
Canzoni etc ....

So this is actually a request for an extension of MusiXTeX.
Could be an extra package because not everybody will use these 'meters'.


> >(6) PMX (and M-Tx): Tt (resp Title), Tc (resp Composer) and 
> >Ti (M-Tx ??) address entries of PMX's macro 
> >\titles{}{instruments}{}{Title}{}{Composer}{},
> >how can I address the other ones which influence the vertical 
> >spacing?
> 
> Sometime before the command, use in-line TeX, for example
> 
> \\\let\ttitles\titles\def\titles#1#2#3#4#5#6{\
> \\\ttitles7{#2}3{#4}6{#6}2\let\titles\ttitles}\
> 
> By changing the amount of vertical space inserted in the title, you 
> might confuse PMX about the vertical spacing in the rest of the page.  
> But PMX doesn't do that great a job with vertical spacing anyhow, and 
> we do have the new commands Ai[x] and AI[x] which multiply PMX's 
> \interstaff by x.

New commands since when?


> When working through this example, I had problems with the musixlyr 
> commands, e.g.,
> 
> ===================================
> This is TeX, Version 3.14 (PCTeX)
>   (BIG PCTeX386 3.14b, (c)Personal TeX, Inc 1985-1992.)
> **beg4
> (C:\PCTEX\TEXINPUT\BEG4.TEX (C:\PCTEX\TEXINPUT\MUSIXTEX.TEX
> MusiXTeX(c) T.74 <17 July 1997>
> ) (C:\PCTEX\TEXINPUT\PMX.TEX
> PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
> ) (C:\PCTEX\TEXINPUT\MUSIXMAD.TEX (C:\PCTEX\TEXINPUT\MUSIXADD.TEX
> MusiXADDitional instruments T.40 <12 September 1995>
> )
> MusiXMore ADditional instruments T.40 <12 September 1995>
> ) (C:\PCTEX\TEXINPUT\MUSIXLYR.TEX
> MusiXLYRics 1.02 <13 May 1997>
> )
> ! You can't use `\relax' after \the.
> <recently read> \azt2
> 
> ...
> l.42 \auxlyr{\assignlyrics2{}}
>                               %
> ?
> ================================
> 
> Maybe I have outdated versions?.  I ended up commenting them all out 
> rather than fighting. 

I remember I succeeded in the same way some time ago ... :-)


> --Don Simons



From mutex-owner@mail2.gmd.de Tue Mar  3 17:23:11 1998
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Subject: Meters, feedback, musixlyr, MusixTeX
To: dsimons@emu.logicon.com (Don Simons)
Date: Tue, 3 Mar 1998 18:23:11 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <00013255.3305@logicon.com> from "Don Simons" at Mar 2, 98 10:49:27 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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Hello everybody,

I got my last mail back for some reason,
so now I answer again adding a few remarks.



> I don't think there's anything wrong with it, except PMX is too dumb
> to understand it.
> I had not carefully checked out what happens with the meter 3/1 .  In
> looking at the PMX code and experimenting a little, it seems that
> using m3030 (instead of 3o3o) makes things work (?!).  When I did
> this, and got rid of all the lyrics (see below), it worked fine.
> Please let me know if it works for you.

PMX reacts correctly when I put m303o.
Putting m3030 PMX refuses to put the meter 3/1 ... :-(
But M-Tx cannot accept m303o ....
So I have to modify M-Tx's output.

Also in that kind of music I am forced to 'cheat' a lot with
in-line-TeX because PMX does not know \zbreve etc.  These
values appear a lot in the tripla 3/1.

> I would use "c8x10m2n" .  "m" stands for "multiplicity", I have
> already used that in beamed grace notes.  I'll put it on the list (I
> may actually get to this before the milennium, since it's something
> that I could occasionally use myself).

Great. Will that be PMX2000?

> >5) PMX (and MusixTeX): In that style of music (and earlier) you would
> >often
> >encounter
> >   "compound meters", such as consisting of \meterC  *and* a 3 put
> >   right after, or a circle with a stroke going through and
> >   a \meterfrac{3}{1} put immediately afterwards.
> >      Could MusiXTeX provide a possibility for all those
> >   combinations of
> >   "tempus (im)perfectus cum prolatione minore/majore"
> >   and all those "proportiones" (tripla, sesquialtera, just to name
> >   the most common) to put right after?
>
> I don't fully understand the question.  Does this only refer to the
> _printed_ meters?  If so, couldn't this be accomplished by redefining
> \meterfrac using in-line TeX ?  Can you make up an example using raw
> TeX?

I answered in my last mail that it is a lack of MusiXTeX: MusiXTeX does not
provide these special meters, as far as I know.
It does concern the *printed* meters, yes.  But PMX should be able
to controll bars of three semibreves and three breves ...

In my last e-mail I suggested to have a look at Frescobaldis Toccate in
order to see those meters I am talking of.
I could just as well refer to Hans Apel's book on
"The Notation of the Polyphonic Music" (Title more or less literally).


> we do have the new commands Ai[x] and AI[x] which multiply PMX's
> \interstaff by x.

These 'new' commands exist in pmx13 or pmx13a or in the future pmx14?



> When working through this example, I had problems with the musixlyr
> commands, e.g.,
>
> ===================================
> This is TeX, Version 3.14 (PCTeX)
>   (BIG PCTeX386 3.14b, (c)Personal TeX, Inc 1985-1992.)
> **beg4
> (C:\PCTEX\TEXINPUT\BEG4.TEX (C:\PCTEX\TEXINPUT\MUSIXTEX.TEX
> MusiXTeX(c) T.74 <17 July 1997>
> ) (C:\PCTEX\TEXINPUT\PMX.TEX
> PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
> ) (C:\PCTEX\TEXINPUT\MUSIXMAD.TEX (C:\PCTEX\TEXINPUT\MUSIXADD.TEX
> MusiXADDitional instruments T.40 <12 September 1995>
> )
> MusiXMore ADditional instruments T.40 <12 September 1995>
> ) (C:\PCTEX\TEXINPUT\MUSIXLYR.TEX
> MusiXLYRics 1.02 <13 May 1997>
> )
> ! You can't use `\relax' after \the.
> <recently read> \azt2
>
> ...
> l.42 \auxlyr{\assignlyrics2{}}
>                               %
> ?
> ================================

As I said I have experienced the same error message some time ago.
I think I avoided it by assigning some void lyrics to some instrument,
or by putting \resetlyrics.

> Maybe I have outdated versions?.  I ended up commenting them all out
> rather than fighting.

peaceful character as you are ... :-)

Sorry for repeating some of my answers,
hope you forgive me ....
### Eckart



> From: dsimons@emu.logicon.com (Don Simons)
> Subject: PMX slurs: Request for feedback
> To: mutex@gmd.de
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> Status: RO
>
> I'm making progress on upgrading slurs in PMX.  They will have the
> following properties:
>
> 1. Must start and end in the same "line of music".
> 2. May start and stop on chord notes as well as main notes of chords
> or single notes.
> 3. Horizontal and vertical positions of starts and stops will be amply
> "tweak"-able.
> 4. Up/down-ness cann always be overridden by user.
> 5. May start and stop in any sequence at all, provide no more than 9
> slurs are ever active at once.
>
> Before distributing anything, I'd like to request feedback from users
> on the following additional proposed properties:
>
> 1. Default positioning of the ends of the slurs.
>   (a) for single notes, up-slurs at top of chords, and down-slurs at
> bottoms of chords, about 2 \internote vertically offset, and
> horizontally aligned with center of notehead.  (for non-shifted
> noteheads, this is the MusiXTeX default). In addition, move
> horizontally (but not vertically) if necessary to avoid crossing a
> stem.  (For non-chord notes this is the same as before).
>   (b) for middle notes in chords, vertical position shifted toward
> note level by one \internote, and horizontal position moved outside
> width of notehead.  (These will look like what some people call ties.)
>   (c) All the above rules apply to left- or right-shifted noteheads as
> well.
>
> 2.  Default direction: Always based on first note of slur.
>   (a) for single (non-chord) notes, as before: With one line of music,
> up if downstem and vice-versa.  With two lines of music, up in upper
> line and vice-versa.
>   (b) In chords, up on top note, down on bottom note, and for middle
> notes set according to rule (a) based on stem direction.
>
> 3.  Relative or absolute tweaking.  I propose virtually all
> user-specified tweaks be interpreted *relative* to PMX's default
> position.

I appreciate this suggestion. Actually, recently I was disappointed
(sorry, I don't know a better, weaker word) that PMX does not react
'relatively' in the case of raising and lowering pauses.
What do you think?

> 4.  For backward compatibility "t"-slurs will still be permitted.
> They will be governed by all the above rules, and in addition, as
> before, will be moved vertically away from the notehead by one
> internote if they start/end on same note that another slur
> starts/ends.
>
> I think that rule 3 will lead to some backward incompatibilities. But
> with the increased generality, I think there will probably be some
> incompatibilities no matter how we do it.  And with relative tweaking,
> you can look at the output and adjust from there.  If there is
> sufficient demand, I could introduce a subcommand that causes
> user-defined tweaks to be interpreted relative to the MusiXTeX default
> slur positions.

I personally am not expecially keen on a subcommand like that.

> As before, I propose no distinction between ties and slurs.  You can
> always move the slur-ends to whatever position you want with the
> tweaking options.  But if there is sufficient demand, I could
> introduce a sub-command that automatically enforces tie-like
> positioning (as in 1(b) above, more in-line with notehead) as an
> alternative.  It can't be "t" since that means something else.  Maybe
> "st"?  Also, if there is sufficient demand, it would be possible to
> have PMX automatically assign tie-like positioning if a slur starts
> and ends at the same pitch.  (That would definitely cause backward
> incompatibility).

Maybe you could choose the letter 'l' like Italian "ligatura" instead of 'st'?

The automatical tie-like positioning sounds very attractive.
Principally I think that it should always be possible to override
the automatical positioning -- but I think you would not disagree to this.
There are always unexpected exceptions ... :-)


> I append an example (you'll need pmx.tex to run it).

I ran your example.
Nothing to complain... :-)
The tweaked positions look good.
Of course the defaults do not
but I don't think it is possible to make PMX
do the tweaking automatically *and* always correct.
So better let us have a modes sensible default and
some additional commands to make it flexible for
every purpose.

Is that a reasonable feedback?

> --Don Simons
> % junk.tex
> \Endmail
> \bye!


From mutex-owner@mail2.gmd.de Tue Mar  3 21:36:52 1998
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From: dsimons@emu.logicon.com (Don Simons)
Subject: C3 meter in PMX
To: mutex@gmd.de
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begemann@math.uni-hamburg.de (Eckart Begemann) wrote

>5) PMX (and MusixTeX): In that style of music (and earlier) you would > 
>often
>encounter
>"compound meters", such as consisting of \meterC  *and* a 3 put > >  
>right after, or a circle with a stroke going through and
>a \meterfrac{3}{1} put immediately afterwards.
>Could MusiXTeX provide a possibility for all those > >   
>combinations of
>"tempus (im)perfectus cum prolatione minore/majore"
>and all those "proportiones" (tripla, sesquialtera, just to name > >  
>the most common) to put right after?

Here is one way to get \meterC followed by "3" at the beginning of a 
piece, using PMX.  I can't explain why the vertical shifts are needed, 
I just found the proper values the old-fashioned way: by trial and 
error.  Perhaps you could try to adapt this to the other forms of 
interest.  I would be interested in seeing what you come up with.

===================================
1 1 3 4 0 3 0 0
1 1 20 .07
Bass Kazoo
b
c:\pctex\texinput\
\\let\mNt\meterN\def\meterN#1{\mNt{\raise17pt\hbox{\musixchar83}\
\\raise11.8pt\hbox{3}}}\
c43 c c /
===================================


--Don Simons

From mutex-owner@mail2.gmd.de Wed Mar  4 10:17:23 1998
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From: Andreas Nolda <nolda@nolda.dialup.fu-berlin.de>
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Subject: Re: MusiXTeX's  meters,  musixlyr, 
In-Reply-To: <199803031052.LAA16655@AMSUN11.math.uni-hamburg.de>
References: <00013255.3305@logicon.com>
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Dear MusiXTeX user,

 > > >5) PMX (and MusixTeX): In that style of music (and earlier) you would 
 > > >often
 > > >encounter
 > > >   "compound meters", such as consisting of \meterC  *and* a 3 put 
 > > >   right after, or a circle with a stroke going through and
 > > >   a \meterfrac{3}{1} put immediately afterwards.
 > > >      Could MusiXTeX provide a possibility for all those 
 > > >   combinations of
 > > >   "tempus (im)perfectus cum prolatione minore/majore"
 > > >   and all those "proportiones" (tripla, sesquialtera, just to name 
 > > >   the most common) to put right after?
 > > 
 > > I don't fully understand the question.  Does this only refer to the 
 > > _printed_ meters?  If so, couldn't this be accomplished by redefining 
 > > \meterfrac using in-line TeX ?  Can you make up an example using raw 
 > > TeX?
 > 
 > I will try. The problem is that MusiXTeX does not provide this
 > possibility, either! So I would have to hack it somehow (if this is the
 > right expression.)  
 >   But in any case I am not able to hack the circle (the meaning of which is
 > "tempus perfectum") nor the vertical stroke as in \allabreve, not the dot.
 > If you want to see these have a look at Frescobaldi's Libre di Toccate,
 > Canzoni etc ....
 > 
 > So this is actually a request for an extension of MusiXTeX.
 > Could be an extra package because not everybody will use these 'meters'.

some time ago, I hacked a MusiXTeX package (including fonts) for the
meter and proportion signs of mensural notation. It contains symbols
for:

        -- tempus perfectum cum prolatione maiori (``O'' with a dot)
        -- tempus perfectum cum prolatione minori (``O'')
        -- tempus imperfectum cum prolatione maiori (``C'' with a dot)
        -- tempus imperfectum cum prolatione minori (``C'')
        -- tempus perfectum diminutum (``O'' with a vertical stroke)
        -- tempus imperfectum diminutum (``C'' with a vertical stroke,
           reversed ``C'')
        -- proportio quadrupla (reversed ``C'' with a vertical stroke)

These can easily combined with numeric proportions signs by using
``\meterfont'' or ``\meterfrac''.

If you are interested in, I could make this package available for
further development.

-- Andreas Nolda

From mutex-owner@mail2.gmd.de Wed Mar  4 15:53:12 1998
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Subject: Re: MusixTeX T.87 available
To: taupin@lps.u-psud.fr (Daniel Taupin)
Date: Wed, 4 Mar 1998 15:53:12 +0000 (GMT)
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> Subject: MusiXTeX version T.86
> New version T.87 of MusiXTeX available at anonymous ftp:
> ...
> 
> Warning: new musixflx.c to be recompiled (provided for PCs in the distrib)
> ...

But the new musixflx.c only happened in version T.83.  The warning
should probably make this clearer.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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Date: Thu, 5 Mar 1998 20:59:22 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199803051959.UAA00662@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: several questions
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> Date: Tue, 17 Feb 1998 13:23:10 -0800
> From: dsimons@logicon.com (Don Simons)

> begemann@math.uni-hamburg.de (Eckart Begemann)  wrote

> >4) Concerning the case of two voices (lines of music) in one staff: 
> >   Could PMX be taught to do vertically shifting of the dots of dotted 
> >   notes automatically in the following manner?
> >    If the *lower* voice has a dotted note *on* a line (not between two lines)
> >     then lower its dot by 2\internote s.
> >     (As you will know this can be done by  \lower2\internote\hbox{\pt *}).

That's not a good solution, because it's non-transposable coding - transposable
in the sense of MusiXTeX, not in the sense of PMX.
 
> Interesting you should mention this.  I just had a very nice, 
> face-to-face visit with Werner Icking on his West Coast travels, and 

Yeah! And I'm back now. It was a lot of fun although El Nino tried to
disturb us. Thanks Don! (We forgot to record "Yesterday" :-) 

> he mentioned exactly the same issue.  It's on the list.

I hope I mentioned that it can be done easier than Eckart proposes it.
MusiXTeX can do it automatically if one uses \lpt instead of \pt for
lower voice notes. In addition this feature should be switchable e.g.
by the A-command, because a lower voice is only noted that way if it
is played (sung) by different instruments. n-voice fuga for violin solo
(n < 5 :-) is not notated that way.

-- Werner

PS: Yes, I'm back and MusiXTeX T.87 is on the way to CTAN. Yesterday I forgot
    the "tar.gz", but now it's on ftp.gmd.de and will be mirrored soon.
    Concerning the list I could clear already a lot of "bounces" like 
    (un)subscribe sent to mutex@gmd.de instead of mutex-request@gmd.de and
    will deal with the many sendmail error (invalid addresses, overfull
    mail boxes, missing polls, too many hops, ...) in the next days.

    And as you can see from this mail, I'm already at "Feb 18" emptying
    my overcrowded mail box. -- Puh!

From mutex-owner@mail2.gmd.de Thu Mar  5 20:27:36 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Wed, 18 Feb 1998 17:04:43 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> I forgot to put two further questions:
> 
> 8)  Somewhere I found your (?) file pmx-l2e.ps showing how to include

It's on http://www.gmd.de/Misc/Music/  under "add-ons to MusiXTeX"

>     PMX's output into a LaTeX file. I did not quite get the clue of this
>     issue: It is obvious that you can include it by putting it
>     inside the music-environment and cancelling some of the TeX-lines.
>       Have I missed the point? 

No. The source shows clearly with in-line comments what has been done and it 
shows too, that Eric Petersen did it. 
 
>     My question would be: Can PMX be taught to do that automatically?
>     Can PMX be taught to output a small LaTeX(2e) file?

I don't think that it should be done by PMX. It can easily done by a
batch procedure (if someone has a powerful shell/command language
like csh, tcsh, ..., 4DOS, ...)

-- Werner

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Subject: correct name: Willi Apel
To: mutex@gmd.de
Date: Fri, 6 Mar 1998 11:42:16 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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I must correct myself:
The book "The Notation of Polyphonic Music 900 -- 1600"
was written by Willi Apel.
(There you find all those special meters and instructions to 
there use. They were still in use some time after 1600.)

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I must correct myself:
The book "The Notation of Polyphonic Music 900 -- 1600"
was written by Willi Apel.
(There you find all those special meters and instructions to 
there use. They were still in use some time after 1600.)

From mutex-owner@mail2.gmd.de Tue Mar 10 10:50:30 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
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Subject: test
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Just testing my subscription to the list.

Ronald Gelten

Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199803101242.NAA16921@sg10.chem.tue.nl>
Subject: Musixtab manual somewhere?
To: mutex@gmd.de
Date: Tue, 10 Mar 1998 13:42:28 +0100 (MET)
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Hello,

This is my first post to the list, so I hope this works.
I've just started using MusiXTeX and I'm thrilled. I'm  a guitar player
and trying to create my own sheet-music. I'd like to include tablature
in it and found something called Musixtab in the Egler distribution.

Does anybody know if there is a Musixtab manual somewhere? 
And also: is Musixtab useable in the Taupin distribution of MusiXTeX?

Thanks for any help you can give me,
Ronald Gelten

Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Mar 10 23:53:21 1998
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From: bti@ge.net
To: Educator@mail.gmd.de
Subject:  Being a Better Educator
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From mutex-owner@mail2.gmd.de Sun Mar 15 03:04:54 1998
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From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Sat, 14 Mar 1998 22:04:54 -0500
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Hi,

My first time since years (pmtex was my last version) since I tried on
MusicTeX (now MusiX) and one of it's preprocessors. PMX is a really
nice program, though I had some path problems when I first tried to
run it on my Amiga (there is now ./ or .\ here).

I have startet to set the following piece, a Cavatina from Haendel:

% Testst"uck
1 1 8 4 0 6 0 -3
0 7 20 0

t

h
2. Cavatina
\zbreve\
e rb0 | e05 d45 c b44 a | g04 g+ | g f45 e d c | b0- b++ | b a /
a  g | g f | f e | e,e e25 | e05 e e e /

The main problem with this piece is that there are many notes with
2/1 length (\zbreve) and PMX does stop at 1/1 length. I have tried
to add one by hand but I get severe problems with spacing (I have
no experience with that). Would there be enough to have one fixed
spacing for this type of note (which occupies the whole bar) or
does it depend on the number of 2/1 notes set in the line ? In the
first case adding by hand would not be that problematic but in the
other case it would be easier to add it to PMX itself. Any other
ideas would also be welcome (Macros or similar).

You should not that the partial set music piece above is only one
movement. That's the reason why I currently use h instead of Tt
or another possibility (if there is one) and also a reason why I
did not include \Notes (or similar) ... \enotes%. Another reason
is that I don't know how PMX reacts when I say 6 bars per line,
I type only 5 and the sixth bar is set with the \...\ TeX input
possibility from PMX.

The other problem is TeX-Config related: Whenever I compile pmx.tex,
I get the following error:

PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
! Font \BIGfont=cmbx10 scaled 2074 not loaded: Not enough room left.
<to be read again>
                   \relax
l.143 \font\BIGfont=cmbx10 scaled\magstep4

? ! Font \Bigfont=cmbx10 scaled 1440 not loaded: Not enough room left.
<to be read again>
                   \relax
l.144 \font\Bigfont=cmbx10 scaled\magstep2

?

With LaTeX I have no font problems at all, they work at even bigger
sizes than here. Is this a problem with the format file maybe ? Or
is it a config problem ? I'm using Amiga PasTeX (bigtex) and the
memory configurations are already quite high.
Thanx for any possible help.

Reinhard Katzmann
---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request
Current Amiga project: MapEditor Class and BGUIMenu V1.1BETA
Current music project: Bach Triosonate f minor and learning guitar playing



From mutex-owner@mail2.gmd.de Sun Mar 15 13:14:22 1998
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I am trying to code some modern musical examples.  I am using OpusTeX
(0.78, I think).  I want to have some brackets over groups of notes
indicating non-standard divisions.  I want to use \utriobkt (analogous to
\uptrio in MusiXTeX) because the docs (in both cases) say that it is
possible to change the text in the bracket.  In neither case, however, am I
able to find *how* to change the bracket text.  I would like to put in, for
example, <11:8> instead of <3> to indicate that there are eleven notes in
the space of eight.  I would also like to put in other combinations as
well.  There are several subdivisions I need.

The MusiXTeX docs say that the \uptrio \txt is freely definable and the
OpusTeX docs say that \settext is changeable.  How do I do this?

Thanks,

David Bobroff
bobroff@centrum.is



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From: dsimons@logicon.com (Don Simons)
To: mutex <mutex@gmd.de>
Subject: Re: PMX, \zbreve Notes and another problem
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Reinhard Katzmann <Suamor@student.uni-tuebingen.de> wrote

>...I had some path problems when I first tried to run it on my Amiga 
>(there is now ./ or .\ here).

I did not even realize there was an Amiga version out there.  Where 
did you get the executables?  Or did you compile from the FORTRAN 
source?  I don't know anything about the file naming conventions in 
the Amiga OS.  I still want to check for the terminal "\" or "/", 
but I would be willing to make the program pause rather than stop if 
it doesn't find one.  I don't understand how you even managed to get 
pmxa run with a blank in the line for the path.  Did you alter the 
source?

>I have startet to set the following piece, a Cavatina from Haendel:
>
>% Testst"uck
>1 1 8 4 0 6 0 -3
>0 7 20 0
>
>t
>
>h
>2. Cavatina
>\zbreve\
>e rb0 | e05 d45 c b44 a | g04 g+ | g f45 e d c | b0- b++ | b a /
>a  g | g f | f e | e,e e25 | e05 e e e /
>
>The main problem with this piece is that there are many notes 
>with 2/1 length (\zbreve) and PMX does stop at 1/1 length.

There are two problems with this PMX source.  The path line does not 
terminate in "\" or "/", so pmxa stops.  Even if I fix that, the TeX 
command \zbreve\ requires an argument and you haven't provided one.

You are the second person in several weeks to ask for double whole 
notes.  So I will try to make that possible in the next release.  But 
in the meantime, study the example at the end of this posting.  To put 
the double whole note in the last line I defined a TeX macro 
\\def\putzl{\let\hlt\hl\def\hl##1{\zwq{##1}\sk\let\hl\hlt}}\
It does the following:
1.  Save old meaning of \hl
2.  Redefine \hl to mean \zwq
3.  Since \zwq in non-spacing, we have to manually generate the proper 
amount of space. In PMX it is proportional to the square root of the 
note length, so the double whole note has twice the horizontal space 
of a half note.  The \sk in the macro gives one of those spaces (and 
the PMX blank rest rb2 gives the second one.)
4.  Before leaving the macro, restore the original meaning to \hl . 
This is only required if there an \hl later, but it can't hurt.

The example also shows how to eliminate bar lines, if you want to do 
that.  But PMX will still check lengths of bars and will still stop if 
it finds the wrong number of beats in a bar.  And remember PMX doesn't 
interpret the in-line TeX commmand, so in particular, it thinks that 
the sequence  \putzl\ c2 rb2  occupies 4 beats, even though it results 
in a double whole note with proper horizontal spacing.

>You should not that the partial set music piece above is only one 
>movement. That's the reason why I currently use h instead of Tt or 
>another possibility (if there is one) and also a reason why I did not 
>include \Notes (or similar) ... \enotes%. 
         ???????????????????????????????

One main purpose of PMX is to set up \notes...\en.  When using PMX, 
you should never have to worry about that.

>Another reason is that I don't know how PMX reacts when I say 6 bars 
>per line,
>I type only 5 and the sixth bar is set with the \...\ TeX input 
>possibility from PMX.

When you set npages=0 and nsyst=6, PMX should work fine if there are 5 
bars.  I think any problem you had was due to omitting the argument of 
the \zbreve\ command.

>The other problem is TeX-Config related: Whenever I compile 
>pmx.tex, I get the following error:
>
>PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
>! Font \BIGfont=cmbx10 scaled 2074 not loaded: Not enough room left. 
>...
I don't understand why or how you are compiling pmx.tex.  But even if 
I did, I couldn't give you much help with this sort of problem.  
Other people on the list are much better with TeX-system issues than 
I am.

--Don Simons

Example:

1 1 8 8 0 0 0 0
1 4 20 0.

t
c:\pctex\texinput\
%
% Stops all mid-system bar lines from being printed or spaced. 
\\def\xbar{\empty}\
%
% Stops ALL bars lines at ends of systems %\\let\stoppiece\zstoppiece\
%
% Stops all end-of-system bar lines except last 
\\let\alaligne\zalaligne\
f44 s g8 s fa f [ f g op a ] /
m9800
a s g4 s [ f8 g ] g4 s f s / 
L2
[ f84 g a ] [ a g ] a [ a c a ] /
m4200
[ g8 a bf a g ] f [ f g ] [ a g f ] g g4 s f s / L3
r8 [ a g ] [ a g f ] a [ g a ] [ g f ] f4 [ a8 g ] a / m9400
[ a8 c a ] [ g a bf a g ] [ f g ] [ a g f ] g g4 s f s / L4
h
Zlonga Example
m4400
\\def\putzl{\let\hlt\hl\def\hl##1{\zwq{##1}\sk\let\hl\hlt}}\ c44 d e f 
g2 a b0 \putzl\ c2 rb2 b0 a2 g f4 e d c /
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From mutex-owner@mail2.gmd.de Sun Mar 15 18:37:30 1998
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From: dsimons@logicon.com (Don Simons)
To: mutex <mutex@gmd.de>
Subject: Future PMX expansion: long notes, slurs 
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On long notes and bar-less scores:  I would like the people interested 
in these to let me know in detail what options you would like to have. 
 Here are some questions I need to have answered before I do much 
coding:

1.  Which long note symbols (i.e., which TeX commands) are desired, 
and (pardon my ignorance) how many beats (quarter-note=1 beat) do they 
get.  I'm confused between \zbreve and \zlonga ... aren't they both 8 
beats?

2.  Should the horizontal spacing for these long notes follow the same 
rule as all the others, i.e., space proportional to square root of 
duration ?  This would give a double whole note twice as much 
horizontal space as a half note.

3.  At present I do not plan to include 4-line staves or those wierd 
Gregorian note symbols.  Are the long notes of any use without also 
having Gregorian notation?  

3.  I'm thinking about having a bar-less mode.  This will be rather 
complicated to do right, since PMX now processes one bar at a time.

  a. In bar-less mode, should there be a bar line at the end, and if 
so, which kind?  Should there be possibilities of bar lines in other 
places, and if so, which types?

  b. Will there ever be notes with flags or beams?  I'm thinking of 
disabling automatic beaming in this mode.

  c. Will there ever be more than one instrumental staff per system?

  d. Is the bar-less mode of any use without Gregorian notation?

4.  (mainly for Dirk)  Neither bar-less mode or long notes may be very 
useful in non-vocal scores. Before I start coding, are there any 
up-front considerations that would help making this fit into M-Tx?  I 
imagine that in bar-less mode, there will be no logical meter.

On slurs: In response to my request for feedback, so far no one has 
suggested any changes to the behaviors I proposed.  Now's your chance!

--Don Simons
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Hi Don,

> On long notes and bar-less scores:  I would like the people interested
> in these to let me know in detail what options you would like to have.
>  Here are some questions I need to have answered before I do much
> coding:

I answer this mail before the other you sent, because it's easier to
answer :-) At least long notes support sounds great :-)

> 1.  Which long note symbols (i.e., which TeX commands) are desired,
> and (pardon my ignorance) how many beats (quarter-note=1 beat) do they
> get.  I'm confused between \zbreve and \zlonga ... aren't they both 8
> beats?

Well the longest notes are AFAIR \zlonga, 8/1, \z??? 4/1, and \zbreve 2/1
(I read in the manual that the z has some spacing function, so it's maybe
better to speak about \longa \breve). The one above means one whole note,
in quarter-notes beat (as you want it) the whole is multiplied by 4:
24 (\longa), 16 (\???), 8 (\breve).

> 2.  Should the horizontal spacing for these long notes follow the same
> rule as all the others, i.e., space proportional to square root of
> duration ?  This would give a double whole note twice as much
> horizontal space as a half note.

Well for a double whole note in 8/4 meter piece it obviously take up the
space of the whole bar, so I would use the same spacing as the rp command
in this case, similar of course for the other in 16/4 or 24/4 meter. Else
the rules should be similar to the shorter notes. I suppose that PMX
already does something similar for whole notes in 4/4 meter.

> 3.  At present I do not plan to include 4-line staves or those wierd
> Gregorian note symbols.  Are the long notes of any use without also
> having Gregorian notation?

Personally I don't care much about the old or new style of long type
notation. My (handwritten) notes use the new style. If it is relatively
easy to make a macro for it I would not include it.

> 3.  I'm thinking about having a bar-less mode.  This will be rather
> complicated to do right, since PMX now processes one bar at a time.

Well spontaneously I would say keep the bars but do not show it in the
final result (if that's possible). Or make this as an (alternative)
option. I suppose it would be the easiest way to implement it.

>   a. In bar-less mode, should there be a bar line at the end, and if
> so, which kind?  Should there be possibilities of bar lines in other
> places, and if so, which types?

At the end of the whole piece or of a system ? Well I would include a
bar at the end of each line (standard bar type) but I don't know if
that is usual in barless music pieces. Repeat/Double bars probably
would be nice as well and at the end of the piece I would use the
normal end piece bar. Don't know if there is need for any additional
normal bars.

>   b. Will there ever be notes with flags or beams?  I'm thinking of
> disabling automatic beaming in this mode.

Probably good, though I would not do it if you offer the barless mode
I suggested above (or at least optional).

>   c. Will there ever be more than one instrumental staff per system?

I can't answer this, as I don't know too much about Gregorian music.
Concerning modern music I could imagine it.

>   d. Is the bar-less mode of any use without Gregorian notation?

Modern music maybe ? I could imagine that. Though I don't know how many
componists of modern music are actually using MusixTeX (and PMX).

> 4.  (mainly for Dirk)  Neither bar-less mode or long notes may be very
> useful in non-vocal scores. Before I start coding, are there any
> up-front considerations that would help making this fit into M-Tx?  I
> imagine that in bar-less mode, there will be no logical meter.

meter no, but beats: One beat could be a quarter or a half note or other
base beats.

> On slurs: In response to my request for feedback, so far no one has
> suggested any changes to the behaviors I proposed.  Now's your chance!

Guess I have to read that again 8-)

Reinhard
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From mutex-owner@mail2.gmd.de Mon Mar 16 05:33:57 1998
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From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Mon, 16 Mar 1998 00:33:57 -0500
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Hi Don,

> >...I had some path problems when I first tried to run it on my Amiga
> >(there is now ./ or .\ here).
>
> I did not even realize there was an Amiga version out there.  Where
> did you get the executables?  Or did you compile from the FORTRAN

Well self-made executables :-) I compiled the C-Versions with my
SAS/C 6.58 compiler. I did not use the F77 library included, because
I had trouble with compiling and using it, instead used one which
was included with f2c for Amiga (though an old 1994 version where
some newer functions had to be added). I have not yet released it
I'm beta testing it if there are any trouble with the port. So far
all seems to work fine.

> source?  I don't know anything about the file naming conventions in
> the Amiga OS.  I still want to check for the terminal "\" or "/",

Compiling the fortran code directly with f2c or f77 failed for me as
iand(), ior() and several other functions were missing. I added them
to my f2c.lib, but finally used the already converted C-Code as it
was smaller and better optimized.

Concerning the current path, I added the following to the pmxa.c file
(line 3952):

#ifndef AMIGA
    if (*(unsigned char *)&lineq[lpath - 1] != '/' && *(unsigned char *)&
        lineq[lpath - 1] != '\\') {
    errmsg_(lineq, &lpath, &c__0, "Last character of pathname is not / o\
r \\!", 128L, 41L);
    s_stop("1", 1L);
    }
#endif

I don't know too much about Fortran but I fear it's not possible to
include this in the original code. So far I had no problems with this
addition. Also I removed all "./" from the .pmx-files.
The Amiga current path is "" (stand-alone), and it's not possible to
do something like /local/usr/temp/pmx/./ here, in this case you can
not even set "", just leave it blank. The "" are only used when f.e.
copying to the current directory.

> but I would be willing to make the program pause rather than stop if
> it doesn't find one.  I don't understand how you even managed to get
> pmxa run with a blank in the line for the path.  Did you alter the
> source?

Yep, see above, the Amiga currently can stop the output (contrary to
DOS and Unix) by simply typing a letter, even if it is running in
the background. It's not possible to suspend tasks or bring them to
front. I also had to add a pause() function but the only source for
pause() was the gcc-source and I found it too complicated to implement
it in some minutes (now there is only a dummy function for pause())

[music piece deleted]

> >The main problem with this piece is that there are many notes
> >with 2/1 length (\zbreve) and PMX does stop at 1/1 length.
>
> There are two problems with this PMX source.  The path line does not
> terminate in "\" or "/", so pmxa stops.  Even if I fix that, the TeX
> command \zbreve\ requires an argument and you haven't provided one.

Well with the above addition pmxa did not stop ;-)

> You are the second person in several weeks to ask for double whole
> notes.  So I will try to make that possible in the next release.  But

Just read the mail again, I did not notice that it was the same feature
we both wanted. I could have saved some time by using the advice from
you in that mail :-(

> in the meantime, study the example at the end of this posting.  To put
> the double whole note in the last line I defined a TeX macro

Thanx I'll try it out and tell you more then. Tomorrow there's lot's
of work for me so a bit patience here please :-)

Reinhard
---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request
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Current music project: Bach Triosonate f minor and learning guitar playing



From mutex-owner@mail2.gmd.de Mon Mar 16 05:12:57 1998
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Date: Mon, 16 Mar 1998 00:12:57 -0500
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=Don Simons wrote on Sun, 1 Mar 1998 18:39:25 -0800 to me:
> I'm making progress on upgrading slurs in PMX.  They will have the
> following properties:

Nice to hear, I looked at the example and I have to admit, that I don't
have a use for all of these kind of slurs. I'm playing myself violin
and guitar and probably will also only typeset music for these
instruments (mainly violin), exceptions possible. So for me all these
possibilities have low priority. Does the whole change also affect
normal slurs on single notes ? The possibilities (vertical shift and
horizontal offset) seem to be enough for me.

I have some other questions which arose while I was typing the third
movement (a Recitativo) from the Haendel piece. It has several short
cuts for 4 eigth which are played in the same manner. The simplest
is a half note with a horizontal slash (maybe slightly inclined by a
few degrees, a flat /). The second is a half note with four staccato
ornaments starting above. The o. command of pmx has not the possibility
to shift the staccato points (and also the next note, but this could
ne done with the X command), so this would need some inline (musix)tex,
I don't remember right now if such a slash can be set with PMX.
The third variation look like a percent sign in the system, the
length being half a note as well. AFAIR all the shortcuts can also be
used for sixteenth with quarter notes, but I'm not sure about quarter
and whole notes. The possibility to typeset this shortcuts would make
my life quite a lot easier for the Haendel piece :-)

Concerning the Haendel Piece: At the moment I'm only typesetting the
first violin, I also have only notes of the violins and the viola.
For me it's mainly a first trial in music type setting, though I'm
already quite impressed about the possibilities (much better than
earlier). If there's enough interest I could typeset the whole
piece (for orchestra with additional bass , cello, harpsichord and
a one vocal, a counter tenor), though this would need some time.

Reinhard
---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request
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Current music project: Bach Triosonate f minor and learning guitar playing



From mutex-owner@mail2.gmd.de Mon Mar 16 02:49:25 1998
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Subject: Re: changing bracket text
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 > I want to have some brackets over groups of notes
 > indicating non-standard divisions.  I want to use \utriobkt (analogous to
 > \uptrio in MusiXTeX) because the docs (in both cases) say that it is
 > possible to change the text in the bracket.  In neither case, however, am I
 > able to find *how* to change the bracket text.  I would like to put in, for
 > example, <11:8> instead of <3> to indicate that there are eleven notes in
 > the space of eight.  I would also like to put in other combinations as
 > well.  There are several subdivisions I need.
 > 
 > The MusiXTeX docs say that the \uptrio \txt is freely definable and the
 > OpusTeX docs say that \settext is changeable.  How do I do this?
 > 
I don't know about OpusTeX but in MusiXTeX, you define \txt.
In musixtex.tex, the default definition is as follows:

\def\txt{\eightit3}

Bob T.

From mutex-owner@mail2.gmd.de Mon Mar 16 08:32:23 1998
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Subject: Re: Future PMX expansion: Barless scores
To: dsimons@logicon.com (Don Simons)
Date: Mon, 16 Mar 1998 10:32:23 +0200 (SAT)
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In-Reply-To: <000A2FA1.1941@logicon.com> from "Don Simons" at Mar 15, 98 10:37:30 am
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Don Simons wrote:
> 
> 3.  I'm thinking about having a bar-less mode.  This will be rather 
> complicated to do right, since PMX now processes one bar at a time.
> 
>   a. In bar-less mode, should there be a bar line at the end, and if 
> so, which kind?  Should there be possibilities of bar lines in other 
> places, and if so, which types?
> 
>   b. Will there ever be notes with flags or beams?  I'm thinking of 
> disabling automatic beaming in this mode.
> 
>   c. Will there ever be more than one instrumental staff per system?
> 
>   d. Is the bar-less mode of any use without Gregorian notation?
> 
> 4.  (mainly for Dirk)  Neither bar-less mode or long notes may be very 
> useful in non-vocal scores. Before I start coding, are there any 
> up-front considerations that would help making this fit into M-Tx?  I 
> imagine that in bar-less mode, there will be no logical meter.
>
The required feature is not so much to have bar-less scores as
to have scores with bars of variable length, some of them very long,
not required to be pre-announced by a meter change.

The following features will take care of all cases I ever need (sorry
for the narrow point of view!)

  1. Bar length to be variable, determined by compulsory bar symbols in
     the first voice, optional for checking in the others.

  2. This mode is recognized by using 0 for meternum; meterdenom is not
     very critical, but is useful for checking: a bar should
     be an integer multiple of meterdenom in length.

  3. Bar end indicated by a user-definable item in pmx.tex, default
     a bar line, other options include: nothing; a little extra
     horizontal space; \caesura.  No need for PMX to be over-friendly
     here: a simple in-line TeX like 
       \\let\bar_end=\caesura\  
     is quite adequate.

  4. Same for line end.

Answers to your questions:

a.  My items 3 and 4 cover this.
b.  As for as I'm concerned, leave beaming to the user. 
c.  All my applications do involve more than one stave, often with
    two melodic lines per stave.
d.  Yes, there is a lot of 16-th century Protestant vocal music
    that does not use Gregorian notation.

At present I gyp PMX into the required behaviour by putting in
dozens of blind meter changes.
Below is a sample score, coded the way I have to do it now.
This method breaks down when the `bar' grows to 20 beats.

Dirk


---
\immediate\write10{M-Tx 0.34 (Music from TeXt) <1 January 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixlyr\:\enableauxlyrics
---
2 2 11 4 0 0  0.00000 1 1 4 20 0


00
./
\\setsize2{\normalvalue}\
Tt
Magaliesburgse Aandlied
% Paragraph 2 line 8 bar 1
 \\twelvebf\
\\\setlyrics{11}{Hou oor my van-nag U han-de}\
\\\setlyrics{12}{Heer, ver-geef my al my son-des;}\
\\\setlyrics{13}{Neem ons huis, ons vrien-de, al-mal}\
\\\assignlyrics2{11,12,13}\
b23 a4 b4 c4 d4d s e8 s d4 c4 b2 /
\zchar{12}{G}\ g24 \zchar{12}{D}\ d4 \zchar{12}{Em}\ g4 \zchar{12}{Am}\ a4 \beginmel\zchar{12}{G}\ b4d s \endmel\ c8 s b4
 \zchar{12}{D7}\ a4 \zchar{12}{G}\ g2 /

% Paragraph 3 line 16 bar 2
\\\setlyrics{11}{gro-te God wat al-tyd waak.}\
\\\setlyrics{12}{maak my hart op-nuut weer skoon;}\
\\\setlyrics{13}{in be-wa-ring deur die nag.}\
m10400 
g4+ a4 b2 b4 c2 c4 b2 /
\zchar{12}{Em}\ b4 \zchar{12}{Am}\ c4 \zchar{12}{G}\ d2 d4 \zchar{12}{C}\ e2 e4 \zchar{12}{Bm}\ d2 /

% Paragraph 4 line 23 bar 3
\\\setlyrics{11}{Laat my rus in U be-sker-ming}\
\\\setlyrics{12}{dan sal ek geen on-heil vrees nie: }\
\\\setlyrics{13}{M\^o-re dank ons U vir goed-heid: }\
m11400 
a2 g4 g4 g4 f2 d4 e4 f2 /
\zchar{12}{Am}\ c2 \zchar{12}{Em}\ b4 \zchar{12}{C}\ c4 \zchar{12}{G}\ d4 \zchar{12}{D}\ d2 \zchar{12}{Bm}\ b4
 \zchar{12}{Em}\ b4 \zchar{12}{D}\ a2 /

% Paragraph 5 line 30 bar 4
\\\setlyrics{11}{as dit don-ker om my raak.}\
\\\setlyrics{12}{dan sal vre-de in my woon.}\
\\\setlyrics{13}{ga-we van 'n nu-we dag.}\
g2 f4 d2s e4 d2 d4 g2 /
\beginmel\zchar{12}{G}\ d4d s \endmel\ e8 s \zchar{12}{Bm}\ d4 \beginmel\zchar{12}{B7}\ b4d s \endmel\ a8 s \zchar{12}{Em}\ g4
 \zchar{12}{D6}\ b2 \zchar{12}{D}\ a4 \zchar{12}{G}\ g2 /


From mutex-owner@mail2.gmd.de Mon Mar 16 13:37:29 1998
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I believe one line of my previous message was discarded.  It should
have read

 > In musixtex.tex, the default definition is as follows:
 > 
 > \def\txt{\eightit3}
  
Bob T.

From mutex-owner@mail2.gmd.de Mon Mar 16 12:26:01 1998
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Daniel Lindholm wrote:

> Dear mr. Taupin!
>
> My name is Daniel Lindholm and I live in a small city called Kalmar, in=
 the
> south-east part of Sweden. I'm a composer, like you, interested in your
> notation package MusixTeX. I saw some example printout and was amazed!
> Then, after I'd seen the printouts, I downloaded all the files (i think=
!);
> I just had to get this program! I tried several times to get it to work=
 but
> it didn't.
>
> So, let me describe the problem I have encountered:
>
> I really can't get it working. Perhaps I'm missing some files or someth=
ing.
> Anyhow, It said that it would work under a LaTeX enviroment, but I've n=
o
> clue what LaTeX is, how to get it nor how to use it. And, what I've see=
n,
> there's no information on getting, installing and using LaTeX in the
> MusixTeX documentation.
>
> So... My questions are:
> * Do You know how to get, install and use LaTeX?

Latex not needed. But plain TeX required. Hopeless to use it until you ha=
ve not installed TeX.
And installing TeXdepends on which kind of computer you have. If you give=
 me the answer, I shall
tell you where to get it.

Next, you must learn how to use TeX (not very difficult, but not easy if =
you are alone).

> * Do You have any tips for me to get started?
> * Are there any tutorials on the subject described above?

Learn TeX before anything else.
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Mar 16 14:05:13 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199803161405.PAA01790@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Future PMX expansion: long notes, slurs
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> Date: Sun, 15 Mar 1998 10:37:30 -0800
> From: dsimons@logicon.com (Don Simons)
> 
> 3.  At present I do not plan to include 4-line staves or [...]

"\\setlines 1 4\ " as in-line TeX will force the lowest voice to have
4-line staves. I used it once as "\\setlines 1 1\" to notate a rhythm.

It was a staff with "NO bass clef" :-). The notes had to be written
as "d43 d ...". That's nice because you may change from up-stems to
down-stems using B. Here is an extract:

1 1 3 4 0 3 0 0
1 2 16 0

b
./
\\setbassclefsymbol1\empty\setlines11\setmeter1\empty\setsize1\smallvalue\ 
Arb B
d43 d.d | d.d d  | d d.d | d d d | d d.d | d.d d | d d.d | d2d /
L2
d83 d d d d d | [+1 d1 d d d d d d d d d d d ] |
d8  d d d d d | [+1 d1 d d d d d d d d d d d ] |
d8  d d d d d | [+1 d1 d d d d d d d d d d d ] |
d8  d d d d d | d2d /


As everybody will notice on the first view, it has to do with "La Folia".
So the example can be found on one of the nice web-pages belonging to

  http://www.xs4all.nl/~gabler/   'La Folia', a musical cathedral

Look for composer Lully.


Hello Don,  when preparing this example I crashed my DOS-Boxes, because I 
omitted the line "./"
"\\setbassclefsymbol1\empty\setlines11\setmeter1\empty\setsize1\smallvalue\"
seems not to work well as path. It took me some time to figure that out!

-- Werner Icking

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From: Werner Icking <Werner.Icking@gmd.de>
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> From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
> Date: Mon, 16 Mar 1998 00:12:57 -0500
> 
> I have some other questions which arose while I was typing the third
> movement (a Recitativo) from the Haendel piece. It has several short
> cuts for 4 eigth which are played in the same manner. The simplest
> is a half note with a horizontal slash (maybe slightly inclined by a
> few degrees, a flat /). 

A example typeset for this can be found in the MusiXTeX manual under
the topic "Repeated pattern beams".

>                         The second is a half note with four staccato
> ornaments starting above. [...]

Slight modification of the previous.

> The third variation look like a percent sign in the system, the
> length being half a note as well. [...]

"Faulenzer" \duevolte; see under "Repeating the last bar".


I do not comment on whether these constructs should be part of
PMX or SCOR2PRT.


-- Werner Icking

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Date: Mon, 16 Mar 1998 16:49:10 +0200
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To: MUTEX@gmd.de
Subject: Dussek's sonata.
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I have added Dussek's piano sonata op 35#3 to the GMD Music page.


                              Jean-Pierre Coulon.

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Date: Tue, 17 Mar 1998 09:54:45 +0100
From: Frederic Bazin <Frederic.Bazin@ensisun.imag.fr>
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References: <199803161337.IAA17304@maggie.qucis.queensu.ca>
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I'v just downloaded the Musixtex package but I can't configure to work
with my tex package
wich is Miktex. Can anybody help me ?



From mutex-owner@mail2.gmd.de Tue Mar 17 12:50:17 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199803171250.NAA14847@sg10.chem.tue.nl>
Subject: MusiXTeX codepiece: easier way?
To: mutex@gmd.de
Date: Tue, 17 Mar 1998 13:50:17 +0100 (MET)
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Hello,

I've got this small excerpt from a piece of music I'm trying to code as
an excersise:
\Notes\pt l\zhu l\Ibl0lj1\hb0l\tbl0\qb0j\en
which produces a half note with a period and an upper stem, connected
with a lower beam (and lower stem) to an 8th note.
This looks fine and exactly the way I want it. But the half note is
doubly coded, because it needs two stems. This is not a problem for me, 
but it makes me wonder if there is a way to code this with a _single_
half note.

Thanks for any help you can provide,
Ronald Gelten

Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Mar 17 13:09:52 1998
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 > From: Frederic Bazin <Frederic.Bazin@ensisun.imag.fr>
 > Subject: configuration with miktex
 > 
 > I'v just downloaded the Musixtex package but I can't configure to work
 > with my tex package
 > wich is Miktex. Can anybody help me ?
 > 
No "configuration" should be necessary.  But no-one can help you
unless you tell us what is going wrong.  Have you unzipped/untarred
the files?  Have you tried to TeX an example?  What error messages
are you getting?

Bob T.

From mutex-owner@mail2.gmd.de Tue Mar 17 13:37:49 1998
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Date: Tue, 17 Mar 1998 13:37:49 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: bracket text again
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First let me say thanks to Robert Tennent and Andreas Egler.  With your
posts I have solved the problem of changing the text in \utriobkt in
OpusTeX.  Now I would like to use notes in the brackets as well.  For
example, I would like to have \settext{11:\cccu}.  When I try this I get an
error message about too many `}'.  Also, I would like to place notes in
text outside of a music environment.  I see that in the docs for both
MusiX/OpusTeX this is done in the chart under "Easy selecting note spacing"
but I have not gotten it to work for me.

Once again, I am using OpusTeX 0.78.

Thank you,

David Boboff
bobroff@centrum.is



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Date: Tue, 17 Mar 1998 17:53:12 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Tue, 17 Mar 1998 13:37:49 +0000
> From: David Bobroff <bobroff@centrum.is>

> [...]  Also, I would like to place notes in
> text outside of a music environment.  I see that in the docs for both
> MusiX/OpusTeX this is done in the chart under "Easy selecting note spacing"
> but I have not gotten it to work for me.

For MusiXTeX I noticed the following strange behaviour:

\input musixtex
This is a quarter note \qu0.
\bye

I get two error messages for line 2 (\nblines undefined; missing number).

The errors disappear if I insert somewhere but before \qu0  "\znotes\en":

\input musixtex
\znotes\en This is a quarter note \qu0.
\bye

Maybe musixtex.tex should initialize \nblines with an appropriate value.

Or should I use another method to insert music-symbols into quite normal
text?

-- Werner

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In-Reply-To: <000A2FA0.1941@logicon.com>
From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Tue, 17 Mar 1998 19:06:10 -0500
Reply-To: Reinhard Katzmann <suamor@student.uni-tuebingen.de>
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Subject: Re: PMX, \zbreve Notes and another problem (Part II)
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Hi Don,

Here is the second part (Cavatina is noew done, see below)

> in the meantime, study the example at the end of this posting.  To put
> the double whole note in the last line I defined a TeX macro
> \\def\putzl{\let\hlt\hl\def\hl##1{\zwq{##1}\sk\let\hl\hlt}}\

I done it, of of course using \zbreve instead of \zwq. The problem is
that the space is a bit big between the notes (using blind pauses).
I would need to "replace" whole notes instead of half notes. I do
it if it takes some longer time (weeks) until PMX has implemented
long notes. Oh yes, I need to add that I was a bit wrong about the
MusixTeX command with long notes, actually they are \maxima, \longa
and \breve (not \longa, \..., \breve), also I don't now how long
\zwq is (nothing about that in my music lexicons).

> It does the following:
> 1.  Save old meaning of \hl
> 2.  Redefine \hl to mean \zwq
> 3.  Since \zwq in non-spacing, we have to manually generate the proper

So I only need to replace \hl with the command for whole note to
redefine \zbreve as a whole note.

> amount of space. In PMX it is proportional to the square root of the
> note length, so the double whole note has twice the horizontal space
> of a half note.  The \sk in the macro gives one of those spaces (and
> the PMX blank rest rb2 gives the second one.)

Did you consider the space which has to be added through the blind
rest commands ? (Look below in the Cavatina piece)

> The example also shows how to eliminate bar lines, if you want to do
> that.  But PMX will still check lengths of bars and will still stop if
> it finds the wrong number of beats in a bar.  And remember PMX doesn't
> interpret the in-line TeX commmand, so in particular, it thinks that
> the sequence  \putzl\ c2 rb2  occupies 4 beats, even though it results
> in a double whole note with proper horizontal spacing.

Yes, that's what I though about an alternate possibility to remove
bar lines. Keep the meter for the automatic beaming, if you want it.

> One main purpose of PMX is to set up \notes...\en.  When using PMX,
> you should never have to worry about that.

Ok, misunderstanding from my site here. The main reason was that the
note takes up the whole bar, so I thought I could use this method.
But yours of course much better.

> >The other problem is TeX-Config related: Whenever I compile
> >pmx.tex, I get the following error:
> >
> >PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
> >! Font \BIGfont=cmbx10 scaled 2074 not loaded: Not enough room left.
> >...
> I don't understand why or how you are compiling pmx.tex.  But even if
> I did, I couldn't give you much help with this sort of problem.
> Other people on the list are much better with TeX-system issues than
> I am.

Anyone ? I still have no idea what could be the reason for that. I included
a memory output from the log file:

Memory usage before: 6867&22164; after: 200&21962; still untouched: 169551
 )
Here is how much of TeX's memory you used:
 326 strings out of 5106
 2071 string characters out of 180900
 30450 words of memory out of 200001
 2774 multiletter control sequences out of 9500
 34231 words of font info for 120 fonts, out of 36000 for 120
 0 hyphenation exceptions out of 607
 15i,6n,11p,189b,127s stack positions out of 200i,40n,60p,2000b,4100s

Below is the 2nd movement (in case you wonder: the first movement is
a recicativo where I have no notes here and don't have to play anything..)
Any comments (including the spacing problem with rb commands) are
welcome.

Reinhard Katzmann

---------------------------- Cut here ------------------------------

% 2 Cavatina
1 1 8 4 0 6 0 -3
0 7 20 0

t

\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
\\def\putzl{\let\hlt\hl\def\hl##1{\zbreve{##1}\sk\let\hl\hlt}}\
h
2. Cavatina
rb2 rb4 \putzl\zt{-5}{\kern-3pt\pp}\ e25 s rb4 rb2 | e05 s d45 c b44 a | g04 g+ s | g s f45 e d c | b04 b+ s /
%bar 6
b s a s | a s g s | g s f s | f s e | rb2 rb4 \putzl\ e25 rb4 rb2 | e05 d /
%bar 12
e r | r e s | e s d | rb2 rb4 \putzl\ e25 s rb4 rb2 | rb2 rb4 \putzl\ e25 s s rb4 rb2 | e05 s d /
%bar 18
rb2 rb4 \putzl\ e25 s rb4 rb2 | e05 s d | e r | r e | rb2 rb4 \putzl\ d25 rb4 rb2 | rb2 rb4 \putzl\ e25 s rb4 rb2 /
%bar 24
e05 s d | rb2 rb4 \putzl\ e25 s rb4 rb2 | e05 s d | e r | r c s | c s b04n /
%bar 30
rb2 rb4 \putzl\ c25 rb4 rb2 | b04n bf | a f+ s | f s en | f r | r c s /
%bar 36
c s b04 | b a | bn c05 s | c s b24n s a24n s | rb2 rb4 \putzl\ b24n rb4 rb2 | c05 g05 /
%bar 42
rb2 rb4 \putzl\ a25 s rb4 rb2 | a s g05 f25 | rb2 rb4 \putzl\ e25 rb4 rb2 | rb2 rb4 \putzl\ d25 s rb4 rb2 |
  rb2 rb4 \putzl\ d25 s rb4 rb2 | rb2 rb4 \putzl\ d25 rb4 rb2 /
%bar 48
\zt{10}{\kern20pt hart}\zt{-10}{\kern18pt \ff}\ c \caesura\ c24 o. c o. c o. | c o. c o. c o. c o. | c r2 r0 /

---------------------------- Cut here ------------------------------

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From mutex-owner@mail2.gmd.de Wed Mar 18 03:29:26 1998
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To: mutex <mutex@gmd.de>
In-Reply-To: <199803161508.QAA01821@sunick.gmd.de>
From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Tue, 17 Mar 1998 22:29:26 -0500
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Hi,

=Werner Icking wrote on Mon, 16 Mar 1998 16:08:01 +0100 (MET) to me:
> > From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
> > Date: Mon, 16 Mar 1998 00:12:57 -0500
> >
> > few degrees, a flat /).
>
> A example typeset for this can be found in the MusiXTeX manual under
> the topic "Repeated pattern beams".
>
> >                         The second is a half note with four staccato
> > ornaments starting above. [...]
>
> Slight modification of the previous.
>

Ok, here is my source with the help of your suggestions (PMX):
(Warning: There are still missing several bars!)

% 3 Recitativo
1 1 4 4 0 6 0 -3
0 7 20 0

t

\\\nonstopmode\
\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
\\def\frp#1{\zt{#1}{\lpz c}\zt{#1}{\kern5pt\lpz c}\zt{#1}{\kern10pt\lpz c}\zt{#1}{\kern15pt\lpz c}}\
\\def\frq#1{\zt{#1}{\upz c}\zt{#1}{\kern5pt\upz c}\zt{#1}{\kern10pt\upz c}\zt{#1}{\kern15pt\upz c}}\
h
3. Recitativo
rm4 | r2 r8 c85 s b84 a s | g s a g f s e s a g f s | e s f e d s \frp0\ c24 | \frp0\ c X1S \frp0\ c X1S | \frp0\ c X1S d24f op /
%bar 12
rp | r8 f85 s e df s c s b84 a g s | f o. f o. an o. a o. c o. c o. e o. e o. |
 c o. c o. an o. a o. f o. f o. gf o. g o. | e24 op r2 | r2 r8 b15 s f s d85f f15 s d s /
%bar 16
b84 b14 s f s d84f f14 s d s b83 b84 o. b o. b o. | \frp5\ b24u X1S \frq0\ c25f o. X1S | \frq6\ cf X1S c25 op |
 rp X1S | r2 r4 r8 e85x3 s d e s | b84 b r8 bx3n+0+0f s a b s gf g r8 g8x3 s f g s /
%bar 22
e8 ex3n s d e s gf gx3n s f g s b bx3n s an b s e85 ex3n s d e s | gf gx3n s f g s b15 b gf g e e g g e e b14 b |
 gf g b b g g e e d24f op /
%bar 25
r2 r4 r8 a85x3n+0+0f s g f s | e dfx3n s c b4 s a a85x3n s g f s e dfx3n s c b4 s a ax3n s g f s |
 e dfx3n s c b3 s ad a14 a83d a13 a8d a14 | \loffset{0.5}{\ibu0N9}\roffset{0.5}{\tbu0}\ a23 a /

> I do not comment on whether these constructs should be part of
> PMX or SCOR2PRT.

Don or any other one ? I have hard-coded the second ornament, is there
any better way of doing it ? (macro definition would be a method for
the height, but it's difficult, because the heught depend on the name
of the note...)

Also is the "...." ornament/ solution good or bad ?

Reinhard Katzmann
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From mutex-owner@mail2.gmd.de Wed Mar 18 00:17:11 1998
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From: Dave <dave@piperx.globalnet.co.uk>
To: mutex@gmd.de
Subject: Re: configuration with miktex
In-Reply-To: <199803171309.IAA10949@maggie.qucis.queensu.ca>
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The most obvious failure in the light of no other explanations is that
TeX can't find the file; try sticking it in the same directory as the file
you're trying to compile and it should find it.. If it still doesn't work,
well, you'll have to try furnishing us with more info than "it doesn't
work - why?".


On Tue, 17 Mar 1998, Robert Tennent wrote:

>  > From: Frederic Bazin <Frederic.Bazin@ensisun.imag.fr>
>  > Subject: configuration with miktex
>  > 
>  > I'v just downloaded the Musixtex package but I can't configure to work
>  > with my tex package
>  > wich is Miktex. Can anybody help me ?
>  > 
> No "configuration" should be necessary.  But no-one can help you
> unless you tell us what is going wrong.  Have you unzipped/untarred
> the files?  Have you tried to TeX an example?  What error messages
> are you getting?
> 
> Bob T.
> 


From mutex-owner@mail2.gmd.de Wed Mar 18 02:10:03 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMX, \zbreve Notes and another problem (Part II)
To: mutex <mutex@gmd.de>
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Reinhard Katzmann <Suamor@student.uni-tuebingen.de> wrote

>The problem is that the space is a bit big between the notes (using 
>blind pauses).

You also need to force PMX to think it is in 4/4 for the bars with 
\zbreve:

% 2 Cavatina
%-1 1 8 4 0 6 0 -3
%+
1 1 4 4 0 6 0 -3
%+
0 7 20 0

t
c:\pctex\texinput\
\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\ 
\\def\putzl{\let\hlt\hl\def\hl##1{\zbreve{##1}\sk\let\hl\hlt}}\
h
2. Cavatina
%-rb2 rb4 \putzl\zt{-5}{\kern-3pt\pp}\ e25 s rb4 rb2 | 
%   e05 s d45 c b44 a | g04 g+ 
%+
\putzl\zt{-5}{\kern-3pt\pp}\ e25 s rb2 /
m8400
%+
e05 s d45 c b44 a | g04 g+ 
s | g s f45 e d c | b04 b+ s /

Etc.

>I would need to "replace" whole notes instead of half notes. I do 
>it if it takes some longer time (weeks) until PMX has implemented 
>long notes. 

I have a beta version now that does double whole notes and some 
other new things.  But it's not ready to go out yet.  In fact when 
I ran your example with it, it crashed because of some slur 
problem.  :-(  I'll try to get it out as soon as possible but I 
have a big concert in 2 weeks and might to get it done until after 
that.  But this coding *should* be compatible, once I get the bugs 
out.

>So I only need to replace \hl with the command for whole note to 
>redefine \zbreve as a whole note.

I don't think that would give the right horizontal spacing.  I think 
the above example does (2 half-note spacings, one from the \sk in 
the macro, and one from rb2)

--Don

From mutex-owner@mail2.gmd.de Wed Mar 18 08:28:19 1998
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From: =?iso-8859-1?Q?FRAPPE_Fran=E7ois=2DNicolas_108324?=
	 <FRAPPE@mandrake.ipsn.fr>
To: "'club mutex'" <mutex@gmd.de>
Subject: RE: configuration with miktex
Date: Wed, 18 Mar 1998 09:28:19 +0100
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Dear Frederic,

Here is how I did it=A0:

My Miktex package is in the path c:\texmf\...

First, I created these directories=A0:

C:\texmf\tex\plain\musixtex
C:\texmf\tex\latex\musixtex

C:\texmf\doc\musixtex
C:\texmf\tex\plain\musixtex\examples
C:\texmf\fonts\source\musixtex
C:\texmf\tex\genfmt\musixtex

Then, I unzipped all the content of musixtex.zip to
C:\texmf\tex\plain\musixtex.

From C:\texmf\tex\plain\musixtex, I moved some files=A0:

	makefmt.bat to C:\texmf\tex\genfmt\musixtex,

	all the musixdoc files to C:\texmf\doc\musixtex,

	the examples files (musixexa.zip) to
C:\texmf\tex\plain\musixtex\examples

	the *.mf files to C:\texmf\fonts\source\musixtex

I copied all the remaining files (warning=A0: copy, not move=A0!) to the
C:\texmf\tex\latex\musixtex directory

I put the musixtex.exe and musixtex.bat files in the C:\texmf\miktex\bin
directory


Finally, some editing tasks=A0:

1) in MAKEFMT.BAT (now in C:\texmf\tex\genfmt\musixtex),
replace the tex386 line by=A0:
initex &plain musixtex.ins %1 %2 %3 %4 %5 %6 %7 %8 %9

and the copy line by=A0:
	copy musixtex.fmt C:\texmf\miktex\fmt


2) Here is my MUSIXTEX.BAT (now in C:\texmf\miktex\bin )=A0:
=3D=3D=3D=3D=3D=3D=3D=3D=3D
if exist %1.tex goto tex
goto end

:tex
if exist %1.mx1 del %1.mx1
if exist %1.mx2 del %1.mx2
tex &musixtex %1
if errorlevel 2 goto end

musixflx %1
if errorlevel 1 goto end

tex &musixtex %1

:end
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
And that's all

This installation allows texing or latexing as you will...

Happy musixtexing=A0!
----------------------------------------------------------
Dr Fran=E7ois-Nicolas Frapp=E9, MD
Institut de Protection et de S=FBret=E9 Nucl=E9aire
DPHD/SDOS
BP6
92265 Fontenay aux Roses Cedex
FRANCE
Tel:  + 33 1 46 54 80 43
Fax: + 33 1 46 54 93 65
e-mail=A0: frappe@ipsn.fr


	----------
	De:  Frederic Bazin[SMTP:Frederic.Bazin@ensisun.imag.fr]
	Date d'envoi:  mardi 17 mars 1998 09:55
	A: mutex@gmd.de
	Objet:  configuration with miktex

	I'v just downloaded the Musixtex package but I can't configure
to work
	with my tex package
	wich is Miktex. Can anybody help me ?


From mutex-owner@mail2.gmd.de Wed Mar 18 10:58:30 1998
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Date: Wed, 18 Mar 1998 11:58:30 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199803181058.LAA02243@sunick.gmd.de>
To: mutex@gmd.de, suamor@student.uni-tuebingen.de
Subject: Re: PMX slurs: Request for feedback
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> From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
> Date: Tue, 17 Mar 1998 22:29:26 -0500
  
> Ok, here is my source with the help of your suggestions (PMX):

So I've to provide more help :-)

> Don or any other one ? I have hard-coded the second ornament, is there
> any better way of doing it ? (macro definition would be a method for
> the height, but it's difficult, because the heught depend on the name
> of the note...)

Here is a version which uses the pitches generated by PMX instead of
using "hard" numbers as pitches, as well for the "...."-ornament
as for the "beam" indicating the repeat. (Imho a correct musical
notation would be to combine both modifiers).

Both use the tricks redefining an existing MusiXTeX-macro, restoring
it lateron, using grouping "{...}" to keep possible pitch octaviation
local, ....                                             -- Werner

% 3 Recitativo
1 1 4 4 0 6 0 -3
0 7 20 0

t
./
%!! please do not propagate PMX-sources without a path line! Maybe you better
%!! change your private PMX-version to ignore that line.
%--\\\nonstopmode\
%--\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
%--\\def\frp#1{\zt{#1}{\lpz c}\zt{#1}{\kern5pt\lpz c}\zt{#1}{\kern10pt\lpz c}\zt{#1}{\kern15pt\lpz c}}\
%--\\def\frq#1{\zt{#1}{\upz c}\zt{#1}{\kern5pt\upz c}\zt{#1}{\kern10pt\upz c}\zt{#1}{\kern15pt\upz c}}\

% save old meaning of lpz and upz
\\let\lpzsav\lpz\let\upzsav\upz\
% define locally new lpz and upz so that it
%  restores the old meaning
%  puts the accents four times centered around the note head
%    three times without propagating possible octaviation
\\def\newpz{\
\\def\lpz##1{\let\lpz\lpzsav\let\upz\upzsav{\
\\loffset{.75}{\lpz{##1}}}{\loffset{.25}{\lpz{##1}}}{\roffset{.25}{\lpz{##1}}}\roffset{.75}{\lpz{##1}}}\ 
\\def\upz##1{\let\lpz\lpzsav\let\upz\upzsav{\
\\loffset{.75}{\upz{##1}}}{\loffset{.25}{\upz{##1}}}{\roffset{.25}{\upz{##1}}}\roffset{.75}{\upz{##1}}}}\

% save old meaning of hl and hu
\\let\hlsav\hl\let\husav\hu\
% define new hu and hl so that it
%  restores the old meaning of hu and hl
%  puts a beam with slope 9 to the stem of the half note without propagating octaviation
%  posts the requested half note
\\def\hrep#1{\
\\def\hu##1{\let\hu\husav\let\hl\hlsav\lower 1\Interligne\hbox{\loffset{.5}{{\ibu#1{##1}9}}\roffset{.5}{\tbu0}}\hu{##1}}\
\\def\hl##1{\let\hu\husav\let\hl\hlsav\raise 1\Interligne\hbox{\loffset{.5}{{\ibl#1{##1}9}}\roffset{.5}{\tbl0}}\hl{##1}}}\

h
3. Recitativo
%rm4 | r2 r8 c85 s b84 a s | g s a g f s e s a g f s | e s f e d s \frp0\ c24 | \frp0\ c X1S \frp0\ c X1S | \frp0\ c X1S d24f op /
rm4 | r2 r8 c85 s b84 a s | g s a g f s e s a g f s |
 e s f e d s \newpz\ c24 o. | \newpz\ c o. \newpz\ c o. | \newpz\ c o. d24f op /
%bar 12
rp | r8 f85 s e df s c s b84 a g s | f o. f o. an o. a o. c o. c o. e o. e o. |
 c o. c o. an o. a o. f o. f o. gf o. g o. | e24 op r2 | r2 r8 b15 s f s d85f f15 s d s /
%bar 16
%b84 b14 s f s d84f f14 s d s b83 b84 o. b o. b o. | \frp5\ b24u X1S \frq0\ c25f o. X1S | \frq6\ cf X1S c25 op |
% rp X1S | r2 r4 r8 e85x3 s d e s | b84 b r8 bx3n+0+0f s a b s gf g r8 g8x3 s f g s /
b84 b14 s f s d84f f14 s d s b83 b84 o. b o. b o. | \newpz\ b24u o. \newpz\ c25f o. | \newpz\ cf o. c25 op |
 rp X1S | r2 r4 r8 e85x3 s d e s | b84 b r8 bx3n+0+0f s a b s gf g r8 g8x3 s f g s /
%bar 22
e8 ex3n s d e s gf gx3n s f g s b bx3n s an b s e85 ex3n s d e s | gf gx3n s f g s b15 b gf g e e g g e e b14 b |
 gf g b b g g e e d24f op /
%bar 25
%r2 r4 r8 a85x3n+0+0f s g f s | e dfx3n s c b4 s a a85x3n s g f s e dfx3n s c b4 s a ax3n s g f s |
% e dfx3n s c b3 s ad a14 a83d a13 a8d a14 | \loffset{0.5}{\ibu0N9}\roffset{0.5}{\tbu0}\ a23 a /
r2 r4 r8 a85x3n+0+0f s g f s | e dfx3n s c b4 s a a85x3n s g f s e dfx3n s c b4 s a ax3n s g f s |
 e dfx3n s c b3 s ad a14 a83d a13 a8d a14 | \hrep0\ a2- \hrep0\ a++ /

From mutex-owner@mail2.gmd.de Wed Mar 18 14:12:21 1998
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To: mutex@gmd.de
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Subject: notes in text (and brackets)
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Werner Icking wrote:

>\input musixtex
>This is a quarter note \qu0.
>\bye
>
>I get two error messages for line 2 (\nblines undefined; missing number).
>
>The errors disappear if I insert somewhere but before \qu0  "\znotes\en":
>
>\input musixtex
>\znotes\en This is a quarter note \qu0.
>\bye

I confirmed this behavior for myself and it is as Werner says. OpusTeX,
however,  does not produce the same result as MusiXTeX in this case.

I tried Werner's example in OpusTeX and got:

! You can't use `\raise' in vertical mode.

This warning usually means you have to get rid of an old *.ox2 (or *.mx2)
but this is not the case as I'm not generating *.ox or *.mx files.

Also, I could not, using Werner's method, get OpusTeX or MusiXTeX to place
the notes in the bracket text.  Any other ideas out there?

Thank you,

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Wed Mar 18 17:26:44 1998
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From: dsimons@logicon.com (Don Simons)
Subject: \centerbar (was Re: PMX slurs: Request for feedback)
To: mutex@gmd.de
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In a recent posting Werner presented a revised PMX source for R. 
Katzmann's Recitativo score.  After TeX'ing, in bar 19 the whole-bar 
rest does not come out properly centered.  The basic problem is caused 
by PMX, Werner, or Reinhard; it is a long-standing error in the 
MusiXTeX macro \centerbar, which does not properly center a symbol 
between bar lines.  It is not possible to fix this directly with the 
PMX X command.  There is a kluge available using the pmx.tex macro 
\CenterBar#1#2#3, where #2 and #3 are extra spaces to be added at the 
left and right respectively, in points.  E.g., 

\\def\centerbar#1{\CenterBar{#1}{0}{5}}\

But it would be preferable to fix or redefine \centerbar to behave 
correctly.  As I recall the problem had to do with \cut@v.

--Don Simons


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Subject: notes in text (and brackets)
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Werner Icking wrote:

>\input musixtex
>This is a quarter note \qu0.
>\bye
>
>I get two error messages for line 2 (\nblines undefined; missing number).
>
>The errors disappear if I insert somewhere but before \qu0  "\znotes\en":
>
>\input musixtex
>\znotes\en This is a quarter note \qu0.
>\bye

I confirmed this behavior for myself and it is as Werner says. OpusTeX,
however,  does not produce the same result as MusiXTeX in this case.

I tried Werner's example in OpusTeX and got:

! You can't use `\raise' in vertical mode.

This warning usually means you have to get rid of an old *.ox2 (or *.mx2)
but this is not the case as I'm not generating *.ox or *.mx files.

Also, I could not, using Werner's method, get OpusTeX or MusiXTeX to place
the notes in the bracket text.  Any other ideas out there?

Thank you,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Wed Mar 18 21:29:17 1998
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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de
Subject: Re: \centerbar (was Re: PMX slurs: Request for feedback)
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This is a Mime message, which your current mail reader
may not understand. Parts of the message will appear as
text. To process the remainder, you will need to use a Mime
compatible mail reader. Contact your vendor for details.

--IMA.Boundary.618752098
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Oops!!  Sorry.

I meant to write

In a recent posting Werner presented a revised PMX source for R. 
Katzmann's Recitativo score.  After TeX'ing, in bar 19 the whole-bar 
rest does not come out properly centered.  The basic problem

was not caused 
^^^^^^^^^^^^^^

by PMX, Werner, or Reinhard; it is a long-standing error in the 
MusiXTeX macro \centerbar, which does not properly center a symbol 
between bar lines.  It is not possible to fix this directly with the 
PMX X command.  There is a kluge available using the pmx.tex macro 
\CenterBar#1#2#3, where #2 and #3 are extra spaces to be added at the 
left and right respectively, in points.  E.g., 

\\def\centerbar#1{\CenterBar{#1}{0}{5}}\

But it would be preferable to fix or redefine \centerbar to behave 
correctly.  As I recall the problem had to do with \cut@v.

--Don Simons

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From mutex-owner@mail2.gmd.de Thu Mar 19 08:12:35 1998
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From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: slur on two staffs
Date: Thu, 19 Mar 1998 09:12:35 +0100
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Dit is een meerdelig bericht in MIME-indeling.

------=_NextPart_000_0048_01BD5317.27E4C820
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	charset="iso-8859-1"
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Dear musixtexlovers,

could anyone help me to make the following slur right?
this is my best trying:

% Is there a better way to draw the slur better and nicer ?
\hsize 60mm
\geometricskipscale
\largemusicsize
\setinterinstrument1{2\Interligne}
\generalsignature{1}
\setclef1{60}
\setstaffs1{2}
\sepbarrules
\bigaccid\startmuflex\startpiece\systemnumbers
%27 (Tollite hostias, Camille Saint-Sa\"ens (1835-1921})
%
\Notes\isslurd0K\Dqbu KM\ibu0k3\qb0a|\en%
\Notes\sk\sk\midslur{-1}\tslur0l|\qb0{df}\tbu0\qb0g\en\bar%
%
\mulooseness-2\Stoppiece\endmuflex\eject\bye

Thanks,

Andre Van Ryckeghem
email: avr@kh.khbo.be

------=_NextPart_000_0048_01BD5317.27E4C820
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.71.1712.3"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>Dear =
musixtexlovers,</FONT></DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>could anyone help me to =
make the=20
followin<FONT color=3D#000000>g</FONT> slur right?</FONT></DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2></FONT><FONT =
color=3D#000000 face=3DArial=20
size=3D2>this is my best trying:</FONT></DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>% Is there a better way =
to draw the=20
slur better and nicer ?<BR>\hsize=20
60mm<BR>\geometricskipscale<BR>\largemusicsize<BR>\setinterinstrument1{2\=
Interligne}<BR>\generalsignature{1}<BR>\setclef1{60}<BR>\setstaffs1{2}<BR=
>\sepbarrules<BR>\bigaccid\startmuflex\startpiece\systemnumbers<BR>%27=20
(Tollite hostias, Camille Saint-Sa\&quot;ens=20
(1835-1921})<BR>%<BR>\Notes\isslurd0K\Dqbu=20
KM\ibu0k3\qb0a|\en%<BR>\Notes\sk\sk\midslur{-1}\tslur0l|\qb0{df}\tbu0\qb0=
g\en\bar%<BR>%<BR>\mulooseness-2\Stoppiece\endmuflex\eject\bye<BR></FONT>=
&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>Thanks,</FONT></DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>Andre Van =
Ryckeghem</FONT></DIV>
<DIV><FONT color=3D#000000 face=3DArial size=3D2>email: <A=20
href=3D"mailto:avr@kh.khbo.be">avr@kh.khbo.be</A></FONT></DIV></BODY></HT=
ML>

------=_NextPart_000_0048_01BD5317.27E4C820--


From mutex-owner@mail2.gmd.de Thu Mar 19 12:04:43 1998
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Don Simons wrote:

> Oops!!  Sorry.
>
> I meant to write
>
> In a recent posting Werner presented a revised PMX source for R.
> Katzmann's Recitativo score.  After TeX'ing, in bar 19 the whole-bar
> rest does not come out properly centered.  The basic problem
>
> was not caused
> ^^^^^^^^^^^^^^
>
> by PMX, Werner, or Reinhard; it is a long-standing error in the
> MusiXTeX macro \centerbar, which does not properly center a symbol
> between bar lines.  It is not possible to fix this directly with the
> PMX X command.  There is a kluge available using the pmx.tex macro
> \CenterBar#1#2#3, where #2 and #3 are extra spaces to be added at the
> left and right respectively, in points.  E.g.,
>
> \\def\centerbar#1{\CenterBar{#1}{0}{5}}\
>
> But it would be preferable to fix or redefine \centerbar to behave
> correctly.  As I recall the problem had to do with \cut@v.

If somebody gives me a reliable patch, I shall install it in musixtex. Bu=
t, please,
test it thoroughly before.

>
>
> --Don Simons
>
>   ---------------------------------------------------------------------=
---
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--
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  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
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  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax: (33)1.60.10=
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From mutex-owner@mail2.gmd.de Fri Mar 20 09:40:16 1998
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Date: Fri, 20 Mar 1998 10:40:16 +0100
From: Jan-Mark Batke <jmb@pp-ulm.de>
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Subject: A musixtex command reference
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Hi there!

After trying a few MusiXTeX commands I started writing a command
reference manual. I attached it to this mail. What do you think  about
it? Is there already an existing?

Further I am working on an ELisp package for use with (X)Emacs to make
typesetting MusiXTeX a little bit easier. Is  there already an existing
package? (I think am going to release my version next week, its still
confusing to use yet...)

Have a nice weekend

Jan-Mark

--



--------------287E538733B6BFC76DB71635
Content-Type: application/x-tex; name="musix-ref.tex"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="musix-ref.tex"

\documentclass[a4paper]{article}
\usepackage[germanpar]{anysize}
\marginsize{2cm}{2cm}{2cm}{2cm}
%\parindent=0cm
%(local-set-key [f1] (read-kbd-macro "\\verb!! <left>"))

\begin{document}


\title{MusiX\TeX-Command Reference}
\author{Jan-Mark Batke\\\texttt{jmb@pp-ulm.de}}
\date{March 15, 1998; Rev.: \today}
\maketitle

\begin{abstract}
  This is a ``reference'' manual for the most common
  MusiX\TeX-commands. It is \textbf{not complete}, but you might find
  it useful.
  Send any comments/suggestions/additions to \texttt{jmb@pp-ulm.de}.
\end{abstract}

\section{Heading statements}


\begin{tabular}{|l|l|}
\hline
\verb!\input musixtex!&
loads musixtex macros \\
\verb!\input musixadd!&
if more then 6 instruments\\
\hline
\end{tabular}

\subsection{Initalisation}

\begin{tabular}{|l|l|}
\hline%---------------------------------------
\verb!\instrumentnumber{n}!&
sets number of instruments $n$\\
\verb!\setstaffs{n}{p}!&
sets number of staffs $p$ for instrument $n$\\
\hline%---------------------------------------
\verb!\setclef{n}{s1s2s3s4}!&
sets clef $s$ for instrument $n$ for staff 1, 2, 3, 4\\ 
\verb!\treble!  & violin clef\\
\verb!\alto!    & alto clef\\
\verb!\bass!    & bass clef\\
\hline%---------------------------------------
\verb!\generalsignature{s}!&
\parbox[t]{5cm}{sets signature;\\
  $s > 0$ number of sharps,\\
  $s < 0$ number of flats}\\
\hline%---------------------------------------
\verb!\generalmeter{m}!&
sets meter $m$\\
\verb!\meterfrac{n}{m}! & set the fraction $n/m$\\
\verb!\meterC!  & C\\
\verb!\reverseC!& reverse C\\
\verb!\allabreve! & alla breve\\
\verb!\reverseallabreve! & reverse alla breve\\
\verb!\meterplus! & for usage with \verb!\meterfrac!\\
\hline%---------------------------------------
\verb!\nostartrule!&
no rule at the beginning of the system\\
\verb!\startrule!&
a rule at the beginning of the system\\
\hline%---------------------------------------
\verb!\setname{n}{name}! & sets the $name$ of instrument number $n$\\
\hline
\end{tabular}


\subsection{Music Sizes}

\begin{tabular}{|l|l|}
\hline
\verb!\smallmusicsize! & 16pt                   \\
\verb!\normalmusicsize!& 20pt (default)         \\
\verb!\largemusicsize! & 24pt                   \\
\verb!\Largemusicsize! & 28.8pt                \\
\hline
\end{tabular}


\subsection{Changing staff size}

\begin{tabular}{|l|l|}
\hline
\verb!\setsize{n}{size}! & set instrument $n$ to $size$\\
\hline
\verb!\tinyvalue! & factor 0.64 \\
\verb!\smallvalue! & factor 0.80 \\
\verb!\normalvalue! & factor 1 (default)\\
\verb!\largevalue! & factor 1.2 \\
\verb!\Largevalue! & factor 1.44 \\
\hline
\end{tabular}

\section{Starting your masterpiece}

\begin{tabular}{|l|l|}
\hline
\verb!\startmuflex! & starts muflex; startpiece does that, two.\\
\verb!\startpiece! & initiate first set off staffs\\
\hline
\end{tabular}


\subsection{Writing Notes}

\begin{tabular}{|l|l|}
\hline
command & spacing for \dots\\
\hline
\verb!\znotes!& --- \\
\verb!\notes!& 16th \\
\verb!\notesp!& 16th pointed, 8th triplet\\
\verb!\Notes!& 8th \\
\verb!\Notesp!& 8th pointed, 8th triplet\\
\verb!\NOtes!& 4th \\
\verb!\NOtesp!& 4th pointed, 8th triplet\\
\verb!\NOTes!& 2th \\
\verb!\NOTesp!& 2th pointed, 8th triplet\\
\verb!\NOTEs!& 1th \\
\hline
\verb!\enotes! & close spacing, abr. \verb!\en!\\
\hline
\verb!&! & next instrument\\
\verb!|! & next staff\\
\hline
\end{tabular}
\begin{tabular}{|l|l|}
\hline
\verb!\elemskip! & spatial unit\\
\verb!\noteskip! & spacing of one note\\
\verb!\beforeruleskip! & space before a barline\\
\verb!\afterruleskip!  & space after a barline\\
\hline
\verb!\multnoteskip{m}! & multiply \verb!\noteskip! by $m$ within \verb!\notes!-env\\
\verb!\scale{m}! & scale all \verb!\noteskip!s \\
\hline
\end{tabular}



\section{Writing notes}

\subsection{Spacing notes}

\begin{tabular}{|l|l|l|l|}
\hline
up             & low            & automatic      & note at pitch $p$\\
\hline
\verb!\wh{p}!  &                &                &whole \\
\verb!\hu{p}!  & \verb!\hl{p}!  & \verb!\ha{p}!  &half \\
\verb!\qu{p}!  & \verb!\ql{p}!  & \verb!\qa{p}!  &quarter \\
\verb!\cu{p}!  & \verb!\cl{p}!  & \verb!\ca{p}!  &8th \\
\verb!\ccu{p}! & \verb!\ccl{p}! & \verb!\cca{p}! &16th \\
\verb!\cccu{p}! & \verb!\cccl{p}! & \verb!\ccca{p}! &32th \\
\verb!\ccccu{p}! & \verb!\ccccl{p}! & \verb!\cccca{p}! &64th \\
\hline
\end{tabular}
\begin{tabular}{|l|l|}
\hline
\multicolumn{2}{|c|}{steamless notes}\\
\hline
\verb!\nh{p}!   & half note\\
\verb!\nq{p}!   & quarter note\\
\hline
\end{tabular}


\subsection{Non-spacing chord notes}

\begin{tabular}{|l|l|}
\hline
\verb!\zh{p}! & half note at pitch $p$\\
\verb!\zq{p}! & dto. quarter\\
\hline
\end{tabular}
\begin{tabular}{|l|l|l|}
\hline
left    & right & note head shifted\\
\hline
\verb!\lw{p}!    & \verb!\rw{p}! & whole\\
\verb!\lh{p}!    & \verb!\rh{p}! & half\\
\verb!\lq{p}!    & \verb!\rq{p}! & quarter\\
\hline
\end{tabular}

\begin{tabular}{|l|l|l|}
\hline
up      & low   & single note\\
\hline
\verb!\zhu{p}!   & \verb!\zhl{p}! & half\\
\verb!\zqu{p}!   & \verb!\zql{p}! & quarter\\
\verb!\zcu{p}!   & \verb!\zcl{p}! & eights\\
\verb!\zccu{p}!   & \verb!\zccl{p}! & 16th\\
\verb!\zcccu{p}!   & \verb!\zcccl{p}! & 32th\\
\verb!\zccccu{p}!   & \verb!\zccccl{p}! & 64th\\
\hline
\verb!\rhu{p}!    & \verb!\rhl{p}! & right shifted half\\
\verb!\rqu{p}!    & \verb!\rql{p}! & right shifted quarter\\
\verb!\rcu{p}!    & \verb!\rcl{p}! & right shifted eights\\
\hline
\verb!\lhu{p}!    & \verb!\lhl{p}! & left shifted half\\
\verb!\lqu{p}!    & \verb!\lql{p}! & left shifted quarter\\
\verb!\lcu{p}!    & \verb!\lcl{p}! & left shifted eights\\
\hline
\end{tabular}
\begin{tabular}{|l|l|}
\hline
\verb!\zqb{p}!  & note belonging to a beam, but no spacing\\
\verb!\zw{p}!   & whole note, no spacing\\
\verb!\zwq{p}!  & abitrary duration note\\
\hline
\verb!\zbreve{p}! & breve note\\
\verb!\zlonga{p}! & longa note\\
\verb!\zmaxima{p}!& maxima note\\
\hline
\end{tabular}


\subsection{Pointed notes}

\begin{tabular}{|l|l|}
\hline
\verb!\pt{p}!   & point after note with pitch $p$\\
\verb!\ppt{p}!  & two points\\
\verb!\pppt{p}! & three points\\
\verb!\lpt{p}!   & lower point\\
\verb!\lppt{p}! & two lower points\\
\hline
\end{tabular}


\section{Beams}


\subsection{Fixed Beams}


\subsubsection{Initiation}

\begin{tabular}{|l|l|l|}
\hline
lower    & upper & beam number $n$ at pitch $p$ with slope $s$\\
\hline
\verb!\ibl{n}{p}{s}!    &\verb!\ibu{n}{p}{s}!    & single       \\
\verb!\ibbl{n}{p}{s}!    &\verb!\ibbu{n}{p}{s}!    & double       \\
\verb!\ibbbl{n}{p}{s}!    &\verb!\ibbbu{n}{p}{s}!    & triple       \\
\verb!\ibbbbl{n}{p}{s}!    &\verb!\ibbbbu{n}{p}{s}!    & quadruple     \\
\hline
\end{tabular}


\subsubsection{Notes}

\begin{tabular}{|l|l|}
\hline
\verb!\qb{n}{p}! & a beamed note to beam number $n$ at pitch $p$\\
\verb!\zqb{n}{p}! & same no space afterwards\\
\hline
\end{tabular}

\subsubsection{Termination}

\begin{tabular}{|l|l|l|}
\hline
lower   & upper & \\
\hline
\verb!\tbl{n}! & \verb!\tbu{n}! & terminates beam number $n$\\
\hline
\end{tabular}


\subsubsection{Increasement}

\begin{tabular}{|l|l|l|}
\hline
lower   & upper & increased beam no $n$ by \\
\hline
\verb!\nbbl{n}!& \verb!\nbbu{n}! & one\\
\verb!\nbbbl{n}!& \verb!\nbbbu{n}! & two\\
\verb!\nbbbbl{n}!& \verb!\nbbbbu{n}! & three\\
\hline
\end{tabular}


\subsubsection{Descreasement}

\begin{tabular}{|l|l|l|}
\hline
lower   & upper & decreased beam no $n$ by \\
\hline
\verb!\tbbl{n}!& \verb!\tbbu{n}! & one\\
\verb!\tbbbl{n}!& \verb!\tbbbu{n}! & two\\
\hline
\end{tabular}


\section{Rests}

\subsection{Ordinary rests}

\begin{tabular}{|l|l|}
\hline
\verb!\PAUSe!   & long\dots\\
\verb!\PAuse!   & also long\\
\verb!\pause!   & full bar\\
\verb!\pausep!   & pointed full bar\\
\verb!\hpause!   & half bar\\
\verb!\hpausep!   & pointed half bar\\
\verb!\qp!   & quarter \\
\verb!\ds!   & eight \\
\verb!\qs!   & 16th \\
\verb!\qqs!   & 32th \\
\hline
\end{tabular}


\subsection{Lifted rests}

\begin{tabular}{|l|l|}
\hline
\verb!\liftpause{n}! & lifted by $n$ staff line intervalls\\
\verb!\lifthpause{n}! & hanging lifted \dots\\
\hline
\end{tabular}


\subsection{Bar centered rests}

Construct with:
\begin{verbatim}
\def\atnextbar{\znotes ...\enotes}
\end{verbatim}
before \verb!\bar! outside \verb!\notes...\enotes!.

\begin{tabular}{|l|l|}
\hline
\verb!\centerbar!  & centered bar\\
\verb!\centerpause!  & pause\\
\verb!\centerhpause!  & half pause\\
\verb!\centerPAuse!  & long pause\\
\verb!\centerPAUSE!  & very long pause\\
\hline
\end{tabular}


\section{Spacing commands}

\begin{tabular}{|l|l|}
\hline
\verb!\sk! & skip one \verb!\noteskip! forward\\
\verb!\hsk! & skip half \verb!\noteskip! forward\\
\verb!\bsk! & skip one \verb!\noteskip! back\\
\hline
\verb!\roff{arg}! & shift right $arg$ument\\
\verb!\loff{arg}! & shift left $arg$ument\\
\verb!\hroff{arg}! & half shift right $arg$ument\\
\verb!\hloff{arg}! & half shift left $arg$ument\\
\hline
\verb!\nspace! & skip hard space of half notehead outside \verb!\notes..\en!-env\\
\verb!\qspace! & dto. skip hard space of one\\
\hline
\verb!\addspace{l}! & adds space of lenght $l$\\
\verb!\hardspace{d}!& insert hardspace of \TeX-dimension $d$\\
\verb!\off{D}!      & general spacing command to insert dimesion $D$\\
\hline 
\end{tabular}

\section{Accidentals}

\begin{tabular}{|l|l|l|l|l|l|}
\hline
flat    & sharp & natural & doubleflat & doublesharp & \\
\hline
\verb!\fl{p}! &
\verb!\sh{p}! &
\verb!\na{p}! &
\verb!\dfl{p}! &
\verb!\dsh{p}! &
normal\\
\verb!\lfl{p}! &
\verb!\lsh{p}! &
\verb!\lna{p}! &
\verb!\ldfl{p}! &
\verb!\ldsh{p}! &
left\\
\verb!\bigfl{p}! &
\verb!\bigsh{p}! &
\verb!\bigna{p}! &
\verb!\bigdfl{p}! &
\verb!\bigdsh{p}! &
big\\
\verb!\smallfl{p}! &
\verb!\smallsh{p}! &
\verb!\smallna{p}! &
\verb!\smalldfl{p}! &
\verb!\smalldsh{p}! &
small\\
\verb!\upperfl{p}! &
\verb!\uppersh{p}! &
\verb!\upperna{p}! &
&
&
upper\\
\verb!\cfl{p}! &
\verb!\csh{p}! &
\verb!\cna{p}! &
\verb!\cdfl{p}! &
\verb!\cdsh{p}! &
cautionary\\
\hline
\end{tabular}

\begin{tabular}{|l|l|}
\hline
\verb!\bigaccid!        & force big accidentals\\
\verb!\smallaccid!      & force small accidentals\\
\verb!\varaccid!        & restore variable accidentals\\
\verb!\accshift=dim!    & \TeX-$dimension$ (default $0$pt)\\
\hline
\end{tabular}

\section{Transposition}

\begin{tabular}{|l|l|}
\hline
\verb!\transpose=n! & set transpose register to $n$ \\
\verb$!$        & reset transpose register to $0$\\
\verb!'!        & inc transpose register by $8$\\
\verb!`!        & dec transpose register by $8$\\
\hline
\end{tabular}



\section{Slurs and Ties}


\subsection{Slur initiation}

\begin{tabular}{|l|l|l|}
\hline
up                      & down                    & \\
\hline
\verb!\isluru{n}{p}!    & \verb!\islurd{n}{p}!    & init slur number
                                                    $n$ at pitch $p$
                                                    \\
\verb!\issluru{n}{p}!   & \verb!\isslurd{n}{p}!   & small slur\dots\\
\verb!\ibsluru{n}{p}!   & \verb!\ibslurd{n}{p}!   & beam  slur\dots\\
\hline
\end{tabular}


\subsection{Slur termination}

\begin{tabular}{|l|l|l|}
\hline
up                      & down                    & \\
\hline
\verb!\tslur{n}{p}!  &  & terminates slur number $n$ at pitch $p$ \\
\verb!\tsslur{n}{p}! &  & terminates small slur number $n$ at pitch $p$ \\
\verb!\tbsluru{n}{p}!   & 
\verb!\tbslurd{n}{p}!   & 
terminate beam slur\dots\\
\hline
\end{tabular}


\subsection{Ties}

\begin{tabular}{|l|l|l|}
\hline
up & down & \\
\hline
\verb!\itieu{n}{p}! & \verb!\itied{n}{p}! & starts a tie number $n$ at
pitch $p$\\
\verb!\ttie{n}! & & terminates tie $n$\\ 
\hline
\verb!\itenu{n}{p}! & \verb!\itenl{n}{p}! & starts a small tie number $n$ at
pitch $p$\\
\verb!\tten{n}! & & terminates small tie $n$\\ 
\hline
\end{tabular}


\subsection{Modifying slur properties}

\begin{tabular}{|l|l|}
\hline
\verb!\dotted! & prefix command for dotted slurs\\
\hline
\verb!\midslur{h}! & change vertical displacement $h$\\
\verb!\curve{h}{i}{j}! & sets:\\
&$h$ vertical deviation\\
&$i$ inital gradient\\
&$j$ final gradient\\
\hline
\verb!\breakslur{n}{p}! & sets termination height of slur $n$ to pitch
$p$\\
\verb!\Liftslur{n}{p}!  & \dots\\
\hline
\verb!\invertslur{n}!   & invert slur $n$\\
\hline
\end{tabular}


\section{Bars}

\begin{tabular}{|l|l|}
\hline
\verb!\bar! & generates a bar line\\
\hline
\verb!\def\freqbarno{f}! & sets barnumber frequency $f$\\
\verb!\nobarnumbers!    & inhibit any bar numbers\\
\verb!\barnumbers!      & restore bar numbering\\
\hline
\verb!\barno!   & the barnumber counter\\
\hline
\verb!\startbarno=n!    & sets startbarnumber to $n$\\
\hline
\verb!\systemnumbers!   & only barnumbers at left top of system\\
\hline
\verb!\def\raisebarno{d}!       & raise barnumber for dimsion $d$\\
\verb!\def\shiftbarno{d}!       & shift barnumber for dimsion $d$\\
\verb!\def\writebarno{cmd}!     & macro to write barnumbers\\
\hline
\verb!\sepbarrules!     & discontious bar lines\\
\verb!\stdbarrules!     & standard bar lines (continious)\\
\hline
\end{tabular}


\section{Repeats}

\begin{tabular}{|l|l|}
\hline
\verb!\leftrepeat! & left repeat bar\\
\verb!\rightrepeat! & right repeat bar\\
\verb!\leftrightrepeat! & leftright repeat bar\\
\hline
\verb!\setvolta{text}! & set a volta box this bar\\
\verb!\Setvolta{text}! & start a volta box\\
\verb!\endvolta!       & end volta box\\
\hline
\verb!\def\raisevoltabox{dim}! & set up height of volta box\\
\verb!\def\voltadot{.}!& set dot in volta text\\
\hline
\end{tabular}
\begin{tabular}{|l|l|}
\hline
\verb!\coda{p}! & coda sign at pitch $p$\\
\verb!\Coda{p}! & Coda sign at pitch $p$\\
\verb!\segno{p}!& segno sign at pitch $p$\\
\verb!\Segno!   & Segno sign\\
\hline
\end{tabular}

\begin{tabular}{|l|l|}
\hline
\verb!\boxit{text}! & boxed text\\
\verb!\circleit{text}! & circled text\\
\hline
\verb!\boxitsep=dim! & set \TeX-dimension\\
\hline
\end{tabular}


\section{Small and tiny notes}

\begin{tabular}{|l|l|}
\hline
\verb!\smallnotesize! & switch to small notesize\\
\verb!\tinynotesize!  & switch to tiny notesize\\
\verb!\normalnotesize!& switch to normal notesize\\
\hline
\end{tabular}

\begin{tabular}{|l|l|l|}
\hline
\verb!\grcu{p}! & \verb!\grcl{p}! & grace note up or low\\
\hline
\end{tabular}
\section{Managing the score layout}


\subsection{Line and page breaking}

\begin{tabular}{|l|l|}
\hline
\verb!\bar!     & barline, optional linebreak\\
\verb!\xbar!    & dto., forbid linebraek\\
\verb!\zbar!    & no barline, optional linebreak\\
\hline
\verb!\alaligne!        & barline, force linebreak\\
\verb!\alapage!         & dto. plus new page\\
\verb!\zalaligne!       & break line not at a bar\\
\verb!\zalapage!        & dto. plus new page\\
\hline
\verb!\Endpiece!        & heavy final double bar\\
\verb!\Stoppiece!       & dto.\\
\verb!\endpiece!        & simple bar at end\\
\verb!\stoppiece!       & dto.\\
\verb!\zstoppiece!      & end without a barline\\
\hline
\verb!\contpiece!       & continue a stopped piece\\
\verb!\Contpiece!       & dto. with changed number of instruments\\
\hline
\verb!\doublebar!       & sets a thin double bar\\
\verb!\setdoublebar!    & dto.\\
\verb!\setdoubleBAR!    & heavy double bar\\
\hline
\end{tabular}


\section{Miscellaneous}

\begin{tabular}{|l|l|c|}
\hline
command & & justification\\
\hline
\verb!\zcharnote{p}{text}! & put $text$ at pitch $p$ & right\\
\verb!\lcharnote{p}{text}! & put $text$ at pitch $p$ & left\\
\verb!\ccharnote{p}{text}! & put $text$ at pitch $p$ & centered\\
\hline
\verb!\zchar{n}{text}! & put $text$ at number $n$ & right\\   
\verb!\lchar{n}{text}! & put $text$ at number $n$ & left\\    
\verb!\cchar{n}{text}! & put $text$ at number $n$ & centered\\
\hline
\verb!\zmidstaff{text}! & put $text$ at middle of two staffs & right\\   
\verb!\lmidstaff{text}! & put $text$ at middle of two staffs & left\\    
\verb!\cmidstaff{text}! & put $text$ at middle of two staffs & centered\\
\hline
\end{tabular}


\subsection{Accents}

\begin{tabular}{|l|l|l|}
\hline
upper   & lower & accent at pitch $p$\\
\hline
\verb!\upz{p}!     & \verb!\lpz{p}!     & pizzicato           \\
\verb!\usf{p}!     & \verb!\lsf{p}!     & sforzando           \\
\verb!\ust{p}!     & \verb!\lst{p}!     & staccato or portato \\
\verb!\uppz{p}!    & \verb!\lppz{p}!    & strong pizzicato    \\
\verb!\usfz{p}!    & \verb!\lsfz{p}!    & sforzato            \\
\verb!\upzst{p}!   & \verb!\lpzst{p}!   & tenuto/staccato     \\  
\hline
\end{tabular}
\begin{tabular}{|l|l|}
\hline
\verb!\flageolett{p}!    & put a circle at pitch $p$\\
\verb!\upbow{p}!         & for strings\dots\\
\verb!\downbow{p}!       & for strings\dots\\
\hline
\end{tabular}

\verb!wholeshift{text}! centers $text$ above whole notes.

Prefix \verb!b! for accent commands for automatic beam positioning\dots


\subsection{Dynamic Signs}

\begin{tabular}{|l|l|}
\hline
\verb!\crescendo{l}!    & crescendo with length $l$\\
\verb!\decrescendo{l}!    & decrescendo with length $l$\\
\hline
\verb!\icresc!  & init crescendo or decrescendo\\
\verb!\tcresc!  & terminate crescendo\\
\verb!\tdecresc!& terminate decrescendo\\
\hline
\verb!\p!       & p(ower) :-)    \\
\verb!\pp!       & pp     \\
\verb!\ppp!       & ppp     \\
\verb!\pppp!       & pppp     \\
\verb!\mp! & m(ore) p(ower)\\
\verb!\mf! & m(ore) f(ast)\\
\verb!\f!  & f\\
\verb!\ff!  & ff\\
\verb!\fff!  & fff\\
\verb!\ffff!  & ffff\\
\verb!\fp!      & fp\\
\verb!\sF!      & sf\\
\hline
\end{tabular}
\end{document}

%%% Local Variables: 
%%% mode: latex
%%% TeX-master: t
%%% End: 

--------------287E538733B6BFC76DB71635--


From mutex-owner@mail2.gmd.de Fri Mar 20 10:26:30 1998
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From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: compiling multiple musixtexfiles
Date: Fri, 20 Mar 1998 11:26:30 +0100
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Dear all,

I want to process multiple musixtexfiles.
I use the following main file:

\let\byebye\bye\let\bye\relax
\input kyrie
\input gloria
\input sanctus
\input agnusdei
\byebye

If i.e. the number of instruments and staffs
change over the files, then the number could be wrong if
the default values are used.

My question is: which values must be initialised in the
musixscore fileheader in order to have the right output

Example:
\songtop2\songbottom1%
is needed in the first song but not in the second

Andre Van Ryckeghem
avr@kh.khbo.be



From mutex-owner@mail2.gmd.de Fri Mar 20 15:31:23 1998
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Subject: Re: A musixtex command reference
To: jmb@pp-ulm.de (Jan-Mark Batke)
Date: Fri, 20 Mar 1998 10:31:23 -0500
Cc: mutex@gmd.de
In-Reply-To: <35123980.62394332@pp-ulm.de> from "Jan-Mark Batke" at Mar 20, 98 04:40:16 am
From: kstar@ISINET.COM
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Jan-Mark Batke said:
> 
> After trying a few MusiXTeX commands I started writing a command
> reference manual. I attached it to this mail. What do you think  about
> it? Is there already an existing?

    Thank you!  I've wanted something like this!  Excellent work!

> Further I am working on an ELisp package for use with (X)Emacs to make
> typesetting MusiXTeX a little bit easier. Is  there already an existing
> package? (I think am going to release my version next week, its still
> confusing to use yet...)

    I'm not aware of any work like this.  Bravo!

    Peace,
* Kurt Starsinic (kstar@isinet.com) ------------------ Technical Specialist *
|"We have no more right to consume happiness without producing it than we do|
| to consume wealth without producing it." - George Bernard Shaw            |
Institute for Scientific Information                   http://www.isinet.com/


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Date: Fri, 20 Mar 98 13:26:30 +0300
Subject: compiling multiple musixtexfiles
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Dear all,

I want to process multiple musixtexfiles.
I use the following main file:

\let\byebye\bye\let\bye\relax
\input kyrie
\input gloria
\input sanctus
\input agnusdei
\byebye

If i.e. the number of instruments and staffs
change over the files, then the number could be wrong if
the default values are used.

My question is: which values must be initialised in the
musixscore fileheader in order to have the right output

Example:
\songtop2\songbottom1%
is needed in the first song but not in the second

Andre Van Ryckeghem
avr@kh.khbo.be

From mutex-owner@mail2.gmd.de Fri Mar 20 15:31:23 1998
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Subject: Re: A musixtex command reference
To: jmb@pp-ulm.de (Jan-Mark Batke)
Date: Fri, 20 Mar 1998 10:31:23 -0500
Cc: mutex@gmd.de
In-Reply-To: <35123980.62394332@pp-ulm.de> from "Jan-Mark Batke" at Mar 20, 98 04:40:16 am
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Jan-Mark Batke said:
> 
> After trying a few MusiXTeX commands I started writing a command
> reference manual. I attached it to this mail. What do you think  about
> it? Is there already an existing?

    Thank you!  I've wanted something like this!  Excellent work!

> Further I am working on an ELisp package for use with (X)Emacs to make
> typesetting MusiXTeX a little bit easier. Is  there already an existing
> package? (I think am going to release my version next week, its still
> confusing to use yet...)

    I'm not aware of any work like this.  Bravo!

    Peace,
* Kurt Starsinic (kstar@isinet.com) ------------------ Technical Specialist *
|"We have no more right to consume happiness without producing it than we do|
| to consume wealth without producing it." - George Bernard Shaw            |
Institute for Scientific Information                   http://www.isinet.com/


From mutex-owner@mail2.gmd.de Fri Mar 20 10:26:30 1998
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Date: Fri, 20 Mar 98 13:26:30 +0300
Subject: compiling multiple musixtexfiles
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Dear all,

I want to process multiple musixtexfiles.
I use the following main file:

\let\byebye\bye\let\bye\relax
\input kyrie
\input gloria
\input sanctus
\input agnusdei
\byebye

If i.e. the number of instruments and staffs
change over the files, then the number could be wrong if
the default values are used.

My question is: which values must be initialised in the
musixscore fileheader in order to have the right output

Example:
\songtop2\songbottom1%
is needed in the first song but not in the second

Andre Van Ryckeghem
avr@kh.khbo.be

From mutex-owner@mail2.gmd.de Fri Mar 20 18:23:33 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: A musixtex command reference
Cc: mutex@gmd.de
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kstar@ISINET.COM wrote

>Jan-Mark Batke said:
>> ...
>>Further I am working on an ELisp package for use with (X)Emacs to 
>>make > typesetting MusiXTeX a little bit easier. Is  there already 
>>an existing > package? 

>I'm not aware of any work like this.  Bravo!

???

There is PMX, a pre-processor that reduces the effort for instrumental 
scores by about an order of magnitude.  And there is M-Tx, a 
preprocessor for PMX, which extends the advantage to vocal scores.  
Both have been discussed extensively on this list.

--Don Simons

From mutex-owner@mail2.gmd.de Sat Mar 21 19:30:23 1998
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From: dsimons@logicon.com (Don Simons)
Subject: A site for engraving conventions.
To: mutex@gmd.de
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The following site, included in Han-Wen Nuyhuys' (sp???) reference 
list, contains a fairly comprehensive summary of engraving 
conventions.

http://obenamots.cc.colorado.edu/Musicpress/notation_tables.html

--Don Simons

From mutex-owner@mail2.gmd.de Sat Mar 21 22:22:13 1998
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To: mutex@gmd.de
Subject: \tinymusicsize
From: stk@berlin.snafu.de (Stefan Haller)
Date: Sat, 21 Mar 1998 23:22:13 +0100
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The documentation of M-Tx says that \tinymusicsize is supposed to set
the music font size to 13pt.  This doesn't work; is there a reason why
not?  I think this would sometimes be useful, and right now I'm in a
situation where I really need music smaller than 16pt.

Ok, so I tried to add this to MusiXTeX (version T-87) myself.  A context
diff of what I came up with is appended below.  I know next to nothing
about TeX and still very little about MusiXTeX, so I didn't really know
what I was doing.  It kind of seems to work, as far as I can see; would
someone who is more of an expert than I please have a look at this and
see whether it makes sense?

The only problem I could see so far is that \musictinyfont and the \ppff
font are probably too big.  Neither would be a problem for me, because I
need this only for 17th century stuff that has neither grace notes nor
dynamic marks.

In my .pmx file I also had to say

    \\smalltype\ \\font\figfont=cmr7\

to adjust the size of the lyrics and the continuo figures.

Thanks for any help,

-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/


<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< cut here >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

*** musixtex.tex.orig   Sat Mar 21 22:14:23 1998
--- musixtex.tex    Sat Mar 21 22:11:07 1998
***************
*** 72,77 ****
--- 72,78 ----
  \chardef\t@n=10
  \chardef\@l@v@n=11
  \chardef\tw@lv@=12
+ \chardef\thirt@@n=13
  \chardef\fourt@@n=14
  \chardef\fiv@t@@n=15
  \chardef\tw@nty=20
***************
*** 308,313 ****
--- 309,335 ----
  \fi
  
  %%
+ % Seven point fonts: roman, bold, and italic.
+ %%
+ 
+ \ifx\undefined\sevenrm
+ \iflongDCfontnames
+   \font\sevenrm=\fontid r0700
+   \font\sevenbf=\fontid bx0700
+   \font\sevenit=\fontid ti0700
+ \else\iflongECfontnames
+   \font\sevenrm=\fontid rm0700
+   \font\sevenbf=\fontid bx0700
+   \font\sevenit=\fontid ti0700
+ \else  
+   \font\sevenrm=\fontid r7
+   \font\sevenbf=\fontid bx7
+   \font\sevenit=\fontid ti7
+ \fi
+ \fi  
+ \fi
+ 
+ %%
  % Eight point fonts: roman, bold, and italic.
  %%
  
***************
*** 1313,1318 ****
--- 1335,1342 ----
  
  %%%
  
+ \def\tinymusicsize{\musicsize\thirt@@n \comput@specifics
+   \afterruleskip\fiv@\p@ \elemskip\fontdimen\si@\musicnorfont}
  \def\normalmusicsize{\musicsize\tw@nty \comput@specifics
    \afterruleskip\@ight\p@ \elemskip\fontdimen\si@\musicnorfont}
  \def\smallmusicsize{\musicsize\sixt@@n \comput@specifics
***************
*** 1323,1329 ****
    \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont}
  
  \def\comput@fonts{%
!   \ifnum\musicsize=\sixt@@n
      \let\musicLargefont\musictwentyfour
      \let\musiclargefont\musictwenty
      \let\musicnorfont\musicsixteen
--- 1347,1370 ----
    \afterruleskip\t@n\p@ \elemskip\fontdimen\si@\musicnorfont}
  
  \def\comput@fonts{%
!   \ifnum\musicsize=\thirt@@n
!     \let\musicLargefont\musictwenty
!     \let\musiclargefont\musicsixteen
!     \let\musicnorfont\musicthirteen
!     \let\musicsmallfont\musiceleven
!     \let\musictinyfont\musiceleven
!     \let\xgregLargefont\xgregtwenty
!     \let\xgreglargefont\xgregsixteen
!     \let\xgregnorfont\xgregthirteen
!     \let\xgregsmallfont\xgregeleven
!     \let\xgregtinyfont\xgregeleven
!     \let\slurd\slurdthirteen \let\sluru\sluruthirteen
!     \let\hslurd\hslurdthirteen \let\hsluru\hsluruthirteen
!     \let\meternorfont\eightbf \let\metersmallfont\sevenbf
!     \let\meterbigfont\tenbf \let\meterlargefont\twelvebf
!     \let\meterLargefont\bigfont
!     \let\ppff\ppffsixteen
!   \else\ifnum\musicsize=\sixt@@n
      \let\musicLargefont\musictwentyfour
      \let\musiclargefont\musictwenty
      \let\musicnorfont\musicsixteen
***************
*** 1399,1405 ****
      \let\meterbigfont\bigfont \let\meterlargefont\Bigfont
      \let\meterLargefont\BIgfont
      \let\ppff\ppfftwenty
!   \fi\fi\fi
  }%
    
  \def\comput@specifics{\comput@fonts\comput@sizes}
--- 1440,1446 ----
      \let\meterbigfont\bigfont \let\meterlargefont\Bigfont
      \let\meterLargefont\BIgfont
      \let\ppff\ppfftwenty
!   \fi\fi\fi\fi
  }%
    
  \def\comput@specifics{\comput@fonts\comput@sizes}

From mutex-owner@mail2.gmd.de Sat Mar 21 22:22:13 1998
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To: mutex@gmd.de
Subject: Vertical alignment of figures with PMX
From: stk@berlin.snafu.de (Stefan Haller)
Date: Sat, 21 Mar 1998 23:22:13 +0100
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In PMX, the basso continuo figures are always aligned with their top
edges, no matter how many symbols a figure has.  However, sometimes I
need the bottom edges to line up.

For example, I want

    5  6  5
    #  4     #

but what I get is

    5  6  5  #
    #  4

Is there any way around this?


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Sat Mar 21 23:41:49 1998
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To: mutex-ml <mutex@gmd.de>
From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Sat, 21 Mar 1998 18:41:49 -0500
Reply-To: Reinhard Katzmann <suamor@student.uni-tuebingen.de>
X-Mailer: GoodNews 2.0.7 (13.9.97)
Subject: PMX: 8/4 meter and rp/rm
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Hi,

With 8/4 meter it seems that it is not possible to use the rp or the rm
command. I have one of it at the beginning of my score (2cavatina), the
second violin. It works fine with two instruments but with one instrument
the last thing you ever see is the output "Bar 1" (pmxb). After that it's
only possible to break the program. It never finishes.

Reinhard Katzmann

% 2 Cavatina
---
\input german.sty
---
1 1 8 4 0 6 0 -3
0 7 20 0.07

t
./
\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\
\\def\putzl{\let\hlt\wh\def\wh##1{\zbreve{##1}\sk\let\wh\hlt}}\
\\\zt{62}{\BIGfont\kern-70pt\centerline{G. F. H"andel}}\
\\\zt{50}{\BIGfont\kern-70pt\centerline{Kantate "`Il pianto di Maria"'}}\
\\\zt{38}{\BIGfont\kern-70pt\centerline{f"ur Altus und Orchester}}\
\\\zt{25}{\bigfont\kern-50pt 1. Recitativo - TACET}\
%a44 g8 b g4 g /
%rbp /
%L1Mi.07
%m8406
\zt{16}{\bigfont\kern-50pt 2. Cavatina}\
rp | rb2 \putzl\ f05 s rb2 | f0 s e4 d c b | a0 a+ s | a s g4 f e d | c0 c+   | rb2 \putzl\ b0 rb2 /
%bar 8
rb2 \putzl\ a0 rb2 | rb2 \putzl\ g05 rb2 | rb2 \putzl\ f0 rb2 |  rb2 \putzl\ f0 rb2 |
 G2m3g5 a g05 r | rb2 \putzl\ g04 rb2 | c0 b /
%bar 15
rb2 \putzl\ b0 rb2 | rb2 \putzl\ c0 s rb2 | c0 s b | rb2 \putzl\ b04 rb2 | c0 b | b r | b c /
%bar 22
d bn | rb2 \putzl\ c0 s rb2 | c0 s b | rb2 \putzl\ g0 rb2 | c0 b | b r | rb2 \putzl\ g04 rb2 /
%bar 29
a0 g s | g0 s f | rb2 \putzl\ g0 rb2 | rb2 \putzl\ a0 rb2 | d0f c | c r | rb2 \putzl\ f04 rb2 /
%bar 36
a0 g     | e c | d g      | rb2 \putzl\ g0 s rb2 | rb2 \putzl\ g04 s s rb2 | g0 s r | r0 d25 c /
%bar 43
rb2 \putzl\ b0n rb2 | rb2 \putzl\ c0 s rb2 | rb2 \putzl\ c0 s rb2 | c0 b2n an |
 rb2 \putzl\ b0n rb2 | \zt{-10}{\kern18pt \ff}\ c \caesura\ g24 o. g o. g o. | g o. g o. g o. g o. /
%bar 50
g2 r2 r0 /

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From mutex-owner@mail2.gmd.de Sun Mar 22 07:10:38 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMX: 8/4 meter and rp/rm
To: mutex-ml <mutex@gmd.de>
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After I commented out german.sty, my current version handles this 
file.  Either something in german.sty is screwing it up, or I have 
somehow fixed whatever the problem is in your version.  The new one 
will be out very soon.  It will also have \zbreve, as duration number 
9.

--Don
______________________________ Reply Separator 
________________________________Subject: PMX: 8/4 meter and rp/rm
Author:  Reinhard Katzmann <Suamor@student.uni-tuebingen.de> at internet-mail 
Date:    3/21/98 6:41 PM


Hi,

With 8/4 meter it seems that it is not possible to use the rp or the rm 
command. I have one of it at the beginning of my score (2cavatina), the 
second violin. It works fine with two instruments but with one instrument 
the last thing you ever see is the output "Bar 1" (pmxb). After that it's 
only possible to break the program. It never finishes.

Reinhard Katzmann

% 2 Cavatina
---
\input german.sty
---
1 1 8 4 0 6 0 -3
0 7 20 0.07

t
./
\\font\ref=cmtt10\def\zt#1#2{\zcharnote{#1}{\ref#2}}\def\bs{$\backslash$}\ 
\\def\putzl{\let\hlt\wh\def\wh##1{\zbreve{##1}\sk\let\wh\hlt}}\ 
\\\zt{62}{\BIGfont\kern-70pt\centerline{G. F. H"andel}}\ 
\\\zt{50}{\BIGfont\kern-70pt\centerline{Kantate "`Il pianto di Maria"'}}\ 
\\\zt{38}{\BIGfont\kern-70pt\centerline{f"ur Altus und Orchester}}\ 
\\\zt{25}{\bigfont\kern-50pt 1. Recitativo - TACET}\
%a44 g8 b g4 g /
%rbp /
%L1Mi.07
%m8406
\zt{16}{\bigfont\kern-50pt 2. Cavatina}\
rp | rb2 \putzl\ f05 s rb2 | f0 s e4 d c b | a0 a+ s | a s g4 f e d | c0 c+   | 
rb2 \putzl\ b0 rb2 /
%bar 8
rb2 \putzl\ a0 rb2 | rb2 \putzl\ g05 rb2 | rb2 \putzl\ f0 rb2 |  rb2 \putzl\ f0 
rb2 |
 G2m3g5 a g05 r | rb2 \putzl\ g04 rb2 | c0 b /
%bar 15
rb2 \putzl\ b0 rb2 | rb2 \putzl\ c0 s rb2 | c0 s b | rb2 \putzl\ b04 rb2 | c0 b 
| b r | b c /
%bar 22
d bn | rb2 \putzl\ c0 s rb2 | c0 s b | rb2 \putzl\ g0 rb2 | c0 b | b r | rb2 
\putzl\ g04 rb2 /
%bar 29
a0 g s | g0 s f | rb2 \putzl\ g0 rb2 | rb2 \putzl\ a0 rb2 | d0f c | c r | rb2 
\putzl\ f04 rb2 /
%bar 36
a0 g     | e c | d g      | rb2 \putzl\ g0 s rb2 | rb2 \putzl\ g04 s s rb2 | g0 
s r | r0 d25 c /
%bar 43
rb2 \putzl\ b0n rb2 | rb2 \putzl\ c0 s rb2 | rb2 \putzl\ c0 s rb2 | c0 b2n an |
 rb2 \putzl\ b0n rb2 | \zt{-10}{\kern18pt \ff}\ c \caesura\ g24 o. g o. g o. | g
o. g o. g o. g o. /
%bar 50
g2 r2 r0 /

---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request 
Current Amiga project: MapEditor Class and BGUIMenu V1.1BETA
Current music project: Bach Triosonate f minor and learning guitar playing



From mutex-owner@mail2.gmd.de Sun Mar 22 06:57:45 1998
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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de
Subject: Re: Vertical alignment of figures with PMX
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I was within minutes of uploading a new version, but since you asked, 
I think I'll put this in first.  It in fact already was on the wish 
list, but fairly far down.  This request has made it respectable.  
Stay tuned.

But in the meantime, if you can't wait, use in-line TeX, e.g.,

1 1 4 4 0 6 0 0                                                                
1 1 20 0.07                                                                     
Basso
b                                                                             
c:\pctex\texinput\
w2i
d23 54 \off{-.5\noteskip}\Figu{3}{\sharpfig}\off{.5\noteskip}\ g - /

It's even easier if there's a bass note where the lower figure goes:

1 1 4 4 0 6 0 0                                                                
1 1 20 0.07                                                                     
Basso
b                                                                             
c:\pctex\texinput\
w2i
d43 54 \Figu{3}{\sharpfig}\ d- g2 - /

although this example also shows that PMX doesn't account for the 
figure on the 2nd note when computing the baseline, since it doesn't 
even know the figure is there.

--Don
______________________________ Reply Separator _________________________________
Subject: Vertical alignment of figures with PMX
Author:  stk@berlin.snafu.de (Stefan Haller) at INTERNET-MAIL
Date:    3/21/98 11:22 PM


In PMX, the basso continuo figures are always aligned with their top 
edges, no matter how many symbols a figure has.  However, sometimes I 
need the bottom edges to line up.

For example, I want

    5  6  5
    #  4     #

but what I get is

    5  6  5  #
    #  4

Is there any way around this?


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/
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To: mutex@gmd.de
Subject: Vertical alignment of figures with PMX
From: stk@berlin.snafu.de (Stefan Haller)
Date: Sat, 21 Mar 1998 23:22:13 +0100
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From mutex-owner@mail2.gmd.de Sun Mar 22 13:15:28 1998
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To: mutex@gmd.de
In-Reply-To: <000A9DCB.1941@logicon.com>
Subject: Re: Vertical alignment of figures with PMX
From: stk@berlin.snafu.de (Stefan Haller)
Date: Sun, 22 Mar 1998 14:15:28 +0100
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> I was within minutes of uploading a new version, but since you asked,
> I think I'll put this in first.  It in fact already was on the wish 
> list, but fairly far down.  This request has made it respectable.  
> Stay tuned.

Great, I'm looking forward to it.

> But in the meantime, if you can't wait, use in-line TeX, e.g.,

Thanks for your help, I think this will do for now.

> although this example also shows that PMX doesn't account for the 
> figure on the 2nd note when computing the baseline,

Speaking of which: for my taste there could be a little more distance
between the figures and the lowest bass note.  Is there a way to
globally shift all figures down by a specified amount?  I wouldn't mind
if I had to hack pmx.tex, I just can't figure out myself how to do this.


Another related issue: in the following example, PMX produces the
offsets -.8\noteskip and -.2\noteskip for the 2nd and 4th figure,
respectively.  I have to change this to -.75 and -.25 in the resulting
.tex file to make it look good.

1 1 4 4 0 0 0 0 0 2 20 0

b
./
w2.5i
a03 5# x1464 x245 x34# | d0- | /


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Sun Mar 22 17:25:19 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Vertical alignment of figures with PMX
To: mutex@gmd.de
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stk@berlin.snafu.de (Stefan Haller) wrote

>..for my taste there could be a little more distance between the 
>figures and the lowest bass note.  Is there a way to globally shift 
>all figures down by a specified amount?  I wouldn't mind if I had to 
>hack pmx.tex, I just can't figure out myself how to do this.

In-line to the rescue, 2 different approaches:

1 1 4 4 0 6 0 0                                                                
1 2 20 0.07                                                                     
Basso
b                                                                             
c:\pctex\texinput\
%
%  A temporary solution, Change all "4" to whatever you want. 
%  Only works as in-line TeX, not within pmx.tex
%\\let\fixdt\fixdrop\def\fixdrop{\fixdt\advance\figdrop4}\
%
%  The following re-definitions work either as in-line, or replace the
%  definitions in pmx.tex.  But changing pmx.tex is discouraged 
%  (if anything goes wrong, Dr. Don can't be held responsible). 
\\def\Figu#1#2{\off{.9pt}\advance\figdrop#1\
\\advance\figdrop4\lower\figdrop\internote\
\\hbox to 0pt{\figfont#2\hss}\off{-.9pt}\advance\figdrop by -#1\
\\advance\figdrop-4}\
\\def\Cont#1#2{\advance\figdrop#1\advance\figdrop4\lower\figdrop\internote\
\\hbox to 0pt{\kern -0.3\noteskip\
\\vbox{\hrule height 1.4\lthick width #2\noteskip}\hss}\
\\advance\figdrop-#1\advance\figdrop-4}\
d23 654 x143  g2 - /
d23 c4 01 e 501 /
L2
d42 # x187- e c 3 e 50101 /

>Another related issue: in the following example, PMX produces the 
>offsets -.8\noteskip and -.2\noteskip for the 2nd and 4th figure, 
>respectively.  I have to change this to -.75 and -.25 in the resulting 
>.tex file to make it look good.
>
>1 1 4 4 0 0 0 0 0 2 20 0
>
>b
>./
>w2.5i
>a03 5# x1464 x245 x34# | d0- | /

You found a real live big, thanks!  I don't have a good quick fix, but 
will track it down ASAP.  Meanwhile, you could probably use in-line to 
manually place the figures where you want, something like (untested)

\offset{.5\noteskip}\Figu53\offset{-.5\noteskip}\ c03 54 /

but this will then remove the manually-inserted figure from the 
baseline computation.  Also, note that with the original coding, the 
horizontal locations will change if there is another part that 
metrically subdivides the bar into smaller increments.  If there were 
four quarters in the treble part, the floating figures would go right 
where they should be.

--Don

From mutex-owner@mail2.gmd.de Sun Mar 22 23:13:52 1998
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Date: Sun, 22 Mar 1998 17:13:52 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: MacPMX feature: request for comments
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Don Simons <dsimons@logicon.com> wrote
> I was within minutes of uploading a new version,

So I'll poll the Mac users on a change I'd like to make in the output from
pmxb. Currently the only (intentional) difference in the output from the
Mac version is that a line containing "%&Plain" is inserted at the
beginning of the .tex file. This forces OzTeX to process the file using
plain TeX format. Anyone who has built a MusiXTeX format must edit this
line by hand.

(1) I could leave this as it is in the next version.

(2) I could change it to "%&MusiXTeX", requiring all OzTeX users to build
    a MusiXTeX format. [I will supply documentation for this.] Or manually
    edit the file to use the plain TeX format.

(3) I could add a preference menu so the user could pick the format.

(4) I could delete the line altogether, requiring the user to manually
    select the format in OzTeX.

I would like to follow path (2). (3) would be best, but I'd like to avoid
the additional work required for this, at least until my PhD is finished.
So please, indicate if (2) is acceptable to you.

[As this is of no interest to the rest of the list, please email responses
to me rather than replying to the list.]

Thanks,
  Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Sun Mar 22 13:15:28 1998
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Subject: Re: Vertical alignment of figures with PMX
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> I was within minutes of uploading a new version, but since you asked,
> I think I'll put this in first.  It in fact already was on the wish 
> list, but fairly far down.  This request has made it respectable.  
> Stay tuned.

Great, I'm looking forward to it.

> But in the meantime, if you can't wait, use in-line TeX, e.g.,

Thanks for your help, I think this will do for now.

> although this example also shows that PMX doesn't account for the 
> figure on the 2nd note when computing the baseline,

Speaking of which: for my taste there could be a little more distance
between the figures and the lowest bass note.  Is there a way to
globally shift all figures down by a specified amount?  I wouldn't mind
if I had to hack pmx.tex, I just can't figure out myself how to do this.


Another related issue: in the following example, PMX produces the
offsets -.8\noteskip and -.2\noteskip for the 2nd and 4th figure,
respectively.  I have to change this to -.75 and -.25 in the resulting
.tex file to make it look good.

1 1 4 4 0 0 0 0 0 2 20 0

b
./
w2.5i
a03 5# x1464 x245 x34# | d0- | /


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Sun Mar 22 23:13:52 1998
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Don Simons <dsimons@logicon.com> wrote
> I was within minutes of uploading a new version,

So I'll poll the Mac users on a change I'd like to make in the output from
pmxb. Currently the only (intentional) difference in the output from the
Mac version is that a line containing "%&Plain" is inserted at the
beginning of the .tex file. This forces OzTeX to process the file using
plain TeX format. Anyone who has built a MusiXTeX format must edit this
line by hand.

(1) I could leave this as it is in the next version.

(2) I could change it to "%&MusiXTeX", requiring all OzTeX users to build
    a MusiXTeX format. [I will supply documentation for this.] Or manually
    edit the file to use the plain TeX format.

(3) I could add a preference menu so the user could pick the format.

(4) I could delete the line altogether, requiring the user to manually
    select the format in OzTeX.

I would like to follow path (2). (3) would be best, but I'd like to avoid
the additional work required for this, at least until my PhD is finished.
So please, indicate if (2) is acceptable to you.

[As this is of no interest to the rest of the list, please email responses
to me rather than replying to the list.]

Thanks,
  Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail2.gmd.de Sun Mar 22 17:25:18 1998
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Subject: Re: Vertical alignment of figures with PMX
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stk@berlin.snafu.de (Stefan Haller) wrote

>..for my taste there could be a little more distance between the 
>figures and the lowest bass note.  Is there a way to globally shift 
>all figures down by a specified amount?  I wouldn't mind if I had to 
>hack pmx.tex, I just can't figure out myself how to do this.

In-line to the rescue, 2 different approaches:

1 1 4 4 0 6 0 0                                                                
1 2 20 0.07                                                                    

Basso
b                                                                             
c:\pctex\texinput\
%
%  A temporary solution, Change all "4" to whatever you want. 
%  Only works as in-line TeX, not within pmx.tex
%\\let\fixdt\fixdrop\def\fixdrop{\fixdt\advance\figdrop4}\
%
%  The following re-definitions work either as in-line, or replace the
%  definitions in pmx.tex.  But changing pmx.tex is discouraged 
%  (if anything goes wrong, Dr. Don can't be held responsible). 
\\def\Figu#1#2{\off{.9pt}\advance\figdrop#1\
\\advance\figdrop4\lower\figdrop\internote\
\\hbox to 0pt{\figfont#2\hss}\off{-.9pt}\advance\figdrop by -#1\
\\advance\figdrop-4}\
\\def\Cont#1#2{\advance\figdrop#1\advance\figdrop4\lower\figdrop\internote\
\\hbox to 0pt{\kern -0.3\noteskip\
\\vbox{\hrule height 1.4\lthick width #2\noteskip}\hss}\
\\advance\figdrop-#1\advance\figdrop-4}\
d23 654 x143  g2 - /
d23 c4 01 e 501 /
L2
d42 # x187- e c 3 e 50101 /

>Another related issue: in the following example, PMX produces the 
>offsets -.8\noteskip and -.2\noteskip for the 2nd and 4th figure, 
>respectively.  I have to change this to -.75 and -.25 in the resulting 
>.tex file to make it look good.
>
>1 1 4 4 0 0 0 0 0 2 20 0
>
>b
>./
>w2.5i
>a03 5# x1464 x245 x34# | d0- | /

You found a real live big, thanks!  I don't have a good quick fix, but 
will track it down ASAP.  Meanwhile, you could probably use in-line to 
manually place the figures where you want, something like (untested)

\offset{.5\noteskip}\Figu53\offset{-.5\noteskip}\ c03 54 /

but this will then remove the manually-inserted figure from the 
baseline computation.  Also, note that with the original coding, the 
horizontal locations will change if there is another part that 
metrically subdivides the bar into smaller increments.  If there were 
four quarters in the treble part, the floating figures would go right 
where they should be.

--Don

From mutex-owner@mail2.gmd.de Mon Mar 23 10:44:27 1998
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To: Stefan Haller <stk@berlin.snafu.de>
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Stefan Haller wrote:

> The documentation of M-Tx says that \tinymusicsize is supposed to set
> the music font size to 13pt.  This doesn't work; is there a reason why
> not?  I think this would sometimes be useful, and right now I'm in a
> situation where I really need music smaller than 16pt.

There is no \tinymusicsize in MusiXTeX.

Conversely, there is a \tinynotesize which provides notes (not staffs) of
size (size of heads and stems) 0.64 times the normal size, according to t=
he
choosen \musicsize.

>
>
> Ok, so I tried to add this to MusiXTeX (version T-87) myself.  A contex=
t
> diff of what I came up with is appended below.  I know next to nothing
> about TeX and still very little about MusiXTeX, so I didn't really know

--
 ------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44
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From mutex-owner@mail2.gmd.de Mon Mar 23 08:33:17 1998
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To: mutex@gmd.de
Subject: Command reference again please / Archive of this list?
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Date: Mon, 23 Mar 1998 09:33:17 +0100
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Hello,

fast as i am :<), i've deleted this command reference mail from
Jan-Mark Batke, prior to reading or saving it...

This raises 2 questions:

-> is there an archive of this list somewhere?

-> or could someone please send this mail again (to me)?

Thank you!

Bernt Christandl
                                                                       
----------------------------------------------------------------------
- Bernt Christandl / Max Planck Institut - Extraterrestrische Physik -
- D-85740 Garching / Phone: +49/89/3299-3342 / Fax: +49/89/3299-3569 - 
-                    email: beb@mpe.mpg.de                           - 
----------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Mar 23 09:01:35 1998
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To: mutex@gmd.de
In-Reply-To: <35163D0B.B5F6C4D9@lps.u-psud.fr>
Subject: Re: \tinymusicsize
From: stk@berlin.snafu.de (Stefan Haller)
Date: Mon, 23 Mar 1998 10:01:35 +0100
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Daniel Taupin <taupin@lps.u-psud.fr> wrote:

> There is no \tinymusicsize in MusiXTeX.

Yes, I noticed this.  I was hoping that someone (preferably you) would
have a look at my attempt to add this to MusiXTeX, and comment on
whether it makes sense.  I think it would be a useful addition.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Mon Mar 23 09:01:34 1998
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To: mutex@gmd.de
In-Reply-To: <000A9EBA.1941@logicon.com>
Subject: Re: Vertical alignment of figures with PMX
From: stk@berlin.snafu.de (Stefan Haller)
Date: Mon, 23 Mar 1998 10:01:34 +0100
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> %  A temporary solution, Change all "4" to whatever you want. 
> %  Only works as in-line TeX, not within pmx.tex
> %\\let\fixdt\fixdrop\def\fixdrop{\fixdt\advance\figdrop4}\

Thanks, works great for me.  Personally I think that "figdrop2" looks
best.  (In case you are considering changing this in pmx.tex...)


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Mon Mar 23 09:27:58 1998
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From: Han-Wen Nienhuys <hanwen@stack.nl>
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To: info-gnu-music@gnu.org, mutex@gmd.de, tim@bach.ece.jhu.edu,
        dlphilp@bright.net, webmaster@goober.demon.co.uk, webmaster@redhat.com,
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Subject: LilyPond website has moved
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Hello (back)-linkers, music-lovers and others, 

This note is to inform you that the LilyPond website has changed; the
new URL is

	http://www.cs.ruu.nl/people/hanwen/lilypond/index.html 

(it used to be

	http://www.stack.nl/~hanwen/lilypond/

)

Could you please update your links accordingly?  Thanks !


-- 

Han-Wen Nienhuys, hanwen@cs.ruu.nl ** GNU LilyPond- The Music Typesetter 
      http://www.cs.ruu.nl/people/hanwen/lilypond/index.html 


From mutex-owner@mail2.gmd.de Mon Mar 23 10:45:34 1998
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To: mutex@gmd.de
In-Reply-To: <000A2FA1.1941@logicon.com>
Subject: Re: Future PMX expansion: long notes, slurs
From: stk@berlin.snafu.de (Stefan Haller)
Date: Mon, 23 Mar 1998 11:45:34 +0100
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> On long notes and bar-less scores:  I would like the people interested
> in these to let me know in detail what options you would like to have.

I'm a bit late on this, but I hope it might still be useful.  Excuse the
long message, and please do let me know if I'm becoming a nuisance with
my recent flooding of the list with questions and requests.


I'm not entirely sure what you mean by bar-less scores.  What I,
personally, would like to do is scores with \interbarrules (with the
musixlit package), and no tied notes across a bar line; i.e. in 4/2
meter, when a whole note starts on the 4th beat, it is still written as
a whole note, then the bar line between the staves (Finale calls these
"Mensurstriche"), and then a blank space at the beginning of the next
bar; as wide as a half note would occupy.

I'm appending an example at the end of this message to give you an
impression of what this would look like.  I left out the lyrics for now;
I didn't manage to figure out how to attach a syllable to a \zwh (using
musixlyr).

> 1.  Which long note symbols (i.e., which TeX commands) are desired,=20
> and (pardon my ignorance) how many beats (quarter-note=3D1 beat) do they
> get.  I'm confused between \zbreve and \zlonga ... aren't they both 8
> beats?

No; a breve is 8 beats, a longa is 16 beats when it appears in the
middle of a piece.  As the final note of a piece, longa has a different
meaning; it is a note of unspecified length, with fermata, so to speak.
Note that the final longas needn't come at the same time in all voices;
see the example .tex file below, 1st alto.  So for the singer (singing
from a part book), longa would mean "hold note until all others have
finished too".

As for maxima, I think this is twice as long as a longa, but I'm not
sure either; maybe it has special uses too, I don't know.  Personally I
have never needed a maxima.

One problem with the longa in MusiXTeX is that it has too short a stem,
and the stem is always down.  A longa should have a stem as long as a
quarter note, and it should be up or down depending on pitch; but always
on the right side of the note head.

> 2.  Should the horizontal spacing for these long notes follow the same
> rule as all the others, i.e., space proportional to square root of=20
> duration ?  This would give a double whole note twice as much=20
> horizontal space as a half note.

Yes.  In practice it won't matter much though, because when there's a
breve or longa in one voice, there are almost always smaller values in
other voices which determine the spacing.

> 3.  At present I do not plan to include 4-line staves or those wierd=20
> Gregorian note symbols.  Are the long notes of any use without also=20
> having Gregorian notation? =20

Definitely.  They are needed for anything from Ockeghem or Josquin to
Sch=FCtz or later, which is over two centuries of music; including all of
Palestrina, Lasso, etc.

> 3.  I'm thinking about having a bar-less mode.  This will be rather=20
> complicated to do right, since PMX now processes one bar at a time.
>=20
>   a. In bar-less mode, should there be a bar line at the end, and if=20
> so, which kind?

For my taste there should be a normal "thin-thick" double bar at the end
of the piece -- see example.

> Should there be possibilities of bar lines in other places, and if so,
> which types?

Ideally it should be possible to replace any interbarrule by a
stdbarrule, either a normal one or a double bar.  In such places you
would have to use tied notes of course, but this should be no problem.

>   b. Will there ever be notes with flags or beams?  I'm thinking of=20
> disabling automatic beaming in this mode.

Definitely!  Most of the time when eighth notes occur in this style of
music, it's within a melisma, so they are beamed (see example).  Eighth
notes with flags (one syllable per note) are much rarer, but do occur
occasionally.

>   c. Will there ever be more than one instrumental staff per system?

I'm not sure what you mean here.  The voices in such a piece as I have
in mind can be either all vocal or all instumental, or any combination
thereof; but I don't see what difference this makes to PMX.

There will probably never be more than one line of music per staff, if
that's what you meant.


--=20
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/


<<<<<<<<<<<<<<<<<<<<<<<<<<<<<< cut here >>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

\input musixtex
\input musixmad
\input pmx
\input musixlit
\interbarrules
\smallmusicsize
\nopagenumbers
\tracingstats=3D2\relax
\hsize=3D524pt
\vsize=3D740pt
\def\nbinstruments{6}
\setclef16
\setclef24
\setclef34
\setclef43
\setclef53
\setclef61
\generalsignature{-1}
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\grouptop16\groupbottom11%
\setsize6{\normalvalue}%
\startmuflex\startpiece\addspace\afterruleskip%
\bigaccid%
\znotes&&&&&\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOtesp{\vnotes2.45\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\def\NOTesp{\vnotes3.46\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\def\NOTEsp{\vnotes4.90\elemskip}%
\def\NOTES{\vnotes5.66\elemskip}%
\NOTEs\hl{'D}\wh B&\whp{`f}&\hu{`d}\hlp{'d}&\hpause\hl f&\wh d&\hl{'a}%
\wh b\en%
\NOTes&&&\hl d&\wh f&\en%
\NOtes&&\ibl3c{-2}\qb3c\tbl3\qb3b&&&\en%
\NOTes\hu F&\hu{`f}&\ql a&\ql c&&\zwh{'c}\sk\en%
\NOtes&&\ql b&\ibu4b{-2}\qb4b\tbu4\qb4a&&\en%
% bar  2
\xbar
\NOTEs\wh{'C}&\whp{`g}&\hl c&\hup{`g}&\wh e&\sk\en%
\NOTes\sk\sk\wh G&&\hl c\sk\hl b&\sk\qu a\qu b\ql
c&\sk\sk\zbreve{d}\sk&%
\wh g\en%
\NOTEs&\hu{`d}&\zhup{'G}\sk&\zwh{d}\sk&&\hl{'b}\en%
% bar  3
\xbar
\NOTes\wh{'D}&\hu{`d}&\sk&\sk&\sk&\wh{'a}\en%
\NOtes&&\ibu3{`f}{-2}\bigsh f\qb3f\tbu3\qb3e&&&\en%
\NOTEs\sk\zwp{G}\sk&\wh{`d}\sk\hu d&\hu{`f}\hu g\zwh{'b}\sk&\hu a\hu b%
\zwh{'G}\sk&\sk\wh d&\sk\hpause\zwh{'d}\sk\en%
% bar  4
\xbar
\NOTEs\sk\bigsh F\hu F\hu G\hu G&\wh{`d}\sk\wh d&\sk\hl a\hu{`g}\hu g&%
\sk\hl d\hu b\hu{`g}&\zlonga{d}\sk\sk\sk&\sk\hl{'a}\hl b\hl b\en%
% bar  5
\xbar
\NOTES\zlonga{'D}\sk&\zlonga{'D}\sk&\zlonga{'^F}\sk&\zlonga{a}%
\sk&\sk&\zlonga{'a}\sk\en%
\stdbarrules
\Endpiece
\vfill\eject\endmuflex
\bye

From mutex-owner@mail2.gmd.de Mon Mar 23 14:05:21 1998
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Date: Mon, 23 Mar 1998 15:05:21 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: Command reference again please / Archive of this list?
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> Date: Mon, 23 Mar 1998 09:33:17 +0100
> From: Bernt Christandl <beb@mpe.mpg.de>

> -> is there an archive of this list somewhere?

There are at least two to three archives of this list.

Two HTML-versions (short and full) are available at http://www.gmd.de/Mail/

A one-file version is available under ftp://ftp.gmd.de/music/mutex/archive
Easier (clicky :-) access via http://www.gmd.de/Misc/Music/

> -> or could someone please send this mail again (to me)?

Up to now I didn't have the time to look at the reference. Maybe
it could be a good idea to integrate it into musixtex.zip (although 
there is already a reference.tex) or to put it to the other things
which are available on http://www.gmd.de/Misc/Music/ under MusiXTeX
add-ons.

-- Werner

From mutex-owner@mail2.gmd.de Mon Mar 23 14:28:41 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: \tinymusicsize
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> From: stk@berlin.snafu.de (Stefan Haller)
> Date: Mon, 23 Mar 1998 10:01:35 +0100
> 
> Daniel Taupin <taupin@lps.u-psud.fr> wrote:
> 
> > There is no \tinymusicsize in MusiXTeX.
> 
> Yes, I noticed this.  I was hoping that someone (preferably you) would
> have a look at my attempt to add this to MusiXTeX, and comment on
> whether it makes sense.  I think it would be a useful addition.

What should it be good for? \smallmusicsize is already hard to play
or hard to read. \tinynotesize (13pt) is used for typesetting ornaments
with \normalmusicsize, \tinynotesize (11pt) with \smallmusicsize.
If you introduce \tinymusicsize you need a \tinynotesize for this
size of music. Do you think that an 8pt music font is readable?

If you want reduced output e.g. for pocket-scores you may do the 
reduction when displaying or printing the dvi-file. E.g. with emTeX 
you may use the parameter file @2a4_a4.cnf which reduces two A4-pages 
onto one A4 sheet with +magnification:*707 [*]. The neccessary fonts 
are then computed.

-- Werner

[*] I print musixdoc.dvi with emtex using the parameters:
    @2a4_a4.cnf +p.t.m=0.707in +p.l.m=0.707in /fz:+465 +sec.s=32 +d.s:s
    |           |               |             |        |         double-sided
    |           |               |             |        section-size 32 sheets
    |           |               |             font-sizes ...,465 (rounding problem)
    |           page-top-margin, page-left-margin 0.707 in (instead of 1 in)
    emTeX suplied parameter file.

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Roberto Numico wrote:

> Bonjour,
>
> j'utilise musictex et j'ai un probleme car lorsque j'execute Tex, il
> accepte tout sauf les commandes du type \cccup, \ccup,etc... Par contre
> il accepte \pt{ } \cccu{ }. Il semblerait donc qu'il n'accepte pas les
> raccourcit!! Pourriez vous m'eclairer sur ce point? A par ca, ca marche
> tres bien. J'ai aussi utilise Musixtex en esperant eliminer ce probleme
> mais il est reste intact (le probleme).

(Answer in English for the rest of the world):

\ccup, \cccup are defined in an alternate package names musixpoi.tex. Des=
cribed at page 93 of
the doc.
(section 2.26.15)
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Mar 23 14:25:04 1998
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From: taupin <taupin@lps.u-psud.fr>
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To: Werner Icking <Werner.Icking@gmd.de>, mutex list <mutex@gmd.de>
Subject: Musixtex T.88
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Subject: MusiXTeX version T.88
New version T.88 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected

Daniel Taupin



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Mar 24 09:15:19 1998
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From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: 2 small problems
Date: Tue, 24 Mar 1998 10:15:19 +0100
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Hello,

This is why i use musixtex:
1. The ouputcode is very beautifull
2. There is a quality manual (and the versionnumber of musuxtex
   is (still) smaller than the number of pages in the manual)
3. The support from the musixtex-list is amazing efficient

I have 2 silly problems:

Problem 1
This is a small problem that becomes big, because it lasts now for 2 year=
s.
Anyone who like to tell me what i am doing wrong?

% the first line in bar 1 must be uncommented for
% the tenortransition ("8") to be in effect in the first system
\input musixtex
\instrumentnumber 4\generalmeter{\meterC}\generalsignature{-3}%
\setclef1{\bass}\songtop4\songbottom1
\bigaccid\startmuflex\startpiece\systemnumbers%
\def\everystaff{\znotes&\zchar{-6}{\normtype \kern -2\Interligne 8}\en}%
%1
%\znotes&\zchar{-6}{\normtype \kern -8\Interligne 8}&&\en%
\Notes\hl N&\hl k&\znh g\lhu f&\hl{^i}\en\alaligne%
%2
\Notes\hu J&\hl j&\zhu g\hu e&\hl j\en\bar%
%
\mulooseness0\endpiece\endmuflex\eject\bye

Problem 2
Some of the choral members wear glasses and like big characters.
But when using fonts of more than 12pt, the text zigzag, as can be
seen in the following code using the font \norm or \bigtype .
I have tried the tex-command \vphantom but i don't thing thats
the right solution for the problem
Anyone who knows a better way?

\input musixtex\input musixcho%
\hsize 90mm\musicparskip
%\medtype%
%\bigtype
\font\norm=3Dptmr at 14truept\norm
%
\largemusicsize\geometricskipscale
\relativeaccid%entals%
\instrumentnumber 2\interinstrument=3D8\Interligne%
\generalsignature{-1}\generalmeter{\meterfrac{6}{8}}%
\songtop2\songbottom1\setsongraise2{-1\Interligne}
\bigaccid\startmuflex\startpiece\systemnumbers%
%3
\Notesp\zclp j\cup j&\Ttx als|gleich|\"u-*\zclp e\cup g\en%
\notes\zccl j\ccu j&\Ttx zu~|sie~~~|ber~~*\zccl e\ccu g\en%
\Notes\zcl j\cu j&\Ttx der~|das~~~|die*\zcl e\cu g\en%
\Notes\dotted\isslurd0j\dotted\issluru1j\zcl j\cu j&%
\Ttx Weih|Christ-|Mee-*\dotted\isslurd2e\dotted\issluru3g\zcl e\cu g\en%
\Notes\tsslur0j\tsslur1j\zcl j\cu
j&\Ttx --|~~~~~kind-|re*\tsslur2d\tsslur3f\zcl d\cu f\en%
\Notes\zcl j\cu j&\Ttx nachts-|~~~~lein|noch*\zcl e\cu g\en\bar%
%4
\mulooseness0\Stoppiece\eject\bye

Thanks,

Andr=E9 Van Ryckeghem
Katholieke Hogeschool Brugge-Oostende dept. IW&T
Zeedijk 101 - 8400 Oostende - Belgi=EB
tel. 32 59 508996 - fax 32 59 704215
avr@kh.khbo.be  --  www.khbo.be


From mutex-owner@mail2.gmd.de Tue Mar 24 13:27:20 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199803241327.OAA03178@sunick.gmd.de>
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
Subject: Re: 2 small problems
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> From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
> Date: Tue, 24 Mar 1998 10:15:19 +0100
> 
> Problem 1
> This is a small problem that becomes big, because it lasts now for 2 years.
> Anyone who like to tell me what i am doing wrong?

Two years? You are too late :-)

You have to define \everystaff _before_ using \startpiece. This requires
to replace "&" by "\nextinstrument"
 
\instrumentnumber 4\generalmeter{\meterC}\generalsignature{-3}%
\setclef1{\bass}\songtop4\songbottom1
\def\everystaff{\znotes\nextinstrument\zchar{-6}{\normtype \kern -2\Interligne 8}\en}%
\bigaccid\startmuflex\startpiece\systemnumbers%
\Notes\hl N&\hl k&\znh g\lhu f&\hl{^i}\en\alaligne%
\Notes\hu J&\hl j&\zhu g\hu e&\hl j\en\bar%
\mulooseness0\endpiece\endmuflex\eject\bye

Since some time the better solution is:

\settrebleclefsymbol2\treblelowoct

So you see, the problem wasn't there AND it is solved since some month.
That's MusiXTeX, it's authors and the community of the members of the
mailing list.


Problem 1a:

Nevertheless there is a problem in that area: \def\atnextline{...}
does not work for the 1st line, although it is defined before using
\startpiece.

\input musixtex 
\hsize=50mm
\def\atnextline{\znotes\roffset5{\fl g}\roffset4{\fl e\fl{'e}}\en}%
%--\def\everystaff{\znotes\roffset2{\fl g}\roffset1{\fl e\fl{'e}}\en}%
\bigaccid\startmuflex\nobarnumbers\startpiece\notes\sk\en
%--\def\everystaff{}%
\def\atnextline{\znotes\roffset5{\sh g}\roffset4{\sh e\sh{'e}}\en}%
\bar\notes\sk\en\linegoal 2\endpiece\endmuflex\vfill\eject\bye

> Problem 2
> Some of the choral members wear glasses and like big characters.
> But when using fonts of more than 12pt, the text zigzag, as can be
> seen in the following code using the font \norm or \bigtype .
> I have tried the tex-command \vphantom but i don't thing thats [...]

I've only a very limited knowledge on setting lyrics with MusiXTeX.
So I would use MTx to attack the problem.


Werner

Meta-PS: As administrator of the list I'm figthing against these messages
         which appear twice in the list since some days. These message are 
         somehow re-sent. As proposed by a postmaster@....fidonet.org I've 
         already removed the three users  <foo>@...fidonet.org, because
         they must have been subscribed by a spammer or victim of <iyfnh>.
         I'm not sure whether this has helped.
         So I ask the list members: if someone can give me a hint, how I
         can find out the reason for the resent, this would be very welcome!
          

From mutex-owner@mail2.gmd.de Tue Mar 24 13:55:09 1998
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From: taupin <taupin@lps.u-psud.fr>
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To: "Andr\i Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
Cc: mutex@gmd.de
Subject: Re: 2 small problems
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Andr=E9 Van Ryckeghem wrote: Problem 1

> This is a small problem that becomes big, because it lasts now for 2 ye=
ars.
> Anyone who like to tell me what i am doing wrong?
>
> % the first line in bar 1 must be uncommented for
> % the tenortransition ("8") to be in effect in the first system
> \input musixtex
> \instrumentnumber 4\generalmeter{\meterC}\generalsignature{-3}%
> \setclef1{\bass}\songtop4\songbottom1
> \bigaccid\startmuflex\startpiece\systemnumbers%
> \def\everystaff{\znotes&\zchar{-6}{\normtype \kern -2\Interligne 8}\en}=
%

You must define \everystaff before \startpiece (think of \catcodesmusic t=
o accep the "&").
\everystaff
posts things AFTER its definition, not before!

> %1
> %\znotes&\zchar{-6}{\normtype \kern -8\Interligne 8}&&\en%
> \Notes\hl N&\hl k&\znh g\lhu f&\hl{^i}\en\alaligne%
> %2
> \Notes\hu J&\hl j&\zhu g\hu e&\hl j\en\bar%
> %
> \mulooseness0\endpiece\endmuflex\eject\bye
>
> Problem 2
> Some of the choral members wear glasses and like big characters.
> But when using fonts of more than 12pt, the text zigzag, as can be
> seen in the following code using the font \norm or \bigtype .
> I have tried the tex-command \vphantom but i don't thing thats
> the right solution for the problem
> Anyone who knows a better way?

Did not find better. However, this equalising addition is already install=
ed in

ftp://ftp.lps.u-psud.fr/pub/musixtex/musixcho.tex

and it will appear in the next release, to gether with warnings in the ma=
nual concerning
\everystaff.

--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Mon Mar 23 16:13:52 1998
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To: mutex@gmd.de
Date: Mon, 23 Mar 1998 16:13:52 +0000
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Hello!
 I use MusixTex (it's excellent  :-))  and I have no problems with 
it. Recently I have tried to work with PMX, but there are problems: the 
ps-file after running pmxa, pmxb, tex and dvips offers all the notes 
accumulated without  gaps in the left margin of the staves and the 
score is therefore illegible. Please, can somebody 
explain to me where is the bug? The four running processes seems to 
go well, and I think that I have correctly  installed the programm. I 
work with PC, in DOS from Windows 95.
Apologies for my english!

Ignasi Adiego.
Universitat de Barcelona.
Catalonia (Spain)


From mutex-owner@mail2.gmd.de Tue Mar 24 14:34:43 1998
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From: taupin <taupin@lps.u-psud.fr>
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To: "Andr\i Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
Cc: taupin <taupin@hprib.lps.u-psud.fr>, mutex list <mutex@gmd.de>
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Andr=E9 Van Ryckeghem wrote:

> \input musixhou\input musixcho
> \parindent 15mm
> \largemusicsize\geometricskipscale
> \interinstrument=3D8\Interligne\instrumentnumber 2%
> \generalsignature{-2}\generalmeter{\meterC}%
> \setname2{\vbox{\hsize\parindent\centerline{Sopraan}\centerline{Alt}}}%
> \staffbotmarg=3D3\Interligne\stafftopmarg=3D5\Interligne%
> \setclef1{\bass}%
> \setname1{\vbox{\hsize\parindent\centerline{Tenor}\centerline{Bas}}}%
> \songtop2\songbottom1
> \bigaccid\startmuflex\startpiece\systemnumbers%
> \NOtes\qu d&\hsk\zql f\qu f\en%
> \NOtes\qu b&\qu f\en\bar%
> \mulooseness=3D0\finmorceau\eject%\bye
> %
> % INIT BETWEEN THE FILES
> %
> \parindent 0mm
> \generalsignature{1}\generalmeter{}\instrumentnumber1%
> \setclef1{0}%
> \setname1{}\setname2{}%
> \setstaffs1{1}
> \staffbotmarg=3D3\Interligne\stafftopmarg=3D3\Interligne%
> %\songtop0\songbottom0

\songbottom1\songtop0 % will be described in manual T.89 (already posted =
at
ftp://ftp.lps.u-psud.fr/pub/music_zips/musixdoc_ps.zip

> %
> %END INITsong
> %
> \input musixhou\input musixcho%
> \musicparskip\largemusicsize
> \geometricskipscale\relativeaccidentals%
> \generalsignature{-1}\setclef1{\treble}%
> \stafftopmarg=3D9\Interligne%

-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



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Date: Tue, 24 Mar 1998 16:45:07 +0200
From: taupin <taupin@lps.u-psud.fr>
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To: mutex list <mutex@gmd.de>, Werner Icking <Werner.Icking@gmd.de>
Subject: Musixtex T.89
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Subject: MusiXTeX version T.89
New version T.89 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
 - T.78  allowed up to 9 lines in each staff
 - T.77  added octave bass and treble clef symbols
 - T.76  added subbass clef and french violin clef (thanks to W. Icking)
 - T.75  musixcho.tex and musixdoc.tex corrected

Daniel Taupin



--
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail2.gmd.de Tue Mar 24 17:06:29 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: adiego lajara <adiego@lingua.fil.ub.es>
> Date: Mon, 23 Mar 1998 16:13:52 +0000
 
> [...] Recently I have tried to work with PMX, but there are problems: the 
> ps-file after running pmxa, pmxb, tex and dvips offers all the notes 
                                    ^^^^^^^^^^^^^
> accumulated without  gaps in the left margin of the staves and the 
> score is therefore illegible. Please, can somebody 
> explain to me where is the bug? The four running processes seems to 
                                     ^^^^^^
> go well, [...]

Four runs is the problem. You forgot to run  musixflx and the 2nd time tex:

    pmxa ...
    pmxb
!   delete ....mx2
    tex  &musixtex ...
!   musixflx ...
!   text &musixtex ...
    dvips ...

That's it   -- Werner

From mutex-owner@mail2.gmd.de Tue Mar 24 18:31:35 1998
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Date: Tue, 24 Mar 1998 12:31:35 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: adiego lajara <adiego@lingua.fil.ub.es>
Cc: mutex@gmd.de
Subject: Re: problems with pmx
In-Reply-To: <199803241514.QAA07060@lingua.fil.ub.es>
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adiego lajara <adiego@lingua.fil.ub.es> wrote
> after running pmxa, pmxb, tex and dvips ...

That should be: after running pmxa, pmxb, tex, musixflx, tex and dvips.

HTH,
	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Mar 23 19:42:56 1998
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Thank you very match for your answer !!!! :-) I will prove it...

Ignasi.

From mutex-owner@mail2.gmd.de Tue Mar 24 20:18:22 1998
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From: Jeff Breidenbach <jeff@invengen.com>
To: mutex@gmd.de
Subject: Re: Command reference again please / Archive of this list?,
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>There are at least two to three archives of this list.

There is also a fledgling archive of the list at
http://archive.jab.org/mutex@gmd.de located in North America.

Jeff


From mutex-owner@mail2.gmd.de Tue Mar 24 20:40:57 1998
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To: mutex@gmd.de
In-Reply-To: <199803231428.PAA02891@sunick.gmd.de>
Subject: Re: \tinymusicsize
From: stk@berlin.snafu.de (Stefan Haller)
Date: Tue, 24 Mar 1998 21:40:57 +0100
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> What should it be good for? \smallmusicsize is already hard to play
> or hard to read.

I need this for short examples (one or two systems at most) in a text
document (masters thesis).  \smallmusicsize is simply too big for this.

> If you want reduced output e.g. for pocket-scores you may do the 
> reduction when displaying or printing the dvi-file.

Thanks, this might do what I need.  I didn't realize that I could use
the magnification option of dvips; it isn't well documented in the OzTeX
manual, and I'm still kind of new to all this.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Wed Mar 25 12:17:51 1998
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From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: some musixtexsongs in Dutch, English, German, French,...
Date: Wed, 25 Mar 1998 13:17:51 +0100
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Hi,

There are a few musixtex-examples of songs at

http://www.khbo.be/~avr/musixtex

or at

ftp://ftp/pub/avr/musixtex (read the file: HEADER)

All songs are written in native Taupin-code (as opposed
to Mtx, at which i will have to look, i think)

The server is a 200Mhz SCSI pentium with LINUX.
The communicationline is 64 Kbit (mostly incoming traffic).
So do not hold your breath while looking

Andr=E9 Van Ryckeghem
Katholieke Hogeschool Brugge-Oostende dept. IW&T
Zeedijk 101 - 8400 Oostende - Belgi=EB
tel. 32 59 508996 - fax 32 59 704215
avr@kh.khbo.be  --  www.khbo.be


From mutex-owner@mail2.gmd.de Wed Mar 25 14:08:03 1998
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To: <mutex@gmd.de>
Subject: musixtexsongexamples
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Hi,

There are a few musixtex-examples of songs at

http://www.khbo.be/~avr/musixtex

or at

ftp://ftp/pub/avr/musixtex (read the file: HEADER)

All songs are written in native Taupin-code (as opposed
to Mtx, at which i will have to look, i think)

The server is a 200Mhz SCSI pentium with LINUX.
The communicationline is 64 Kbit (mostly incoming traffic).
So do not hold your breath while looking

Andr=E9 Van Ryckeghem
Katholieke Hogeschool Brugge-Oostende dept. IW&T
Zeedijk 101 - 8400 Oostende - Belgi=EB
tel. 32 59 508996 - fax 32 59 704215
avr@kh.khbo.be  --  www.khbo.be


From mutex-owner@mail2.gmd.de Wed Mar 25 14:21:08 1998
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: MIDI to MusiXTex and Retro-Tex Tools - A Dream Sequence
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Wed, 25 Mar 1998 09:21:08 -0500 (EST)
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Greetings to all on the list!

I have a dream...  I am playing yet another something on my
electronic keyboard.  This is being "recorded" as a midi file 
on my PC...

Then, when I'm done (mistakes and all), I run a MIDI to
MusiXTex program, which produces a reasonable representation 
of what I have played.... Next, I run a RETRO-Tex program
that translates the MusiXTex output back to PMX or back to
M-Tex.... (Of course, it may lose some of the special things
only available in MusiXTex, but...) When I get a simple M-Tex file... 
I efficiently edit in the words.  Now, with viable M-Tex (and PMX) 
in hand, I do whatever score beautification needed, and (... but wait...., 
still dreaming....)

I ask, "Why not have a tool that translates the MIDI directly to
M-Tex, because that's got to be easier in the first place...!)"

Then I wake up to realize that I don't have any of these tools
in the first place, and my creativity in software development
for such a thing would need a great boost, both in time and
talent, to make that happen.

Make my dreams come true!

Or... stated in question form...

1)  What is the current status of MIDI to MusiXTex tools?

    (I recall some time ago looking at a MIDI to MusiCtex
     thing, but I lost interest due to various complications
     one of which was the MusiCtex output...)

2)  Has anyone considered writing a simple (nothing is simple, but 
    many things are simpler than the alternatives) tool to translate
    MIDI files to M-Tex, particularly helpful for those who want to add
    song words....??

Wake me up with good news...

Regards
Joel Hunsberger
hunsberg@sqa1.si.com


From mutex-owner@mail2.gmd.de Thu Mar 26 07:24:44 1998
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To: hunsberg@sqa1.si.com (Joel Hunsberger)
Cc: mutex@gmd.de (MusiXTex Mailinglist)
Subject: Re: MIDI to MusiXTex and Retro-Tex Tools - A Dream Sequence 
In-Reply-To: Your message of "Wed, 25 Mar 1998 09:21:08 EST."
             <m0yHr3F-0002qXC@sqa1.si.com> 
Date: Thu, 26 Mar 1998 08:24:44 +0100
From: Jan Nieuwenhuizen <jan@digicash.com>
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On Wednesday, 25 March 1998, Joel Hunsberger writes:

> Greetings to all on the list!
> 
> I have a dream...  I am playing yet another something on my
> electronic keyboard.  This is being "recorded" as a midi file 
> on my PC...

> 1)  What is the current status of MIDI to MusiXTex tools?
> 
> 2)  Has anyone considered writing a simple (nothing is simple, but 
>     many things are simpler than the alternatives) tool to translate
>     MIDI files to M-Tex, particularly helpful for those who want to add
>     song words....??

Well, there is a midi to mudela converter that comes with LilyPond.

After developing a Musi*TeX preprocessor (mpp) to make editing a bit 
more convenient, we found that Musi*TeX and *flex must make typesetting 
decisions that not predictable, or very hard to influence (line/page 
breaking, exact placement of beams, slurs, other symbols).

The only way to get full controll is make all typsetting decisions
in one program; so we started developing LilyPond.  It uses a friendly
ascii script language as input language.

> Wake me up with good news...

There are still some rough edges on the converter (so you're invited
to come and hack along) but it basically works.  I'm pretty sure, 
though, that if you learn to type with ten fingers, you'll spend a lot 
less time entering a piece of music (in an easy language) than it'll 
take you playing and correcting.

Greetings,

Jan.

Jan Nieuwenhuizen <jan@digicash.com> | LilyPond - The GNU music typesetter
http://www.digicash.com/~jan | http://www.cs.ruu.nl/people/hanwen/lilypond


From mutex-owner@mail2.gmd.de Thu Mar 26 12:41:52 1998
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From: struck <struck@student.uni-siegen.de>
Message-Id: <199803261241.NAA11835@studm.hrz.uni-siegen.de>
Subject: different \longa macro, changes in MusixGRE
To: mutex@gmd.de
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Hello MusiXTeX friends!

I am currently working on a choral score for eight voices (two choirs with
four voices). It is a Te Deum from Jean Lefebure (or Le Febure or Le F`evre,
this is not quite clear).
For this purpose I need the \longa note very often. Because I did not like 
the implemented character with a short downstem only, I redefined the \longa
macro. It now looks like this: 

\def\lngdnst@m{\stem@skip1.25\qd@skip
  \advance\st@bot-\stemfactor\interbeam
  \advance\st@bot-\altportee
  \ifx\st@mcut\empty
    \ifdim\st@bot<-\thr@@\internote
      \cutst@l\thr@@\cutst@l\f@ur\cutst@l\fiv@
      \cutst@l\si@\cutst@l\s@v@n\cutst@l\@ight \fi \fi
  \minst@bot\advance\st@bot\altportee
  \C@stem}

\def\lngupst@m{\stem@skip1.25\qd@skip
  \advance\st@top\stemfactor\interbeam
  \advance\st@top-\altportee
  \ifx\st@mcut\empty
    \ifdim\st@top>\@l@v@n\internote
      \cutst@u\@l@v@n\cutst@u\tw@lv@\cutst@u\active
      \cutst@u\fourt@@n\cutst@u\fiv@t@@n\cutst@u\sixt@@n \fi \fi
  \maxst@top\advance\st@top\altportee
  \C@stem}

\def\@longa#1{\getn@i#1\relax
  \ifnum\n@i>\thr@@
    \let\st@m\lngdnst@m
  \else
    \let\st@m\lngupst@m
  \fi
  \let\n@fon\@longa \let\n@sym\q@u \y@v\qn@width \writ@note}

\def\l@ngasymbol{\def\q@u{\musixfont\@xxxii}}

\def\longa{\l@ngasymbol\@longa}

With this version you get an automatic up/downstem on the right side
of the \breve notehead. I added a \brevep too, which is too simple to
be shown (analogous to \whp...).
Maybe you (D.T.) could implement this in the next MusiXTeX release.

For the Intonatios of the score I am currently at, I use MusixGRE.

Therefore I have got another project (which I have not finished yet...):
The MusixGRE package combined with MusixLYR has the disadvantage
that the syllables are not centered under the ligatures because of
the implementation of spacing. It seems to be the first symbol of a
ligature which produces spacing; thus the syllable is attached to this
symbol. I am currently rewriting the definitions of the ligatures so
that the syllables are always centered under the whole ligature (this is
quite tricky for some ligatures...)

Maybe someone has already a complete solution for this problem; if so,
please inform me about it so I can stop superflous work. Otherwise I
will submit the revised MusixGRE version, once I have finished it.

So long, and thanks for all the fish

Ingo Struck
struck@student.uni-siegen.de

From mutex-owner@mail2.gmd.de Thu Mar 26 13:14:11 1998
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Date: Thu, 26 Mar 1998 14:14:11 +0100
From: CRETEL Dominique <dominique.cretel@sema.be>
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Hi all,

Is there any body who already have install and use abc2mtex on a PC with
Windows 95 ?
I find something like a set of soft:
	abc2mtex + musixtex + dviwin
but I have some difficulties to use it.

Please help
Thanks,
Dominique.

From mutex-owner@mail2.gmd.de Thu Mar 26 16:43:12 1998
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Date: Thu, 26 Mar 1998 17:43:12 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199803261643.RAA03569@sunick.gmd.de>
To: mutex@gmd.de
Subject: Musixflx version T.83 - musixflx.zip
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There is now an updated musixflx.zip, which contains following files:

  40960  12-01-97  17:58   musixflx/OSF1-alpha/musixflx
  39795  12-02-97  14:57   musixflx/Warp4/musixflx.exe
  26523  12-02-97  16:04   musixflx/AIX/musixflx
  62464  12-01-97  18:56   musixflx/Win32/musixflx.exe
  18828  12-02-97  14:14   musixflx/Linux-I86/musixflx
  27236  12-01-97  18:00   musixflx/SunOS-sparc/musixflx
  32768  12-02-97  14:48   musixflx/Hp-ux/musixflx
  41092  12-02-97  12:04   musixflx/Linux-alpha/musixflx
 141276  12-01-97  15:49   musixflx/Dos16/musixflx.exe
    896  12-01-97  17:00   musixflx/Dos16/readme16.mfx
     51  12-01-97  15:48   musixflx/Dos16/build16.bat
  27612  12-02-97  16:07   musixflx/Irix-SGI/musixflx
  18944  12-02-97  16:01   musixflx/AXP-VMS/musixflx.exe
  21890  12-02-97  16:35   musixflx/Freebsd/musixflx
  43353  03-23-98  17:32   musixflx/Mac/MusiXFlx.sit
  49905  03-23-98  17:32   musixflx/Mac/README.sit
  33150  12-01-97  13:03   musixflx/musixflx.c
   2676  12-02-97  12:17   musixflx/musixflx.mx1
    930  12-02-97  12:17   musixflx/musixflx.mx4

If you can generate a version for another system, feed it with .mx1 to
get a .mx2. This should be identical to .mx4.

Any Amiga version out there? Any other version worth to be put into the zip?

The Mac version was the last I put in. Thanks to Eric Petersen!

And not to forget to thank Joel Hunsberger who not only "revised" the
current version, but did a great job in hunting that damned signature
change bug, which at least bothered me for a long time, and introduced
\linegoal as alternative to \mulooseness.

-- Werner

From mutex-owner@mail2.gmd.de Fri Mar 27 09:49:23 1998
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To: wself@viking.emcmt.edu (Will Self)
Cc: "ir. Wendy" <hanwen@cs.ruu.nl>, mutex@gmd.de
Subject: Re: MIDI to MusiXTex and Retro-Tex Tools - A Dream Sequence 
In-Reply-To: Your message of "Thu, 26 Mar 1998 10:22:26 MST."
             <9803261722.AA21168@viking.emcmt.edu> 
Date: Fri, 27 Mar 1998 10:49:23 +0100
From: Jan Nieuwenhuizen <jan@digicash.com>
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On Thursday, 26 March 1998, Will Self writes:

> One thing I have often thought is that there should be a completely
> independent page description language for music that could be used
> in completely different music typesetting programs.  

This is surely one of the goals of the GNU Music Procject.

from the MANIFESTO:

       o   Describing a well-defined language for defining music.
           We call this language (rather arrogantly) The Musical
           Definition Language (mudela for short). GNU LilyPond
           reads a mudela sourcefile and outputs a TeX file.

[...]

MUDELA
       The design of Mudela has been (perfect past tense,
       hopefully) an ongoing process, the most important criteria
       being:

       o   define the (musical) message of the composer as
           unambiguously as possible.

           This means that, given a piece Mudela, it should be
           possible for a program to play a reasonable
           interpretation of the piece.

           It also means that, given a piece of Mudela, it should
           be possible for a program to print a score of the
           piece.

       o   be intuitive, and easily readable (compared to, say,
           Musi*TeX input, or MIDI :-),

       o   be easily writable in ASCII with a simple texteditor

       Other considerations were (and will be):

       o   be able to edit the layout without danger of changing
           the original music (Urtext),

       o   allow for adding different interpretations, again,
           without danger of changing the original,

       o   easy to create a conductor's score, as well as the
           scores for all individual instruments,

       o   provide simple musical manipulations, such as
           (i) extracting a slice of music from a previously
           defined piece, (ii) extracting only the rhythm from a
           piece of music, (iii) transposing, etc.,

       o   easy to comprehend to both programmers and others.

       One of the things that (might) be here would be: feasible
       to use in a graphic editor. We don't have experience with
       these beasts, so we don't know how to do this. Comments
       appreciated.

> Is LilyPond such a thing?  If so, I will be more excited and will 
> probably start working on it!

LilyPond is one of those 'completely different' music typesetting 
programs, that all use Mudela as their musical definition language.

If you're interested, you're free to join the GNU music discussion
list gnu-music-discuss@gnu.org.

Greetings,

Jan.

Jan Nieuwenhuizen <jan@digicash.com> | LilyPond - The GNU music typesetter
http://www.digicash.com/~jan | http://www.cs.ruu.nl/people/hanwen/lilypond


From mutex-owner@mail2.gmd.de Fri Mar 27 21:10:23 1998
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Date: Fri, 27 Mar 1998 22:10:23 +0100
From: Jan-Mark Batke <jmb@pp-ulm.de>
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--------------DDF838B5BB091499BF2C4607
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Hallo to all!

Here is my new release of the musixtex-command-reference.
* Some errors are corrected now, others are inserted.
* The layout is still buggy - suggestions are welcome.
* The list is still incomplete, so you might help completing it as I
don't know about all  musixtex   commands.
* The structure of the reference is now different to Daniel Taupins
documention.

--

Jan-Mark Batke


______\ \ \____________________________________________________
       \_\/



--------------DDF838B5BB091499BF2C4607
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<HTML>
Hallo to all!

<P>Here is my new release of the musixtex-command-reference.
<BR>* Some errors are corrected now, others are inserted.
<BR>* The layout is still buggy - suggestions are welcome.
<BR>* The list is still incomplete, so you might help completing it as
I don't know about all&nbsp; musixtex&nbsp;&nbsp; commands.
<BR>* The structure of the reference is now different to Daniel Taupins
documention.
<PRE>--</PRE>

<PRE>Jan-Mark Batke


&nbsp;
______\ \ \____________________________________________________
&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; \_\/</PRE>
&nbsp;</HTML>

--------------DDF838B5BB091499BF2C4607--

--------------BD90245B8CE93124BDA8D390
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\documentclass[a4paper]{article}
% use a nice package contributed with teTeX:
%\usepackage[germanpar]{anysize}
%\marginsize{2cm}{2cm}{2cm}{2cm}

% ... or do it by hand:
\textwidth=16cm
\textheight=25cm
\parindent=0cm
\hoffset=-1in
\voffset=-1in
%(local-set-key [f1] (read-kbd-macro "\\verb!! <left>"))

\begin{document}


\title{MusiX\TeX-Command Reference}
\author{Jan-Mark Batke\\\texttt{jmb@pp-ulm.de}}
\date{March 15, 1998; Rev.: \today}
\maketitle

\begin{abstract}
  This is a ``reference'' manual for the most common
  MusiX\TeX-commands. The commands are stripped from the original
  MusiX\TeX-Docomentation (T.86) written by Daniel Taupin. This manual is
  \textbf{not complete}, but you might find 
  it useful.

  Send any comments/suggestions/additions to \texttt{jmb@pp-ulm.de}.
\end{abstract}

\section{Heading statements}

\subsection{What you have to specify}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\input musixtex!& loads musixtex macros \\
\verb!\input musixadd!& if more then 6 instruments\\
\hline
\hline%---------------------------------------
\verb!\instrumentnumber{n}!& sets number of instruments $n$\\
\verb!\setstaffs{n}{p}!   & sets number of staffs $p$ for instrument $n$\\
\verb!\setname{n}{text}!  & sets name of instrument number $n$ to  $text$\\
\verb!\setsize{n}{value}! & set instrument $n$ to $value$\\
\hline%---------------------------------------
\verb!\setclef{n}{s1s2s3s4}!&
sets clef $s$ for instrument $n$ for staff 1, 2, 3, 4\\ 
\verb!\treble!  & violin clef\\
\verb!\alto!    & alto clef\\
\verb!\bass!    & bass clef\\
\hline%---------------------------------------
\verb!\generalsignature{s}!&
\parbox[t]{5cm}{sets signature;\\
  $s > 0$ number of sharps,\\
  $s < 0$ number of flats}\\
\hline%---------------------------------------
\verb!\generalmeter{m}!&
sets meter $m$\\
\verb!\meterfrac{a}{b}! & set the fraction $a/b$\\
\verb!\meterC!  & C\\
\verb!\reverseC!& reverse C\\
\verb!\allabreve! & alla breve\\
\verb!\reverseallabreve! & reverse alla breve\\
\verb!\meterplus! & for usage with \verb!\meterfrac!\\
\hline%---------------------------------------
\verb!\nostartrule!     & no rule at the beginning of the system\\
\verb!\startrule!       & a rule at the beginning of the system\\
\verb!\sepbarrules!     & discontious bar lines\\
\verb!\stdbarrules!     & standard bar lines (continious)\\
\hline
\end{tabular}

\subsection{Starting your masterpiece}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\startmuflex! & starts muflex; startpiece does that, 2.\\
\verb!\endmuflex! & ends muflex\\
\verb!\startpiece! & initiate first set off staffs\\
\verb!\startextract! & starts extract\\
\hline
\verb!\Endpiece!        & heavy final double bar\\
\verb!\Stoppiece!       & dto.\\
\verb!\endpiece!        & simple bar at end\\
\verb!\stoppiece!       & dto.\\
\verb!\zstoppiece!      & end without a barline\\
\hline
\verb!\contpiece!       & continue a stopped piece\\
\verb!\Contpiece!       & dto. with changed number of instruments\\
\hline
\end{tabular}


\section{Values and Sizes}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Music Size}}\\
\hline
\verb!\smallmusicsize! & 16pt          \\
\verb!\normalmusicsize!& 20pt (default)\\
\verb!\largemusicsize! & 24pt          \\
\verb!\Largemusicsize! & 28.8pt        \\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Values}}\\
\hline
\verb!\tinyvalue!  & factor 0.64 \\
\verb!\smallvalue! & factor 0.80 \\
\verb!\normalvalue! & factor 1 (default)\\
\verb!\largevalue! & factor 1.2 \\
\verb!\Largevalue! & factor 1.44 \\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Note Sizes}}\\
\hline
\verb!\smallnotesize! & small  \\
\verb!\tinynotesize!  & tiny   \\
\verb!\normalnotesize!& normal \\
\hline
\end{tabular}

\section{Space}


\subsection{Spacing environments}

\begin{tabular}[t]{|l|l|}
\hline
command & spacing for \dots\\
\hline
\verb!\znotes!& --- \\
\verb!\notes!& 16th \\
\verb!\notesp!& 16th pointed, 8th triplet\\
\verb!\Notes!& 8th \\
\verb!\Notesp!& 8th pointed, 8th triplet\\
\verb!\NOtes!& 4th \\
\verb!\NOtesp!& 4th pointed, 8th triplet\\
\verb!\NOTes!& 2th \\
\verb!\NOTesp!& 2th pointed, 8th triplet\\
\verb!\NOTEs!& 1th \\
\hline
\verb!\enotes! & close spacing, abr. \verb!\en!\\
\hline
\verb!&! & next instrument\\
\verb!|! & next staff\\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\verb!\elemskip! & spatial unit\\
\verb!\noteskip! & spacing of one note, depends on \verb!\notes!-env.\\
\verb!\beforeruleskip! & space before a barline\\
\verb!\afterruleskip!  & space after a barline\\
\hline
\verb!\multnoteskip{m}! & 
multiply \verb!\noteskip! by $m$ within \verb!\notes!-env\\
\verb!\scale{m}! & scale all \verb!\noteskip!s \\
\hline
\end{tabular}

\subsection{Spacing commands}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\sk! & skip one \verb!\noteskip! forward\\
\verb!\hsk! & skip half \verb!\noteskip! forward\\
\verb!\bsk! & skip one \verb!\noteskip! back\\
\hline
\verb!\roff{arg}! & shift right $arg$ument one notehead width\\
\verb!\loff{arg}! & shift left $arg$ument one notehead width\\
\verb!\hroff{arg}! & shift right $arg$ument half notehead width\\
\verb!\hloff{arg}! &  shift left $arg$ument half notehead width\\
\verb!\roffset{v}{arg}! & shift right $arg$ument $v$ notehead width\\
\verb!\loffset{v}{arg}! & shift left $arg$ument  $v$ notehead width\\
\verb!\off{D}!     & general spacing command to insert dimesion $D$\\
\hline
\verb!\nspace! & skip hard space of half notehead outside \verb!\notes..\en!-env\\
\verb!\qspace! & dto. skip hard space of one\\
\hline
\verb!\addspace{l}! & adds space of lenght $l$\\
\verb!\hardspace{d}!& insert hardspace of \TeX-dimension $d$\\
\hline 
\end{tabular}



\section{Writing notes}

\subsection{Spacing notes}

\begin{tabular}[t]{|l|l|l|l|}
\hline
\multicolumn{4}{|c|}{\textbf{Single notes}}\\
\hline
up             & low            & automatic      & note at pitch $p$\\
\hline
\verb!\wh{p}!  &                &                &whole \\
\verb!\hu{p}!  & \verb!\hl{p}!  & \verb!\ha{p}!  &half \\
\verb!\qu{p}!  & \verb!\ql{p}!  & \verb!\qa{p}!  &quarter \\
\verb!\cu{p}!  & \verb!\cl{p}!  & \verb!\ca{p}!  &8th \\
\verb!\ccu{p}! & \verb!\ccl{p}! & \verb!\cca{p}! &16th \\
\verb!\cccu{p}! & \verb!\cccl{p}! & \verb!\ccca{p}! &32th \\
\verb!\ccccu{p}! & \verb!\ccccl{p}! & \verb!\cccca{p}! &64th \\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Stemless notes}}\\
\hline
\verb!\nh{p}!   & half note\\
\verb!\nq{p}!   & quarter note\\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Grace notes}}\\
\hline
up & low & \\
\hline
\verb!\grcu{p}! & \verb!\grcl{p}! & note at pitch $p$\\
\hline
\end{tabular}

\subsection{Non-spacing (chord) notes}

\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Single notes}}\\
\hline
up      & low   & note\\
\hline
\verb!\zw{p}!     & & whole\\
\verb!\zwq{p}!    & & abitrary duration\\
\hline             
\verb!\zbreve{p}! & & breve \\
\verb!\zlonga{p}! & & longa \\
\verb!\zmaxima{p}!& & maxima \\
\hline
\verb!\zhu{p}!   & \verb!\zhl{p}! & half\\
\verb!\zqu{p}!   & \verb!\zql{p}! & quarter\\
\verb!\zcu{p}!   & \verb!\zcl{p}! & eights\\
\verb!\zccu{p}!   & \verb!\zccl{p}! & 16th\\
\verb!\zcccu{p}!   & \verb!\zcccl{p}! & 32th\\
\verb!\zccccu{p}!   & \verb!\zccccl{p}! & 64th\\
\hline
\verb!\rhu{p}!    & \verb!\rhl{p}! & right shifted half\\
\verb!\rqu{p}!    & \verb!\rql{p}! & right shifted quarter\\
\verb!\rcu{p}!    & \verb!\rcl{p}! & right shifted eights\\
\hline
\verb!\lhu{p}!    & \verb!\lhl{p}! & left shifted half\\
\verb!\lqu{p}!    & \verb!\lql{p}! & left shifted quarter\\
\verb!\lcu{p}!    & \verb!\lcl{p}! & left shifted eights\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Chord notes}}\\
\hline
\verb!\zh{p}! & half note at pitch $p$\\
\verb!\zq{p}! & dto. quarter\\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Shifted (chord) notes}}\\
\hline
left    & right & note head\\
\hline
\verb!\lw{p}!    & \verb!\rw{p}! & whole\\
\verb!\lh{p}!    & \verb!\rh{p}! & half\\
\verb!\lq{p}!    & \verb!\rq{p}! & quarter\\
\hline
\end{tabular}


\section{Fixed Beams}

\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Initiation} 
  of beam number $n$ at pitch $p$ with slope $s$}\\
\hline
lower    & upper & beams\\
\hline
\verb!\ibl{n}{p}{s}!    &\verb!\ibu{n}{p}{s}!    & single       \\
\verb!\ibbl{n}{p}{s}!    &\verb!\ibbu{n}{p}{s}!    & double       \\
\verb!\ibbbl{n}{p}{s}!    &\verb!\ibbbu{n}{p}{s}!    & triple       \\
\verb!\ibbbbl{n}{p}{s}!    &\verb!\ibbbbu{n}{p}{s}!    & quadruple     \\
\hline
\end{tabular}
\hfill
\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Termination} of beam number $n$}\\
\hline
lower   & upper & beams\\
\hline
\verb!\tbl{n}! & \verb!\tbu{n}! & all\\
\hline
\end{tabular}


\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Increase} beam number $n$}\\
\hline
lower   & upper & by \dots beams\\
\hline
\verb!\nbbl{n}!& \verb!\nbbu{n}! & one\\
\verb!\nbbbl{n}!& \verb!\nbbbu{n}! & two\\
\verb!\nbbbbl{n}!& \verb!\nbbbbu{n}! & three\\
\hline
\end{tabular}
\hfill
\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Decrease} beam number $n$}\\
\hline
lower   & upper & by \dots beams\\
\hline
\verb!\tbbl{n}!& \verb!\tbbu{n}! & one\\
\verb!\tbbbl{n}!& \verb!\tbbbu{n}! & two\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Writing notes}}\\
\hline
\verb!\qb{n}{p}! & a beamed note to beam number $n$ at pitch $p$\\
\verb!\zqb{n}{p}! & same no space afterwards\\
\hline
\end{tabular}

\section{Rests}


\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Ordinary rests}}\\
\hline
\verb!\PAUSe!   & long\dots\\
\verb!\PAuse!   & also long\\
\verb!\pause!   & full bar\\
\verb!\pausep!   & pointed full bar\\
\verb!\hpause!   & half bar\\
\verb!\hpausep!   & pointed half bar\\
\verb!\qp!   & quarter \\
\verb!\ds!   & eight \\
\verb!\qs!   & 16th \\
\verb!\qqs!   & 32th \\
\hline
\end{tabular}
\hfill
\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Lifted rests}}\\
\hline
\verb!\liftpause{n}! & lifted by $n$ staff line intervalls\\
\verb!\lifthpause{n}! & hanging lifted \dots\\
\hline
\end{tabular}



\begin{tabular}[c]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Bar centered rests}}\\
\hline
\verb!\centerbar!  & centered bar\\
\verb!\centerpause!  & pause\\
\verb!\centerhpause!  & half pause\\
\verb!\centerPAuse!  & long pause\\
\verb!\centerPAUSE!  & very long pause\\
\hline
\end{tabular}
\begin{minipage}[c]{8cm}
  Construct with:
\begin{verbatim}
\def\atnextbar{\znotes ...\enotes}
\end{verbatim}
  before \verb!\bar! outside \verb!\notes...\enotes!.
\end{minipage}

\section{Around the notehead}

\begin{tabular}[t]{|l|l|l|l|l|l|}
\hline
\multicolumn{6}{|c|}{\textbf{Accidentals}}\\
\hline
flat    & sharp & natural & doubleflat & doublesharp & \\
\hline
\verb!\fl{p}! &
\verb!\sh{p}! &
\verb!\na{p}! &
\verb!\dfl{p}! &
\verb!\dsh{p}! &
normal\\
\verb!\lfl{p}! &
\verb!\lsh{p}! &
\verb!\lna{p}! &
\verb!\ldfl{p}! &
\verb!\ldsh{p}! &
left\\
\verb!\bigfl{p}! &
\verb!\bigsh{p}! &
\verb!\bigna{p}! &
\verb!\bigdfl{p}! &
\verb!\bigdsh{p}! &
big\\
\verb!\smallfl{p}! &
\verb!\smallsh{p}! &
\verb!\smallna{p}! &
\verb!\smalldfl{p}! &
\verb!\smalldsh{p}! &
small\\
\verb!\upperfl{p}! &
\verb!\uppersh{p}! &
\verb!\upperna{p}! &
&
&
upper\\
\verb!\cfl{p}! &
\verb!\csh{p}! &
\verb!\cna{p}! &
\verb!\cdfl{p}! &
\verb!\cdsh{p}! &
cautionary\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\bigaccid!        & force big accidentals\\
\verb!\smallaccid!      & force small accidentals\\
\verb!\varaccid!        & restore variable accidentals\\
\verb!\accshift=dim!    & \TeX-$dimension$ (default $0$pt)\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Pointed notes}}\\
\hline
\verb!\pt{p}!   & point after note with pitch $p$\\
\verb!\ppt{p}!  & two points\\
\verb!\pppt{p}! & three points\\
\verb!\lpt{p}!   & lower point\\
\verb!\lppt{p}! & two lower points\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Accents}}\\
\hline
upper   & lower & accent at pitch $p$\\
\hline
\verb!\upz{p}!     & \verb!\lpz{p}!     & pizzicato           \\
\verb!\usf{p}!     & \verb!\lsf{p}!     & sforzando           \\
\verb!\ust{p}!     & \verb!\lst{p}!     & staccato or portato \\
\verb!\uppz{p}!    & \verb!\lppz{p}!    & strong pizzicato    \\
\verb!\usfz{p}!    & \verb!\lsfz{p}!    & sforzato            \\
\verb!\upzst{p}!   & \verb!\lpzst{p}!   & tenuto/staccato     \\  
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\verb!\flageolett{p}!    & put a circle at pitch $p$\\
\verb!\upbow{p}!         & for strings\dots\\
\verb!\downbow{p}!       & for strings\dots\\
\hline
\end{tabular}

\verb!wholeshift{text}! centers $text$ above whole notes.

Prefix \verb!b! for accent commands for automatic beam positioning\dots


\section{Note pitch specification}

\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{pitches}\\
\hline
A\dots N, a\dots z & pitch, see manual\\
\hline
\multicolumn{2}{|c|}{prefixes}\\
\hline
\verb$^$ & sharp\\
\verb$_$ & flat\\
\verb$=$ & natural\\
\verb$.$ & dotted\\
\hline
\multicolumn{2}{|c|}{transposition}\\
\hline
\verb!\transpose=n! & set transpose register to $n$ \\
\verb$!$        & reset transpose register to $0$\\
\verb!'!        & inc transpose register by $8$\\
\verb!`!        & dec transpose register by $8$\\
\hline
\end{tabular}



\section{Slurs and Ties}


\subsection{Slurs}

\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Initiation} of slur number $n$ at pitch $p$}\\
\hline
up                      & down                    & type\\
\hline
\verb!\isluru{n}{p}!    & \verb!\islurd{n}{p}!    & normal \\
\verb!\issluru{n}{p}!   & \verb!\isslurd{n}{p}!   & small \\
\verb!\ibsluru{n}{p}!   & \verb!\ibslurd{n}{p}!   & beam  \\
\hline
\end{tabular}
\hfill
\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Termination} of slur number $n$ at pitch $p$}\\
\hline
up             & down   & type\\
\hline
\verb!\tslur{n}{p}!  &  & normal\\
\verb!\tsslur{n}{p}! &  & small \\
\verb!\tbsluru{n}{p}!   & 
\verb!\tbslurd{n}{p}!   & beam \\
\hline
\end{tabular}


\subsection{Ties}

\begin{tabular}[t]{|l|l|l|}
\hline
\multicolumn{3}{|c|}{\textbf{Initiation} of tie number $n$ at pitch $p$}\\
\hline
up & down & type\\
\hline
\verb!\itieu{n}{p}! & \verb!\itied{n}{p}! & normal\\
\verb!\itenu{n}{p}! & \verb!\itenl{n}{p}! & small\\
\hline
\end{tabular}
\hfill
\begin{tabular}[t]{|l|l|}
\hline
\multicolumn{2}{|c|}{\textbf{Termination} of tie number $n$}\\
\hline
cmd & type\\
\hline
\verb!\ttie{n}! & normal\\
\verb!\tten{n}! & small\\
\hline
\end{tabular}


\subsection{Modifying slur properties}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\dotted! & prefix command for dotted slurs\\
\hline
\verb!\midslur{h}! & change vertical displacement $h$\\
\verb!\curve{h}{i}{j}! & sets:\\
&$h$ vertical deviation\\
&$i$ inital gradient\\
&$j$ final gradient\\
\hline
\verb!\breakslur{n}{p}! & sets termination height of slur $n$ to pitch
$p$; see manual\\
\verb!\Liftslur{n}{p}!  & see manual\dots\\
\hline
\verb!\invertslur{n}!   & invert slur $n$\\
\hline
\end{tabular}


\section{Bar Numbering}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\nobarnumbers!    & inhibit any bar numbers\\
\verb!\barnumbers!      & restore bar numbering\\
\verb!\systemnumbers!   & only barnumbers at left top of system\\
\hline
\verb!\barno!           & the barnumber counter\\
\verb!\startbarno=n!    & sets startbarnumber to $n$\\
\hline
\verb!\def\freqbarno{f}!    & sets barnumber frequency $f$\\
\verb!\def\raisebarno{d}!   & raise barnumber for dimsion $d$\\
\verb!\def\shiftbarno{d}!   & shift barnumber for dimsion $d$\\
\verb!\def\writebarno{cmd}! & macro to write barnumbers\\
\hline
\end{tabular}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\boxit{text}! & boxed text\\
\verb!\circleit{text}! & circled text\\
\hline
\verb!\boxitsep=dim! & set \TeX-dimension\\
\hline
\end{tabular}

\section{Repeats}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\leftrepeat! & left repeat bar\\
\verb!\rightrepeat! & right repeat bar\\
\verb!\leftrightrepeat! & leftright repeat bar\\
\hline
\verb!\setvolta{text}! & set a volta box this bar\\
\verb!\Setvolta{text}! & start a volta box\\
\verb!\endvolta!       & end volta box\\
\hline
\verb!\def\raisevoltabox{dim}! & set up height of volta box\\
\verb!\def\voltadot{.}!& set dot in volta text\\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\verb!\coda{p}! & coda sign at pitch $p$\\
\verb!\Coda{p}! & Coda sign at pitch $p$\\
\verb!\segno{p}!& segno sign at pitch $p$\\
\verb!\Segno!   & Segno sign\\
\hline
\end{tabular}




\section{Managing the score layout}


\subsection{Line and page breaking}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\bar!             & barline, optional linebreak\\
\verb!\doublebar!       & thin double bar\\
\verb!\xbar!            & dto., forbid linebraek\\
\verb!\zbar!            & no barline, optional linebreak\\
\hline
\verb!\alaligne!        & barline, force linebreak\\
\verb!\alapage!         & dto. plus new page\\
\verb!\zalaligne!       & break line not at a bar\\
\verb!\zalapage!        & dto. plus new page\\
\hline
\verb!\setdoublebar!    & setup doublebar; prefix for \verb!\bar!\\
\verb!\setdoubleBAR!    & setup heavy double bar; dto.\\
\hline
\end{tabular}


\section{Miscellaneous}


\subsection{Putting everything everywhere}

\begin{tabular}[t]{|l|l|l|}
\hline
command & put $text$ & justification\\
\hline
\verb!\zcharnote{p}{text}! & at pitch $p$ & right\\
\verb!\lcharnote{p}{text}! & at pitch $p$ & left\\
\verb!\ccharnote{p}{text}! & at pitch $p$ & centered\\
\hline
\verb!\zchar{n}{text}! & at number $n$ & right\\   
\verb!\lchar{n}{text}! & at number $n$ & left\\    
\verb!\cchar{n}{text}! & at number $n$ & centered\\
\hline
\verb!\zmidstaff{text}! & at middle of two staffs & right\\   
\verb!\lmidstaff{text}! & at middle of two staffs & left\\    
\verb!\cmidstaff{text}! & at middle of two staffs & centered\\
\hline
\end{tabular}






\subsection{Dynamic Signs}

\begin{tabular}[t]{|l|l|}
\hline
\verb!\crescendo{l}!      & crescendo with length $l$\\
\verb!\decrescendo{l}!    & decrescendo with length $l$\\
\hline
\verb!\icresc!  & init crescendo or decrescendo\\
\verb!\tcresc!  & terminate crescendo\\
\verb!\tdecresc!& terminate decrescendo\\
\hline
\end{tabular}
\begin{tabular}[t]{|l|l|}
\hline
\verb!\p!       & piano\\
\verb!\pp!       & pianissimo\\
\verb!\ppp!       & ppp\\
\verb!\pppp!       & pppp     \\
\verb!\mp! & mezzo piano\\
\verb!\mf! & mezzo forte\\
\verb!\f!  & forte\\
\verb!\ff!  & fortissimo\\
\verb!\fff!  & fff\\
\verb!\ffff!  & ffff\\
\verb!\fp!      & forte piano\\
\verb!\sF!      & sf\\
\hline
\end{tabular}
\end{document}

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%%% mode: latex
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--------------BD90245B8CE93124BDA8D390--


From mutex-owner@mail2.gmd.de Fri Mar 27 22:13:17 1998
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To: mutex <mutex@gmd.de>
In-Reply-To: <199803261643.RAA03569@sunick.gmd.de>
From: Reinhard Katzmann <Suamor@student.uni-tuebingen.de>
Date: Fri, 27 Mar 1998 17:13:17 -0500
Reply-To: Reinhard Katzmann <suamor@student.uni-tuebingen.de>
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Subject: Re: Musixflx version T.83 - musixflx.zip
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=Werner Icking wrote on Thu, 26 Mar 1998 17:43:12 +0100 (MET) to me:
> There is now an updated musixflx.zip, which contains following files:

[magical snipper]

>
> Any Amiga version out there? Any other version worth to be put into the
> zip?

I have one, where should I upload it to ? (.zip or .gz ?)

Reinhard Katzmann
---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request
Current Amiga project: MapEditor Class and BGUIMenu V1.1BETA
Current music project: Bach Triosonate f minor and learning guitar playing



From mutex-owner@mail2.gmd.de Fri Mar 27 07:08:47 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199804011004.MAA11243@calvyn.puk.ac.za>
Subject: Re: MIDI to MusiXTex and Retro-Tex Tools - A Dream Sequence
To: hunsberg@sqa1.si.com (Joel Hunsberger)
Date: Fri, 27 Mar 1998 09:08:47 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <m0yHr3F-0002qXC@sqa1.si.com> from "Joel Hunsberger" at Mar 25, 98 09:21:08 am
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Joel Hunsberger
> 
> I have a dream...  I am playing yet another something on my
> electronic keyboard.  This is being "recorded" as a midi file 
> on my PC...
> 
...
> I ask, "Why not have a tool that translates the MIDI directly to
> M-Tex, because that's got to be easier in the first place...!)"
> 
> Then I wake up to realize that I don't have any of these tools
> in the first place, and my creativity in software development
> for such a thing would need a great boost, both in time and
> talent, to make that happen.
> 
I've tried writing some such, and I`ve had a look at what comes out of
proprietary software that purports to do it.  The result is not pleasing
to the kind of perfectionist that likes to use TeX instead of some
top-of-the-market WYSIWYG word processor.

1.  These programs make bad guesses about sharps and flats.
2.  They find it hard to put two logical voices on one stave.
3.  They don't understand anything about music theory.

I typed in a little piece, a prelude for keyboard in baroque style,
into one of these sound-card programs.  It sounded as good as could
be expected, but the transcription was really almost unrecognizable.

Be thankful you woke up,

Dirk


From mutex-owner@mail2.gmd.de Wed Apr  1 15:33:28 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: =?iso-8859-1?Q?=27Andr=E9_Van_Ryckeghem=27?= <IMCEASMTP-andre+2Evanryckeghem+40kh+2Ekhbo+2Ebe@singapore.ixos.de>
Cc: "'mutex@gmd.de'" <IMCEASMTP-mutex+40gmd+2Ede@singapore.ixos.de>
Subject: Re: 2 small problems
Date: Wed, 1 Apr 1998 17:33:28 +0200
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>Problem 2
>Some of the choral members wear glasses and like big characters.
>But when using fonts of more than 12pt, the text zigzag, as can be
>seen in the following code using the font \norm or \bigtype .
>I have tried the tex-command \vphantom but i don't thing thats
>the right solution for the problem
>Anyone who knows a better way?

I'd suggest to use musixlyr. :-) With it, your example, becomes the
following:

\input musixtex\input musixlyr
\hsize 90mm\musicparskip
%
% Have it a litte wider, to demonstrate a really big font:
\hsize 120mm
\Bigtype\setlyrstrut
%
\largemusicsize\geometricskipscale
\relativeaccid%entals%
\instrumentnumber 2\interinstrument=8\Interligne%
\generalsignature{-1}\generalmeter{\meterfrac{6}{8}}%
\songtop2\songbottom1\setsongraise2{-1\Interligne}
\bigaccid\startmuflex\startpiece\systemnumbers
%
\setlyrics{verse1}{als zu der Weih-nachts-}%
\setlyrics{verse2}{gleich sie das Christ-kind-lein}%
\setlyrics{verse3}{\"u-ber die Mee-re noch}%
\assignlyrics2{verse1,verse2,verse3}%
%3
\Notesp\zclp j\cup j&\zclp e\cup g\en
\notes\zccl j\ccu j&\zccl e\ccu g\en
\Notes\zcl j\cu j&\zcl e\cu g\en
\Notes\dotted\isslurd0j\dotted\issluru1j\zcl j\cu j&%
      \dotted\isslurd2e\dotted\issluru3g\zcl e\cu g\en
\Notes\tsslur0j\tsslur1j\zcl j\cu j&%
      \verses\nolyr
      \tsslur2d\tsslur3f\zcl d\cu f\en
\Notes\zcl j\cu j&\zcl e\cu g\en\bar
%4
\mulooseness0\Stoppiece\eject\bye


Regards,

Rainer

From mutex-owner@mail2.gmd.de Fri Apr  3 16:40:28 1998
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To: mutex@gmd.de
Subject: Empty line in lyrics
Date: Fri, 03 Apr 98 18:40:28 +0200
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Hi MusiXTeXers

I'm using musixlyr 1.1, pmx 1.3 and musixtex T.77

My piece of music has 3 verses. Also the first few bars (? Takt in german)
are repeated. Symbollically I want it to look like: (n means a note, 1 means 
text for verse 1, 1r text for the repeat of verse 1  etc,
| means a bar :|: a left right repeat)


n n |    n    n    n    n | n     n   n    n  | n    n    n   n |

1 1      1    1    1    1   1     1   1    1    1    1    1   1
1r1r     1r   1r   1r   1r  1r    1r  1r   1r   1r   1r   1r  1r

                                                                  XXX

2 2      2    2    2    2   2     2   2    2    2    2    2   2
2r2r     2r   2r   2r   2r  2r    2r  2r   2r   2r   2r   2r  2r

                                                                        XXX

3 3      3    3    3    3   3     3   3    3    3    3    3   3
3r3r     3r   3r   3r   3r  3r    3r  3r   3r   3r   3r   3r  3r

                                                                        XXX

n n    :|:    n    n    n    n | n     n   n    n  | n    n    n   n |

1 1           1    1    1    1   1     1   1    1    1    1    1   1
1r1r

                                                                         XXX

2 2           2    2    2    2   2     2   2    2    2    2    2   2
1r1r

                                                                         XXX

3 3           3    3    3    3   3     3   3    3    3    3    3   3
1r1r

    n    n    n    n | n     n   n    n  | n    n    n   n  :|

    1    1    1    1   1     1   1    1    1    1    1   1

    2    2    2    2   2     2   2    2    2    2    2   2

    3    3    3    3   3     3   3    3    3    3    3   3

but I don't succeed in putting the extra empty lines (or vertical space,
what ever you call it) on places shown by an X on the right side

Who knows the trick?

Regards Jacob 

From mutex-owner@mail2.gmd.de Tue Apr  7 10:32:10 1998
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Date: Tue, 7 Apr 1998 12:32:10 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199804071032.MAA05550@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Musixflx version T.83 - musixflx.zip
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> Date: Thu, 26 Mar 1998 17:43:12 +0100 (MET)
> From: Werner Icking <Werner.Icking@gmd.de>
> 
> There is now an updated musixflx.zip, which contains following files:
[...] 
> Any Amiga version out there? Any other version worth to be put into the zip?

Thanks to "Reinhard Katzmann" <Suamor@student.uni-tuebingen.de> it is now
part of musixflx.zip:

 30476  03-12-98  21:11   musixflx/Amiga/musixflx
   191  04-07-98  02:19   musixflx/Amiga/musixflx.readme

> And not to forget to thank Joel Hunsberger who not only "revised" the
> current version, but did a great job in hunting that damned signature
> change bug, which at least bothered me for a long time, and introduced
> \linegoal as alternative to \mulooseness.
> 
> -- Werner

From mutex-owner@mail2.gmd.de Tue Apr  7 17:22:29 1998
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Subject: Transposition and minor questions.
To: mutex@gmd.de
Date: Tue, 7 Apr 1998 19:22:29 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello everybody,

this is a rather lengthy message,
so I decided to give you first
some hints on its
                            Contents:
                            =3D=3D=3D=3D=3D=3D=3D=3D=3D

   Paragraphs  1) - 7)  are questions about PMX (and maybe M-Tx, too).

   Paragraph   8)  is a question/suggestion/contribution
                   to the   T R A N S P O S I N G   problem of MusiXTeX
                   (or any music typesetting program)
                      Probably/Perhaps you know the method suggested in
                   this paragraph.  Is it impossible to teach it
                   to MusiXTeX?

   Two sources for M-Tx are included (between the Lines "=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D").


Thanks for reading!

## Eckart


-------------------------------------------------------------------------
I am using M-Tx 30,  PMX1.3a   (or was it called 1.31?) and MusiXTeX T74.
-------------------------------------------------------------------------

After paragraph 3) I append an M-Tx-File.
Looking at its output a few questions
came into my mind:

1) Obviously PMX suppresses the output of full-bar pauses (r0) if they
   occur only in one voice ("line of music"). If they occur in both
   only one is put.

   Is there a possibility to override this (yet brillant(!)) feature?
   For example in bar 58 I might wish to put a full bar rest
   to prepare the player for the coming "Einsatz" of the soprano.
   (How do you say "Einsatz" in English?)
   (Even in bar 52 (Tenor), and bars 36 + 37 (S+A) I might be tempted to =
do so.)

2) In bar 53 I do not understand the vertical alignment: I tried several
   shifting manipulations but they did not yield what I want.
   If I do not shift anything the tenor would not strangely fall in
   between the two eights of the bass.
   Why?
   And how do you manipulate the shifting?

3) Bar 25 raises the question: Does PMX provide a possibility to
   shorten the stems --- apart from the inline TeX method always availabl=
e?

Here is the MT-x's source file:
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D
Title: Fuga VII a 4 voci
Composer: J.S.Bach
Options: b
PIANO4VOCI: Voices S,A T,B; Continuo; Clefs G F
Style: PIANO4VOCI
Meter: C/
Flats: 3
Pages: 2
Systems: 12

%%Ab

% bar 1
r0 |
r0 |
r0 |
e0 |

% bar 2
r0 |
r0 |
r0 |
b2+ r4+1 a |

% bar 3
r0 |
r0 |
r0 |
g4 c2 b4 |

% bar 4
r0 |
r0 |
r0 |
a4 a8 g a4 c |

% bar 5
r0 |
r0 |
r0 |
f4- b2 a4 |

% bar 6
r0 |
r0 |
r0 |
g4 g8 f g4 b |

% bar 7
r0 |
r0 |
b0 |
e4- e8 d e4 g |

% bar 8
r0 |
r0 |
e2 r4+7 e4 |
c4- d8 e f2 |

% bar 9
r0 |
r0 |
d g2 f4 |
b2- ( b2+ |

% bar 10
r0 |
r0 |
e4 e8 d e4 g |
b ) an4 g |

% bar 11
r0 |
r0 |
c4- f2 e4 |
an4d-2 b1 a g4 a |

% bar 12
r0 |
r0 |
d4 d8 c d4 f |
b b- b+ af |

% bar 13
r0 |
r0 |
b- b8 a b4 d |
g g- g+ f |

% bar 14
r0 |
e0 |
g4- a8 b c4 b8 c |
e f8 g ( a2 |

% bar 15
r0 |
b2+ r4-2 a |
d4 f b- d |
a4 ) g8 f g4 b |

% bar 16
r0 |
g4 c2 b4 |
( e0 |
e4- a8 g a4 c |

% bar 17
r0 |
a4 a8 g  a4 c |
e2 ) d4 c |
f2d- g8 a |

% bar 18
r0 |
f- b2 a4 |
d4d e1 d c4 d |
b0 |

% bar 19
r0 |
g4 g8 f g4 b |
e4 b8 a ( b2 |
e2d- d4 |

% bar 20
r0 |
e4-  f8 e  f4 a |
b4 ) a8 g ( a2 |
c2 r4 f |

% bar 21
b0 |
d4- e2 d4 |
a4 ) g f b |
( b0- |

% bar 22
e2 r4+5 e |
c4 g+ ( c2 |
g2 ( f2 |
b2 ) an |

% bar 23
d4 g2 f4 |
cr4 ) b8 an  ( b2 |
f4 ) d ( g2 |
b2 r4 g |

% bar 24
e4 e8 d e4 g |
b2 ) an4 g |
g4 ) c8 b ( c2 |
c2 r4 e |

% bar 25
c4- f2 e4 |
an4d   b1 a g4 a |
c4d ) d1 c b4 c |
f2  r4 f |

% bar 26
d4 d8 c d4 f |
b2 r4 f4 |
d2 r4+9 c |
b4 f b an |

% bar 27
b- b8 an b4 d |
g2 r4-6 d |
d2 r4+7 af4 |
g d g f |

% bar 28
g- an ( b2 |
e f g2 |
b c df2 |
e2d en4 |

% bar 29
b ) an |
f2.e |
c4 b c2 |
f0 |

% bar 30
b4 d8 e f4 d |
d4 f8 g  ( af2 |
b0 |
b2- r |

% bar 31
b4 e8 f g4 e |
ar4 ) g8 a b4 g |
e2 r4+7 e |
r2 e |

% bar 32
f4 e8 d c4 d |
f b a b |
d4 g2 f4 |
b2+ r4+0 a |

% bar 33
e4 r4 r2 |
b- r4 r2 |
e4 e8 d e4 g |
g c2 b4 |

% bar 34
r0 |
r0 |
c- f2 e4 |
a a8 g a4 c |

% bar 35
r0 |
r0 |
d d8 c d4 f |
f4- b2 a4 |

% bar 36
r0 |
r0 |
b- b8 a b4 d |
g g8 f g4 b |

% bar 37
r0 |
b0+ |
g2- ( g+ |
e4- e8 d  e4 g |

% bar 38
e0 |
X1.3S e2 r4+1 e |
g4 ) g8 f g4 an |
c2- c+ |

% bar 39
b2+ r4+6 a |
d g2 f4 |
b4 d8- c d4 f |
b4 b8 a b4 d |

% bar 40
g c2 b4 |
e e8 d  e4 g |
g4 g8 f ( g2 |
e2 r4+4 en |

% bar 41
a a8 g a4 c |
c- f2 e4 |
g4 )  c4- ( f2 |
X.9S f f8- en f4 an |

% bar 42
f- b2 a4 |
d4 d8 c d4 f |
f4 ) f8 e ( f2 |
b2 r4+4 d |

% bar 43
g4 g8 f g4 b |
b- b8 a b4 d |
f4 ) b- e4 r4+10 |
X.9S e e- e8+ d c b |

% bar 44
e- e8 d e4 g |
g- an8 bn c4 b |
r0 |
c4 c- c8+ bf a g |

% bar 45
c- d8 e ( f2 |
( cr2 c8 ) bn c d |
r0 |
a4 a- a+ g8 f |

% bar 46
f2 ) e8 d e f |
bn4 g ( c2 |
r0 |
( g0 |

% bar 47
d4 g2 f4 |
c2r ) ( bf2 |
r0 |
g8 ) f g a  g f en d |

% bar 48
en c ( f2 |
b2 ) a8 g a b |
r0 |
( c0 |

% bar 49
f2 ) ( ef |
g4 c2 b4 |
r0 |
c8 ) b c d  c b an g |

% bar 50
e ) d8 c d e |
an4 f ( b2 |
r0 |
( f0 |

% bar 51
c4 f2 e4 |
b2r ) ( af |
r0 |
f8 ) e+ f g  f e d c |

% bar 52
d b ( e2 |
a ) g8 f g a |
r0 |
( b0 |

% bar 53
e2 ) ( df |
f4 b2 a4 |
r2 X1 b2 |
b8 ) a+ b c  b a g f |

% bar 54
df4 ) c b2 |
b4 a2 ( g4 |
e2  r4 df |
g4 a dn- en |

% bar 55
a2 r2 |
g4r )  f8 g  ( a2 |
c f2 e4 |
( f2  f8 ) ef df c |

% bar 56
r0 |
a4 ) f b a |
df d8 c d4 f |
( b2 b8 ) b c df |

% bar 57
r0 |
g g8 f g4 b |
b- e2 df4 |
( e2   e8 ) e- f g |

% bar 58
r0 |
e- a2 g4 |
c c8 b c4 e |
a8 b c df  ( e2 |

% bar 59
b0 |
f4 f8 e f4 g8 f |
a- a8 g a4 b8 a |
e2 ) dn |

% bar 60
e2 r4+4 e |
e4 g8 f g4 an8 g |
g4 b8 a b4 c |
e0 |

% bar 61
d4 g2 f4 |
f4 b8 af b4 d |
d4 d8 c d4 f |
b2+ r4+2 a |

% bar 62
e e8 d e4 g |
e4 c g2 |
b g ( e2 |
g c2 b4 |

% bar 63
c- f2 e4 |
a4 a2 g4 |
e4 ) c8 b c4 e |
a4 a8 g a4 c |

% bar 64
d4 d8 c d4 f |
a4 f ( b2 |
f d g d |
f4- b2 a4 |

% bar 65
b- e ( df2 |
b4 ) r4 r4 a4 |
e r4+8 r4+8 f |
g4 g8 f g4 b |

% bar 66
d4 ) c ( b2 |
g2 r4-6 f |
e2 r4+6 dn |
e4- e8 dn e4 g |

% bar 67
b4 ) a8 g ( a2 |
e2d-2 d8 c |
c2.a |
c4- d8 e  f2 |

% bar 68
a2 ) gf2 |
d4 b ( e2 |
f2 r4+4 c+ |
b2- an |

% bar 69
f0 |
e2r ) d |
f- f8 e f4 b |
b0 |

% bar 70
e0 of ||
b0 ||
g0 ||
e0- ofd ||
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
The MT-x source at the end of this message raises some more questions:

4)   Could PMX be asked to cope with more than 128 characters per line?
     One of the lines has as many as 127 characters although it contains
     only one bar. (This is due to a number of melismatic lyrics in that
     bar. I guess this case is not that singular as one might think at fi=
rst
     sight.)

5)   In bar 4 the grace note strangely makes PMX (or M-Tx?) forget the
     correct octave: I had to put an extra "-"-sign which is not consisen=
t
     with PMX's usual octave handling.
     What is the reason?

6)   In this piece it would be nice to enable PMX to handle an instrument
     with *two* systems which is not the 'first' ("bottom") instrument.
     I guess this is to much asking, right?
     How could I handle this problem?

7)   In Line 17 and 18 of the following file you find "%%%Ar" and "%%%K-1=
+2".
     So if you take off one of the %-characters, MusiXTeX should transpos=
e the
     whole Arioso to D-major.
     (I am still using MusiXTeX T74.) The manual says, MusiXTeX would
     transpose and change everything correctly -- except for the natural =
signs
     "\na" which will not be changed. But I see a number of accidentals w=
hich
     are not changed correctly.
     (BTW: PMX's output file does not put "\transpose=3D-1" anywhere, so =
maybe
     PMX has its own method? Anyway, neither works: If I insert
     \relativeaccid\transpose=3D-1\generalsignature{2} in the tex-file,
     MusiXTeX would not transpose correctly,
     and if I trust only PMX, the piece is still not transposed correctly.

     What is the problem?

8)   Talking about transposing:  Why is MusixTeX not able to handle the
     natural signs correctly?  MusiXTeX has been taught a lot about trans=
posing,
     so I think it should be able to learn it perfectly.

     I have not dug in MusiXTeX's stomache so deeply yet but I think the
     algorithm presented here should be digestable for MusiXTeX ...

     If a natural sign occurs you have to analyze its meaning by looking =
at the
     current signature (With this term I want to refer to the 'local' sig=
nature, which is not necessarily
     equal to the generalsignature, if there had been changes of signs by
     "\setsign".) So looking at the current signature, MusiXTeX would fin=
d out,
     whether the natural sign means a
      i) chromatical raising     ii) chromatical lowering   iii) a (chrom=
atical)
         (if the current             (if the current              "reinfo=
rcement"
          signature would             signature would            (if the =
current
          yield a flatted             yield a sharpened          signatur=
e would
          pitch, unless the           pitch, unless the          yield th=
e same
          natural sign had            natural sign had           pitch)
          been put.)                  been put.)

    The accidental of the transposed version has to be put according to t=
he
    result of this analysis -- but again with respect to the current
    signature of thist transposed version:

   i) chrom.raising      is indicated by a DOUBLESHARP | SHARP | NATURAL,=
...
  ii) chrom.lowering     is indicated by a  NATURAL    | FLAT  | DOUBLEFL=
AT, ...
 iii) chrom.reinforcemt. is indicated by a    SHARP    | NATURAL |  FLAT,=
...
 ... according to
           whether the curr.signature is a    sharp    | natural |  flat.


   This is in general the way how transpositions works: Compare
   the original current signature to the new one,
   find out the meaning of the accidental according to the original
   signatuure and translate it into the new one.
   MusiXTeX can do that in many cases (according to the manual).
   Why does it give up when struggling with the natural sign?

   Now the above 'algorithm' may still seem complex: It would require
   a lot of "\if"s in order to treat all the different cases.

   But there is a very simple 'formula' to do   A L L   the transposing:
   Let us attach an integer number to each note endowed with any accident=
al
   in the following manner: (I use MusiXTeX's way of coding the accidenta=
ls)

   Endow all the notes f, c, g, d, a, e, b with the possible accidentals
   (we restrict ourselves of course to the ones in common use) and receiv=
e
   the following 'chain'.

   note:        ...   <b _f _c _g _d _a _e _b  f  c  g  d  a  e  b ^f ^c =
^g ^d ^a ^e ^b >f ...
   integer attached:
    int(note) =3D ...   -9 -8 -7 -6 -5 -4 -3 -2 -1  0  1  2  3  4  5  6  =
7  8  9 10 11 12 13 ...

            [Actually we are viewing a bijection 'int'
             but practically we will need only a restriction of 'int' to
             the subset consisting of the notes in use.
             In use would mean: Everything which MusiXTeX is capable of.
             So since MusiXTeX knows the five accidentals
               \dfl, \fl, \na, \sh and \dsh
             we would have a subset   7 x 5 =3D 35 possible notes,
             ranging from   int(<f)=3D-15  to   int(>b)=3D19.
             In the following we establish the 'Transposition-Operator'
             on the complete set of all notes and give its formula
             using the bijection 'int'.]


   To transpose correctly we only need to know the DIFFERENCE of the
   *old* and the *new* current signatures which in fact equals the
   DIFFERENCE of the old and new *general*signatures:

   diff :=3D newCurrSign - oldCurrSign =3D newGenSign - oldGenSign.
   To do the transposing you only have to add this integer number called =
"diff"
   to the integers above, each one representing a note of the whole
   chromatical spectrum.
   The result gives you the note needed for the transposed version.
   So put *its* accidental!

   In my Example (Tranposition E flat major --->  D major) we would have:
       diff =3D 2 - (-3) =3D 5.
   So the E natural (voice #1, Violone, bar 3) would be transposed to a D=
 sharp:
      int(e nat) =3D 4  --->   4 + 5 =3D 9  =3D  int(^d)
   So let MusiXTeX put the accidental of a D sharp which is a sharp sign!
   The  E flat (same voice, bar 4) would run along the same line:
      int(e fl) =3D -3  --->   -3 + 5 =3D 2 =3D int(d)
   So let MusiXTeX put the accidental of a D which is a natural sign!
   (I could have written `=3Dd=EF instead of merely `d=EF in the chain ab=
ove.)

   The accidentals belonging to any note can be computed by calculating
   modulo 7, using more or less Euklids Division Algorithm.....

   [ BTW: Recently I saw a discussion about transposing in the mailing li=
st,
          which rose the question whether MusiXTeX should simplify
          "difficult" notations. The algorithm above would never simplify
          these cases (e.g. a doubleflatted 'f' would never be changed in=
to a
          flatted 'e'). And I strongly vote for this behaviour: If you wa=
nt
          to change the notations do it by hand. If a program would
          change the orthography I would not trust its transpositions.

          If you typeset music not related to 'traditional' signatures
          there might be the wish to simplify (though I would still deny =
this).
          But I am convinced that this should be a 'cura posterior':
          FIRST teach MusiXTeX how to transpose perfectly.
          THEN think about an extra 'option' to
          ignore enharmonical orthography in favour of simplicity. ]

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
Title: Betrachte, meine Seel
Composer: Johann Sebastian Bach
VioleDAmore: Voices V1,V2; Clefs G
Basso: Voices B; Vocal; Clefs F
Liuto: Voices  MD MS; Clefs a F
Cont:  Voices Cnt; Clefs F
Style: VioleDAmore  Basso  Liuto  Cont
Flats: 3
Meter: C
Size: 16
Pages: 2
Systems: 6

%%h
%%(19.) Arioso  -- Adagio
%%Ab
%%%Ar
%%%K-1+2
%%\\smalltype\
%%\\setinterinstrument3{1\Interligne}\
%%\\setinterinstrument2{-4\Interligne}\
%%\\setinterinstrument1{-2\Interligne}\

% Block 1
r8 b c ( d d ) e Gud c ( a
r8 g a ( f f ) g a ( d-
r0
%%%U: Wird auf der Orgel mit 8 und 4 Fu{\ss} gedackt gespielt.
r1 e g b  e c a f+  d b g b  c a f d+
e8- e e e  e e e e
%%%l=20
%%% col Bassono grosso=20
%%% U: tasto solo=20
 e4- r  e r

% Block 2
a ) g a ( f f ) g a ( d-
d ) e c ( d d ) e c ( a
r4 r8 b- a+ g ( c d1 ) e=20
L: Be-trach-te, mei-ne
r e- g b ( e3 d c b  a1 ) f+ ( d3 c b a g1 ) e+ ( c3 b a g f1 ) d+
e e e e  e e e e
e r e r

% Block 3
d ) e f ( g g ) b en- ( f
a ) g a ( b b ) df g- ( an
b4 r8 e- df+ d d c=20
L: Seel, mit \"angst-li-chem Ver-
r e- g b d a g e+  b g en g  b g+ c- b
e e e e  en e e e
e r en r

% Block 4
f ) f g ( a a ) f+ bn- ( d
a ) an c ( f f ) af d- ( f
Gusb an a r f bn.c d f-=20
L: gn\"u-gen, mit bit-trer Lust und
c f- an c e c an c  f d bn g  af f d f
ef e e e  d d d d
ef r d r

% Block 5
d ) e c ( bn b ) ef bf ( g
f ) g e ( d d ) bf+ g ( en
af a ( a1 g ) ( a f ) f8 en r c=20
L: halb be-klemm-tem Her-zen dein
r f bn d  e c f- d+  g- c bf g  en g b df
g g g g  g g g g
g r g r

% Block 6
g ) b g X.4: ( en e ) X: g c ( ef |
e ) c en ( g g ) e g ( c
en g c4 r8 g ef+ c=20
L: h\"och-stes Gut in Je-su
c g+ en c  e c g c  en- g c e  c g ef g
b b b b  b b b b
b r b r

% Block 7
[+1+1 e ) c an X.4: ( fs ] f ) X: a e+ ( d
c ) an fs ( ef+ e ) c f- ( a
fs- f r c+ ( c d- ) r d=20
L: Schmer-zen, wie dir auf
r fs an c  e c a c  f- a c e c a f a
an a a a  d- d d d
an r d r

% Block 8
d ) bn gs ( an a ) gn bf ( a
a ) gs d ( fn f ) en cs ( cn
bn+ b r8  an1 g cs8 c r a=20
L: Dor-nen, so ihn ste-chen, die
bn an b d  f d cs d  g- a cs en  g e c e
fn f f f  en e e e
f r en r

% Block 9
a ) c g+ ( fs f ) g d ( b
c ) an+ ef+ ( d d ) b g ( d
d1 an fs g ( a d- ) cn8+ Gusc b4 r8 b=20
L: Him-mels-schl\"us-sel-blu-men bl\"uhn! Du
d fs- an cn  a c d fs  g g- b d  g b- d g-
fs f d d  g g g g
fs r g r

% Block 10
b ) af f X.3: ( d d ) X: e g ( b
d ) b d ( f f ) b- e ( g
d- fs ( af1 g ) a8 g4 r8 e=20
L: kannst viel s\"u-{\ss}e Frucht von
af f a c  f d b af+ b- a+ g e  b e b g
fn f f f  e e e e
fn r e r

% Block 11
b ) X.3S g b ( e e ) c b ( a
g ) e+ b ( g g ) a df- ( c
df+ d d c a a r c=20
L: sei-ner Wer-mut bre-chen, drum
e g b g  e g b df  c e a f  g e c a+
g g g g  c- c c c
g- r c r

% Block 12
a ) c f ( a a ) f d ( b
c ) a+ c ( f f ) d a ( f
( c f- ) r1 f g a d8- f b4=20
L: sieh ohn Un-ter-la{\ss} auf ihn,
f a f c  a c e c  d f d a  f a d f
d d d d  f f f f
d r f r

% Block 13
b ) df b ( g g ) c a ( f
f ) b g ( e e ) f c ( er
r8 e- df4+ r8 c8 f- ( g1 a )=20
L: auf ihn, drum sieh ohn
b- e b g  b e g e  c e c a  c f a f
g g g g  a a a a
g r a r

% Block 14
f ) d f ( gf g ) f e ( e+
er ) b d ( e e ) d c ( c+
( e d ) ( c b ) b8+ ( a1 gf ) Guf e8 f ( g4=20
L: Un-ter-la{\ss} auf ihn, ohn Un-
b-  f+ a f  e d c d  e c an c  e gf e c
b b b b  an a a a
b r an r

% Block 15
e ) gf c- ( e e ) b a d
c ) b e- ( gf g ) e f ( b
[ g1 ) e ] [ d e ] an b c d [ e b ] [ gn e ] b8  r1 g+=20
L: -ter-la{\ss}, drum sieh ohn Un-ter-la{\ss} auf
af b d f  gf f e d  b+ e- gn b  d- f b- a
b b b b  b b b b
b r b- r

% Block 16
e b c ( d d ) e c ( a
b ) gn a ( f f ) g a ( d-
Guf e4 r4 r2=20
L: ihn!
g e g b  e c a f+  d b g b  c a f d+
e- e e e  e e e e
e- r e r

% Block 17
a ) g a ( f f ) g a ( d-
d ) e c ( d d ) e c ( a
r0=20
r e- g b  ( e3 d c b a1 ) f+  ( d3 c b a g1 ) e+  ( c3 b a g f1 ) d+
e e e e  e e e e
e r e r

% Block 18
d ) e of r4 r2
a ) g of r4 r2
r0 of
e4- of r4 r2
e4 ofd r4 r2
e0 ofd
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

From mutex-owner@mail2.gmd.de Tue Apr  7 19:10:00 1998
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From: dsimons@logicon.com (Don Simons)
Subject: ANNOUNCE: PMX Version 1.3.6 now available
To: mutex@gmd.de
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PMX Version 1.3.6 is now available through http://www.gmd.de/Misc/Music/

It is a preprocessor for MusiXTeX that produces nearly 
professional-looking scores and parts with far less effort than would 
be required using MusiXTeX alone.

All files necessary for the DOS version are contained in pmx136.zip.  
The full instruction manual is in pmx134.tex (use LaTeX 2.09).  There 
is also a postscript image in case you have problems TeX'ing it.  The 
file ref134.tex is a summary of all the legal PMX "symbols".  You 
should still read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other 
versions may appear on ftp.gmd.de.
 
What's new since Version 1.3?

Up to 9 simultaneous slurs (user-assigned ID code 1-9 or A-Z 
  required after the first). 
Slurs between any chord notes.
Tie-positioning option in slur commands ("st"). 
"(", ")" optional syntax for slurs.
Forced horizontal (zero-slope) beam ("[h ...")
Override default multiplicity of any beam ("[m(digit) ...").  Note
  that this can be used for any xtuplet by making it a forced beam 
Staff-junping beams ( "... ]j" , "[j ..." )
Double whole note (enter "9" as duration number)
Scale factor on default space between staves in a system
  globally ("AI(factor)" ), one page only ("Ai(factor) )
New ornaments > , ^
Placeholder figure ("_") to force next one down a notch.
Editorial accidentals above note ("oes", "oef", "oen")
Global option to lower dots in lower voice of 2-voice staves ("Ad")
Many bug fixes, as usual.  If your pet bug is not fixed, I apologize; please
  remind me again.  

--Don Simons

From mutex-owner@mail2.gmd.de Wed Apr  8 03:57:57 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Transposition and minor questions.
To: mutex@gmd.de
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Eckart Begemann wrote

>1) Obviously PMX suppresses the output of full-bar pauses (r0) if 
>they
>   occur only in one voice ("line of music"). If they occur in both 
>   only one is put.
>
>   Is there a possibility to override this (yet brillant(!)) feature? 

(Due to length I won't reproduce Eckart's the sources...see the 
original posting).  It is definitely a *feature* but I don't know 
about *brilliant*.  More like "bug."  As it now stands, behaviour of 
full-bar rests (either "rp" or "r0") is erratic when there are 2 lines 
of music.  Werner has also been "bugging" me about this, and I plan to 
get it all straightened out in the next version, and make full bar 
rests behave just like any others, EXCEPT that they will always be 
centered between the bar lines.

>   (How do you say "Einsatz" in English?)

entrance ?

>2) In bar 53 I do not understand the vertical alignment: I tried several 
>   shifting manipulations but they did not yield what I want.
>   If I do not shift anything the tenor would not strangely fall in 
>   between the two eights of the bass.
>   Why?
>   And how do you manipulate the shifting?

I'm confused.  What I see is exactly what I expect: the half rest (NOT 
a full-bar rest, so not horizontally centered), is raised 2\internote 
from its "normal" position.  If you want to raise it further, just use 
e.g. r2+6.  Remember that here the adjustment is relative to the 
*middle* line of the staff, which is not the "untweaked" position when 
there are 2 lines of music.  (Most other PMX adjustments are relative 
to the "untweaked" position).  There is no  specific way to shift a 
rest horizontally, but you can use e.g. X1S r2 .

>3) Bar 25 raises the question: Does PMX provide a possibility to
>   shorten the stems --- apart from the inline TeX method always available?

I'm happy to report that for beams the answer is yes, (RTFM), e.g., 
[+3 c84 d ] .

>4)   Could PMX be asked to cope with more than 128 characters per line? 
>     One of the lines has as many as 127 characters although it contains 
>     only one bar. (This is due to a number of melismatic lyrics in that 
>     bar. I guess this case is not that singular as one might think at first 
>     sight.)

No.  In PMX itself, there is NEVER a need for lines this long.  If you 
run across this problem due to M-Tx's restrictions, perhaps you could 
break the bar in half using a blind meter change, and make the 
intermediate barline invisible with in-line tex: 
\let\xbt\xbar\def\xbar{\let\xbar\xbt}\

or, ask Dirk to let you break lines arbitrarily in M-Tx

>5)   In bar 4 [of the second source] the grace note strangely makes PMX (or 
>M-Tx?) forget the
>correct octave: I had to put an extra "-"-sign which is not consisent 
>with PMX's usual octave handling.
>What is the reason?

Once again I'm puzzled by the question.  What I see in voice #4 is a 
middle c 8th at the end of bar 3, then grace-note b slurred to 8th 
a-natural going down by single steps, just as they should according to 
the input.

>6)   In this piece it would be nice to enable PMX to handle an instrument 
>with *two* systems which is not the 'first' ("bottom") instrument. I 
>guess this is to much asking, right?
>How could I handle this problem?

I like this request, because it's already there, but undocumented.  In 
the setup data, make ninst negative, then put in ninst extra numbers 
indicating how many staves for each instrument in succession.  If you 
want the 3rd and 4th staves combined, the setup would start

5 -4 1 1 2 1 ...

Warning: If the last 4 numbers don't add up to the first, your 
computer will explode.

Remember you have decreased the # of inbstruments now, so you need one 
fewer blank lines or inst. names.

>7)   In Line 17 and 18 of the following file you find "%%%Ar" and 
>"%%%K-1+2".
>So if you take off one of the %-characters, MusiXTeX should transpose 
>the whole Arioso to D-major.
>(I am still using MusiXTeX T74.) The manual says, MusiXTeX would 
>transpose and change everything correctly -- except for the natural 
>signs "\na" which will not be changed. But I see a number of 
>accidentals which are not changed correctly.
>(BTW: PMX's output file does not put "\transpose=-1" anywhere, so 
>maybe PMX has its own method? Anyway, neither works: If I insert 
>\relativeaccid\transpose=-1\generalsignature{2} in the tex-file, 
>MusiXTeX would not transpose correctly,
>and if I trust only PMX, the piece is still not transposed correctly.

First, PMX *does* do its own transposition and does not use the TeX 
\transpose register.  But this is a separate matter from the following 
discussion.

The only problem in your example is that in the original input you 
have not entered the accidentals according to the relative-accidental 
convention.  But don't feel bad; you are not the first person to have 
trouble with this concept.  Relative accidentals mean "move the pitch 
up 1/2 step" (sharp)  or "... down 1/2 step" (flat) or "leave it the 
same" .  They have nothing to do with black notes vs white notes on a 
keyboard.  So to use this convention, with "Ar" set, in bar 3 the 7th 
note in the top voice should have been originally entered as e-sharp, 
because you wanted to raise it 1/2 step.  It would then be printed as 
e-natural in the untransposed original, and with K-1+2 it would come 
out as d-sharp.   

Obviously, it is very tedious to convert an input file using absolute 
accidental to one using the relative-accidental convention.  But that 
would not be necessary if, in anticipation of any possible 
transposition, you had entered the accidentals using the relative 
convention in the first place.

I will not comment on your lengthy discussion about transposition, 
because I am convinced that the algorithms are OK as they stand.  I 
haven't extensively checked far-out combinations, but I'd be surprised 
to find any examples where the existing algorithms fail *if the notes 
are entered correctly*, using the relative-accidental convention.  

BTW, in baroque facsimiles and manuscripts, the *printed* music used 
this convention.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Apr  8 11:58:44 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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By accident I detected, that one of Donald Knuth's private WEB-pages
has at it's very end a pointer at MusiXTeX!

   http://www-cs-staff.stanford.edu/~knuth/organ.html

Congratulation, Daniel!                                   -- Werner

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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
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Subject: Question about engraving symbol
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Hello,

Does anybody know if there exists a symbol that indicates "keep repeating
the last bar"? Something like the \duevolte symbol, but that one is only 
for one bar, I think.

Cheers,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Apr 14 10:33:41 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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Thanks to "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be> there is now
an Atari-TT version of the newest musixflx programme. I put it into musixflx.zip:

   33447  04-14-98  12:16   musixflx/Atari-TT/MUSIXFLX.TTP
    1355  04-14-98  12:17   musixflx/Atari-TT/musixtex.txt

-- Werner

From mutex-owner@mail2.gmd.de Thu Apr 16 16:21:34 1998
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Date: Thu, 16 Apr 1998 11:21:34 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>, mutex list <mutex@gmd.de>
Subject: PMX for MacOS, Version 1.36
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The latest version of PMX for MacOS is available from my site

	<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

and has been uploaded to ftp.gmd.de/incoming/music/ from whence it should
show up in the usual places shortly. Despite the long time since 1.36 was
announced by Don, this version has had minimal testing: caveat ... (hmm,
how does one say "down-loader" in Latin?)

	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Apr 20 17:37:06 1998
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Subject: absolute transposition (an altern. method)
To: mutex@gmd.de
Date: Mon, 20 Apr 1998 19:37:06 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello again,

In my last mail which I wrote:

  - In Line 17 and 18 of the following file you find "%%%Ar" and "%%%K-1+=
2".
  - So if you take off one of the %-characters, MusiXTeX should transpose=
 the
  - whole Arioso to D-major.

I apologize for not having read the manual (page 36 in version 75) proper=
ly.
Because of this I thought that giving "\relativeaccid" MusiXTeX would be =
able
to interpret the 'original' accidentals as 'relative' ones and change the=
m
according to their relative meaning and the intended transposition.

In the lenghthy discussion of my last mail the longest part was about how
MusiXTeX could do this conversion on its own because I was not aware of t=
he
fact that in fact it is the user's job to do this conversion.
(MusiXTeX does the *RE*conversion within the transposed signature.)

(Truely the relative coding has a history:
The natural sign does not appear in many old manuscripts and prints and
would have been replaced by sharps resp. flats depending on its effect.
See the Song 'Music for while' by H.Purcell which I recently posted.)


The smaller part of my discussion though gave an alternative approach
to do the whole transposition matter which I still think is worth conside=
ring:
It is absolutely safe, concise and does not require the distinction betwe=
en
a relative and an absolute input: It handles the absolute one
and could be coded in an elegant way (see 2 arrows "------>" towards the =
end
of this mail).


Therefore I would like to expose it once more in a concise way
so (hopefully) you are not repelled by the lenghth of the
surrounding comments:

The method (algorithm)    is based on the interpretaion of transposition
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D   a=
s a rotatation of the *spiral* of fifths
                          which only by enharmonic identification becomes
                          the well known circle of fifths.

   Let us attach an integer number to each note endowed with any accident=
al
   in the following manner: (I use MusiXTeX's way of coding the accidenta=
ls)

   Endow all the notes f, c, g, d, a, e, b with the possible accidentals
   (we restrict ourselves of course to the ones in common use) and receiv=
e
   the following 'chain'.

   note:        ...   <b _f _c _g _d _a _e _b  f  c  g  d  a  e  b ^f ^c =
^g ^d ^a ^e ^b >f ...
   integer attached:
    int(note) =3D ...   -9 -8 -7 -6 -5 -4 -3 -2 -1  0  1  2  3  4  5  6  =
7  8  9 10 11 12 13 ...

            [Actually we are viewing a bijection 'int'
             but practically we will need only a restriction of 'int' to
             the subset consisting of the notes in use.
             'In use' would mean: Everything which MusiXTeX is capable of.
             So since MusiXTeX knows the five accidentals
               \dfl, \fl, \na, \sh and \dsh
             we would have a subset   7 x 5 =3D 35 possible notes,
             ranging from   int(<f)=3D-15  to   int(>b)=3D19.
             In the following we establish the 'transposition operator'
             on the complete set of all notes and give its formula
             using the bijection 'int'.]


   To transpose correctly we only need to know the DIFFERENCE of the
   *old* and the *new* current signatures which in fact equals the
   DIFFERENCE of the old and new *general*signatures:

       diff :=3D newCurrSign - oldCurrSign =3D newGenSign - oldGenSign.

   To do the transposing you only have to add this integer number called =
"diff"
   to the integers above, each one representing a note of the whole
   chromatical spectrum.
   The result gives you the note needed for the transposed version.
   So put *its* accidental!

       In my Example posted with my last mail
       (Tranposition E flat major --->  D major) we would have:
           diff =3D 2 - (-3) =3D 5.
       So the E natural (voice #1, Violone, bar 3) would be
       transposed to a D sharp:
          int(e nat) =3D 4  --->   4 + 5 =3D 9  =3D  int(^d)
       So let MusiXTeX put the accidental of a D sharp which is a sharp s=
ign!

       The  E flat (same voice, bar 4) would run along the same line:
          int(e fl) =3D -3  --->   -3 + 5 =3D 2 =3D int(d)
       So let MusiXTeX put the accidental of a D which is a natural sign!
       (I could have written `=3Dd=EF instead of merely `d=EF in the chai=
n above.)

   The accidentals belonging to any note can be computed by calculating
   modulo 7, using more or less Euklids Division Algorithm.....


suggested commands:
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

So I would suggest the following commands to code transpositions:

\generalsignature{-3}  %as usual, referring to the original signature.
\shiftsignature{5}     %giving the integer, which I called
                       % "diff :=3D newgeneralsignature  minus
                       %          oldgeneralsignature"
                       %Its default should be 0.
                       %If MusiXTeX discovers its value not to be zero,
                       %MusiXTeX needs to learn the value the function 'i=
nt'.
\transpose=3D-1          %as usual (shift the noteheads to the right plac=
e,
                       %in this case 1 \internote down.
                       %Could as well be \transpose=3D6, if the
                       %piece should be transposed a seventh upwards.

    Actually I would ask MusixTeX to offer a check if the dates fit toget=
her.
    The number passed to \transpose has to fulfill a certain condition gi=
ven
    by the number given to \shiftsignature: This condition reads
                  \transpose  congruent   4 * \shiftsignature    modulo 7
    In our case:
                     -1       congruent   4 * 5 =3D 20    modulo 7
    which is in fact true.
    "\transpose=3D6" would satisfy this condition just as well.
    But \transpose=3D4 would not, and the user should be warned.

Further simplifications:
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

    I would even suggest that MusiXTeX computes a default value
    for \transpose in order not to shift the piece more than a fourth,
    unless it is explicitly wanted.
    The calculation of this default value is
    based on the given value for \shiftsignature:
    Let \transpose be the rest if you divide  4*\shiftsignature by 7
    following the Euclidean Division Algorithm.
    So it is a number between 0 and 6.
    If it is greater than 3 (so 4, 5 or 6), subtract 7.
    Then its absolute value is less or equal to 3.
    This would mean what we have been aiming for: Shift the piece
    at maximum a fourth up or down.

    Finally I would suggest a shorter possibility to pass the value
    for \shiftsignature:  Let \generalsignature have an optional argument=
,
    the default of which is 0. If it is not zero, MusiXTeX automatically
    enables \relativeaccid.

    So the commands quoted above could be shortened to

------>     \generalsignature[5]{-3}

    You could also think about a second optional argument
    telling MusiXTeX to shift the piece [d]ownwards or [up]wards.
    [d] would mean to force \transpose to be negative (subtract 7 in any =
case).
        (so \transpose < 0 )
    [u] would mean the opposite (never subtact 7). (so \transpose > 0)

    Then you could code

------>     \generalsignature[5][u]{-3}

    to shift the piece a seventh up, transposing from E flat major to D m=
ajor.

    This would be my dream about a transposition capacity of MusiXTeX.


## Eckart

From mutex-owner@mail2.gmd.de Tue Apr 21 05:02:10 1998
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Date: Tue, 21 Apr 1998 01:02:10 -0400 (EDT)
From: Alex Boster <boster@iglou.com>
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Subject: Font/installation question
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I have what appears to be an installation problem.   Using the latest
version of mikTeX (for win95), and installing MusicTeX -- everything works
except the actual notes do not appear!  (The oval part only,
the rest, including stems, *do* appear.)

Possibly miktex is not finding some files?  If so, which ones?

I'm not subscribed to the list, so please reply offline.

Thanks!
Alex
--
Alex Boster           boster@acm.org           http://members.iglou.com/boster


From mutex-owner@mail2.gmd.de Tue Apr 21 12:04:35 1998
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Date: Tue, 21 Apr 1998 14:04:35 +0200
From: CRETEL Dominique <dominique.cretel@sema.be>
Organization: Sema Group
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Hi all,

Please help me.
I have use MiKTeX and I want to use MusiXTeX, but I have never install
MusiXTeX.
Is there any body who can tell me where I have to copy all the files I
have extract of the MusiXTeX package.
I mean by all the files, tex, ins, sty, fmt, etc...
And what I have to do after copying these files to terminate and check
the installation.

Thanks for all,
Dominique Cr=E9tel.

From mutex-owner@mail2.gmd.de Fri Apr 24 01:31:56 1998
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Subject: Type 1 fonts
To: mutex@gmd.de
Date: Fri, 24 Apr 1998 02:31:56 +0100 (BST)
From: Timothy Murphy <tim@maths.tcd.ie>
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Do there exist Type 1 (PostScript) versions of the musixtex fonts ?

[I'm interested because a student has a thesis (on wavelets)
with some musical excerpts in it
which he wants to translate to PDF using pdflatex.]



From mutex-owner@mail2.gmd.de Mon Apr 27 07:26:34 1998
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Date: Mon, 27 Apr 1998 09:26:34 +0200
From: CRETEL Dominique <dominique.cretel@sema.be>
Organization: Sema Group
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Subject: About Lilypond preprocessor
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Hi all,

Someone tell me that a soft named Lilypond was born last year which
vocation is to be a music preprocessor for PMX. Moreover, it is very
simple at use and very friendly.
Is there anybody who can send me some informations about it ? Where can
I find it ? And does it still exist ?

Thanks,
Dominique Cretel.

From mutex-owner@mail2.gmd.de Mon Apr 27 10:32:05 1998
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Date: Mon, 27 Apr 1998 12:32:05 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, dominique.cretel@sema.be
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> Date: Mon, 27 Apr 1998 09:26:34 +0200
> From: CRETEL Dominique <dominique.cretel@sema.be>
 
> Someone tell me that a soft named Lilypond was born last year which
> vocation is to be a music preprocessor for PMX. Moreover, it is very
> simple at use and very friendly.

Lilypond is a completely new approach for typesetting music. It's
not a preprocessor (for PMX), but a big system for its own. It's based 
on the experiences its authors made using MusicTeX, MusiXTeX and
with their outdated preprocessor MPP. Lilypond is a more logical
approach for typesetting music. So I doubt that it is very simple.
At least the installation isn't very friendly unless one is a
Un*x user with a lot of experience using make and makefiles.
A Windows version is available, but up to now I failed installing it 
because I wasn't able to fetch all the external components (GCC, 
run-time-systems) within the time I was willing to spent on this
experiment.


PMX is a pre-processor for MusiXTeX. It is very easy at use and
very user-friendly. It's more powerful if one knows some MusiXTeX
or some TeX, because MusiXTeX and plain TeX can be interspersed
into PMX-input for those features not available in PMX. Moreover
there is M-Tx a preprocessor for PMX for songs and choral music.

> Is there anybody who can send me some informations about it ? Where can
> I find it ? And does it still exist ?

All things concerning MusiXTeX can be found via

   http://www.gmd.de/Misc/Music/

There you find examples (source, ps-file, GIF) for PMX and M-Tx, too.

-- Werner

PS: There is a seperate mailing list for the discussion of Lilipond.
    For Lilypond see:  http://www.cs.ruu.nl/people/hanwen/lilypond

From mutex-owner@mail2.gmd.de Mon Apr 27 12:51:46 1998
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To: CRETEL Dominique <dominique.cretel@sema.be>
Cc: mutex@gmd.de
Subject: Re: About Lilypond preprocessor 
In-Reply-To: Your message of "Mon, 27 Apr 1998 09:26:34 +0200."
             <3544332A.3F7@sema.be> 
Date: Mon, 27 Apr 1998 14:51:46 +0200
From: Jan Nieuwenhuizen <jan@digicash.com>
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On Monday, 27 April 1998, CRETEL Dominique writes:

> Someone tell me that a soft named Lilypond was born last year which
> vocation is to be a music preprocessor for PMX. Moreover, it is very
> simple at use and very friendly.
> Is there anybody who can send me some informations about it ? Where can
> I find it ? And does it still exist ?

LilyPond is the GNU Project music typesetter.  It has a simple input
language, but is not a preprocessor; Lily does all musical typesetting.

It generates visual or auditive output from a music definition file: 
it can typeset formatted sheet music to a TeX file and play (mechanical) 
performances to a MIDI file.  It includes a nice font of musical symbols.

You may take a look at the web page

     http://www.cs.ruu.nl/~hanwen/lilypond

or download it from

    ftp://pcnov095.win.tue.nl/pub/lilypond/development/

Enjoy

Jan.

Jan Nieuwenhuizen <jan@digicash.com> | LilyPond - The GNU music typesetter
http://www.digicash.com/~jan | http://www.cs.ruu.nl/people/hanwen/lilypond


From mutex-owner@mail2.gmd.de Mon Apr 27 13:41:25 1998
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Check out http://www.cs.ruu.nl/people/hanwen/lilypond/index.html

Bob T.

From mutex-owner@mail2.gmd.de Mon Apr 27 13:44:15 1998
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Date: Mon, 27 Apr 1998 09:44:15 -0400 (EDT)
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Someone was recently asking about type 1 (Postscript) fonts usable
with musixtex.  I don't know of any and didn't see any replies. But
it occurred to me that it might be possible to create virtual fonts
that use Adobe's "sonata" fonts as replacements for the mf-generated
fonts currently in use.  

Bob T.

From mutex-owner@mail2.gmd.de Thu Apr 30 10:55:32 1998
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Date: Thu, 30 Apr 1998 12:55:32 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX-1.3.7  Unix/C version released
In-Reply-To: <199804281717.TAA09125@sunick.gmd.de>
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Hi Everybody!

I've finally put together the Unix/C version of PMX-1.3.7
To make up for the long wait, I've cleaned it up a little :-)

Changes since the last released Unix/C version:

* removed old files from the pmx-orig/ directory
* removed duplicate PMX input files from the examples/ directory
* rewrote installation guide (which is, hopefully, a major improvement)
  [installation shouldn't require any manual work now on a
   Linux PC using the teTeX distribution]

PMX-1.3.7/C and all future releases will be available from the GMD FTP
server at

	http://www.gmd.de/Misc/Music/

The archive's name is "pmx-1.37.tar.gz"


Share and enjoy,
and a big thank you to Don, again!

-Stefan



************************************************************             
**    Do You Want To Know MORE ?                          **            
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [update pending]                                       **
**--------------------------------------------------------**
** evert@mathematik.uni-stuttgart.de       (Stefan Evert) **
************************************************************       


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Give it a try - Call Today...  1-800-811-2141  Code # 47125





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From mutex-owner@mail2.gmd.de Mon May  4 10:25:41 1998
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Date: Mon, 4 May 1998 12:25:41 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: pmx-1.37.tgz / Linux Caveat
Message-Id: <Pine.A32.3.93.980504120327.18846A-100000@cip20.mathematik.uni-stuttgart.de>
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Hi, again!

I've just noticed a potential installation problem that might occur on
computers running a recent Linux distribution. It happend to me at
home last week when I upgraded to  SuSE Linux 5.2 and tried to re-install
PMX according to the Quick Installation instructions.

It seems (this may get a bit technical, so don't hesitate to skip this
paragraph if you're new to the Unix world) that the LaTeX binaries have
been moved to /usr/bin/TeX/, which is not in the usual search path. Of
course, startup scripts have been adapted to include /usr/bin/TeX/ in the
user's search path. However, after typing "su root" I got into a shell
with the most basic path settings only. Thus, the install script can't
find the "kpsetool" binary and thinks the system hasn't got a teTeX
distribution.

It is easy to find out whether you've got this problem or not. Simply
follow the Quick Installation instructions. If install.pmx reports that
you haven't got a teTeX distribution, try typing "latex" on the command
line (before entering the "exit" line). If you get a "command not found"
error, this is probably due to the problem described above. In that case,
the Quick Install instructions should be changed to

	<login as root>
	<go to the PMX source directory (pmx-1.3.7)>
	make
	make install
	./install.pmx
	
I'll probably change the instructions in the next release.

Share and enjoy!
-Stefan


--
************************************************************             
**    Do You Want To Know MORE ?                          **            
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [update pending]                                       **
**--------------------------------------------------------**
** evert@mathematik.uni-stuttgart.de       (Stefan Evert) **
************************************************************       


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Subject: Re: pmx-1.37.tgz / Linux Caveat
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evertsn@cip.mathematik.uni-stuttgart.de (Stefan Evert) writes:

> I've just noticed a potential installation problem that might occur on
> computers running a recent Linux distribution. It happend to me at
> home last week when I upgraded to  SuSE Linux 5.2 and tried to re-install
> PMX according to the Quick Installation instructions.
> 
> It seems (this may get a bit technical, so don't hesitate to skip this
> paragraph if you're new to the Unix world) that the LaTeX binaries have
> been moved to /usr/bin/TeX/, which is not in the usual search path.
>
This problem is probably a SuSE-only problem.  SuSE has the fame of
being somewhat unorthodox in regards of file hierarchy layout up to
the extent of being incompatible to other distributions.  Even more
widespread Linux distributions like Debian, Redhat etc. are far better
organized according to the proposed file hierarchy standard.

                               Greetings, P. *8^)
-- 
   --------- Paul Seelig <pseelig@goofy.zdv.uni-mainz.de> -----------
   African Music Archive - Institute for Ethnology and Africa Studies
   Johannes Gutenberg-University   -  Forum 6  -  55099 Mainz/Germany
   --------------- http://www.uni-mainz.de/~pseelig -----------------

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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: irregular meter
Date: Wed, 6 May 1998 09:13:41 -0700
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I need to change \generalmeter at a \bar.  I am now using
\generalmeter{...}\changecontext which works fine if the meter change happens
in middle of a line.  However, if the meter change happens at a linebreak, I
would like the new meter to be posted at the end of the current line and at
the beginning of the next:

       ...... music in, say, 4/4 ...|3/4 .. music in 3/4 ....|4/4

       4/4 .. back to 4/4 ...........

How do I achieve that?   I am using MusiXTeX v. T.84, 20 December 1997.
Mogens Lemvig Hansen 
mlhansen@uniserve.com



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From: dsimons@logicon.com (Don Simons)
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Subject: Re: irregular meter
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Mogens Lemvig Hansen <mlhansen@uniserve.com> wrote

>I need to change \generalmeter at a \bar.  I am now using 
>\generalmeter{...}\changecontext which works fine if the meter change happens 
>in middle of a line.  However, if the meter change happens at a linebreak, I 
>would like the new meter to be posted at the end of the current line and at 
>the beginning of the next: ...

Here's what PMX produces:

...
\input pmx
...
% bar  1
\NOTES\wh c\en%
% bar  2
\generalmeter{\meterfrac{3}{4}}%
\newtimes0%
\NOTEsp\hup c\en%
% bar  3
\def\NOTEs{\vnotes4.00\elemskip}%
\generalmeter{\meterfrac{2}{4}}%
\let\bnat\barnoadd\def\barnoadd{\empty}%
\xchangecontext\addspace{-\afterruleskip}\zalaligne\let\barnoadd\bnat
\generalmeter{\meterfrac{2}{4}}%
\addspace{-\afterruleskip}\zchangecontext
\NOTEs\hu c\en%
% bar  4
\xbar
\NOTEs\hu c\en%
\Endpiece
\vfill\eject\endmuflex
\bye

The change to 3/4 is mid line; the change to 2/4 is at a line break.  
For the latter, PMX prints the new meter both at the end of the old 
line and at the start of the new one.

BTW, here is the entire input file to PMX:

1 1  4 4 0 6  0.00000 0 
1 2 20 0.1
Alto Kazoo
t
c:\pctex\texinput\
c04 /
m3434 cd24 /
L2 m2424 c24 c /

--Don Simons

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From mutex-owner@mail2.gmd.de Thu May  7 11:47:03 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
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Subject: MusiXTeX: how can I code this?
To: mutex@gmd.de (MusiXTeX mailing list)
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Hello,

I've coded a song: lyrics with notes and a guitar rhythm. Nothing special 
so far. Now I would like to indicate the guitar rhythm above the
staff. For the rhythm I use the "\roqu" etc. macros from musixper.
What comes close to what I want is: use a second instrument/staff for 
that rhythm. That second staff should have no staff lines, no clef, no 
signatures, nothing of that all. Only the notes for the rhythm. The 
only thing that I cannot get rid of is the bars. Does anybody know a 
way to get rid of the bar lines?

I tried to code the notes in \zcharnotes, but that leaves me with
overfull or underfull hboxes. I also tried the following:
%%%
\input musixtex
\input musixcpt
\input musixsty
\input musixper
\instrumentnumber{1}
\startpiece
\znotes\wh h\wh m\en
\notes&\rocu h\roqu h\sk\rocu h%
       \ibu0h0\roqb0 h\nbbu0\roqb0 h\roqb0 h\roqb0 h%
       \tbbu0\roqb0 h\tbu0\roqb0 h\en   
\endpiece
\bye 
%%%
Note that I specify \instrumentnumber{1} but code for two instruments in
\notes&\rocu... This exactly almost like what I want, except for the fact
that the rhythm is now _below_ the staff. 

Any suggestions?

Thanks in advance,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Fri May  8 14:20:46 1998
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Subject: non spacing rests?
To: mutex@gmd.de
Date: Fri, 8 May 1998 16:20:46 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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I could not find non spacing rests. (using T77)
Is this due to my lack of endurance
or is it a fact?
In order to stack two pauses  (one above the other)
you have to use \bsk then?

Thanks in advance for your advice!
## Eckart

From mutex-owner@mail2.gmd.de Mon May 11 20:55:59 1998
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Date: Mon, 11 May 1998 22:55:59 +0200 (MET DST)
From: Rainer Dunker <rainer.dunker@ebe-online.baynet.de>
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Subject: Re: non spacing rests?
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Hello Eckart,

> I could not find non spacing rests. (using T77)
> Is this due to my lack of endurance
> or is it a fact?
> In order to stack two pauses (one above the other)
> you have to use \bsk then?

I haven't found such commands either. I'd use macros like:

\def\zqp{\rlap\qp}
\def\raisezqp#1{\raise#1\internote\rlap\qp}

Try for example:

\NOtes\zqp\ql c\raisezqp6\raisezqp{-2}\ql a\en

Regards, Rainer

From mutex-owner@mail2.gmd.de Mon May 11 20:36:43 1998
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From: Rainer Dunker <rainer.dunker@ebe-online.baynet.de>
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To: tgakrg@sg10.chem.tue.nl
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Subject: Re: MusiXTeX: how can I code this?
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Hello Ronald,

> I've coded a song: lyrics with notes and a guitar rhythm. Nothing special 
> so far. Now I would like to indicate the guitar rhythm above the
> staff. For the rhythm I use the "\roqu" etc. macros from musixper.
> What comes close to what I want is: use a second instrument/staff for 
> that rhythm. That second staff should have no staff lines, no clef, no
> signatures, nothing of that all. Only the notes for the rhythm. The 
> only thing that I cannot get rid of is the bars. Does anybody know a 
> way to get rid of the bar lines?

Principally yes; a drawback of the following hack is that it doesn't
abolish the leftmost vertical rule of each system. If you can do without 
this rule at all, it should work fine with the command \nostartrule 
included. Please take the following as an example.

Regards, Rainer


--------------------------------------------------------------------------
\input musixtex
\input musixper

%
% Here comes a bunch of rather general macros which enable printing or 
% hiding barlines for each staff and inter-staff space individually:
%
\makeatletter
  \newdimen\barline@depth
  
  \def\rul@indiv#1{%
    \n@loop
      \Comp@High
      \expandafter\ifx\csname s@bl\number\noinstrum@nt\endcsname\relax
	% Taktstrich durchziehen -> Tiefe ueberbrueckt Platz zum vorigen System:
	\multiply\barline@depth -1\relax
	\advance\barline@depth\altitude
      \else
	% Taktstrich unterbrechen -> am unteren Systemrand anfangen:
	\barline@depth=0pt\relax
      \fi
      % Nein, nicht bei linienlosem System:
      % \advance\barline@depth\hlthick
      {\expandafter\ifx\csname h@bl\number\noinstrum@nt\endcsname 1%
	 % Taktstrich in der Zeile unterbrechen:
	 \y@v=0pt\relax
       \fi
       \raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height\y@v}}%
      \barline@depth\altitude
      \advance\barline@depth\y@v
    \repeat
    \addspace#1}
  
  % Individuell getrennte Taktstriche einschalten:
  \def\indivbarrules{%
    \let\writ@rule\rul@indiv
    % Taktstrich unter 1. System immer unterbrechen:
    \sepbarrule 1}
  
  % Taktstrich unter Instrument #1 unterbrechen:
  \def\sepbarrule#1{\expandafter\let\csname s@bl#1\endcsname 1}
  
  % Taktstrich unter Instrument #1 verbinden:
  \def\conbarrule#1{%
    % Taktstrich unter 1. System nie fortsetzen:
    \if 1#1\else\expandafter\let\csname s@bl#1\endcsname\relax\fi}
  
  % Taktstrich im Instrument #1 unterbrechen:
  \def\hidebarrule#1{\expandafter\let\csname h@bl#1\endcsname 1}
  
  % Taktstrich im Instrument #1 zeigen:
  \def\showbarrule#1{\expandafter\let\csname h@bl#1\endcsname\relax}
\makeatother

%
% Now comes the main part:
%
\instrumentnumber 2
\setclef 2 8
\setlines 2 0
\nobarnumbers

\indivbarrules
\hidebarrule 2
\sepbarrule 2
\nostartrule

\startpiece
 \NOtes\qu g&\roqu G\en\bar
 \NOtes\qu g&\roqu G\en
\Endpiece\bye



From mutex-owner@mail2.gmd.de Tue May 12 06:12:39 1998
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Subject: Re: MusiXTeX: how can I code this?
To: rainer.dunker@ebe-online.baynet.de (Rainer Dunker)
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Hello Rainer,

> > only thing that I cannot get rid of is the bars. Does anybody know a 
> > way to get rid of the bar lines?
> 
> Principally yes; a drawback of the following hack is that it doesn't
> abolish the leftmost vertical rule of each system. If you can do without 
> this rule at all, it should work fine with the command \nostartrule 
> included. Please take the following as an example.

Wauw. Thanks a lot! Those macros maybe general and I think I see how they
work now, but it's not something I would even try to begin to code
myself. It looks just like what I want.

Thanks again,
Ronald

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue May 12 10:25:03 1998
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Message-Id: <199805121025.MAA04995@AMSUN08.math.uni-hamburg.de>
Subject: frog loves mouse
To: mutex@gmd.de
Date: Tue, 12 May 1998 12:25:03 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello everybody,

in 1941 Paul Hindemith composed a set of
variations for violoncello and piano
about an old English Nursery Song
"A frog he went a-courting".

Can anybody give me the tune of this
of this song?

You can of course use MusixTeX, PMX or MT-x,
or send me a ps-file or URLocation ...


To my knowledge it has 13 verses,
the first being

"A frog he went a-courting, he did ride
With a pistol and a sword hung by his side."

The following verses describe how he 
enjoyed to have little mousie sitting on his knees,
how they celebrated the marriage and finally
how he was eaten up ...
a sad ending ... :-(


Thanks!

Eckart Begemann


From mutex-owner@mail2.gmd.de Tue May 12 11:44:36 1998
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To: begemann@math.uni-hamburg.de
Cc: mutex@gmd.de
Subject: Re: frog loves mouse 
In-Reply-To: Your message of "Tue, 12 May 1998 12:25:03 +0200."
             <199805121025.MAA04995@AMSUN08.math.uni-hamburg.de> 
Date: Tue, 12 May 1998 12:44:36 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> in 1941 Paul Hindemith composed a set of
> variations for violoncello and piano
> about an old English Nursery Song
> "A frog he went a-courting".
> 
> Can anybody give me the tune of this
> of this song?
> 
> You can of course use MusixTeX, PMX or MT-x,
> or send me a ps-file or URLocation ...
> 
> To my knowledge it has 13 verses,
> the first being
> 
> "A frog he went a-courting, he did ride
> With a pistol and a sword hung by his side."

umm, i wonder if it's the same thing i learnt (all those years ago)
which started

 "a frog he would a-wooing go
  heigh! ho! says roly
  whether his mother would let him or no
  with a roly, poly, gammon and spinach
  heigh ho! says anthony roly"

the rest of the story (a heartbreaker if ever there was) sounds the
same...  i don't know the hindemith, so can't say if it is the same.

i guess i could record me singing it (though my singing voice isn't
what it was), or playing it ... then you could transcribe (that's the
way folksongs work, isn't it ;-)...

robin

From mutex-owner@mail2.gmd.de Wed May 13 11:41:56 1998
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Date: Wed, 13 May 1998 13:41:56 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Tue, 12 May 1998 12:25:03 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
 
> in 1941 Paul Hindemith composed a set of
> variations for violoncello and piano
> about an old English Nursery Song
> "A frog he went a-courting".
> 
> Can anybody give me the tune of this
> of this song?
> 
> You can of course use MusixTeX, PMX or MT-x,
> or send me a ps-file or URLocation ...

With help of  http://www.buchhandel.de/   "Datenbanken" "VLM" "komplexe Suche"
which is      http://www.buchhandel.de/cgi-bin/vmsuche.exe?opacdb=VLM+Katalog&a_start=Start&lang=deutsch&uid=SELECT-13051998-13391803
or similar    http://www.buchhandel.de/cgi-bin/vmsuche.exe?opacdb=VLM+Katalog&a_start=Start&lang=english&uid=SELECT-13051998-13391803

I found:

Hindemith, Paul: A frog he went a-courting (1941) 
Variationen u:ber ein alt-englisches Kinderlied

Schott
ISMN M-001-05042-5
Editionsnummer ED4276
20 S.. - 93 g
18,- DM

1 Violoncello und Tasteninstrument (Basso continuo)


From mutex-owner@mail2.gmd.de Wed May 13 20:49:47 1998
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To: begemann@math.uni-hamburg.de, mutex@gmd.de
Date: Wed, 13 May 1998 17:49:09
Subject: Re: frog loves mouse
From: nwarner@sprogins.win-uk.net (Nigel Warner)
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>Hello everybody,
>
>in 1941 Paul Hindemith composed a set of
>variations for violoncello and piano
>about an old English Nursery Song
>"A frog he went a-courting".
>
        To the best of my knowledge this and Robin's version are
        two different things. The original quote is from an
        american source, to hear a version of it search the back
        catalogue for "Burl Ives". He recently passed away and it
        was only when reading his obituary that I realised he had
        been a "serious" folk singer once. I  
        suggest you would find the original in either 
        the Child ballads or some other collection of early
        american folk music (Sharp, Cecil ? ). You will almost
        certainly find it fiddled around with in the bluegrass
        tradition, Ahem..


        The tune has, in the manner of folk, been fitted out with
        new words and is widely known by a certain type of British
        Male. If you really, really want to hear this tune buy him
        lots of beer and then ask him to sing "The Engineers Song".
        You know, the one about the big brass wheel going round
        and round and the whole damm thing being covered in shit ,
        etc, etc, etc, etc, etc. It goes on for quite a long time. 
        
        I remember Robin's version from infant school. I wouldn't
        be suprised to find it had been made up by some earnest
        types in Victorian days to stop the working classes singing
        songs about maypoles and such like lewd suggestive stuff.
        It seems far to limp to be true folk music.
        
        Nigel. 
          



From mutex-owner@mail2.gmd.de Wed May 13 17:09:39 1998
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Date: Wed, 13 May 1998 13:09:39 -0400 (EDT)
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To: Werner.Icking@gmd.de, mutex@gmd.de
Subject: Re: frog loves mouse
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 > Date: Wed, 13 May 1998 13:41:56 +0200 (MET DST)
 > From: Werner Icking <Werner.Icking@gmd.de>
 > To: mutex@gmd.de
 > Subject: Re: frog loves mouse
 > 
 > > Date: Tue, 12 May 1998 12:25:03 +0200 (MET DST)
 > > From: begemann@math.uni-hamburg.de (Eckart Begemann)
 >  
 > > in 1941 Paul Hindemith composed a set of
 > > variations for violoncello and piano
 > > about an old English Nursery Song
 > > "A frog he went a-courting".
 > > 
 > > Can anybody give me the tune of this
 > > of this song?
 > > 
 > I found:
 > 
 > Hindemith, Paul: A frog he went a-courting (1941) 
 > Variationen u:ber ein alt-englisches Kinderlied
 > 
 > Schott
 > ISMN M-001-05042-5
 > Editionsnummer ED4276
 > 20 S.. - 93 g
 > 18,- DM
 > 
 > 1 Violoncello und Tasteninstrument (Basso continuo)
 > 
 > 
I suspect Eckart *has* the Hindemith; what he wants
is the basic melody on which Hindemith composed variations.
I looked at a couple of collections but didn't find it.

Bob T.


From mutex-owner@mail2.gmd.de Thu May 14 17:36:05 1998
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Date: Thu, 14 May 1998 10:36:05 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: PMX version 1.3.8 now available
To: mutex@gmd.de
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PMX is a preprocessor for MusiXTeX.  It can be downloaded by going to  
http://www.gmd.de/Misc/Music/ and following the links.

This is basically a bug-fix update of version 1.3.6, but several 
formerly accidental and haphazard features have been tidied up, and an 
alternate meter change syntax is introduced (see below).  Files that 
have not changed have not been assigned new version numbers.

All files necessary for the DOS version are contained in pmx138.zip.  
The full instruction manual is in pmx134.tex (use LaTeX 2.09).  There 
is also a postscript image in case you have problems TeX'ing it.

ref134.tex is a summary of all the legal PMX "symbols".  You should 
still read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or 
see the manual for locations of other versions, or wait and other 
versions may appear on ftp.gmd.de.

What's new since Version 1.36?

Optional meter-change syntax to permit more than 19 beats per bar,     
  separate the 4 numbers with three slashes:
  m(n1)/(n2)/(n3)/(n4)  [Don't enter "(" or ")"] [Not in manual yet].
Pitches are now passed consistently from end of one block to start of
  next, even if number of lines of music in a staff changes.  If it 
  increases, both lines inherit the old pitch; if it decreases, the 
  new block inherits the pitch of the lower (first) line in the old 
  block.
Slurs can be continued from one input block to another even if number
  of lines of music in a staff changes.
Rd, Rr, and RD are now permitted as last symbol before any "/" 
Several bug fixes.

--Don Simons

From mutex-owner@mail2.gmd.de Fri May 15 00:40:59 1998
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From: barry@troy.la.platsol.com (Barry Gold)
Message-Id: <9805150040.AA38593@troy.la.platsol.com>
To: mutex@gmd.de
Subject: odd clef position
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Somebody sent me sheet music for a song in base clef, which I'm
setting using M-Tx.  It's fairly simple in most respects, no
triplets or other tricky things for me to learn.

I tried defining a new style, "BassSinger", following the examples
in section 7 (Preamble), substituting "Clefs F" for "Clefs G" in
the definition of the SINGER style.  To my dismay the F clefs
printed on the Uptext line instead of on the staff.

There's also a minor glitch in positioning the first chord notation --
I'd like it to appear over the initial rest instead of the first
"real" note.  I'm not sure if this is possible in M-Tx; if not I'll
live with the way it looks.

Btw, this problem is not critical for me.  I have over a month before
the music is needed for printing, and I actually intend to print it in
G clef - I only printed it in F so I could easily compare it against
the original.

Here's my input:

Meter: 4/4
Pages: 1
Systems: 5
Space: 7
BassSinger: Voices S; Vocal; Clefs F
STYLE: BassSinger

% Bars/Line: 3
% Style: SINGER
%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
% %% \\pageno=xxxx\ 
%% \\headline{\twelverm Xenofilkia \#60\hfill page xxxx}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm LAST ONE\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~XXX by XXX XXX\hfill}\ 
%% \\nobarnumbers\ 
U:  Am    ~     ~       G     ~  ~  ~    ~   ~     ~    ~   ~    ~
@+3 r4 a- a     c    |  d     c8 b4 b8   b   b   | g4d  b8  c4   b
L:     It seems just   ~hours a-go  They lit the   fuse and sent us

U: Am           ~    ~   ~   ~    F   ~    ~    ~  ~
   a2d  r4 | r4 a8   a   a4d a8 | f4  f    f    f8 f
L: high.        Head-ing out to   let them know We could |

U: G    ~  ~    ~     Em   ~     Am  ~   ~    ~   ~  ~  
   g4d  g8 g4   a   | b2d  b4  | a8  a   a4   a   a8 a |
L: live be-yond the   sky. The   pow-er ~went out in a

U:  G   ~  ~    ~   ~
    b4  b8 b4d  b8  b |
L: ~smo-ky pall But they

U: C    ~   ~    ~   ~        Dm   ~  ~     ~     ~ 
   c4d  c8  c    c   c4    |  d    d  d     a8    a   |
L: said the shut-tle would   ~save us all.  There was

U: ~   ~  ~   ~   ~    ~
   d4  d8 d   d4  d8   d
L: one on the pad just in

U: Am   ~  ~       ~    C   ~   ~    ~       G  ~    ~     Am
   e4   e  e4d     e8 | c   c   c    c       b  a    g4 |  a2d  r4
L: case we called, I    won-der why ~they're ta-king so   ~long.

From mutex-owner@mail2.gmd.de Fri May 15 09:33:27 1998
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Message-Id: <199805150933.LAA16460@calvyn.puk.ac.za>
Subject: odd clef position
To: mutex@gmd.de
Date: Fri, 15 May 1998 11:33:27 +0200 (SAT)
Cc: barry@troy.la.platsol.com
Reply-To: wskdpl@pukrs12.puk.ac.za
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Barry Gold wrote:

---
I tried defining a new style, "BassSinger", following the examples
in section 7 (Preamble), substituting "Clefs F" for "Clefs G" in
the definition of the SINGER style.  To my dismay the F clefs
printed on the Uptext line instead of on the staff.

There's also a minor glitch in positioning the first chord notation --
I'd like it to appear over the initial rest instead of the first
"real" note.  I'm not sure if this is possible in M-Tx; if not I'll
live with the way it looks.
---

I can't reproduce the clef position error.  What versions of MusiXTeX 
and PMX are you using?  Mine are:

MusiXTeX(c) T.80 <25 September 1997>
PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>

These are not up to date but they work for me.

The position of the rest is a design flaw in M-Tx 0.30.  I treat uptext 
like chords, which works well much of the time, but does mean that rests
cannot have uptext.  Until such time as they can, you can get around it
by just putting that one chord in using inline TeX and leave the others
as uptext.  The first bar is then coded thus:

U:                             | 
@+3 \zchar{10}{Am}\ r4 a- a  c |

Dirk

From mutex-owner@mail2.gmd.de Fri May 15 14:48:02 1998
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Date: Fri, 15 May 1998 16:48:02 +0200
From: CRETEL Dominique <dominique.cretel@sema.be>
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Subject: About Lilypond-0.1.64
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Hi all,

I have some trouble when I use Lilypond version 0.1.64 and a TeX
processor named MiKTeX under Windows NT (and 95 at home).

First, I execute Lilypond on a sample file named Silly.ly (sse
documentation file mudela.ps).
After some trouble rapidly solved with the authors, All seem to be
right.

When I execute tex on the ouput file Silly.tex, I get an error message
about some missing font files cmbx14.mf and cmbx15.mf.

Is there any mean to generate them or where can I find them?

Thanks,
Dominique Cretel.

From mutex-owner@mail2.gmd.de Fri May 15 17:03:52 1998
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To: CRETEL Dominique <dominique.cretel@sema.be>
Cc: mutex@gmd.de, NIEUWENHUIZEN Jan <jan@digicash.com>,
        NIENHUYS Han-Wen <hanwen@cs.uu.nl>
Subject: Re: About Lilypond-0.1.64 
In-Reply-To: Your message of "Fri, 15 May 1998 16:48:02 +0200."
             <355C55A2.3A82@sema.be> 
Date: Fri, 15 May 1998 18:03:52 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Dominique CRETEL wrote:

> [lilypond output]
> When I execute tex on the ouput file Silly.tex, I get an error message
> about some missing font files cmbx14.mf and cmbx15.mf.

this is characteristic of tex prepared for a sauter-like system.  the
sauter files as distributed include a cmbx14 but not a cmbx15:
however, since the sauter technique is algorithmic, one could imagine
a maketextfm script that created a cmbx15 on the fly.  (i don't
whether miktex, which dominique is using, can run a maketextfm.)

*very* few people use sauter fonts nowadays, and i would have thought
it appropriate for lilypond output either to employ scaled standard cm
fonts, or to include the requisite .mf files in its distribution.

robin

From mutex-owner@mail2.gmd.de Fri May 15 18:53:03 1998
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>When I execute tex on the ouput file Silly.tex, I get an error message
>about some missing font files cmbx14.mf and cmbx15.mf.

It sounds like you must be generating fonts if the message says anything
about files whose names end in *.mf.

>
>Is there any mean to generate them or where can I find them?

You need to download the files <cmbx14.mf> and <cmbx15.mf> from a CTAN
site.  I don't know the exact directory but it should be in fonts/mf/src or
something like that.  I'm sorry I can't be more specific.  These files are
needed generate the fonts.  You can't generate these files.

David Bobroff
bobroff@centrum.is



From mutex-owner@mail2.gmd.de Fri May 15 19:49:01 1998
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Date: Fri, 15 May 1998 14:49:01 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: PMX version 1.3.8 now available
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The latest version of PMX for MacOS is available from my site

        <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

and has been uploaded to ftp.gmd.de/incoming/music/ from whence it should
show up in the usual places shortly.
	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Sat May 16 17:54:10 1998
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To: mutex@gmd.de
Subject: Staff names with M-Tx (and PMX)
From: stk@snafu.de (Stefan Haller)
Date: Sat, 16 May 1998 19:54:10 +0200
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I'm having difficulties to make M-Tx do what I want with respect to
staff names, for the following reasons:

1) It uses the voice names from the Style command, which means that I
   can't use names containing spaces (such as "Soprano 2"), or names
   that conflict with M-Tx's line labels, such as "Cornetto".  There
   would have to be a separate way to specify staff names.

2) It insists on using 12pt boldface for the staff names, which is not
   what I want.

3) It always uses a fracindent value of 0.12, which might not always be
   what I want.

I can get around 1) and 2) by putting in \setname commands as inline
TeX, but there's no way to get around 3) without hacking the source.

I suggest adding support for a preamble command such as "Indent: 0.08"
to specify the fracindent value to be passed to PMX (independent of the
-n option of PrePMX).


Speaking of which: I think it's a bit awkward to specify the indentation
as a fraction of the line width.  I would prefer to specify an absolute
length value.  Might this be added as an option in PMX?  If the value is
followed by "i", "m", or "p", interpret it as a length; otherwise, as a
fraction as before.


And finally: it is difficult to specify more complicated staff names in
PMX because of line length restrictions.  For example, if I need a staff
name spanning two lines, such as

    Cornetto o
    Violino

, I would have to say something like

  \vbox{\hbox to \parindent{\hfill Cornetto o\hfill}%
        \hbox to \parindent{\hfill Violino\hfill}}

(on one line), which PMX truncates without warning.  I got around this
by saying

  \vbox{\box100\box101}

for the staff name, and then

  \\setbox100=\hbox to \parindent{\hfill Cornetto o\hfill}\
  \\setbox101=\hbox to \parindent{\hfill Violino\hfill}\

as inline TeX, which seems a bit messy.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Sun May 17 17:56:14 1998
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From mutex-owner@mail2.gmd.de Mon May 18 10:14:34 1998
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Date: Mon, 18 May 1998 12:14:34 +0200
From: CRETEL Dominique <dominique.cretel@sema.be>
Organization: Sema Group
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To: Vasconcellos <vasco@netlabs.net>
Cc: mutex@gmd.de, NIEUWENHUIZEN Jan <jan@digicash.com>,
        NIENHUYS Han-Wen <hanwen@cs.uu.nl>
Subject: Installing Lilypond-0.1.64 on windows 95
References: <01bd806a$e0d6bca0$281e140a@intel.vasconcellos.com>
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1) First, I have download tha 0.1.64 version of Lilypond music software.

2) Then I extract it in a temp directory, and I move the directory
"lilypond-0.1.64" to the root directory of my D drive.

3) I go to the D:\Lilypond-0.1.64\tex directory to modify the
lilyponddefs.tex file (lines 75 and 84), and comment all
cmbx15 ans cmbx14, and replace them by cmbx12.

4) build a command file like this:
Note: I use MiKTeX to process the tex file generated.

--- begin ly2ps.bat
echo off
set ver=0.1.64
set path=%path%;d:\lilypond-%ver%\bin
lilypond -I d:\lilypond-%ver%\init %1
rem *** pause

set path=c:\texmf\miktex\bin;%path%
set TEXINPUTS=%TEXINPUTS%;d:\lilypond-%ver%\tex
set MFINPUTS=%MFINPUTS%;d:\lilypond-%ver%\mf
tex %1.tex
rem *** pause

dvips %1.dvi
rem *** pause

set path=%path%;d:\gstools\gsview
gsview32 %1.ps
--- end ly2ps.bat

5) execute lilypond by doing:
ly2ps silly <Enter>

Note:
You'll better have to put the SET commands lines in a separate command
file to avoid consumming each time environnment ressources.

Bye,
Dominique Cretel.

-----------
Vasconcellos wrote:
> 
> I'm sorry that I cannot help you with lilypond problems.
> In fact, it looks like you have gotten further than I have.
> I've tried Lilypond-0.1.64 but it seems to fail with an
> exception: STATUS_ACCESS_VIOLATION.
> 
> Would you mind describing how you installed it? I must
> be doing something wrong.
> 
> Jose Vasconcellos

From mutex-owner@mail2.gmd.de Mon May 18 12:14:35 1998
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To: CRETEL Dominique <dominique.cretel@sema.be>
Cc: vasco@netlabs.net, mutex@gmd.de, Han-Wen <hanwen@cs.uu.nl>
Subject: Re: Installing Lilypond-0.1.64 on windows 95 
In-Reply-To: Your message of "Mon, 18 May 1998 12:14:34 +0200."
             <35600A0A.59D2@sema.be> 
Date: Mon, 18 May 1998 14:14:35 +0200
From: Jan Nieuwenhuizen <jan@digicash.com>
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On Monday, 18 May 1998, CRETEL Dominique writes:

Hi all,

Thanks a lot for the input.  We've removed the auto-generated sauter font 
requests from Lily in pl66; binaries available too, from the usual place.

Dominique (and others) please take LilyPond discussion to the gnu-music
list 

    gnu-music-discuss@gnu.org

we've stretched the tolerance of the musix list enough for this week,
i guess.

> Vasconcellos wrote:
> > 
> > I'm sorry that I cannot help you with lilypond problems.
> > In fact, it looks like you have gotten further than I have.
> > I've tried Lilypond-0.1.64 but it seems to fail with an
> > exception: STATUS_ACCESS_VIOLATION.
> > 
> > Would you mind describing how you installed it? I must
> > be doing something wrong.
> > 
> > Jose Vasconcellos

Jose, can you be more specific about this (e.g. what was the lilypond
commandline?).

Jan.

Jan Nieuwenhuizen <jan@digicash.com> | LilyPond - The GNU music typesetter
http://www.digicash.com/~jan         | http://www.digicash.com/~jan/lilypond


From mutex-owner@mail2.gmd.de Mon May 18 16:46:04 1998
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To: mutex@gmd.de
Subject: Fwd: Re: Staff names with M-Tx (and PMX)
From: stk@snafu.de (Stefan Haller)
Reply-To: mutex@gmd.de
Date: Mon, 18 May 1998 18:46:04 +0200
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Private reply by Dirk, forwarded with permission:


------- Begin Forwarded Message -------

Subject:     Re: Staff names with M-Tx (and PMX)
From:        Dirk Laurie <dirk@calvyn.puk.ac.za>
To:          Stefan Haller <stk@snafu.de>
Date:        Mon, 18 May 1998 11:52:28 +0200 (SAT)

Stefan Haller wrote:
> 
> I'm having difficulties to make M-Tx do what I want with respect to
> staff names, for the following reasons:
> 
> 1) It uses the voice names from the Style command, which means that I
>    can't use names containing spaces (such as "Soprano 2"), or names
>    that conflict with M-Tx's line labels, such as "Cornetto".  There
>    would have to be a separate way to specify staff names.
> 
You can use "Soprano~2".  It's a bug that "Cornetto:" does not work.
But I agree, it would be cleaner to distinguish between line labels
and staff names.  A preamble line specifying staff names would make
the -n option unnecessary.

> 2) It insists on using 12pt boldface for the staff names, which is not
>    what I want.
I'll change this to a symbolic font name that the user can override.

> 3) It always uses a fracindent value of 0.12, which might not always be
>    what I want.
> 
> I can get around 1) and 2) by putting in \setname commands as inline
> TeX, but there's no way to get around 3) without hacking the source.
> 
> I suggest adding support for a preamble command such as "Indent: 0.08"
> to specify the fracindent value to be passed to PMX (independent of the
> -n option of PrePMX).
The reason I haven't done this is because this fraction business is too 
opaque for the philosophy behind M-Tx.  I agree 100% with your following 
comments.

> 
> Speaking of which: I think it's a bit awkward to specify the indentation
> as a fraction of the line width.  I would prefer to specify an absolute
> length value.  Might this be added as an option in PMX?  If the value is
> followed by "i", "m", or "p", interpret it as a length; otherwise, as a
> fraction as before.
> 
What I really would like is for PMX to calculate the indentation to
be just enough for the labels.  This could be done mainly at the pmx.tex
level.

Dirk

-------- End Forwarded Message --------


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

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To: Robin.Fairbairns@cl.cam.ac.uk, dominique.cretel@sema.be
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Subject: Re: About Lilypond-0.1.64
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Robin Fairbairns wrote:

> *very* few people use sauter fonts nowadays, and i would have thought
> it appropriate for lilypond output either to employ scaled standard cm
> fonts, or to include the requisite .mf files in its distribution.

Why not?  Because everyone uses postscript fonts?  Surely spacing etc
is better with sauter fonts than with scaled cm fonts?

Sorry if this is off-topic.

Andrew Gray

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From: CRETEL Dominique <dominique.cretel@sema.be>
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Subject: Re: Installing Lilypond-0.1.64 on windows 95
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Hi all,

> Thanks a lot for the input.  We've removed the auto-generated sauter
> font requests from Lily in pl66; binaries available too, from the
> usual place.

Ok, thanks for this upgrade. Where can I find this version ?

> Dominique (and others) please take LilyPond discussion to the
> gnu-music list

Ok, it's done for me.

Bye,
Dominique Cretel.

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Subject: Re: About Lilypond-0.1.64 
In-Reply-To: Your message of "Tue, 19 May 1998 13:57:10 BST."
             <12196.199805191257@altair> 
Date: Tue, 19 May 1998 19:15:27 +0100
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re. lilypond output requiring cmr14 and cmr15

> Robin Fairbairns wrote:
> 
> > *very* few people use sauter fonts nowadays, and i would have thought
> > it appropriate for lilypond output either to employ scaled standard cm
> > fonts, or to include the requisite .mf files in its distribution.
> 
> Why not?  Because everyone uses postscript fonts?  Surely spacing etc
> is better with sauter fonts than with scaled cm fonts?

it's not really the spacing, but the shapes of the characters.  sauter
aims (largely successfully) to make each of the cm series like an
adobe multiple-master font with a single optical size axis: moving
along that axis changes the shapes of the characters in minuscule
ways.  you can really see the difference between <cmr5 scaled by 2.0>
and <cmr10> (say), but i would be surprised if there's much noticeable
difference between <cmr12 scaled \magstep1> and <sauter's cmr14>

really, i think, the point is accessibility.  *everyone* with a tex
system of any sort has knuth's fonts available in some form or other.

the difference is small, but the sauter fonts are probably better.  it
would be nice if one could control what's used, but if it's got to be
one set of fonts only, let it be knuth's set.

r

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I have serious problems with printing. 
My printer is a LaserJet 4L. I still do not know if i have the correct
drivers, which I took from ctan site, these are: lj4.bat, dvilj4~1,
lj_base.fli


Moreover, I not even know the right command to print.

If you know something about this matter please let me know
Thanks


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On Tue, 19 May 1998, Eduardo Quinonez-Rico wrote:

> I have serious problems with printing. 
> My printer is a LaserJet 4L. I still do not know if i have the correct
> drivers, which I took from ctan site, these are: lj4.bat, dvilj4~1,
> lj_base.fli
> 
> 
> Moreover, I not even know the right command to print.
> 
> If you know something about this matter please let me know
> Thanks
> 
> 


From mutex-owner@mail2.gmd.de Wed May 20 06:14:12 1998
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Date: Wed, 20 May 1998 08:14:12 +0200
From: Frank Stefani <F.Stefani@gap.baynet.de>
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Eduardo Quinonez-Rico wrote:
> 
> I have serious problems with printing.
> My printer is a LaserJet 4L. I still do not know if i have the correct
> drivers, which I took from ctan site, these are: lj4.bat, dvilj4~1,
> lj_base.fli
> 
> Moreover, I not even know the right command to print.
> 
> If you know something about this matter please let me know
> Thanks

Wouldn't be bad if you'd let us know: What operating system?
What (Music)TeX distribution? Looks like you're using DOS/Win.
Do you have Ghostscript running?

Frank.

-- 
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    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
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From mutex-owner@mail2.gmd.de Wed May 20 08:34:32 1998
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To: Eduardo Quinonez-Rico <equinone@nmsu.edu>
Cc: mutex <mutex@gmd.de>
Subject: Re: Printing 
In-Reply-To: Your message of "Tue, 19 May 1998 14:08:10 MDT."
             <Pine.SUN.3.95.980519135638.19004A-100000@emmy> 
Date: Wed, 20 May 1998 09:34:32 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I have serious problems with printing. 
> My printer is a LaserJet 4L. I still do not know if i have the correct
> drivers, which I took from ctan site, these are: lj4.bat, dvilj4~1,
> lj_base.fli

since you grabbed a bunch of emtex stuff, one presumes you're running
emtex.

the best place to ask this question is probably therefore the emtex
mailing list.  the documentation that you got with emtex in the first
place tells you about this list: people there know about things like
configurations and printer drivers...

robin

From mutex-owner@mail2.gmd.de Sat May 23 18:43:47 1998
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From: dsimons@logicon.com (Don Simons)
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Subject: Re: Staff names, indentation, and slurs in PMX 1.3.8
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Stefan Haller wrote

>I think it's a bit awkward to specify the indentation
>as a fraction of the line width.  I would prefer to specify an absolute 
>length value.  Might this be added as an option in PMX?  If the value is 
>followed by "i", "m", or "p", interpret it as a length; otherwise, as a 
>fraction as before.

and Dirk Laurie wrote

>What I really would like is for PMX to calculate the indentation to
>be just enough for the labels.  This could be done mainly at the pmx.tex 
>level.

In defense of specifying indentation as a fraction of line width, I 
can only say that it is a relic from the very first working version of 
PMTEX, the predecessor of PMX, and has served me well ever since.  
However, it should be straightforward to implement Stefan's request 
and I'll do so in the next release.  

OTOH the automatic indentation would be very difficult. While I 
believe I could figure out a way to do it in TeX, the problem 
is that PMX must know the width of the indentation from the outset in 
order to compute the correct spacing of all the characters in the 
indented line.  For PMX to compute the width of the staff name it 
would have to carry a table of the widths of all characters, etc.  
Life is too short.  

Stefan wrote

>it is difficult to specify more complicated staff names in
>PMX because of line length restrictions.  For example, if I need a 
>staff name spanning two lines, such as
>
>    Cornetto o
>    Violino
>
>, I would have to say something like 
>
>  \vbox{\hbox to \parindent{\hfill Cornetto o\hfill}% 
>        \hbox to \parindent{\hfill Violino\hfill}}
>
>(on one line), which PMX truncates without warning.  I got around 
>this
>by saying
>
>  \vbox{\box100\box101}
>
>for the staff name, and then
>
>  \\setbox100=\hbox to \parindent{\hfill Cornetto o\hfill}\ 
>  \\setbox101=\hbox to \parindent{\hfill Violino\hfill}\
>
>as inline TeX, which seems a bit messy.

Well, at least there is a way :-) .  But I would be willing to 
consider two alternate possible enhancements:

1. Allow longer instrument names.
2. Concoct a syntax which would prompt PMX to generate the coding 
Stefan suggests.  The syntax could involve including some unique 
character string in the first line of the instrument name, probably at 
the beginning of the input line, and would indicate how many lines are 
to be used in the instrument name.  The initial character of the string 
would have to be something that would never be used in an instrument 
name.

Please post your votes.  Votes for (2) must be accompanied by 
suggestions for the syntax.


Dirk discussed some "features" of "(" and ")".  These new symbols are 
by no means a panacea, in fact they are simply equivalent to "s", 
except that "(" before a note symbol is equivalent to "s" after that 
note.  So "( ( a b ) c )" , equivalent to "a s s b s c s", is not 
acceptable, but "(1 ( a b ) c )1" , equivalent to "a s1 s b s c s1" is 
OK.

Dirk also noted that "( d8 d8 ) ) d8 ) ) d8 )" produced the desired 
sequence of three continuation slurs.  Although it looks wierd, it is 
consistent with the intended equivalence " d s d s s d s s d s ", as 
would be the sequence "( b8 ( b8 ) ( b8 ) b8 )" which looks slightly 
less wierd.  To my mind, this example is one in which the original 
syntax, wherein both slur starts and endings are indicated after the 
note, is more transparent than "("...")" .  I cannot see any logical 
reason why " ( d8 d8 ) ( d8 ) ( d8 ) " should be expected to give a 
sequence of three continued slurs.  At the moment I'm not inclined to 
introduce any new slur syntax, since all desired combinations can be 
handled by the existing machinery.

--Don Simons

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To: mutex@gmd.de
Subject: Fwd: Re: Staff names with M-Tx (and PMX)
From: stk@snafu.de (Stefan Haller)
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From mutex-owner@mail2.gmd.de Tue May 26 07:27:31 1998
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From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Two problems in one note
Date: Tue, 26 May 1998 09:27:31 +0200
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Hi,
I do not know if i do the things right by transposing a piece.
Anyone who is willing to help me?

Transposingproblems
 Problem 1
 The accids are only in effect when using the word with all the chars.
 (uncomment the 4th line and comment the 3th line to see)

 Problem 2 (using \relativeaccidentals)
 Why the 2 notes in the chor behave different when transposed?
 (the b-flat becomes a c-sharp -- the l-flat becomes a m-andreascross)

\input musixtex% version 83
\hsize 90mm\vsize 270mm
\relativeaccidentals%
%\relativeaccid%entals%
\bigaccid\startmuflex\startpiece\systemnumbers%
%
\transpose=3D0\generalsignature{-3}\changecontext%
\Notes\zh{^b}\hl{^l}\en
%
\transpose=3D1\generalsignature{1}\changecontext%
\Notes\zh{!^b}\hl{!^l}\en
%
\Stoppiece\eject\bye

greatings

Andr=E9 Van Ryckeghem
Katholieke Hogeschool Brugge-Oostende dept. IW&T
Zeedijk 101 - 8400 Oostende - Belgi=EB
tel. 32 59 508996 - fax 32 59 704215
avr@kh.khbo.be  --  www.khbo.be


From mutex-owner@mail2.gmd.de Tue May 26 13:33:30 1998
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From: jdg@maths.qmw.ac.uk (Julian Gilbey)
Subject: M-Tx (or PMX?) bug involving @
To: mutex@gmd.de
Date: Tue, 26 May 1998 14:33:30 +0100 (BST)
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I've been having a couple of problems using M-Tx, and due to my lack
of experience with these packages, I don't know the cause of the bug,
but I'll report it anyway.

Consider the following very simple two bars.

Style: SATB
Flats: 2
Meter: C
Bars/line: 4
Space: 4

rp                             | rp                          |
rp                             | rp                          |
LT: a b c d e f g h
@^6 ( g4 d+8 ) d  ( c4  e8 ) e | g-8 a ( b1 a g fs g4d ) g8  |
C:    ~  b     b    a   c    c  
    ( g4 g8  ) g  ( g4e g8 ) g | e8  c ( d4        bd  ) g+8 |

They pass through prepmx with no errors, but pmxa dies with the
message:

---
  Bar 1
 # of bars in voice 1, current voice: 1 2


 ERROR in line 31, bar 4: Block duration not equal to voice 1
      v
 rp | //                                                                       
      ^
STOP 1 statement executed
---

The error message goes away and the processing is fine if an extra
(extraneous?) @^6 is introduced before the g-8 at the start of the
second bar of the T(enor) line.

And when these two bars were used as part of a longer piece, all sorts
of things went wrong: notes appeared twice on two different staves, a
relative sharp killed pmx, and everything was fixed by introducing
this extra @ command.

Does anyone have any ideas?

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199805261406.QAA00452@sunick.gmd.de>
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
Subject: Re: Two problems in one note
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> From: "=?iso-8859-1?Q?Andr=E9_Van_Ryckeghem?=" <andre.vanryckeghem@kh.khbo.be>
> Date: Tue, 26 May 1998 09:27:31 +0200

>  Problem 1
>  The accids are only in effect when using the word with all the chars.
>  (uncomment the 4th line and comment the 3th line to see)

I use version 88. "\relativeaccidentals" does not work for me. It's an
"Undefined control sequence". "\relativeaccid" works for me.

Is it possible that you use a TeX-format which contains some redefinitions?
In musixtex.tex only "\relativeaccid" is defined. Can you try to process your
input with plain-TeX?

>  Problem 2 (using \relativeaccidentals)
>  Why the 2 notes in the chor behave different when transposed?
>  (the b-flat becomes a c-sharp -- the l-flat becomes a m-andreascross)

Everything is working correct. With relative accidentals ...
  b-sharp in E-flat-major is b-natural
  e-sharp in E-flat-major is e-natural
and with transposing and relative accidentals ...
  b transposed to c; c-sharp in G-major is c-sharp
  e transposed to f; f-sharp in G-major is f-double-sharp


Some more remarks:

> \input musixtex% version 83
> \hsize 90mm\vsize 270mm
> \relativeaccidentals%

This does not work with version 88

> %\relativeaccid%entals%

This works in version 88

> \bigaccid\startmuflex\startpiece\systemnumbers%
> %
> \transpose=0\generalsignature{-3}\changecontext%

Either use "\trans....{-3}" before \startpiece or use "\zchangecontext" to
have no barline at the beginning. (I know it's only a test-case).

> \Notes\zh{^b}\hl{^l}\en

I prefer "\zh{^b}\hl{'^e}" - then I know the notes  :-) [*]

> %
> \transpose=1\generalsignature{1}\changecontext%
> \Notes\zh{!^b}\hl{!^l}\en

Why "!"?

> %
> \Stoppiece\eject\bye

\bye  -- Werner


[*] I really prefer  "b23sl zes+"  or  "e25s zbs-"  :-)

From mutex-owner@mail2.gmd.de Tue May 26 14:28:41 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199805261428.QAA08440@calvyn.puk.ac.za>
Subject: Do you want to try out a pre-release of M-Tx 0.40?
To: mutex@gmd.de
Date: Tue, 26 May 1998 16:28:41 +0200 (SAT)
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M-Tx 0.40 is nearly ready.  Present M-Tx users are asked to help
me find the bugs in the present version (0.39) before I go public.
The code has undergone a major revision, so some old scores may no
longer work, even though they should.  So I'd like you to submit
some existing debugged scores, some scores that exposed bugs in 0.30,
and some scores that take advantage of the new features.

You must *already* have PMX 1.3.8, available from ftp.gmd.de.
You also need version 1.1 of musixlyr.tex (if the date on your
musixlyr is older than Dec 18 1997, it's too old).  This is
also available from ftp.gmd.de.

Procedure: send a mail with your M-Tx file in the body to
  mtx@calvyn.puk.ac.za
You'll get either the error messages (if it did not work)
or the PMX file (if it did).

New features:
  
A. Support for some old and new PMX features:

   1. Breves (double-notes) allowed, e.g. c9.
   2. Slash-formatted meter change word recognized, e.g. m1/4/0/0
      instead of mo400.
   3. Your own instrument names in the preamble, e.g.
      Name: Violin Cello
      (one name per instrument, not per stave or per voice)
      Default font is \twelvebf, but you can override it as long
      as you use no blanks, e.g.  \it{Soprano~1}
      No need to say -n if you use this option.
   4. Your own value for \fracindent instead of the default 0
      or (if option -n is ineffect) 0.12, e.g.
      Indent: 0.20
   5. You can have more than one continuo instrument and it need
      not be last.

B. Requests from mutex@gmd.de list users:

   1. The return code is now the line number at which the error was
      diagnosed (which may not be the same as the one where it
      actually is).  
   2. Rests also pull a word from the uptext line.  My apologies
      to those whose existing scores compensated for this bug in
      0.30, and who will now need to put in a few little snakes.
   3. Start and end crescendo ( resp. decrescendo ) on the uptext line
      with < and <. ( resp. > and >. ).
   4. Barless music like psalm tunes: use e.g.
      Meter: 0/2
      Bars/line: 1
      to indicate that each music paragraph should be a line by
      its own.  The preprocessor will calculate the duration, check
      that it is a multiple of the counting unit (in this example,
      a half-note) and that all voices have the same length.  It
      will then generate a blind meter change for PMX to use.  
   5. If your request has not been acceded to, it is not yet too
      late.  I may have forgotten about it instead of rejected it.
      Email the list and let's all discuss it.


C. Things I needed for my own scores and therefore put in.

   1. You can change lyrics paragraphs in mid-line, e.g.
      f4 e {common} d f e2n e8 e4d
      switches to a paragraph marked {common} after the first two notes.  
      I needed it for switching off lyrics in mid-bar using {}.
   2. You can use tonic-solfa name letters d r m f s l t
      instead of a b c d e f g.  Some of these conflict with PMX
      commands: in that case use e.g. "r instead of r to get a rest.

 

From mutex-owner@mail2.gmd.de Tue May 26 14:52:23 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199805261452.QAA08530@calvyn.puk.ac.za>
Subject: Re: Staff names, indentation, and slurs in PMX 1.3.8
To: dsimons@logicon.com (Don Simons)
Date: Tue, 26 May 1998 16:52:23 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <00069871.003305@logicon.com> from "Don Simons" at May 23, 98 11:43:47 am
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Don Simons wrote:
> 
> Stefan Haller wrote
> 
> >it is difficult to specify more complicated staff names in
> >PMX because of line length restrictions.  For example, if I need a 
> >staff name spanning two lines, such as
> >
> >    Cornetto o
> >    Violino
> >
> >, I would have to say something like 
> >
> >  \vbox{\hbox to \parindent{\hfill Cornetto o\hfill}% 
> >        \hbox to \parindent{\hfill Violino\hfill}}
> >
> >(on one line), which PMX truncates without warning.  I got around 
> >this
> >by saying
> >
> >  \vbox{\box100\box101}
> >
> >for the staff name, and then
> >
> >  \\setbox100=\hbox to \parindent{\hfill Cornetto o\hfill}\ 
> >  \\setbox101=\hbox to \parindent{\hfill Violino\hfill}\
> >
> >as inline TeX, which seems a bit messy.
> 
> Well, at least there is a way :-) .  But I would be willing to 
> consider two alternate possible enhancements:
> 
> 1. Allow longer instrument names.
> 2. Concoct a syntax which would prompt PMX to generate the coding 
> Stefan suggests.  The syntax could involve including some unique 
> character string in the first line of the instrument name, probably at 
> the beginning of the input line, and would indicate how many lines are 
> to be used in the instrument name.  The initial character of the string 
> would have to be something that would never be used in an instrument 
> name.
> 
> Please post your votes.  Votes for (2) must be accompanied by 
> suggestions for the syntax.
> 
I vote for neither.  It is really no bother to put
  \def\Duet{all that stuff above}
in the initial list of TeX commands, between the --- lines, and then 
to use \Duet as instrument label.  A preprocessor should not provide 
a new mechanism for something that can easily be done without it.

> 
> Dirk discussed some "features" of "(" and ")".  These new symbols are 
> by no means a panacea, in fact they are simply equivalent to "s", 
> except that "(" before a note symbol is equivalent to "s" after that 
> note.  So "( ( a b ) c )" , equivalent to "a s s b s c s", is not 
> acceptable, but "(1 ( a b ) c )1" , equivalent to "a s1 s b s c s1" is 
> OK.
> 
> Dirk also noted that "( d8 d8 ) ) d8 ) ) d8 )" produced the desired 
> sequence of three continuation slurs.  Although it looks wierd, it is 
> consistent with the intended equivalence " d s d s s d s s d s ", as 
> would be the sequence "( b8 ( b8 ) ( b8 ) b8 )" which looks slightly 
> less wierd.  To my mind, this example is one in which the original 
> syntax, wherein both slur starts and endings are indicated after the 
> note, is more transparent than "("...")" .  I cannot see any logical 
> reason why " ( d8 d8 ) ( d8 ) ( d8 ) " should be expected to give a 
> sequence of three continued slurs.  At the moment I'm not inclined to 
> introduce any new slur syntax, since all desired combinations can be 
> handled by the existing machinery.
> 
My philosophy exactly, and (I believe) that of William of Occam.  Of
course, my attitude in this case might be influenced by the fact that
M-Tx users don't need the extension, since M-Tx already has "(" and ")"
and for that matter ")(.  The syntax for continuation slurs in M-Tx 
would be ( d8 d8 )( d8 )( d8 ) which is not the same as 
( d8 d8 ) ( d8 ) ( d8 ).             :-)

Dirk




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From: J.D.Gilbey@qmw.ac.uk (Julian Gilbey)
Subject: Double dotted notes in M-Tx/PMX?
To: mutex@gmd.de
Date: Tue, 26 May 1998 15:44:17 +0100 (BST)
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Is there a nice way (or any way) to get double-dotted notes in M-Tx or
PMX?

   Julian

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       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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From: J.D.Gilbey@qmw.ac.uk (Julian Gilbey)
Subject: Ending an M-Tx piece with |]
To: mutex@gmd.de
Date: Tue, 26 May 1998 17:09:07 +0100 (BST)
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It appears that when ending an M-Tx piece with |], so that the PMX
file's first line in the last bar has an extra RD in it, the TeX file
produced no longer contains an \Endpiece command, so musixflx dies.

Why might this be?

BTW, I am using MusiXTeX T.89, PMX 1.3.8 (made with f2c) and M-Tx 0.30a.

   Julian

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       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Double dotted notes in M-Tx/PMX?
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J.D.Gilbey@qmw.ac.uk (Julian Gilbey) asked

>Is there a nice way (or any way) to get double-dotted notes in M-Tx or 
>PMX?

In PMX, you could use the inline TeX command \pp(pitch level).  You 
will also need to put in blank rests to make the timing and spacing 
come out right.  You *don't* need to make any special vertical 
adjustments for dots that might hit a staff line, since the \pp macro 
does that for you.  Also, I usually use numerical pitch levels, which 
is fine if you don't ever want to transpose.  If you do anticipate 
transposing, you would need to use alphabetical pitches, but you would 
have to do some tricky stuff to be sure not to mess up the octave.  I 
won't try right now to explain that because I'd probably get it wrong, 
but if it ever becomes an issue please post the question again.  
Here's an example using numerical pitch levels:

1 1 3 4 3 4 0 0
1 1 20 0

t
c:\pctex\texinput\
\ppt5\ c45 rbd8 d1 e4 | \ppt6\ d45 rbd8 e1 f4 /

--Don Simons





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From: dsimons@logicon.com (Don Simons)
Subject: Re: Double dotted notes in M-Tx/PMX?
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I wrote

>In PMX, you could use the inline TeX command \pp(pitch level).  
>...

Obviously I should have written "\ppt(pitch level)" . Sorry about 
that.

--Don Simons

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From: dsimons@logicon.com (Don Simons)
Subject: Re: Ending an M-Tx piece with |]
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Please post the PMX source.

--Don Simons

_____________________________ Reply Separator _________________________________
Subject: Ending an M-Tx piece with |]
Author:  J.D.Gilbey@qmw.ac.uk (Julian Gilbey) at INTERNET-MAIL
Date:    5/26/98 5:09 PM


It appears that when ending an M-Tx piece with |], so that the PMX 
file's first line in the last bar has an extra RD in it, the TeX file 
produced no longer contains an \Endpiece command, so musixflx dies.

Why might this be?

BTW, I am using MusiXTeX T.89, PMX 1.3.8 (made with f2c) and M-Tx 0.30a.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk 
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at: 
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk 
       London E1 4NS, ENGLAND              ( Logon info attached )

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Ending an M-Tx piece with |]
To: J.D.Gilbey@qmw.ac.uk (Julian Gilbey)
Date: Wed, 27 May 1998 09:15:50 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <m0yeMHj-000IjPC@polya> from "Julian Gilbey" at May 26, 98 05:09:07 pm
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Julian Gilbey wrote:
> 
> It appears that when ending an M-Tx piece with |], so that the PMX
> file's first line in the last bar has an extra RD in it, the TeX file
> produced no longer contains an \Endpiece command, so musixflx dies.
> 
I've noticed this too.  M-Tx 0.39 (see my post of May 26) works round
it by ignoring |] if it occurs at the end of a piece.

Dirk

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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: Double dotted notes in M-Tx/PMX?
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> Date: Tue, 26 May 1998 15:18:35 -0700
> From: dsimons@logicon.com (Don Simons)
> 
> J.D.Gilbey@qmw.ac.uk (Julian Gilbey) asked
> 
> >Is there a nice way (or any way) to get double-dotted notes in M-Tx or 
> >PMX?
> 
> [...]  Also, I usually use numerical pitch levels, which 
> is fine if you don't ever want to transpose.  If you do anticipate 
> transposing, you would need to use alphabetical pitches, but you would 
> have to do some tricky stuff to be sure not to mess up the octave.  I 
> won't try right now to explain that because I'd probably get it wrong [...]

Ok, I try because I always use note-names a ... g or A ... G:

1 1 3 4 3 4 0 0
1 1 20 0

t
./
% \ppt5\ c45 rbd8 d1 e4 | \ppt6\ d45 rbd8 e1 f4 /
\relax{\ppt{!'c}}\ c45d r1b d1 e4 | \relax{\ppt{!'d}}\ d4d r1b e1 f4 / 

"!" makes the pitch independent of the PMX-generated surrounding;
"\relax{...}" keeps the octaviation by "'" local.

One could use e.g. "X.-5 r1b" instead of "r1b" to compensate partly the
too big spacing by "r1b" (Korinthenkackerei, peanuts, ... :-)

-- Werner


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From: J.D.Gilbey@qmw.ac.uk (Julian Gilbey)
Subject: Re: Do you want to try out a pre-release of M-Tx 0.40?
In-Reply-To: <199805261428.QAA08440@calvyn.puk.ac.za> from Dirk Laurie at "May 26, 98 04:28:41 pm"
To: wskdpl@pukrs12.puk.ac.za
Date: Wed, 27 May 1998 12:35:21 +0100 (BST)
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Here's another thing that would possibly be nice to implement.  I've
just been typing my first piece of music which was in 4-voice, 2-staff
vocal style (SATB).  If the top line (S) has any of the following
types of groups:

( a4 b a )
( a8 b )
and worst of all:
( a4 b8 c a4 )

(i.e., a slur with either >2 notes or containing barred notes), then
the up-slur which results looks dreadful.  Yes, one could consider
changing it to a down slur, but that would not work if there are notes
in the A line which are too close to allow this.  What would be nice
would be to have some mechanism, either automatic or a simple user
marking (such as (^ in place of ( ) to indicate that the slur should
be placed above the tails of the notes instead of by the heads.  We
could have (_ to indicate that the slur should be lowered to below the
tails for the lower voices, and if things are made automatic, we could
have (= to indicate the normal position by the heads.

I know that it is possible to do things by using (+6 (or something
like it, don't remember offhand), but the frequency with which this
happens in the vocal pieces I've been writing makes the current
situation infuriating.

Any thoughts?

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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From: dsimons@logicon.com (Don Simons)
Subject: Re: Ending an M-Tx piece with |]
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J.D.Gilbey@qmw.ac.uk (Julian Gilbey) wrote

>It appears that when ending an M-Tx piece with |], so that the PMX 
>file's first line in the last bar has an extra RD in it, the TeX file 
>produced no longer contains an \Endpiece command, so musixflx dies.
>
>Why might this be?

Since Dirk privately sent me the offending PMX source, I can answer:  
In the process of generalizing the allowable positions of "Rd" and 
"Rr" in PMX 1.3.8, I assumed that if any "R?" were given explicitly 
just before the final "/" of a movement or piece, it would not be 
"RD". I assumed this because "RD" is the default in those cases.

According to Werner's formulation of Don's law, I will fix this (i.e., 
admit the redundant "RD") in (year 2018)-n , where n=1 time unit of my 
choice. 

--Don

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From: dsimons@logicon.com (Don Simons)
Subject: Re: Double dotted notes in M-Tx/PMX?
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Werner Icking <Werner.Icking@gmd.de> wrote

>> J.D.Gilbey@qmw.ac.uk (Julian Gilbey) 
>>asked > 
>> >Is there a nice way (or any way) to get double-dotted notes in M-Tx 
>>>or > >PMX?
>> 
>> [...]  Also, I usually use numerical pitch levels, which 
>> is fine if you don't ever want to transpose.  If you do anticipate 
>> transposing, you would need to use alphabetical pitches, but you 
>>would > have to do some tricky stuff to be sure not to mess up the 
>>octave.  I 
>> won't try right now to explain that because I'd probably get it wrong [...]
>
>Ok, I try because I always use note-names a ... g or A ... G:
>
>1 1 3 4 3 4 0 0
>1 1 20 0
>
>t
>./
>% \ppt5\ c45 rbd8 d1 e4 | \ppt6\ d45 rbd8 e1 f4 /
>\relax{\ppt{!'c}}\ c45d r1b d1 e4 | \relax{\ppt{!'d}}\ d4d r1b e1 f4 / 
>
>"!" makes the pitch independent of the PMX-generated surrounding; 
>"\relax{...}" keeps the octaviation by "'" local.
>
>One could use e.g. "X.-5 r1b" instead of "r1b" to compensate partly the 
>too big spacing by "r1b" (Korinthenkackerei, peanuts, ... :-)

Werner makes a good point here about the spacing.  To elaborate a 
little:  My original solution would have given way too much space to the 
double dotted quarter.  In PMX the basic number of \elemskips allotted 
to a note or rest is (32*t)^.5, where t is the duration (in whole 
notes).  So a double-dotted quarter should receive 

(.25*1.75*32)^.5 = 3.74\elemskip .  

The way I did it gave 

(.25*32)^.5 + (.125*1.5*32)^.5 = 5.28\elemskip.  

The way Werner did it (without the "X") gives

(.25*1.5*32)^.5 + (.0625*32)^.5 = 4.88\elemskip.

Now to correct this overshoot you would need to back up by 
1.54\elemskip in my case, and 1.14\elemskip in Werner's.  It is not 
easy to get this exactly right using "X" , since that measures the 
offset in units of notehead widths which are fixed, while the actual 
length of \elemskip depends on how crowded the system is.  While you 
could try inline \off{-1.54\elemskip}\ , this would not be recorded by 
PMX and could cause inaccuracies elsewhere in the line if PMX needed 
to insert any hardspaces.

The best solution obviously is for the author of PMX to build 
double-dotted notes into the the program :-)

--Don Simons

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From: dsimons@logicon.com (Don Simons)
Subject: PMX slurs at stem-ends (was  Re: Do you want to try...)
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J.D.Gilbey@qmw.ac.uk (Julian Gilbey) wrote

>Here's another thing that would possibly be nice to implement.  I've 
>just been typing my first piece of music which was in 4-voice, 
>2-staff vocal style (SATB).  If the top line (S) has any of the 
>following types of groups:
>
>( a4 b a )
>( a8 b )
>and worst of all:
>( a4 b8 c a4 )
>
>(i.e., a slur with either >2 notes or containing barred notes), then 
>the up-slur which results looks dreadful.  Yes, one could consider 
>changing it to a down slur, but that would not work if there are notes 
>in the A line which are too close to allow this.  What would be nice 
>would be to have some mechanism, either automatic or a simple user 
>marking (such as (^ in place of ( ) to indicate that the slur should 
>be placed above the tails of the notes instead of by the heads.  We 
>could have (_ to indicate that the slur should be lowered to below the 
>tails for the lower voices, and if things are made automatic, we could 
>have (= to indicate the normal position by the heads.

From PMX's point of view, the thing that makes this proposal tricky to 
implement is that stem lengths or beam heights vary all over the place 
in response to multiple influences, often due to MusiXTeX's own 
adjustments after PMX has finished its work.  (Conversely, that's why 
so far I've indexed all slur heights to the notehead).  I'll consider 
this for a later release.  In the meantime, I think there is some 
inline TeX you could use for beam-slurs, I'm not sure whether there 
are similar macros for single-stemmed notes, but there is the existing 
PMX facility for relative height adjustments.

--Don Simons

From mutex-owner@mail2.gmd.de Thu May 28 08:41:52 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199805280841.KAA05644@calvyn.puk.ac.za>
Subject: Multi-bar rests
To: dsimons@logicon.com (Don Simons)
Date: Thu, 28 May 1998 10:41:52 +0200 (SAT)
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We're singing the Misa Criolla, and I was irritated by the fact that
only a full score was available for the choir -- in some places this
means one system per page.  So I set about making a SATB score for the
choir only.  The Gloria starts:
=== file gloria.pmx ===
2 2   3 4 3 4   0.0   0   1 2   20   0.1
Tenor/Bass
Soprano/Alto
60
./
rp rp rp rp rp rp rp /
rp rp rp rp rp rp rp /

m2424 rp rp rp rp rp rp /
      rp rp rp rp rp rp /
======================
Not very exciting, I know, but the Misa does have leanings towards
minimalism.

The reference card says I'm allowed to use multi-bar rests in the
first voice, but there seems to be no sensible way of doing this
unless there happens to be exactly one voice.

First request: could some future release allow one to code the two
blocks as
====================
rm7 /
rm7 /

m2424 rm6 /
      rm6 /
====================
(rule: multibar rest allowed if all the voices in the block have
 exactly the same)

or better
====================
rm7 / 
/

m2424 rm6 / 
/
====================
(rule: multibar rest allowed only in first voice; nothing else
 in that block; other voices must be empty)

Second request: in the meanwhile, can anyone figure out how to
kludge the desired effect with inline TeX?  I tried without success.
(Two multi-bar rests separated by a meter change seems to be
much more tricky than a single multi-bar rest.

The rest of this post deals with scor2prt.

In an attempt to work this out, I fed the above score to scor2prt.
It produced:
=== file gloria1.pmx ===
    1    1    3    4    3    4   .000    0
    1    2   20  .05000
 
6
./
Ti
Soprano/Alto
rm7 /
m2424
 
rm6 /
========================

This score does not go cleanly through pmxa/pmxb.  pmxb says:

 WARNING
   In a title block, you have specified instrument and/or
   composer but no title for the piece.  To suspend
PAUSE    processing hit <ctrl-break>, or <enter> to continue. statement executed
To resume execution, type go.  Other input will terminate the job.

If I then type go, pmxb finishes, but I get errors when TeX'ing the file.
(I'm still using MusiXTeX(c) T.80 <25 September 1997>.)  Removing the
title block has the effect of making pmxa/pmxb run without complaint,
but I still can't TeX the result.

I also found that the scor2prt in pmx138.zip does not yet know the new
m2/4/2/4 meter syntax.

Dirk


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Subject: modifying slurs in MusiXTeX
To: mutex@gmd.de
Date: Thu, 28 May 1998 20:37:19 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello, everybody!

In the following LaTeX2e source file's output I don't like the
shape of the slurs of the left hand. I think you will
agree as soon as you have seen them ... :-)

I am quite sure there is some way to improve them
but I don't know what to tell MusiXTeX to do so.
I tried to use \curve and \midslur with negative numbers
but this did yield reasonable results (though fascinating ones).

I would be pleased
"with a little help from my friend"s in the mailing list ...

(Beware of possible line wrappings during the mailing.
I just split some lines (I hope I did not make any mistakes),
so it should be ok, but you never know....)

=======================================================
\documentclass{article}
\usepackage{musixtex}
\input{musixlyr}%
\nobarnumbers\smallmusicsize%
\pagestyle{empty}
\hoffset-1in
\voffset-1in
\textwidth170mm\oddsidemargin20mm
\begin{document}
\begin{music}
 \parindent0pt\relax
 \instrumentnumber2%
 \setstaffs12\setstaffs21%
 \setclefs1{60}\setclefs20%
 \interstaff{11}%
 \resetlyrics\footnotesize
 \setlyrics{soprano}{[Waldeinsam]keit, und kei-ner kennt %
                  mich mehr hier, und kei-ner kennt mich mehr hier.}
 \assignlyrics2{soprano}
 \generalsignature3\generalmeter\meterC
 \systemnumbers\startbarno=21
 \smallaccid
 \def\LHeins#1#2#3#4{\islurd0{#1}\Ibbu0{J}{a}3\qb0{{#1#2#3}}%
                \tslur0{#4}\tqh0{#4}}
 \def\zwei#1#2#3#4#5{\loff{\Ibbu0{#1}{#5}3\qb0{*{#3}{#4}}%
                \tqh0{#5}}\nextstaff\zq#1\zccu#2\qb0{#1}}
 \startpiece%bar21
   \notes\LHeins{F}{J}{M}{a}\nextstaff\nextinstrument\ha f\enotes
   \notes\zwei{c}{f}{a}{M}{L}\enotes
   \notes%\LHeins{F}{=L}{M}{^a}%
        \islurd0F\Ibbu0Ja3\qb0{F=LM}\tslur0a\tqh0{^a}%
         \nextstaff\nextinstrument\qp\enotes
   \notes\zwei{c}{f}{a}{M}{L}\nextinstrument\qa f\enotes
  \bar%22
   \notes\LHeins{F}{=K}{=N}{b}\nextstaff\nextinstrument\na g\qa{.g}\enotes
   \notes\zwei{{=d}}{{=g}}{b}{N}{K}\nextinstrument\sk\sk\ca g%
       \beginmel\multnoteskip\tinyvalue\tinynotesize\slur gid2\Dqbbu gh\enotes
   %   \notes\nextinstrument\beginmel\multnoteskip\tinyvalue%
   %    \tinynotesize\slur gid2\Dqbbu gh\enotes
   \notes\LHeins{F}{K}{^L}{b}\nextstaff\nextinstrument\endmel\qa i\enotes
   \notes\loff{\Ibbu0bK3}\qb0{*bL}\tqh0K\nextstaff\sh e\zqb0d\rq e\ccu d%
          \nextinstrument\ca{h*g}\enotes
  \bar%23
   \notes\LHeins{F}{J}{M}{^a}\nextstaff\nextinstrument\ha f\enotes
   \notes\zwei{c}{f}{a}{M}{J}\enotes
   \notes\LHeins{F}{=L}{M}{a}\nextstaff\nextinstrument\qp\enotes
   \notes\zwei{c}{f}{a}{M}{L}\nextstaff\nextinstrument\qa f\enotes
  \bar%24
   \notes\LHeins{F}{=K}{=N}{b}\nextstaff\nextinstrument\qa{.g}\enotes
   \notes\zwei{{=d}}{{=g}}{b}{N}{K}\nextinstrument\sk\sk\ca g\enotes
   \notes\LHeins{F}{K}{^L}{b}\nextstaff\nextinstrument\qa{=k}\enotes
   \notes\loff{\Ibbu0bK3}\qb0{*bL}\tqh0K\nextstaff\sh e\zqb0d\rq e\ccu d%
         \nextinstrument\ca{i*g}\enotes
  \bar%25
   \notes\LHeins{F}{J}{M}{{^a}}\nextstaff\qp\nextinstrument\ha f\enotes
   \notes\Ibbu0cJ3\qb0{caM}\tqh0J\nextstaff\ibsluru1f\qa f\enotes
   \notes\Ibbu0Fb3\qb0{FK^L}\tqh0b\nextstaff\qa k\nextinstrument\hp\enotes
   \notes\Ibbu0eK3\sh e\rq e\qb0{dbL}\tqh0K\nextstaff%
         \Ibu1ig2\qb1{i*}\tqh1{=g}\enotes
  \stoppiece%26
  \instrumentnumber1\setclef1{60}
  \contpiece%bar 26
   \notes%
     \ibbu0N0\qb0{FJM}\qb0{^a}\sk\qb0{aM}\tqh0J\nextstaff%
     \tbsluru1f\qa{f***}\hroff{\zqb0 c\ibsluru1c\qa{c***}}\enotes
   \notes\Ibbu0Fb3\qb0{FKM}\tqh0b\nextstaff\qa f\enotes
   \notes%
      \loff{\Ibbu0cK3}\qb0{*b^L}\tqh0K\nextstaff%
      \zqb0d\Ibu1db2\qb1{d*}\tqh1b\enotes
  \bar
   \notes\rw F\Ibbu0Fa3\qb0{FJM}\tqh0{^a}\nextstaff\tbsluru1c\qa c\enotes
   \notes\loff{\Ibbu0aJ3}\qb0{**M}\tqh0J\nextstaff%
         \ibsluru1c\zqu c\qb0{c^a}\enotes
   \notes\loff{\Ibbu0aJ3}\qb0{**M}\tqh0J\nextstaff\zqu f\qb0{fa}\enotes
   \notes\loff{\Ibbu0aJ3}\zqb0{**M}\istieu3M\cl M\istied4J\tqh0J\nextstaff%
         \zqu c\qb0c\istied2a\zcup a\qb0a\enotes
  \bar
   \NOtes\fermatadown F\ttie4\zw{FJ}\ttie3\wh M\nextstaff%
         \ttie2\zw a\fermataup m\tslur1c\wh f\enotes
   \znotes\nextstaff\lchar{14}{%
           \tiny R.~Schumann, ``In der Fremde'', op.~39.1}\enotes
 \Endpiece
\end{music}
\end{document}

From mutex-owner@mail2.gmd.de Fri May 29 02:03:00 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Multi-bar rests
To: mutex@gmd.de
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Dirk Laurie <dirk@calvyn.puk.ac.za> wrote

>I fed the above score to scor2prt. It produced: 
>=== file gloria1.pmx ===
>1    1    3    4    3    4   .000    0 1    2   20  .05000 
>
>6
>./
>Ti
>Soprano/Alto
>rm7 /
>m2424
>
>rm6 /
>========================
>
>This score does not go cleanly through pmxa/pmxb.  pmxb says: 
>
>WARNING
>In a title block, you have specified instrument and/or composer but no title 
>for the piece.  To suspend
>PAUSE    processing hit <ctrl-break>, or <enter> to continue. statement 
>executed To resume execution, type go.  Other input will terminate the job. 
>
>If I then type go, pmxb finishes, 

So far my system agrees with yours.

>but I get errors when TeX'ing the file. (I'm >still using MusiXTeX(c) T.80 <25 
>September 1997>.)  

Here we diverge, as I have no trouble TeX'ing it, and it looks just as expected.
 I'm using T.73 (trying to avoid font-bloat).  Maybe you should send me the TeX 
file you got.

>Second request: in the meanwhile, can anyone figure out how to 
>kludge the desired effect with inline TeX?  

The following works for me and I think it does what you want:

    2    2    3    4    3    4   .000    0 
    1    1   20  .05000
T+B
S+A
bt
c:\pctex\texinput\
rbd2 /
rbd2 /
\\\def\atnextbar{\znotes\mbrest7{14}0|\mbrest7{14}0\en}\ 
m2424
rb2 /
\global\def\atnextbar{\znotes\mbrest6{14}0|\mbrest6{14}0\en}\ 
rb2 /

The second and third arguments in \mbrest are left- and right- inset 
distances (in points) from the surrounding bar lines, between which 
the multibar rest will be centered.  

The strange construct for the second \atnextbar is only needed if the 
LAST bar of the piece is in the multibar rest.

--Don Simons



From mutex-owner@mail2.gmd.de Fri May 29 06:45:07 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199805290645.IAA10362@calvyn.puk.ac.za>
Subject: MUSIXLYR: lyrics rules and voltas
To: rainer@dunker.e.ruhr.de (Rainer Dunker), mutex@gmd.de
Date: Fri, 29 May 1998 08:45:07 +0200 (SAT)
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I have a piece with voltas.  The first volta has a slurred note
that continues into both parts, so the \startmel has a matching
\endmel.  The second part now has a note that theoretically
is inside a melisma, but musixlyrically does not have a \startmel.

I'm trying to persuade musixlyr to put some sort of rule there,
but not finding it easy.

Any ideas?

Dirk

From mutex-owner@mail2.gmd.de Sat May 30 10:40:41 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Suggested PMX extensions
To: dsimons@logicon.com (Don Simons)
Date: Sat, 30 May 1998 12:40:41 +0200 (SAT)
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The following list of things do not add any typesetting capabilities
to PMX but simplify the input.  I'm putting them into M-Tx at present
in the hope that they go into PMX later.  :-) Since M-Tx 0.40 has not yet
been released, there is still room for debate about the usefulness and
syntax of these features.

1. Multi-bar rests:

In multi-stave music, a block in which only the first voice is non-empty,
containing no notes or rests except a multi-bar rest, produces that same
multi-bar rest on all staves.  E.g. when there are four staves, the block
could be

2/4 rm6 /
/
/
/

[ The M-Tx implementation of course depends on Don's code recently
posted -- thanks Don!]

2. Sticky attributes on notes and rests:

For any attribute denoted by a lower-case letter, the corresponding
upper-case letter may be used instead,  This has the effect of making
the attribute "sticky", i.e. all following notes in the same line of music
will have that attribute.  E.g. 'rB' instead of 'r' makes that rest and all
later ones blank.  (This in fact is the case I first needed, since in
homophonic music with two lines of music per stave the duplicate rests
are annoying.)  To un-stick, use the lower-case letter on the last
note or rest that should have that attribute.  

Other cases where this may be useful are dotted notes, where one could
then write in 12/8 time  'c4D d e f g a b g c0d' instead of  
'c4d dd ed fd gd ad bd gd c0d', and stem direction in the presence of lyrics,
where one might want all stems to point upwards.  Rather than implement
this feature only for cases thought to be useful, I find it easier to
use this more general formulation.  The M-Tx implementation works by
adding the attribute when it has been made sticky.

3. Forced non-blank rests

[ This has been asked for by someone on the list, but I can't find
the post. ]
The attribute 'v' on a rest makes that rest visible, even though it
otherwise would not be so.  In one important case this feature would 
need to be implemented at the PMX level, namely that a whole bar of
rests in a stave containing two music lines would then not be suppressed, 

Dirk

From mutex-owner@mail2.gmd.de Sat May 30 19:19:04 1998
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To: mutex@gmd.de
Subject: M-Tx problem: melismas
From: stk@snafu.de (Stefan Haller)
Reply-To: mutex@gmd.de
Date: Sat, 30 May 1998 21:19:04 +0200
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M-Tx handles melismas automatically based on the beams and slurs; this
is great, but not flexible enough (unless I'm missing something) in
cases where you have to override this default handling (and I often
have).

Consider the following example:

================================
Style: Singer
Meter: C

%% w2i
[ c8 d1 e1 ] [ d8 e1 f1 ] e2 |
L: A-men
================================

Now of course I want the first syllable of `Amen' to be a melisma of 6
notes, and the second syllable should be on the final half note.

The first thing I tried to achieve this is putting a slur around the
first six notes (I don't really want this though -- I often need
melismas *without* slurs).  This doesn't work at all; M-Tx complains
about:

   Melisma starts with slur but ends with beam: ERROR on line 5

no matter in what order I put the ( ) and [ ].  This looks like a bug to
me.


Putting in \beginmel\ and \endmel\ as inline TeX doesn't work either,
because they interfere with the \endmel commands that M-Tx puts in
itself.


What I end up doing now is this:

================================
Style: Singer
Meter: C

%% w2i
[ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 |
L: A-men
================================

This works quite well in this simple example, but it is a pain when
there are very long melismas.  (Defining \let\nl=\nolyr\ helps some, but
not much.)



I suggest adding a new pair of commands to M-Tx to begin and end a
melisma; unfortunately I can't think of any characters that could be
used for this, but maybe someone else can.  If { } were not already
taken, I would suggest to use them like this:

{ [ c8 d1 e1 ] [ d8 e1 f1 ] } e2 |

with proper nesting of any beams or slurs that might occur inside such a
group.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Sat May 30 21:35:30 1998
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Date: Sat, 30 May 1998 15:35:30 -0600
From: Anthony Fok <foka@gpu.srv.ualberta.ca>
To: mutex@gmd.de
Subject: Re: M-Tx problem: melismas
References: <1d9v0pw.1xqx08f725xemM@n247-179.berlin.snafu.de>
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On Sat, May 30, 1998 at 09:19:04PM +0200, Stefan Haller wrote:
> M-Tx handles melismas automatically based on the beams and slurs; this
> is great, but not flexible enough (unless I'm missing something) in
> cases where you have to override this default handling (and I often
> have).

On a somewhat related note, I noticed the new feature in M-Tx 0.30:
 [[, {{ and (( that are used to turn off melisma, but I couldn't figure out
how to turn it back on (!).  :-)  So, after scratching my head for a long
time (and reading the docs and the .pmx file etc.), I decided to add
\beginmel\ and \endmel\ for now ('cause I need the music for the trumpet
player on Sunday for the Confirmation Mass.  :-)

The following is an example:

========================================================================
Title: Bread, Blessed and Broken
Composer: \twelverm Michael Lynch
Sharps: 2
Style: Singer
Meter: 4/4
Pages: 1
Systems: 5
Space: 20

{Verse1}
Je-sus you're the one I love; you're the one I know.
You're the one who makes me strong, Spir-it in my soul.

{Verse2}
From the clouds of yes-ter-day, through the night of pain,
teach me, Lord, to know your way, know it once a-gain.

{Verse3}
May the bread we break to-day, may the cup we share
lift the bur-dens of our hearts, lift them ev-'ry-where.

{Verse4}
Pass-ing on to each of us  meas-ure of your love,
love to make us whole a-gain as we share your Word.

{Verse5}
Je-sus you're the one I love; you're the one I know.
You're the one who makes me strong, Spir-it in my soul.

{Refrain}
Bread, blessed and bro-ken for us all,
sym-bol of your love from the grain so tall.
Bread, blessed and bro-ken for us all,
bread of life you give to us, bread of life for all.

%%\\font\elevenrm=cmr10 scaled\magstephalf\
%%\\font\elevenss=cmss10 scaled\magstephalf\
%%\\font\twelvess=cmss12\
%%\\hoffset=-0.5in\twelvess\largemusicsize\
%%w7.5i h10.5i
%%Ti
%%Trumpet (690, Breaking Bread 1998)
%%Ar K+1+4
U: @< @< !twelverm VERSES:
@+17 r4 [[ f8 f ] g4 [ a8 ( \beginmel\ g8 ] | \endmel\ g4d ) f8 e2 |
L: {Verse1,Verse2,Verse3,Verse4,Verse5}

r4+2 [ e8 e ] f4 [ g8 ( \beginmel\ f8 ] | \endmel\ f0 ) |

%%L2
r4 [ f8 f ] g4 [ a8 ( \beginmel\ g8 ] | \endmel\ g4d ) f8 e2 |

U: | !twelveit @> @> ~~~~~~~~~Fine
r4 [ e8 f ] g4 [ c-8 ( \beginmel\ d8 ] | \endmel\ d0 ) |]


% Refrain
%%L3
Space: 6
U: !twelverm @+1 @< ~~~~~~~~REFRAIN: @-1
@=0 @+4 b+0 | ( \beginmel\ a2d \endmel\ [ a8 ) f8 ] |
L: {Refrain}

g4 [ f8 ( \beginmel\ e8 ] \endmel\ e4 ) [ d8 ( \beginmel\ f8 ] | \endmel\ f0 ) |

r4 [ f8 g ] a4 [ b8 ( \beginmel\ g8 ] | \endmel\ g0 ) |

r4 [ e8 f ] g4 [ a8 ( \beginmel\ f8 ] | \endmel\ f0 ) |

b0 | ( \beginmel\ a2d \endmel\ [ a8 ) f8 ] |

g4 [ f8 ( \beginmel\ e8 ] \endmel\ e4 ) [ d8 ( \beginmel\ f8 ] | \endmel\ f0 ) |

r4 [ f8 g ] a4 [ f8 ( \beginmel\ g8 ] | \endmel\ g4 ) [ f8 ( \beginmel\ e8 ] \endmel\ e2 ) |

U: | @> ~~to~Verses
r4 [ e8 f ] g4 [ c-8 ( \beginmel\ d8 ] | \endmel\ d0 ) ||
=============================================================================


Last but not least, ("sucking up" warning! :-)  Thanks for the wonderful
M-Tx, MusiXLyr, PMX and MusiXTeX programs.  :-)

(For Han-wen and Jan if you are reading:  I am playing with both M-Tx and
friends and LilyPond, so please don't be jealous.  <grin, duck, run>
I'll write to you more about the LilyPond and Debian when I have time.  :-)

Oh yeah, Dirk and Don, could you add support for \trio (?) in PMX/M-Tx?

     ,__3__.
     |     |

     |     |
     |     |\
     |     |/
   @@    @@ 

Please excuse my poor drawing.  :-)  (I forgot what the exact command is in
MusiXTeX, an I'm too lazy to look it up.)  Thanks!

Cheers,

Anthony

-- 
Anthony Fok Tung-Ling        Civil and Environmental Engineering
foka@gpu.srv.ualberta.ca     University of Alberta, Canada
anthony_fok@catholic.org     Keep smiling!  *^_^*
Come visit Our Lady of Victory Camp -- http://olvc.home.ml.org/
                                    or http://www.ualberta.ca/~foka/OLVC/

From mutex-owner@mail2.gmd.de Sun May 31 13:12:13 1998
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Date: Sun, 31 May 1998 15:12:13 +0200
From: Frank Stefani <F.Stefani@gap.baynet.de>
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To: mutex@gmd.de, stk@snafu.de
Subject: Re: M-Tx problem: melismas
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--------------0A057BB8C70A12F5563C1260
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Stefan Haller wrote:
> 
> M-Tx handles melismas automatically based on the beams and slurs; this
> is great, but not flexible enough (unless I'm missing something) in
> cases where you have to override this default handling (and I often
> have).
> 
> Consider the following example:
> 
> ================================
> Style: Singer
> Meter: C
> 
> %% w2i
> [ c8 d1 e1 ] [ d8 e1 f1 ] e2 |
> L: A-men
> ================================
> 
> Now of course I want the first syllable of `Amen' to be a melisma of 6
> notes, and the second syllable should be on the final half note.
> 
> The first thing I tried to achieve this is putting a slur around the
> first six notes (I don't really want this though -- I often need
> melismas *without* slurs).  This doesn't work at all; M-Tx complains
> about:
> 
>    Melisma starts with slur but ends with beam: ERROR on line 5
> 
> no matter in what order I put the ( ) and [ ].  This looks like a bug to
> me.
> 
> Putting in \beginmel\ and \endmel\ as inline TeX doesn't work either,
> because they interfere with the \endmel commands that M-Tx puts in
> itself.
> 
> What I end up doing now is this:
> 
> ================================
> Style: Singer
> Meter: C
> 
> %% w2i
> [ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 |
> L: A-men
> ================================
> 
> This works quite well in this simple example, but it is a pain when
> there are very long melismas.  (Defining \let\nl=\nolyr\ helps some, but
> not much.)
> 
> I suggest adding a new pair of commands to M-Tx to begin and end a
> melisma; unfortunately I can't think of any characters that could be
> used for this, but maybe someone else can.  If { } were not already
> taken, I would suggest to use them like this:
> 
> 
> with proper nesting of any beams or slurs that might occur inside such a
> group.
 
Hi Stefan,

I think/hope this one is EASY!! Simply use

( c8 d1 e1 d8 e1 f1 ) e2 |


HTH,

Frank.

BTW: I attach a very nice 'Halleluja' (well, it's not an 'Amen' ;-)
-- 
--------------------------------------------------------------
                      <=============\                        
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\   
      X     |              < \                 -- <\    ()/() 
    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
        <frank@ead-systeme.de>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------
--------------0A057BB8C70A12F5563C1260
Content-Type: text/plain; charset=us-ascii; name="Halleluja.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="Halleluja.mtx"

Title: Halleluja
%Composer: Philipp Emanuel Erlebach (1657-1714)
Composer: Ph. E. Erlebach (1657-1714)
Meter: 4/4
Style: Chor
Chor: Voices S A T B; Choral; Clefs G G G F
Size: 16
Bars/lines: 4
Systems: 3
Pages: 1
Space: -2 -2 -2 2   

%w160m

%Bar
%% \\\smalltype\
S: r0 | r |
L:
A: r8 c e c ( g+ f1 e f8 e1 d | e8 ) g  g8d f1s g8 d d d |
L: Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
T: r0 | r2 r8 g b g |
L: Hal-le-lu-
B: r0 | r |
L:

%Bar 3
S: r | r8 c+ g c ( b a1 g a8d b1 |
L: Hal-le-lu-ja,
A: ( e  d1  c d8 e f ) e d8d d1 | e8 g g g g g fd f1 |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja,  Hal-le-lu-
T: (+0+.4 c b1 a b8 a1 g a8 )+5 c cd b1 | c8 e c e ( dd e1 c8d d1 |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja,
B: r | r8 c e c ( g+ f1 e f8 e1 d |
L: Hal-le-lu-ja,

%Bar 5
S: c8 ) b a8d a1 g8 b d b | ( e8 d1 c d8 c1 b c8 ) c cd b1 |
L: Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
A: g8 g ed d1 d8 g g g | g4 r r8 e a g |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
T: g8- ) d+ cd a1 b8 d d d | c4 r r8 c f d |
L: Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
B: e8 ) g  g8d f1s g8 g b g | ( c b1 a b8 a1 g a8 ) a f g |
L: Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-

%Bar 7
S: c8 c c c (u+6 b a1 g a8 b | c d1 e f8 e1 d e8 ) d cd c1 |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
A: g2d r4 | r2 r8 g g fs |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-
T: e e c e d4 r | r2 r8 b c d |
L: ja, Hal-le-lu-ja, Hal-le-lu-
B: c- c e c (+0 g+ f1 e f8 e1 d e8 d1 c d8 c1 b c8 )+6 b a d |
L: ja, Hal-le-lu-ja, Hal-le-lu-ja, Hal-le-lu-

%Bar 9
S: b8 d d d c4 r | r8 e dd d1 c8 e e e |
L: ja, Hal-le-lu-ja,  Hal-le-lu-ja, Hal-le-lu-
A:  g2d r4 | r8 g a ( g1 f ) e8 g g g |
L: ja, Hal-le-lu-ja,  Hal-le-lu-
T: d b d b ( e d1 c d8 c1 b | c8 ) c cd b1 c8 c c c |
L: ja, Hal-le-lu-ja,  Hal-le-lu-ja, Hal-le-lu-
B: g- g+ b g ( c b1 a b8 a1 g | a8 ) c f- g c- c e c |
L: ja, Hal-le-lu-ja,  Hal-le-lu-ja, Hal-le-lu-

%Bar 11
S: d8 d d ( c1 b ) c8 c cd b1 | c0
L: ja, Hal-le-lu-ja, Hal-le-lu-ja!
A: g8 a a ( g1 f ) g8 g gd g1 | g0
L: ja, Hal-le-lu-ja, Hal-le-lu-ja!
T: (u+6 b8 a1 g a b c d c8 ) e dd d1 | e0
L: ja, Hal-le-lu-ja!
B: ( g+ f1 e f8 e1 d e8 ) c gd+ g1- | c0
L: ja, Hal-le-lu-ja!

--------------0A057BB8C70A12F5563C1260--


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Subject: Re: M-Tx problem: melismas
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Stefan Haller wrote:
> 
> M-Tx handles melismas automatically based on the beams and slurs; this
> is great, but not flexible enough (unless I'm missing something) in
> cases where you have to override this default handling (and I often
> have).
> 
> Consider the following example:
> 
> ================================
> Style: Singer
> Meter: C
> 
> %% w2i
> [ c8 d1 e1 ] [ d8 e1 f1 ] e2 |
> L: A-men
> ================================
> 
> Now of course I want the first syllable of `Amen' to be a melisma of 6
> notes, and the second syllable should be on the final half note.
> 
> The first thing I tried to achieve this is putting a slur around the
> first six notes (I don't really want this though -- I often need
> melismas *without* slurs).  This doesn't work at all; M-Tx complains
> about:
> 
>    Melisma starts with slur but ends with beam: ERROR on line 5
> 
> no matter in what order I put the ( ) and [ ].  This looks like a bug to
> me.
> 

Yes, the error message is a bug.  :-/  It goes onto my list.  
The correct PMX code is generated, though.

>
> Putting in \beginmel\ and \endmel\ as inline TeX doesn't work either,
> because they interfere with the \endmel commands that M-Tx puts in
> itself.
>
>
> What I end up doing now is this:
>
> ================================
> Style: Singer
> Meter: C
>
> %% w2i
> [ c8 d1 e1 ] [ \nolyr\ d8 e1 f1 ] e2 |
> L: A-men
> ================================
>
> This works quite well in this simple example, but it is a pain when
> there are very long melismas.  (Defining \let\nl=\nolyr\ helps some, but
> not much.)

You have several possibilities.

--1----------
Style: Singer
Meter: C

%% w2i
( c8 d1 e1 d8 e1 f1 ) e2 |
L: A-men
-------------
This produces all six notes slurred, and grouped as two beamed sets.

--2----------
Style: Singer
Meter: C

%% w2i
m2200 [ c8 d1 e1 d8 e1 f1 ] e2 |
L: A-men
-------------
This produces all six notes unslurred and beamed as one set.
You may want to restore common meter afterwards with m4400.

--3----------
Style: Singer
Meter: C
Options: i

%% w2i
( [ c8 d1 e1 d8 e1 f1 ] ) e2 |
L: A-men
-------------
This produces all six notes slurred, and beamed as one set.  
I don't recommend using the i option as a habit, but because
of the spurious error message it is required here.

--4----------
Style: Singer
Meter: C

%% w2i
[[ \beginmel\ c8 d1 e1 ] [[ d8 e1 \endmel\ f1 ]  e2 |
L: A-men
-------------
This produces the six notes unslurred, beamed as two groups of three,
and belonging to just one melisma.  In general using the [[ (( {{
constructions turns off the M-Tx automatic melisma generator and leaves
everything up to you.  If you have a lot of this I recommend
-------------
[[ MR1 \beginmel\ M c8 d1 e1 ] [[ d8 e1 MR2 \endmel\ M f1 ]  e2 |
-------------
after which 'MP1' equals '\beginmel\' and 'MP2' equals '\endmel\'.

These four cases cover all possibilities I can think of.  The last one
does the same as your solution with \nolyr, but is probably less
of "a pain when there are very long melismas."

> I suggest adding a new pair of commands to M-Tx to begin and end a
> melisma; unfortunately I can't think of any characters that could be
> used for this, but maybe someone else can.  If { } were not already
> taken, I would suggest to use them like this:
> 
> { [ c8 d1 e1 ] [ d8 e1 f1 ] } e2 |
> 
> with proper nesting of any beams or slurs that might occur inside such a
> group.

I'm a bit reluctant to invent a new notation for something that is not too
cumbersome.  Instead, I propose adding the above solutions to the 'Annotated
Examples' section of the manual.

Dirk Laurie

From mutex-owner@mail2.gmd.de Mon Jun  1 10:56:33 1998
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Subject: Portability of PMX 1.3.8 source files
To: dsimons@logicon.com (Don Simons), mutex@gmd.de
Date: Mon, 1 Jun 1998 12:56:33 +0200 (SAT)
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1. pmx134.tex

Although Don only guarantees correctness on a LaTeX 2.09 system, if you
simply change \documentstyle to \documentclass at the top, it goes like
a dream through LaTeX 2e.  (Three passes needed to get the table of contents
right!)

2. Fortran sources

I'm using fort77 on a Linux system (fort77-1.14a).  The latest version
is much more compatible with the PMX source than its predecessors, and
compiles as soon as the common block alignment errors are sorted out.
I also like to increase nm=7 to nm=15.  I do these with a sed script:
--- convert.sed ---
/nm=7/nm=15/
s/nstartq,lstart(15),facmtr/facmtr,lstart(15),nstartq/
s/itopfacteur,ibotfacteur,interfacteur,isig0,/fracindent,widthpt,height,itopfact
eur,ibotfacteur,/
s/isig,lastisig,fracindent,widthpt,height,inameq(nm),idsig/interfacteur,isig0,is
ig,lastisig,idsig,inameq(nm)/
----
Note that the script contains only four lines: two of the lines 
starting with 's/' are very long.  The script is invoked by e.g
  sed -f fixup.sed < pmxb.for > pmxb.f
after which you compile by
  fort77 pmxb.f -o pmxb

Since this process is so easy, I am no longer distributing the resulting
files.  If your Unix system does not have fort77, you should get Stefan
Evert's C version of PMX.


Dirk Laurie

From mutex-owner@mail2.gmd.de Mon Jun  1 15:20:56 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806011520.RAA27249@calvyn.puk.ac.za>
Subject: Complex triplets
To: mutex@gmd.de, dsimons@logicon.com (Don Simons)
Date: Mon, 1 Jun 1998 17:20:56 +0200 (SAT)
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The following constructions look intuitive but are not valid PMX at 
this stage:

c4x3 r d  
( one of the three notes is a rest )

c4x3 d.e
( one of the three notes is dotted and another short )

One can approximate them as follows:
(assuming 4/4 meter)

m3800 \triolet{p}\ c8 r d \m3400

m3800 \triolet{p}\ c8 d.e \m3400

This does not look quite right because the notes are too far apart.

Question: 
  Can one override the selection of \NOTes ... \en etc made by PMX?

Suggestion:

  A possible syntax for handling constructions like these could be:

t8x3/2 c8 r d  t8x3/2 c8 d.e  t8x3/2 c4 d8

where the third is a 2+1 triplet.  The word t[n1]x[n2]/[n3] stands
for "tuplet of n1-th notes with n2 in the time of n3" 

Dirk

From mutex-owner@mail2.gmd.de Mon Jun  1 16:21:18 1998
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To: mutex@gmd.de
In-Reply-To: <199806010835.KAA25441@calvyn.puk.ac.za>
Subject: Re: M-Tx problem: melismas
From: stk@snafu.de (Stefan Haller)
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> Yes, the error message is a bug.  :-/  It goes onto my list.  
> The correct PMX code is generated, though.

It isn't.  Execution of prepmx stops at the error, an empty .pmx file is
generated.

> [[ \beginmel\ c8 d1 e1 ] [[ d8 e1 \endmel\ f1 ]  e2 |

Thanks, this will do.  (I knew I was missing something...)

I still think that a melisma command in M-Tx would be desirable though.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: M-Tx problem: melismas
To: foka@gpu.srv.ualberta.ca (Anthony Fok)
Date: Mon, 1 Jun 1998 19:03:29 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <19980530153530.B4561@lovelife.olvc.ab.ca> from "Anthony Fok" at May 30, 98 03:35:30 pm
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Anthony Fok wrote:
> 
> On a somewhat related note, I noticed the new feature in M-Tx 0.30:
>  [[, {{ and (( that are used to turn off melisma, but I couldn't figure out
> how to turn it back on (!).  :-)  

It's supposed to last precisly to the end of that particular group,
i.e.  [[ c d e f ] or (( a b c ) etc.

Dirk

From mutex-owner@mail2.gmd.de Mon Jun  1 17:23:58 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Complex triplets
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Dirk Laurie <dirk@calvyn.puk.ac.za> wrote

>The following constructions look intuitive but are not valid PMX at 
>this stage:
>
>c4x3 r d  
>( one of the three notes is a rest ) 
>
>c4x3 d.e
>( one of the three notes is dotted and another short ) 
>...
>Can one override the selection of \NOTes ... \en etc made by PMX?

Only by trickery, such as inline TeX.  But WARNING:  If you change 
either the total scalable or unscalable horizontal spacing in a line 
by using in-line TeX, PMX will be unaware of it, and this may cause 
erroneous horizontal adjustments for accidental spacings, etc.  The 
consequences are far more subtle than in MusiXTeX itself where similar 
violations lead to ugly solid black vertical lines.  And they can be 
corrected after the fact using "X.."  

>Suggestion:
>
>A possible syntax for handling constructions like these could be: 
>
>t8x3/2 c8 r d  t8x3/2 c8 d.e  t8x3/2 c4 d8 
>
>where the third is a 2+1 triplet.  The word t[n1]x[n2]/[n3] stands 
>for "tuplet of n1-th notes with n2 in the time of n3" 

I've thought a lot about such extensions of xtuplet constructions, and 
even sat down and started pragramming a few times, but could never see 
it through.  The difficulties are in setting the horizontal spacing 
and in constructing the beams, no-beams, or combinations.  It was 
complicated enough as it now stands, where xtups can only contain 
equal notes (no rests, no unequal timings).  Remember, the xtup may or 
may not set the horizontal spacing for itself and other staves.  To 
help sort this out, I always start a new notes group at the beginning 
of every xtup, and end one at the end.  These may or may not be the 
same notes group, depending on whether timing has changed in other 
staves.  And when xtups overlap notes in other systems, either at the 
start or finish of the xtup, simply doing the necessary comparisons to 
determine which staff sets the spacing becomes very complicated.  In 
fact there are still some nominally legal cases that are not handled 
correctly.  Once the horizontal spacing is figured out, xtups are 
always handled internally as forced beams...even ones with no visible 
beams.  The full generalization would require handling e.g. a quarter 
+ 2 sixteenth triplets, not only changing the horizontal spacing but 
also switching from no-beam to beam in mid-xtup.  Ugh.  

To be realistic, I may work on including equal-value rests in xtups 
sometime soon, but it may be quite a while before I get to the other 
options.

From mutex-owner@mail2.gmd.de Mon Jun  1 17:44:57 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806011744.TAA27834@calvyn.puk.ac.za>
Subject: Re: M-Tx problem: melismas
To: foka@gpu.srv.ualberta.ca (Anthony Fok)
Date: Mon, 1 Jun 1998 19:44:57 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <19980530153530.B4561@lovelife.olvc.ab.ca> from "Anthony Fok" at May 30, 98 03:35:30 pm
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Anthony Fok wrote:
> 
> On Sat, May 30, 1998 at 09:19:04PM +0200, Stefan Haller wrote:
> > M-Tx handles melismas automatically based on the beams and slurs; this
> > is great, but not flexible enough (unless I'm missing something) in
> > cases where you have to override this default handling (and I often
> > have).
> 
> On a somewhat related note, I noticed the new feature in M-Tx 0.30:
>  [[, {{ and (( that are used to turn off melisma, but I couldn't figure out
> how to turn it back on (!).  :-)  So, after scratching my head for a long
> time (and reading the docs and the .pmx file etc.), I decided to add
> \beginmel\ and \endmel\ for now ('cause I need the music for the trumpet
> player on Sunday for the Confirmation Mass.  :-)
> 
[ Ignore my earlier post -- I replied before trying out your example.]
It's easier to have melisma turned ON and use \nolyr when the melismas
are as short as yours.  I give the result below -- I've also added some
hardspace in the music and hard blanks in the lyrics to make it look good.

Maybe Rainer can tell us how to fix the somewhat erratic vertical spacing
in the lyrics.

====

Title: Bread, Blessed and Broken
Composer: \twelverm Michael Lynch
Sharps: 2
Style: Singer
Meter: 4/4
Pages: 1
Systems: 5
Space: 20

{Verse1}
Je-sus you're the one I love; you're the one I know.
You're the one who makes me strong, Spir-it in my soul.

{Verse2}
From the clouds of yes-ter-day, through the night of pain,
teach me, Lord, to know your way, know it once a-gain.

{Verse3}
May the bread we break to-day, may the cup we share
lift the bur-dens of our hearts, lift them ev-'ry-where.

{Verse4}
Pass-ing on to each of us  meas-ure of your love,
love to make us whole a-gain as we share your Word.

{Verse5}
Je-sus you're the one I love; you're the one I know.
You're the one who makes me strong, Spir-it in my soul.

{Refrain}
Bread, blessed and bro-ken for us all,
sym-bol of your love from ~the grain so tall.
Bread, blessed and bro-ken for us all,
bread ~of life you give to us, bread ~of life for all.

%%\\font\elevenrm=cmr10 scaled\magstephalf\
%%\\font\elevenss=cmss10 scaled\magstephalf\
%%\\font\twelvess=cmss12\
%%\\hoffset=-0.5in\twelvess\largemusicsize\
%%w7.5i h10.5i
%%Ti
%%Trumpet (690, Breaking Bread 1998)
%%Ar K+1+4
U: @< @< !twelverm VERSES:
@+17 r4 [[ f8 f ] g4 [[ a8 ( g8 ] | \nolyr\ g4d ) f8 e2 |
L: {Verse1,Verse2,Verse3,Verse4,Verse5}

r4+2 [[ e8 e ] f4 [[ g8 ( f8 ] | \nolyr\ f0 ) |

%%L2
r4 [[ f8 f ] g4 [[ a8 ( g8 ] | \nolyr\ g4d ) f8 e2 |

U: | !twelveit @> @> ~~~~~~~~~Fine
r4 [[ e8 f ] g4 [[ c-8 ( d8 ] | \nolyr\ d0 ) |]


% Refrain
%%L3
Space: 6
U: !twelverm @+1 @< ~~~~~~~~REFRAIN: @-1
@=0 @+4 b+0 | ( a2d [[ \nolyr\ a8 ) f8 ] |
L: {Refrain}

g4 [[ f8 (  e8 ] \nolyr\ e4 ) [[ d8 ( f8 ] | \nolyr\ f0 ) |

r4 [ f8 g ] a4 [[ b8 (  g8 ] | \nolyr\ g0 ) |

r4 [ e8 X1 f ] g4 [[ a8 (  f8 ] | \nolyr\ f0 ) |

b0 | (  a2d [[ \nolyr\ a8 ) f8 ] |

g4 [[ f8 (  e8 ] \nolyr\ e4 ) [[ d8 (  f8 ] | \nolyr\ f0 ) |

r4 [ f8 X1 g ] a4 [[ f8 (  g8 ] | \nolyr\ g4 ) [[ f8 (  e8 ] \nolyr\ e2 ) |

U: | @> ~~to~Verses
r4 [ e8 X1 f ] g4 [[ c-8 (  d8 ] | \nolyr\ d0 ) ||

From mutex-owner@mail2.gmd.de Tue Jun  2 00:02:23 1998
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From: jdg@maths.qmw.ac.uk (Julian Gilbey)
Subject: Re: M-Tx problem: melismas
In-Reply-To: <1d9v0pw.1xqx08f725xemM@n247-179.berlin.snafu.de> from Stefan Haller at "May 30, 98 09:19:04 pm"
To: mutex@gmd.de
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Cc: mutex@gmd.de
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> M-Tx handles melismas automatically based on the beams and slurs; this
> is great, but not flexible enough (unless I'm missing something) in
> cases where you have to override this default handling (and I often
> have).
> 
> Consider the following example:
> 
> ================================
> Style: Singer
> Meter: C
> 
> %% w2i
> [ c8 d1 e1 ] [ d8 e1 f1 ] e2 |
> L: A-men
> ================================
> 
> Now of course I want the first syllable of `Amen' to be a melisma of 6
> notes, and the second syllable should be on the final half note.

It doesn't come out as nicely, but you could always use A--men as the
lyrics line.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

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From: jdg@maths.qmw.ac.uk (Julian Gilbey)
Subject: Re: Portability of PMX 1.3.8 source files
In-Reply-To: <199806011056.MAA26121@calvyn.puk.ac.za> from Dirk Laurie at "Jun 1, 98 12:56:33 pm"
To: wskdpl@pukrs12.puk.ac.za
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> --- convert.sed ---
> /nm=7/nm=15/

I presume this is a typo and should read
s/nm=7/nm=15/

Or am I wrong?

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

From mutex-owner@mail2.gmd.de Tue Jun  2 06:25:34 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806020625.IAA30604@calvyn.puk.ac.za>
Subject: Re: Portability of PMX 1.3.8 source files
To: jdg@maths.qmw.ac.uk (Julian Gilbey)
Date: Tue, 2 Jun 1998 08:25:34 +0200 (SAT)
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In-Reply-To: <m0ygerz-000IjUC@polya> from "Julian Gilbey" at Jun 2, 98 01:24:03 am
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Julian Gilbey wrote:
> 
> > --- convert.sed ---
> > /nm=7/nm=15/
> 
> I presume this is a typo and should read
> s/nm=7/nm=15/

So much for cutting and pasting with a mouse -- I must have
missed the first character when marking the block.

Dirk

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806021055.MAA01430@sunick.gmd.de>
To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: modifying slurs in MusiXTeX
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> Date: Thu, 28 May 1998 20:37:19 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> In the following LaTeX2e source file's output I don't like the
> shape of the slurs of the left hand. I think you will
> agree as soon as you have seen them ... :-)

It's an old problem and Daniel Taupin mentioned it short time ago:

(Short) slurs cannot exceed one octave without looking ugly.
 
> I am quite sure there is some way to improve them
> but I don't know what to tell MusiXTeX to do so.

One way is to have (much) more slur fonts. But I think the more simple
solution is not to exceed an octave when typesetting (short) slurs.

> I tried to use \curve and \midslur with negative numbers
> but this did yield reasonable results (though fascinating ones).

With \curve and \midslur you get always slurs which have a horizontal
middle part - similar to those you get when the starting point and
the ending point differs more than one octave.

In such cases my solution is to lower or raise the starting or ending
point so that they are not more than one octave apart - in your terms:

Instead of

>  \def\LHeins#1#2#3#4{\islurd0{#1}\Ibbu0{J}{a}3\qb0{{#1#2#3}}%
>                 \tslur0{#4}\tqh0{#4}}
>    \notes\LHeins{F}{J}{M}{a}\nextstaff\nextinstrument\ha f\enotes

use 
   \def\LHeins#1#2#3#4#5{\islurd0{#1}\Ibbu0{J}{a}3\qb0{{#1#2#3}}%
                  \tslur0{#4}\tqh0{#5}}
     \notes\LHeins{F}{J}{M}{M}{a}\nextstaff\nextinstrument\ha f\enotes

-- Werner

PS: instead of \LHeins{F}{J}{M}{M}{a} you may write \LHeins FJMMa
    and - ceterum censeo - I would prefer: \LHeins F{'C}FF{'A} which
    may require some more attention when defining TeX-macros.

From mutex-owner@mail2.gmd.de Wed Jun  3 05:41:32 1998
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Date: Tue, 2 Jun 1998 23:41:32 -0600
From: Anthony Fok <foka@gpu.srv.ualberta.ca>
To: wskdpl@pukrs12.puk.ac.za, Anthony Fok <foka@gpu.srv.ualberta.ca>
Cc: mutex@gmd.de
Subject: Re: M-Tx problem: melismas
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On Mon, Jun 01, 1998 at 07:44:57PM +0200, Dirk Laurie wrote:
> 
> [ Ignore my earlier post -- I replied before trying out your example.]
> It's easier to have melisma turned ON and use \nolyr when the melismas
> are as short as yours.  I give the result below -- I've also added some
> hardspace in the music and hard blanks in the lyrics to make it look good.

Wow, thank you very much!  That was very nice of you!  :-)

> Maybe Rainer can tell us how to fix the somewhat erratic vertical spacing
> in the lyrics.

You mean that the lyrics seem to be too tight?  Yes, I increased the font
size, but the line height seems to stay the same...  I don't know which
program sets the line height... (PMX or musixlyr?) but that's okay.  :-) I
was just helping my friend transpose the music for his trumpet so he doesn't
have to draw out all the notes and lyrics by hand, and we all know how long
that would take.  :-)

Thanks again!  :-)

Anthony

-- 
Anthony Fok Tung-Ling        Civil and Environmental Engineering
foka@gpu.srv.ualberta.ca     University of Alberta, Canada
anthony_fok@catholic.org     Keep smiling!  *^_^*
Come visit Our Lady of Victory Camp -- http://olvc.home.ml.org/
                                    or http://www.ualberta.ca/~foka/OLVC/

From mutex-owner@mail2.gmd.de Wed Jun  3 11:38:03 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806031138.NAA04461@calvyn.puk.ac.za>
Subject: Re: M-Tx problem: melismas
To: foka@gpu.srv.ualberta.ca (Anthony Fok)
Date: Wed, 3 Jun 1998 13:38:03 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <19980602234132.A1417@lovelife.olvc.ab.ca> from "Anthony Fok" at Jun 2, 98 11:41:32 pm
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I'm not quoting the previous posts: the problem was that
the construction
  [[ c ( d ] | d )
leaves melisma off even after the closing ].   This is a M-Tx 0.30
bug which will be fixed in 0.40 but in the meanwhile the workaround
  [ c ( d ] | \nolyr\ d )
was suggested. ]

After I posted the previous reply, I remembered a much, much simpler
solution.  Some M-Tx 0.24 user wanted to have music with lyrics but
printed like instrumental, with beamed eights etc.  I did oblige
in 0.30: if you just remove every forced beam [ ] in sight, i.e.
  c ( d | d )
and put in the preamble
  Options: b
you get the right result with no inline TeX required.

Dirk

From mutex-owner@mail2.gmd.de Fri Jun  5 18:22:31 1998
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Subject: Free Advertising For Your Business!
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From mutex-owner@mail2.gmd.de Sat Jun  6 00:31:52 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Altering the length of stems with flags.
To: mutex@gmd.de
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In MusiXTeX, the \stemlength macro only seems to work for stems with no 
flag.  To change the length of a flagged stem, I kluged up a really 
ugly mess of TeX coding that I'm too embarrassed to reveal, but I 
wondered if anyone knows of a nice way to do it.

--Don Simons

From mutex-owner@mail2.gmd.de Mon Jun  8 17:02:20 1998
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Subject: shorter systems (musixflx)
To: mutex@gmd.de
Date: Mon, 8 Jun 1998 19:02:20 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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I hope the following problem has not been
diskussed recently ....


I need to have shorter systems within a list of Latex2e.
Of course I could make it by using start/endextract,
finding out the right \scale{}-factor by trial and error.

But is there away to influence MusiXflx, so that it is 
done automatically (including the systembreaks)?

Thanks!


Eckart

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> Date: Mon, 8 Jun 1998 19:02:20 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> I need to have shorter systems within a list of Latex2e.
> Of course I could make it by using start/endextract,
> finding out the right \scale{}-factor by trial and error.
> 
> But is there away to influence MusiXflx, so that it is 
> done automatically (including the systembreaks)?

Du hast es so gewollt! RTFM :-)

Have a look at musixdoc.tex - a neverending source of problem solutions:

\begin{music}
\hsize=100mm  % or whatever you want
...           % music without a page break
\end{music}

-- Werner

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806101121.NAA07129@calvyn.puk.ac.za>
Subject: M-Tx 0.40 uploaded to ftp.gmd.de
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M-Tx is a music-from-text language designed to look as much as possible
like printed music.  To give you an idea of what that means, here is some
typical input code (users of M-Tx 0.30 may skip to "What's New?"):

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
Space: 9

%% w190m
@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
@^+5   rp   | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4  | f2d     |]
LT:           Net soos ek is, O Lam van God, ek kom. 
    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
------------------------------------------------------------------------
             

Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "%% w190m" means "Issue PMX command 'w190m' here" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the alto, tenor and bass voice lines.
  6. Notes and ornaments are written in the PMX language developed by 
     Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "@^+5" means "set this line of lyrics above the stave and 5 internotes 
     higher than usual."
 10. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.40 from
    http://www.gmd.de/Misc/Music/musixtex/software/mtx
(or if you prefer FTP)
    ftp://ftp.gmd.de/music/musixtex/software/mtx
This song is in netsoos.gif or netsoos.ps.gz.
To make your own scores, you will need README.040 and mtx040.zip,
and depending on your printer either mtx040lj.zip or mtx040ps.zip.
The latter two are optional, since mtx040.dvi is in mtx040.zip (but it
does use MusiXTeX fonts).

To run M-Tx, you need MusiXTeX 0.80 or later, PMX 1.3.8 (the current
version) and musixlyr 1.1 (the current version).  By kind permission of
Rainer Dunker the file musixlyr.tex (but not the documentation, which
is strongly recommended) is included in mtx040.zip.  These materials
are all available from the above-mentioned archive.


            What's new?


A. Support for some old and new PMX features:

   1. Breves (double-notes) allowed, e.g. c9.
   2. Slash-formatted meter change word recognized, e.g. m1/4/0/0
      instead of mo400.
   3. Your own instrument names in the preamble, e.g.
      Name: Violin Cello
      (one name per instrument, not per stave or per voice)
      Default font is \twelvebf, but you can override it as long
      as you use no blanks, e.g.  \it{Soprano~1}
      No need to say -n if you use this option.
   4. Your own value for \fracindent instead of the default 0
      (or if option -n is in effect, 0.12), e.g.
      Indent: 0.20
   5. You can have more than one continuo instrument and it need
      not be last.

B. Requests from mutex@gmd.de list users:

   1. The return code is now the line number at which the error was
      diagnosed (which may not be the same as the one where it
      actually is).  
   2. Rests also pull a word from the uptext line.  My apologies
      to those whose existing scores compensated for this bug in
      0.30, and who will now need to put in a few little snakes.
   3. Start and end crescendo ( resp. decrescendo ) on the uptext line
      with < and <. ( resp. > and >. ).
   4. Barless music like psalm tunes: use e.g.
      Meter: 0/2
      Bars/line: 1
      to indicate that each music paragraph should be a line by
      its own.  The preprocessor will calculate the duration, check
      that it is a multiple of the counting unit (in this example,
      a half-note) and that all voices have the same length.  It
      will then generate a blind meter change for PMX to use.  
   5. If your request has not been acceded to, I may have forgotten it
      rather than rejected it.  Email the list and let's all discuss it.

C. Things I needed for my own scores and therefore put in.

   1. You can change lyrics paragraphs in mid-line, e.g.
      f4 e {common} d f e2n e8 e4d
      switches to a paragraph marked {common} after the first two notes.  
      I needed it for switching off lyrics in mid-bar using {}.
   2. You can use tonic-solfa name letters d r m f s l t
      instead of a b c d e f g.  Some of these conflict with PMX
      commands: in that case use e.g. "r instead of r to get a rest.
   3. Multi-bar rests.
   4. Sticky attributes on notes and rests.
 
D.  Bug fixes (too many to mention)

   
Happy music typesetting!

Dirk Laurie    





From mutex-owner@mail2.gmd.de Thu Jun 11 12:46:45 1998
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Sure a FAQ but i've been not reading actively this list for a long
time and today I installed musixtex with teTeX on my FreeBSD 2.2.6
system again and I'm printing the manual at the moment which proves
that already a lot is functioning.

I wanted to play with generating notes from .mid file, grabbed
m2tsrc12.zip from the GMD ftp site but found that the
generated .tex format seems to be for an older version of musixtex (mutex or 
musictex perhaps).

Is there an up-to-date version somewhere? I tweaked the
generated tex file to get a bit ahead but it chokes right here:

Babel <v3.6h> and hyphenation patterns for american, german, loaded.
(/usr/local/share/texmf/tex/musixtex.tex
MusiXTeX(c) T.88 <25 February 1998>
)
! Undefined control sequence.
<argument> \moyen 
                  \thename 
\centerline #1->\line {\hss #1
                              \hss }
l.18 \medskip\centerline{\moyen \thename}
                                         


Any clues?

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de

From mutex-owner@mail2.gmd.de Fri Jun 12 10:56:25 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806121056.MAA17345@calvyn.puk.ac.za>
Subject: M-Tx 0.40a available
To: mutex@gmd.de
Date: Fri, 12 Jun 1998 12:56:25 +0200 (SAT)
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mtx040a.zip replaces mtx040.zip.  The following bugs have
been fixed:

1.  The MS-DOS executable was useless. :-(  
2.  Name: can now be used without Indent:
3.  Nested non-melisma slurs are now OK.

Thanks to Joel Hunsberger, Fran\,cois-Nicolas Frappe and 
Christian Mondrup.

From the above list you will gather that getting the update
is not urgent unless you use MSDOS and have no C compiler.

You can at the instant of writing get the updates from
  ftp://ftp.gmd.de/incoming/music
but by the time you read this it may well have been moved to
  ftp://ftp.gmd.de/music/musixtex/software/mtx

Dirk Laurie


From mutex-owner@mail2.gmd.de Mon Jun 15 14:30:01 1998
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Subject: a request
To: wskdpl@pukrs12.puk.ac.za
Date: Mon, 15 Jun 1998 16:30:01 +0200 (MET DST)
Cc: dsimons@logicon.com, mutex@gmd.de
In-Reply-To: <199806121056.MAA17345@calvyn.puk.ac.za> from "Dirk Laurie" at Jun 12, 98 12:56:25 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello, Dirk!
  Hello, Don!

Thanks for your new release on M-Tx040 resp PMX138,
I appreciate the sticky feature very much,
and also the other improvements!

I have one minor wish for your next release:

When writing M-Tx  (or PMX or  a fortiori MusiXTeX) code
it is quite tiring for one's eyes to jump all over the score.
It is not a big problem in MusiXTeX because you can build up
your score step by step, and anyway it is a long process to
code a score.  But the PMX and M-Tx the code is much easier.
So I thought it would be nice to provide a possibility to type
each voice separately. Using only the typewriter keys (letters,
numbers, and ENTER) this can be done quite fluently ...
For this purpose I wrote a little pascal program
which (basically) reads files of the following structure
===========
preamble
beginvoice
line A1
:
line An
endvoice
beginvoice
line B1
:
line Bn
endvoice
beginvoice
line C1
:
line Cn
endvoice
=========
... and writes the corresponding output
=========
preamble
%Block 1
line A1
line B1
line C1

:

%Block 2
line An
line Bn
line Cn
=========

Of course (.... :-) it does not do any checking of the M-Tx/PMX code,
no bar/block check.  Any nonsense would be shuffled.
And usually there is some nonsense, at least some mistakes.

So my question is:
Could you provide a command, say, "stopMTx"/"stopPMX" (or whatever)
to be put in a single line after any block, which makes M-Tx resp. PMX
ignore all the following blocks?

Of course I do not have the faintest clue of how much work this
would mean to you -- I imagine it could easily been implemented
but I might be completely wrong. I have never studied your
source codes ....


I think this could be helpful also for other purposes.

Best regards, Eckart

From mutex-owner@mail2.gmd.de Mon Jun 15 15:16:55 1998
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Date: Mon, 15 Jun 1998 17:16:55 +0200
From: Christian Mondrup <scancm@biobase.dk>
Reply-To: scancm@biobase.dk
Organization: Scandiatransplant
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During my attempts to typeset a choir composition of my own with M-Tx
I've run into a couple of problems which maybe more experienced members
of this list will be able solve. I use M-Tx and pmx with MiKTeX 1.11
beta 1.

The text of my composition - written in a danish peasant dialect by the
poet Jeppe Aakj=E6r - uses like other danish texts characters outside the=

standard ASCII charset. A TeX guru has told me how to enter these
characters, e.g. =F8 (o-slash) as \o. M-Tx as well as pmx seem to accept
that as OK but at the first TeX parse it is rejected. My workaround for
this problem was to group these characters as show in the following
example (Style: SATB4).

A special problem arose, however, in the second paragraph of my
composition where the first syllable of the lyrics in each part begins
with {\o}.

b4 cs8 d c4 c8 a | fds2 g8 e |
L: {\o}wn ka ett wal skimm {\ae} Dar, og wor
fs4 es8 f ( a gs ) g cs- | cs4 e8 d c4 e8 e |
L: {\o}wn, og wor {\o}wn ka ett wal skimm {\ae} Dar, og wor
b4 a8 gs ( a b ) cs b | b4 cs8 b a4 b8 b |
L: {\o}wn, og wor {\o}wn ka ett wal skimm {\ae} Dar, og wor
( e8 d ) cs b c4 ds8 es | fsd2 e8 g |
L: {\o}wn, og wor {\o}wn ka ett wal skimm {\ae} Dar, og wor

The text processing stopped at first TeX parse with this error:

D:\Christian\Musik\TeX\Aakjaer>tex kjer2
This is TeX, Version 3.14159 (MiKTeX 1.11 beta 1)
(kjer2.tex
Babel <v3.6h> and hyphenation patterns for english, german, loaded.
M-Tx 0.40a (Music from TeXt) <12 June 1998>
(musixtex.tex
MusiXTeX(c) T.88 <25 February 1998>
) (pmx.tex
PMX, a Preprocessor for MusiXTeX, v1.3.8 <9 May 1998>
) (musixlyr.tex
MusiXLYRics 1.1 <18 December 1997>
) (musixtex.tex) (pmx.tex) (musixmad.tex (musixadd.tex
MusiXADDitional instruments T.79 <24 September 1997>
)
MusiXMore ADditional instruments T.79 <24 September 1997>
) bar 0 bar 1
! Missing \endcsname inserted.
<to be read again>
                   \o
\reset@params ...#2}\global \csname stp@#1
                                          \endcsname =3D\y@v \global \e..=
=2E

\iterate ->\body
                 \let \next \iterate \else \let \next \relax \fi \next
l.78 \assignlyrics4{\o}
                       w,11}%

The only way to avoid this problem I could think of was to remove the
offending {\o} from the start of the lyrics line by concatenating the
two first paragraphs. But I don't like the resulting long paragraph.

I suppose there are better ways to handle the problem.

The metrum of my text is a little free as to the unaccentuated
syllables. This caused me some trouble until I saw the release notes of
M-Tx 0.40a explaining the meaning of ((  ) slurs as non-melismatic.
Using them I can fake missing syllables in the text with an extra space
{} and have two syllables pr slur in one verse and one in another.

I miss a POET label among the preamble commands. When I make fine prints
of my finished scores I always print the composer's as well as the
poet's name at the first staff.

One last question: how do I tell M-Tx to print the abbreviated voice
labels from the style SATB4 at the beginning of staffs after the first
system ?

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Mon Jun 15 17:12:19 1998
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Subject: TeX/MusiXTeX/PMX/MTx -- Help???
To: mutex@gmd.de
Date: Mon, 15 Jun 1998 19:12:19 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Who can help me?

It looks like a TeX-problem, not especially dealing with MusiXial problem=
s.
Still I give you the history of the problem.
Note: LaTeX (emTeX) worked immediately before this problem arose.


Thank you for reading, trying, understanding ....!


Eckart Begemann


Compiling ("tex386 bwv243_5") the file bwv243_5.tex (see below,
this file was created by PMX from bwv243_5.pmx, see below, too)
I get the following crucial errormessage:

--------------------
process 2 get hardware fault 12 (stack fault) at 11F08
writing core file

Process terminated by SIGSEGV
--------------------

at the same time a file 'core' is created of size ca. 500KB
which I enclose only partially (....:-)  :

-------------
=0F=01=04=80=AD=0B=04=B0=0F=C0=10=B4=07=08=B0=10=B0=0B=B0=0F=C4=08=C0=AC=0F=
=04=01=E0=BF=D7=D7=D7=E4=AD=0F=08=01=C0=AC=0F=01=80=F6=FF=FF=FF=01=0C=08=1F=
=01=CF=97=02=01=C0=AC=0F=DF=01=04=04=B8=10=04=B8=10=04=80=AD=0B=0C=0C=02=A8=
=10=04=01-h40wtrbwbBuffer size exceeded!
**! End of file on the terminal... why?Please type the name of your input=
 file.
! TEX.POOL has no check sum.
! TEX.POOL check sum doesn't have nine digits.
! TEX.POOL doesn't match; TANGLE me again.
! TEX.POOL line doesn't begin with two digits.
! You have to increase POOLSIZE.
! I can't read TEX.POOL.
This is emTeX (tex386), Version 3.1415 [3c-beta12]JANFEBMARAPRMAYJUNJULAU=
GSEPOCTNOVDECDVIAUXFMTSorry, I can't find that format; will try PLAIN.
plain.fmtI can't find the PLAIN format file!
---! Must increase the string pool size
---! Must increase the max strings
---! Must increase the font mem size
---! Must increase the font max
---! Must increase the trie size
---! Must increase the trie op size
(Fatal format file error; I'm stymied)
=20
Here is how much of TeX's memory you used:
 %1ld string out of %1ld
 %1ld string characters out of %1ld
 %1ld words of memory out of %1ld
 %1ld multiletter control sequences out of %1ld
 %1ld words of font info for %1ld font, out of %1ld for %1ld
 %1ld hyphenation exception %1ldi,%1ldn,%1ldp,%1ldb,%1lds stack positions=
 out of %1ldi,%1ldn,%1ldp,%1ldb,%1lds
tcp--- /c*: File not found
--- /c*: Invalid file
--- Invalid command line option: *** Write error (%s file)
%ld EMTEXOPTThis implementation of TeX is Copyright (c) 1989-1994 by Eber=
hard Mattes
Ouch---my internal constants have been clobbered!---case %1ld
 (no format preloaded)
tex.poolTEXINPUTBTEXFMTTEXTFMBIGEMTEXOPT=90=90$> %s -> %d
-------------



Here is the tex-file:
=3D=3D=3D=3D=3D=3D=3D=3D=3Dbwv243_5.tex=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D
%%%%%%%%%%%%%%%%%
%
% bwv243_5.tex
%
%%%%%%%%%%%%%%%%
\immediate\write10{M-Tx 0.30 (Music from TeXt) <2 November 1997>}
\let\:=3D\relax\input musixtex\:\sepbarrules
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
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\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg0pt\interstaff{15.6}\relax
\readmod{bwv243_5}
\setsize2{\normalvalue}%
\startmuflex\startpiece\addspace\afterruleskip%
\znotes|&\zcharnote{16}{\titles{4.1}{}{0}%
{Quia fecit mihi magna}{3.3}{J.S.Bach}{1.7}}\en%
% bar  1
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\def\NOTes{\vnotes2.83\elemskip}%
\NOTes\qp|\sk&\en%
\NOtes\ibl1{''A}0\qb1A\tbl1\qb1A\ibl1A0\qb1A|&\en%
\Notes\nbbl1\qb1{'G}\tbl1\qb1{'A}|&\en%
\NOtes\ibl1{'G}{-9}\qb1{'B}\tbl1\qb1{`D}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  2
\xbar
\NOTes\qu{'C}|\sk&\en%
\NOtes\ibl1{''C}0\qb1C\tbl1\qb1C\ibl1C0\qb1C|&\en%
\Notes\nbbl1\qb1{''B}\tbl1\qb1C|&\en%
\NOtes\ibl1{''B}{-9}\qb1D\tbl1\qb1{`F}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  3
\xbar
\NOTes\ql{'E}|\sk&\en%
\NOtes\ibl1{''A}{-9}\qb1C\tbl1\qb1{`E}|&\en%
\NOTes\qu{'D}|&\en%
\NOtes\ibl1{'G}{-9}\qb1{'B}\tbl1\qb1{`D}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  4
\xbar
\NOTes\qu{'C}|\sk&\en%
\Notes\ibbl1{'G}{-3}\qb1{'A}\qb1{`G}\qb1F\tbl1\qb1E\ibbu1C{-3}\qb1D\qb1C%
\qb1B\tbu1\qb1A|&\en%
\NOtes\ibu1{'C}{-9}\qb1E\tbu1\qb1{`E}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  5
\xbar
\NOtes\cu{'A}\ast{.17}\ds\cu C\ast{.17}\ds\cl E|\sk&\qp\sk\ast{.17}%
\cl{''A}\ast{.17}\cl A\cl A\en%
\Notes\ds|&\ccl{'G}\ccl{'A}\en%
\NOtes\cu E\ast{.17}\ds|&\cl{''B}\ast{.17}\cu{`D}\en%
% bar  6
\hardspace{ 1.0pt}%
\alaligne
\NOtes\cu{'A}\ast{.30}\ds\ast{.30}\ibl1{'C}0\qb1C\tbl1\qb1C\ibl1C0\qb1C|%
\sk&\cu{'C}\ast{.30}\cu A\ast{.30}\qp\sk\hpause\en%
\Notes\nbbl1\qb1{''B}\tbl1\qb1C|&\en%
\NOtes\ibl1{''B}{-9}\qb1D\tbl1\qb1{`F}|&\en%
% bar  7
\xbar
\NOTes\ql{'E}|\sk&\en%
\NOtes\ibl1{''A}{-9}\qb1C\tbl1\qb1{`E}|&\en%
\NOTes\qu{'D}|&\en%
\NOtes\ibl1{'G}{-9}\qb1{'B}\tbl1\qb1{`D}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  8
\xbar
\NOTes\qu{'C}|\sk&\en%
\Notes\ibbl1{'G}{-3}\qb1{'A}\qb1{`G}\qb1F\tbl1\qb1E\ibbu1C{-3}\qb1D\qb1C%
\qb1B\tbu1\qb1A|&\en%
\NOtes\ibu1{'C}{-9}\qb1E\tbu1\qb1{`E}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar  9
\xbar
\NOtes\cu{'A}\ast{.30}\ds\cu C\ast{.30}\ds\cl E|\sk&\qp\sk\ast{.30}%
\cl{''A}\ast{.30}\cl A\cl A\en%
\Notes\ds|&\ccl{'G}\ccl{'A}\en%
\NOtes\cu E\ast{.30}\ds|&\cl{''B}\ast{.30}\cu{`D}\en%
% bar 10
\hardspace{ 1.6pt}%
\xbar
\NOtes\cu{'A}\ast{.30}\ds\ast{.30}\ibl1{'C}0\qb1C\tbl1\qb1C|\sk&\cu{'C}%
\ast{.30}\cu A\ast{.30}\ds\cl E\en%
\Notes\ibl1{''C}0\qb1C\sk\ast{.89}\ast{.89}\nbbl1\qb1B\ast{.89}%
\tbl1\qb1C|&\ccu{'D}\ast{.89}\ccu C\ast{.89}\ccu D\ast{.89}\ccl F\en%
\NOtes\ibl1{''B}{-9}\qb1D\tbl1\qb1{`F}|&\cl{''B}\cu{`D}\en%
% bar 11
\hardspace{ 1.6pt}%
\def\Notes{\vnotes2.31\elemskip}%
\def\NOtes{\vnotes2.56\elemskip}%
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\alaligne
\Notes\ql{'E}|\sk&\ccu{'C}\ast{2.48}\ccu B\ast{2.48}\ccu C\ast{2.48}\ccl =
E%
\en%
\NOtes\ibl1{''A}{-9}\qb1C\tbl1\qb1{`E}\ast{2.23}\qu D|&\cl{''A}\cu{`C}%
\ast{2.23}\cu B\en%
\Notes\sk\sk\ast{2.23}\ast{2.48}\ast{2.48}\ibl1{''A}{-9}\qb1B\sk%
\tbl1\qb1{`D}|&\ast{2.23}\ccu{'C}\ast{2.48}\ccu D\ast{2.48}\ccl E\ccl F%
\ccl G\ccl E\en%
% bar 12
\xbar
\Notes\qu{'C}\sk\sk\sk\ibbl1G{-3}\qb1{'A}\qb1{`G}\qb1F\tbl1\qb1E|\sk&%
\ccl{''A}\ccl B\ccl C\ccl B\ccl A\ccl{`G}\ccl F\ccl E\en%
\NOtes\ast{2.48}\ibl1{'E}{-2}\sh D\qb1D|&\ast{2.48}\cl{''B}\en%
\Notes\qb1{'E}|&\ccl{'G}\ccl E\en%
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% bar 13
\hardspace{ 5.6pt}%
\xbar
\NOTes\qu E|\sk&\ql{'E}\en%
\NOtes\ibl1{'E}0\qb1E\tbl1\qb1E\ibl1E0\qb1E|&\qp\sk\hpause\en%
\Notes\ast{2.23}\sh{'D}\nbbl1\qb1D\tbl1\qb1E|&\en%
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% bar 14
\hardspace{ 4.4pt}%
\xbar
\NOTes\qu G|\sk&\qp\en%
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\Notes\ast{2.23}\nbbl1\qb1{'F}\ast{2.48}\tbl1\qb1G|&\ast{2.23}\sh{'D}\ccu=
 D%
\ast{2.48}\ccl E\en%
\NOtes\ibl1{''B}6\qb1A\tbl1\qb1C|&\cl{'F}\cu A\en%
% bar 15
\hardspace{ 5.6pt}%
\xbar
\Notes\ql{''B}\sk\sk\sk\ast{2.48}\ast{2.48}\ast{4.15}\ast{2.48}\ibl1D0%
\qb1{'B}\sk\tbl1\qb1{`B}\sk\ql A\sk\sk\sk\ast{2.48}\ibl1D{-6}\qb1F\sk%
\tbl1\qb1A|\sk&\ccu G\ast{2.48}\ccu{'B}\ast{2.48}\ccu C\ast{4.15}\sh D%
\ccu D\ast{2.48}\ccl E\ccl F\ccl G\ccl E\ccu C\ast{2.48}\ccl E\ccl F\ccl =
G%
\ccl{'A}\ccl B\ccl C\ccl A\en%
% bar 16
\def\notes{\vnotes1.51\elemskip}%
\def\Notes{\vnotes1.86\elemskip}%
\def\NOtes{\vnotes2.30\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\stoppiece%
\vskip2.1\Interligne\eject%
\interstaff{12.5}\contpiece
\znotes|&\zcharnote{16}{\titles{2.7}{}{0}{}{0}{}{0}}\en%
\NOtes\ql{'G}|\sk&\cl{''B}\en%
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\ccl E\isluru8{'C}\ql C\sk\sk\sk\ast{.61}\tslur8C\ccl C\ccl B\ccl A%
\ccl{`G}\ccl F\ccl E\en%
\NOtes\tbu1\qb1{'B}|&\cl{''B}\en%
% bar 17
\xbar
\NOtes\qu E\sk\qp|\sk&\cl{'E}\cl G\cl{'A}\cl B\en%
\NOTes\ast{.18}\qp|&\ast{.18}\sh{'E}\ql E\en%
\NOtes\ibl1{'F}0\qb1F|&\ibl3{'F}2\isluru8F\qbp3F\en%
\Notes\tbl1\qb1{'F}|&\en%
\notes|&\nbbbl3\qb3{'G}\tslur8{'A}\tbl3\qb3A\en%
% bar 18
\xbar
\NOtes\ibl1{'F}0\qb1F|\sk&\cl{'G}\en%
\Notes\ast{.18}\sh{'E}\nbbl1\qb1E\tbl1\qb1F|&\ast{.18}\cu{'C}\en%
\NOtes\ibl1{'E}{-9}\qb1G\tbl1\qb1B|&\ds\cl{'G}\en%
\Notes\qu{'A}\sk\sk\sk\ibl1{'A}0\qb1A\sk\tbl1\qb1A|&\ccl{''C}\ccl D%
\ccl C\ccl B\ccl A\ccl{`G}\ccl F\ccl E\en%
% bar 19
\xbar
\Notes\ibl1{''A}0\qb1A\sk\ast{.61}\ast{.61}\nbbl1\qb1{`G}\ast{.61}%
\tbl1\qb1{'A}|\sk&\ccu{'D}\ast{.61}\ccu C\ast{.61}\ccu B\ast{.61}\ccu C%
\en%
\NOtes\ast{.61}\ibl1{'G}{-9}\qb1{'B}\ast{.18}\tbl1\qb1{`D}\qu C\sk%
\ast{.18}\ibl1{'A}5\qb1A\tbl1\qb1C|&\ast{.61}\cu{'D}\ast{.18}\cl{'B}%
\cl B\cu{`C}\ast{.18}\ds\cl{'A}\en%
% bar 20
\def\notes{\vnotes2.53\elemskip}%
\def\Notes{\vnotes2.62\elemskip}%
\def\NOtes{\vnotes2.72\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\alaligne
\NOtes\ql{''B}\sk\ast{1.89}\ibl1D{-3}\qb1G\ast{1.89}\tbl1\qb1B\ql A|\sk&%
\cl{''A}\cu{`B}\ast{1.89}\cu B\ast{1.89}\cl G\cl G\en%
\Notes\sk\sk\ast{1.99}\ibbl1{''E}{-3}\qb1F\qb1E\qb1D\tbl1\qb1C|&\ccl{'F}%
\ast{1.99}\sh E\ccl E\cl F\sk\ccl G\ccl{'A}\en%
% bar 21
\xbar
\Notes\ibbl1{''A}{-3}\qb1B\qb1A\qb1{`G}\tbl1\qb1F|\sk&\cl{''B}\sk\ccl C%
\ccl D\en%
\NOtes\ibl1{'F}{-9}\qb1{'C}\tbl1\qb1{`C}\ql F|&\cl{'G}\cl{'C}\cl A\en%
\Notes\sk\sk\ibl1{''D}{-5}\qb1F\sk\tbl1\qb1A|&\ccl{'G}\ccl{'A}\ccl B%
\ccl A\ccl{`G}\ccl F\en%
% bar 22
\xbar
\Notes\ast{1.31}\ql{'G}|\ast{1.31}\sk&\ast{1.31}\sh{''B}\ccl B\ccl C\ccl =
B%
\ccl C\en%
\NOtes\ibl1{''C}{-9}\qb1E|&\shake{''E}\clp C\en%
\Notes\tbl1\qb1{'G}|&\en%
\notes|&\cccl{''B}\cccl C\en%
\NOtes\ast{2.09}\ql{'F}\sk\ibl1{'B}{-9}\bigsh D\qb1D\tbl1\qb1{`F}|&%
\ast{2.09}\sh{''D}\cl D\cl{`G}\ds\cl G\en%
% bar 23
\xbar
\Notes\ql{'E}\sk\sk\sk\ast{3.61}\ast{3.61}\ast{1.99}\ast{1.99}\ibbl1{'E}0=
%
\qb1{'C}\qb1B\ast{1.99}\qb1A\tbl1\qb1{`G}\ibbl1E{-3}\qb1F\qb1E\ast{1.99}%
\sh D\qb1D\tbl1\qb1C|\sk&\ccu{'C}\ast{3.61}\sh B\ccu B\ast{3.61}\sh D%
\ccu D\ast{1.99}\ccu C\ast{1.99}\ccl E\ccu D\ast{1.99}\ccl F\ccl E\ccl{'A=
}%
\ccl{`G}\ast{1.99}\sh{'B}\ccl B\ccl C\en%
\NOtes\ibl1{''C}{-9}\qb1G\tbl1\qb1{`G}|&\ibl3{''A}6\isluru8{`G}\qb3G%
\tslur8{'B}\tbl3\qb3B\en%
% bar 24
\xbar
\NOTes\qu{'C}|\sk&\qu{'C}\en%
\NOtes\ibl1{''C}0\qb1C\tbl1\qb1C\ibl1C0\qb1C|&\qp\sk\hpause\en%
\Notes\ast{1.89}\sh{''B}\nbbl1\qb1B\tbl1\qb1C|&\en%
\NOtes\ast{1.99}\ibl1{''B}{-9}\sh D\qb1D\tbl1\qb1{`F}|&\en%
% bar 25
\def\Notes{\vnotes1.41\elemskip}%
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\alaligne
\NOTes\ql{'E}|\sk&\qp\en%
\NOtes\ibl1{''D}0\qb1E\tbl1\qb1E\ibl1D0\qb1E|&\cl{''C}\cl{`G}\cl{'A}\en%
\Notes\sh{''D}\nbbl1\qb1D\tbl1\qb1E|&\cl{'F}\en%
\NOtes\ibl1{''D}{-5}\qb1F\tbl1\qb1A|&\bigsh{'D}\cu D\cl F\en%
% bar 26
\xbar
\Notes\ql{'G}|\sk&\ibbl3{''A}{-3}\isluru8B\qb3B\qb3A\qb3{`G}\tbl3\qb3F%
\en%
\NOtes\ibl1{''D}0\qb1{'A}|&\tslur8{'E}\cl E\en%
\Notes\tbl1\qb1{'''A}|&\na{'D}\ccu D\ast{.58}\ccu C\en%
\NOtes\ast{.58}\ibl1{''D}0\qb1{'A}|&\ast{.58}\cl{'F}\en%
\Notes\nbbl1\qb1{''G}\tbl1\qb1{'A}|&\ccl{'E}\ccl F\en%
\NOtes\ibl1{''D}0\qb1{'B}|&\cl{'G}\en%
\Notes\tbl1\qb1{''D}|&\ccl{'F}\ccl G\en%
% bar 27
\xbar
\NOtes\ql{''C}\sk\ast{.70}\ibl1D0\qb1{'C}|\sk&\cl{''A}\cu{`A}\ast{.70}%
\na G\cl G\en%
\Notes\tbl1\qb1{'''C}|&\ccl{'F}\ccl E\en%
\NOtes\ibl1{''D}0\qb1{'C}|&\isluru8{'F}\ql F\en%
\Notes\nbbl1\qb1{'''B}\tbl1\qb1C\ibl1{`D}0\qb1{'D}\sk\ast{.58}%
\tbl1\qb1{`F}|&\sk\sk\tslur8{'F}\ccl F\ccu D\ast{.58}\ccu C\ast{.58}%
\ccu D\en%
% bar 28
\hardspace{ 3.5pt}%
\xbar
\Notes\ql{''E}\sk\sk\sk\ibl1D0\qb1{'C}|\sk&\ccl{''A}\ccl{`G}\ccl F\ccl E%
\ccl{'A}\ccl B\en%
\NOtes\tbl1\qb1{''E}\ql D\sk\ibl1D0\qb1{'B}\tbl1\qb1{`D}|&\cl{''C}%
\ibl3C{-2}\isluru8C\qb3C\tslur8B\tbl3\qb3B\cl B\ds\en%
% bar 29
\def\Notes{\vnotes2.01\elemskip}%
\def\NOtes{\vnotes2.53\elemskip}%
\def\NOTes{\vnotes3.18\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\alaligne
\NOtes\ql{''C}|\sk&\ds\en%
\Notes\sk\sk\ibbl1{''E}0\qb1{'A}\qb1{`G}\qb1F\tbl1\qb1E\ibbl1C{-3}\qb1D%
\qb1C\qb1B\tbl1\qb1A|&\ibbl3{''A}3\isluru8A\qb3A\tbl3\qb3B\ibbl3C0\qb3C%
\tslur8B\qb3B\isluru8D\qb3D\tslur8C\tbl3\qb3C\ibbl3A0\isluru8B\qb3B%
\tslur8A\qb3A\isluru8{`G}\qb3G\tslur8{'A}\tbl3\qb3A\en%
\NOtes\ibl1{''B}{-9}\qb1E\tbl1\qb1{`E}|&\ql{'E}\en%
% bar 30
\xbar
\NOTes\ql{''A}|\sk&\qu{'A}\en%
\NOtes\ibl1{''D}0\qb1{'A}\tbl1\qb1A\ibl1{`D}0\qb1{'A}|&\qp\sk\hpause\en%
\Notes\nbbl1\qb1{''G}\tbl1\qb1{'A}|&\en%
\NOtes\ibl1{''D}0\qb1{'B}\tbl1\qb1{`D}|&\en%
% bar 31
\xbar
\NOTes\ql{''C}|\sk&\en%
\NOtes\ibl1{''D}0\qb1{'C}\tbl1\qb1C\ibl1{`D}0\qb1{'C}|&\en%
\Notes\nbbl1\qb1{'''B}\tbl1\qb1C|&\en%
\NOtes\ibl1{''D}0\qb1{'D}\tbl1\qb1{`F}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar 32
\xbar
\NOTes\ql{''E}|\sk&\en%
\NOtes\ibl1{''D}0\qb1{'C}\tbl1\qb1{`E}|&\en%
\NOTes\ql{''D}|&\en%
\NOtes\ibl1{''D}0\qb1{'B}\tbl1\qb1{`D}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar 33
\xbar
\NOTes\ql{''C}|\sk&\en%
\Notes\ibbl1{'G}{-3}\qb1{'A}\qb1{`G}\qb1F\tbl1\qb1E\ibbu1C{-3}\qb1D\qb1C%
\qb1B\tbu1\qb1A|&\en%
\NOtes\ibu1{'C}{-9}\qb1E\tbu1\qb1{`E}|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
% bar 34
\hardspace{ 1.0pt}%
\xbar
\NOTes\qu{'A}\qp|\sk&\en%
\NOTEs\hpause|&\en%
\def\wbrest{\centerbar\pause}%
\def\atnextbar{\znotes|&\wbrest\en}%
\Endpiece
\vskip1.3\Interligne\eject\endmuflex
\bye
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D



It was produced by PMX from the following pmx-file:


=3D=3D=3D=3D=3D=3D=3D=3D=3D=3Dbwv243_5.pmx=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
---
\immediate\write10{M-Tx 0.30 (Music from TeXt) <2 November 1997>}
\let\:=3D\relax\input musixtex\:\sepbarrules
\input musixlyr\:\enableauxlyrics\def\AL{\auxlyr\lyr\nolyr}
---
3 2 4 4 0 6  0.00000 3 0 5 20 0


606
./
\\setsize2{\normalvalue}\
Tt
Quia fecit mihi magna
Tc
J.S.Bach
% Paragraph 2 line 11 bar 1
r4 a83 a8 a8 g1 a1 b8 d8- /
r0b /
r0 /

% Paragraph 3 line 17 bar 2
c4 c8+ c8 c8 b1 c1 d8 f8- /
r0b /
r0 /

% Paragraph 4 line 23 bar 3
e4 c8+ e8- d4 b8+ d8- /
r0b /
r0 /

% Paragraph 5 line 29 bar 4
c4 a1+ g1 f1 e1 d1 c1 b1 a1 e8+ e8- /
r0b /
r0 /

% Paragraph 6 line 35 bar 5
a8 r8 c8 r8 e8 r8 e8- r8 /
r0b /
r4 a8a3 a8a a8a g1a a1a b8a d8a- /

% Paragraph 7 line 41 bar 6
a8 r8 c8+ c8 c8 b1 c1 d8 f8- /
r0b /
c8a a8a r4 r2 /

% Paragraph 8 line 47 bar 7
e4 c8+ e8- d4 b8+ d8- /
r0b /
r0 /

% Paragraph 9 line 53 bar 8
c4 a1+ g1 f1 e1 d1 c1 b1 a1 e8+ e8- /
r0b /
r0 /

% Paragraph 10 line 59 bar 9
a8 r8 c8 r8 e8 r8 e8- r8 /
r0b /
r4 a8a+ a8a a8a g1a a1a b8a d8a- /

% Paragraph 11 line 65 bar 10
a8 r8 c8+ c8 c8 b1 c1 d8 f8- /
r0b /
c8a a8a r8a e8a+ d1a c1a d1a f1a b8a d8a- /

% Paragraph 12 line 71 bar 11
e4 c8+ e8- d4 b8+ d8- /
r0b /
c1a b1a c1a e1a a8a c8a- b8a c1a d1a e1a f1a g1a e1a /

% Paragraph 13 line 77 bar 12
c4 a1+ g1 f1 e1 d8s e8 b8+ b8- /
r0b /
a1a b1a c1a b1a a1a g1a f1a e1a b8a+ g1a e1a b8a d8as /

% Paragraph 14 line 83 bar 13
e4- e8+ e8 e8 d1s e1 f8 a8- /
r0b /
e4 r4 r2 /

% Paragraph 15 line 89 bar 14
g4 g8+ g8 g8 f1 g1 a8 c8 /
r0b /
r4 e8a e8a e8a d1as e1a f8a a8a- /

% Paragraph 16 line 95 bar 15
b4 b8+ b8- a4 f8+ a8- /
r0b /
g1a b1a c1a d1as e1a f1a g1a e1a c1a e1a f1a g1a a1a b1a c1a a1a /

% Paragraph 17 line 101 bar 16
g4 e1 d1s c1 b1 a1 g1 f1 e1 b8+ b8 /
r0b /
b8a g1a e1a c4+ s c1 s b1a a1a g1a f1a e1a b8a+ /

% Paragraph 18 line 107 bar 17
e4- r4 r4 f8+ f8 /
r0b /
e8a- g8a a8a b8a e4s- f8d s g3 a3 s /

% Paragraph 19 line 113 bar 18
f8 e1s f1 g8 b8- a4 a8+ a8 /
r0b /
g8a c8a- r8a g8a+ c1a d1a c1a b1a a1a g1a f1a e1a /

% Paragraph 20 line 119 bar 19
a8 g1 a1 b8 d8- c4 a8+ c8 /
r0b /
d1a c1a b1a c1a d8a b8a+ b8a c8a- r8a a8a+ /

% Paragraph 21 line 125 bar 20
b4 g8+ b8- a4 f1+ e1 d1 c1 /
r0b /
a8a b8a- b8a g8a+ g8a f1a e1as f8a g1a a1a /

% Paragraph 22 line 131 bar 21
b1 a1 g1 f1 c8+ c8- f4 f8+ a8- /
r0b /
b8a c1a d1a g8a- c8a a8a g1a a1a b1a a1a g1a f1a /

% Paragraph 23 line 137 bar 22
g4 e8+ g8- f4 d8s+ f8- /
r0b /
b1as c1a b1a c1a c8ad ot b3a c3a d8as g8a- r8a g8a /

% Paragraph 24 line 143 bar 23
e4 c1++ b1 a1 g1 f1 e1 d1s c1 g8+ g8- /
r0b /
c1a- b1as d1as c1a e1a d1a f1a e1a a1a g1a b1as c1a g8 s b8 s /

% Paragraph 25 line 149 bar 24
c4- c8+ c8 c8 b1s c1 d8s f8- /
r0b /
c4- r4 r2 /

% Paragraph 26 line 155 bar 25
e4 e8+ e8 e8 d1s e1 f8 a8- /
r0b /
r4 c8a+ g8a a8a f8a d8as f8a /

% Paragraph 27 line 161 bar 26
g4 a8+ a8 a8 g1 a1 b8 d8- /
r0b /
b1 s a1 g1 f1 e8 s d1an c1a f8a e1a f1a g8a f1a g1a /

% Paragraph 28 line 167 bar 27
c4 c8+ c8 c8 b1 c1 d8 f8- /
r0b /
a8a a8a- g8an+ f1a e1a f4 s f1 s d1a c1a d1a /

% Paragraph 29 line 173 bar 28
e4 c8+ e8- d4 b8+ d8- /
r0b /
a1a+ g1a f1a e1a a1a b1a c8a c8 s b8 s b8a r8a /

% Paragraph 30 line 179 bar 29
c4 a1+ g1 f1 e1 d1 c1 b1 a1 e8+ e8- /
r0b /
r8a a1 s b1 c1 b1 s d1 s c1 s b1 s a1 s g1 s a1 s e4 /

% Paragraph 31 line 185 bar 30
a4 a8+ a8 a8 g1 a1 b8 d8- /
r0b /
a4- r4 r2 /

% Paragraph 32 line 191 bar 31
c4 c8+ c8 c8 b1 c1 d8 f8- /
r0b /
r0 /

% Paragraph 33 line 197 bar 32
e4 c8+ e8- d4 b8+ d8- /
r0b /
r0 /

% Paragraph 34 line 203 bar 33
c4 a1 g1 f1 e1 d1 c1 b1 a1 e8+ e8- /
r0b /
r0 /

% Paragraph 35 line 209 bar 34
a4 r4 r2 /
r0b /
r0 /

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D



It was produced by M-Tx from the following mtx-file:


=3D=3D=3D=3D=3D=3D=3D=3D=3D=3Dbwv243_5.mtx=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D
Title: Quia fecit mihi magna
Composer: J.S.Bach
Sharps: 3
Meter: C
Basso: Voices B; Vocal; Clefs F
Style: Basso Piano
Bars/Line: 5



%Block 1
r0=20
r0b
r4 a8 a  a g1 a b8 d-


%Block 2
r0
r0b
c4 c8+ c  c b1 c d8 f-


%Block 3
r0
r0b
e4 c8+ e- d4 b8+ d-


%Block 4
r0
r0b
c4 a1+ g f e  d c b a  e8+ e-


%Block 5
r4   a8 a a g1 a b8 d-
r0b
a8 r c r e r e- r


%Block 6
c8 a r4 r2
r0b
a8 r c8+ c   c b1 c d8 f-


%Block 7
r0
r0b
e4 c8+ e- d4 b8+ d-


%Block 8
r0
r0b
c4 a1+ g f e  d c b a  e8+ e-


%Block 9
r4 a8+ a a g1 a b8 d-
r0b
a8 r c r e r e- r


%Block 10
c8 a r e+ d1 c d f  b8 d-
r0b
a8 r c+ c  c b1 c d8 f-


%Block 11
c1 b c e a8 c-  b8 c1 d  e f g e
r0b
e4 c8+ e- d4 b8+ d-


%Block 12
a1 b c b a g f e  b8+ g1 e b8 ds
r0b
c4 a1+ g f e  ds8 e b+ b-


%Block 13
e4 r r2
r0b
e4- e8+ e  e ds1 e  f8 a-


%Block 14
r4  e8 e  e ds1 e  f8 a-
r0b
g4  g8+ g g f1 g a8 c


%Block 15
g1 b c ds  e f g e  c e f g  a b c a
r0b
b4  b8+ b- a4  f8+ a-


%Block 16
b8  g1 e  ( c4+  c1 ) b a g  f e b8+
r0b
g4  e1 ds c b  a g f e  b8+ b


%Block 17
e8- g a b  es4-   ( f8d   g3 a )
r0b
e4-   r   r   f8+ f


%Block 18
g8 c-  r8 g+   c1 d c b  a g f e
r0b
f8 es1 f  g8 b- a4  a8+ a


%Block 19
d1 c b c  d8 b+ b c- r a+
r0b
a8 g1 a b8 d- c4 a8+ c


%Block 20
a8 b- b g+ g f1 es  f8 g1 a
r0b
b4 g8+ b-  a4  f1+ e d c


%Block 21
b8  c1 d g8- c a g1 a b a g f
r0b
b1 a g f  c8+ c-  f4  f8+ a-


%Block 22
bs1 c b c  c8d ot b3 c   ds8 g- r g
r0b
g4 e8+ g-  f4  ds8+ f-


%Block 23
c1- bs ds c  e d f e  a g  bs c  ( g8 b )
r0b
e4  c1++ b a g  f e ds c  g8+ g-


%Block 24
c4- r4 r2
r0b
c4-   c8+ c  c bs1 c ds8 f-


%Block 25
r4 c8+ g a f ds f
r0b
e4 e8+ e  e ds1 e f8 a-


%Block 26
( b1 a g f e8 ) dn1 c  f8 e1 f g8 f1 g
r0b
g4   a8+ a  a g1 a b8 d-


%Block 27
a8 a-  gn8+  f1 e  ( f4  f1 ) d c d
r0b
c4  c8+ c c b1 c  d8 f-


%Block 28
a1+ g f e  a b c8 ( c b ) b r
r0b
e4  c8+ e-  d4  b8+ d-


%Block 29
r8 ( a1 b c b ) ( d c ) ( b a ) ( g a ) e4
r0b
c4  a1+ g f e  d c b a  e8+ e-


%Block 30
a4- r4 r2
r0b
a4  a8+ a  a g1 a b8 d-


%Block 31
r0
r0b
c4  c8+ c c b1 c d8 f-


%Block 32
r0
r0b
e4  c8+ e- d4  b8+ d-


%Block 33
r0
r0b
c4  a1 g f e  d c b a  e8+ e-


%Block 34
r0
r0b
a4 r4 r2

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

From mutex-owner@mail2.gmd.de Mon Jun 15 18:10:00 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806151810.UAA03971@sunick.gmd.de>
To: mutex@gmd.de, scancm@biobase.dk
Subject: Re: M-Tx problems
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> Date: Mon, 15 Jun 1998 17:16:55 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> A special problem arose, however, in the second paragraph of my
> composition where the first syllable of the lyrics in each part begins
> with {\o}.

I never worked with M-Tx, so I don't know whether the following helps:
in that case use "\o{}" instead of "{\o}".

> b4 cs8 d c4 c8 a | fds2 g8 e |
> L: {\o}wn ka ett wal skimm {\ae} Dar, og wor

  L: \o{}wn ka ett wal skimm \ae{} Dar, og wor


The best solution would be to use 8-bit TeX and to input the required
ISO-Latin-1 characters directly. Ask a TeX-Guru (not me :-) how to do
that.

If MikTeX is really a MS-Windows oriented TeX it should support ISO-Latin1
as standard, because MS-Windows supports (nearly) that character set since
WIN 1.0.

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Mon Jun 15 17:47:53 1998
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From: dsimons@logicon.com (Don Simons)
To: wskdpl@pukrs12.puk.ac.za, begemann@math.uni-hamburg.de (Eckart Begemann)
Cc: mutex@gmd.de
Subject: Re: a request
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begemann@math.uni-hamburg.de wrote

>Hello, Dirk!
>Hello, Don!
>...
>Could you provide a command, say, "stopMTx"/"stopPMX" (or whatever)
>to be put in a single line after any block, which makes M-Tx resp. PMX 
>ignore all the following blocks?

Shouldn't be too difficult.  How about "Ax"? :-)

Meanwhile, you can comment out all of the last n lines.  PMX chokes if 
the very last non-blank line in the file is a comment, but Werner 
discovered that you can fix this by adding a single "/" after the last 
comment line.  

--Don

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Subject: a request
To: wskdpl@pukrs12.puk.ac.za
Date: Mon, 15 Jun 1998 16:30:01 +0200 (MET DST)
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In-Reply-To: <199806121056.MAA17345@calvyn.puk.ac.za> from "Dirk Laurie" at Jun
12, 98 12:56:25 pm
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From mutex-owner@mail2.gmd.de Mon Jun 15 20:30:22 1998
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From: dsimons@logicon.com (Don Simons)
To: mutex@gmd.de
Subject: Re: TeX/MusiXTeX/PMX/MTx -- Help???
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begemann@math.uni-hamburg.de (Eckart Begemann) wrote

>Who can help me?
>
>It looks like a TeX-problem, not especially dealing with MusiXial 
>problems. 

Well, I'm not much good at diagnosing TeX problems, but PMX made a 
usable TeX file for me from the .pmx source you included.  I put an 
image of the result in ftp.logicon.com/ongoing/dswacwe/pmx/beg6.pdf .  
Maybe you can use it for debugging the source.  There are lots of 
places in the text with "???", so I assume there is something messed 
up with the lyrics.  

--Don Simons
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Subject: TeX/MusiXTeX/PMX/MTx -- Help???
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: wskdpl@pukrs12.puk.ac.za
Cc: mutex@gmd.de
Subject: Re: M-Tx problem: melismas
Date: Tue, 16 Jun 1998 08:04:50 +0200
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Dirk Laurie wrote:

> > Maybe Rainer can tell us how to fix the somewhat erratic vertical
> spacing
> > in the lyrics.
> 
The vertical spacing of multiple verses is indeed a weakness of the
underlying \vbox stacking mechanism which assumes a default font size of
10pt. The vertical space occupied by a lyrics line doesn't grow or
shrink along with the selected font.

The current musixlyr version 1.1a solves the problem by introducing a
dedicated "lyrics strut" which determines the vertical space reserved
for a lyrics element. The size has to be adjusted explicitly with the
\setlyrstrut command after having selected the lyrics font. In the given
"Bread, Blessed and Broken" example, the line

> %%\\hoffset=-0.5in\twelvess\largemusicsize\
> 
has to be completed to:

%%\\hoffset=-0.5in\twelvess\setlyrstrut\largemusicsize\

This will, whatever font \twelvess might reveal, insert appropriate
vertical space around each verse.

Best regards,

Rainer


From mutex-owner@mail2.gmd.de Tue Jun 16 08:14:30 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806160814.KAA03585@calvyn.puk.ac.za>
Subject: Re: a request
To: begemann@math.uni-hamburg.de
Date: Tue, 16 Jun 1998 10:14:30 +0200 (SAT)
Cc: wskdpl@pukrs12.puk.ac.za, dsimons@logicon.com, mutex@gmd.de
In-Reply-To: <199806151430.QAA04689@AMSUN07.math.uni-hamburg.de> from "Eckart Begemann" at Jun 15, 98 04:30:01 pm
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Eckart Begemann wrote:
> 
> I have one minor wish for your next release:
> 
[ Motivation interesting, but omitted for the sake of brevity ]

> Could you provide a command, say, "stopMTx"/"stopPMX" (or whatever)
> to be put in a single line after any block, which makes M-Tx resp. PMX
> ignore all the following blocks?
> 
> Of course I do not have the faintest clue of how much work this
> would mean to you -- I imagine it could easily been implemented
> but I might be completely wrong. I have never studied your
> source codes ....
> 
It would be quite trivial in M-Tx.  I'll keep it in mind.

Dirk 

From mutex-owner@mail2.gmd.de Tue Jun 16 08:20:51 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806160820.KAA03631@calvyn.puk.ac.za>
Subject: Re: M-Tx problems
To: scancm@biobase.dk
Date: Tue, 16 Jun 1998 10:20:51 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <35853AE6.92392946@biobase.dk> from "Christian Mondrup" at Jun 15, 98 05:16:55 pm
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Christian Mondrup wrote:
> 
> A special problem arose, however, in the second paragraph of my
> composition where the first syllable of the lyrics in each part begins
> with {\o}.
> 
If a line begins with
L: {\o}
that will be taken to indicate that the lyrics come from a lyrics
paragraph labelled {\o}.  Werner's reply to this question gives
one solution -- use \o{} instead of {\o}.  Another is to put the
lyrics in a lyrics paragraph instead of an L: line.  

Dirk


From mutex-owner@mail2.gmd.de Tue Jun 16 12:35:24 1998
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Date: Tue, 16 Jun 1998 14:35:24 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806161235.OAA04574@sunick.gmd.de>
To: info@doit.cc
Subject: [META] SPAM in the MTEX mailing list [Was: Autoresponder-Family Tree Chart]
Cc: postmaster@tor-smtp1.netcom.ca, abuse@tor-smtp1.netcom.ca,
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Dear list members,

I'm sorry that the list is misused for spam. I'm not able to suppress such
misuse without much work e.g. by making it moderated. 

As English is not my native language and because I'm not good in backtracing 
e-mail delivery pathes I ask every list member, who feels able to do so, for 
help to complain about such spam.

Although I assume that "info@doit.cc" is a fake address I try to send this
mail to that address. Same for "postmaster@tor-smtp1.netcom.ca",
"postmaster@kin-on1-33.netcom.ca", "abuse@...", ... whose mail delivery
systems were used for transporting the spam.

Sorry for any inconvenience!

Werner Icking - List owner

PS: The same mail was sent to the gnu-music-discussion list.

PPS: The relevant headers of the spam


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Subject: Autoresponder-Family Tree Chart

From mutex-owner@mail2.gmd.de Tue Jun 16 15:57:57 1998
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Date: Tue, 16 Jun 1998 17:57:57 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806161557.RAA04626@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: [META] SPAM in the MTEX mailing list [Was: Autoresponder-Family Tree Chart]
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> Date: Tue, 16 Jun 1998 14:35:24 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>
> 
> I'm sorry that the list is misused for spam. I'm not able to suppress such
> misuse without much work e.g. by making it moderated. 

Already before this mail appeared in my mail-box I got following reply:

> Date: Tue, 16 Jun 1998 11:10:05 -0400 (EDT)
> From: Netcom Abuse Account <abuse@netcom.ca>
> Subject: 2 accnt's  responsible have been cancelled.
> 
> Hi there,
> 	Thank-you for sending in the information regarding this type of
> netiquette abuse. Based on information such as what you and others have
> sent in, we were able to investigate the case. As a result of this
> investigation we have removed the account responsible for this episode of
> abuse.
> 
> Once again, thank-you for your information and helping us to fight spam
> and internet abuse.
> [...]

Now I hope, that my replies to the two other spams from the last days
will have similar results. Please, feel encouraged to complain if
you find a responsible place for the complaint.

In addition I hope that our system administrators will find the time
to install the newest version of majordomo and that it is true that
with that version mails to the list can be restricted to members of
the list.

Furthermore I remove all spam from the archive of the list as well as
from the hypermail archives (http://www.gmd.de/Mail/).

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Wed Jun 17 06:22:17 1998
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To: MUTEX@gmd.de, WERNER.ICKING@gmd.de
Subject: Against spamming.
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Although I am not a expert about spamming, I think posting an e-mail 
address in clear into a Web page adds to the problem, because I 
assume spammers use a robot that explores as many Web pages as possible, 
stores all what looks like an e-mail into a temporary mailing list,
and sends its s__t-message to that list afterwards. 

I receive spam messages pretty often. Am I the only one here ? 

May be the cure against this would be to post the editor's names the 
following way, even if it makes the job of sending a message more 
complicated for the honest correspondents: 

edited by Jean-Pierre Coulon. e-mail coulon@cacaspam.lalcls.in2p3.fr

and afterwards you say : 

To write to any of the addresses above remove "cacaspam"

       Jean-Pierre Coulon    


From mutex-owner@mail2.gmd.de Wed Jun 17 08:17:25 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806170817.KAA08789@calvyn.puk.ac.za>
Subject: Poet's name; labels at every staff
To: scancm@biobase.dk
Date: Wed, 17 Jun 1998 10:17:25 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <35853AE6.92392946@biobase.dk> from "Christian Mondrup" at Jun 15, 98 05:16:55 pm
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Christian Mondrup wrote:
> 
> I miss a POET label among the preamble commands. When I make fine prints
> of my finished scores I always print the composer's as well as the
> poet's name at the first staff.
> 
You can always put it in with inline PMX:
%%h+4
%%Heinrich Heine
at the start of the first music paragraph.  
But it would be nicer to have it in the preamble, yes.

> One last question: how do I tell M-Tx to print the abbreviated voice
> labels from the style SATB4 at the beginning of staffs after the first
> system ?
> 
M-Tx and PMX have no such feature.  Raw MusiXTeX may -- I don't know.  
MusiXTeXperts please help! 

Dirk

From mutex-owner@mail2.gmd.de Wed Jun 17 08:59:15 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806170859.KAA08993@calvyn.puk.ac.za>
Subject: Feedback on compiling M-Tx 0.40a please
To: mutex@gmd.de
Date: Wed, 17 Jun 1998 10:59:15 +0200 (SAT)
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It has been brought to my attention that the DJGPP compiler 
does not like the system function call

   _tolower(s);

that appears in the file globals.c.  It requires the call to
be changed to

   tolower(s);

Before making such a change in future releases, I would like
to be assured that it is acceptable to those C compilers that
succeeded in compiling the present version.  Otherwise I'll
just add a note to the FAQ.

I'd be grateful if those of you who have compiled M-Tx 0.40a
could report to me which version is acceptable to your compiler.

Compiler: gcc version 2.7.2.3
Report:   accepts either version: _tolower(s); or tolower(s);

Dirk Laurie



From mutex-owner@mail2.gmd.de Wed Jun 17 10:02:20 1998
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Date: Wed, 17 Jun 1998 12:02:20 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806171002.MAA04721@sunick.gmd.de>
To: scancm@biobase.dk, wskdpl@pukrs12.puk.ac.za
Subject: Re: Poet's name; labels at every staff
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Subject: Poet's name; labels at every staff
[...]
> Christian Mondrup wrote:
>
> > One last question: how do I tell M-Tx to print the abbreviated voice
> > labels from the style SATB4 at the beginning of staffs after the first
> > system ?
> > 
> M-Tx and PMX have no such feature.  Raw MusiXTeX may -- I don't know.  
> MusiXTeXperts please help! 

Have a look at the MusiXTeX add-ons on http://www.gmd.de/Misc/Music/
"Orchestral scores" shows such an example. The raw MusiXTeX-source is 
given there, too. An extract:

%...
\let\ni\nextinstrument
%...
\def\namespace{14mm}            % provide space for instrument names
\advance\hoffset\namespace\advance\hsize-\namespace
%...
\nobarnumbers\startpiece\addspace\afterruleskip\systemnumbers
\makeatletter
\def\everystaff{\kern-\clef@skip\kern-\namespace\znotes
        \zcharnote0{\vbox{\hbox{Vlc. e}\hbox{Cb.}}}\ni
        \zcharnote2{Vle.}\ni
        \zcharnote2{Vl.II}|\zcharnote4{Vl.I}\ni
        \zcharnote2{Timp.}\ni
        \zcharnote0{\vbox{\hbox{2 Tr.}\hbox{(Re)}}}\ni
        \zcharnote0{\vbox{\hbox{2 Cor.}\hbox{(Re)}}}\ni%
        \zcharnote2{2 Fg.}\ni
        \zcharnote0{\vbox{\hbox{2 Cl.}\hbox{(Fa)}}}\ni
        \zcharnote2{2 Ob.}\ni
        \zcharnote2{2 Fl.}%
        \en\kern\clef@skip\kern\namespace}%
\makeatother
%...

Comments (on the whole "partitur.tex") are welcome, because I'm not a
TeXpert.

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Wed Jun 17 16:37:30 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Poet's name; labels at every staff
Cc: mutex@gmd.de
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Werner Icking <Werner.Icking@gmd.de> wrote 
> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Subject: Poet's name; labels at every staff 
>[...]
>> Christian Mondrup wrote:
>>
>> > One last question: how do I tell M-Tx to print the abbreviated voice 
>> > labels from the style SATB4 at the beginning of staffs after the 
>first > > system ?
>> > 
>> M-Tx and PMX have no such feature.  Raw MusiXTeX may -- I don't know. 
> > MusiXTeXperts please help! 
>
>Have a look at the MusiXTeX add-ons on http://www.gmd.de/Misc/Music/ 
>"Orchestral scores" shows such an example. The raw MusiXTeX-source is 
>given there, too. An extract:
>
>%...
>\let\ni\nextinstrument
>%...
>\def\namespace{14mm}            % provide space for instrument names 
>\advance\hoffset\namespace\advance\hsize-\namespace
>%...

I have not tried this out, but please consider this:  When horizontal 
spacing becomes tight, PMX inserts additional space to avoid crashes 
or just to improve appearance in many situations: accidentals, flags, 
clef changes, up-stems before bar lines, dots, etc.  This facility 
will be compromised by any in-line TeX that alters either the 
horizontal space available in a line (as I believe Werner's suggestion 
does), or the horizontal space required (such as inserting an extra 
spacing note with in-line TeX).  If the line in question is "loose" 
enough, there will be no undesirable effect, but if it is tight, 
crashes could result.  The crashes could be remedied by inserting 
extra space with the PMX command "X...".

Perhaps a better approach would be to set a reduced basic line width 
with the pmx command "w...", and adjust the horizontal offset with 
in-line TeX.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Jun 17 21:15:36 1998
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From: John Robert Barnes <jrb3@st-andrews.ac.uk>
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Subject: Running MusiXTex
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I have downloaded and installed the necessary files to use MusiXTex, and 
am running teTex (latex Version 3.14159 (C version 6.1)), on a UNIX
system. The necessary soft links have been created as defined in the
install.sh file, however when I try to latex an example file, I get:

latex adagio.tex

This is TeX, Version 3.14159 (C version 6.1)
(adagio.tex
LaTeX2e <1996/12/01> patch level 1
Babel <v3.6h> and hyphenation patterns for american, german, loaded.
! I can't find file `musixtex'.
l.2   \input musixtex


It seems that the soft links are not working. Have I forgotten to
define some other crucial environment variable, or am I on completely the
wrong track.

John Barnes

****************************************************************
                          John Barnes
    Dept of Physics and Astronomy, University of St Andrews, 
 	   North Haugh, St Andrews. FIFE. KY16 9SS.
	       e-mail: jrb3@st-andrews.ac.uk
	     Tel: (01334) 465 000 (extn. 3067)
****************************************************************


From mutex-owner@mail2.gmd.de Thu Jun 18 02:37:37 1998
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Subject: Re: Running MusiXTex
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 > Date: Wed, 17 Jun 1998 22:15:36 +0100 (BST)
 > From: John Robert Barnes <jrb3@st-andrews.ac.uk>
 > To: mutex@gmd.de
 > Subject: Running MusiXTex
 > 
 > I have downloaded and installed the necessary files to use MusiXTex, and 
 > am running teTex (latex Version 3.14159 (C version 6.1)), on a UNIX
 > system. The necessary soft links have been created as defined in the
 > install.sh file, however when I try to latex an example file, I get:
 > 
 > latex adagio.tex
 > 
 > This is TeX, Version 3.14159 (C version 6.1)
 > (adagio.tex
 > LaTeX2e <1996/12/01> patch level 1
 > Babel <v3.6h> and hyphenation patterns for american, german, loaded.
 > ! I can't find file `musixtex'.
 > l.2   \input musixtex
 > 
Are you using LaTeX on a plain TeX file?  Are musixtex.tex and
friends in a directory that is in TeX's path? Do 

echo $TEXINPUTS

to see which directories those are.

Bob T.



From mutex-owner@mail2.gmd.de Thu Jun 18 04:19:38 1998
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From: jdg@maths.qmw.ac.uk (Julian Gilbey)
Subject: Re: Running MusiXTex
In-Reply-To: <Pine.SOL.3.96.980617220913.21189B-100000@alcor> from John Robert Barnes at "Jun 17, 98 10:15:36 pm"
To: jrb3@st-andrews.ac.uk (John Robert Barnes)
Date: 	Thu, 18 Jun 1998 00:19:38 -0400
Cc: mutex@gmd.de
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> I have downloaded and installed the necessary files to use MusiXTex, and 
> am running teTex (latex Version 3.14159 (C version 6.1)), on a UNIX
> system. The necessary soft links have been created as defined in the
> install.sh file, however when I try to latex an example file, I get:
> 
> [...]
> ! I can't find file `musixtex'.
> l.2   \input musixtex
> 
> It seems that the soft links are not working. Have I forgotten to
> define some other crucial environment variable, or am I on completely the
> wrong track.
> 
> John Barnes

Have you perhaps forgotten to run the command `texhash' (as root or
whoever else owns the texmf tree)?  This command rebuilds the ls-R
database which teTeX (actually, the kpathsea library) uses to find the
files on your system.

If this doesn't work, please let me know.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

From mutex-owner@mail2.gmd.de Thu Jun 18 07:18:15 1998
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Subject: Re: Running MusiXTex
To: jrb3@st-andrews.ac.uk (John Robert Barnes)
Date: Thu, 18 Jun 1998 09:18:15 +0200 (SAT)
Cc: mutex@gmd.de, taupin@lps.u-psud.fr
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John Robert Barnes wrote:
> 
> 
> I have downloaded and installed the necessary files to use MusiXTex, and 
> am running teTex (latex Version 3.14159 (C version 6.1)), on a UNIX
> system. The necessary soft links have been created as defined in the
> install.sh file, however when I try to latex an example file, I get:
> 
> latex adagio.tex
> 
> This is TeX, Version 3.14159 (C version 6.1)
> (adagio.tex
> LaTeX2e <1996/12/01> patch level 1
> Babel <v3.6h> and hyphenation patterns for american, german, loaded.
> ! I can't find file `musixtex'.
> l.2   \input musixtex
> 
> 
> It seems that the soft links are not working. Have I forgotten to
> define some other crucial environment variable, or am I on completely the
> wrong track.
> 
The install.sh in the MusiXTeX distribution is actually a concatenation
of two files: install.sh and uninstall.sh.  Maybe Daniel can split them
in the next release, but in the meanwhile you will have to do it yourself.
If you run install.sh as supplied, uninstall.sh is also run immediately,
and that of course ruins all the good work.

Dirk

From mutex-owner@mail2.gmd.de Thu Jun 18 08:45:39 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: Poet's name; labels at every staff
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> Date: Wed, 17 Jun 1998 09:37:30 -0700
> From: dsimons@logicon.com (Don Simons)

> Werner Icking <Werner.Icking@gmd.de> wrote 
> > From: Dirk Laurie <dirk@calvyn.puk.ac.za>

> >> M-Tx and PMX have no such feature.  Raw MusiXTeX may -- I don't know. 
                                         ^^^^^^^^^^^^
> > > MusiXTeXperts please help! 

> >Have a look at the MusiXTeX add-ons on http://www.gmd.de/Misc/Music/ 
> >"Orchestral scores" shows such an example. The raw MusiXTeX-source is 
                                                  ^^^^^^^^^^^^
> >given there, too. An extract:
[...]
> >\def\namespace{14mm}            % provide space for instrument names 
> >\advance\hoffset\namespace\advance\hsize-\namespace
> >%...

> I have not tried this out, but please consider this:  When horizontal 
> spacing becomes tight, PMX inserts additional space to avoid crashes 
> or just to improve appearance in many situations: accidentals, flags, 
> clef changes, up-stems before bar lines, dots, etc.  This facility 
> will be compromised by any in-line TeX that alters either the 
> horizontal space available in a line (as I believe Werner's suggestion 
> does), or the horizontal space required (such as inserting an extra 
> spacing note with in-line TeX). [...]

It's a "raw MusiXTeX"-solution.

If someone want's to port it to PMX he may do it by specifying an appropriate
width using PMX's "w..."-command - as Don already said - and shifting the 
page using PMX's in-line TeX

\\advance\hoffset\namespace\

-- Werner

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Don Simons informed me that a SPAM-mail in the (short) MuTeX hypermail
archive has been attributed to him, although he didn't send it.

I'm very sorry about that, because *I* must have made some error when
removing spam from the MuTeX archives. I hope that I now have successfully
corrected my mistake and removed all spam from the archives without 
attributing mails to people who didn't send it.

Don, please excuse my mistake!

-- Werner

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From: John Robert Barnes <jrb3@st-andrews.ac.uk>
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Subject: Running MusiXTex
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Firstly thanks to everyone who sent helpful messages for running MusiXTeX
- it was just a case of requiring certain paths to be updated. More
questions though - apologies if they seem stupid.

When I compile the avemaria example file, I am getting:

> tex avemaria

This is TeX, Version 3.14159 (C version 6.1)
(avemaria.tex (/alcor/jrb3/teTex/texmf/tex/generic/musixtex/musixtex.tex
MusiXTeX(c) T.88 <25 February 1998>
) (/alcor/jrb3/teTex/texmf/tex/generic/musixtex/musixcpt.tex
MusiXComPaTible T.67 <7 January 1997>
) (/alcor/jrb3/teTex/texmf/tex/generic/musixtex/musixsty.tex
MusiXtextSTYle T.72 <30 March 1997>
) (avemarix.tex /autolines pass I  bar 1 bar 2 bar 3
Overfull \hbox (239.80963pt too wide) in paragraph at lines 36--62
[][][][][][][]
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][]
[][][][][][][][][][][] |
bar 4 bar 5 bar 6
Overfull \hbox (226.8096pt too wide) in paragraph at lines 66--92
[][][][][][][][][][][][][][]
[][][][][][][][][][][][][][][][][][][][][][][][][]
[][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][][
][][][][][][][][] |


which results in only two and a bit bars per page width, with the third
bar visible of the page.

The albinoni adagio file does the opposite, and that last bar for each 
measure line is not at the far right of the page.

I get no other errors when compiling, so what should I do to correct this
kind of problem?

John Barnes

****************************************************************
                          John Barnes
    Dept of Physics and Astronomy, University of St Andrews, 
 	   North Haugh, St Andrews. FIFE. KY16 9SS.

	     Tel: (01334) 465 000 (extn. 3067)
****************************************************************


From mutex-owner@mail2.gmd.de Thu Jun 18 16:02:33 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, jrb3@st-andrews.ac.uk
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> Date: Thu, 18 Jun 1998 15:42:37 +0100 (BST)
> From: John Robert Barnes <jrb3@st-andrews.ac.uk>

> When I compile the avemaria example file, I am getting:
[...]
> Overfull \hbox (239.80963pt too wide) in paragraph at lines 36--62
> [][][][][][][]

A typical MusiXTeX processing for file xyz.tex is:

delete/erase/remove/rm xyz.mx2
tex &musixtex xyz
musixflx xyz
tex &musixtex xyz

Did you do that? If not: RTFM    F = Fine, Funny, hilFreich, ...

From mutex-owner@mail2.gmd.de Thu Jun 18 17:50:24 1998
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From: jdg@maths.qmw.ac.uk (Julian Gilbey)
Subject: Re: Running MusiXTex
In-Reply-To: <Pine.SOL.3.96.980618152323.21189C-100000@alcor> from John Robert Barnes at "Jun 18, 98 03:42:37 pm"
To: jrb3@st-andrews.ac.uk (John Robert Barnes)
Date: 	Thu, 18 Jun 1998 13:50:24 -0400
Cc: mutex@gmd.de
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> Firstly thanks to everyone who sent helpful messages for running MusiXTeX
> - it was just a case of requiring certain paths to be updated. More
> questions though - apologies if they seem stupid.
> 
> When I compile the avemaria example file, I am getting:

I recommend reading the manual before you proceed any further -- it
tends to be quite a useful thing to do.

If you are impatient, then look in the index for musixflx.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

From mutex-owner@mail2.gmd.de Mon Jun 22 01:05:55 1998
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Date: Sun, 21 Jun 1998 20:05:55 -0500 (CDT)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
Reply-To: "Jerome S. Colburn" <jscolbur@prairienet.org>
Subject: [META] SPAM in the MTEX mailing list 
To: mutex@gmd.de
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On Tue, 16 Jun 1998, Werner Icking wrote:

> Although I assume that "info@doit.cc" is a fake address I try to send this
> mail to that address. Same for "postmaster@tor-smtp1.netcom.ca",
> "postmaster@kin-on1-33.netcom.ca", "abuse@...", ... whose mail delivery
> systems were used for transporting the spam.

Sorry I didn't speak up sooner about this. Whatever we do, don't reply 
to what appears to be the sending address. That tells the spammers 
there's a live address to send to, and they can sell the address to other 
spammers. Five days later, instead of genealogical traces, it's child 
pornography from the Philippines. I sent that one to the abuse and 
postmaster accounts at jetlink.com.ph and the relay site in Sweden (where 
there turns out to be no abuse account), but *not* to the originator.

Jerome S. and Jeannette E. H. Colburn
jscolbur@prairienet.org




From mutex-owner@mail2.gmd.de Mon Jun 22 09:24:12 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806220924.LAA05699@sunick.gmd.de>
To: mutex@gmd.de, jscolbur@prairienet.org
Subject: Re: [META] SPAM in the MTEX mailing list
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> Date: Sun, 21 Jun 1998 20:05:55 -0500 (CDT)
> From: "Jerome S. Colburn" <jscolbur@prairienet.org>
> 
> Sorry I didn't speak up sooner about this. Whatever we do, don't reply 
> to what appears to be the sending address. That tells the spammers 
> there's a live address to send to, and they can sell the address to other 
> spammers. Five days later, instead of genealogical traces, it's child 
> pornography from the Philippines. I sent that one to the abuse and 
> postmaster accounts at jetlink.com.ph and the relay site in Sweden (where 
> there turns out to be no abuse account), but *not* to the originator.

Thanks for the hint. The address in question was a fake.

As I see the amount of spam in the list is drastically increasing.
So I concentrate on installing a newer version of majordomo which
may help a little bit by allowing posting to the list only for
list members, and on removing the spam from the archives.

I hope that there are some (enough) members on the list who complain
at postmaster@<relay> or abuse@<sending-mta> or similar addresses.
I'll no longer do such actions.

-- Werner

From mutex-owner@mail2.gmd.de Mon Jun 22 14:21:43 1998
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Date: Mon, 22 Jun 1998 09:21:43 -0500
From: "Christopher E. Link" <linkco@ix.netcom.com>
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To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de, jscolbur@prairienet.org
Subject: TAKE ME OFF YOUR FUCKING LIST
References: <199806220924.LAA05699@sunick.gmd.de>
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This will be the third request I have made. Do not reply.... if you think I am
a "spammer".... as your letter suggest. I recieve between 10-20 emails a day
from your organazation... and this clouds MT mailbox with letters of NOT my
concern. I imagine each one of you could understand if this were your case.

I simply want OFF your mailing list

Christopher Link

Werner Icking wrote:

> > Date: Sun, 21 Jun 1998 20:05:55 -0500 (CDT)
> > From: "Jerome S. Colburn" <jscolbur@prairienet.org>
> >
> > Sorry I didn't speak up sooner about this. Whatever we do, don't reply
> > to what appears to be the sending address. That tells the spammers
> > there's a live address to send to, and they can sell the address to other
> > spammers. Five days later, instead of genealogical traces, it's child
> > pornography from the Philippines. I sent that one to the abuse and
> > postmaster accounts at jetlink.com.ph and the relay site in Sweden (where
> > there turns out to be no abuse account), but *not* to the originator.
>
> Thanks for the hint. The address in question was a fake.
>
> As I see the amount of spam in the list is drastically increasing.
> So I concentrate on installing a newer version of majordomo which
> may help a little bit by allowing posting to the list only for
> list members, and on removing the spam from the archives.
>
> I hope that there are some (enough) members on the list who complain
> at postmaster@<relay> or abuse@<sending-mta> or similar addresses.
> I'll no longer do such actions.
>
> -- Werner




From mutex-owner@mail2.gmd.de Tue Jun 23 06:08:04 1998
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Date: Tue, 23 Jun 1998 08:08:04 +0200
From: Frank Stefani <frank@ead-systeme.de>
Organization: EAD-Systeme GmbH
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: M-Tx slur and lyrics?
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Greetings to all from the german alps :-)

I want to slur some notes which belong to a single lyrics
syllable as follows

        |        |         |        |
      _ |      _ |       _ |      _ |
     (_)|     (_)|      (_)|     (_)|
       \______/ \_______/ \______/


All I ever get is this

        |        |         |        |
      _ |      _ |       _ |      _ |
     (_)|     (_)|      (_)|     (_)|
       \_________________________/

or this


        |        |         |        |
      _ |      _ |       _ |      _ |
     (_)|     (_)|      (_)|     (_)|
       \______/           \______/

or this


        |        |         |        |
      _ |      _ |       _ |      _ |
     (_)|     (_)|      (_)|     (_)|
       \______/           \______/
       \_________________________/


If it matters: The pitch changes at the last note. Any help
appreciated, thank you for your hints,

Frank.
-- 
--------------------------------------------------------------
                      <=============\
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\
      X     |              < \                 -- <\    ()/()
    _/ \_  /^\           Paragliding            ()/()
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
Work  : <frank@ead-systeme.de>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jun 23 08:53:55 1998
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Date: Tue, 23 Jun 1998 10:53:55 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806230853.KAA06529@sunick.gmd.de>
To: mutex@gmd.de, frank@ead-systeme.de
Subject: Re: M-Tx slur and lyrics?
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> Date: Tue, 23 Jun 1998 08:08:04 +0200
> From: Frank Stefani <frank@ead-systeme.de>

> I want to slur some notes which belong to a single lyrics
> syllable as follows
> 
>         |        |         |        |
>       _ |      _ |       _ |      _ |
>      (_)|     (_)|      (_)|     (_)|
>        \______/ \_______/ \______/

No problem with PMX e.g.

1 1 4 4 4 4 0 0 0 3 20 0

t
./
   f44  s f  s  s  f s s f s  |
(  f44  ( f  )  (  f )   f )  |
(1 f44  (2 f )1 (3 f )2  f )3 /

I don't know M-Tx; but maybe you have to use something like ")(".

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Tue Jun 23 10:06:37 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806231006.MAA31552@calvyn.puk.ac.za>
Subject: Re: M-Tx slur and lyrics?
To: frank@ead-systeme.de (Frank Stefani)
Date: Tue, 23 Jun 1998 12:06:37 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <358F4644.4440C033@ead-systeme.de> from "Frank Stefani" at Jun 23, 98 08:08:04 am
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Frank Stefani wrote:
> 
> Greetings to all from the german alps :-)
> 
> I want to slur some notes which belong to a single lyrics
> syllable as follows
> 
>         |        |         |        |
>       _ |      _ |       _ |      _ |
>      (_)|     (_)|      (_)|     (_)|
>        \______/ \_______/ \______/
> 
> 
> If it matters: The pitch changes at the last note. Any help
> appreciated, thank you for your hints,
> 

Try e.g.

( a a )( a )( c )  c0
L: A-men.

Dirk

From mutex-owner@mail2.gmd.de Tue Jun 23 10:12:08 1998
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Date: Tue, 23 Jun 1998 12:12:08 +0200
From: Frank Stefani <frank@ead-systeme.de>
Organization: EAD-Systeme GmbH
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Mime-Version: 1.0
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: M-Tx slur and lyrics?
References: <199806230853.KAA06529@sunick.gmd.de>
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Werner Icking wrote:
> 
> > Date: Tue, 23 Jun 1998 08:08:04 +0200
> > From: Frank Stefani <frank@ead-systeme.de>
> 
> > I want to slur some notes which belong to a single lyrics
> > syllable as follows
> >
> >         |        |         |        |
> >       _ |      _ |       _ |      _ |
> >      (_)|     (_)|      (_)|     (_)|
> >        \______/ \_______/ \______/
> 
> No problem with PMX e.g.
> 
> 1 1 4 4 4 4 0 0 0 3 20 0
> 
> t
> ./
>    f44  s f  s  s  f s s f s  |
> (  f44  ( f  )  (  f )   f )  |
> (1 f44  (2 f )1 (3 f )2  f )3 /
>
> I don't know M-Tx; but maybe you have to use something like ")(".
> 

Thank you for your effort, but this looks very strange to me 8^[
Due to my lack of PMX/MusixTeX knowledge, I would VERY MUCH
LIKE a M-Tx solution. But thanks again, Werner, you are always
very helpful!

So -- any M-Tx solutions out there??


Frank.
-- 
---------------------------------------------------------------
     _/_/_/_/     _/_/     _/_/_/    EAD-Systeme GmbH
    _/          _/  _/    _/    _/   Nachfeldstr. 4
   _/_/_/     _/    _/   _/     _/   D-82490 Farchant, Germany
  _/        _/_/_/_/_/  _/     _/    Phone: +49 8821 9623-0
 _/_/_/_/ _/        _/ _/_/_/_/      Fax: +49 8821 9623-20
---------------------------------------------------------------
Email: Frank.Stefani@ead-systeme.de
---------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jun 23 11:41:46 1998
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Date: Tue, 23 Jun 1998 13:41:46 +0200
From: Frank Stefani <frank@ead-systeme.de>
Organization: EAD-Systeme GmbH
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: THANKS (was: M-Tx slur and lyrics?)
References: <199806231006.MAA31552@calvyn.puk.ac.za>
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Dirk Laurie wrote:
> 
> Frank Stefani wrote:
> >
> > Greetings to all from the german alps :-)
> >
> > I want to slur some notes which belong to a single lyrics
> > syllable as follows
> >
> >         |        |         |        |
> >       _ |      _ |       _ |      _ |
> >      (_)|     (_)|      (_)|     (_)|
> >        \______/ \_______/ \______/
> >
> >
> > If it matters: The pitch changes at the last note. Any help
> > appreciated, thank you for your hints,
> >
> 
> Try e.g.
> 
> ( a a )( a )( c )  c0
> L: A-men.
> 
> Dirk

Thank you all for your immediate help. M-Tx is really pretty
comfortable and easy to use!

I simply didn't realize that "( ...)( ...)" is allowed, because
thus one must keep a space between brace/bracket and notes.

Frank.
-- 
---------------------------------------------------------------
     _/_/_/_/     _/_/     _/_/_/    EAD-Systeme GmbH
    _/          _/  _/    _/    _/   Nachfeldstr. 4
   _/_/_/     _/    _/   _/     _/   D-82490 Farchant, Germany
  _/        _/_/_/_/_/  _/     _/    Phone: +49 8821 9623-0
 _/_/_/_/ _/        _/ _/_/_/_/      Fax: +49 8821 9623-20
---------------------------------------------------------------
Email: Frank.Stefani@ead-systeme.de
---------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Jun 24 08:49:36 1998
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Date: Wed, 24 Jun 1998 10:49:36 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: Missing pmx/M-tx features
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I'm missing a few M-tx/pmx features:

1. In the M-tx SATB4 style I want to have an octave-down symbol added to
the G cleff in the tenor part. 

2. I want to replace the pmx page numbering on the top of the page with
a numbering at the bottom of the page.

How do I achieve these extras ? 
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Wed Jun 24 15:19:50 1998
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To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: Missing pmx/M-tx features
References: <199806241322.PAA06741@sunick.gmd.de>
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Werner Icking wrote:

> > Date: Wed, 24 Jun 1998 10:49:36 +0200
> > From: Christian Mondrup <scancm@biobase.dk>
> >
> > I'm missing a few M-tx/pmx features:
>
> Following MusiXTeX at a convenient place may help (PMX-notation):
>
> > 1. In the M-tx SATB4 style I want to have an octave-down symbol added to
> > the G cleff in the tenor part.
>
> \\settrebleclefsymbol2\treblelowoct\
>
> (I assume that the tenor part is the 2nd voice from the bottom and
>  that it normally uses the trebleclef)
>
> > 2. I want to replace the pmx page numbering on the top of the page with
> > a numbering at the bottom of the page.
>
> \\footline{\hss\folio\hss}\headline{\hfill}\
>
> > How do I achieve these extras ?
>
> Maybe that there is direct M-Tx solution.
>
> Both "extras" are untested. So please complain, if they do not work.

They certainly do. Das hilft wirklich :-)

> Otherwise and if there is not presented a better solution feel free
> to propagate these to the list.
>

Hereby done.

> -- Werner

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Jun 24 17:34:31 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806241734.TAA06885@calvyn.puk.ac.za>
Subject: Re: Page layout (was: Missing pmx/M-tx features)
To: scancm@biobase.dk (Christian Mondrup)
Date: Wed, 24 Jun 1998 19:34:31 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <3590BDA0.6A789ECD@biobase.dk> from "Christian Mondrup" at Jun 24, 98 10:49:36 am
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Christian Mondrup wrote:
> 
> 2. I want to replace the pmx page numbering on the top of the page with
> a numbering at the bottom of the page.
> 
One way to get more control over layout is to put your TeX file
through the tex2ex script and then to input it into LaTeX.  The
LaTeX file looks something like this:

\documentclass{article}
\usepackage{musixtex,mtxdoc}
\pagestyle{empty}
\renewcommand{\BIGfont}{\medtype\bf}
\renewcommand{\Bigfont}{\normtype\bf}
\renewcommand{\writebarno}{\rule{0pt}{12pt}}
\oddsidemargin -13mm
\begin{document}
\input{mymusic.ex} 
\end{document}

In this example I have redefined the fonts used for title and 
composer (lines 3 and 4), suppressed page numbers (line 5)
and bar numbers (line 6 -- the bar number is replaced by an 
invisible strut of height 12pt).  But you have the full power 
of LaTeX2e available to do whatever you like to the layout.  

Dirk

From mutex-owner@mail2.gmd.de Wed Jun 24 20:57:22 1998
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Date: Wed, 24 Jun 1998 22:57:22 +0200
Reply-To: "Frank Stefani (EAD)" <frank@ead-systeme.de>
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Subject: M-Tx problem with S,A T,B choir
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Hi all,

the included M-Tx source shows a four voice gospel song. I'm
unable to notate this with S and A voices in the first and
T and B in the second staff:

   /
   | Soprano and Alto notes
   |   lyrics ... lyrics ... lyrics
   | Tenor and Bass notes
   \

The error message is

--- snip ---------
[ ... PrePMX run output deleted ...]
=== RUNNING MUSIXTEX: 1st pass (tex) ===
This is TeX, Version 3.14159 (C version 6.1)
(FollowersOfChrist.tex
Babel <v3.6h> and hyphenation patterns for american, german, loaded.
M-Tx 0.40 (Music from TeXt) <8 June 1998>
(/usr/lib/teTeX/texmf/tex/generic/musixtex/musixtex.tex
MusiXTeX(c) T.84 <20 December 1997>
) (/home/frank/.TeX/pmx.tex
PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
) (/home/frank/.TeX/musixlyr.tex
MusiXLYRics 1.1 <18 December 1997>
) (/usr/lib/teTeX/texmf/tex/generic/musixtex/musixtex.tex)
(/home/frank/.TeX/pmx.tex)
(/usr/lib/teTeX/texmf/tex/generic/musixtex/musixmad.tex
(/usr/lib/teTeX/texmf/tex/generic/musixtex/musixadd.tex
MusiXADDitional instruments T.79 <24 September 1997>
)
MusiXMore ADditional instruments T.79 <24 September 1997>
)
! Undefined control sequence.
l.43 \NOTEsp\lifthpausep
                        {-2}\nextvoice\lifthpausep1&\lifthpausep{-2}%
?  
--- snap ---------

After this first error a lot of similar lines appear. I find
it strange that everything runs without an error if I put
every voice (S, A, T and B) in a single staff. The problem
only occurs with

  Style: Choir
  Choir: Voices S,A T,B; Choral Continuo; Clefs G F

not with

  Style: Choir
  Choir: Voices S A T B; Choral Continuo; Clefs G G F F

notation. So I'm really clueless. I hope someone can
give me an idea of what's wrong with my source, see below.

--- snip ---------
Title: Followers Of Christ
Composer: Satz: Peter Sandwall
Style: Choir
Choir: Voices S,A T,B; Choral Continuo; Clefs G F
Systems: 4
Pages: 1
Size: 16
Sharps: 2
Meter: 4/4
Options: b

%%w160m

%Takt 1
S: r2d r8 d8  | f4 a8 ( a a4 ) r8 a | b4 b8 ( a a4 ) ( g8 a ) | a2d r4 |
A: r2d r8 b8- | d4 f8 ( f f4 ) r8 f | g4 g8 ( f f4 ) ( e8 f ) | f2d r4 |
L: I wan-na be a foll-o-wer of Christ.
T: r2d r8 g8  | a4 d8 ( d d4 ) r8 d | d4 d8 ( d d4 ) ( b8 d ) | d2d r4 |
B: r2d r8 a8- | d4 d8 ( d d4 ) r8 d | d4 d8 ( d d4 ) ( a8 d ) | d2d r4 |

%Takt 5
S: r2d r8 d8- | ( f a ) a ( a a4 ) r | b4 b a f8 ( f e ) e4d r2 |
A: r2d r8 b8- | ( d f ) f ( f f4 ) r | g4 g f d8 ( d c ) c4d r2 |
L: I wan-na be one of his dis-cip-les.
T: r2d r8 g8- | ( a d ) d ( d d4 ) r | e4 e d b8 ( b a ) a4d r2 |
B: r2d r8 a8- | ( d d ) d ( d d4 ) r | g4 g f e8 ( e a ) a4d r2 |

%Takt 9
S: r2d r8 d8 | ( f a ) a ( a a ) r a a | b4 a g ( a a )( d2d )( d2 ) r4d
a8 |
A: r2d r8 b8 | ( d f ) f ( f f ) r f f | g4 f e ( f f )( a2d )( a2 ) r4d
f8 |
L: I wan-na walk in his beau-ti-ful light. So
T: r2d r8 g8 | ( a d ) d ( d d ) r d d | e4 d b ( d d )( f2d )( f2 ) r4d
d8 |
B: r2d r8 a8 | ( d d ) d ( d d ) r f f | g4 f e ( d d )( d2d )( d2 ) r4d
d8 |

%Takt 13
S: b4 b8 ( a a4 ) r8 f | g4 g8 ( f f4 ) ( e8 d ) | d0 ||
A: g4 g8 ( f f4 ) r8 d | e4 e8 ( d d4 ) ( c8 b ) | a0 ||
L: let me be a foll-o-wer of Christ.
T: e4 e8 ( d d4 ) r8 a | b4 b8 ( a a4 ) ( g8 f ) | f0 ||
B: g4 g8 ( f f4 ) r8 f | e4 e8 ( a- a4 ) ( a8 d ) | d0 ||

%Takt 16
S: r2 a8+ a a4 | b b8 ( b b4d )( b8 ) | r2 b8 b b4 | b a8 ( a a2 ) |
A: r2 f8+ f f4 | g g8 ( g g4d )( g8 ) | r2 g8 g g4 | g f8 ( f f2 ) |
L: What do I have to do, what do I have to say,
T: r2 d8+ d d4 | d d8 ( ds d4d )( e8 ) | r2 c8 c c4 | e d8 ( d d2 ) |
B: r2 d8 d d4 | g g8 ( g g4d )( g8 ) | r2 a8 a a4 | d- d8 ( d d2 ) |

%Takt 20
S: r2 a8 a a4 | b a8 ( a a2 ) | r2 b4 b | b a8 ( a a2 ) |
A: r2 f8 f f4 | f e8 ( e e2 ) | r2 g4 g | g f8 ( f f2 ) |
L: how do I have to walk each and ev'-ry day?
T: r2 d8 d d4 | d c8 ( c c2 ) | r2 e4 e | e d8 ( d d2 ) |
B: r2 b8 b b4 | a a8 ( a a2 ) | r2 a4 a | d d8 ( d d2 ) |

%Takt 24
S: r2 a8 a a4 | b4 b8 ( b b4d )( b8 ) | r2 b4 b | b a r f | f2 r4d a8 |
A: r2 f8 f f4 | g4 g8 ( g g4d )( g8 ) | r2 g4 g | g f r e | d2s r4d f8 |
L: Tell me what does it cost, if I car-ry the cross? So
T: r2 d8 d d4 | d4 d8 ( ds d4d )( e8 ) | r2 c4 c | e d r a | b2 r4d b8 |
B: r2 d8 d d4 | g4 g8 ( g g4d )( g8 ) | r2 a4 a | d d r cn | b2 r4d d8s
|

%Takt 28
S: b4 b8 ( a a4 ) r8 f | g4 g8 ( f f4 ) ( e8 d ) | d2 r2 | r2 r4 ||
A: g4 g8 ( f f4 ) r8 ds | e4 e8 ( d d4 ) ( c8 b ) | a2 r2 | r2 r4 ||
L: let me be a foll-o-wer of Christ!
T: d4 d8 ( cn c4 ) r8 c | b4 b8 ( a a4 ) ( g8 f ) | f2 r2 | r2 r4 ||
B: e4 e8 ( d d4 ) r8 d | g4 g8 ( a a4 ) ( a8- d ) | d2 r2 | r2 r4 ||
--- snap ---------

Thanks in advance for any help,
Frank.
--------------------------------------------------------------
                      <=============\                        
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\   
      X     |              < \                 -- <\    ()/() 
    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
        <frank@ead-systeme.de>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Jun 25 08:00:02 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199806250800.KAA10094@calvyn.puk.ac.za>
Subject: Re: Undefined control sequence 
To: frank@ead-systeme.de (Frank Stefani)
Date: Thu, 25 Jun 1998 10:00:02 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <358F947A.55B5D246@ead-systeme.de> from "Frank Stefani" at Jun 23, 98 01:41:46 pm
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Frank Stefani wrote:

) (/home/frank/.TeX/pmx.tex
> PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
) (/home/frank/.TeX/musixlyr.tex
MusiXLYRics 1.1 <18 December 1997>
) (/usr/lib/teTeX/texmf/tex/generic/musixtex/musixtex.tex)
(/home/frank/.TeX/pmx.tex)
(/usr/lib/teTeX/texmf/tex/generic/musixtex/musixmad.tex
(/usr/lib/teTeX/texmf/tex/generic/musixtex/musixadd.tex
MusiXADDitional instruments T.79 <24 September 1997>
)
MusiXMore ADditional instruments T.79 <24 September 1997>
)
! Undefined control sequence.
l.43 \NOTEsp\lifthpausep
                        {-2}\nextvoice\lifthpausep1&\lifthpausep{-2}%
?  

Your pmxa/pmxb is mismatched with your pmx.tex.  If 

grep pmx.tex /usr/lib/teTeX/texmf/ls-R

shows more than one line, then you might have installed
the latest version of pmx.tex somewhere, but the old
version in /home/frank/.TeX/ is found first.  Just deleting
that file, and running texhash as root, should in that case
solve the problem.

Dirk

From mutex-owner@mail2.gmd.de Thu Jun 25 08:38:39 1998
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Date: Thu, 25 Jun 1998 10:38:39 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806250838.KAA06809@sunick.gmd.de>
To: mutex@gmd.de, frank@ead-systeme.de
Subject: Re: M-Tx problem with S,A T,B choir
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> Date: Wed, 24 Jun 1998 22:57:22 +0200
> From: Frank.Stefani@t-online.de (Frank Stefani)
 
> --- snip ---------
[...]
> ) (/home/frank/.TeX/pmx.tex
> PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
                                    ^^^^
Your pmx.tex is outdated.

> After this first error a lot of similar lines appear. I find
> it strange that everything runs without an error if I put
> every voice (S, A, T and B) in a single staff. [...]

That's not strange. In that case no "hpausep" have to be lifted.

[...]
> Title: Followers Of Christ
> Composer: Satz: Peter Sandwall
> Style: Choir
> Choir: Voices S,A T,B; Choral Continuo; Clefs G F

If the work is finished, do you upload it to  ftp://ftp.gmd.de/incoming/music/ ?

-- Werner

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Date: Thu, 25 Jun 1998 10:19:44 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: M-Tx problem with S,A T,B choir
References: <35916832.C4163CB1@gap.baynet.de>
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Frank Stefani wrote:

> Hi all,
>
> the included M-Tx source shows a four voice gospel song. I'm
> unable to notate this with S and A voices in the first and
> T and B in the second staff:
>
>    /
>    | Soprano and Alto notes
>    |   lyrics ... lyrics ... lyrics
>    | Tenor and Bass notes
>    \
>
> The error message is
>
> --- snip ---------

Tex err msgs

> --- snap ---------
>
> After this first error a lot of similar lines appear. I find
> it strange that everything runs without an error if I put
> every voice (S, A, T and B) in a single staff. The problem
> only occurs with
>
>   Style: Choir
>   Choir: Voices S,A T,B; Choral Continuo; Clefs G F
>
> not with
>
>   Style: Choir
>   Choir: Voices S A T B; Choral Continuo; Clefs G G F F
>
> notation. So I'm really clueless. I hope someone can
> give me an idea of what's wrong with my source, see below.
>

M-Tx doesn't know what to do with your S:, A:, T: and B: labels. The voices
are defined - as you have done - in the preamble. Just remove them from your
music paragraph and M-Tx/pmx/TeX will do their jobs.

BTW you don't need to invent the Choir style. The predefined SATB does the
same.

> --- snip ---------

old M-tx code

> --- snap ---------

After having processed your file I had a look at your score. There were some
octave errors due to erroneous or lacking +/- s. I have corrected them in my
proposals below.

I suggest you replace your first full bar with a pickup especially as your
last bar contains only three beats to compensate for the pickup bar. In the
last bar you have to explicitly set the thin-thick ending barline symbol |]
because  of the lacking beat. The pickup bar is counted by M-Tx as bar 0.

Your music distributed on 4 systems gives too little room for the text. You
should require - at least - 5 systems.

In bar 27 (your bar 28) the distance between soprano and alto in the last
beat is a second. You should
handle this interval by moving the alto to the right by adding 'r' to the
lower (alto) note.

Explicit rests for all parts in a SATB score don't look nice. In the two
first bars in my proposal I have suppressed the rests of the lower part in
each staff and moved the rest in the upper part one step down. I suggest you
do that for the whole score.

In bars 17 and 25 (your bars 18 and 26) I have replaced your tied dotted
quarter- and eighthnotes with a single half notes in all parts apart from
the tenor moving upwards on the eighthnote. As a general rule - that does
not always apply :-) - you should reduce the number note symbols to the
fewest possible.

As far as I can see you're not the composer of the arrangement. If you know
him AND he is not easily offended :-) you should ask him to reconsider the
parallel octaves and fifths in his arrangement, e.g. bar 6. Such parallels
may be impressive in some stylistic contexts, but in a spiritual arrangement
like the current I would definitely avoid them.

--- My proposals ---
Title: Followers Of Christ
Composer: Satz: Peter Sandwall
Style: SATB
Systems: 5
Pages: 1
Size: 16
Sharps: 2
Meter: 4/4
Options: b

%%w160m
%Takt 1
d8  | f4 a8 ( a a4 ) r8-1 a | b4 b8 ( a a4 ) ( g8 a ) | a2d r4-1 |
b8- | d4 f8 ( f f4 ) r8b f | g4 g8 ( f f4 ) ( e8 f ) | f2d r4b |
L: I wan-na be a foll-o-wer of Christ.
g8  | a4 d8 ( d d4 ) r8-1 d | d4 d8 ( d d4 ) ( b8 d ) | d2d r4-1 |
a8- | d4 d8 ( d d4 ) r8b d | d4 d8 ( d d4 ) ( a8 d ) | d2d r4b |

%Takt 5
r2d r8 d8- | ( f a ) a ( a a4 ) r | b4 b a f8 ( f e ) e4d r2 |
r2d r8 b8- | ( d f ) f ( f f4 ) r | g4 g f d8 ( d c ) c4d r2 |
L: I wan-na be one of his dis-cip-les.
r2d r8 g8- | ( a d ) d ( d d4 ) r | e4 e d b8 ( b a ) a4d r2 |
r2d r8 a8 | ( d d ) d ( d d4 ) r | g4 g f e8 ( e a ) a4d r2 |

%Takt 9
r2d r8 d8 | ( f a ) a ( a a ) r a a | b4 a g ( a a )( d2d )( d2 ) r4d a8 |
r2d r8 b8 | ( d f ) f ( f f ) r f f | g4 f e ( f f )( a2d )( a2 ) r4d f8 |
L: I wan-na walk in his beau-ti-ful light. So
r2d r8 g8 | ( a d ) d ( d d ) r d d | e4 d b ( d d )( f2d )( f2 ) r4d d8 |
r2d r8 a8- | ( d d ) d ( d d ) r f f | g4 f e ( d d )( d2d )( d2 ) r4d d8 |

%Takt 13
b4 b8 ( a a4 ) r8 f | g4 g8 ( f f4 ) ( e8 d ) | d0 ||
g4 g8 ( f f4 ) r8 d | e4 e8 ( d d4 ) ( c8 b ) | a0 ||
L: let me be a foll-o-wer of Christ.
e4 e8 ( d d4 ) r8 a | b4 b8 ( a a4 ) ( g8 f ) | f0 ||
g4 g8 ( f f4 ) r8 f | e4 e8 ( a- a4 ) ( a8 d ) | d0 ||

%Takt 16
r2 a8+ a a4 | b b8 ( b b2 ) | r2 b8 b b4 | b a8 ( a a2 ) |
r2 f8+ f f4 | g g8 ( g g2 ) | r2 g8 g g4 | g f8 ( f f2 ) |
L: What do I have to do, what do I have to say,
r2 d8+ d d4 | d d8 ( ds d4d )( e8 ) | r2 c8 c c4 | e d8 ( d d2 ) |
r2 d8 d d4 | g g8 ( g g2 ) | r2 a8 a a4 | d- d8 ( d d2 ) |

%Takt 20
r2 a8 a a4 | b a8 ( a a2 ) | r2 b4 b | b a8 ( a a2 ) |
r2 f8 f f4 | f e8 ( e e2 ) | r2 g4 g | g f8 ( f f2 ) |
L: how do I have to walk each and ev'-ry day?
r2 d8 d d4 | d c8 ( c c2 ) | r2 e4 e | e d8 ( d d2 ) |
r2 b8 b b4 | a a8 ( a a2 ) | r2 a4 a | d d8 ( d d2 ) |

%Takt 24
r2 a8 a a4 | b4 b8 ( b b2 ) | r2 b4 b | b a r f | f2 r4d a8 |
r2 f8 f f4 | g4 g8 ( g g2 ) | r2 g4 g | g f r er | d2s r4d f8 |
L: Tell me what does it cost, if I car-ry the cross? So
r2 d8 d d4 | d4 d8 ( ds d4d )( e8 ) | r2 c4 c | e d r a | b2 r4d b8 |
r2 d8 d d4 | g4 g8 ( g g2 ) | r2 a4 a | d- d r cn | b2 r4d d8s |

%Takt 28
b4 b8 ( a a4 ) r8 f | g4 g8 ( f f4 ) ( e8 d ) | d2 r2 | r2 r4 |]
g4 g8 ( f f4 ) r8 ds | e4 e8 ( d d4 ) ( c8 b ) | a2 r2 | r2 r4 |]
L: let me be a foll-o-wer of Christ!
d4 d8 ( cn c4 ) r8 c | b4 b8 ( a a4 ) ( g8 f ) | f2 r2 | r2 r4 |]
e4 e8 ( d d4 ) r8 d | g4 g8 ( a a4 ) ( a8- d ) | d2 r2 | r2 r4 |]
--- end proposals

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Thu Jun 25 15:32:52 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: M-Tx problem with S,A T,B choir
To: scancm@biobase.dk
Date: Thu, 25 Jun 1998 17:32:52 +0200 (SAT)
Cc: frank@ead-systeme.de, mutex@gmd.de
In-Reply-To: <3592081F.9225F679@biobase.dk> from "Christian Mondrup" at Jun 25, 98 10:19:44 am
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Christian Mondrup wrote, in answer to a query from frank Stefani:
> 
> M-Tx doesn't know what to do with your S:, A:, T: and B: labels. The voices
> are defined - as you have done - in the preamble. Just remove them from your
> music paragraph and M-Tx/pmx/TeX will do their jobs.
> 
True that they are unnecessary, but they won't confuse M-Tx if kept in.

> I suggest you replace your first full bar with a pickup especially as your
> last bar contains only three beats to compensate for the pickup bar. In the
> last bar you have to explicitly set the thin-thick ending barline symbol |]
> because  of the lacking beat. The pickup bar is counted by M-Tx as bar 0.
> 
The final |] is never necessary - in fact, even if you put it in, M-Tx 0.40a
will ignore it, because PMX 1.3.8 does not like a final RD.

The rest of Christian's post is a model of how one should tidy up
and fine-tune a score.

I really appreciate the fact that M-Tx users are helping each other,
and the two tiny pedantic corrections above does not detract from
the fact that I think Christian has given a very good answer.

-- Dirk Laurie

From mutex-owner@mail2.gmd.de Thu Jun 25 18:27:26 1998
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To: mutex@gmd.de
Subject: \treblelowoct
From: stk@snafu.de (Stefan Haller)
Date: Thu, 25 Jun 1998 20:27:26 +0200
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Since it just came up here:

When using \treblelowoct, personally I feel that the small "8" is too
close to the clef.  For the specific case of 20 pt music size, I had to
change it to

    \def\treblelowoct{\trebleclef\raise -7.5\internote
        \hbox to 0pt{\smalltype\it\kern -2.3\Interligne 8\hss}}

For other music sizes, the adjustments (and the point size for the
small=A08) will probably have to be slightly different; I didn't look
into this.

Am I alone with this opinion?


--=20
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Thu Jun 25 19:39:49 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: stk@snafu.de (Stefan Haller)
> Date: Thu, 25 Jun 1998 20:27:26 +0200

> When using \treblelowoct, personally I feel that the small "8" is too
> close to the clef. [...]

It should be as near as possible to the clef to avoid any confusion
(e.g. with bar numbers or as belonging to the clef in the next line, ...)

From mutex-owner@mail2.gmd.de Thu Jun 25 20:10:24 1998
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Date: Thu, 25 Jun 1998 22:10:24 +0200
From: Frank Stefani <F.Stefani@gap.baynet.de>
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To finalize this thread: I want to thank all the nice people
out there who did a great job on keeping me going with M-Tx.
Thank you all (esp. Werner, Dirk and Christian) and keep up
the good work!

Frank.
-- 
--------------------------------------------------------------
                      <=============\                        
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\   
      X     |              < \                 -- <\    ()/() 
    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
        <frank@ead-systeme.de>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------



From mutex-owner@mail2.gmd.de Sat Jun 27 09:21:43 1998
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To: mutex@gmd.de
In-Reply-To: <199806251939.VAA08098@sunick.gmd.de>
Subject: Re: \treblelowoct
From: stk@snafu.de (Stefan Haller)
Date: Sat, 27 Jun 1998 11:21:43 +0200
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Werner Icking <Werner.Icking@gmd.de> wrote:

> > When using \treblelowoct, personally I feel that the small "8" is too
> > close to the clef. [...]
> 
> It should be as near as possible to the clef to avoid any confusion
> (e.g. with bar numbers or as belonging to the clef in the next line, ...)

Of course; but with the original definition in musixtex.tex the clef and
the 8 overlap, which looks ugly.  Please compare this with examples in
engraved music.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

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<FONT COLOR="#0000ff" SIZE=3><I>Especially if you're a homeowner, we can help you.  Try us! </FONT><FONT COLOR="#000000" SIZE=3></B></I>

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From mutex-owner@mail2.gmd.de Sat Jun 27 08:39:01 1998
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Date: Sat, 27 Jun 1998 10:39:01 +0200
To: mutex@gmd.de
From: jan.doumen@skynet.be (Jan Doumen)
Subject: Repeats per instrument and being back
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Hi all,

== in short
attached the result of a few hours playing around with MusicTeX. 
There are a few things which I don't seem to get working, or of which
I don't know how to do it.
1) How can I prevent the repeat bars to be automatically extended over all
   instruments? I'd like to have the thick bar without the two dots for the
   lower three lines
2) How do I get the flat-symbol into a \xcharnote?
3) The copyright symbol only shows a circle, possibly a wrong setup of
   TeX, but any clue to what exactely might be wrong?

== a bit more extended
I'm quite pleased with the fast result I got when trying to make this
special score. I've tried different 'heavy' windows score programs, but
neither of them could do what I was able to produce in a few hours with
MusicTeX.
The score is a notation for squeezebox players. Squeezeboxes (diatonic
accordons) are the small strange wooden boxes with only two (or three)
rows of buttons on the right side, and 8 buttons on the left side. They
are diatonic, with a limited set of notes, and bisonoric, meaning that
pushing and pulling produce different notes.
Since many squeezebox players can't read notes (it is getting time they
learn it!), different notations have been developped. The one in the
attachement being one of them.
The upper staff needs no explanation, that is for normal musicians. ;-)
The two staffs denoted as 'C' and 'F' are the two rows of buttons, one
in C and one in F. The numbers are just the numbers of the buttons,
pushed for the plain numbers, pulled when denoted with an asterix. The
buttom staff is the bass side, with the notes being the rhythm, and
the letters the chord names.
As you can see, the repeat bars are quite enoying (and useless) for
the middle two staffs. I would like the remove the two dots.
The second letter in Bb and bb should be replaced by a flat symbol,
preferable in superscript.

== The history
I'm quite amazed to see the current state of the whole MusicTeX project. I 
had been playing around with the program somewhere in the beginning of this
decenium. The manual I have here next to me is from version 4.7, dated
23 July 1992, and counting 43 pages. At that time I didn't have access
to a UNIX system at home, and at work I had a UNIX machine, but no
postscript or dvi viewer. I can tell you that I used a lot of paper
before I achieved some reasonable results.
Time flies ... now I finally have a Linux box at home, with Xwindows
running on it. A few weeks ago I downloaded MusicTeX again and installed
it on my PC. The manual contains a date of 1996, if I'm not mistaken.
Not too much had changed in the years which passed. But now that I have
a dvi viewer, I quickly got the hang of it again and produced the thingie
attached to this mail.
But, to my suprise, today I found out that MusicTeX is outdated and has
been replaced with MusiXTeX ... MuTeX, MusicTeX, MusiXTeX ... names are
changing fast. I only downloaded the manual in postscript format, and ...
well ... what can I say? A 120 page manual is a sign of major improvement,
enhancements, extensions, ... I definately will install it this week,
and I'm really looking forward to start using it in 'production'.
Congratulations to the developpers: a splendid job !!! Thanks for making
all this publically available.
Apparently the amount of members of the mutex discussion group has 
increased tremedously too, so, to those who were here 6 years ago,
I'm back!, and to the others, hi!

Greetings,

\input musicnft
\input musictex
\input musicsty
\input musicper
\input musicvbm
%
\vsize=264mm
\hsize=18.5cm
\parindent 10mm
\vskip -3cm
%
\bigskip
\bigskip
\centerline{\enorme Honing}
\bigskip
\bigskip
\line{Merchtem, 1996\hss Jan DOUMEN}
\bigskip
\bigskip
%
\def\nbinstruments{4}     % We pretend as if we have four instruments
\def\instrumentiii{F}
\def\instrumentii{C}
\def\instrumenti{Bass}
%
\def\stafflinesnbi{1}     % Only the upper staff (iv) is left with five lines,
\def\stafflinesnbii{1}    %   the others are converted to staffs with only
\def\stafflinesnbiii{1}   %   one line
%
\cleftoksiv={0000}        % Only the upper staff contains a normal sol (G)
clef
\def\clefdesoli{\relax}   %
\def\clefdesolii{\relax}  % All the others have no cleff at al
\def\clefdesoliii{\relax} %
%
\interinstrument=-40pt    % The manual says we shouldn't us negative numbers 
                          % here but I don't know any other solution for 
                          % bringing the lower 3 staffs closer to each other
                          % And we do want some more space between the lower
                          % three and the upper one
\def\interinstrumentiii{-25pt}
%
\generalmeter{\meterfrac 44}
\metertoksi={{}{}{}{}}    % First we put the 4 4 meter, and than we
\metertoksii={{}{}{}{}}   % selectively remove the meters from the lower
\metertoksiii={{}{}{}{}}  % 3 staffs
\generalsignature{-1}     % And one mol 
\signi=0
\signii=0
\signiii=0
%
\normal                   % Ask for normal note spacing
%
\def\interfacteur{12}
%
% Macros
%
\def\cbas#1{\zcharnote f{#1}\cl c}%
\def\num#1{\zcharnote f{#1}}%
%
\debutmorceau\large
%
% from here on notes
%
%%%% Maat 1 %%%%%
%
\elemskip=10pt
\notes
     \cbas{F}& &\num{6} &\ibu0h4\qh0f
\enotes
\notes
     \cbas{f}& &\num{8} &\tbu0\qh0j%
\enotes
\notes
     \cbas{C}&\num{6} & &\ibu0e4\qh0c
\enotes
\notes
     \cbas{c}&\num{6} & &\tbu0\qh0g
\enotes
\notes
     \cbas{D}&\num{7*} & &\ibu0e4\qh0d
\enotes
\notes
     \cbas{dm}&\num{8*} & &\tbu0\qh0f
\enotes
\notes
     \cbas{Bb}&\num{8*} & &\ibu0g4\qh0f
\enotes
\notes
     \cbas{bb}&\num{9*} & &\tbu0\qh0i
\enotes\xbarre
%
%%%%% Maat 2 %%%%%
%
\notes
      \cbas{F} & & &\ibu0i{-4}\qh0j
\enotes
\notes
      \cbas{f} & & &\tbu0\qh0h
\enotes
\notes
      \cbas{C} & & &\ibu0f4\qh0e
\enotes
\notes
      \cbas{c} & & &\tbu0\qh0g
\enotes
\notes
      \cbas{C} & & &\ibu0j0\qh0f
\enotes
\notes
      \cbas{c} & & &\nbbu0\zq j\qh0f\tbu0\zq j\qh0f
\enotes
\notes
      \cbas{C} & & &\ibu0j0\qh0j
\enotes
\notes
      \cbas{c} & & &\tbu0\qh0j
\enotes
\setleftrightrepeat
\xbarre
%
%%%%% Maat 3 %%%%%
%
\elemskip=8pt
\notes
      \cbas{F} & & &\ibbu0h{-3}\qh0{jh}
\enotes
\notes
      \cbas{f} & & &\qh0f\tbu0\qh0h
\enotes
\notes
      \cbas{C} & & &\ibbu0e3\qh0{ce}
\enotes
\notes
      \cbas{c} & & &\qh0g\tbu0\qh0e
\enotes
\notes
      \cbas{D} & & &\ibbu0f3\qh0{df}
\enotes
\notes
      \cbas{dm} & & &\qh0h\tbu0\qh0f
\enotes
\notes
      \cbas{Bb} & & &\ibbu0f3\qh0{df}
\enotes
\notes
      \cbas{bb} & & &\qh0i\tbu0\qh0f
\enotes
%\notes
%      \cl c\cl a\cl a\cl a\cl a\cl a\cl a\cl a
%     &
%     &\num{G}
%     &\ibbu0h3\qh0{fhj}\tbu0\qh0h
%      \ibbu0g3\qh0{egi}\tbu0\qh0g
%      \ibbu0f3\qh0{dfh}\tbu0\qh0f
%      \ibu0:0\qh0f\nbbu0\zq j\qh0f\tbu0\zq j\qh0f
%\barre
\finmorceau
\bigskip
\bigskip
\leftline{\sl J. Doumen \rm$\copyright$ 1993}
\eject
\bye

--
DeJean

Where is the largest chips-stand of the world?
On the border of Holland with France.

From mutex-owner@mail2.gmd.de Mon Jun 29 09:11:38 1998
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From: JHB NIJHOF <j.h.b.nijhof@aston.ac.uk>
To: jan.doumen@skynet.be
Cc: mutex@gmd.de
In-Reply-To: <3.0.5.32.19980627103901.007b2d40@pop.skynet.be>
	(jan.doumen@skynet.be)
Subject: Re: Repeats per instrument and being back
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Hello Jan,
> 
> == in short
> attached the result of a few hours playing around with MusicTeX. 
> There are a few things which I don't seem to get working, or of which
> I don't know how to do it.
> 1) How can I prevent the repeat bars to be automatically extended over all
>    instruments? I'd like to have the thick bar without the two dots for the
>    lower three lines
Don't know.
> 2) How do I get the flat-symbol into a \xcharnote?
I don't know how you can get the flat sign from the MusicTeX font,
but you can get plain TeX's flat sign by $\flat$:  \cbas{B$\flat$}
> 3) The copyright symbol only shows a circle, possibly a wrong setup of
>    TeX, but any clue to what exactely might be wrong?
Using xdvi, I guess? It will warn you 
'overstrike characters may be incorrect.': the (c) is constructed
from a c and a circle, and xdvi overprints black with white as well
(optimised for speed). It should be alright when you print it.
If you want it to be alright on the screen as well 
use xdvi -thorough (assuming you use xdvi).

-- 
Jeroen Nijhof      J.H.B.Nijhof@aston.ac.uk 
Accordion Links    http://www-th.phys.rug.nl/~nijhojhb/accordions.html

From mutex-owner@mail2.gmd.de Mon Jun 29 17:15:03 1998
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Date: Mon, 29 Jun 1998 15:15:03 -0200
From: taupin <taupin@lps.u-psud.fr>
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To: JHB NIJHOF <j.h.b.nijhof@aston.ac.uk>
Cc: jan.doumen@skynet.be, mutex@gmd.de
Subject: Re: Repeats per instrument and being back
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JHB NIJHOF wrote:
>=20
> Hello Jan,
> >
> > =3D=3D in short
> > attached the result of a few hours playing around with MusicTeX.
> > There are a few things which I don't seem to get working, or of which
> > I don't know how to do it.
> > 1) How can I prevent the repeat bars to be automatically extended ove=
r all
> >    instruments? I'd like to have the thick bar without the two dots f=
or the
> >    lower three lines
> Don't know.

Not possible: repeats are for all instruments. Otherwise, you must
provide separate scores for those who repeat and those who continue...
regardless of the musical sense of such a way of doing.

> > 2) How do I get the flat-symbol into a \xcharnote?
> I don't know how you can get the flat sign from the MusicTeX font,
> but you can get plain TeX's flat sign by $\flat$:  \cbas{B$\flat$}

There is probably an example in the manaul. Look at its source.



------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jun 29 14:39:23 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199806291439.QAA10110@sg10.chem.tue.nl>
Subject: MusiXTeX, musixper: more noteheads?
To: mutex@gmd.de (MusiXTeX mailing list)
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Hi,

I really like the \rocu,\roqu etc. notes in musixper to indicate guitar
strums. The problem I have is that I would like to use half and whole
notes, which are not in the package, as far as I know. All noteheads in
the package are filled black.

Is there a way to get open noteheads to make half and whole notes like:

     |
     |
     |
   __|        __
  / /        / /
 / /        / /
/_/   and  /_/    ?

I'm using MusiXTeX(c) T.84 and MusiXPERcussion T.60.

Thanks for any help you can provide,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Mon Jun 29 17:50:24 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806291750.TAA09346@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Repeats per instrument and being back
Cc: jan.doumen@skynet.be
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> FROM: jan.doumen@skynet.be

> 2) How do I get the flat-symbol into a \xcharnote?

\fl{1}    a flat at pitch 1

The symbol has no spacing!

This works outside \startpiece...\endpiece, too:

   These are four flats ~~\fl{1}~~\fl{1}~~\fl{1}~~\fl{1}.

In the same way one may get other symbols e.g.

   This is an upstem quarter note \zqu{1}~~.

But this requires that at least one \startpiece...\endpiece or
\startextract...\endextract has been issued before. You may use a
dummy version:

 \newbox\extract\def\extractline{\setbox\extract\hbox}
 \startextract\endextract

   This is an upstem quarter note \zqu{1}~~.



-- Werner

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Subject: Re: Repeats per instrument and being back
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On Sat, 27 Jun 1998, Jan Doumen wrote:

> 1) How can I prevent the repeat bars to be automatically extended over all
>    instruments? I'd like to have the thick bar without the two dots for the
>    lower three lines

I have also needed "special" repeat behaviour.  I thought that my solution
was too messy to post, but since M Taupin has said it cannot be done,
maybe this will be better than nothing:)

First, I define the repeat characters:

%%%
\def\keychar#1{{\musickeyfont\char#1}}%		from later versions of
MusiX
%
%	first a ``normal'' left-right repeat symbol
%
\def\lrrpt{\hbox{\keychar{126}\kern1pt%			two dots
	\vrule height20pt width 3.2pt\kern1.8pt%	heavy rule
	\vrule height20pt width 3.2pt\kern1pt%		heavy rule, and
	\keychar{126}}}					two dots
%
%	then a version without the dots
%	use \phantom{dots} to keep same width as \lrrpt
%	
\def\lrrptx{\hbox{\phantom{\keychar{126}\kern1pt}%
	\vrule height20pt width 3.2pt\kern1.8pt%
	\vrule height20pt width 3.2pt\kern1pt%
	\phantom{\keychar{126}}}}
%
%	and an extra tall version for F clef
%
\def\lrrptt{\hbox{\phantom{\keychar{126}\kern1pt}%
	\vrule height36pt width 3.2pt\kern1.8pt%
	\vrule height36pt width 3.2pt\kern1pt%
	\phantom{\keychar{126}}}}
%%%

and then, immediately after the \xbarre, add

%%%
\addspace{-1.7\afterruleskip}%
\znotes\lrrptx&\lrrptx&\lrrptt&\lrrpt\enotes
\addspace{1.7\afterruleskip}%
%%%


This gave me successful results with your example, but will probably not
align properly in the general case without changing some of the constants.

:laird pruiksma




From mutex-owner@mail2.gmd.de Mon Jun 29 22:11:43 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199806292211.AAA09512@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Repeats per instrument and being back
Cc: jan.doumen@skynet.be, rosea@umich.edu
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> Date: Mon, 29 Jun 1998 16:38:51 -0400 (EDT)
> From: Rose A Pruiksma <rosea@umich.edu>

> I have also needed "special" repeat behaviour.  I thought that my solution
> was too messy to post, but since M Taupin has said it cannot be done,
> maybe this will be better than nothing:)

:-)

Maybe that Mr. Taupin didn't read his own documentation. Somewhere there
is a section:

    Putting anything anywhere

And that was most impressing for me when I started with MusicTeX, that
in combination with pure TeX anything could be put anywhere.

So this *is* a solution of the problem

> %%%
> \addspace{-1.7\afterruleskip}%
> \znotes\lrrptx&\lrrptx&\lrrptt&\lrrpt\enotes
> \addspace{1.7\afterruleskip}%
> %%%

but not an answer to the original question :-)

> This gave me successful results with your example, but will probably not
> align properly in the general case without changing some of the constants.

Thanks to MusiC/XTeX it can vertically aligned properly, because the
single voices can have their own \off{...}

It's so powerful!

-- Werner


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> Date: Thu, 18 Jun 1998 12:26:12 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>

> Don Simons informed me that a SPAM-mail in the (short) MuTeX hypermail
> archive has been attributed to him, although he didn't send it.
> 
> I'm very sorry about that, because *I* must have made some error when
> removing spam from the MuTeX archives. [...]

I'm very sorry that it happened but I'm lucky that I know now, that
it wasn't me who made the mistake.

It's a Hypermail-feature: If a mail has no "From:"-header, Hypermail
assigns that mail the "From:" of the previous mail. Because spam often
has no "From:"-header this will happen in the future, too. So, please
don't believe that list members send spam.

I for myself will continue to remove spam from the archives of the
mailing list. In addition I hope that we soon can switch to a new
version of majordomo, which allows only members of the list to
send mails to the list.

-- Werner, list owner

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list

From mutex-owner@mail2.gmd.de Mon Jun 29 18:19:17 1998
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Date: Mon, 29 Jun 1998 20:19:17 +0200
To: taupin <taupin@lps.u-psud.fr>
From: jan.doumen@skynet.be (Jan Doumen)
Subject: Re: Repeats per instrument and being back
Cc: mutex@gmd.de
In-Reply-To: <3597CB97.B6A970C5@lps.u-psud.fr>
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 <199806290911.KAA32707@barney.aston.ac.uk>
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At 15:15 29/06/98 -0200, taupin wrote:

Wow ... what an overwhelming reaction ... thanks to all who replied !!!

#> 1) How can I prevent the repeat bars to be automatically extended over all
#>    instruments? I'd like to have the thick bar without the two dots for the
#>    lower three lines
#
#Not possible: repeats are for all instruments. Otherwise, you must
#provide separate scores for those who repeat and those who continue...
#regardless of the musical sense of such a way of doing.

It would have been too nice if it were possible. ;-)
You think I can remove them from the postscript file?

Greetings,


From mutex-owner@mail2.gmd.de Tue Jun 30 17:09:32 1998
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Date: Tue, 30 Jun 1998 19:09:32 +0200
To: taupin <taupin@lps.u-psud.fr>
From: jan.doumen@skynet.be (Jan Doumen)
Subject: Re: Repeats per instrument and being back
Cc: mutex@gmd.de
In-Reply-To: <3597CB97.B6A970C5@lps.u-psud.fr>
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 <199806290911.KAA32707@barney.aston.ac.uk>
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At 15:15 29/06/98 -0200, taupin wrote:

Wow ... what an overwhelming reaction ... thanks to all who replied !!!

#> 1) How can I prevent the repeat bars to be automatically extended over all
#>    instruments? I'd like to have the thick bar without the two dots for the
#>    lower three lines
#
#Not possible: repeats are for all instruments. Otherwise, you must
#provide separate scores for those who repeat and those who continue...
#regardless of the musical sense of such a way of doing.

It would have been too nice if it were possible. ;-)
You think I can remove them from the postscript file?

Greetings,

--
DeJean

Where is the largest chips-stand of the world?
On the border of Holland with France.

From mutex-owner@mail2.gmd.de Thu Jul  2 13:57:30 1998
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From: taupin <taupin@lps.u-psud.fr>
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To: wskdpl@pukrs12.puk.ac.za
Cc: Frank Stefani <frank@ead-systeme.de>, mutex@gmd.de
Subject: Re: Undefined control sequence
References: <199806250800.KAA10094@calvyn.puk.ac.za>
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Dirk Laurie wrote:
>=20
> Frank Stefani wrote:
>=20
> ) (/home/frank/.TeX/pmx.tex
> > PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
> ) (/home/frank/.TeX/musixlyr.tex
> MusiXLYRics 1.1 <18 December 1997>
> ) (/usr/lib/teTeX/texmf/tex/generic/musixtex/musixtex.tex)
> (/home/frank/.TeX/pmx.tex)
> (/usr/lib/teTeX/texmf/tex/generic/musixtex/musixmad.tex
> (/usr/lib/teTeX/texmf/tex/generic/musixtex/musixadd.tex
> MusiXADDitional instruments T.79 <24 September 1997>
> )
> MusiXMore ADditional instruments T.79 <24 September 1997>
> )
> ! Undefined control sequence.
> l.43 \NOTEsp\lifthpausep
>                         {-2}\nextvoice\lifthpausep1&\lifthpausep{-2}%
> ?
>=20
> Your pmxa/pmxb is mismatched with your pmx.tex.  If
>=20
> grep pmx.tex /usr/lib/teTeX/texmf/ls-R
>=20
> shows more than one line, then you might have installed
> the latest version of pmx.tex somewhere, but the old
> version in /home/frank/.TeX/ is found first.  Just deleting
> that file, and running texhash as root, should in that case
> solve the problem.

\lifthpausep si not definned in musuxtex ! Only lifthpause.
>=20
> Dirk

--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

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From: taupin <taupin@lps.u-psud.fr>
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Subject: Musixtex T.90
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Subject: MusiXTeX version T.90

New version T.90 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
=20
Daniel Taupin


-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Jul  2 16:38:36 1998
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Date: Thu, 02 Jul 1998 18:38:36 +0200
From: taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.90
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Subject: MusiXTeX version T.90

New version T.90 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warnings:
 1. you should delete all your PK files for fonts x*, and rebuild them af=
ter updating the x*.mf=20
source files.
 2. new musixflx.c to be recompiled (provided for PCs in the distrib)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
=20
Daniel Taupin

=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Jul  2 18:28:26 1998
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taupin <taupin@lps.u-psud.fr> wrote

>...
>\lifthpausep si not definned in musuxtex ! Only lifthpause. 

That's why I defined it in pmx.tex, which is part of the PMX package.

--Don Simons

From mutex-owner@mail2.gmd.de Fri Jul  3 14:34:40 1998
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From: "Weinrich, 383, NL CE" <M.Weinrich@deutschepost.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Installing musictex
Date: Fri, 3 Jul 1998 16:34:40 +0200
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Hi all,
has anyone a few minutes of time for an absolute beginner?!

I use miktex under Windows NT and try to install musictex. As I am a
newcomer to this whole tex, latex, miktex-stuff I do not know what I
really have do do . . . I already have got the files musicpk.zip,
musicexa.zip and musictex.zip and - of course - I have unszipped them.

Do I have to use a special directory? And how can I use musictex
together with latex (I think latex is easier to handle, isn't it)?

I looked at some of the *.dvi example-files and could print them -  they
look very good, so I would like to get my music printed the same
good-looking way . . . !

I am greatful for every hint to help me.
Thank you!!

Weini

From mutex-owner@mail2.gmd.de Sun Jul  5 08:32:20 1998
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As a thought, until the current majordomo can be upgraded, is there
any way this list can be converted into a moderated list?  In that
way, at least the spam mail would not have to be sent to the entire
list.

   Julian

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

       Julian Gilbey                       Email: J.D.Gilbey@qmw.ac.uk
       Dept of Mathematical Sciences
       Queen Mary & Westfield College      Finger me or talk to me at:
       Mile End Road                         jdg@goedel.maths.qmw.ac.uk
       London E1 4NS, ENGLAND              ( Logon info attached )

From mutex-owner@mail2.gmd.de Mon Jul  6 10:34:43 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: jdg@maths.qmw.ac.uk (Julian Gilbey)
> Date: Sun, 5 Jul 1998 09:32:20 +0100 (BST)
 
> As a thought, until the current majordomo can be upgraded, is there
> any way this list can be converted into a moderated list?  [...]

The conversion is easy; but then it's too much work for me. In addition
it would make the list inoperable at my extended weekends and during
my holidays.

So at the moment I can only offer that some of you complain about
the spammers at those sites which allow spamming or relaying of
spam, and that I clean the archives.

Sorry -- Werner

From mutex-owner@mail2.gmd.de Mon Jul  6 15:36:05 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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Dear list members,

Maurizio Codogno <mau@beatles.cselt.it> send me a hint[*] how to restrict
posting to the list to list members with this old version of majordomo.

If this mail goes through then the feature works and we have to thank
Maurizio for the hint. I've already tested, that mail of non-members
bounces.

There is one disadvantage of the solution: for sending to the list,
you must use exactly the mail-address you used when subscribing the list.

If you forgot that address and need to know it, send me a mail or
ask another list member, who knows it's name, to forward you a
majordomo "who" list. This list also can also be retrieved only by 
using the exact subscription name.

If this feature works, I'll get all the spam as bounced mails :-(

-- Werner Icking

[*] restrict_post     = /opt/lib/majordomo/liste/musicanti
    as absolute file name, did not work for me. I had to use
    restrict_post     = mutex
    and majordomo adds /usr/local/majordomo/lists/

From mutex-owner@mail2.gmd.de Mon Jul  6 18:07:05 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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% When trying to introduce rests within triolets into PMX I generated
% a MusiXTeX source which produced "Underfull hbox". The PMX input
% was "c45x3 e g" instead of r4x3 e g".
%
% Here's the source which reports "Underfull hbox":
%\input musixtex
\hsize=100pt\elemskip1pt\afterruleskip1pt\beforeruleskip0pt
\newcount\nick
\def\dsibl#1{\nick=#1\ds}%
\def\dsasibl{\let\iblsav\ibl\let\qbsav\qb%
    \def\ibl##1##2##3{\zcharnote{##2}{~}\dsibl{##3}\let\ibl\iblsav}%
    \def\qb##1##2{\let\qb\qbsav}}%
\def\iblqb#1#2{\ibl#1{#2}{\nick}\qbsav#1{#2}}%
\def\iblasqb{\let\qbsav\qb%
    \def\qb##1##2{\iblqb##1##2\let\qb\qbsav}}%
\startmuflex\startpiece
\NOTes\dsasibl\ibl1{'d}1\qb1c\iblasqb\qb1e\tbl1\qb1g\en\endpiece
\vfill\eject\endmuflex\bye

% The underfull hbox gets smaller if I increase elemskip; it disappears
% for \elemskip=4pt or bigger.
%
% Any hint what's going wrong? Rounding problems in musixflx?
%
% Thanks in advance -- Werner
%
% PS: \elemskip=1pt is used by PMX to suppress "Overfull hbox"-message
%     during MusiXTeX phase 1. It shouldn't matter for the music output
%     because PMX breaks the lines using \xbar and \alaligne by itself.

From mutex-owner@mail2.gmd.de Mon Jul  6 20:07:14 1998
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Date: Mon, 06 Jul 1998 22:07:14 +0200
From: Christian Mondrup <scancm@biobase.dk>
Reply-To: scancm@biobase.dk
Organization: Scandiatransplant
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To: mutex <mutex@gmd.de>
Subject: M-Tx, chords and stems, MIDI
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Dear fellow mutex subscribers.

I have run into a problem with the M-Tx chord line facility as
illustrated with the M-Tx code excerpt below

Flats: 2
Meter: C
Piano2: Voices RH1 LH1,LH2; Continuo; Clefs G F
Style: Singer Piano2

...

% 11
b4+  c8  df c4   c8 an |
b4+  c8  df c4   c8 an |
r4   d+f    r    c     |
C:   g-t         br
e2          c          |

The chord on the fourth beat in LH1 form a second. Therefore I have
moved lower note b to the right. But while the chord on the second beat
prints nicely with it's common stem the last chords lacks a stem down
for the lower note. According to the documentation M-Tx doesn't offer me
that. Maybe one of you gurus might suggest an in-line pmx solution.

Now we're at it: a new add-on program doing MIDI to M-Tx (or pmx)
conversion would be really nice ! One might do 'raw' music editing with
e.g. Finale, save the result as MIDI and eventually import it into
M-Tx/pmx for typesetting. The GNU music typesetting project LilyPond has
such a utility, mi2mu (midi to mudela conversion).

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Mar 11 06:30:45 1998
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Date: Wed, 11 Mar 1998 14:30:45 +0800
From: Chin Chee Kin <hautbois@cyberway.com.sg>
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Hello,
    I'm new to the list and I've got a problem. I've recently downloaded

musictex. I'm using pctex v.3.2. After typesetting, the dvi file gives
me not everything. It has bar lines, the 2\4 timing and practically
everything else are dots or some nonsense in green!!!!
    I'm quite new to pctex and I've only very recently discovered how to

make the typesetting for music.tex files works. Now, I just need to make

it look right!!!! Please Help!!!

Yours
Larry Chin





From mutex-owner@mail2.gmd.de Tue Jul  7 08:45:21 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199807070845.KAA11617@sunick.gmd.de>
To: mutex@gmd.de, hautbois@cyberway.com.sg
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> Date: Wed, 11 Mar 1998 14:30:45 +0800
> From: Chin Chee Kin <hautbois@cyberway.com.sg>

>     I'm new to the list and I've got a problem. I've recently downloaded 
> musictex. 

Musictex is out-dated. As a beginner you should start with its successor
MusiXTeX. Although a 3-phase process it is similar fast as musictex.

>           I'm using pctex v.3.2. After typesetting, the dvi file gives
> me not everything. It has bar lines, the 2\4 timing and practically
> everything else are dots or some nonsense in green!!!!

Looks like that your TeX-system does not find the music-fonts. The bar
lines, stems, texts, horizontal beams, ... are displayed with quite
basic TeX fonts or TeX-features.

What happens if you look at or print some pages of musictex.dvi?

Did you install the right fonts (*.pk) at the right place? If pctex
is able to generate the fonts on the fly you could try to delete
the pk-files and let them generate.

-- Werner Icking

PS: As list owner I saw that you re-posted your mail after sending it
    this first with "help" in the subject. Majordomo lets bounce such
    mail. I didn't approve that mail because I saw already the re-posted
    version.
PPS: The date header of your mail tells "Wed, 11 Mar 1998 14:30:45 +0800"?
     Please correct the date, to make sorting the archive by date more
     senseful.

From mutex-owner@mail2.gmd.de Tue Jul  7 09:36:25 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, scancm@biobase.dk
Subject: Re: M-Tx, chords and stems, MIDI
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> Date: Mon, 06 Jul 1998 22:07:14 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> % 11
> b4+  c8  df c4   c8 an |
> b4+  c8  df c4   c8 an |
> r4   d+f    r    c     |
> C:   g-t         br
> e2          c          |
> 
> The chord on the fourth beat in LH1 form a second. Therefore I have
> moved lower note b to the right. But while the chord on the second beat
> prints nicely with it's common stem the last chords lacks a stem down
> for the lower note. [...]

Why do you think that the second chord should have two stems when the
first has only one?

The generated PMX-code is "... d44f zg-f ... c4 zbr ...". This generates
the two chords you see. A correct notation for the chord would be "b4 zcr"
- the upper note to the right. But then too you'll get only one stem
and it's an up stem because it's in the upper voice.

> Now we're at it: a new add-on program doing MIDI to M-Tx (or pmx)
> conversion would be really nice ! One might do 'raw' music editing with
> e.g. Finale, save the result as MIDI and eventually import it into
> M-Tx/pmx for typesetting. [...]

There's midi2tex; but as far as I've heard it's not the most powerful
thing. So it may be a useful work for someone who is interested in
the result and knows programming and midi, to re-write it, to 
generate either M-Tx or PMX. If I remember right there was at least
one posting to list in the last time with the same problem.

Please look for it in the archive of the list at http://www.gmd.de/Mail/mutex/

-- Werner

From mutex-owner@mail2.gmd.de Tue Jul  7 11:28:52 1998
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Date: Tue, 7 Jul 1998 07:28:52 -0400 (EDT)
Message-Id: <199807071128.HAA18739@maggie.qucis.queensu.ca>
To: hautbois@cyberway.com.sg, mutex@gmd.de
Subject: Re: Problems viewing dvi files!!!
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 >     I'm new to the list and I've got a problem. I've recently downloaded
 > 
 > musictex. I'm using pctex v.3.2. After typesetting, the dvi file gives
 > me not everything. It has bar lines, the 2\4 timing and practically
 > everything else are dots or some nonsense in green!!!!

I would guess that your system can't find (or isn't set up to make)
the appropriate fonts.  I don't have any experience with pctex but
read the documentation for your dvi viewer and see where it looks
for fonts and whether it can be persuaded to make the fonts needed
to display all of the music.  Also look for error messages or a 
missing-font log.

Bob T.

From mutex-owner@mail2.gmd.de Tue Jul  7 12:05:16 1998
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From: arnost <arnost@uivt.cas.cz>
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To: mutex@gmd.de
Subject: Dotted bars
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Dear MusiXTeXnicians,
I prepare the textbook of bagpipes playing and I need plenty of
nonstandard things. Does anybody know, how can I realize the dotted
bars instead of normal bars. 

thanks

arnost

From mutex-owner@mail2.gmd.de Tue Jul  7 09:08:53 1998
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To: Chin Chee Kin <hautbois@cyberway.com.sg>
Cc: mutex@gmd.de
Subject: Re: Problems viewing dvi files!!! 
In-Reply-To: Your message of "Wed, 11 Mar 1998 14:30:45 +0800."
             <35062F95.219E6983@cyberway.com.sg> 
Date: Tue, 07 Jul 1998 10:08:53 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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>     I'm new to the list and I've got a problem. I've recently downloaded
> musictex. I'm using pctex v.3.2. After typesetting, the dvi file gives
> me not everything. It has bar lines, the 2\4 timing and practically
> everything else are dots or some nonsense in green!!!!

i have had quite a bit of trouble with non-standard fonts in pctex at
a client's site (though my client's case, they were adobe type1 fonts).

it sounds to me as if pctex is taking offence at metafont-generated
fonts: note that it ordinarily uses (mostly ttf) outline fonts even
for computer modern.  i suggest that you contact pti technical support
about this.  (i don't have a set of pctex manuals myself, so am forced
to be vague.)

robin

From mutex-owner@mail2.gmd.de Tue Jul  7 16:14:16 1998
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To: mutex@gmd.de
Subject: Re: Problems viewing dvi files!!!
Date: Tue, 07 Jul 1998 17:14:16 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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(my previous attempt at this bounced)

Chin Chee Kin wrote:

>     I'm new to the list and I've got a problem. I've recently downloaded
> musictex. I'm using pctex v.3.2. After typesetting, the dvi file gives
> me not everything. It has bar lines, the 2\4 timing and practically
> everything else are dots or some nonsense in green!!!!

i have had quite a bit of trouble with non-standard fonts in pctex at
a client's site (though my client's case, they were adobe type1 fonts).

it sounds to me as if pctex is taking offence at metafont-generated
fonts: note that it ordinarily uses (mostly ttf) outline fonts even
for computer modern.  i suggest that you contact pti technical support
about this.  (i don't have a set of pctex manuals myself, so am forced
to be vague.)

robin

From mutex-owner@mail2.gmd.de Tue Jul  7 16:00:21 1998
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Reply-To: "Pablo Ocaranza" <ocaranza@criba.edu.ar>
From: "Pablo Ocaranza" <ocaranza@criba.edu.ar>
To: <mutex@gmd.de>
Subject: RE: Problems viewing dvi files!!!
Date: Tue, 7 Jul 1998 13:00:21 -0300
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------=_NextPart_000_002F_01BDA9A7.33A1DB80
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	charset="us-ascii"
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Larry,

I'm using MusiXTeX on PCTeX. In order to configure PCTeX for use .pk =
font you need to specify the font directory. To do it go to =
Settings->Directories and put the base directory for the .pk fonts in =
the additional pk directory box.

Tha base directory is the directory containig a subdirectory for each =
font resolution. In my case my  base pk directory is

c:\aplicac\pctex32\pk

in thi directory you need a subdirectory for each resolution, i.e. =
dpi300, dpi600, etc.=20

the directory tree results:

c:\aplicac\pctex32\pk\dpi300 for 300 dpi pk fonts
c:\aplicac\pctex32\pk\dpi360 for 360 dpi pk fonts
c:\aplicac\pctex32\pk\dpi600 for 600 dpi pk fonts

Now you need to go to Settings->DVI Fonts and set the font search =
priorities to "Search PK fonts, the True Type fonts" and the pk font =
resolution to the resolution do you need, in my case 300 dpi.

Restart PCTeX, go to Settings->DVI Fonts and if the "Search PK fonts, =
the True Type fonts" option is selected PCTeX was located the pk fonts =
directory tree, if not the "True Type only" are selected and you need to =
review the base pk font directory specification or the directory tree =
because PCTeX can't find the %base%\dpiNNN directory, where %base% are =
the base directory specified and dpiNNN are the required resolution, =
dpi300, dpi600, etc.=20

If you have any trouble please contact me.

Pablo

(sorry about my english)

-------------------------------------------------------------------------=
--------------
Pablo Ocaranza
Departamento de F=EDsica - Universidad Nacional del Sur
Av. Alem 1253 - Subsuelo=20
(8000) - Bahia Blanca - Buenos Aires - Argentina
Tel: +54(91)595100/595101 Ext. 2810
Fax: +54(91)595142
e-mail: ocaranza@criba.edu.ar
-------------------------------------------------------------------------=
--------------
-----Mensaje original-----
De: Chin Chee Kin <hautbois@cyberway.com.sg>
Para: mutex@gmd.de <mutex@gmd.de>
Fecha: martes, julio 7 de 1998 06:43
Asunto: Problems viewing dvi files!!!


>Hello,
>    I'm new to the list and I've got a problem. I've recently =
downloaded
>
>musictex. I'm using pctex v.3.2. After typesetting, the dvi file gives
>me not everything. It has bar lines, the 2\4 timing and practically
>everything else are dots or some nonsense in green!!!!
>    I'm quite new to pctex and I've only very recently discovered how =
to
>
>make the typesetting for music.tex files works. Now, I just need to =
make
>
>it look right!!!! Please Help!!!
>
>Yours
>Larry Chin
>
>
>
>
>

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From mutex-owner@mail2.gmd.de Tue Jul  7 19:08:41 1998
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Date: Tue, 7 Jul 1998 21:08:41 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199807071908.VAA12184@sunick.gmd.de>
To: mutex@gmd.de
Subject: Never seen a MUTEX (MTEX) output?
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Mutex (or MTEX) is the predecessor of all approaches to typeset music on the
basis of TeX.

If you are interested how such a Mutex output looked I can show it to you.

Now that I've the permission to put works by Heinz Irsen into my music archive
http://www.gmd.de/Misc/Music/scores/ you may go there and look for "Irsen".

There are currently five work, four of them are typeset with MusiXTeX and
one, "Trio(2) for two violins and viola", is typeset with Mutex.

Click onto the icon behind "Trio(2)" to see a GIF-image of the violin part,
click on "Trio(2)" to fetch the PS-File with all three parts.

Enjoy -- Werner

From mutex-owner@mail2.gmd.de Tue Jul  7 22:00:05 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807072200.AA25252@troy.la.platinum.com>
To: mutex@gmd.de
Subject: mystifying error message
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I thought this song was going to be a piece of cake.  No triplets.  No
forced beams or slurs.  But then I got an error from somewhere deep in
the bowels of the MusiXTeX macros.

I'm using M-Tx version 0.30 and PMX version 1.3.

I looked real hard at bars 12 and 13.  Bar 13 looks fairly normal; bar
12 contains an exclamation (!) and an apostrophe (') in the lyrics, and
a rest in the music.  I've used apostrophes and rests before, but this
is my first use of !, so I tried substituting a macro
%% \\def\bang{\char33}\ 
but that didn't fix the problem either.

Help?

Here's my input:

=====================================================================

Meter: 4/4
Style: SINGER
Sharps: 1
Bars/Line: 2
Space: 8

% Pages: 1
% Systems: 4
%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-\thinspace}\ 
%% \\def\hyp{-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
%% \\pageno=1164\ 
%% \\headline{\twelverm FILKER UP 5\hfill page xxxx}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm THE OLD ONES\hfill}\ 
%% \\line{\twelverm Words \copyright~1998 by Lee Gold\hfill}\ 
%% \\line{\twelverm Music \copyright by Leslie Fish\hfill}\ 
%% \\line{\twelverm A variant of Leslie's tune for Bad Sir Brian Botany by A. A. Milne\hfill}\ 
%% \\nobarnumbers\ 
U:  ~     G   ~    ~     ~   ~   ~ ~   ~
@+7 d8  | g   f    g     a   b   a g   f   |
L:  The   old ones lived mil-len-i-a   be-

U: ~    ~   ~ ~   ~      ~   ~     ~    ~    ~  ~  ~   ~
   g4   f   e d8  d    | g   f     g    a    b  g  b   c    |
L: fore our e-ra  They   mas-tered high tech-no-lo-gy, their

U: ~     ~     ~   ~     ~       ~    ~
   d     g     f   g     a4      d8   d    |
L: space-ships out-raced light.  When they

U: ~   ~    ~   ~    ~ ~    ~    ~    ~  ~   ~    ~    ~   ~       ~
   c   c    d   e    d b    g    b  | c  b   a    g    f   a4      d8- |
L: fin-ally met each o-ther they re-  la-ted just like bro-thers:  They

U: ~   ~ ~     ~  ~   ~  ~     ~     ~   ~  ~  ~ ~      ~   ~
   g   f g     a  b   b  g     g   | a   a  f  d g4d    d1  d  |
L: dis-a-greed on eve-ry-thing and   got in-to a fight! Com-pe-

U: ~  ~      ~   ~     ~    ~
   g8 g4     a8  b     a4   g8   |
L: ti-tion's the right way, whiz-

U: ~      ~   ~     ~  ~     ~   ~     ~    ~      ~       ~
   d2d    d8  d   | g  g4    a8  b     a4   g8   | d2+d r8 c8    |
L: bang!  Law and   or-der's the right way, zap-   zap!    We'll

U: ~    ~   ~    ~  ~   ~      ~     ~   ~    ~   ~    ~
   d    d4  c8   b  a4  b8   | c     c4  b8   a   g4   a8   |
L: show you your er-ror with   flame and with ter-ror, take

U:      ~       ~        ~       ~          ~            ~
        b4d     a8       f4d     a8  |      g2d      r8  d
L: {\it that\/} and {\it that\/} and   {\it that\/}!     (The)

=====================================================================

And here's the messages.

=====================================================================

M-Tx 0.30 (Music from TeXt) <2 November 1997>
Writing to oldones.pmx
PrePMX done.  Now run PMX.
Deleting oldones.tex
Deleting oldones.log
Deleting oldones.mx1
=== RUNNING PMXA (1st pass) ===
 Please type a basename (<9 characters, no dots): 

  Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10
  Bar 11  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16
 Done with first pass.  Now run pmxb.
=== RUNNING PMXB (2nd pass) ===

  Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10
  Bar 11  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16
 Done with second pass.  Now run TeX
Cleaning up (pmxtex.dat pmxtex.fig)
=== RUNNING MUSIXTEX: 1st pass (tex) ===
This is TeX, Version 3.1415 (C version 6.1)
(oldones.tex
M-Tx 0.30 (Music from TeXt) <2 November 1997>
(musixtex.tex
MusiXTeX(c) T.80 <25 September 1997>
) (musixlyr.tex
MusiXLYRics 1.02a <27 November 1997>
) (musixtex.tex) (pmx.tex
PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
) (musixmad.tex (musixadd.tex
MusiXADDitional instruments T.79 <24 September 1997>
)
MusiXMore ADditional instruments T.79 <24 September 1997>
) bar 0 bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7 bar 8 bar 9 bar 10 bar 11
bar 12 bar 13
! Missing \endcsname inserted.
<to be read again> 
                   \i 
\reset@params ...@texte {#2}\global \csname stp@#1
                                                  \endcsname =\y@v \global \...

\iterate ->\body 
                 \let \next \iterate \else \let \next \relax \fi \next 
l.138 \assignlyrics1{\i}
                        %


--
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Wed Jul  8 17:17:00 1998
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Date: Wed, 8 Jul 1998 12:17:00 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: [Off topic] sheet music to MIDI
In-Reply-To: <199807071908.VAA12184@sunick.gmd.de>
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Since this sort of thing is of interest to some, I thought I'd pass this
along. From the JULY 6, 1998 issue of MacWEEK:

> Macworld Expo hits New York this week. [...] Musitek Corp. will preview
> software that scans sheet music. Described as OCR for music, SmartScore
> will read sheet music and convert it into an editable score and a MIDI
> file.

The text above came from
<http://macweek.zdnet.com/1225/nw_showpicks.html>, but the paper version
has an interesting screen shot, implying that the program can parse one of
Beethoven's sonatas, getting the slurs, ornamentation, dynamics, etc.
correct. No pricing or release date was mentioned, but a quick netsearch
turned up Musitek's website <http://www.musitek.com/> where they also have
info on "MIDISCAN for Windows", which---presumably---is the PC version
(now shipping).

I hope this is of interest to some, and my apologies for the off-topic
post. To bring it ever so tenuously back on track, ... no, I guess I won't
even try!

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                   (New) 612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu, pete0960@maroon.tc.umn.edu |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Jul  8 21:28:24 1998
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
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To: mutex@gmd.de (MusiXTex Mailinglist)
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On Mon, 6 Jul 1998, Werner Icking wrote:

> % When trying to introduce rests within triolets into PMX I generated 
> % a MusiXTeX source which produced "Underfull hbox". The PMX input
> % was "c45x3 e g" instead of r4x3 e g". 
> %
> % Here's the source which reports "Underfull hbox": 
> %\input musixtex
> \hsize=100pt\elemskip1pt\afterruleskip1pt\beforeruleskip0pt 
> \newcount\nick
> \def\dsibl#1{\nick=#1\ds}%
> \def\dsasibl{\let\iblsav\ibl\let\qbsav\qb%
>     \def\ibl##1##2##3{\zcharnote{##2}{~}\dsibl{##3}\let\ibl\iblsav}% 
>     \def\qb##1##2{\let\qb\qbsav}}%
> \def\iblqb#1#2{\ibl#1{#2}{\nick}\qbsav#1{#2}}% 
> \def\iblasqb{\let\qbsav\qb%
>     \def\qb##1##2{\iblqb##1##2\let\qb\qbsav}}%
> \startmuflex\startpiece
> \NOTes\dsasibl\ibl1{'d}1\qb1c\iblasqb\qb1e\tbl1\qb1g\en\endpiece 
> \vfill\eject\endmuflex\bye
> 
> % The underfull hbox gets smaller if I increase elemskip; it disappears 
> % for \elemskip=4pt or bigger.
> %
> % Any hint what's going wrong? Rounding problems in musixflx? 
> %
> % Thanks in advance -- Werner
> %
> % PS: \elemskip=1pt is used by PMX to suppress "Overfull hbox"-message 
> %     during MusiXTeX phase 1. It shouldn't matter for the music output 
> %     because PMX breaks the lines using \xbar and \alaligne by itself.
> 

Greetings Werner!

This is an exceeding subtle problem but fortunately the answer is simple:

First the answer:

The definition line...

> \def\iblqb#1#2{\ibl#1{#2}{\nick}\qbsav#1{#2}}% 

should include \the before \nick, as in:

> \def\iblqb#1#2{\ibl#1{#2}{\the\nick}\qbsav#1{#2}}% 

Those who have suffered through the "dangerous bends" of TeX will recall 
that counters are treated differently in macro expansion than simple tokens.

Consequently, what has to be produced is not just a reference to the counter,
but it's stored value.

The problem is, that deep in the macro expansions, the reference to
{\nick} is at one point expanded to {\nick }, and is later accepted as
an argument to another macro with the trailing space attached.  Because
it is used in a horizontal mode context (I think), the trailing space
gets put into the output, and becomes one of those "stray spaces" we
have always been warned about.  I think this occurs because \nick is
a counter, not a simple token string.

The above fix makes the Underfull hbox go away, but I cannot tell whether
it actually produces what you want.  I suppose if it still doesn't work
one might try:

> \def\iblqb#1#2{\ibl#1{#2}\expandafter{\the\nick}\qbsav#1{#2}}% 
:-)

Hints To MusixTexers on How to Find Strange Output Bugs:

(A few ideas gathered on this bug hunt.)

You can get TeX to tell you EVERYTHING (more than you want to know)
about what is going on, and what is going out....

On some line of your .tex input file, enter the line

\tracingall

Thereafter, EVERYTHING is reported to the log file!  This is recommended
only for very short examples, (like Werner's above), and you should expect
an immense log file to result.  However, you can also see every macro
expansion, every output character produced, and an analysis of every output
box.  (A good background reading of Knuth's "The TexBook" would also
be most beneficial. :-).

However, suppose your job is introducing an unwanted blank space.  This
trick will show you when that blank space is output.  For Werner's
example, it came to attention like this:

----- excerpt from the log file with \tracingall active ....
\s@uite ->
{\else}
{\count30}
{blank space  }     <---- Here is where the blank space appears.

\C@ib #1->\max@n@v \nin@ \min@n@v {-\nin@ }\global \b@p \n@v \getcurpos \global
 \b@x \y@v \b@z #14.333\interbeam \advance \b@z \altportee \pl@base \global \ad
vance \b@z \y@i 
#1<--
-------end excerpt

All you have to do for a very large file, is open it in the editor and
search for "blank space", and you will prove that one is being processed.

Now, where it comes from, and why it is produced is another story...

When a trace is constructed, every macro is shown expanded, followed by
the arguments it is accepting.  Then line-by-line it shows what macros
or TeX words were executed.  When it finds another macro, it expands that
too, right there, and continues deeper into the details.  So, although
we see the {blank space } above, we only know that something earlier,
maybe several layers out produced it, and we are just now getting
around to processing it.

For a detailed, multi-level package like MusixTex, this can appear to be
very messy, and the fainthearted would probably give up after several pages
of expansion.  However, Fear Not!  This answer is probably there somewhere.

In this case, it was only necessary to page back from the point where
the blank is introduced, to observe a strange phenomenon...

This macro expansion report catches the watchful eye, because one notices
that a space is inserted after \nick (for no apparent reason), but there
is NOT a space after other things like #2, etc.  (This is more apparent
after you have stared at many example lines in the log file... :-)

\iblqb #1#2->\ibl #1{#2}{\nick }\qbsav #1{#2}
#1<-1
#2<-e

At first, you might think that the space after \nick will just get absorbed.
(A lot of times, spaces don't matter...!)  However, later when the macro
\i@bl is executed, one can see exactly what is accepted in its argument
list as a result of that space being introduced there..

\i@bl #1#2->\ifnum \b@n =\z@ \else \C@tb \t@bbl \lthick \fi \global \b@n \@ne \
inhgetn@i #1\relax \n@v #2 \C@ib -
#1<-e
#2<-\nick <---- My editor shows that there is a trailing space here...

So, now we have found the culprit, but WHY is the space appearing.  It is
NOT in the original input.  It was apparently added during the macro
expansion, and now gets into the output, not by any action on our part.

This is where one needs to recall that counters are a little different than
other TeX data objects... (I don't know why, so I won't say more...)
However, if you want the VALUE of some TeX object, you precede it with \the
and the result is provided.  In this case \the\nick seems to eat the
trailing space (just like you would expect) and make the value usable
in the subsequent macro...  (I won't guarantee anything here, cause
I'm over my head already :-)... Maybe it isn't really doing what Werner
wants... But we did make the underfull hbox go away.  Yea!)

Another interesting thing you can glean from the log files, (using
\tracingall) is to observe just what is shipped out for your page.
This helps because you can double check on just what is "taking up
space."  This is how I noticed that there was some unexplained glob
of glue in the output...

I will again use Werner's example to illustrate this process.  The following
will appear at the end of the log file (for a very short example).
I will annotate, and this will probably look better with a fixed width
font on your mail viewer...

Completed box being shipped out [1]     <  Find this point in the log
\vbox(794.45078+2.5)x100.0        < Each Tex BOX is reported.
.\vbox(782.45078+0.0)x100.0, glue set 732.45078fill 
..\glue 0.0 plus 1.0fil minus 1.0fil    <  The DOTS indicate NESTING.
..\glue(\topskip) 0.0

[my break... read \hbox(height+)xWidth... The next box is 100 units wide.]

..\hbox(50.0+0.0)x100.0, glue set 63.26672fil  < This is the STAFF box. 
...\hbox(0.0+0.0)x0.0
...\hbox(50.0+0.0)x0.0 
....\hbox(0.0+0.0)x0.0, glue set - 100.0fil, shifted -15.0
.....\vbox(0.0+0.0)x100.0, glue set - 24.8fil
......\glue 0.0 plus 1.0fil minus 1.0fil
......\kern 5.0
......\kern -0.4
......\rule(0.4+0.0)x100.0   < These are the 5 lines of the staff
......\kern 5.0
......\kern -0.4
......\rule(0.4+0.0)x100.0   < Second line of staff...
......\kern 5.0
......\kern -0.4
......\rule(0.4+0.0)x100.0   < Third line, etc...
......\kern 5.0
......\kern -0.4
......\rule(0.4+0.0)x100.0
......\kern 5.0
......\kern -0.4
......\rule(0.4+0.0)x100.0
......\kern -0.2
.....\glue 0.0 plus 1.0fil minus 1.0fil
....\hbox(20.0+0.2)x0.0, glue set - 0.4fil, shifted -15.0
.....\rule(20.0+0.2)x0.4
.....\glue 0.0 plus 1.0fil minus 1.0fil
....\hbox(20.0+0.0)x0.0, shifted -30.0
.....\rule(20.0+*)x0.0
....\glue 0.0 plus 1.0fil minus 1.0fil
...\hbox(0.0+0.0)x0.0, shifted -25.0  <-- Here's our first BOX

[note that we are interested in stuff at the "..." level, because
these correspond the spacing commands written to the .MX1 file.
Also notce that the above box is 0.0 WIDE, that is it contributes NOTHING
to the overall width, just like the manual says... Imagine, that this
box will be filled with clefs, signs, notes, whatever, and Tex believes
that it has NO Width... That's how they do that! ]

....\hbox(0.0+0.0)x0.0, glue set - 6.66666fil <- This is INSIDE the "..." box
.....\glue 0.0 plus 1.0fil minus 1.0fil
.....\vbox(0.0+0.0)x0.0
......\hbox(0.0+0.0)x0.0
.......\glue 0.0 plus 1.0fil minus 1.0fil
.......\glue 0.0 plus 1.0fil minus 1.0fil
.....\penalty 10000
.....\glue 3.33333 plus 1.66666 minus 1.11111
.....\penalty 10000
.....\glue 3.33333 plus 1.66666 minus 1.11111
....\glue 0.0 plus 1.0fil minus 1.0fil
...\hbox(27.5+7.5)x0.0, glue set - 15.99998fil, shifted -15.0
....\hbox(27.5+7.5)x15.99998
.....\hbox(22.5+12.5)x15.99998, shifted -5.0
......\musictwenty G    <--- This is our CLEF sign....
....\glue 0.0 plus 1.0fil minus 1.0fil  <-- Ignore (for now) .... or greater
...\kern 15.99998     <-- And here is the CLEF skip, which is also written
    to the .MX1 file.

[Note that the \kern lines (at level ...) are what we are looking for.
The general rule is, ...\hboxes should have 0.0 width, all GLUE at this
level should have 0.0 dimension, and only the ...\kern lines should
have substantial space.]

[Here's another \hbox at level ..., also has 0.0 WIDTH - GOOD!]

...\hbox(0.0+0.0)x0.0, glue set - 1.99997fil, shifted -15.0
....\hbox(0.0+0.0)x1.99997
.....\kern 0.99998
.....\kern 0.99998
....\glue 0.0 plus 1.0fil minus 1.0fil
...\kern 1.99997     <-- Here is the SIGN skip, which also goes to .MX1
...\glue 0.0 plus 1.0 minus 1.0  <-- Notice that this glue has 0.0 Width
...\kern 0.0    <-- This is the space for the before or afterrule skip...
...\hbox(25.0+0.0)x0.0, glue set - 18.33333fil, shifted -15.0 <- More of ours
....\hbox(0.0+0.0)x0.0, glue set - 3.33333fil, shifted -15.0
.....\penalty 10000
.....\glue 3.33333 plus 1.66666 minus 1.11111  <- I give up, I can't explain
.....\glue 0.0 plus 1.0fil minus 1.0fil
....\hbox(16.25+0.0)x5.0  <-- At level ...., this is our first element
   of music entered in the line, probably 5.0 is ONE elemskip. (?)
.....\hbox(16.25+0.0)x5.0, glue set 5.0fil
......\musictwenty ?   <--- Ah, real music.... The \ds (I believe)
......\glue 0.0 plus 1.0fil minus 1.0fil
....\glue 3.33333 plus 1.66666 minus 1.11111  <---BRIGHT LIGHTS!!!

[Whoa... Now here's a funny glob of glue... This is a hint there
is something more going on than meets the eye.  Observe...
It is not in the Clef or Sign area (where stranger things are seen,
and are still unexplained)... It is right here in the list of
music output things... And, (hint) it doesn't come after
other things just like this later, but we can't explain why it is
here, and not later...  This is \glue that has a width NOT 0.0,
so it is probably NOT getting counted in the width written out
for Musixflx to use.  This is why we go back to the \tracingall
log looking for something that causes GLUE at some point AFTER
the \ds (rest) character is output.  :-) ]  [And that,... fellow
MusiXTeXer's... is how the space was found in this case :-)]

....\kern 0.0
....\rule(17.5+-1.25128)x0.4
....\kern -0.4
....\kern 0.0
....\hbox(2.5+2.5)x5.0, glue set 5.0fil, shifted -17.5
.....\musictwenty ^^G   <-- More real music characters going out.
.....\glue 0.0 plus 1.0fil minus 1.0fil
....\hbox(1.32129+0.0)x0.0, glue set - 4.99997fil
.....\glue 0.0 plus 1.0fil minus 1.0fil
.....\hbox(0.0+0.0)x3.99998, shifted -1.25128
......\musictwenty ^^81
.....\kern -2.6

[Remember that all this stuff .... or greater, is inside imaginary boxes
that TeX believes have NO width.  ]

.....\hbox(0.0+0.0)x3.99998, shifted -1.32129
......\musictwenty ^^81
.....\kern -0.4
....\kern 0.0
....\rule(22.5+-1.50128)x0.4
....\kern -0.4
....\kern 0.0
....\hbox(2.5+2.5)x5.0, glue set 5.0fil, shifted -22.5
.....\musictwenty ^^G
.....\glue 0.0 plus 1.0fil minus 1.0fil
....\glue 0.0 plus 1.0fil minus 1.0fil
...\kern 18.33333   <--  Here is the total width of stuff inside the last
     hbox, and this spacing entry is controlled carefully by MusixTex.  It
     is written to the .MX1 file as the scalable space for this bar.  However,
     in this case, the .MX1 file was NOT told about the \glue 3.33333 we
     observed above, so it does not adjust for it, and comes out wrong.]
...\kern 0.0
...\hbox(20.0+0.2)x0.0, glue set - 0.4fil, shifted -15.0
....\rule(20.0+0.2)x0.4
....\glue 0.0 plus 1.0fil minus 1.0fil
...\kern 0.4   
...\penalty 10000
...\glue(\parfillskip) 0.0 plus 1.0fil  < Good, this glue has no dimensions.
...\glue(\rightskip) 0.0
..\glue 0.0 plus 1.0fill
..\glue 0.0 plus 1.0fil minus 1.0fil
.\glue(\baselineskip) 4.5
.\hbox(7.5+2.5)x100.0, glue set 80.55553fil
..\glue 3.33333 plus 1.66666 minus 1.11111
..\tensl (    <- Stuff that appears at the bottom of the page.
..\tensl )
..\glue 3.33333 plus 1.66666 minus 1.11111  <More space glue at page bottom
..\glue 0.0 plus 1.0fil minus 1.0fil
..\tensl 1   < -- The page number...

Now, wasn't that FUN!

Okay, (maybe not) but seriously, you can learn a lot about your TeX job
by just asking TeX to show you everything.... Here are a few specific
commands (from the TeXBook)

\tracingmacros=1    Shows just the macros expanded.
\tracingoutput=1    Shows the contents of each box shipped out.
   \showboxbredth=n   How many items in a box are shown (default 5)
   \showboxdepth=n    The deepest level to go (default 3)
\tracingonline=1    All diagnostics go to terminal as well as log file
\tracingcommands=1 Show each command executed
\tracingall        (No value, turns all Tracing command TRUE)

To turn any tracing command off use value =0

To see the type and value of anything during a run, enter

\show item... Where item is a tex word, such as \ibl, e.g.

\show\ibl

When this is encountered, the job will pause to show you the item
requested, and you can simply hit enter to continue the job... (Great
for debugging macros!)

To see the value of things, enter \showthe... as in

\showthe\nick

I hope these hints have been helpful to someone. :-)... I suspect
it is always possible to write TeX code so layered and contorted that
nobody else can figure it out.  However, as time passes, I continue to
grow in appreciation for the genius and skill manifested in the MusiXTeX
package (which I use), and I am sure, is also in its relatives packages!
Here is another big THANNS to all its authors and contributors!

Regards,
Joel Hunsberger
hunsberg@sqa1.si.com
(Part Time Musician, too late smart :-)




From mutex-owner@mail2.gmd.de Wed Jul  8 21:30:40 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807082130.AA26969@janus.la.platinum.com>
To: mutex@gmd.de
Subject: position of repeat marks
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I just tried setting a piece of music with repeat marks |: and :|.
In my printout the : marks are centered around the top line of the
staff (f above treble c in G clef).  My memory of printed music is
that repeat marks should be around the middle line (g above middle c
in G clef).

Am I mis-remembering where repeat marks go?  Or have I done something
wrong in my input (seems to happen everytime I try to experiment with
something new).

Also, if there's a way to get the em-dash in the first system centered
under the bar line (or mid-way between the two words), I'd like to
know about it.

Here's my input:

Meter: 4/4
Sharps: 3
Space: 10
Style: SINGER
Pages: 1
Systems: 3

%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{---}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
% %% \\pageno=xxxx\ 
%% \\headline{\twelverm Filker Up 5\hfill page xxxx}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm I CAN TELL YOUR FUTURE\hfill}\ 
%% \\line{\twelverm Words and Music by Lee Gold\hfill}\ 
%% \\nobarnumbers\ 
U: @+2  A   ~   ~    ~    ~  ~               ~  ~  ~    ~    ~  ~
@+10 |: a8  a   a    a    c4 a             | a8 a  a    a    c4 a    :|
L:      I   can tell your fu-ture~\emdash~   I can tell your fu-ture!

%%L2
U: A   ~   ~    ~    ~  ~      ~     ~  ~
   a8  a   a    a    c4 a    | c     a2 r4 |
L: I   can tell your fu-ture   trust me!

U: ~   ~   ~   ~      ~   ~      E    ~
   a8  a   a   a      c4  a    | b2d  r4 |
L: Lis-ten and you'll see it's   true.

U: ~    ~  ~        ~    ~     ~   ~    ~    ~       ~  ~  ~    ~
   b4   b  e        b8   b   | e4  b    e2 | e4      d  c8 a    b4 |
L: Play it straight with the   Jhe-reg, or   There's no fu-ture for

U: A 
   a0
L: you.

From mutex-owner@mail2.gmd.de Thu Jul  9 06:36:51 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'barry@platinum.com'" <barry@platinum.com>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: mystifying error message
Date: Thu, 9 Jul 1998 08:36:51 +0200 
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Hello Barry,

the reason seems to be that M-Tx somwhow misunderstands the construction
"{\it that\/}" at the very beginning of a lyrics definition line (at
least that's my interpretation - is it right, Dirk?). A workaround is:
Alter the lyrics line so that it no longer begins with an open brace;
e.g. replace

L: {\it that\/} and {\it that\/} and   {\it that\/}!     (The)

by

L: \relax{\it that\/} and {\it that\/} and   {\it that\/}!     (The)

and it'll work.

Regards,

Rainer


> ----------
> Von: 	barry@platinum.com[SMTP:barry@platinum.com]
> Gesendet: 	Mittwoch, 8. Juli 1998 00:00
> An: 	mutex@gmd.de
> Betreff: 	mystifying error message
> 
> I thought this song was going to be a piece of cake.  No triplets.  No
> forced beams or slurs.  But then I got an error from somewhere deep in
> the bowels of the MusiXTeX macros.
> 
> I'm using M-Tx version 0.30 and PMX version 1.3.
> 
> I looked real hard at bars 12 and 13.  Bar 13 looks fairly normal; bar
> 12 contains an exclamation (!) and an apostrophe (') in the lyrics,
> and
> a rest in the music.  I've used apostrophes and rests before, but this
> is my first use of !, so I tried substituting a macro
> %% \\def\bang{\char33}\ 
> but that didn't fix the problem either.
> 
> Help?
> 
> Here's my input:
> 
> =====================================================================
> 
> Meter: 4/4
> Style: SINGER
> Sharps: 1
> Bars/Line: 2
> Space: 8
> 
> % Pages: 1
> % Systems: 4
> %% h9.8i
> %% w7i
> % %% \\vsize=10in\ 
> %% \\hoffset=.05in\voffset=.05in\ 
> %% \\font\twelverm=cmr12\ 
> %% \\font\sevtrm=cmr17\ 
> %% \\def\emdash{\thinspace---\thinspace}\ 
> %% \\def\hy{\thinspace-\thinspace}\ 
> %% \\def\hyp{-}\ 
> %% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
> %% \\pageno=1164\ 
> %% \\headline{\twelverm FILKER UP 5\hfill page xxxx}\ 
> %% \\line{\twelverm ~\hfill}\ 
> %% \\line{\twelverm ~\hfill}\ 
> %% \\line{\twelverm THE OLD ONES\hfill}\ 
> %% \\line{\twelverm Words \copyright~1998 by Lee Gold\hfill}\ 
> %% \\line{\twelverm Music \copyright by Leslie Fish\hfill}\ 
> %% \\line{\twelverm A variant of Leslie's tune for Bad Sir Brian
> Botany by A. A. Milne\hfill}\ 
> %% \\nobarnumbers\ 
> U:  ~     G   ~    ~     ~   ~   ~ ~   ~
> @+7 d8  | g   f    g     a   b   a g   f   |
> L:  The   old ones lived mil-len-i-a   be-
> 
> U: ~    ~   ~ ~   ~      ~   ~     ~    ~    ~  ~  ~   ~
>    g4   f   e d8  d    | g   f     g    a    b  g  b   c    |
> L: fore our e-ra  They   mas-tered high tech-no-lo-gy, their
> 
> U: ~     ~     ~   ~     ~       ~    ~
>    d     g     f   g     a4      d8   d    |
> L: space-ships out-raced light.  When they
> 
> U: ~   ~    ~   ~    ~ ~    ~    ~    ~  ~   ~    ~    ~   ~       ~
>    c   c    d   e    d b    g    b  | c  b   a    g    f   a4      d8-
> |
> L: fin-ally met each o-ther they re-  la-ted just like bro-thers:
> They
> 
> U: ~   ~ ~     ~  ~   ~  ~     ~     ~   ~  ~  ~ ~      ~   ~
>    g   f g     a  b   b  g     g   | a   a  f  d g4d    d1  d  |
> L: dis-a-greed on eve-ry-thing and   got in-to a fight! Com-pe-
> 
> U: ~  ~      ~   ~     ~    ~
>    g8 g4     a8  b     a4   g8   |
> L: ti-tion's the right way, whiz-
> 
> U: ~      ~   ~     ~  ~     ~   ~     ~    ~      ~       ~
>    d2d    d8  d   | g  g4    a8  b     a4   g8   | d2+d r8 c8    |
> L: bang!  Law and   or-der's the right way, zap-   zap!    We'll
> 
> U: ~    ~   ~    ~  ~   ~      ~     ~   ~    ~   ~    ~
>    d    d4  c8   b  a4  b8   | c     c4  b8   a   g4   a8   |
> L: show you your er-ror with   flame and with ter-ror, take
> 
> U:      ~       ~        ~       ~          ~            ~
>         b4d     a8       f4d     a8  |      g2d      r8  d
> L: {\it that\/} and {\it that\/} and   {\it that\/}!     (The)
> 
> =====================================================================
> 
> And here's the messages.
> 
> =====================================================================
> 
> M-Tx 0.30 (Music from TeXt) <2 November 1997>
> Writing to oldones.pmx
> PrePMX done.  Now run PMX.
> Deleting oldones.tex
> Deleting oldones.log
> Deleting oldones.mx1
> === RUNNING PMXA (1st pass) ===
>  Please type a basename (<9 characters, no dots): 
> 
>   Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9
> Bar 10
>   Bar 11  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16
>  Done with first pass.  Now run pmxb.
> === RUNNING PMXB (2nd pass) ===
> 
>   Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9
> Bar 10
>   Bar 11  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16
>  Done with second pass.  Now run TeX
> Cleaning up (pmxtex.dat pmxtex.fig)
> === RUNNING MUSIXTEX: 1st pass (tex) ===
> This is TeX, Version 3.1415 (C version 6.1)
> (oldones.tex
> M-Tx 0.30 (Music from TeXt) <2 November 1997>
> (musixtex.tex
> MusiXTeX(c) T.80 <25 September 1997>
> ) (musixlyr.tex
> MusiXLYRics 1.02a <27 November 1997>
> ) (musixtex.tex) (pmx.tex
> PMX, a Preprocessor for MusiXTeX, v1.3 <1 September 1997>
> ) (musixmad.tex (musixadd.tex
> MusiXADDitional instruments T.79 <24 September 1997>
> )
> MusiXMore ADditional instruments T.79 <24 September 1997>
> ) bar 0 bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7 bar 8 bar 9 bar 10
> bar 11
> bar 12 bar 13
> ! Missing \endcsname inserted.
> <to be read again> 
>                    \i 
> \reset@params ...@texte {#2}\global \csname stp@#1
>                                                   \endcsname =\y@v
> \global \...
> 
> \iterate ->\body 
>                  \let \next \iterate \else \let \next \relax \fi \next
> 
> l.138 \assignlyrics1{\i}
>                         %
> 
> 
> --
> Approved by mutex-owner
> 

From mutex-owner@mail2.gmd.de Thu Jul  9 10:42:17 1998
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Date: Thu, 9 Jul 1998 12:42:17 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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> From: hunsberg@sqa1.si.com (Joel Hunsberger)
> Date: Wed, 8 Jul 1998 17:28:24 -0400 (EDT)

Now I read this posting a second time and a third time ... 
And I thanked Joel already in a private mail.

[...]
> Hints To MusixTexers on How to Find Strange Output Bugs:
> 
> (A few ideas gathered on this bug hunt.)
[...]

But I've to do it in the public. Joel, that was an excellent
analysis and a great pleasure to read!

Thanks -- Werner

From mutex-owner@mail2.gmd.de Thu Jul  9 12:46:58 1998
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	Thu, 9 Jul 1998 14:46:58 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199807091246.OAA11382@calvyn.puk.ac.za>
Subject: Re: position of repeat marks
To: barry@platinum.com (Barry Gold)
Date: Thu, 9 Jul 1998 14:46:58 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9807082130.AA26969@janus.la.platinum.com> from "Barry Gold" at Jul 8, 98 02:30:40 pm
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Barry Gold wrote:
> 
> I just tried setting a piece of music with repeat marks |: and :|.
> In my printout the : marks are centered around the top line of the
> staff (f above treble c in G clef).  My memory of printed music is
> that repeat marks should be around the middle line (g above middle c
> in G clef).
> 
How recent is your set of MusixTeX fonts?  If rather old, it may
cause such problems.  If your MusiXTeX itself is recent, it should
be good enough to delete the old .pk (or .300pk etc) files and allow
them to be rebuilt as required.  Or you might download the new 
musix300.zip etc files instead.

Dirk
-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Thu Jul  9 12:58:49 1998
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Subject: Re: mystifying error message
To: barry@platinum.com (Barry Gold)
Date: Thu, 9 Jul 1998 14:58:49 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9807072200.AA25252@troy.la.platinum.com> from "Barry Gold" at Jul 7, 98 03:00:05 pm
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Barry Gold wrote:
> 
> I thought this song was going to be a piece of cake.  No triplets.  No
> forced beams or slurs.  But then I got an error from somewhere deep in
> the bowels of the MusiXTeX macros.
> 
>         b4d     a8       f4d     a8  |      g2d      r8  d
> L: {\it that\/} and {\it that\/} and   {\it that\/}!     (The)
> 
You can't do this.  A syllable may not contain blanks.  The result
is that unmatched braces get passed to TeX, and if there is one thing
that upsets TeX more than anything else, it's unmatched braces.
(Or unmatched dollar signs.)  Instead write
{\it{that\/}}
etc.

Dirk
-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Thu Jul  9 16:05:01 1998
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From: dsimons@logicon.com (Don Simons)
To: arnost <arnost@uivt.cas.cz>
Cc: mutex@gmd.de
Subject: Re: Bug in PMX 1.3.7
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Verry interesting!  I don't know much about the UNIX versions and even 
less about C--several other kind list-members have been translating my 
FORTRAN into C and making unix versions available.  But I did discover 
at some point that I could not use the backslash character in a 
literal string expression in UNIX (C or FORTRAN), even though it 
worked fine in my DOS/FORTRAN versions.  So to keep to a single 
FORTRAN source, I defined a character variable sq=char(92) and used 
that in all such cases.

Except when I forgot to.  And that's what happend here.  I put in 
something like write(11,'(a)')"addspace{-\afterruleskip}" and the 
backslash did not get translated into the C version.

I'll fix the problem in the next public release version, but that 
probably won't come out for a few months.  Meanwhile if you know any C 
maybe you can fix the C-source and rebuild.  Just search for 
"-afterruleskip" in the C-source and replace it with whatever C-code 
leads to "-\afterruleskip"

--Don




______________________________ Reply Separator _________________________________
Subject: Re: Bug in PMX 1.3.7
Author:  arnost <arnost@uivt.cas.cz> at INTERNET-MAIL
Date:    7/9/98 12:37 PM


Don,

>Unfortunately, I can't reproduce the error.  On my system, your 
>source works fine with both ver 1.3.8 (the most recent) and three 
>others since 1.3.6 .  

I use the C (Unix) version of pmx-1.3.7 and the bug (I thing) is situated at 
lines 2311-2316 (pmxb.c) :

/* Writing concatenation */
                                i__3[0] = 1, a__2[0] = all_1.sq;
                                i__3[1] = 14, a__2[1] = "xchangecontext"; 
                                i__3[2] = 1, a__2[2] = all_1.sq;
                                i__3[3] = 24, a__2[3] = "addspace{-afterrule\
skip}";                                                  ^^^^^^^^^^^^^^^^^^^    

and similary 2330-2333

/* Writing concatenation */
                                i__4[0] = 1, a__3[0] = all_1.sq;
                                i__4[1] = 24, a__3[1] = "addspace{-afterrule\
skip}";

arnost



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From mutex-owner@mail2.gmd.de Thu Jul  9 18:36:06 1998
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From: barry@platinum.com (Barry Gold)
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To: mutex@gmd.de
Subject: accidentals: a question of style
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As you can see, the accompanying piece has a sequence of notes on
g-natural (an accidental) followed in the next bar by a notes on
g-sharp (called for in the key signature).  When I was young, I was
taught that the effect of an accidental ends at the measure bar so it
was not necessary to explicitly cancel it.

But I seem to recall some discussion that suggested it was preferable
to explicitly cancel accidentals in a situation like this.

What do the other people on this list think?  Should I insert an
explicit sharp at the start of bars 3, 7, 11, and 15?  Leave it the
way it is?  Switch to relative accidentals and let MusiXTeX decide for
me?

From mutex-owner@mail2.gmd.de Thu Jul  9 19:22:25 1998
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From: barry@platinum.com (Barry Gold)
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To: mutex@gmd.de
Subject: accidentals: a question of style
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OOPS, forgot to attach the source the first time.


As you can see, the accompanying piece has a sequence of notes on
g-natural (an accidental) followed in the next bar by a notes on
g-sharp (called for in the key signature).  When I was young, I was
taught that the effect of an accidental ends at the measure bar so it
was not necessary to explicitly cancel it.

But I seem to recall some discussion that suggested it was preferable
to explicitly cancel accidentals in a situation like this.

What do the other people on this list think?  Should I insert an
explicit sharp at the start of bars 3, 7, 11, and 15?  Leave it the
way it is?  Switch to relative accidentals and let MusiXTeX decide for
me?


Meter: 4/4
Sharps: 3
Space: 6
Style: SINGER
Pages: 1
Systems: 7

% Bars/Line: 3
%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm\bf{Chorus:}}\ 
% %% \\pageno=6\ 
%% \\headline{\twelverm \bf FILKER UP 5\hfill page 6}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm \bf CROSSROAD IN THE MIDDLE OF THE AIR\hfill}\ 
%% \\line{\twelverm Words and Music by Lee Gold\hfill}\ 
%% \\line{\twelverm about the Vald Taltos series by Stephen Brust\hfill}\ 
%% \\nobarnumbers\ 
U: @+2 ~     A                                | G                  |
@+6    a8  | c    c    c  c c     a    a  a   | gn  g   g  g   g2  |
L:     I'm   stan-ding at a cross-road in the   mid-dle of the air.

U: E                        | A                    |
   g4   g8  g g4    a8 b    | b4 a   c       a8 a  |
L: Look-ing a-round at what   I  see there.  In the

U:                                | G                                  |
   c1  c8d  c  c  c4    a8   a    | g8d   g1 g8  g        b4 of  g8  g |
L: mid-dle  of my life, Each hand   holds a  two-edged    knife, And I'm

U: E                              | A             |
   g   g   g  g   g  g    a     b | b4 a    g2    |
L: try-ing to det-er-mine where I   go from here.

%%L5
U: A                       | G                              |
   c4 c    c4.a            | g8n    g   [ g g ] b4 g8  g    |
L: O-ver-{head\emdash} the   clouds are orange-red And they

U: E                    | A          |
   g4 g8  g  g4  g8 g   | c2d  r8 a8 |
L: Co-ver up all of the   sky.    I've

U:                                         |
   c      c     c  c      c    a    a  a   |
L: shared Grand-fa-ther's mem' ries of the

U: G                           | E                        |
   g4n g8  g   b4     g8  g    | g4n g8 g    g4   g8   g  |
L: sun and the stars, But I've   ne-ver seen them with my

U: A
   a2    r4  a8  b
L: eyes.    (And I'm)

From mutex-owner@mail2.gmd.de Thu Jul  9 22:46:48 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807092246.AA31916@troy.la.platinum.com>
To: mutex@gmd.de
Subject: wish list for M-Tx and pmx
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For M-Tx:

1. Better documentation, especially a table of everything that can go
   into an M-Tx source file, similar to the quick reference table for
   PMX.

   Ideally this should contain four parts:
   a) what can appear in the Preamble
   b) what can appear in the music lines
   c) what can appear in the Uptext lines
   d) what can appear in the lyrics lines

   Section 3 lists some values that can be given for the Preamble
   (e.g. C/ for meter) but doesn't provide a complete definition of
   what you can put there.  A lot of the questions I had to ask this
   group for help with arose from incomplete documentation of the
   prefix.

   The index should include all the special characters/commands that
   you can include.  I notice that the index for version 0.40 is
   considerably more complete than for 0.30, but there are still some
   things missing (e.g., [ ] for forced beams, 

2. Better error detection

   For example, there should be at least a warning if there is a
   mis-match between the number of lyrics syllables and the number of
   notes.  That would have helped me catch the case where I managed to
   insert a space into a "syllable" (I had the syllable wrapped in
   braces{} but M-Tx didn't recognize the special meaning that TeX
   assigns to them).

3. Recognize some standard TeX input forms and be able to tell what to
do with them.  The braces I mentioned above are one example.  Others
include --, ---, and $-$ for en-dash, em-dash, and minus-sign,
respectively.  (In fact, I would like some way of including a hyphen
in a syllable without having to code something like {\hyp}).

4. Allow longer lines and more data in %% lines.  I ended up putting
part of the header of one piece into a separate file that I included
with %% \\input\ , because I had more stuff than M-Tx was willing
to allow.

5. Allow comments in the Preamble.  This would make it easier to
switch between the Bars/Line: and the Systems: & Pages: forms when
I'm tuning my input.  Currently I have to not only comment them out
but move them from the Preamble to the next section (nominally part of
the first "paragraph", although I usually think of all that gunk that
I use at the start of my pieces as if it were a separate section).

For pmx:

1. Be willing to accept L and LP commands even if the number of pages
is "0" (unknown).  I don't see why I should be forced to specify
number of systems and number of pages before I can introduce a forced
line break.

2. Write in C.  Fortran compilers are hard to come by these days.

I guess for the time being I'll have to use the old version of PMX
that I have, since I can't compile the new 1.38 version on my AIX
system.


Finally,

A wish for MusiXTeX: To date, if I want to have both sheet music
and blocks of text on a page, I have to print them separately and
cut-and-tape pieces of paper.  This is outmoded.  I would like to be
able to tell MusiXTex "Here is some text.  Pass it unmodified to TeX,
then resume setting music."

Of course, if I do that, the pre-processors will no longer know how
many systems will fit on the page, so I should be responsible for
telling them where to break pages.

I dunno, maybe I'm using the wrong preprocessor?  Should I be learning
Lilypond instead?

From mutex-owner@mail2.gmd.de Fri Jul 10 00:15:14 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807100015.AA22462@troy.la.platinum.com>
To: mutex@gmd.de
Subject: Wish list addition
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Add to the part about error detection:

If there isn't room to print the hyphen between syllables, put out a
warning instead of quietly omitting it.  The previous version of the
piece "I Can Tell Your Future" had the two syllables of "listen"
jammed together, and I happened to notice it when I was eyeballing the
output.  I "fixed" it by changing Systems: from 3 to 4, but I would
have liked to be warned about it.

Also, is there a way to offset a note more than one notehead worth?
It seems to me that I didn't get any additional movement by piling up
"e"s, and the note is still to far to the right over the syllables
that have an em-dash attached.  (Of course, if I get a solution to my
earlier question about floating the em-dashes, the problem will go
away).

From mutex-owner@mail2.gmd.de Fri Jul 10 00:07:57 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807100007.AA36506@troy.la.platinum.com>
To: mutex@gmd.de
Subject: Making room for annotation
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Please observe the attached short piece.  The output is a good
approximation of what I want, but there are two things wrong with it.

1. I put the notation "(Optional Intro)" on a %% \\line.  I would have
preferred to put it on the first Uptext line and move the first note and
repeat sign over to make room for it.

2. The em-dashes are attached to the preceding syllables.  I would
like them to be centered between the syllables, like an M-Tx hyphen
is, or lined up under the bar line, whichever is easier.

At least I have the repeat marks at the right vertical position, now
that I downloaded the newest M-TX, MusiXTeX, and MusiXTeX fonts along
with the latest-but-one Pmx.

Any suggestions?

Source follows:

Meter: 4/4
Sharps: 3
Space: 8
Style: SINGER
Pages: 1
Systems: 4

%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{~---}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
% %% \\pageno=18\ 
%% \\headline{\twelverm \bf FILKER UP 5\hfill page 18}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm \bf I CAN TELL YOUR FUTURE\hfill}\ 
%% \\line{\twelverm Words and Music by Lee Gold\hfill}\ 
%% \\line{\twelverm about the Vlad Taltos series by Stephen Brust\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm (Optional Intro)\hfill}\ 
%% \\nobarnumbers\ 
U: @+2  A                                 |                          |
@+8 |:  a8  a   a    a    c4  aeee        | a8 a  a    a    c4 a    :|
L:      I   can tell your fu-ture\emdash{}  I can tell your fu-ture!

%%L2
U: A                                  |             |
   a8  a   a    a    c4  aeee         | c     a2 r4 |
L: I   can tell your fu-ture\emdash{}   trust me!

U:                                       | E
   a8  ae           a   a      c4  a    | b2d  r4 |
L: Lis-ten\emdash{} and you'll see it's   true.

U:                           |                      |
   b4   b  e        b8   b   | e4  b    e2eee       |
L: Play it straight with the   Jhe-reg, or\emdash{}

U:                        | A 
    e4      d  c8 a    b4 | a0
L: There's no fu-ture for   you.

From mutex-owner@mail2.gmd.de Fri Jul 10 00:35:22 1998
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From: barry@platinum.com (Barry Gold)
Message-Id: <9807100035.AA31853@troy.la.platinum.com>
To: mutex@gmd.de
Subject: Amid all the complaints and cries for help
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I notice I've been bitching a lot lately about what _isn't_ in M-Tx
and Pmx.  So it's time to express my appreciation for them being there
_at all_.

When I started out printing music, I did everything by hand with a #1
pencil on composition paper.  Didn't take too long, but the printed
results looked like s---.

Then I started using a desktop publishing program.(*) I made my notes
out of circles and lines and arcs.(+) The results looked really nice
but it took me most of a day to set one line of music.  I discovered I
could cut down on the redrawing time if I captured my notes into
bitmaps, and a friend sent me a copy of Adobe Sonata font that I
captured into prettier notes and "real" clefs.  But it still took over
2 hours per line of music.

Then came MusiXTex.  All of a sudden I could type my music in.  This
cut my time to about 1 hour/line.

Now I have M-Tx.  I can set an entire page in 1-2 hours.  Life is
grand.  Thank you, Dirk Laurie and Don Simons and Daniel Taupin.
Thank you from the bottom of my heart!

(*) Hey, when all you have is a hammer....

(+) Yes, the noteheads should be slanted ellipses and the flags on
quavers etc. should be fairly complex shapes, but I couldn't get
them quite right and besides, version 3 of FrameMaker didn't do
slanted ellipses.  I had to approximate everything with joined-
together parts of orthogonal ellipses.  And you should have seen
my clefs made of a bunch of elliptical and circular arcs.  Or more
accurately, be glad you didn't see them.

From mutex-owner@mail2.gmd.de Fri Jul 10 05:32:06 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Wish list addition
To: mutex@gmd.de
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barry@platinum.com (Barry Gold) 

>Also, is there a way to offset a note more than one notehead worth? 

In PMX, the "X" command gives you at least 3 differnt ways to move 
stuff:

1.  "X[d]" (where [d] is a decimal number which may be negative) 
inserts d notehead-widths of space in all staves.
2.  "X[d]S" shifts the next note or rest  
3.  "X[d]: [any number of pmx symbols] X:" shifts the output of the 
string of pmx symbols.

The shifts cannot extend across bar lines.  I don't remember at the 
moment what the limits are (if any) on how far these go, but I 
remember testing "X[d]" over half a page width.

--Don Simons

From mutex-owner@mail2.gmd.de Fri Jul 10 05:20:31 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: wish list for M-Tx and pmx
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barry@platinum.com (Barry Gold) wrote

>For pmx:
>
>1. Be willing to accept L and LP commands even if the number of 
>pages is "0" (unknown).  I don't see why I should be forced to 
>specify number of systems and number of pages before I can introduce 
>a forced line break.

That's a reasonable request and think about how to do it.

>2. Write in C.  Fortran compilers are hard to come by these days.

Not gonna happen.  Even if I were willing to learn to program in C 
(which I'm not), the program is so big that it would be a huge job 
just to translate it into a usable form of C code that could be 
further built upon.  Meanwhile there are automatic translators out 
there that several list members have successfully applied, generating 
C source that, while not very comprehensible, can be compiled.  Stefan 
Evert has posted a UNIX/C implementation of Version 1.3.8 at 

/ftp.mathematik.uni-stuttgart.de/pub/software/pmx/

Also, version 1.3.7 is on the gmd server and there's not that much 
difference between that and 1.3.8.



From mutex-owner@mail2.gmd.de Fri Jul 10 17:15:18 1998
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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re:  Dotted bars
To: mutex@gmd.de (MusiXTex Mailinglist)
Date: Fri, 10 Jul 1998 13:15:18 -0400 (EDT)
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On Tuesday, July 7, 1998, arnost <arnost@uivt.cas.cz>, wrote:

% Dear MusiXTeXnicians,
% I prepare the textbook of bagpipes playing and I need plenty of
% nonstandard things. Does anybody know, how can I realize the dotted
% bars instead of normal bars. 
% 
% thanks
% 
% arnost

Greetings!

Here is an idea.  Below is a "TeX Hack" package I have called "dotbars.tex"
which may (or may not) do what you want.  I submit it to the list for
comment or castigation, as may be most appropriate. :-)  
 
Having said that, I would be just as happy if this little hack just served
as an illustration of what not to do.  I do not like it for a few reasons:

1)  It does its job by undermining one or two of the really "core" macros
in MusiXTeX.  But, hey.... I learned that technique by actually studying
\stdbarrules and \sepbarrules anyway, and the applied changes are 
only temporary, so no harm done?

2)  Since I am not familiar with Bagpipe score, I find the results of this
capability a little strange, and certainly obscure.  This is not likely
to be much help to very many people.

3)  This offering does not do an elegant job... It seems quite awkward
and unsatisfying.  Also, it would take (I guess) a bit more work than I
want to do to really make both ends of the dotted bars sit right.

And... (philosophical dangerous bend)...
4)  (Most interesting), it erodes the "magic" of MusiXTeX a little
too much for me.  What do I mean?  Well, when one is new to MusiXTeX, it
is almost magical that staves, and notes and keys and (yes) bar lines just
seem to appear so beautifully situated and effortlessly adjusted, with
so little (relative) effort.  (I once tried making music symbols in 
Interleaf, and had to dup and drag each one on the frame, without any
benefit of automatic position adjustment.... Believe me, MusiXTeX,
PMX and M-Tx, have made it quite a bit easier.)

However, when one starts to understand the inner workings of MusiXTeX, it
becomes apparent how much tortuous work is performed just to place
all those symbols on the page in relationship to each other.  Fine... I
can live with that, but I can't help myself from visuallizing what's
really going on "inside."  This is where the "magic" is replaced by a
certain (albeit fictitious) empathy with the machine as it churns onward
for micro-EONS just to satisfy my every request...  (Hey... Enough of
this deliberation... This machine has nothing better to do!!! :-)

I do feel badly that this package makes the inner workings yet the more
complicated and slows my output by yet another blink of the eye.
(But, isn't that what they made Pentiums for?  Someday we will bring
these machines to their knees also!)

Enjoy...

Joel Hunsberger
hunsberg@sqa1.si.com

%------- Cut the following and save it as file "dotbars.tex" ------
% Dotted Bars Options Package - Version -0.9, July 1998
%
% File Name: dotbars.tex
%
% Written by: Joel Hunsberger <hunsberg@sqa1.si.com>
%
% This package replaces the definitions of the MusiXTeX package which
% produce vertical bar lines, by definitions that produce dotted bar
% lines, dashed bar lines, or any other character selected for special 
% typesetting, such as bagpipe score, or unusual special effects.
% The author acknowledges that this is just another poor TeX Hack Job.
% All constructive changes are welcomed, but you should just humor yourself
% with any strange results you may get :-()!  
%
%  Revision History:
%  -0.9  Distributed for comments and better ideas! - July 1998, jh
%         This is an EXPERIMENT.
%
%  General User Instructions:
%
%  Load the package after MusiXTeX and most other add-in packages are loaded.
%
%  E.g.
%
%  \input dotbars
%
%  To turn ON the special bars capability, you must enter:
%
%   \barspecial  <-- Note that % would be needed in the usual places.
%
%  This replaces the usual bar lines with special characters or dashed lines.
%
%    - The default is to produce DASHED bar lines.
%
%      You can control the following things:
%
%      \setdashskip{any TeX dimension}% E.g. \setdashskip{3pt}
%         This controls the vertical distance between instances of the repeated
%         character, i.e. from the start of one dash to the start of the next.
%
%      \setdashlength{any TeX dimension}% E.g. \setdashlength{1.5pt}
%         This is the length of a single dash.  It should be around 1/2 of
%         the value set by \setdashskip, although it can be anything.  If it
%         is too long, you just get a solid line.
%
%      \setdashwidth{any TeX dimension}% E.g. \setdashwidth{.4pt}
%         This is the width of the dash, and should be similar to the width
%         used for normal bar lines.
%
%  More about dashed lines later,... how about special characters?
%
%  Any special character can be used instead of a dash, and it takes up as
%  much vertical space as it is designed to take up in the font.  However, the
%  vertical skip is still controlled by \setdashskip, and has a default value
%  of 3.2pt.  This will most likely need to be changed, but it will be
%  visible only if it is larger than the vertical height of the character.
%
%  To define any character as the dash replacement...
%
%  \setbarchar{anything}%  E.g.  \setbarchar{.} or \setbarchar{*}
%
%  Remember that the spacing is controlled by \setdashskip, and you may
%  need to adjust it.  If you make \setdashskip very small, the selected
%  character simply stacks up over itself until the vertical bar is full.
%  This can be useful when using big things like * or @, but can be
%  undesirable if you select the dot character.
%
%  Music font characters can be selected if you enter \musixcharNN, where
%  NN is the decimal number of the character in the font.
%  E.g. \setbarchar{\musixchar69} uses the ~-like character (if anyone 
%  would want to?)
%
%  Actually, the selected character can be anything TeX can set in a
%  \vbox, and it will be replicated downward until the bar line vertical
%  height is filled.
%
%  More about dashed lines:
%
%  The dashed line is the default selection when dotbars.tex is first
%  loaded, so nothing has to be done to set up dashed lines unless another
%  special character has been sleceted first.
%
%  To select dashed bar lines (again), use the \dashbar command as the
%  bar character.  For example, if you want bar lines that are 1pt thick
%  and use dashes that are 3.2pts long, separated by 5 pts, you would
%  enter...
%
%    \barspecial           % (Turns on special bars if necessary)
%    \setbarchar{\dashbar} % Selects the dashed bar structure 
%    \setbarwidth{1pt}     % Will be very thick
%    \setbarlength{3.2pt}  % The length of each dash
%    \setbarskip{5pt}      % The space used for each dash overall.
%
%  Special Concerns and Limitations:
%
%  At any time you can enter \barsnormal and return to the normal
%  barlines that MusiXTex uses.
%
%  HOWEVER - In order to restore the original definitions, that macro also
%  applies \stdbarrules (which copies the definition to the internal
%  MusiXTeX bar writing macro.)
%
%  This will only be a concern to you if you want \sepbarrules.
%  In that case, you need to again state \sepbarrules to re-assert that
%  selection.
%
%  Also, at any time you can enter \barspecial and return to the special
%  bars as they were defined.  But, you also need to apply \sepbarrules
%  again if that is the mode you want.
%
%
%  CAUTION - If you use these commands in a context where you need
%  a % at the end of the line, you still need the % at the end of the line,
%  or you will get overfull hboxes.
%
% 
%  Known Problems or Development Opportunities:
%
%  The topmost element in a dotted or dashed bar line appears to be missing,
%  and this is a result of the simple \cleaders\vbox method used to fill the
%  box.  This could probably be fixed by complicating the macro \bar@ngine
%  somewhat more, to take care of a first case, or by lifting the whole bar
%  just the right amount (?).  Does anyone really want to do that?
%
%
%  Example:
%
%  Suppose you have created an SATB score using M-Tx and PMX, and you want
%  to replace the standard bar lines with large dots, appropriately spaced.
%
%  (In the .TeX file)...
%  Add these lines shortly after the \input pmx (or other inputs are complete)
%
%  \input dotbars
%  \barspecial\setbarchar{\Bigtype{.}}\setdashskip{5pt}
%
%  Since the SATB style of M-Tx normally uses \sepbarrules, the entry above
%  would revert to \stdbarrules, and you would have to add the line
%  \sepbarrules also in order to keep the separate bar rules of the 
%  original file.
%
%  Those experienced with M-Tx and PMX should recognize how to provide these
%  commands in the original .MTX or .PMX files.
%

\ifx\undefined\barspecial \else\endinput\fi % Don't load more than once
\immediate\write10{Dotted Bars - Version -0.9}%
\ifx\undefined\startpiece%  Make sure MusiXTeX is loaded first.
  \immediate\write10{Dotted Bar Support must be loaded after MusiXTeX}%
  \endinput\else \fi
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11

%
% Begin special definitions...
%
% The character or TeX string that will be used in each repeated instance
% appearing as the bar line is filled (vertically) can be defined or
% changed by using \setbarchar{any TeX text}.
% It can be a single character, the special \dashbar defined here, or any
% other construction desired by the user.  It will be used to vertically
% fill the bar line area, and its height (along with the value defined in
% \setdashskip) will determine how many instances appear.
%
\def\setbarchar#1{\def\barfillchar{#1}}  % Easy user setup or changes
\setbarchar{\dashbar}  % The dashed line is set as the default.

\def\setdashskip#1{\def\bardashskip{#1}} % The spread from dash to dash
\setdashskip{3.2pt}  % Default, for no good reason.

\def\setdashlength#1{\def\bardashlength{#1}} % Should be about 1/2 barskip
\setdashlength{1.6pt}  % Looked good to the author once, change if you want.

\def\setdashwidth#1{\def\bardashwidth{#1}} % Width of the dash bar line
\setdashwidth{.4pt} % This is the default width of the dash bar line

% The following implementation is just one way to draw a dashed line.
% The method depends on an invisible strut entered first to set the height
% and then \dashbar produces a vertical line (which should be shorter than the 
% strut in order to make a broken line appear.)

% The \d@shstr@t forces vertical space \bardashskip to exist between
% instances of the dash fill character \barfillchar.  

\def\d@shstr@t{\vrule\@depth0pt\@height\bardashskip\@width0pt}% strut

% This provides a standard vertical dash line that the user can tailor,
% or it can be replaced by any thing else.
\def\dashbar{% 
  \vrule\@depth\hlthick\@height\bardashlength\@width\bardashwidth}

% This intermediate macro produces the context for each instance of
% the bar fill character.  First the invisible strut is entered to
% prop the box at a height determined by \setbarskip, and then the
% selected bar fill character is entered.  If the bar fill character
% is taller than the strut, then it will determine the height of the
% vertical box. 

\def\barfill@ction{\vbox{\d@shstr@t\barfillchar}}

% Define a new bar filling process utilizing techniques for vertical fill 
% as described in "The TexBook," D. E. Knuth, Addison Wesley, 1984, 
% (ISBN 0-201-13448-9), p. 224-225.
% Parameter 1 is the prescribed Width of the vertical rule, (Ignored)
% Parameter 2 is the prescribed Height of the vertical rule.
% \cleaders it the "active ingredient" which causes the vertical box
% (which has a height of #2, to be filled by repeating instances of
% the box positioned immediately between \cleaders and the \vfil.
% Note that paramater #1, the width of the bar line as defined in normal
% MusiXTeX activity, is ignored, and the width of these special barlines is
% actually controlled by \setbarwidth.  (A lazy way to keep it simpler.)
%
% Note (also) that the top character (dot or dash, etc.) appears to be
% missing because the top box is just like the bottom box, and if the
% character is positioned at the baseline, (not the top), then there
% is a gap at the top!  If you shove it to the top, then the bottom
% would appear to have a gap.  One solution would be to have a special
% first box, unlike the others, with the character at the top, but then
% this would get more complicated :-(.... Another idea would be to just
% increase parameter #2 just the right amount... I wonder what that
% amount would be?  (Ideas?)

\def\bar@ngine#1#2{\vbox to #2{\cleaders\barfill@ction\vfil}}

% Command to Restore Normal Behavior...
% Use \barsnormal to resume drawing bar lines the way MusiXTeX normally
% does... Use \barspecial to apply the dotted line (special) definitions,
% BUT... In both cases, THESE MACROS REASSERT \stdbarrules, which provides
% a return to initial default behavior.  If \sepbarrules has been active
% or is desired, the user MUST state \sepbarrules again 
% after either \barsnormal or \barspecial,  Otherwise \stdbarrules
% will be the selection used.

\def\barsnormal{%  These definitions are just like MusiXTeX .83
  % Full barlines (across a full score)
  \def\rul@full##1{\raise\altplancher\rlap{\vrule\@depth\hlthick%
    \@height\systemheight\@width##1}\addspace##1}%
  % Separated barlines (one per instrument)
  \def\rul@sep##1{\n@loop\Comp@High\raise\altitude\rlap{%
     \vrule\@depth\hlthick\@width##1\@height\y@v}\repeat\addspace##1}%
\stdbarrules%  <-- NOTE, User may have to reassert \sepbarrules.
}% End \barsnormal definition

% Command to set up special bar lines...
\def\barspecial{%
  % Full barlines (across a full score)
  \def\rul@full##1{\raise\altplancher\rlap{%
    \bar@ngine{##1}{\systemheight}}\addspace##1}%
  % Separated barlines (one per instrument)
  \def\rul@sep##1{\n@loop\Comp@High\raise\altitude\rlap{%
      \bar@ngine{##1}{\y@v}}\repeat\addspace##1}%
\stdbarrules%  <--NOTE, User may have to reassert \sepbarrules if desired.
}% End \barspecial definition

% Note:  One of the two commands, \rul@full or \rul@sep is selected and
% assigned to \writ@rule by the command \stdbarrules or \sepbarrules
% respectively.  This file provides alternate definitions of these
% two macros in order to allow the special bar lines to be created.
% And... This is why either \stdbarrules or \sepbarrules has to be
% asserted after the definitions are changed.  If \writ@rule is not
% refreshed with the revised definition, the bar appearance will not change!

% Conclude this activity by reverting to @ as an OTHER character...

\catcode`\@=\catcodeat
\endinput
%------ End of file "dotbars.tex" --------------------------------

From mutex-owner@mail2.gmd.de Sat Jul 11 09:01:36 1998
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Date: Sat, 11 Jul 1998 11:01:36 +0200
From: Frank Stefani <F.Stefani@gap.baynet.de>
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To: barry.gold@platinum.com
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: wish list for M-Tx and pmx
References: <9807101604.AA25359@janus.la.platinum.com>
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Barry Gold schrieb:
> 
> What file extension should I use to get gcc to recognize an input file
> as fortran?

I think *.f or *.for do work. Simply call "f77" of "g77" as
the compiler name instead of "gcc". But easier, you simply
can type

  make pmxa pmxb

in the source directory of pmx-1.3.8. There is no [Mm]akefile
available, so make looks for an appropriate source file, in this
case it will look for any file with a name like pmxa.c pmxa.cc
pmxa.f and others and figure out by itself how to compile it,
whether it's C, C++, Fortran code or whatever. Nice, hm?

BTW. With my SuSE-5.2 distribution of Linux, the corresponding
files exist somewhere under "/usr/lib/gcc-lib/". Try "locate
f77" if you like.

Enjoy the weekend, happy compiling :-)

Frank.
-- 
--------------------------------------------------------------
                      <=============\                        
          Music        \             \            Biking
       O                ) \ o /       )                   ~o
   ,_/()\/'___/        /___ O _______/'       ---- o  ___ <\   
      X     |              < \                 -- <\    ()/() 
    _/ \_  /^\           Paragliding            ()/()          
--------------------------------------------------------------
Email : <F.Stefani@gap.baynet.de>
        <frank@ead-systeme.de>
WWW   : <http://www.gap.baynet.de/members/f.stefani/>
--------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jul 13 18:10:49 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, barry@platinum.com
Subject: Re: wish list for M-Tx and pmx
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> Date: Thu, 9 Jul 1998 15:46:48 -0700
> From: barry@platinum.com (Barry Gold)
> 
> For M-Tx:
> 
> 1. Better documentation, [...]

Hm, that's always good - unless you have to write it.

Imho the M-Tx documentation is good ..

>    [...]  I notice that the index for version 0.40 is
>    considerably more complete than for 0.30, but there are still some
>    things missing (e.g., [ ] for forced beams,

... but I came to it after knowing most things about PMX. Imho a M-TX
user should read the PMX-documentation and it makes no sense to
duplicate the complete PMX-documentation in the M-Tx documentation.

[...]
> A wish for MusiXTeX: To date, if I want to have both sheet music
> and blocks of text on a page, I have to print them separately and
> cut-and-tape pieces of paper.  This is outmoded.  I would like to be
> able to tell MusiXTex "Here is some text.  Pass it unmodified to TeX,
> then resume setting music."
> 
> Of course, if I do that, the pre-processors will no longer know how
> many systems will fit on the page, so I should be responsible for
> telling them where to break pages.

musixdoc.tex shows how to combine LaTeX and MusiXTeX. If understood
it right then tex2ex is what you are looking for to combine M-Tx/PMX/
MusiXTeX with LaTeX. But in that case you have to understand the
MusiXTeX source generated by M-Tx/PMX and to be responsible for
the page-breaks. The MusiXTeX-source output of PMX *is* man readable
and that's a great advantage of PMX.



> I dunno, maybe I'm using the wrong preprocessor?  Should I be learning
> Lilypond instead?

Are you sure that they generate TeX? I'm not sure. But maybe they only
dropped using MusiXTeX.

-- Werner

PS: As list-owner I'm happy that there are many spam attempts to the
    list, because the BOUNCE now :-)

From mutex-owner@mail2.gmd.de Mon Jul 13 17:59:22 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, barry@platinum.com
Subject: Re: accidentals: a question of style
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> Date: Thu, 9 Jul 1998 12:22:25 -0700
> From: barry@platinum.com (Barry Gold)

> As you can see, the accompanying piece has a sequence of notes on
> g-natural (an accidental) followed in the next bar by a notes on
> g-sharp (called for in the key signature).  When I was young, I was
> taught that the effect of an accidental ends at the measure bar so it
> was not necessary to explicitly cancel it.

When I was (physically) young - long, long ago - I learned that, too.

That's the rule today, too. Nevertheless it can be helpful to make
explicite what the rule already tells, if one cannot detect the change
easily. In your case it's a change back to the "normal" case and a
performer can miss that if (s)he does not notice the chord progression.
So in that case I would add the sharp in front of the first g in
bar 3.

In other cases where the (back-) change is obvious I wouldn't add
superfluous accidentals; sometimes I add a small accidental over
the note as PMX offers it with e.g. "oes" (editorial sharp)

> What do the other people on this list think?  Should I insert an
> explicit sharp at the start of bars 3, 7, 11, and 15?  Leave it the
> way it is?

Where are these bars? You switched of the bar numbering :-)

In bar 7 there is nothing to switch back, because you forgot the
natural in bar 6. In 11 I would add a sharp. In 15 I would replace
the wrong natural by a sharp.

>  Switch to relative accidentals and let MusiXTeX decide for
> me?

That does not work, because "relative accidentals" do not diappear,
if they are not neccessary. With "relative accidentals", too, any
accidental specified will have some effect on the output.

Nevertheless I always recommend using relative accidentals. That
means in your case that you have to specify in bars 2, 6, 10 and 14
"gf". "gf" means in the case of A-major (3 sharps) flatten g-sharp.
the result is a natural sign in front of the g. In bar 3, 7, 11, and
15 you have to type "gn". "gn" means in that case: restore the original
meaning of the g in A-major. The result is a sharp in front of the 
g. If you write the next note as "gn", too, then there will be
again a sharp in front of the g. Relative accidentals have nothing
to do with keeping track of the accidentals; only with handling the
accidentals corresponding to the key signature.

I like that behaviour because for me  "gf", a g to be flattened, is more 
logical when *typing* the music. If it would print as "flat" I couldn't
*play* the music :-)

With relative accidentals you can afterwards easily tranpose the music.
Have a look at http://www.gmd.de/Misc/Music/ "MusiXTeX" "Add-ons" "scales"
to see how wonderful it works. One scale printed in any key signature.

-- Werner

PS: Editorial accidentals, as they are implemented with PMX now, do not
    follow the rules of relative accidentals - as far as I know. So be warned.

From mutex-owner@mail2.gmd.de Mon Jul 13 21:45:06 1998
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From: barry@platinum.com (Barry Gold)
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To: Werner.Icking@gmd.de
Cc: mutex@gmd.de
In-Reply-To: <199807131810.UAA13815@sunick.gmd.de> (message from Werner Icking on Mon, 13 Jul 1998 20:10:49 +0200 (MET DST))
Subject: Re: wish list for M-Tx and pmx
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Werner.Icking wrote:

   Imho the M-Tx documentation is good ..

It's fairly good.  The lack of a summary of the things you can do is a
problem.  Also the fact that it seems to be written to convince you to
use M-Tx (here, lookat all the neat things you can do with a few keystrokes)
rather than as a step-by-step howto (which would, IMHO, start with the
preamble). 

   ... but I came to it after knowing most things about PMX. Imho a M-TX
   user should read the PMX-documentation and it makes no sense to
   duplicate the complete PMX-documentation in the M-Tx documentation.

The one problem with that is that not every PMX construct will be
valid in an M-Tx music line.  I doubt the h, w, or l directive would
be useful in M-Tx; the L directive appears before the paragraph rather
than inside the M-Tx line, etc.

A list of exceptions might be enough, but ISTM that it would be easier
to copy the TeX input for the PMX quick reference and delete the
non-useful items.

   musixdoc.tex shows how to combine LaTeX and MusiXTeX. If understood
   it right then tex2ex is what you are looking for to combine M-Tx/PMX/
   MusiXTeX with LaTeX. But in that case you have to understand the
   MusiXTeX source generated by M-Tx/PMX and to be responsible for
   the page-breaks. The MusiXTeX-source output of PMX *is* man readable
   and that's a great advantage of PMX.

That is painful - you have to edit the PMX output by hand - and the
pmx shell script doesn't even want to pause for that, so you have to
run pmxa and pmxb by hand.  I'm hoping to see something more TeX-like
- you put everything you want into your input file and run the program
over it to get your output.

   PS: As list-owner I'm happy that there are many spam attempts to the
       list, because the BOUNCE now :-)

What good do you think that does?  Most spammers have forged return
addresses, so you're just bouncing to somewhere that either doesn't
exist or won't recognize the username.  Still, it could be worse.

Some technical mailing lists have been targeted by Spamford Wallace
using a trick of subscribing to the list, sending his spam, then
unsubscribing.  They defended themselves by making subscription a
two-part process - you subscribe, then the listserver sends you an
agreement that you have to manually return (reply doesn't work, you
have to read it to get the address to send it).  The agreement
specifies a fee of $100 for each commercial announcement sent via the
list.

From mutex-owner@mail2.gmd.de Tue Jul 14 08:48:16 1998
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Hi,

I have a problem with PMX. The d-minor organ concerto (BWV146/1052)
of Bach contains in the third movement many arpeggio-like triplet passages
starting with a rest. This motif is not rare in keyboard
music at all. However, I get the error message
``Xtuplets may not start with a rest!''. How can I circumvent that?
Since it occurs so often, I would have to write long passages entirely
in MusixTeX and \input it.

As a matter of fact, I had to do that also for 30 bars in the first movement
because PMX was unable to beam together rapidly alternating right-hand/
left-hand beats, another frequent feature of keyboard music. The way PMX
printed it with separate flags, the music was too difficult to read.
Actually,
the code for MusixTeX was even not very complicated because of its superior 
ability to save time and increase accuracy by using macros.

Another feature would have been also extremely helpful for setting
the concerto: It continuously runs over the entire 4 1/2 octavas
of the organ manual. Frequent clef changes are necessary unless one uses
the trick which is used in traditional note-setting:
The minimum space between the staves is exactly one interspace.
In this way, passages automatically enter bass notes that exceed
the pitch range at the correct place in the treble stave and
vice versa. However, I could not use it because there is no way 
to suppress drawing of the help lines. Actually, this is also a feature which
occurs quite frequently in other keyboard music.

I realize that a preprocessor cannot provide all features.
I like PMX and M-Tx very much, because
it really speads up setting. However, in all cases of more
sophisticated music I found no way to avoid extensive editing of the
TEX-file. Actually, I have the impression, the beauty of the note-setting
is too much in the foreground. The philosophy of LATeX, to do everything to
make reading easy, if necessary even at the expense of beauty, is even 
more important for a practising musician where scores must be entirely 
lucid to speed up reading which is often the rate-limiting step in performance.
There is good reason that professional musicians do avoid reading
altogether when interpreting.

In M-TX there is an item missing which should not be too
difficult to implement: There should be a way to transmit
TeX-commands that are defined before MusixTeX starts its work.
PMX has this feature by the --- inserts, but I was unable
to transmit it from M-Tx to PMX. M-Tx uses the feature
itself, so it should be possible to add something to the preamble
without having to edit the PMX-file.

I appreciate all helpful comments!

Christof.

Prof. Dr. Christof K. Biebricher
Max-Planck-Inst. for Biophysical Chemistry
D-37070 G"ottingen
phone: +49 (551) 201-1442

From mutex-owner@mail2.gmd.de Tue Jul 14 11:20:07 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199807141120.NAA14115@sunick.gmd.de>
To: mutex@gmd.de, cbiebri@gwdg.de
Subject: [PMX] Rests in xtuplets, etc. (was: no subject (file transmission))
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> From: cbiebri@gwdg.de
> Date: Tue, 14 Jul 1998 10:48:16 +0200 (MET DST)

> I have a problem with PMX. The d-minor organ concerto (BWV146/1052)
> of Bach contains in the third movement many arpeggio-like triplet passages
> starting with a rest. This motif is not rare in keyboard
> music at all. However, I get the error message
> ``Xtuplets may not start with a rest!''. How can I circumvent that?

This was just the basic problem which led to the problem I described in 
the message titled "Underfull hbox" which led to the excellent and exciting
error analysis by Joel Hunsberger (cf. http://www.gmd.de/Mail/mutex/ )

So here again the solution up to the time PMX will allow rests in xtuplet
(in 2004? :-)

1 1 2 4 2 4 0 0
0 4 20 0

t
./

% r4x3 a c
\\newcount\slopesav\
\\def\dsforibuqb{\let\ibusav\ibu\let\qbsav\qb\
\\def\ibu##1##2##3{\let\ibu\ibusav\zcharnote{##2}{~}\slopesav##3}\
\\def\qb##1##2{\let\qb\qbsav\zcharnote{##2}{~}\ds}}\
\\def\ibuqbforqb{\let\qbsav\qb\
\\def\qb##1##2{\let\qb\qbsav{\ibu{##1}{##2}{\the\slopesav}}\qb{##1}{##2}}}\

f44x3 a c \dsforibuqb\ f44x3 \ibuqbforqb\ a c /

% f4x3 r c
\\def\dsforqb{\let\qbsav\qb\
\\def\qb##1##2{\let\qb\qbsav\zcharnote{##2}{~}\ds}}\

f44x3 a c f44x3 \dsforqb\ a c /

% f4x3 a r
\\def\dsfortbuqb{\let\tbusav\tbu\let\qbsav\qb\
\\def\tbu##1{\let\ibu\ibusav}\
\\def\qb##1##2{\let\qb\qbsav\zcharnote{##2}{~}\ds}}\
\\def\tbuqbforqb{\let\qbsav\qb\
\\def\qb##1##2{\let\qb\qbsav\tbu{##1}\qb{##1}{##2}}}\
\\makeatother\

f44x3 a c f44x3 \tbuqbforqb\ a \dsfortbuqb\ c /

% a4x3 c e
\\def\rdsforqb#1{\let\qbsav\qb\
\\def\qb##1##2{\let\qb\qbsav\zcharnote{##2}{~}\raise#1\internote\ds}}\

a43x3 c e a43x3 \rdsforqb{-4}\ c e /


Some remarks:

- the principle is always to know what TeX-macros PMX will generate, to 
  save the meaning of that macros, to redefine them as restoring the
  old meaning and doing what you want to do instead.
- if the original macro uses a pitch this pitch has to be used somehow
  in the replacement too, because PMX uses octaviation with "'" and "`"
  which influences the following notes; see re-definition of \ibu in
  \dsforibuqb.
- if the replacement macro uses a pitch more than once, then the first
  occurences have to be put into a group "{...}" to keep the possible 
  octaviation local; see re-definition of \qb in \ibuqbforqb.
- the definition of e.g. \dsforibu could be more general as \dsforibqb
  by including \ibu _and_ \ibl into the definition. This would look like:
  \\def\dsforibqb{\let\ibusav\ibu\let\iblsav\ibl\let\qbsav\qb\
  \\def\ibu##1##2##3{\let\ibu\ibusav\let\ibl\iblsav\zcharnote{##2}{~}\slopesav##3}\
  \\def\ibl##1##2##3{\let\ibu\ibusav\let\ibl\iblsav\zcharnote{##2}{~}\slopesav##3}\
  \\def\ibl##1##2##3{\let\ibu\ibusav\zcharnote{##2}{~}\slopesav##3}\
  \\def\qb##1##2{\let\qb\qbsav\zcharnote{##2}{~}\ds}}\
- a redefinition may contain a parameter as you can see in \rdsforqb#1
  where the parameter is used to raise the rest.

> Since it occurs so often, I would have to write long passages entirely
> in MusixTeX and \input it.

It is always better to write it within the PMX-source because then PMX knows 
about the line and page breaking.

> As a matter of fact, I had to do that also for 30 bars in the first movement
> because PMX was unable to beam together rapidly alternating right-hand/
> left-hand beats, another frequent feature of keyboard music. The way PMX
> printed it with separate flags, the music was too difficult to read.

I do not understand that problem? Is it the problem of "jumping beams"
which somestimes :-) can be solved in PMX using "]j" and "[j"?
 

> Another feature would have been also extremely helpful for setting
> the concerto: It continuously runs over the entire 4 1/2 octavas
> of the organ manual. Frequent clef changes are necessary unless one uses
> the trick which is used in traditional note-setting:
> The minimum space between the staves is exactly one interspace.

interspace?

> In this way, passages automatically enter bass notes that exceed
> the pitch range at the correct place in the treble stave and
> vice versa. However, I could not use it because there is no way 
> to suppress drawing of the help lines. Actually, this is also a feature which
> occurs quite frequently in other keyboard music.

If I understand the problem, then you are fighting against PMX's usage
of e.g. \interstaff{11.2}, fractions of \Interligne. I suppress that
often by e.g.

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{10}\

This clobbers \interstaff from PMX but enables you to select your own
interstaff. Maybe you should add \musicparskip, because now PMX has no
chance to influence the vertical filling of the page. At some places
it may be necessary to re-define the spacing. You can do it at a convenient
place either by \\\def\atnextline{\interstaffsav{12}\ at the beginning of
an input block or by \gdef\atnextline{\interstaffsav{12}\ within a bar.
  
In addition it should be quite simple to suppress ledger line temporarily.
Have a look at my modifications in musixtex.tex which shorten ledger
lines for narrow notes (see musixfll.tex, musixtex.tex, \h@linei, ...).
Not tested in PMX-notation:
 \\makeatletter\
 \\def\noledgerlines{\global\let\h@line\empty}\
 \\makeatother\
Now you may use \noledgerlines, and \autoledgerlines or \longledgerlines


> I realize that a preprocessor cannot provide all features.

But if it allows inline-TeX like PMX it does and if you have enough
MusiXTeX knowledge you and PMX can do great things with more ease and
speed than you and MusiXTeX alone can do.


> I like PMX and M-Tx very much, because
> it really speads up setting. However, in all cases of more
> sophisticated music I found no way to avoid extensive editing of the
> TEX-file. Actually, I have the impression, the beauty of the note-setting
> is too much in the foreground.  [...]

In such cases - like my autograph-like edition of Bach's Sonatas and Partitas
for Violin Solo - I first make an incomplete PMX-edition. Then I postedit
the MusiXTeX-source. This is quite powerful and feasable because PMX's
MusiXTeX output is really man-readable. I remove the prolog and epilog,
I replace all \xbar. \alaligne, \alapage by \bar, I remove most inter-line 
and inter-page coding and have a nice skeleton I can work with.

[...]
> In M-TX there is an item missing which should not be too
> difficult to implement: There should be a way to transmit
> TeX-commands that are defined before MusixTeX starts its work.
> PMX has this feature by the --- inserts, but I was unable
> to transmit it from M-Tx to PMX. M-Tx uses the feature
> itself, so it should be possible to add something to the preamble
> without having to edit the PMX-file.

Use \\....\   -- if M-Tx let's that through.

-- Werner

PS: Now I hope that you will upload the resulting edition of BWV1052 soon
    to ftp://ftp.gmd.de/incoming/music/ :-)

From mutex-owner@mail2.gmd.de Tue Jul 14 14:17:20 1998
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Subject: Re: Rests in triplets.
To: cbiebri@gwdg.de
Date: Tue, 14 Jul 1998 15:17:20 +0100 (BST)
Cc: mutex@gmd.de
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> I have a problem with PMX. The d-minor organ concerto (BWV146/1052)
> of Bach contains in the third movement many arpeggio-like triplet passages
> starting with a rest. This motif is not rare in keyboard
> music at all. However, I get the error message
> ``Xtuplets may not start with a rest!''. How can I circumvent that?
> Since it occurs so often, I would have to write long passages entirely
> in MusixTeX and \input it.

I had to do this myself sometime recently. The following is what Werner Icking
wrote in response:

>>>>>>
AFAIK it's not possible with PMX up to now. So you have to do one of
the usual tricks. In the second case "c4x3 r d":

\\let\qbsav\qb\ 
\\def\qbtods{\def\qb##1##2{\zcharnote{##2}{~}\ds\let\qb\qbsav}\ 
...
c4x3 \qbtods\ c d ...

That means replace \qb by a new \qb which generates a \ds; in addition
it generates an empty text using \zcharnote, if the pitch in #2 does
do any change in the octaviation; then it restores the old \qb.

The first case is more sophisticated, because the start of the beam
\ib... has to be ported to the next note :-(

In some case the problem can be fixed by blind meter changes. But then
you have to suppress the barlines.
-- Werner
<<<<<<
(But if you can cope with the beam extending over the first rest, the fix works
for this case as well.)

There is a lot of helpful advice on the mailing list archive:

http://www.gmd.de/Mail/mutex-archive/

but I realise it's not always easy to find things, as the archive is now rather
large :)

> As a matter of fact, I had to do that also for 30 bars in the first movement
> because PMX was unable to beam together rapidly alternating right-hand/
> left-hand beats, another frequent feature of keyboard music. The way PMX

now *this* I don't know how to do - and it's something I would like on
occasion. (starting a beam in one hand, and finishing it in the other, for
example). Any ideas, people?

Cheers,
Andrew
  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/
/    \/    \ __| \_| \_| | |   \/
A.E.R.Usher@qmw.ac.uk

From mutex-owner@mail2.gmd.de Thu Jul 16 06:30:44 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'barry@platinum.com'" <barry@platinum.com>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Your M-Tx wishes
Date: Thu, 16 Jul 1998 08:30:44 +0200
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Hello Barry,

concerning your M-Tx wishes about the source of "I Can Tell Your
Future", you wrote:

If there isn't room to print the hyphen between syllables, put out a
warning instead of quietly omitting it.  The previous version of the
piece "I Can Tell Your Future" had the two syllables of "listen"
jammed together, and I happened to notice it when I was eyeballing the
output.  I "fixed" it by changing Systems: from 3 to 4, but I would
have liked to be warned about it.

Such a warning could be implemented in musixlyr, but it isn't yet. What
you can do immediately is forcing the printout of hyphens in all spatial
situations with the command \forcelyrhyphenstrue. Would this be an
option for you?

2. The em-dashes are attached to the preceding syllables.  I would
like them to be centered between the syllables, like an M-Tx hyphen
is, or lined up under the bar line, whichever is easier.

The solution is to masquerade the dashes as hyphens - which are printed
centered between syllables - and have those "hyphens" printed as dashes.
Refer to the attached modified example source; \bd means something like
"begin dash" and \ed "end dash".

Regards,

Rainer


Meter: 4/4
Sharps: 3
Space: 8
Style: SINGER
Pages: 1
Systems: 4

%% h9.8i
%% w7i
% %% \\vsize=10in\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm~\bf{Chorus:}}\ 
%% \\def\bd{\lyrlayout{\def\lyrhyphenchar{---}\minmulthyphens=10cm}}\
%% \\def\ed{\lyrlayout{}}\
% %% \\pageno=18\ 
%% \\headline{\twelverm \bf FILKER UP 5\hfill page 18}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm \bf I CAN TELL YOUR FUTURE\hfill}\ 
%% \\line{\twelverm Words and Music by Lee Gold\hfill}\ 
%% \\line{\twelverm about the Vlad Taltos series by Stephen
Brust\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm (Optional Intro)\hfill}\ 
%% \\nobarnumbers\forcelyrhyphenstrue\
U: @+2  A                                 |                          |
@+8 |:  a8  a   a    a    c4  aeee        | a8 a  a    a    c4 a    :|
L:      I   can tell your fu-ture\bd-\ed{}I can tell your fu-ture!

%%L2
U: A                                  |             |
   a8  a   a    a    c4  aeee         | c     a2 r4 |
L: I   can tell your fu-ture\bd-\ed{}trust me!

U:                                       | E
   a8  ae           a   a      c4  a    | b2d  r4 |
L: Lis-ten\bd-\ed{}and you'll see it's   true.

U:                           |                      |
   b4   b  e        b8   b   | e4  b    e2eee       |
L: Play it straight with the   Jhe-reg, or\bd-

U:                        | A 
    e4      d  c8 a    b4 | a0
L: \ed{}There's no fu-ture for   you.


From mutex-owner@mail2.gmd.de Thu Jul 16 08:13:35 1998
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From: Christof Biebricher  <cbiebri@fredi.mpibpc.gwdg.de>
Message-Id: <199807160813.KAA00306@fredi.mpibpc.gwdg.de>
Subject: [PMX] wbrest, batch mode
To: mutex@gmd.de
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When setting polyphonic music, some voices are pausing.
I had the following difficulties:
(1) PMX suppresses full-bar rests in the upper voice in one
system and it does that even when rp is replaced by r0+6.
It is necessary to edit the TeX-file and change the definition
of wbrest. 
(2) There is only one \wbrest. If in a beginning of a fugue,
several voices are pausing, then a change in the location of
one rest affects all rests (e.g. r0-6 in one voices will lower
all rests in the same bar). One has to edit the TeX-file and
define an additional \Wbrest.

High also in my wish list is a batch mode similar to TeX,
where all errors are collected and corrected in one session. 
Probably there are already solutions for theses wishes which
escaped my notice. 

Music before 1650 did not have bars; they had mensurae.
Bars were indicated as a help for counting, but did not
affect the way a note was written: a note held out over
the bar line had not to divided at the bar line and tied
over to the next bar. In particular, vocal music is much
easier to read that way. How doe one handle such music in
PMX? Is introducing a bar line by a TeX-command a solution?
I could find out by experimentation, but I am sure that
wizards have already a solution for it.

A warning: when slurs are occurring in several voices of
one stave, labelling by numbers is necessary; otherwise the slurs
get mixed up.

Christof

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Thu Jul 16 09:59:40 1998
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Date: Thu, 16 Jul 1998 11:59:40 +0200
From: Roberto Numico <roberto@caifas.usal.es>
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can you tell me how to go out of the mailing list?

From mutex-owner@mail2.gmd.de Thu Jul 16 12:58:52 1998
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Date: Thu, 16 Jul 1998 14:58:52 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Thu, 16 Jul 1998 11:59:40 +0200
> From: Roberto Numico <roberto@caifas.usal.es>
> To: mutex@gmd.de
 
> can you tell me how to go out of the mailing list?

Send a mail to mutex-request@gmd.de with a message body of only one line
  containing the word "unsubscribe" (without quotes).

If you subscribe to a mailing list, save the welcome message. Normally
  there is described how to unsubscribe.

Goto  http://www.gmd.de/Misc/Music/ - there is a pointer to
      http://www.gmd.de/Mail/mutex-archive/ where you can find how to
        unsubscribe.

Send a mail to mutex-owner@gmd.de - that's me.

Send a mail to the list mutex@gmd.de with a subject-field containing
  "help" or "subscribe" or "unsubscribe" ... It will bounce and then
  I know what I have to do.

But don't send a message to this list like the one you did. Then all
list members will be reminded how to unsubscribe.

-- Werner

PS: I'll unsubscribe you.
PPS: I cc this mail to you because you are no longer on the list and
     therefor wouldn't see this reply.

-- 
Approved by mutex-owner - illegal subject :-)

From mutex-owner@mail2.gmd.de Thu Jul 16 13:31:49 1998
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From: GUENTER BUEHRLE <m079@ins.uni-stuttgart.de>
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Hello to all mtx, pmx and musixtEXperts - this is a very greenhorn
speaking!

I started to write my first scores using the mtx-pmx-musixtex-chain. First
my thanks to all who did this hard work!!

Here my first quesiton to You all. The fastest way to get good results is
the pragmatic one: reading and re-editing scores of professinal
typesetters as there are lots of them here! And here the QUESTION:
IS THERE ANYONE WHO DISTRIBUTES HIS MTX/PMX-SOURCES?
to support pragmatic greenhorns getting started? My favour topic is
typeseeting SATB-scores with difficult text labeling to each of the
voices! ...

Thanks for all Your answers and examples!

Guenter

-- 
Approved by mutex-owner

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From: barry@platinum.com (Barry Gold)
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To: rainer.dunker@munich.ixos.de
Cc: mutex@gmd.de
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Subject: Re: Your M-Tx wishes
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Thanks.  That worked!  The only remaining problem is with the
"Optional Intro:" tag; I sent a separate message to the list about that.

From mutex-owner@mail2.gmd.de Thu Jul 16 17:26:05 1998
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From: barry@platinum.com (Barry Gold)
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To: mutex@gmd.de
Subject: Uptext before the first note?
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In the following piece of music, I want the words "Optional Intro:" to
appear on the uptext line, but _before_ the first note - the A should
line up with the first note.

I tried inserting the text using a %% \Uptext{...}\ line.  I tried
using @< @< but then the chord letters are too far to the left.
I tried indenting the first system with Indent:, and got
! Missing number, treated as zero.
! Missing number, treated as zero.
<to be read again> 
                   *
l.23 \parindent *
                 *pt
? 

Any suggestions?


Meter: 4/4
Sharps: 3
Space: 8
Style: SINGER
Pages: 1
Systems: 4
% Indent: 0.20

%% h9.8i
%% w7i
%% \\input bdgmusic\ 
%% \\def\oi{Optional~Intro:}\ 
% %% \\pageno=18\ 
%% \\headline{\twelverm \bf FILKER UP 5\hfill page 18}\twolines\ 
%% \\line{\twelverm \bf I CAN TELL YOUR FUTURE\hfill}\ 
%% \\line{\twelverm Words and Music by Lee Gold\hfill}\ 
%% \\line{\twelverm about the Vlad Taltos series by Stephen Brust\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
% %% \\line{\twelverm (Optional Intro)\hfill}\ 
%% \\nobarnumbers\forcelyrhyphenstrue\ 
% %% \Uptext{Optional~Intro:~~}\ 
U: @+2<< \oi~~A
@+8   |:      a8     a   a    a    c4 X-2S a     | a8 a  a    a    c4 a     :|
L:            I      can tell your fu-ture\bd-\ed{}I can tell your fu-ture!

%%L2
U: A                               |             |
   a8  a   a    a    c4 X-2S a     | c     a2 r4 |
L: I   can tell your fu-ture\bd-\ed{}trust me!

U:                                       | E
   a8  ae           a   a      c4  a    | b2d  r4 |
L: Lis-ten\bd-\ed{}and you'll see it's   true.

U:                           |                   |
   b4   b  e        b8   b   | e4  b X-2S e2     |
L: Play it straight with the   Jhe-reg, or\bd-

U:                        | A 
    e4      d  c8 a    b4 | a0
L: \ed{}There's no fu-ture for   you.

   ----------------------------------------------------------
bdgmusic.tex:

% \vsize=10in
\hoffset=.05in\voffset=.05in
\font\twelverm=cmr12
\font\sevtrm=cmr17
\def\bang{\char33}
\def\chorus{\sevtrm~\bf{Chorus:}}
\def\emdash{---}
\def\hy{\thinspace-}
\def\bd{\lyrlayout{\def\lyrhyphenchar{---}\minmulthyphens=10cm}}
\def\ed{\lyrlayout{}}
\def\twolines{\line{\twelverm ~\hfill}\line{\twelverm ~\hfill}}

From mutex-owner@mail2.gmd.de Sun Jul 19 19:23:31 1998
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Date: Sun, 19 Jul 1998 20:23:31 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: re-generating fonts
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Hello all,

I recently set up emTeX for myself.  I then installed OpusTeX.  I put the
various files where it seemed they needed to go and then I called up
<docopus.dvi>.  As expected, Metafont started up and generated all the
fonts and then the .dvi file displayed juts fine.  Now, however, every time
I open <docopus.dvi> Metafont starts up and generates a font.  It goes by
very quickly but I managed to see that it was calling for cmbx10.mf.  I
found a file called <cmbx10.747> on c:\temp.  I have no idea what this file
is.  It seems to be binary.

This file <docopus.dvi> is the only .dvi file which causes this font
generation every time.  At first I thought I had set something up wrong but
it works fine.  I can create a .tex file using OpusTeX and it processes
fine and the .dvi file doesn't have to call Metafont each time I open it.
Any ideas?

Maybe this is a question for comp.text.tex.  If so I will take it there.

Also, does anyone know where I can download opusflex for WinDOS?  I have
searched the Web and have not come up with anything.

Thank you,
David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Fri Jul 17 00:49:57 1998
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From: Peter Billam 03-6236-9410 <peter@pjb.com.au>
Organization: P J B Computing
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Muscript, announced last year at version 0.0, is now at 1.6 and is a much
more practical proposition, doing quaver beams, key signatures, fermata
and other stuff.  The syntax has changed to use ( for slurs and < for chords
so as to be more Lilypond-compatible, but the syntax will get a big rewrite
at 2.0.  It's still a Perl script with no external dependencies which produces
Postscript output.  Available at

   http://www.pjb.com.au/muscript

with some sample muscript source at

   http://www.pjb.com.au/muscript/samples

and some sample postscript output at

   http://www.pjb.com.au.mus/samples

When I get it to 2.0 I'll be putting it out under a GPL.  It's off-topic
because Tex is not involved, so thank you for your tolerance ...  I'm no
longer subscribed to the list, so copy to me if there is any followup please
and delete the ns's from my email, too ...

                  o                      Regards,  Peter Billam
          o                o
    o             o             o        P J B Computing
           o             o               http://www.pjb.com.au
 \_O__o                         _O_/     Tel: (03) 6236 9410
   |                          o/ |       GPO Box 669, Hobart
  / )                           ( \      TAS 7001, Australia


--
Approved by mutex-owner. Please complain if you think I shouldn't have approved it.

From mutex-owner@mail2.gmd.de Fri Jul 17 07:09:51 1998
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From: Guenter Buehrle <m079@ins.uni-stuttgart.de>
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To: mutex mailing-list <mutex@gmd.de>
Subject: Choir mtx-sources
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I already stepped to all the sources in
	www.gmd.de/Misc/Music/scores
and I did not find any mtx-sources except the simple example coming with
mtx "Net soos ek is". So let me repeat:
Is there anybody who distributes his (more complicated) mtx-sources for
greenhorns getting started quickly?

Guenter Buehrle

p.s.

Is this question allowed here? Maybe it breaks a tabu in this community?!

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From mutex-owner@mail2.gmd.de Mon Jul 20 13:42:05 1998
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To: bobroff@centrum.is, mutex@gmd.de
Subject: Re: re-generating fonts
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David Bobroff wrote:
> 
> I recently set up emTeX for myself.  I then installed OpusTeX.  I put the
> various files where it seemed they needed to go and then I called up
> <docopus.dvi>.  As expected, Metafont started up and generated all the
> fonts and then the .dvi file displayed juts fine.  Now, however, every time
> I open <docopus.dvi> Metafont starts up and generates a font.  It goes by
> very quickly but I managed to see that it was calling for cmbx10.mf.  I
> found a file called <cmbx10.747> on c:\temp.  I have no idea what this file
> is.  It seems to be binary.
> 
The file cmbx10.747 looks like a Metafont 'gf' file - this is the
bitmapped font data that Metafont produces, and that should normally
be converted by GFtoPK into a '.pk' file.  emTeX's 'mfjob' program
normally takes care of the conversion, and moves the resulting file
out of the temporary directory, and deletes the '.gf' file created by
Metafont.  (NB, the '.gf' file doesn't have extension '.gf' for Dos
8+3 file naming reasons...)

I guess that what has happened is that Metafont has produced an error
while processing font cmbx10 (scaled to resolution 747dpi), and that
has caused mfjob to abort without finishing the font production.

If you can watch what Metafont does, you may see a message like
'strange error (turning path is zero)' or some such.  This is a
relatively harmless Metafont error message, and you can instruct
emTeX's mfjob to ignore it by setting the Dos environment variable
MFJOBOPT to '/i' before viewing/printing the '.dvi' file.  (Check what
MFJOBOPT is set to first - if you are using a 386/486/586, it will
probably be set to '/3', in which case reset it to '/3 /i'.)

If you cannot read the Metafont errors before they scroll off screen,
you can look for the log file that it leaves behind.  I *think* that
'mfjob' creates a directory called something like 'mfjNNNNN.tmp' in
the temporary directory for holding this log file.

But this is all assuming an emTeX setup like my own, which yours may
not be....

Andrew Gray


From mutex-owner@mail2.gmd.de Mon Jul 20 14:27:49 1998
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In setting music from J.S. Bach, using PMX, I had the following difficulties:

1) When two voices are in one system, a full pause rest is suppressed.
   (already mentioned in a previous email).
2) I found no way to get a grace note not in the pitch range of the previous
   note into the correct place.
3) PMX did not accept 3/64th triplet (occurs in BWV1052 II).
4) Neither it was possible to set 1/128th notes (occurs in BWV1052 II).

There are probably many experienced withards that know a better way
than editing the .tex-file and/or the final printout.
(For the 1/128th notes there is little hope because it is not
implemented in MusiXTeX.)


I appreciate all helpful comments!

Christof.

%----------------------------%
% Konzert d-moll (BWV146/BWV1052) 2.Satz
% Joh. Sebastian Bach
%
% nv,noinst,mtrnuml,mtrdenl,mtrdnp,xmtrnum0,isig
  2   1       3       4       3       4  0    -2
% npages,nsyst,musicsize,fracindent
   4   24     20       0.0

bt
./
Tt
II
%bar 1--4
P12l g83 g b b d d | ef- s d s Gsd e4 r | a8 a c c e e |
 fs- f a a c c | /
rp | rp | rp | rp | /
%bar 5--9
d83 d fs f a a | b- s a b s b+ o. fs s g s |
 c- s b c s b+ o. fs s g s |
 d s c d s b+ o. fs s g s | e4 r8 g s af f s | /
rp | rp | rp | rp | rp | /
%bar 10--13
b82n b d d f f | a4f- r8 d s e c s | fs s g s d4 d- | g r r | /
rp | rp | rp | d45 Gsc b G2sm2a g fs | /
% bar 14--17
g83 g b b d d | ef- s d s Gsd e4 r | a8 a c c e e |
 fs- f a a c c | /
g84 s fs s Gsf g4 r | g+ Gsf e G2sm2d c b4n |
 c8 s bn s Gsb c2 s | c4 s Gsb a s g8 f3s s a c e | /
%bar 18--22
d83 d fs f a a | b- s a b s b+ o. fs s g s |
 c- s b c s b+ o. fs s g s |
 d s c d s b+ o. fs s g s | e4 r8 g s af f s | /
e45 d8 ot c s cd s b3 a | g8d s a3 fs s g4 r | e1+ s d s f s e s
e4 r | f8s g3 s f en f f4d oT0 e1 f s | g8 s d s e s bn s
  c s af s | /
% bar 23--26
b82n b d d f f | a4f- r8 d s e c s | af+ f g4 g- | c r r | /
Gsg+ f24d s | f8 s d s e s g1 s f s g8 b1n s a s | b8n c e4 s d1
ot-1 c d8 s | c4 g Gsf e | /
% bar 27 --30
c83 c e e g g | /
Gsd c84 bn Gsb c4 r | /
% bar 28--30
L7 a82 a cs c e e | d4- r r | d8+ d f f a a | /
b85 s b3 s a g f e1 s+1 g f e d cs bn a s |
 [ f3+ s+1 b a8d s+1 ] Gsg f8.en d1 e c8s |
  d8 s d3 s en d cs d4 r | /
% bar 31--34
b82 s a s Gsa b4 r | e8n e g g b b | cs- c e e g g | a- a cs c e
e | /
d46 Gsc b G2sm2a g fs | g1 s fs s a s g s g2 s om | g4 s t g1 t
 f e8n s e1 s d cs b+ s | b3 s a g f g1 b s b3 s a g f e1n g s
 g3 s f e d e1 cs | /
% bar 35--39
f82 s en f s f+ o. cs s d s | g- s f g s f+ o. cs s d s |
  a s g a s f+ o. cs s d s | b4 r8 d e c | fs- f a a c c | /
d85d s e3n f s Gse d4 r | b1+ s a s c s b s b4 s b1 s a g3 fs g b |
  c8s s d3 c bn c s c4d s oT0 b1 c s | d8 s a s b s fs s g Gsfn e |
  Gsd c2d s ot | /
% bar 40--42
e42 r8 a s b c s | d e f4 f- | b r r | /
c85 s a b3 s c b a b1 c s d3 s e d c d1 e s |
 f3 f g af g1 f Gse d4 s c1 ot-1 b c8 s |
  b1 f g d e c d b af g a f+ | /
% bar 43--44
% GLITCH No. 2: Grace note in alto comes one octava to high
% could be readily repaired in .tex file
b82n b d d f f | g- f Gsf g4 r | /
Gsaf- g23d s1 | g1 s1 bn d f af bn d f af su g f3 e f d s | //
f24d s2 | f1 s2 rb r8b r4b rb | /
% bar 45--46
c83 c e e g g | af- g Gsg a4 r | /
Gsd e25d s om | e1 s c8 d3f bn c s bf af g a1
   en s f df+ s c bn s | /
% bar 47--48
d83 d f f af a | bn- b d d f f | /
b24dn s1 | b1 s1 en f af f e f om a3f su g f e f1 dfd+ s c3 | //
f25d  s2 | f1 s2 rb r8b r4b rb | /
% bar 49--52
g82 g bn b d d | e- s d e s e+ o. bn s c s |
 f- s e f s e+ o. bn s c s |
 g s f g s e+ o. bn s c s | a4f r8 c s df b s | /
b35 s+1 c b c c1 ot b3 s+1 c d2 s |
 d1 s c bn c c bf a g3 b Gsb a4 s |
  a8 s c-  Gs1m2e d1f c d af+ s g f en f s | g- s b3n d f8 s r g-
af g | g1 e3+ d c1 af g s f en s f f df an b | /
% bar 54--58
e82n e g g b b | d4f- r8 g+ af f | bn c g4 g- |
  c r r | a8 a c c e e | /
b23d s om | b8 s \relax{\backturn{!'g}}\ g
  af1 d8f c1 c1 f8d s | f1 s af fs g Gsg e8d+ s+1
   d1 c ot bn c8 s+1 |
  c8 s c3 s g a bn c s d e d c bf a b [l c fs- g a g f en d s ] |
  f4s+ s f3 s g f en f1 g g8d oT0 f3 g | /
% bar 59--60
f82s f a a c c | d4- r r | /
a15 s e c bn c e fs g a3 b a g a1 b s | c3 s b a g fs g a1 s
  ef s c8s s d1 d3 s+4 c1+ b6 a g1 fs s+1 | /
% bar 61--64
% GLITCH No 3: did not accept [ e1d d3x3 c bn c1 e3 g s ] |
g83 g b b d d | ef- s d s Gsd e4 r | a8 a c c e e |
 fs- f a a c c | /
 g85d a6f s g f3 s Gsf g2 s |
 g1 s g- s a c3 bn s c s g a b c1 s e3 s d
  [ e1 d1x3 c bn c1 e3 g s ] |
  c2d s | c4 s t c3 t b c d c b a g Gsg f4s s | /
%bar 65--69
d83 d fs f a a | b- s a b s b+ o. fs s g s |
 c- s b c s b+ o. fs s g s |
 d s c d s b+ o. fs s g s | e4 r8 g s af f s | /
 f35s s en f b a g f e e8f s e3 s d en fs e s f g1 s
  f1d ot e6 f | g4 s g1 s af g f e3 s d1d s f3 s e1d s |
  e4 s e1 s f s e d s c3 s b1nd s d3 s c1d s | c4 s c1 s g+
  fs g3 a e1 s c b ot a s | g s fs g om b s e- s d e om g s
  c- s bn c om e s | /
%bar 70--73
b82n b d d f f | a4f- r8 d s e c s | fs s g s e4 r | cs d d- | /
a13f s g a d s f s e f af s d- s c d f s | bn- s d f af s g f e
  ot d c e g bn | c s e df s bn c e af fs g e cs dn |
  b+ af fs g c4 s c1d s b3 an g a1 | /
% bar 74--75
% GLITCH No. 4 : should have been fs e d c b c c3d ot b5 c ...
% when 5 means 1/128th
g42 r r | g83 g b b d d  | /
g85 s g3 s b a g fs e d c b c c ot b6 c d b g fs g d b c d c b c
d3 b | g33 b d g b d g1 r4 r | /
%bar 76--78
e83f s d s Gsd e4 r | a8 a c c e e | fs- f a a c c | /
rp | rp | rp | /
%bar 79--82
d83 d fs f a a | b- s a b s b+ o. fs s g s |
 c- s b c s b+ o. fs s g s |
 d s c d s b+ o. fs s g s | e4 r8 g s af f s | /
rp | rp | rp | rp | rp | /
%bar 83--86
b82n b d d f f | a4f- r8 d s e c s | fs s g s d4 d- |
 g ofd r r | /
rp | rp | rp | rp | /


From mutex-owner@mail2.gmd.de Mon Jul 20 17:05:41 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, cbiebri@gwdg.de
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> From: cbiebri@gwdg.de
> Date: Mon, 20 Jul 1998 16:27:49 +0200 (MET DST)
> 
> In setting music from J.S. Bach, using PMX, I had the following difficulties:
> 
> 1) [...]
> 2) I found no way to get a grace note not in the pitch range of the previous
>    note into the correct place.

Imho it's correctly notated to appear an octave lower than it appears.
Imho it's a PMX error.

You may specify a pitch. So "Gsa3f" instead of "Gsaf-" circumvents the
problem.

There's another similar problem with grace notes: "Gsaf--" is not
accepted by PMX.

> 3) PMX did not accept 3/64th triplet (occurs in BWV1052 II).

My PMX accepted "e1d d3x3".  I use version 1.3.8.

> 4) Neither it was possible to set 1/128th notes (occurs in BWV1052 II).
> 
> There are probably many experienced withards that know a better way
> than editing the .tex-file and/or the final printout.
> (For the 1/128th notes there is little hope because it is not
> implemented in MusiXTeX.)

If I can count then a 128th has 5 beams or flags. You get them with
musixtex by \input musixbm. There are 256th notes, too, but only as
beamed notes (opposite to musixdoc.tex, which tells that there is
e.g. \ccccccu, too; but as far as I can see the needed 6-flagged stem
is not in the font musix20). 

I, too, think that it would be a good idea, to have them in PMX and
to request them by "5" - five flags, 5 beams. 5 seems to be free.
Let's ask Don, to put it on the to-do list. 

And it's required for Baroque music and by keyboardists :-)

An In-line-TeX circumvention - as usual:

%g85 s g3 s b a g fs e d c b c c ot b6 c d b g fs g d b c d c b c
\\input musixbbm\
\\let\qbsav\qb\
\\let\nbbbblsav\nbbbbl\
\\def\qbpasqb{\def\qb##1##2{\let\qb\qbsav\qbp{##1}{##2}}}\
\\def\nbbbbblasnbbbbl{\def\nbbbbl##1{\let\nbbbbl\nbbbblsav\nbbbbbl##1}}\
g85 s g3 s b a g fs e d c b c \qbpasqb\ c ot \nbbbbblasnbbbbl\ b6 c d b g fs g d b c d c b c

Maybe you should add e.g. X.2 in  front of "b6"

-- Werner

PS: Which digit can we take for 256th notes? Maybe none. They only
    may be specified in groups of at least two and can then be
    specified as e.g. "c5x2" or "c5.c"

PPS: Please select a "speaking" subject. That makes it easier to
     find such mails lateron in the archive. Thanks.

From mutex-owner@mail2.gmd.de Thu Jul 23 16:23:06 1998
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Subject: Re: Choir mtx-sources
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In-Reply-To: <Pine.HPP.3.96.980717090155.23982D-100000@inshp01.ins.uni-stuttgart.de> from "Guenter Buehrle" at Jul 17, 98 09:09:51 am
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Guenter Buehrle wrote:
> 
> 
> I already stepped to all the sources in
> 	www.gmd.de/Misc/Music/scores
> and I did not find any mtx-sources except the simple example coming with
> mtx "Net soos ek is". So let me repeat:
> Is there anybody who distributes his (more complicated) mtx-sources for
> greenhorns getting started quickly?
> 
The source/ subdirectory in mtx040a.zip contains three more .mtx files,
which are less trivial than netsoos.mtx.  In the archives of this list
look for a post by Frank Stefani containing M-Tx source of "Halleluja"
by Philipp Emanuel Erlebach.   Perhaps Werner could move that score
to www.gmd.de/Misc/Music/scores (hint, hint).

I have some very complicated scores of e.g. Misa Criolla, but these
may not be freely distributed since the music itself is still under
copyright.

Dirk
-- 
This bounced mail had to be approved by poor mutex-owner (hint, hint) :-(

From mutex-owner@mail2.gmd.de Tue Jul 28 08:17:13 1998
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Date: Tue, 28 Jul 1998 10:17:13 +0200
From: Christian Mondrup <scancm@biobase.dk>
Organization: Scandiatransplant
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Subject: M-Tx and voltas
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Dear mutex subscribers.

I'm currently typesetting a collection of piano accompanied songs using
M-Tx and have got valuable help from some of you. Now I've run into a
problem with voltas and hope to get some help with that too. 

In the excerpt from the song cited below I can't get the volta 1-3
starting in bar 19 to stop in bar 20 in spite of the end volta sign in
bar 20. This problem, however, does not occur with the volta 4. If I
remove the last paragraph containing volta 4 the problem diappears. So I
presume that I've missed something concerning voltas, but what ?

Title: Jawn Hum\o{}r
Composer: \vbox{\composer\poet}
Indent: 0.05
Flats: 2
Meter: C/
Piano2: Voices RH1,RH2 LH1,LH2; Continuo; Clefs G F
Style: Singer Piano2
Systems: 7
Pages: 3
Space: 12 0 0
Size: 16

...

%% h275m
%% P
%% \\font\names = cmr10\
%% \\def\composer{\llap{\names Musik: Christian Mondrup}}\
%% \\def\poet{\llap{\names Tekst: Jeppe Aakj\ae{}r}}\
%% \\footline{\hss\folio\hss}\headline{\hfill}\
%% \\def\hyp{-}\

...


% 19 - 20, Volta 1-3
        rp               | m3/4/0/0    r2d        :|
        af2d         c4  | m3/4/0/0    g2d        :|
        a4dr+ g8 f4  r4  | m3/4/0/0    g4dr f8 e4 :|
        f4d   g8 af4 r4  | m3/4/0/0    e4d  f8 g4 :|
V1\hyp3 df2d         af4 | m3/4/0/0 Vx c2d        :|

% 19 - 21, Volta 4
m4/4/0/0    rp              |    rp             | r2d |]
m4/4/0/0    af2d        c4  |    g2          f  | f2d |]
m4/4/0/0    a4dr g8 f4  r4  |    g4dr e8 f4r e  | d2d |]
m4/4/0/0    f4d  g8 af4 r4  |    e4d  g8 f4  af | f2d |]
m4/4/0/0 V4 df2d        af4 | Vx c2      df4 c  | b2d |]

The meter change to 3/4 in bar 20 is there to fool M-Tx/pmx to accept an
incomplete bar matching a pickup bar in the beginning of the song.

Regards
- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Tue Jul 28 10:19:47 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, scancm@biobase.dk
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> Date: Tue, 28 Jul 1998 10:17:13 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> In the excerpt from the song cited below I can't get the volta 1-3
> starting in bar 19 to stop in bar 20 in spite of the end volta sign in
> bar 20. This problem, however, does not occur with the volta 4. [...]

Not being a M-Tx user I tried to reproduce your problem in pure PMX.
The following test case works well:

1 1 4 4 4 4 0 0
1 1 20 0

t
./
           d24d a4 |
      V1-3 d24d a4 /
m3400 Vx   c2d  Rr /
m4400 V4   d2d  a4 /
      Vx   c2   d4 c |
           c2   d4 c /

So I assume that M-Tx doesn't generate the correct PMX-code. 

Voltas are very sensible in PMX. If I e.g. comment out the first bar
in my example some non-sense happens; quite ok for a piece starting
with a volta.

If there is more than one volta in an input block (". . . . /") then I
get a warning by PMX -- but the result is ok.

Btw, if I change volta.mtx in doc-directory of the M-Tx package so
that I put the first V1 one bar earlier and put a Vx into the next
bar, volta.mtx looks like you excerpt ... and it works. So I think
it's not a general misbehaviour.

For further analysis it would be good if you post a reduced, but working 
example for the error. I could then look at the PMX source generated by 
M-Tx. But I fear that Dirk Laurie has to look at it.

-- Werner

From mutex-owner@mail2.gmd.de Tue Jul 28 13:16:27 1998
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Date: Tue, 28 Jul 1998 15:16:27 +0200
From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
Organization: IMGF
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Hello all,
I am an absolute beginner with MusixTeX and want to install it on my PC
(Intel Pentium-100) which runs under Linux. I got the files from a
server in France and found (among others) the following directories,
that seem to be of interest for my system:
Linux-I86
Linux-alpha
linux-elf
each of it containing a file named musixflx which I suppose to be the
executable of musixflx.c.
Can anybody tell me which of these directories resp. versions is the
right for my system and if I need musixflx.c, too? What are the files
musixflx.mx1 and musixflx.mx4 for?

Thanks in advance
-- 
--------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, 
J.W. Goethe University Frankfurt/Main
Feldbergstrasse 47			D-60323 Frankfurt/Main, Germany
Phone:+49-(0)69-798-24949		Fax:+49-(0)69-798-23280
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
--------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jul 28 15:00:35 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, ruedas@geophysik.uni-frankfurt.de
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> Date: Tue, 28 Jul 1998 15:16:27 +0200
> From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>

> I am an absolute beginner with MusixTeX and want to install it on my PC
> (Intel Pentium-100) which runs under Linux. I got the files from a
> server in France and found (among others) the following directories,
> that seem to be of interest for my system:

in musixflx.zip

> Linux-I86
> Linux-alpha
> linux-elf
> each of it containing a file named musixflx which I suppose to be the
> executable of musixflx.c.

Although I do not use Linux I assume that you need the Linux-I86 version
because your Linux runs on an Intel-x86 machine. alpha means the (DEC?) 
alpha architecture; I don't know what "elf" is.

> Can anybody tell me which of these directories resp. versions is the
> right for my system and if I need musixflx.c, too? What are the files
> musixflx.mx1 and musixflx.mx4 for?

musixflx.mx1 is a small test input, which can be used to generate 
musixflx.mx2 by feeding musixflx with that .mx1. The new .mx2 should
then be identical to the .mx4 file.

So you can use the .mx1 for testing if you generate your own musixflx 
maybe by calling   cc -o musixflx musixflx[.c]

Hope this hilft -- Werner Icking

From mutex-owner@mail2.gmd.de Tue Jul 28 16:04:00 1998
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 > From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
 > To: MusixTeX discussion list <mutex@gmd.de>
 > Subject: newbie question
 > 
 > Hello all,
 > I am an absolute beginner with MusixTeX and want to install it on my PC
 > (Intel Pentium-100) which runs under Linux. I got the files from a
 > server in France and found (among others) the following directories,
 > that seem to be of interest for my system:
 > Linux-I86
 > Linux-alpha
 > linux-elf
 > each of it containing a file named musixflx which I suppose to be the
 > executable of musixflx.c.
 > Can anybody tell me which of these directories resp. versions is the
 > right for my system and if I need musixflx.c, too? 

You need either Linux-I86 or Linux-elf, depending on which kind of
binaries your Linux system uses.  If it's a recent distribution, it'll
be elf.  If in doubt, try both and see which one works :+)
If neither seem to work, download the c file and compile your own.

  What are the files
 > musixflx.mx1 and musixflx.mx4 for?
 > 
When you TeX a musixtex source file foo.tex, it produces foo.mx1 which
then gets converted to foo.mx2 by musixflx for a second pass by TeX.
I don't know what your files might be but I doubt they're important.

Bob T.

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Thank you for your informations; I will try it this evening at home
(might have problems with my sysop and boss if I install musical
typesetting software here at work ;-) and hope it works.
Thomas
-- 
--------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, 
J.W. Goethe University Frankfurt/Main
Feldbergstrasse 47			D-60323 Frankfurt/Main, Germany
Phone:+49-(0)69-798-24949		Fax:+49-(0)69-798-23280
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
--------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jul 28 16:11:24 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: M-Tx and voltas
Cc: dsimons@logicon.com
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> Date: Tue, 28 Jul 1998 12:19:47 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>

> Not being a M-Tx user I tried to reproduce your problem in pure PMX.
> The following test case works well:
> [...example...]
> So I assume that M-Tx doesn't generate the correct PMX-code. 

No, that's wrong. In the meantime Christian Mondrup sent me the complete
mtx-source so that I could see that pmx makes the error if a volta goes over 
a line break. So I could modify the above example to reproduce the error:

1 1 4 4 4 4 0 0
1 3 20 0

t
./
% Volta without a line break works fine.
           d24d a4 |
      V1-3 d24d a4 /
m3400 Vx   c2d  Rr /
m4400 V4   d2d  a4 /
      Vx   c2   d4 c |
           c2   d4 c /
% A linebreak within a volta reproduces the error
L2
d24d a4 | d24d a4 | d24d a4 |
      V1-3 d24d a4 /
m3400 Vx   c2d  Rr /
m4400 V4   d2d  a4 /
      Vx   c2   d4 c |
           c2   d4 c /

A circumvention for the original case is to insert a forced line break
in front of the first volta.

-- Werner

PS: Another small problem remains: the volta-line and the bar number overlap.
    This can be supressed by "\\def\shiftbarno{0pt}\" overriding Don's favorite
    settings; speaking M-Tx: "%% \\def\shiftbarno{0pt}\"

PPS: With my newer editions I use a more general change of the bar number 
     writing, which does not need so much vertical space for the barnumber
     -- now speaking MusiXTeX (out of mymusix.tex):


\makeatletter

...

\ifx\undefined\sevenrm
\iflongDCfontnames
  \font\sevenrm=\fontid r0700
  \font\sevenbf=\fontid bx0700
  \font\sevenit=\fontid ti0700
\else\iflongECfontnames  
  \font\sevenrm=\fontid rm0700
  \font\sevenbf=\fontid bx0700
  \font\sevenit=\fontid ti0700
\else
  \font\sevenrm=\fontid r7
  \font\sevenbf=\fontid bx7
  \font\sevenit=\fontid ti7
\fi  
\fi
\fi

...

\let\barnofont\undefinded
\ifnum\musicsize=\sixt@@n \let\barnofont\sevenbf
\else\ifnum\musicsize=\tw@nty  \def\barnofont{\smalltype\bf}%
\else\ifnum\musicsize=\@xxiv   \def\barnofont{\normtype\bf}%
\else\ifnum\musicsize=\@xxix   \def\barnofont{\medtype\bf}%
\fi\fi\fi\fi

\def\mywritebarno{\ifnum\barno>1 \relax
	\ifdim\clef@skip=\z@\relax \y@=16pt \else\y@\clef@skip\relax \fi 
	\hbox to \y@{\hss\barnofont\the\barno\barnoadd\hss}\fi}

...

\makeatother


With PMX you need then

\\def\raisebarno{4\internote}\
\\def\shiftbarno{0pt}\
\\let\writebarno\mywritebarno\

From mutex-owner@mail2.gmd.de Wed Jul 29 04:57:59 1998
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GUENTER BUEHRLE <m079@ins.uni-stuttgart.de> wrote

>Hello to all mtx, pmx and musixtEXperts - this is a very greenhorn 
>speaking!

Welcome to the wierd world of MusiXTeX!

>Here my first quesiton to You all. The fastest way to get good 
>results is the pragmatic one: reading and re-editing scores of 
>professinal typesetters as there are lots of them here! And here the 
>QUESTION: IS THERE ANYONE WHO DISTRIBUTES HIS MTX/PMX-SOURCES?

This is exactly the reason I included four PMX sources in the 
distribution.  Each one examplifies a different genre, and together 
they use most of the commands you will ever need.  If after going 
through those four files you still would like to see more examples, 
I'll be surprised, but glad to provide as many more as you want.

--Don Simons

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GUENTER BUEHRLE <m079@ins.uni-stuttgart.de> wrote

>Hello to all mtx, pmx and musixtEXperts - this is a very greenhorn 
>speaking!

Welcome to the wierd world of MusiXTeX!

>Here my first quesiton to You all. The fastest way to get good 
>results is the pragmatic one: reading and re-editing scores of 
>professinal typesetters as there are lots of them here! And here the 
>QUESTION: IS THERE ANYONE WHO DISTRIBUTES HIS MTX/PMX-SOURCES?

This is exactly the reason I included four PMX sources in the 
distribution.  Each one examplifies a different genre, and together 
they use most of the commands you will ever need.  If after going 
through those four files you still would like to see more examples, 
I'll be surprised, but glad to provide as many more as you want.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Jul 29 17:45:04 1998
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Subject: M-Tx/pmx: space between piano staves, horisontal adjustment of accidentals
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Dear mutex subscribers.

I have encountered some minor problems with M-Tx/pmx typesetting.

1. spacing between piano staves:

I have to voices in each pano staff and have quite a few clashes between
the beams of the lower voice in the right hand staff and those of the
higher voice in the left hand staff. All my attempts to amend the
problem by increasing the space between the piano staves fail whether I
use the M-Tx preamble Space or the pmx AI directives. The M-Tx Space
works OK for spacing between a higher vocal staff and the piano staves.

2. horisontal adjustment af accidentals.

If in my piano staves I have a second interval between two notes from
each voice I displace the lower note to the right. If there is an
accidental to the lower note the displacement of the note causes a clash
between the accidental and the higher note. I can't find any clues to
that problem in the M-Tx and pmx docs.

Does anybody have some proposals ?
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Jul 29 21:04:48 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx/pmx: space between piano staves, horisontal adjustm
To: mutex <mutex@gmd.de>
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Christian Mondrup <scancm@biobase.dk> wrote

>I have to voices in each pano staff and have quite a few clashes 
>between the beams of the lower voice in the right hand staff and 
>those of the higher voice in the left hand staff. All my attempts to 
>amend the problem by increasing the space between the piano staves 
>fail whether I use the M-Tx preamble Space or the pmx AI directives. 
>The M-Tx Space works OK for spacing between a higher vocal staff and 
>the piano staves.

I'm the first to admit that vertical spacing is a weak point in PMX.  
AI was in fact a kluge to try to compensate for this.  And it is only 
intended for final fine-tuning.  In particular, it will not work if 
there are either too few staves on the page (if the nominal 
\interstaff comes out >20, it is automatically set to 10} or if there 
are so many staves and the adjustment factor is >1, in which case some 
systems may spill over to the next page.  

Best suggestion for now is to use in-line TeX to reset \interstaff 
(which affectes the spaces between all staves in a system) or 
\interinstrument, which is normally 0, and inserts extra space between 
different instruments but not between the staves of the same 
instrument.

>2. horisontal adjustment af accidentals.
>
>If in my piano staves I have a second interval between two notes from 
>each voice I displace the lower note to the right. If there is an 
>accidental to the lower note the displacement of the note causes a 
>clash between the accidental and the higher note. I can't find any 
>clues to that problem in the M-Tx and pmx docs.

Another weakness.  There is no PMX command to offset an accidental, so 
you have to use in-line TeX.  You can use e.g. \loff{\bigsh3}\ if the 
offset is one notehead width or \loffset{1.5}{\bigsh3}\ if it is say 
1.5.  The *is* a PMX command to inset extra space if needed: e.g. X1.5 
to insert 1.5 notehead widths of space in all voices, and several 
other option (RTFM).

--Don Simons

From mutex-owner@mail2.gmd.de Wed Jul 29 21:33:50 1998
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From: dsimons@logicon.com (Don Simons)
Subject: PMX in the future.
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When I returned from vacation 2 days ago I was gratified to see quite 
a number of postings related to PMX...that's evidence that the program 
is getting some use.  I'll continue to try to help people with 
suggestions and clarifications, and with bug fixes and updates to the 
extent my time permits.  But I have to be honest and say that I think 
the pace of my responses to matters requiring FORTRAN coding will 
become even slower in the near future.  The main reason is that I will 
be spending more of my time *using* PMX to do some actual publishing.  
I can see a steady stream of typesetting projects ahead which at the 
moment I feel more strongly motivated to pursue than the ones involved 
with modifying the code.  Both pursuits are very time-consuming and I 
can't do full justice to both at the same rate I've tended to PMX 
coding in the past.  I find that bug-finding and coding even the 
simplest kinds of additions takes an inordinate amount of time, partly 
because of my own programming ineptitude, and partly due to the sheer 
size of the code (over 13000 lines, every one written by yours truly).

I hope this does not discourage people from continuing to report bugs 
and deficiencies.  I'll keep adding them to the "to-do" list, 
reprioritizing it based on ease of programming and on my own 
functional requirements, suggesting ways around the bugs, and tending 
to the coding matters when I can.

Fortunately, PMX supports a robust range of in-line TeX options, 
enough so that virtually any problem can be handled one way or another 
with in-line TeX.

What would really be nice would be if someone out there with some 
experience programming in FORTRAN (or a desire to pick it up) would 
step forward and volunteer to learn about PMX's internal structure and 
take over some of the programming and debugging.

--Don Simons

From mutex-owner@mail2.gmd.de Thu Jul 30 02:04:46 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Choir mtx-sources
To: mutex mailing-list <mutex@gmd.de>
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Guenter Buehrle <m079@ins.uni-stuttgart.de> 

>Is there anybody who distributes his (more complicated) mtx-sources for 
>greenhorns getting started quickly?

>p.s.
>
>Is this question allowed here? Maybe it breaks a tabu in this community?!

Guenter, since I don't use M-Tx I can't help you, but this sort of 
question is 100% OK for this mailing list.

--Don Simons

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From: dsimons@logicon.com (Don Simons)
Subject: Re: [PMX] wbrest, batch mode
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Christof Biebricher  <cbiebri@fredi.mpibpc.gwdg.de> wrote

>When setting polyphonic music, some voices are 
>pausing. I had the following difficulties:
>(1) PMX suppresses full-bar rests in the upper voice in 
>one system and it does that even when rp is replaced by 
>r0+6.
>It is necessary to edit the TeX-file and change the definition 
>of wbrest. 
>(2) There is only one \wbrest. If in a beginning of a fugue, 
>several voices are pausing, then a change in the location of 
>one rest affects all rests (e.g. r0-6 in one voices will lower 
>all rests in the same bar). One has to edit the TeX-file and 
>define an additional \Wbrest.

When I originally defined centered rests, it never occurred to 
me that anyone would ever want to have two in the same staff, 
or to have one together with another non-resting voice in the 
same staff.  Clearly I was wrong.  I have started to fix this 
several times but it gets rather tricky.  Until I can teach PMX 
to deal with this, in-line TeX is the best solution (Editing 
the TeX file is not a good solution because every time you 
change something somewhere else in the pmx file, you will need 
to re-edit the TeX file; that is exactly why I activated 
in-line TeX).  You can simply override the definition of 
\atnextbar using a type-3 in-line TeX string, e.g.

================
    2   2    4    4    0    6   .000   0
    0    4   20  .05


bt
./
c04 /
rp /
% The following two lines in the mail posting must be a single line in pmx file.
\\\def\atnextbar{\znotes\centerbar{\lower2\internote\pause}&\centerbar{\raise2\i
nternote\pause\bsk\lower2\internote\pause}\en}\
c03 /
c04 /
=================

This works because type-3 TeX strings are inserted into the TeX file right 
before  \xbar .

>Music before 1650 did not have bars; they had mensurae. 
>Bars were indicated as a help for counting, but did not 
>affect the way a note was written: a note held out over 
>the bar line had not to divided at the bar line and tied 
>over to the next bar. In particular, vocal music is much 
>easier to read that way. How doe one handle such music 
>in
>PMX? 

In-line TeX is the answer, but probably not by introducing 
a bar line.  Rather, you may want to re-define a particular 
type of spacing note, e.g.

\let\hlt\hl\def\hl#1{\wh{#1}\let\hl\hlt}\ c25 |

(UNTESTED!)

I could make this more clear if you had provided a specific 
example.

>A warning: when slurs are occurring in several voices of
>one stave, labelling by numbers is necessary; otherwise the slurs 
>get mixed up.

This should not be the case.  Please post an example of the pmx 
input.  Slur definitions in two different lines of music in the 
same staff (separated by "//") are supposed to be independent of 
each other.

--Don Simons

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Subject: example-files
To: m079@ins.uni-stuttgart.de (GUENTER BUEHRLE)
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In-Reply-To: <Pine.HPP.3.96.980716152811.21375B-100000@inshp01.ins.uni-stuttgart.de> from "GUENTER BUEHRLE" at Jul 16, 98 03:31:49 pm
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GUENTER BUEHRLE wrote:
> 
> Here my first quesiton to You all. The fastest way to get good results is
> the pragmatic one: reading and re-editing scores of professinal
> typesetters as there are lots of them here! 

Not totally.  A score tends to be very repetitive.  What one really
needs is an artificial score, in which many different things are
done, so you can pick out what you need.  There are such things
with PMX and MusiXTeX, and if anyone who knows some M-Tx is willing
to design one, I'd be happy to include it in the next distribution.
With full credit to the author.

Dirk

-- 
Approved by mutex owner

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199807301154.NAA19127@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: M-Tx/pmx: space between piano staves, horisontal adjustm
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> Date: Wed, 29 Jul 1998 14:04:48 -0700
> From: dsimons@logicon.com (Don Simons)

> Best suggestion for now is to use in-line TeX to reset \interstaff 
> (which affectes the spaces between all staves in a system) or 
> \interinstrument, which is normally 0, and inserts extra space between 
> different instruments but not between the staves of the same 
> instrument.

As far as I know PMX does not use \interinstrument. So sometimes I 
take the responsibility for the vertical layout from PMX. At the very
beginning I use e.g.

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{10}\

This saves the original meaning of \interstaff, redefines it to
nothing and sets interstaff to the value I need. Lateron PMX may
use \interstaff but with no effect. If I lateron need to redefine it
I can use e.g.

\\\interstaffsav{12}\
L6

In a similar way I set interinstrument e.g. at the beginning

\\setinterinstrument2{-2\Interligne}\

or lateron:

... \gdef\atnextline{\setinterinstrument2{1\Interligne}\ ...
...
... \gdef\atnextline{\setinterinstrument2{-2\Interligne}\ ...

Sometimes you have to clobber \vskip, too.


> >2. horisontal adjustment af accidentals.

> Another weakness.  There is no PMX command to offset an accidental, so 
> you have to use in-line TeX.  You can use e.g. \loff{\bigsh3}\ if the 
> offset is one notehead width or \loffset{1.5}{\bigsh3}\ if it is say 
> 1.5. [...]

If one prefers note names instead of pitch numbers, one can code instead 
of e.g. "... d44s zfs zas ..."

... X1.6 \loffset{1.6}{{\sh{!'a}}}\loffset{0.8}{{\sh{!f}}}\ d44s zf za ...
or
... X1.6 \loffset{1.6}{{\sh{!'a}}}{\lsh{!f}}\ d44s zf za ...

! set's the local transposition to 0; the grouping "{{...}}" keeps the
transposition changes local. 


To have a nice complete example:

1 1 3 4 3 4 0 0
0 2 20 0

t
./
Abr
%-- K+2+4
%\\transpose 2\generalsignature 4
d44s zfs zas
X1.6 \loffset{1.6}{{\sh{!'a}}}\loffset{0.8}{{\sh{!f}}}\ d44s zf za
X1.6 \loffset{1.6}{{\sh{!'a}}}{\lsh{!f}}\ d44s zf za /

f44s zgrs zas
X1.8 \loffset{1.8}{{\sh{!'a}}}\loffset{0.9}{{\sh{!g}}}\ f44s zgr za
X1.8 \loffset{1.6}{{\sh{!'a}}}{\lsh{!g}}\ f44s zgr za /

Both cases look imho very nice without the modifications so that
on could have the idea to standardize that usage :-)

The third line of the 2nd case shows that MusiXTeX's offset of \smallvalue
(= 0.8) for \lsh etc. is too small for some cases.

If PMX would handle transposition by "K+?+?" not internally but using
MusiXTeX's \transpose register then the above coding using note names
is completely transposable. You can see it by uncommenting "%\\transpose ..."

-- Werner Icking

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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: M-Tx/pmx: space between piano staves, horisontal adjustm
References: <199807301154.NAA19127@sunick.gmd.de>
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Thanks to Werner & Don for your patient answers to yet another of my 'cries for
help'.

As for the problem with space between staves within a piano instrument the
inclusion of \interstaff{x}\ before the first M-Tx paragraph effectively solved
the problem, but alas only on the first page. My composition is laid out on two
pages with 3 systems (vocal & piano) on each page. At the beginning of page 2 the
spacing required with \interstaff seems to be lost. And I can't restablish it,
even if I hardcode the shift of page/system and repeat the \interstaff command
before the first bar on page 2.

Based on Werners proposals for adjusting accidentals leftwards I have done a few
experiments and have come up with a kind of solution that - at least to me -
makes the adjusted accidentals simple to enter into the M-Tx code.

To the other TeX stuff in the start of my M-Tx source file I add this macro:

%% \\def\lefl#1{\loffset{0.4}{{\bigfl{#1}}}}\

and may now enter a M-Tx voice like:

r8-8 a8 d  b   r8-8 a  cn \lefl{b}\ br |

The drawback of this macro is that as its argument you have to use notes with the
MusiXTeX way of denoting absolute pitches.

The first four bars of my composition - with the lyrics removed - may illustrate
the usage:

Meter: C
Piano2: Voices RH1,RH2 LH1,LH2; Continuo; Clefs G F
Style: Singer Piano2
Bars/Line: 3
Size: 16

%% \\interstaff{13}\
%% \\def\lefl#1{\loffset{0.4}{{\bigfl{#1}}}}\
% 0 - 2
r8   | rp                              |   r2           r4        r8   |: g8   |
e8   | f4   f8  g [ e8d      f1 e8 c ] |   d2           r4        r8   |: g8   |
r8b  | r8-8 a8- d   b   r8-8 a8 c8 c   | [ b8d  e1 d8 ( c ] c ) a b    |: r8-8 |
r8b  | f2           e                  |   g4d-         d8+ g4d        |: g8   |
r8+1 | d4d      g8- a4d       a8       | ( g2dr                   g8 ) |: g8+  |

% 3 - 4
(( a4      a8 ) b (( g8d      a1 ) g8 e   | (( f4      f8 ) g8   e8d    f1 e8 c
|
a4      a8 b [ g8d      a1 g8 e ] | f4      f8 g  [ e8d    f1 e8 c ] |
r8-8 c8 f  d   r8-8  b8    e  cs  | r8-8 a8 d  b    r8-8 a    cn \lefl{b}\ br |
f2             g4d            a8  | f2              e                |
f4d        d8  e4d            a8- | d4d        g8-  a4d          g8  |

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Thu Jul 30 20:25:38 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx and voltas
To: mutex@gmd.de
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Werner Icking wrote
>% Volta without a line break works fine. 
>...
>% A linebreak within a volta reproduces the error 
>
>A circumvention for the original case is to insert a forced line break 
>in front of the first volta.

But if I force a line break at the natural place, *after* the first 
volta, I get the same error.  I would like to fix this but I can't 
figure out how.  PMX seems to be generating reasonable TeX code around 
the linebreak, but \endvolta doesn't seem to work as it should.  Any 
suggestions?  

>PS: Another small problem remains: the volta-line and the bar number 
>overlap.

If we fixed the volta error, there would be no line to interfere with 
the bar number :-)

>This can be supressed by "\\def\shiftbarno{0pt}\" overriding Don's 
>favorite settings; speaking M-Tx: "%% \\def\shiftbarno{0pt}\"

Bar numbers in boxes can be moved with the pmx.tex macro \bnrs#1#2 
("bar number raise & shift") where #1 and #2 are numbers of 
\internotes for the vertical and horizontal shifts.  It must be 
entered as a type-3 TeX string during the line preceeding the bar 
number to be shifted.  The macro is very ugly, but it does succeed in 
restoring the bar-number position to the default after being executed 
once.

--Don Simons

From mutex-owner@mail2.gmd.de Fri Jul 31 10:02:53 1998
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From: "Weinrich, 383, NL CE" <M.Weinrich@deutschepost.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: once again: example files
Date: Fri, 31 Jul 1998 12:02:53 +0200
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Hi,
another newbie and another question: Does anyone have example files for
guitar (classical or rock)?! This would be a great way for me to learn
programming with MusiXTex. I have found lots of classical files for
choirs, piano, organ . . . but not for guitar :-( and not for
rock-music. 
Is there another server, where MusiXTeX-files are stored and distributed
to the public domain?
I am greatful for every hint . . .
thanx
Weini

From mutex-owner@mail2.gmd.de Fri Jul 31 22:49:39 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx/pmx: space between piano staves, horisontal adju
To: mutex <mutex@gmd.de>
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Christian Mondrup <scancm@biobase.dk> wrote

>As for the problem with space between staves within a piano 
>instrument the inclusion of \interstaff{x}\ before the first M-Tx 
>paragraph effectively solved the problem, but alas only on the first 
>page. My composition is laid out on two pages with 3 systems (vocal & 
>piano) on each page. At the beginning of page 2 the
>spacing required with \interstaff seems to be lost. And I can't 
>restablish it, even if I hardcode the shift of page/system and repeat 
>the \interstaff command before the first bar on page 2.

PMX writes a new \interstaff pefore every new page.  That is why 
Werner's suggestion from his 7/30 post, to rename \interstaff and 
disablethe original one completely, is a good one:

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{10}\

Then if you use \interstaffsav{...} instead of \interstaff{...} you'll 
get what you want; it will not be countermanded by PMX.

--Don Simons

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From: dsimons@logicon.com (Don Simons)
Subject: MusiXTeX voltas (was M-Tx and voltas)
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Werner Icking <Werner.Icking@gmd.de> wrote

>I could see that pmx makes the error if a volta goes over a line break. 

I've analyzed this but haven't fixed it yet.  PMX always writes 
\Setvolta[...]\endvolta.  But if [...] is only 1 bar and it ends at a 
linebreak, \Setvolta doesn't work.  Using just \setvolta[...] (no 
\endvolta) makes everything OK.  

I can certainly change PMX to look for single-bar cases, but it kinda 
seems to me that having \Setvolta[...]\endvolta only work for 2 or 
more bars is overly restrictive.

--Don Simons

From mutex-owner@mail2.gmd.de Mon Aug  3 09:06:12 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199808030906.LAA19655@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: M-Tx/pmx: space between piano staves, horisontal adjustm
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> Date: Thu, 30 Jul 1998 20:38:09 +0200
> From: Christian Mondrup <scancm@biobase.dk>
[...]
> inclusion of \interstaff{x}\ before the first M-Tx paragraph effectively solved
> the problem, but alas only on the first page. [...]

My proposal was to disable \interstaff for PMX by redefining it and to
use instead a saved copy e.g.:

%% \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{13}\
                                                               ^^^

> [...] My composition is laid out on two
> pages with 3 systems (vocal & piano) on each page. At the beginning of page 2 the
> spacing required with \interstaff seems to be lost. And I can't restablish it,
> even if I hardcode the shift of page/system and repeat the \interstaff command
> before the first bar on page 2.

You must clobber \interstaff from PMX; if _you_ want to use it lateron you
must use  "\\\interstaffsav{..}\" before the beginning of the line which
shall get the new \interstaff.

> Based on Werners proposals for adjusting accidentals leftwards I have done a few
> experiments and have come up with a kind of solution that - at least to me -
> makes the adjusted accidentals simple to enter into the M-Tx code.
> 
> To the other TeX stuff in the start of my M-Tx source file I add this macro:
> 
> %% \\def\lefl#1{\loffset{0.4}{{\bigfl{#1}}}}\
> 
> and may now enter a M-Tx voice like:
> 
> r8-8 a8 d  b   r8-8 a  cn \lefl{b}\ br |
> 
> The drawback of this macro is that as its argument you have to use notes with the
> MusiXTeX way of denoting absolute pitches.

No, no. "b" isn't an absolute pitch. "3" is an absolute pitch.

But you shouldn't use "b" because this b is relative to that what PMX invoked.
If you want to be sure to get that b what is MusiXTeX's b then you have to
code "!b". If you want to get what is MusiXTeX's  "'B" then you have to code
"!'B" etc.

-- Werner Icking


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Subject: GNU LilyPond 1.0 released - The Music Typesetter
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Keywords: midi notation music typesetting gnu font engraving 
Subject: GNU LilyPond 1.0 released - The Music Typesetter

GNU LilyPond - The Music Typesetter


WHAT IS LilyPond?

LilyPond is the GNU Project music typesetter.  This program can print
beautiful sheet music from a music definition file.  It can also play
performances to a MIDI file.


WHAT'S NEW SINCE VERSION 0.1?

* LilyPond now includes a completely new music font: the Feta font.  
  We were quite disappointed with available music fonts, so we rolled
  our own.  We did our best to copy the best symbol designs available,
  and we think that we've succeeded in doing so.  We're proud of the
  result, and we hope you agree, so go check it out!

* More elegant output due to 

	* more sophisticated beam/slur formatting
	* better spacing
	* better line breaking
	* better font design
	* PostScript output for variable symbols

* Lots of bugfixes

* More robust, flexible and tweakable design

* Better MIDI file importing

* Easier to use due to better shell scripts and input format
enhancements

* MusixTeX is not needed anymore

* Faster



FEATURES

* Multiple staffs, polyphonic music (more voices on one staff),
Polymetric music.

* Support for full orchestral score: Hara_kiri systems (lines with
only rests are automatically skipped), multi-measure rests, bar
numbering, brackets at the left.

* Optimal beam slopes, slur/notehead collision resolution, dashed
slurs. Formatting parameters are runtime tunable

* Very beautiful symbols.  Variable size symbols generated on the fly
as embedded postscript.

* MIDI output

* Optimal linebreaking, manual intervention possible.  Linelength is
settable per line.

* Readable yet very fast to type input language.  With configurable
note names and identifiers.  Comes with an emacs-mode

* With lots of examples (among others a fragment of Van Beethoven's
Coriolan, J. S. Bach Cello Suite II, F. Schubert "Leise flehen meine
Lieder")

* Runs on UNIX and Windows-32.

* Easy generation of titling.

* WWW browsable documentation.

* Support for Urtext: separation of modern and original interpretation.

* Polyphonic music (with automatic collision resolution)

* Spacing and collision resolution of accidentals and syllables is
done automatically

* Internationalisation support (Italian, Dutch)

* Multiple font sizes within one piece

* Integration with LaTeX and YODL


MORE INFO

Sources for this project are on

	ftp://pcnov095.win.tue.nl/pub/lilypond/ (Europe)
	ftp://ftp.gnu.org/pub/gnu/

More detailed info and examples can be found on the webpage at

	http://www.cs.uu.nl/~hanwen/lilypond/index.html




-- 

Han-Wen Nienhuys, hanwen@cs.uu.nl ** GNU LilyPond - The Music Typesetter 
      http://www.cs.uu.nl/people/hanwen/lilypond/index.html 

-- 
Approved by mutex-owner

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Subject: GNU LilyPond 1.0 released - The Music Typesetter
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Keywords: midi notation music typesetting gnu font engraving 
Subject: GNU LilyPond 1.0 released - The Music Typesetter

GNU LilyPond - The Music Typesetter


WHAT IS LilyPond?

LilyPond is the GNU Project music typesetter.  This program can print
beautiful sheet music from a music definition file.  It can also play
performances to a MIDI file.


WHAT'S NEW SINCE VERSION 0.1?

* LilyPond now includes a completely new music font: the Feta font.  
  We were quite disappointed with available music fonts, so we rolled
  our own.  We did our best to copy the best symbol designs available,
  and we think that we've succeeded in doing so.  We're proud of the
  result, and we hope you agree, so go check it out!

* More elegant output due to 

	* more sophisticated beam/slur formatting
	* better spacing
	* better line breaking
	* better font design
	* PostScript output for variable symbols

* Lots of bugfixes

* More robust, flexible and tweakable design

* Better MIDI file importing

* Easier to use due to better shell scripts and input format
enhancements

* MusixTeX is not needed anymore

* Faster



FEATURES

* Multiple staffs, polyphonic music (more voices on one staff),
Polymetric music.

* Support for full orchestral score: Hara_kiri systems (lines with
only rests are automatically skipped), multi-measure rests, bar
numbering, brackets at the left.

* Optimal beam slopes, slur/notehead collision resolution, dashed
slurs. Formatting parameters are runtime tunable

* Very beautiful symbols.  Variable size symbols generated on the fly
as embedded postscript.

* MIDI output

* Optimal linebreaking, manual intervention possible.  Linelength is
settable per line.

* Readable yet very fast to type input language.  With configurable
note names and identifiers.  Comes with an emacs-mode

* With lots of examples (among others a fragment of Van Beethoven's
Coriolan, J. S. Bach Cello Suite II, F. Schubert "Leise flehen meine
Lieder")

* Runs on UNIX and Windows-32.

* Easy generation of titling.

* WWW browsable documentation.

* Support for Urtext: separation of modern and original interpretation.

* Polyphonic music (with automatic collision resolution)

* Spacing and collision resolution of accidentals and syllables is
done automatically

* Internationalisation support (Italian, Dutch)

* Multiple font sizes within one piece

* Integration with LaTeX and YODL


MORE INFO

Sources for this project are on

	ftp://pcnov095.win.tue.nl/pub/lilypond/ (Europe)
	ftp://ftp.gnu.org/pub/gnu/

More detailed info and examples can be found on the webpage at

	http://www.cs.uu.nl/~hanwen/lilypond/index.html




-- 

Han-Wen Nienhuys, hanwen@cs.uu.nl ** GNU LilyPond - The Music Typesetter 
      http://www.cs.uu.nl/people/hanwen/lilypond/index.html 

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Mon Aug  3 14:30:39 1998
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Date: Mon, 3 Aug 1998 16:30:39 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199808031430.QAA19742@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: MusiXTeX voltas (was M-Tx and voltas)
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> Date: Sat, 1 Aug 1998 15:38:04 -0700
> From: dsimons@logicon.com (Don Simons)
> 
> Werner Icking <Werner.Icking@gmd.de> wrote
> 
> >I could see that pmx makes the error if a volta goes over a line break. 

I should have written "that it is neither the user nor M-Tx which makes 
the error". I'm sorry about that. 

> I've analyzed this but haven't fixed it yet.  PMX always writes 
> \Setvolta[...]\endvolta.  But if [...] is only 1 bar and it ends at a 
> linebreak, \Setvolta doesn't work.  Using just \setvolta[...] (no 
> \endvolta) makes everything OK.  

I believe that we need Daniel Taupin's help to analyze or to fix the error
in musixtex.tex. I've prepared a small TeX-source to reproduce the error.

The first example reproduces the error (without using xbar or alaligne
as PMX uses it). The 2nd and 3rd example work well with \Setvolta...
\endvolta, but there is more than one bar in the volta. The 4th example 
works well, but it uses \setvolta (or \setvoltabox) without \endvolta. So it may be the intended solution not to use \Setvolta, if
only one bar lies under the volta sign.

Werner


\input musixtex \hsize=10cm\nobarnumbers\startmuflex
\bigskip
\startpiece\linegoal2%
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\Setvolta1\bar
\NOTEs\wh c\en\endvolta\bar
\NOTEs\wh d\en\setrightrepeat\Setvolta2\bar
\NOTEs\wh e\en\endvolta\bar
\NOTEs\wh f\en\Endpiece
\bigskip
\startpiece\linegoal2%
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\Setvolta1\bar
\NOTEs\wh c\en\bar
\NOTEs\wh d\en\endvolta\bar
\NOTEs\wh e\en\setrightrepeat\Setvolta2\bar
\NOTEs\wh f\en\bar
\NOTEs\wh g\en\endvolta\bar
\NOTEs\wh a\en\Endpiece
\bigskip
\startpiece\linegoal2%
\NOTEs\wh a\en\Setvolta1\bar
\NOTEs\wh b\en\bar
\NOTEs\wh c\en\endvolta\bar
\NOTEs\wh d\en\setrightrepeat\Setvolta2\bar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\endvolta\Endpiece
\bigskip
\startpiece\linegoal2%
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\setvolta1\bar
\NOTEs\wh c\en\bar
\NOTEs\wh d\en\setrightrepeat\setvolta2\bar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\Endpiece
\bigskip
\vfill\eject\endmuflex
\bye

From mutex-owner@mail2.gmd.de Mon Aug  3 19:05:26 1998
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Date: Mon, 3 Aug 1998 15:05:26 -0400 (EDT)
Message-Id: <199808031905.PAA23689@fafner.math.umass.edu>
From: Christopher Raphael <raphael@fafner.math.umass.edu>
To: mutex@stolaf.edu
Subject: centering a musical exerpt
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Please forgive the (probably) very naive question folks.

I am using musixtex for the first time in a latex paper I am writing
and I cannot get margins right.
I would like to have it centered in the
page with the same margins used elsewhere.  Does anyone know how
I can do this.  The latex \center command doesn't seem to work.
The part involving the score is:   


\begin{figure}
\begin{music}
\instrumentnumber{1}%
\generalmeter{\meterfrac{4}{4}}%
\parindent 0pt%
\startpiece%

.....

\end{music}


\caption{ ...}
\label{cadenza_score}
\end{figure}


Can anyone help me?

chris raphael

From mutex-owner@mail2.gmd.de Tue Aug  4 06:32:03 1998
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Date: Tue, 04 Aug 1998 08:32:03 +0200
From: Frank Stefani <frank@ead-systeme.de>
Organization: EAD-Systeme GmbH
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To: Christopher Raphael <raphael@fafner.math.umass.edu>
Cc: mutex@stolaf.edu
Subject: Re: centering a musical exerpt
References: <199808031905.PAA23689@fafner.math.umass.edu>
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Christopher Raphael schrieb:
> 
> Please forgive the (probably) very naive question folks.
> 
> I am using musixtex for the first time in a latex paper I am writing
> and I cannot get margins right.
> I would like to have it centered in the
> page with the same margins used elsewhere.  Does anyone know how
> I can do this.  The latex \center command doesn't seem to work.
> The part involving the score is:
> 
> \begin{figure}
> \begin{music}
> \instrumentnumber{1}%
> \generalmeter{\meterfrac{4}{4}}%
> \parindent 0pt%
> \startpiece%
> 
> .....
> 
> \end{music}
> 
> \caption{ ...}
> \label{cadenza_score}
> \end{figure}
> 
> Can anyone help me?
> 
> chris raphael

\begin{center}
\begin{figure}
 ...
\end{figure}
\end{center}

should do the job. Remember to put everything within the
center environment that you want to be centered. If that still
doesn't help, you can add a picture environment outside of the
figure environment. This way you can move everything exactly
where you want it.

HTH,
Frank.
-- 
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Date: Tue, 04 Aug 1998 10:41:15 +0200
From: Ketil Mehl <mehl@datamate.no>
Organization: Datamate AS
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Subject: Re: once again: example files
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Weinrich, 383, NL CE wrote:

> Hi,
> another newbie and another question: Does anyone have example files for
> guitar (classical or rock)?! This would be a great way for me to learn
> programming with MusiXTex. I have found lots of classical files for
> choirs, piano, organ . . . but not for guitar :-( and not for
> rock-music.
> Is there another server, where MusiXTeX-files are stored and distributed
> to the public domain?
> I am greatful for every hint . . .
> thanx
> Weini

Hello.

Here is a little example on how to make guitar staff music with Musixtex.

To illustrate my setup, show some guitar staff macros and an example of a
source file with a short piece (Mrs. Vauxes Jig) I have attached four .tex
source files:

"example.tex"  is the file to compile, and invokes the header file
"PLayout.tex" and a file with guitar staff music, "vauxjig.tex".  I usually
put several single piece files of source in files like "example.tex" to make
compilations of music.

"PLayout.tex" is invoked once from the main .tex file and contains Page
Layout macros and
macros related to guitar music, i.e. fingerings and fret positions.

"TabHead.tex" is invoked as the first statement in each and every source
file containing a piece, and resets variable values to my defaults before
the values for the new piece are set.

I hope this can be of some help.

--
Ketil Mehl  (kmehl@online.no)


--------------82709AC0413ED9D84AD9EA22
Content-Type: application/x-tex; name="example.tex"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="example.tex"

%Time-stamp: <1998-08-04 0929 jkm>
\input PLayout              %Page layout and variable declarations
%--------------------------------------------------------------------
\pageno=1
\input vauxjig\TermPage\relax %         C: John, Dowland N: Mrs Vaux' Jig
\end  

--------------82709AC0413ED9D84AD9EA22
Content-Type: application/x-tex; name="PLayout.tex"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="PLayout.tex"

%Time-stamp: <1998-08-03 1921 ketil>
%
% Musixtex-macros for guitar music
%
% The space between the bar and next note
\def\stdafterruleskip{2\Internote}
% Terminates a page
\def\TermPage{\line{} \vfill \penalty-'10000000000}
%
% Lineskips
\def\ssk{\smallskip}
\def\Ssk{\smallskip\smallskip}
\def\SSk{\smallskip\smallskip\smallskip}
\def\SSK{\smallskip\smallskip\smallskip\smallskip}
%
\def\bsk{\bigskip}
\def\Bsk{\bigskip\bigskip}
\def\BSk{\bigskip\bigskip\bigskip}
\def\BSK{\bigskip\bigskip\bigskip\bigskip}
%
% Bar numbering system. Remove the following three lines if you prefer
% boxed bar numbers above the clef
\def\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
\def\raisebarno{2\internote}%
\def\shiftbarno{1.3\Interligne}%
%
\newdimen\theoffset
\newdimen\oddoffset\oddoffset=0.in
\newdimen\evenoffset\evenoffset=0.in
%\def\normalwidth{\hsize=7.0in \oddoffset=-0.11in \evenoffset=-0.36in}
%
\def\sectionedpagenumbers
{  \footline={\hss\tenrm\number\count1.\number\pageno\hss}
}
%
% Output routine
\output=
{ 
   \ifodd\pageno\let\theoffset=\oddoffset
   \else\let\theoffset=\evenoffset
   \fi
   \footline=
   \ifodd\pageno%
   {
     \rlap{\sevenrm\copyright~1996-1998, Ketil.Mehl@usa.net}%
      \hfill\folio\hfill
      \llap{\sevenrm Non-commercial copying welcome.}
   }
   \else
   {
     \rlap{\sevenrm\copyright~1996-1998, Ketil.Mehl@usa.net}%
     \hfill\folio\hfill
     \llap{\sevenrm Non-commercial copying welcome.}
   }
   \fi
   \shipout\vbox
   {  \moveright\theoffset
      \vbox{\pagebody\makefootline}
   }
   \advancepageno
   \ifnum\outputpenalty>-20000 
   \else\dosupereject
   \fi
}
%
% Guitar notation; one octave down
\font\eightfig=cmr8         
\def\everystaff{\znotes\zcharnote{-6}{\eightfig\kern -2.0\Interligne 8}\enotes}\relax
%
% Low stem notes
\def\lownotes{\notes\stemlength{3.5}}
%
% Dropped third to F# (``lute tuning'')
\def\TabThirdFiss{\leftline{\circleit{3}\space\space\space =F\#}}
%
% Dropped third to F# (``lute tuning'' on the left side and the  autor on the same
% line when trying to squeeze as much as possible on one oage
\def\TabAuthFiss#1{\leftline{\circleit{3}\space\space\space =F\#\hfill #1}}%
%
% Dropped 6th string
\def\TabSixthD{\leftline{\circleit{6}\space\space\space =D}}
%
% Third string to F# (``lute tuning'') and 6th string to D
\def\TabTwoDropped{\leftline{\circleit{3}\space\space\space =F\#\space\space\space\space\space\space\circleit{6}\space\space\space =D}}
%
% Titles
\def\TabTitle#1{\centerline{\enorme{#1}}}
%
\def\TabAuthor#1{\line{\hfill #1}}%
%
\def\TabSubTitle#1{\centerline{#1}}
%
%rolls
\def\uroll#1{\zcharnote{#1}{\raise -3.0\internote\hbox to 2.5\internote%
 {\hss$\smile$\hss}}}
\def\lroll#1{\zcharnote{#1}{\raise  1.0\internote\hbox to 2.5\internote%
 {\hss$\frown$\hss}}}
%
% grace notes
\def\grace{\multnoteskip\tinyvalue\tinynotesize}
\def\egrace{\normalnotesize}
% 
\def\utiny#1{\grace\cu{#1}\egrace}
\def\ltiny#1{\grace\cl{#1}\egrace}
% Pull off/hammer on
\def\pull#1#2{\grace\slur#1#2d1\grcu{#1}\egrace}
%
% Fingering macros
% digit: left and right finger  #1: vertical placement (note), #2: character
\def\digit #1#2{\smalltype\zcharnote #1{#2}}          %Straight above the chord
\def\hldigit #1#2{\smalltype\lcharnote #1{#2}}        %Slightly left of the chord
\def\ldigit #1#2{\hloff{\smalltype\lcharnote #1{#2}}} %Left of the chord
\def\hrdigit #1#2{\roff{\smalltype\lcharnote #1{#2}}} %Slightly right of chord
\def\rdigit #1#2{\hroff{\roff{\smalltype\lcharnote #1{#2}}}} %Right of chord
% 
%Circled string number to the left of the chord
\def\string #1#2{\hloff{\loff{\smalltype{\lcharnote #1 {\circleit{#2}}}}}}
%
%Left hand fret posistion.  
\def\handpos #1 #2{\hloff{\smalltype\zcharnote #1 {#2}}}
\def\lhandpos #1 #2{\loff{\smalltype\zcharnote #1 {#2}}}
%
% Parameters on all pauses, like on notes on liftpauses
\def\liftqp#1{\zcharnote {#1}\qp}
\def\liftds#1{\zcharnote {#1}\ds}
\def\liftqs#1{\zcharnote {#1}\qs}
\def\lifths#1{\zcharnote {#1}\hs}
\def\liftqqs#1{\zcharnote {#1}\qqs}

--------------82709AC0413ED9D84AD9EA22
Content-Type: application/x-tex; name="vauxjig.tex"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="vauxjig.tex"

%Time-stamp: <1998-08-04 0930 jkm>
\input TabHead % Default values
\def\TabRevDate{22.11.1997}
\TabTitle{Mrs. Vaux's Jig}\ssk\TabAuthor{John Dowland}\Bsk%
\generalsignature{0}\relax
\transpose=0
\generalmeter{\meterfrac{6}{4}}\relax
\systemnumbers
\def\freqbarno{99}%
\mulooseness=3
%
% Start music
\startpiece
\normal
%Bar %1
\Notes\qsk\zqu{l}\liftqp{-2}\en%
\bar %2
\NOtes\zhl{a}\zhu{j}\zhu{o}\ldigit p 4\ldigit i 3\en%
\Notes\zql{h}\zqu{j}\zqu{l}\ldigit g 2\ldigit i 1\en%
\NOtes\zhl{e}\zhu{i}\zhu{n}\ldigit e 2\ldigit o 4\en%
\Notes\zql{f}\zqu{h}\zqu{j}\ldigit e 3\ldigit g 2\ldigit i 1\en%
\bar %3
\Notes\zql{d}\zqu{m}\hldigit e 0\en%
\Notes\zql{g}\zqu{i}\zqu{k}\ldigit g 3\ldigit k 1\en%
\Notes\zql{d}\zqu{m}\hldigit n 4\en%
\Notes\zql{.e}\zhu{j}\zhu{l}\ldigit e 2\ldigit i 1\ldigit k 0\en%
\notes\zcl{c}\en%
\Notes\zql{f}\zqu{h}\zqu{j}\en%
\bar %4
\Notes\zql{d}\zqu{k}\ldigit k 4\en%
\Notes\zql{f}\zqu{h}\en%
\notes\Ibl0cd1\zqb0{c}\zqu{j}\en%
\notes\tbl0\zqb0{d}\en%
\Notes\zhl{e}\zqu{.^g}\zqu{i}\en%
\notes\zcu{h}\hldigit i 3\en%
\Notes\zql{e}\zqu{g}\zqu{i}\en%
\bar %5
\Notes\zhl{.a}\zhl{.e}\zqu{.h}\ldigit e 2\ldigit h 3\en%
\notes\zcu{i}\hldigit j m\en%
\Notes\zqu{h}\en%
\notes\Ibu0jk1\zqb0{j}\lifthpause{-2}\en%
\notes\tbu0\zqb0{k}\hldigit j 3\en%
\notes\Ibu0lm1\zqb0{l}\en%
\notes\tbu0\zqb0{^m}\en%
\notes\Ibu0nl1\zqb0{n}\zcharnote{d}{\qp}\en%
\notes\tbu0\zqb0{l}\en%
\bar %6
\notes\Ibu0ol1\zqb0{o}\zhl{.a}\ldigit p 3\en%
\notes\tbu0\zqb0{l}\ldigit k 0\en%
\notes\Ibu0jh1\zqb0{j}\ldigit i 1\en%
\notes\tbu0\zqb0{h}\ldigit g 2\en%
\notes\Ibu0lm1\zqb0{l}\en%
\notes\tbu0\zqb0{^m}\digit o 3\en%
\notes\Ibu0nm1\zqb0{n}\zhl{e}\hldigit n 4\ldigit e 2\en%
\notes\tbu0\zqb0{=m}\en%
\notes\Ibu0lk1\zqb0{l}\en%
\notes\tbu0\zqb0{k}\hldigit k 4\en%
\notes\Ibu0fj1\zqb0{f}\zql {f}\en%
\notes\tbu0\zqb0{j}\en%
\bar %7
\notes\Ibu0ml1\zqb0{m}\zhl{d}\hldigit n m\en%
\notes\tbu0\zqb0{l}\ldigit k 0\en%
\notes\Ibu0kj1\zqb0{k}\hldigit k 4\en%
\notes\tbu0\zqb0{j}\en%
\notes\Ibu0ki1\zqb0{k}\zql {g}\en%
\notes\tbu0\zqb0{i}\en%
\notes\Ibu0ji1\zqb0{j}\zhl{c}\en%
\notes\tbu0\zqb0{i}\en%
\notes\Ibu0hg1\zqb0{h}\en%
\notes\tbu0\zqb0{g}\en%
\notes\Ibu0fh1\zqb0{f}\zql {f}\en%
\notes\tbu0\zqb0{h}\en%
\bar %8
\notes\Ibu0ij1\zqb0{i}\zhl{d}\ldigit i m\en%
\notes\tbu0\zqb0{j}\en%
\notes\Ibu0kj1\zqb0{k}\en%
\notes\tbu0\zqb0{j}\en%
\notes\Ibu0ih1\zqb0{i}\zql {f}\ldigit e 4\en%
\notes\tbu0\zqb0{h}\hldigit i 1\en%
\notes\Ibu0gh1\zqb0{^g}\zhl{e}\ldigit b 2\en%
\notes\tbu0\zqb0{h}\en%
\notes\Ibu0ih1\zqb0{i}\en%
\notes\tbu0\zqb0{h}\en%
\notes\Ibu0eg1\zqb0{e}\zql {e}\en%
\notes\tbu0\zqb0{g}\en%
\bar %9
\Notes\itenl0a\zhl{.a}\zhl{.e}\zqu{.h}\ldigit f 2\hldigit i 3\en%
\notes\zcu{h}\hldigit j p\en%
\Notes\zqu{l}\hldigit n m\en%
\Notes\tten0\zhl{a}\zqu{^j}\digit m i\digit g 3\en%
\notes\zqu{h}\hldigit j p\ldigit g 2\en%
\notes\Ibu0lm1\zqb0{l}\zcharnote{a}{\qp}\hldigit m m\en%
\notes\tbu0\zqb0{m}\ldigit m i\en%
\bar %10
\Notes\zql{c}\zhu{j}\zhu{n}\en%
\notes\Ibl0de1\zqb0{d}\en%
\notes\tbl0\zqb0{e}\en%
\Notes\zql{f}\zqu{h}\zqu{j}\en%
\Notes\zql{d}\zqu{m}\handpos s {III}\en%
\NOtes\zhl{g}\zhl{i}\zqu{k}\en%
\Notes\zqu{n}\en%
\bar %11
\Notes\zhl{.c}\zqu{j}\zqu{l}\en%
\notes\Ibu0ml1\zqb0{m}\en%
\notes\tbu0\zqb0{l}\en%
\notes\Ibu0kl1\zqb0{k}\en%
\notes\tbu0\zqb0{l}\en%
\Notes\zhu{j}\zcharnote{Na}{\qp}\en%
\Notes\zql{c}\en%
\notes\Ibu0op1\zqb0 {o}\zcharnote{N}{\qp}\hldigit p m\en%
\notes\tbu0\zqb0 {p}\hldigit q i\en%
\bar %12
\Notes\zhu {q}\zcharnote{N}{\qp}\ldigit o 4\hldigit r m\en%
\Notes\zql {c}\ldigit c 3\string M 6\en%
\Notes\zqu {j}\zcharnote{M}{\qp}\hldigit k i\en%
\Notes\zhu {l}\zcharnote{M}{\qp}\hldigit m m\en%
\Notes\zql {N}\ldigit N 3\en%
\Notes\zhu {k}\zcharnote{M}{\qp}\ldigit k a\en%
\bar %13
\Notes\zhl{.c}\zql{.e}\zhu{.g}\zhu{.j}\en% 
\notes\Ibl0fe1\zqb0 {f}\ldigit e 4\en%
\notes\tbl0\zqb0 {e}\hldigit e 2\en%
\notes\Ibl0de1\zqb0 {d}\ldigit c o\en%
\notes\tbl0\zqb0 {e}\en%
\Notes\zql {c}\ldigit c i\zcharnote{g}{\qp}\en%
\Notes\zql {c}\ldigit c p\zcharnote{g}{\qp}\en%
\notes\Ibu0lm1\zqb0 {l}\hldigit m m\en%
\notes\tbu0\zqb0 {m}\ldigit m i\en%
\bar %14
\notes\Ibu0nm1\zqb0{n}\zhl{c}\hldigit n m\en%
\notes\tbu0\zqb0{m}\en%
\notes\Ibu0lk1\zqb0{l}\en%
\notes\tbu0\zqb0{k}\en%
\Notes\zql{f}\zqu{h}\zqu{j}\en
\notes\Ibu0ml1\islurd 0m\zqb0{m}\zql{d}\en
\notes\tbu0\tslur 0l\zqb0{l}\en%
\notes\Ibu0kl1\zqb0{k}\zhl{g}\hldigit k 4\en
\notes\tbu0\zqb0{l}\en%
\notes\Ibu0mn1\zqb0{m}\en%
\notes\tbu0\zqb0{n}\en%
\bar %15
\Notes\zhl{c}\zqu{l}\en%
\notes\Ibu0nm1\zqb0{n}\en%
\notes\tbu0\zqb0{m}\en%
\notes\Ibu0lk1\zqb0{l}\en%
\notes\tbu0\zqb0{k}\en%
\Notes\zhu{j}\zcharnote{L}{\qp}\en%
\Notes\zql{c}\en%
\notes\Ibu0op1\zqb0 {o}\zcharnote{L}{\qp}\hldigit p m\en%
\notes\tbu0\zqb0 {p}\hldigit q i\en%
\bar %16
\Notes\zhu {q}\zcharnote{L}{\qp}\hldigit r 4\en%
\Notes\zql {c}\ldigit c 3\string M 6\en%
\Notes\zqu {mo}\zcharnote{L}{\qp}\ldigit k 2\handpos u {V}\en%
\Notes\zqu {.l.n}\zcharnote{L}{\qp}\ldigit k 3\handpos u {III}\en%
\notes\zql {N}\en%
\notes\zcu {o}\hldigit p 4\en%
\Notes\zqu {k}\zqu{m}\zcharnote{L}{\qp}\ldigit k 3\handpos u {I}\en%
\bar %17
\Notes\zhu {jl}\zcharnote{L}{\qp}\en%
\Notes\zql {c}\en%
\Notes\zqu {n}\zcharnote{L}{\qp}\en%
\Notes\zhu {jl}\zcharnote{L}{\qp}\handpos u {III}\en%
\notes\zql {c}\en%
\notes\Ibu0lm1\zqb0 {l}\zcharnote{L}{\qp}\en%
\notes\tbu0\zqb0 {m}\en%
\bar %18
\Notes\zql {c}\zqu {n}\en%
\Notes\zql {g}\zqu {l}\en%
\Notes\zql {e}\zqu {j}\en%
\Notes\zql {c}\zqu {n}\en%
\Notes\zql {g}\zqu {l}\en%
\notes\Ibu0op1\zql{f}\zqb0 {o}\digit p {3--}\ldigit f 1\en%
\notes\tbu0\zqb0 {p}\hldigit p {--3}\en%
\bar %19
\Notes\zql {e}\zqu {q}\ldigit q 4\ldigit f 2\string b 5\en%
\Notes\zql {h}\zqu {j}\en%
\Notes\zql {g}\zqu {ik}\en%
\Notes\zql {j}\zhu {l}\en%
\Notes\zql {c}\en%
\Notes\zql {e}\zqu {m}\en%
\bar %20
\Notes\zhl {e}\zqu {.n}\stemlength{2.0}\zql{i}\ldigit n 2\en%
\notes\zql {l}\hldigit m 4\en%
\notes\zcu {l}\hldigit m 0\en%
\Notes\zql {f}\zqu {o}\stemlength{2.0}\zql{j}\hldigit c {1--}\digit p 4\en%
\Notes\zql {e}\zqu {l}\stemlength{2.0}\zql{i}\ldigit c {----1}\en%
\Notes\zqu {o}\zcharnote{L}{\qp}\ldigit o 4\en%
\Notes\zql {L}\zqu {^n}\stemlength{3.0}\zql{i}\en%
\bar %21
\NOTes\zhlp{a}\zhup{eh^jo}\lhandpos q {II}\en%
\Notes\zhl{Mf}\zqu{h=j}\handpos o {I}\en%
\notes\Ibu0mn1\zqb0 {m}\en%
\notes\tbu0\zqb0 {n}\hldigit o {4}\en%
\Notes\zqu{o}\digit a {\qp}\hldigit o {---4}\en%
\bar %22
\notes\Ibu0lm1\zql{.L}\zqb0 {l}\en%
\notes\tbu0\zqb0 {m}\en%
\Notes\zqu {n}\en%
\Notes\zqu {l}\en%
\Notes\zql {a}\zqu {hj}\en%
\Notes\zql {d}\zqu {k}\en%
\Notes\zql {e}\zqu {^gi}\en%
\bar %23
\Notes\itenl0a\zhlp {ae}\zqu{h}\ldigit e 2\ldigit i 3\en%
\notes\Ibu0ml1\zqb0 {m}\hldigit o m\en%
\notes\tbu0\zqb0 {l}\en%
\notes\Ibu0kl1\zqb0 {k}\digit n i\hldigit k 4\en%
\notes\tbu0\zqb0 {l}\digit n m\en%
\Notes\tten0\zhl{a}\zqu {^j}\digit n i\ldigit g 3\en%
\Notes\zqu{h}\ldigit g 2\digit j p\en%
\notes\Ibu0lm1\zqb0 {l}\hldigit n k\en%
\notes\tbu0\zqb0 {m}\hldigit n i\ldigit L {\qp}\en%
\bar %24
\notes\Ibu0nn 1\zql {c}\zqb0 {n}\en%
\notes\tbu0\zqb0 {m}\en%
\notes\Ibu0lk 1\zql {g}\zqb0 {l}\en%
\notes\tbu0\zqb0 {k}\en%
\notes\zql {e}\zqu {j}\en%
\notes\zql {c}\zqu {n}\en%
\notes\zql {g}\zqu {l}\en%
\notes\Ibu0op1\zql{f}\zqb0 {o}\hldigit p 3\hldigit g 1\en%
\notes\tbu0\zqb0 {p}\hldigit p {---3}\en%
\bar %25
\Notes\zql {e}\zqu {q}\hldigit r 4\ldigit e 2\string c 5\en%
\Notes\zql {h}\zqu {j}\en%
\Notes\zql {g}\zqu {ik}\en%
\notes\Ibu0lj1\zhl {c}\zqb0 {l}\en%
\notes\tbu0\zqb0 {j}\hldigit k 1\en%
\notes\Ibu0kl1\zqb0 {k}\en%
\notes\tbu0\zqb0 {l}\en%
\notes\zqu {m}\digit M {\ds}\en%
\notes\zql {d}\en%
\bar %26
\notes\Ibl0ef1\zqb0{e}\zhu{n}\en%
\notes\tbl0\zqb0{f}\en%
\notes\Ibl0ge1\zqb0{g}\en%
\notes\tbl0\zqb0{e}\hldigit e 2\en%
\notes\zql {f}\hldigit g 1\liftds{5}\en%
\notes\zcu{o}\en%
\notes\Ibu0no1\zqb0{^n}\zhl{e}\ldigit e 1\en%
\notes\tbu0\zqb0{o}\hldigit p 4\en%
\notes\Ibu0pl1\zqb0{p}\hldigit p {---4}\digit M {\qp}\en%
\notes\tbu0\zqb0{l}\ldigit l 0\en%
\notes\Ibu0oh1\zqb0{o}\zql {L}\hldigit p 4\en%
\notes\tbu0\zqb0{^n}\rdigit p 3\en%
\bar %27
\notes\zql{a}\zhu{.o}\ldigit m 4\hldigit q m\en%
\notes\Ibl0gf1\zqb0{g}\ldigit g 3\hldigit i i\en%
\notes\tbl0\zqb0{f}\hldigit e 1\digit h m\en%
\notes\Ibl0ed1\zqb0 {e}\hldigit e i\rdigit g i\en%
\notes\tbl0\zqb0{d}\digit f m\en%
\notes\Ibl0cb1\zqb0{c}\lifthpause 2\hldigit c 3\en%
\notes\tbl0\zqb0{b}\en%
\notes\Ibl0aN1\zqb0{a}\en%
\notes\tbl0\zqb0{N}\en%
\Notes\zql{M}\digit h {\qp}\en%
\bar %28
\notes\Ibu0lm1\zqb0{l}\zhl{.L}\en%
\notes\tbu0\zqb0{m}\en%
\Notes\zqu {n}\en%
\Notes\zqu {l}\en%
\Notes\zqu {jh}\zql{a}\en%
\Notes\zqu {k}\zql{d}\en%
\Notes\zqu {^gi}\zql{e}\en%
\bar %29
\NOTes\zql{a}\zhu{.h}\hldigit i m\en%
\notes\Ibl0fe1\zqb0{f}\ldigit e 2\digit h i\en%
\notes\tbl0\zqb0{e}\digit g m\en%
\notes\Ibl0ed1\zqb0 {d}\ldigit d 4\digit e i\en%
\notes\tbl0\zqb0{e}\digit g m\en%
\Notes\zql{^c}\digit f p\lifthpause 2\en%
\Notes\zql{a}\ldigit a p\Fermataup l\en%
\Endpiece
%\end

--------------82709AC0413ED9D84AD9EA22
Content-Type: application/x-tex; name="TabHead.tex"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline; filename="TabHead.tex"

%Time-stamp: <1998-08-02 1928 ketil>
%
% Default setup for (solo) guitar
% The default page size is a4 with really small margins
\voffset=-38.00mm \vsize=278mm% top margin,  page length
\hoffset=-15.40mm \hsize=190mm% left margin, page width 
%
% Bar number at the beginning of every line
\systemnumbers
%
%\def\TabRevDate{\number\day.\number\month.\number\year}
\def\TabCopyright{\copyright \number\year, Ketil.Mehl@usa.net}
\def\TabProvisions{Non-commercial copying welcome}
%
%\raggedbottom         % Compact on top, uneven bottom line
\normalbottom         % Vertical and bottom centered on the page
\instrumentnumber{1}  % number of instruments....
\setclef{1}{0}        % noted in G clef, one staff line
\smallaccid           % Use small accidentals
\parindent 10mm       % Indententation in mm on the first staff line
\musicsize=20\relax   % \musicsize=16 is also possible
\transpose=0          % Default to no transposition
\def\freqbarno{1}     % Number every bar. Override by \def\freqbarno{99}, i.e. no numbers
                      % on the bars, or \nobarnumbers; no numbers even above the clef sign
\mulooseness=0        % The overall ``tightness'' of the score, higher number gives
		      % greater distance between the notes

--------------82709AC0413ED9D84AD9EA22--


-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Tue Aug  4 10:53:58 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808041102.NAA05289@calvyn.puk.ac.za>
Subject: Re: centering a musical exerpt
To: raphael@fafner.math.umass.edu (Christopher Raphael)
Date: Tue, 4 Aug 1998 12:53:58 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199808031905.PAA23689@fafner.math.umass.edu> from "Christopher Raphael" at Aug 3, 98 03:05:26 pm
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Christopher Raphael wrote:
> 
> Please forgive the (probably) very naive question folks.
> 
> I am using musixtex for the first time in a latex paper I am writing
> and I cannot get margins right.
> I would like to have it centered in the
> page with the same margins used elsewhere.  Does anyone know how
> I can do this.  The latex \center command doesn't seem to work.
> The part involving the score is:   
> 
> 
> \begin{figure}
> \begin{music}
> \instrumentnumber{1}%
> \generalmeter{\meterfrac{4}{4}}%
> \parindent 0pt%
> \startpiece%
> 
> .....
> 
> \end{music}
> 
> 
> \caption{ ...}
> \label{cadenza_score}
> \end{figure}
> 
> 
There is no LaTeX \center command.  The normal command is

\begin{center}
  [Here put what should be centered]
\end{center}

If even this does not work, try:

\begin{center} \begin{minipage}{260mm}
  [Here put what should be centered]
\end{minipage} \end{center}

The effect of the minipage is to hide all layout commands issued by
musixtex from the LaTeX wrapping.  It is as if you had one big 
box of that width.

Dirk


From mutex-owner@mail2.gmd.de Tue Aug  4 17:44:59 1998
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From: "Marc F. Zimmermann" <zimmermm@uni-duesseldorf.de>
Organization: NoOrg Inc.
To: mutex@gmd.de
Date: Tue, 4 Aug 1998 19:44:59 +0200
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Subject: Errors with simple M-Tx-file
Reply-To: zimmermm@uni-duesseldorf.de
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Okay, most simple things are more difficult than they appear.

I just wanted to make a little song but M-Tx gives me a lot of error-
messages I do not see in the source. Maybe you can help me.

Is it me or would it be useful to upate M-Tx? (Yes, I do use a ready-
made package for my linux-distribution)

Starting source (and, yes too, the notes are not quite right, but 
without a visible dvi-file it is difficult for me to adjust ;-):

Title: Burschen heraus!
Composer: Seit 1844 bekannt
Meter: 6/8
Style: Singer

c8 e g | c4+ r8 g- a h | c8 h a d4 d8 |
L: Bur-schen her- aus! Las-set es schal-len von Haus zu

g4 r8 ( [ h8 a8 ] ) h | c4 g8 g4 f8 | e4d ( [ h8 a8 ] ) h |
L: Haus! Wenn der Ler-che Sil-ber-schlag gruesst des

c4 g8 g4 f8 | e4 r8 [ c8 d8 ] e | f4 c8 g4 c8 |
L: Mai-en er-sten Tag, dann her-aus, und fragt nicht

a4 r8 ( [ g a ] ) | c4 g8 d4 g8 | e4d r4 r8 | d4d h4 h8 | c4d of |]
L: viel, frisch mit Lied und Lau-ten-spiel! Bur-schen her-aus!

End of source


Start of error-messages:

$ prepmx -i burschen
M-Tx 0.30 (Music from TeXt) <2 November 1997>
Writing to burschen.pmx
In voice "Voice" near word 10:
   Bar after pickup is too short: ERROR on line 6
In voice "Voice" near word 16:
   Bar after pickup is too short: ERROR on line 6
Line does not end at complete bar: ERROR on line 9
Short bar with no meter change: ERROR on line 9
In voice "Voice" near word 11:
   Melisma starts with slur but ends with beam: ERROR on line 12
Short bar with no meter change: ERROR on line 15
In voice "Voice" near word 7:
   Melisma starts with slur but ends with beam: ERROR on line 15
PrePMX done.  Now run PMX.

End of errors

Thanks for your help!!

-- 
Marc F. Zimmermann
(zimmermm@uni-duesseldorf.de MFZ@IRCnet http://134.99.128.68/~zimmermm/)
PGP-public-key: finger zimmermm@134.99.128.68

-- 
Approved by mutex-owner
--
      o      (     Wolfgang.Strobl@gmd.de (+49 2241) 14-2394
     /\        *   GMD mbH                       #include 
   _`\ `_<===      Schloss Birlinghoven,         <std.disclaimer>
__(_)/_(_)___.-._  53754 Sankt Augustin, Germany ________________

From mutex-owner@mail2.gmd.de Thu Aug  6 11:22:13 1998
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Subject: Re: Errors with simple M-Tx-file
To: zimmermm@uni-duesseldorf.de
Date: Thu, 6 Aug 1998 13:22:13 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199808041744.TAA04633@mailgate.urz.uni-wuppertal.de> from "Marc F. Zimmermann" at Aug 4, 98 07:44:59 pm
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Marc F. Zimmermann wrote:
> 
> Okay, most simple things are more difficult than they appear.
> 
> I just wanted to make a little song but M-Tx gives me a lot of error-
> messages I do not see in the source. Maybe you can help me.
> 
> Is it me or would it be useful to upate M-Tx? (Yes, I do use a ready-
> made package for my linux-distribution)
> 
Both.  Your code contains mistakes and the M-Tx is very old.
Grab mtx040a.zip off the www.gmd.de web site.

1. M-Tx does not recognize 'h' as a note name.  You must use
   'b' instead.
2. There should be three notes inside the first [ ] group on
   the last line.
3. In M-Tx 0.30, you must not use "( [ ... ] )".  You will get
   the correct effect with only "( ... )".  In M-Tx 0.40a,
   what you wrote will work.
4. The piece is too long for one line.  Use 
   Bars/Line: 4
   to make it look good.

Dirk


From mutex-owner@mail2.gmd.de Thu Aug  6 21:09:19 1998
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Subject: Alternate lyrics font
To: mutex@gmd.de
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Okay, the last question for this week ;-)

I would like to use an alternate font for the lyrics.
Where is the best stage to alter it?

I start coding my songs with M-Tx, then PMX and at last MusixTeX.

Or is MusixTeX using a standard-TeX-Font, so I have to alter my
TeX-configuration?

Neither the change of plain.fmt nor musixsty.tex seems so give me the
result I would like to have. Or didn't I just look at the right place?

Thnaks for answers!

-- 
Mit freundlichen Gruessen,
Marc F. Zimmermann
(zimmermm@uni-duesseldorf.de ; MFZ@irc ; URL: http://134.99.128.68/~zimmermm/)
PGP public-key: finger zimmermm@134.99.128.68

From mutex-owner@mail2.gmd.de Fri Aug  7 14:30:56 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808071430.QAA23041@calvyn.puk.ac.za>
Subject: Re: Alternate lyrics font
To: zimmermm@rz.uni-duesseldorf.de
Date: Fri, 7 Aug 1998 16:30:56 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199808062109.XAA07217@sunserver1.rz.uni-duesseldorf.de> from "zimmermm@rz.uni-duesseldorf.de" at Aug 6, 98 11:09:19 pm
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zimmermm@rz.uni-duesseldorf.de wrote:
> 
> I would like to use an alternate font for the lyrics.
> Where is the best stage to alter it?
> 
In M-Tx put e.g.

%% \\twelvebf\

as the first line of the first music paragraph.

Dirk

From mutex-owner@mail2.gmd.de Fri Aug  7 18:50:15 1998
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To: zimmermm@rz.uni-duesseldorf.de
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Subject: Re: Alternate lyrics font
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> I would like to use an alternate font for the lyrics.
> Where is the best stage to alter it?
> 
> I start coding my songs with M-Tx, then PMX and at last MusixTeX.
> 
> Or is MusixTeX using a standard-TeX-Font, so I have to alter my
> TeX-configuration?
> 
> Neither the change of plain.fmt nor musixsty.tex seems so give me the
> result I would like to have. Or didn't I just look at the right place?

Hello Marc,

the easiest way to choose a font is to issue it as a plain TeX command;
see the following example:

Title: The Title
Composer: The Composer
Style: Singer

%%\\tenit\
g4 g g g | g0 |
L: this is it-al-ics


If you get unexpected results, e.g. guitar chords or other text
elements also being affected by the font change, please send me an
example and I'll try to find a more elaborate way.

Regards,

Rainer

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Mon Aug 10 21:43:24 1998
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Date: Mon, 10 Aug 1998 23:43:24 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199808102143.XAA01624@sunick.gmd.de>
To: mutex@gmd.de
Subject: Vacation from August 14th to September 6th
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Dear subscribers of the MuTeX mailing list,
 
from August 14th to September 6th this list will run unattended. From 
my experience up to now this should be possible without any problems.
 
Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list which look like administrative request (don't start Subject:
with majordomo commands like "help", "who", "[un]subscribe", ...)
These approvals will be delayed.
 
If there seem to be major problems with the list, please inform
listmaster@gmd.de

Regards, Werner Icking <mutex-owner@gmd.de>
 
PS: In the same way the music part of ftp.gmd.de runs unattended.
    That means that new versions of e.g. MusiXTeX or PMX will not
    automatically be distributed as far as they are mirrored from
    ftp.gmd.de. Files uploaded to /incoming/music may get lost.

From mutex-owner@mail2.gmd.de Wed Aug 12 20:45:34 1998
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Date: Wed, 12 Aug 1998 22:45:34 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: mutex <mutex@gmd.de>
Subject: M-Tx and nested slurs, dotted slurs, alternative grouping of beams
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Dear mutex subscribers.

I have run into a problem with nested slurs in M-Tx. The code segment
below illustrates the problem:

Meter: C
Flats: 1
Style: SATB4

{vers1s}
Fowl ~ de flok-kes i \ae{} Kj\^ar; \ae{}

{vers1a}
Fowl ~ de flok-kes, de flok-kes i \ae{} Kj\^ar;

{vers1t}
Fowl ~ de flok-kes, de flok-kes i \ae{} Kj\^ar; \ae{}

{vers1b}
Fowl ~ de flok-kes i \ae{} Kj\^ar;

% 3 - 4
((   d4        d8 ) d   b8d+ c1   b8 a | g2d               r8 c8 |
L: {vers1s}
{{ ( d8d ef1 ) d8 } d   d4        b8 c | c8d bs1 c8  d en4 r4    |
L: {vers1a}
((   b4        b8 ) b ( b8d  a1 ) g8 f | f8d d1  en8 f g4  r8 e+ |
L: {vers1t}
{{ ( b8d c1  } b8 ) a   g8d  g1   g8 a | c2d               r4    |
L: {vers1b}

The alto and bass parts of bar 3 contain slurs on the first and second
note within forced slurs between the the first and the third note. The
reason for the forced slurs is that the lyrics in some other verses have
extra syllables. The forced mode of the outer slurs, however, seems to
get overruled when the inner slurs are added. With the present lyrics
for verse 1 I can amend this problem by removing the extra spaces from
the alto and bass lyrics, but then I get the problem in the verses
containing an extra syllable. The non-nested slurs in the descant and
tenor parts behave as described in the M-Tx docs.

Have I done something wrong or misunderstood something ?

It would be nice to have nested slurs drawn dotted to distinguish them
from the melismatic slurs. I have got the impression that the latest
MusiXTeX release 90 has the dotted slur feature.

For the present score I want to force beams on 8'ths and may do so by
executing prepmx with the -b command line option. But then four
consecutive 8'ths get beamed together - at least if they run from a
stressed to an unstressed beat. For a vocal score I would like to
request beaming to encompass only notes within a single beat. I may do
so by explicitly beaming the 8'ths on one of the beats in an 8 note 8'th
group. But it would be nicer to have a directive requesting beatwise
beaming.
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: M-Tx and nested slurs, dotted slurs, alternative grouping of beams
To: scancm@biobase.dk
Date: Thu, 13 Aug 1998 09:05:00 +0200 (SAT)
In-Reply-To: <35D1FEEE.5AA8CCDA@biobase.dk> from "Christian Mondrup" at Aug 12, 98 10:45:34 pm
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Christian Mondrup wrote:
> 
> % 3 - 4
> ((   d4        d8 ) d   b8d+ c1   b8 a | g2d               r8 c8 |
> L: {vers1s}
> {{ ( d8d ef1 ) d8 } d   d4        b8 c | c8d bs1 c8  d en4 r4    |
> L: {vers1a}
> ((   b4        b8 ) b ( b8d  a1 ) g8 f | f8d d1  en8 f g4  r8 e+ |
> L: {vers1t}
> {{ ( b8d c1  } b8 ) a   g8d  g1   g8 a | c2d               r4    |
> L: {vers1b}
> 
> The alto and bass parts of bar 3 contain slurs on the first and second
> note within forced slurs between the the first and the third note. The
> reason for the forced slurs is that the lyrics in some other verses have
> extra syllables. The forced mode of the outer slurs, however, seems to
> get overruled when the inner slurs are added. With the present lyrics
> for verse 1 I can amend this problem by removing the extra spaces from
> the alto and bass lyrics, but then I get the problem in the verses
> containing an extra syllable. The non-nested slurs in the descant and
> tenor parts behave as described in the M-Tx docs.
> 
> Have I done something wrong or misunderstood something ?

No, it is a bug.  And fixing it will not be easy :-(  The bug seems to
occur when the phrasing slur and the normal one start at the same note.

Musixlyr offers very nice ways to treat different numbers of syllables
in different verses, but so far I have not been able to see how the
M-Tx syntax can accommodate them.

> It would be nice to have nested slurs drawn dotted to distinguish them
> from the melismatic slurs. I have got the impression that the latest
> MusiXTeX release 90 has the dotted slur feature.
> 
I have thought about (a) the M-Tx syntax for them and (b) the semantics
of their implication for grabbing syllables.  But at this stage I don;t
have answers.

> For the present score I want to force beams on 8'ths and may do so by
> executing prepmx with the -b command line option. But then four
> consecutive 8'ths get beamed together - at least if they run from a
> stressed to an unstressed beat. For a vocal score I would like to
> request beaming to encompass only notes within a single beat. I may do
> so by explicitly beaming the 8'ths on one of the beats in an 8 note 8'th
> group. But it would be nicer to have a directive requesting beatwise
> beaming.

PrePMX does not add or remove forced beams.  Eveything is passed as is
to PMX, except that [[ becomes [.  All PrePMX does is add an "unbeamed"
indication to individual notes, which can be suppressed by -b,  What
you are asking is best done at the PMX level.

Dirk



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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Re: M-Tx and nested slurs, dotted slurs, alternative grouping of beams
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> Date: Wed, 12 Aug 1998 22:45:34 +0200
> From: Christian Mondrup <scancm@biobase.dk>

[...]
> It would be nice to have nested slurs drawn dotted to distinguish them
> from the melismatic slurs. I have got the impression that the latest
> MusiXTeX release 90 has the dotted slur feature.

Yes; already some versions earlier. The fonts have been corrected a little
bit in the last version.

And up to the time PMX will learn to produce dotted slurs you may
insert \dotted\ as in-line TeX into the PMX-source, just in front
of the main note, where the slur begins. For nested slurs it may
be a little bit difficult to get the rigth slur dotted this way,
because PMX accepts only one sequence of in-line TeX immediately
assigne to one main note. But if the nested slurs start at different
main notes then there is no problem.

-- Werner

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Subject: Re: M-Tx and nested slurs, dotted slurs, alternative grou
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Dirk Laurie wrote:

>Christian Mondrup wrote:
>
>> For the present score I want to force beams on 8'ths and may do so 
>>by > executing prepmx with the -b command line option. 

My understanding is that the -b option restores PMX's beam groupings.  
This is much more complicated than simply "beaming on 8ths."

>>But then four
>> consecutive 8'ths get beamed together - at least if they run from 
>>a > stressed to an unstressed beat. For a vocal score I would like 
>>to
>> request beaming to encompass only notes within a single beat. I may do
>> so by explicitly beaming the 8'ths on one of the beats in an 8 note 
>>8'th > group. But it would be nicer to have a directive requesting 
>>beatwise
>> beaming.

>PrePMX does not add or remove forced beams.  Eveything is passed as 
>is to PMX, except that [[ becomes [.  All PrePMX does is add an 
>"unbeamed" indication to individual notes, which can be suppressed by 
>-b,  What you are asking is best done at the PMX level.

Does this mean that Christian could simply force the paired 8ths 
wherever he wants them?

The "beam-grouping" algorithms in PMX are rather complex.  I won't try 
to explain them here.  In some earlier versions, I included an option 
to specify alternate or additional beaming rules.  Describing how this 
worked took up several pages in the manual, and to the best of my 
knowledge no one ever used it, and it made the code more complicated, 
so I eliminated it.  Neither before nor since can I recall anyone 
suggesting any change in the defaults.  Again to the best of my 
recollection, this is the first time anyone has suggested 
(re-)introducing an option to globally alter the grouping rules.  At 
this point it would be a significant programming task to make this an 
option.  It would be quite a bit easier to change the default, but of 
course I am not going to do that.  As I explained in my "Future of 
PMX" posting, my attention even toward high-priority additions and 
bug-fixes has been deflected recently, so even if I were to add this 
to the "to-do" list it would not receive attention for quite some 
time.  If Christian feels that he cannot accomplish what he wants 
using forced beams, and if he has or is willing to seek out the 
ability to compile the FORTRAN, then he should contact me directly and 
I will explain what needs to be done to the source to change the 
default beaming rules, so he can make a private version that suits his 
needs.

--Don Simons
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: M-Tx and nested slurs, dotted slurs, alternative grouping of beams
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From mutex-owner@mail2.gmd.de Sat Aug 15 07:17:59 1998
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Date: Sat, 15 Aug 1998 08:17:59 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Lilypond
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I have recently downloaded Lilypond and would like to install in and try it
out.  I am looking for a fairly detailed step-by-step set of instructions
for doing this.  I am running Red Hat Linux 5.0.  I am *very* new to Linux.
 I downloaded two files <lilypond-1_0_2_tar.gz> and
<lilypond-1_0_2_diff.gz> or at least I think those are the file names.  I
know the number portion is correct but the files show up with somewhat
different names under Linux and Windows.

Once again, I am very new to Linux.  Any help is appreciated.

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Sat Aug 15 09:37:07 1998
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Don Simons wrote:

> Does this mean that Christian could simply force the paired 8ths
> wherever he wants them?
>

When I in the mtx preamble require vocal styles for a staff  8'ths etc are not
beamed. The -b option - which may also be issued in an options line in the preamble
- causes mtx/pmx to ignore this property and re-establish the standar pmx beaming.



> Neither before nor since can I recall anyone suggesting any change in the
> defaults.  Again to the best of my recollection, this is the first time anyone
> has suggested (re-)introducing an option to globally alter the grouping rules. If
> Christian feels that he cannot accomplish what he wants using forced beams, and
> if he has or is willing to seek out the ability to compile the FORTRAN, then he
> should contact me directly and I will explain what needs to be done to the source
> to change the default beaming rules, so he can make a private version that suits
> his needs.

Usually I am comfortable with the beaming and non-beaming properties of mtx/pmx,
but for this score with it's rhythmic patterns I feel that the readability of the
score suffers from the unbeaming of the 8'ths. That, however, applies to the
standard pmx beaming too, and that's why I want to beam the 8'ths beatwise. As I
wrote in my posting I AM able to do exactly what I want by explicitly adding forced
beaming to one of the pairs in an 8 note 8'ths group. What was in my mind by asking
for a global beaming rule option is a similar feature in Finale. Of course I don't
request that you should put everything aside to implement or reimplement it. I'm
grateful for and fully enjoy the splendid programming efforts from you, Dirk and
the other MusiXTeX wizzards. AND I don't think I would be capable of diving into
your fortran code and adding it myself.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Sat Aug 15 12:05:32 1998
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Subject: Re: M-Tx and nested slurs, dotted slurs, alternative grou
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Dear mutex subscribers.

As a follow up on the discussion on ao. nested and dotted slurs and beaming of 8'ths in
vocal scores I have uploaded to ftp://ftp.gmd.de/music/incoming/ the score that gave
rise to the discussion. The name of file is jen.zip containing a four part choire score
on the same dialect text as the file jen1 in my entry in the GMD archive.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
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From mutex-owner@mail2.gmd.de Sat Aug 15 14:04:54 1998
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To: bobroff@centrum.is, mutex@gmd.de
Subject: Re: Lilypond
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 > I have recently downloaded Lilypond and would like to install in and try it
 > out.  I am looking for a fairly detailed step-by-step set of instructions
 > for doing this.  I am running Red Hat Linux 5.0.  I am *very* new to Linux.
If you're running Red Hat Linux, the easiest way to install Lilypond
is to go to 

ftp://pcnov095.win.tue.nl/pub/lilypond/RedHat/RPMS/i386

and download the i386.rpm.  Then, as root, do

rpm -Uvh lilypond-....i386.rpm

That's it.  Do rpm -qd lilypond to get a list of documentation files.

 >  I downloaded two files <lilypond-1_0_2_tar.gz> and
 > <lilypond-1_0_2_diff.gz> or at least I think those are the file names.  I
 > know the number portion is correct but the files show up with somewhat
 > different names under Linux and Windows.
 > 
That's a development version, with the file names mangled by downloading
via Windows I expect.  Probably best discarded.

Bob T.

From mutex-owner@mail2.gmd.de Sun Aug 16 08:11:23 1998
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Re: Lilypond
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 > I have recently downloaded Lilypond and would like to install in and try it
 > out.  I am looking for a fairly detailed step-by-step set of instructions
 > for doing this.  I am running Red Hat Linux 5.0.  I am *very* new to Linux.
If you're running Red Hat Linux, the easiest way to install Lilypond
is to go to 

ftp://pcnov095.win.tue.nl/pub/lilypond/RedHat/RPMS/i386

and download the i386.rpm.  Then, as root, do

rpm -Uvh lilypond-....i386.rpm

That's it.  Do rpm -qd lilypond to get a list of documentation files.

 >  I downloaded two files <lilypond-1_0_2_tar.gz> and
 > <lilypond-1_0_2_diff.gz> or at least I think those are the file names.  I
 > know the number portion is correct but the files show up with somewhat
 > different names under Linux and Windows.
 > 
That's a development version, with the file names mangled by downloading
via Windows I expect.  Probably best discarded.

Bob T.


From mutex-owner@mail2.gmd.de Sun Aug 16 09:33:49 1998
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Date: Sun, 16 Aug 1998 10:33:49 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Lilypond rpm
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Concerning my previous mail about the strange behaviour of the lilypond rpm
download.  It is still weird but I simply saved the page to disk after it
loaded and I seem to have gotten the rpm installed.  At least I have found
a Lilypond directory and the man pages seem to be there.

Thanks to all who posted help.

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Tue Aug 18 16:29:27 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: missing subject: "voice-wise music entry in MusiXTeX"
Date: Tue, 18 Aug 1998 18:29:27 +0200
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Sorry - I forgot to include the subject in my previous mail. - Rainer

From mutex-owner@mail2.gmd.de Tue Aug 18 16:27:17 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Date: Tue, 18 Aug 1998 18:27:17 +0200
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ABSTRACT:
  I've thought of and implemented a way to enter a polyphonic piece
  voice by voice, i.e. all voices are entered and edited virtually
  independently from each other. This does not use a preprocessor; it
  is "raw" TeX code which is \input into the score source.

If you're not interested in this at all, e.g. if you're happy with
some of the available MusiXTeX preprocessors, I recommend to stop
reading here.


Currently, there seem to be mainly two ways of using MusiXTEX:
Entering the score as "plain" MusiXTeX code, which gives you the full
power of typesetting virtually everything, even beyond the scope of
MusiXTeX itself. The other way is using some preprocessor, which may
dramatically simplify the task of translating written music to
computer readable coding.

I admit that I haven't succeeded in getting familiar with M-Tx or PMX.
I've tried both several times, but my desire to manually interfere
PMX's layout decisions has always led me to make heavy use of inline
TeX commands. This gobbled up one main advantage of those preprocessor
input languages, namely the readability of the block-wise input
structure. (PLEASE, authors of and contributors to preprocessors,
don't feel offended by this statement of mine. This isn't meant to be
criticism of your work at all - it's simply my personal working style
which makes me an outsider of the preprocessors' user community.)

Thus, as a fan of MusiXTeX's power mentioned above, I thought of still
another alternative to the tedious "plain" MusiXTeX coding. What bored
me most is the fact that music has to be entered chord-wise or - let's
rather say - column-wise. For polyphonic pieces, this implies that you
can't consider the rhythmic structure of a piece voice by voice (as
you would do, for example, by entering a piece by voice-wise real-time
MIDI playing); instead, for each "column", you have to have in mind
the rhythm sequence of all voices simultaneously. This makes music
entry and error correction for polyphonic voicings rather an effort.

Therefore, I wanted to address the following goals:

- providing voice-wise music entry
- retaining full control over all typesetting capabilities of MusiXTeX

Things that I've NOT intended to alter:

- requirement of MusiXTeX knowledge
- all layout decisions (line breaks, ...) made directly by
MusiXTeX/musixflx

Experiments with those topics resulted in a set of TeX macros which
can be \input into a MusiXTeX score source. The main feature is that
all voices are entered separately from each other, each voice as a
sequence of note, pause etc. commands. A brief example:

\setvoice21{+4 \qa g+3/8 \qup c}

Which means: Voice 1 of instrument 2 consists of a "\qa g" with 1/4
note time value followed by a "\qup c" with 3/8 notes time
value. Things to be explained:

- The "+" sign is a key character indicating the beginning of a new
  "note event" of the voice.
- Why explicitly specifying an event's time value although this time
  value can already be retrieved from the note command, e.g. "\qup"?
  There are several reasons. First, the relation between printed note
  and "logical" time value isn't always one-to-one (consider heads of
  beamed notes, for example). Second, and more important: You can
  define own macros, e.g. for chords, and use them within the
  \setvoice definition.

After having set up all voices with \setvoice, they are automatically
merged together to build the actual score. Bars are set automatically
once you have specified a bar's time value.

An important aspect which the above example reveals: The \setvoice
feature does NOT reduce the amount of typing work; instead, it imposes
a "serial" structure on the native "vertical" input style of plain
MusiXTeX. This shall simplify entering the music by setting the focus
on the voice-wise structure of a polyphonic piece. Everything else
remains the same compared to plain MusiXTeX.

So, why am I writing this e-mail? I'd like to know whether some of you
are also interested in this kind of MusiXTeX add-on. If so, please
give me some feedback. If not - and I won't be unhappy about it at all
- safely forget about the whole thing.

Regards,

Rainer


From mutex-owner@mail2.gmd.de Tue Aug 18 18:59:02 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808181859.UAA20635@calvyn.puk.ac.za>
Subject: Re: Voice-wise music entry
To: rainer.dunker@munich.ixos.de (Rainer Dunker)
Date: Tue, 18 Aug 1998 20:59:02 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <AFFEECCD4330D211B85200104B55C64907C0D9@gothique.ixos.de> from "Rainer Dunker" at Aug 18, 98 06:27:17 pm
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Rainer Dunker wrote:
> 
> ABSTRACT:
>   I've thought of and implemented a way to enter a polyphonic piece
>   voice by voice, i.e. all voices are entered and edited virtually
>   independently from each other. This does not use a preprocessor; it
>   is "raw" TeX code which is \input into the score source.
> 
> If you are also interested in this kind of MusiXTeX add-on, please
> give me some feedback. 
>

I would like to try out the macro package.  Uploading to ftp.gmd.de will
not make it accessible before Werner gets back, so please post to the 
list, or put it on your own ftp site.  

Regards
Dirk

From mutex-owner@mail2.gmd.de Tue Aug 18 23:01:36 1998
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Date: Tue, 18 Aug 1998 16:01:36 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Inquiry to all PMX users
To: mutex@gmd.de
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Is anyone using pmxa.exe & pmxb.exe who doesn't have Windows/95/98/NT?

(The reason for this question: I have just gotten a new compiler that 
is more convenient to use, but apparently requires one of the above to 
be present).

--Don Simons

From mutex-owner@mail2.gmd.de Wed Aug 19 13:11:11 1998
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To: mutex@gmd.de, rainer.dunker@munich.ixos.de
Subject: Re: Voice-wise music entry in MusixTeX
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> From mutex-owner@mail2.gmd.de Tue Aug 18 19:14:33 1998
> From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
> To: "'mutex@gmd.de'" <mutex@gmd.de>
> Date: Tue, 18 Aug 1998 18:27:17 +0200
> 
> ABSTRACT:
>   I've thought of and implemented a way to enter a polyphonic piece
>   voice by voice, i.e. all voices are entered and edited virtually
>   independently from each other. This does not use a preprocessor; it
>   is "raw" TeX code which is \input into the score source.
> 
> So, why am I writing this e-mail? I'd like to know whether some of you
> are also interested in this kind of MusiXTeX add-on. If so, please
> give me some feedback. If not - and I won't be unhappy about it at all
> - safely forget about the whole thing.

Sounds appealing - I use plain MusixTeX too, although only
infrequently.  I'ld be interested to see the macros, although I won't
be able to test/comment on them for a few weeks.  (I've too much text
to typeset before getting back to music...)

Thanks,

Andrew

From mutex-owner@mail2.gmd.de Thu Aug 20 16:35:08 1998
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Date: Thu, 20 Aug 1998 18:35:08 +0200 (CEST)
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex@gmd.de
Subject: Permanent font change in M-Tx uptext
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I have got yeat another mtx question to ask my fellow mutex subscribers.

According to the mtx docs page 12 it should - as I read it - be possible
to force a global change of font on uptexts by putting a directive like
!\bf in an uptext line.

In choir score I want put a 'con bocca chiusa' (denoted by 'c b c') above
a staff and therefore makes my paragraph like this:


    d8+ |   b4  g8 g  e+ d | c4 a8 f  d+ c |
L: {vers1s,vers2s}
    r8  |   r4d    r8 c+ b | a4 f8 f  b  a |
L: {vers1a,vers2a}
    r8  | ( {} d2d+           | c4d ) r8 {vers1t,vers2t} g+ f |
L: {vers1t,vers2t}
UT: @+1 !\bf c~b~c
@22 r8  | ( {} g2d            | f4d ) r4d     |
L: {vers1b,vers2b}
UB: @+1 \bf{c~b~c}

MusiXTeX is quite comfortable with what I have put as uptext for the bass
part using a local only change to bold face. In the tenor part, however, I
- to illustrate my problem - want to utilize a global change, but get this
MusiXTeX error:

 ! Undefined control sequence.
<argument> \\
             bf{c~b~c}
\rlap #1->\hbox to\z@ {#1
                         \hss }
l.89 ...{}\beginmel\zchar{11}{\\bf{c~b~c}}
                                          \isluru7{'d}\hlp d&\qpp&%

What is wrong ? Should I put the !\bf statement somewhere else ? 

Regards

Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07




From mutex-owner@mail2.gmd.de Fri Aug 21 09:32:21 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808210932.LAA06493@calvyn.puk.ac.za>
Subject: Re: Permanent font change in M-Tx uptext
To: scancm@biobase.dk (Christian Mondrup)
Date: Fri, 21 Aug 1998 11:32:21 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <Pine.LNX.4.02.9808201816150.242-100000@sc03.sctp.dk> from "Christian Mondrup" at Aug 20, 98 06:35:08 pm
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Christian Mondrup wrote:
> 
> UT: @+1 !\bf c~b~c
> @22 r8  | ( {} g2d            | f4d ) r4d     |

> MusiXTeX is quite comfortable with what I have put as uptext for the bass
> part using a local only change to bold face. In the tenor part, however, I
> - to illustrate my problem - want to utilize a global change, but get this
> MusiXTeX error:
> 
>  ! Undefined control sequence.
> <argument> \\
>              bf{c~b~c}
> \rlap #1->\hbox to\z@ {#1
>                          \hss }
> l.89 ...{}\beginmel\zchar{11}{\\bf{c~b~c}}
>                                           \isluru7{'d}\hlp d&\qpp&%
> 
> What is wrong ? Should I put the !\bf statement somewhere else ? 
> 
The documentation is wrong.  (I wrote it before writing the code --
my usual method, to keep me hopeful :-)  When I started coding music,
I found it annoying to type !\ each time when the program itself
could easily provide the \.  So the font change should be just !bf.

Sorry about this.

Dirk

From mutex-owner@mail2.gmd.de Mon Aug 24 06:20:10 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: mutex@gmd.de
Subject: voice-wise music entry for MusiXTeX
Date: Mon, 24 Aug 1998 08:20:10 +0200
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Hello MusiXTeXers,

since there has been some feedback, I'm publishing my attempt of
voice-wise music entry. The whole macro package is only about
8.5 kilobytes, thus I hope nobody frowns upon my posting directly to
the list.

Those who are going to try it: Please be aware that it is nothing but
an experiment yet; especially, it does not support multi-staff
instruments. On the other hand, it has no inherent limitations
concerning the number of voices total or per staff. Since I'm
interested especially in vocal music, the macros work well together
with the musixlyr package.

Included as attachments are:

musixser.tex = the macro package itself
musixser.doc = some quick-and-dirty documentation
gloria.tex   = a brief example score, taken from a well-known french
	       Christmas song

In case of difficulties with unpacking attachments, please contact me
directly.

All kinds of comments are welcome. Have fun!

Regards,

Rainer

 <<musixser.tex>>  <<musixser.doc>>  <<gloria.tex>> 

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\ifx\undefined\setvoice\else\endinput\fi
\immediate\write10{MusiXSERial voices 0.1\space<19 August 1999>}

\makeatletter

\def\max@int{2147483647}

\newcount\cur@staff
\newcount\cur@voice
\newcount\cur@col
\newcount\base@tics \base@tics=3D192
\newcount\next@delta
\newcount\prev@delta
\newcount\bar@delta \bar@delta\m@ne
\newcount\r@tval

\newtoks\stf@voc
\newtoks\barlinecmd \barlinecmd=3D{\bar}

\newif\ifbar@pending
\newif\ifcol@empty

\newif\iftracingcolumns
\newif\iftracingtics
\newif\ifbarproc

\catcode`\+=3D\active

\def\setticsskip#1#2{\expandafter\def\csname notes@#1\endcsname{#2}}

\setticsskip{192}\NOTEs
\setticsskip{144}\NOTesp
\setticsskip{96}\NOTes
\setticsskip{72}\NOtesp
\setticsskip{48}\NOtes
\setticsskip{36}\Notesp
\setticsskip{24}\Notes
\setticsskip{18}\notesp
\setticsskip{12}\notes
\setticsskip{9}\notes
\setticsskip{6}\notes

% Fuer musixlyr: PMX vortaeuschen
\let\nextvoice\relax
\let\@pmx@nextvoicetrue\relax

\def\trace@col#1{\iftracingcolumns\immediate\write15{#1}\fi}

\def\barduration#1{%
  \calc@tics#1/\@end
  \bar@delta=3D\count@
  \edef\bar@tics{\the\count@}}

\def\setvoice#1#2#3{%
  % Muss \toks-Register allokiert werden?
  \expandafter\ifx\csname stf#1voc#2\endcsname\relax
   \begingroup
    \def\@newtoks{newtoks}% durch Gruppierung lokal
    \expandafter\csname\expandafter\@newtoks\expandafter\endcsname
       \csname stf#1voc#2\endcsname
   \endgroup
  \fi
  \expandafter\def\csname delta@stf#1voc#2\endcsname{0}% Delta-Tics
  \expandafter\def\csname dbars@stf#1voc#2\endcsname{0}% Delta-Takte
  \expandafter\let\csname barproc@stf#1voc#2\endcsname\empty % =
Takt-Material
  \csname stf#1voc#2\endcsname=3D{#3+\end@voc}}

\def\setmaster#1{\setvoice01{#1}}

\def\barproc#1{%
  \expandafter\gdef
    \csname barproc@stf\the\noinstrum@nt =
voc\the\cur@voice\endcsname{#1}}
 =20
\def\onebarproc#1{%
  \expandafter\gdef
    \csname barproc@stf\the\noinstrum@nt voc\the\cur@voice\endcsname
    {#1\expandafter
	\gdef\csname barproc@stf\the\noinstrum@nt
			     voc\the\cur@voice\endcsname{}}}

\def\pauseon{\barproc{\centerbar\pause}}
\def\pauseoff{\barproc{}}
\def\onepause{\onebarproc{\centerbar\pause}}

\def\get@denom#1/{#1}

\def\calc@tics#1/#2\@end{%
  % Rueckgabewert in \count@
  \count@=3D\base@tics
  \ifx\relax#2\relax
   % Kein Zaehler gegeben:
   \divide\count@#1
  \else
   % Bruch gegeben:
   \expandafter\divide\expandafter\count@\get@denom#2\relax
   \multiply\count@#1
  \fi}

\def\calc@tics@w@bars#1b{\calc@tics#1/\@end}

\def\calc@delta#1b#2\@end{%
  % Rueckgabe:
  % \r@tval =3D Delta-Takte
  % \count@ =3D Delta-Tics
  \ifx\relax#2\relax
   % kein Takt-Delta angegeben:
   \r@tval\z@
   \calc@tics#1/\@end
  \else
   % Takt angegeben:
   \ifx\relax#1\relax \r@tval=3D1 % keine Taktzahl gegeben, also =3D 1
   \else \r@tval#1
   \fi
   \ifx b#2% keine Delta-Tics angegeben?
    \count@\z@
   \else
    \calc@tics@w@bars#2%
   \fi
  \fi}

\def+#1 #2+#3\end@voc{%
  % Delta-Angaben parsen:
  \calc@delta#1b\@end
  % Delta dieser Stimme festhalten:
  \trace@col{neudelta bars=3D\the\r@tval, tics=3D\the\count@}%
  \expandafter\edef\csname delta@\the\stf@voc\endcsname{\the\count@}%
  \expandafter\edef\csname dbars@\the\stf@voc\endcsname{\the\r@tval}%
  % Minimales Delta nur ermitteln, wenn keine Delta-Takte:
  \ifnum\r@tval=3D0
   \ifnum\count@<\next@delta \next@delta\count@ \fi
  \fi
  % Material fuer diese Spalte bereitstellen:
  \expandafter\gdef\csname @s\the\cur@staff =
v\the\cur@voice\endcsname{#2}%
  % Restmaterial bereitstellen:
  \ifx\relax#3\relax
   % nichts mehr uebrig:
   \expandafter\let\csname\the\stf@voc\endcsname\empty
  \else
   \csname\the\stf@voc\endcsname=3D{+#3\end@voc}%
  \fi}

\def\process@voice{%
  \advance\cur@voice\@ne
  % "Array"-Zugriff vorbereiten:
  \stf@voc=3D\expandafter{stf\the\cur@staff voc\the\cur@voice}%
  % Zeile@Stimme definiert?
  \expandafter\ifx\csname\the\stf@voc\endcsname\relax
   \let\pv@next\relax  % nein
  \else
   % Zeile@Stimme nicht leer?
   \expandafter\ifx\csname\the\stf@voc\endcsname\empty\else
    \col@emptyfalse
    %
    % evtl Delta-Takte weiterzaehlen
    %
    \ifnum\csname dbars@\the\stf@voc\endcsname>0 % Warten wir auf =
Takte?
     \ifbar@pending
      % 1 Takt runterzaehlen:
      \count@=3D\csname dbars@\the\stf@voc\endcsname
      \advance\count@\m@ne
      \expandafter\edef\csname =
dbars@\the\stf@voc\endcsname{\the\count@}%
      \trace@col{S \the\cur@col, Z \the\cur@staff, St \the\cur@voice:
	  resttakte=3D\the\count@}%
     \fi % Takt runterzaehlen
    \else % warten nicht auf Takte
     % Stimmdelta vermindern:
     \count@=3D\csname delta@\the\stf@voc\endcsname\relax
     \trace@col{S \the\cur@col, Z \the\cur@staff, St \the\cur@voice:
	 prevdelta=3D\the\prev@delta, stimmdelta=3D\the\count@}%
     \advance\count@ -\prev@delta
     \expandafter\edef\csname =
delta@\the\stf@voc\endcsname{\the\count@}%
    \fi % Warten wir auf Takte?
    %
    % Enthaelt Stimme Event fuer diese Spalte?
    %
    \ifnum\csname dbars@\the\stf@voc\endcsname=3D0 % kein Taktwarten =
...
     \ifnum\csname delta@\the\stf@voc\endcsname=3D0 % keine Delta-Tics
      % Event verarbeiten:
      \trace@col{Verarbeite Event}%
      \the\csname\the\stf@voc\endcsname
      \trace@col{neudelta=3D\csname delta@\the\stf@voc\endcsname}%
     \else % doch noch Delta-Tics uebrig
      % Minimales Spaltendelta ermitteln:
      \count@=3D\csname delta@\the\stf@voc\endcsname\relax
      \ifnum\count@<\next@delta \next@delta\count@ \fi
      \trace@col{restdelta=3D\csname delta@\the\stf@voc\endcsname}%
     \fi % keine Delta-Tics
    \fi % kein Taktwarten
   \fi % Zeile@Stimme nicht leer
   \let\pv@next\process@voice
  \fi % Zeile@Stimme definiert?
  \pv@next}

\def\process@staff{%
  \cur@voice\z@ \process@voice
  % Schleife:
  \advance\cur@staff\@ne
  \ifnum\cur@staff>\nbinstruments
   \let\ps@next\relax
  \else
   \let\ps@next\process@staff
  \fi
  \ps@next}

\def\flush@voice{%
  \global\advance\cur@voice\@ne
  \global\stf@voc=3D\expandafter{@s\the\noinstrum@nt v\the\cur@voice}%
  \expandafter\ifx\csname\the\stf@voc\endcsname\relax
   \let\fv@next\relax
  \else
   % Bei mehr als einer Stimme erst ein backskip (a la \nextvoice von =
PMX):
   \ifnum\cur@voice>1
    \@ndstaff\advance\noport@@-1\beginstaff
    \@pmx@nextvoicetrue
   \fi
   % Material anwenden:
   \csname\the\stf@voc\endcsname
   % anschliessend deaktivieren:
   \global\expandafter\let\csname\the\stf@voc\endcsname\empty
   \let\fv@next\flush@voice
  \fi
  \fv@next}

\def\flush@staff{%
  \global\cur@voice\z@\flush@voice
  \ifnum\noinstrum@nt<\nbinstruments
   \nextinstrument
   \let\fs@next\flush@staff
  \else
   \let\fs@next\relax
  \fi
  \fs@next}

\def\process@bar@voice{%
  \advance\cur@voice\@ne
  \stf@voc=3D\expandafter{barproc@stf\the\noinstrum@nt =
voc\the\cur@voice}%
  \expandafter\ifx\csname\the\stf@voc\endcsname\relax
   \let\pbv@next\relax
  \else
   % Material anwenden:
   \csname\the\stf@voc\endcsname
   \let\pbv@next\process@bar@voice
  \fi
  \pbv@next}

\def\process@bar@staff{%
  \cur@voice\z@\process@bar@voice
  \ifnum\noinstrum@nt<\nbinstruments
   \nextinstrument
   \let\pbs@next\process@bar@staff
  \else
   \let\pbs@next\relax
  \fi
  \pbs@next}

\def\process@column{%
  \advance\cur@col\@ne
  %
  % Takt zu Ende?
  %
  \ifnum\bar@delta>\m@ne % Ueberhaupt Takte definiert?
   \ifnum\bar@delta=3D0 \bar@pendingtrue \fi % Taktende vormerken
  \fi % Takte definiert
  %
  % Material fuer Spalte sammeln:
  %
  \cur@staff\z@ % nullte Zeile =3D Masterspur
  \next@delta=3D\max@int
  \col@emptytrue
  \process@staff
  % Spalte leer?
  \ifcol@empty
   % Spalte leer, Verarbeitung beenden:
   \let\pc@next\relax
  \else
   %
   % Spalte verarbeiten
   %
   % Takt zu Ende?
   \ifbar@pending
    % Taktmaterial ggf. verarbeiten:
    \ifbarproc
    \def\atnextbar{\znotes\process@bar@staff\en}\fi
    % Takt setzen:
    \the\barlinecmd
    \bar@delta=3D\bar@tics\relax
    \bar@pendingfalse
   \fi % Takt zu Ende
   %
   % Taktdelta fortschreiben
   %
   \ifnum\bar@delta>\m@ne % Ueberhaupt Takte definiert?
    \ifnum\bar@delta<\next@delta \next@delta\bar@delta \fi
    \advance\bar@delta-\next@delta
   \fi % Takte definiert
   % Spalte ausgeben. Spaltenbreite definiert?
   \expandafter\ifx\csname notes@\the\next@delta\endcsname\relax
    \errmessage{No column skip for \the\next@delta\space tics defined}%
   \fi
   % zuerst Masterspur verarbeiten:
   \noinstrum@nt\z@ \cur@voice\z@ \flush@voice
   % Noten setzen:
   \csname notes@\the\next@delta\endcsname
    \iftracingtics\zchar{-5}{\the\next@delta}\fi
    \flush@staff
   \en
   \prev@delta\next@delta
   \let\pc@next\process@column
  \fi
  \pc@next}

\def\processvoices{%
  \process@column}

\makeatother

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Entering material of a voice
----------------------------

A voice is defined with the command:

  \setvoice{<staff_no>}{<voice_no>}{<material>}

<staff_no> is the number of the staff (or, in MusiXTeX terminology,
the instrument) the voice will be typeset in. If you have staves with
more than one voice, you have to enumerate them per staff with
<voice_no> beginning from 1. (The order of voice definitions, however,
does not matter, but after having defined all voices, the sequence of
voice numbers must be unbroken for each staff.)

<material> consists of a sequence of "musical events", each of them of
the following syntax:

  +<duration> <contents>

The plus sign must be entered verbatim; it is simply a separator which
marks the beginning of an event. <duration> is explained below; it
must be followed by a literal space character or, alternatively, by a
line break. <contents> is exactly what you would type within a
\notes...\enotes construct of plain MusiXTeX - but with an important
restiction: You may not specify multiple spacing notes or pauses or
whatever; i.e. it is impossible to give a whole sequence of notes
(e.g. \qu{cdefg}) at once.

The <duration> element determines the time consumption of the event,
i.e. the time elapsing until the voice's next event will happen. It
may have one of several formats:

(1)   <numer>/<denom>

      This format represents a fraction of a whole note, as usual; for
      example, "3/4" means the duration of a dotted half note.

(2)   <denom>

      As an abbreviation of (1), omitting the numerator means setting
      it to one; i.e. "4" just means the duration of a quarter note.

(3)   <bars>b

      This means that the following event shall occur after <bars>
      completed bars. In combination with the full bar rests feature
      (see below), this is a convenient way to express long "tacet"s
      of a voice. The <bars> amount, however, is not interpreted as a
      multiple of the bar duration (which would imply that if the
      current event occurs, say, on the 2nd beat of a bar, the
      following event would do also). Instead, it is the number of
      barlines that have to be "crossed" - independent from the
      current event's position within the current bar. The following
      event will then occur on the first beat after the specified
      number of bars.

(4)   b

      Corresponding to format (3), omitting <bars> means setting it to
      one, i.e. the following event will occur on the first beat of
      the immediately following bar.

(5)   <bars>b<numer>/<denom>

      ... which means: Wait for the completion of <bars> bars as in
      (3), then count the specified fraction as in (1). You can again
      omit <bars> and <numer>/ .



Full bar rests
--------------

Corresponding to MusiXTeX's \atnextbar feature, musixser provides a
means to issue material which has to be processed at the next
barline. Before this can be used, it has to be switched on with the

  \barproctrue

command in the preamble (just for performance reasons in case you
don't need it). After that, there are several possibilities:

  \onebarproc{...}

means that the issued material will be applied only once at the next
barline (exactly as \def\atnextbar{...} would do).

  \barproc{...}

establishes the processing of the specified material at all following
barlines until explicitly cancelled by a new \barproc definition,
e.g. \barproc{} .

Now there are abbreviations for the most common purposes:

  \onepause      --> just one full bar rest
  \pauseon       --> turn on full bar rests for all following bars
  \pauseoff      --> switch off full bar rests again

As an example, here's how to issue a single raised full bar rest:

  \onebarproc{\centerbar{\raise2\internote\pause}}



Specifying bars
---------------

Bars are set automatically. You only have to specify the bar duration
as a fraction of a whole note (see above) with the \barduration
command, for example

  \barduration{3/4}

does exactly what you would expect.

For barless music, just omit any \barduration command. You can perform
meter changes by re-issuing the command within the master track; see
below.

You can influence what happens when a new bar is about to be set with
the \barlinecmd parameter. This is set by default to equal \bar, but
you can specify arbitrary TeX code instead. For example, if you want
to force a system break after every third bar, you may specify:

  \newcount\mybarcount
  \barlinecmd=3D{\advance\mybarcount by 1
	       \ifnum \mybarcount =3D 3 \alaligne \mybarcount =3D 0
	       \else \bar \fi}

For similar purposes, you may also evaluate MusiXTeX's \barno counter.


Specifying the duration-to-space mapping
----------------------------------------

musixser has to translate event durations into horizontal
spacing. To accomplish this, it first converts the fractional
representation of time values into kind of atomic
"tics". Corresponding to the MIDI file format, a tic is the underlying
duration unit, and all representable durations are multiples of a
tic. In musixser, a whole note is defined to equal 192 tics. Thus, a
half note equals 96 tics, a quarter note 48 tics, and so on.

As a second step, numbers of tics are mapped onto the MusiXTeX \notes
commands, i.e. \notes, \Notes, \NOtes, etc. This mapping has to be
established by means of the \setticsskip command. For example,

  \setticsskip{48}\NOtes

defines that an event duration of 48 tics (i.e. a quarter note) shall
correspond to a horizontal space expressed by the \NOtes command.

musixser itself predefines a small number of such relations, following
the recommendation of the MusiXTeX manual concerning the use of the
various \notes commands. However, if your piece contains unusual note
durations, you'll have to add your own mappings. This is indicated by
the TeX error message

  ! No column skip for <number> tics defined.

If you encounter this during TeXing your source, you'll have to provide
a \setticsskip call concerning the given <number> of tics within your
piece's preamble.

You may also use \setticsskip to redefine the standard mapping of
musixser.=20


The master track
----------------

All material you provide as an argument to \setvoice will be poured
into some \notes...\enotes construct during processing. Everything
that has to be given outside of a \notes group (e.g. \hardspace or
\scale) has to be placed on a "master track" (in analogy to the
standard MIDI file format) by means of the command:

  \setmaster{<material>}

While the context of evaluating <material> differs, the <material>
syntax is exactly the same as concerning the \setvoice command. For
example: If the third bar should be typeset double as wide as the
others, you may use:

  \setmaster{+2b +b \scale{2}+b \scale{1}}

Explanation: The first event is empty and has the effect of just
skipping over the first two bars. The \scale{2} event has the =
"duration"
of one bar which in this context means that the following event
\scale{1} occurs at the beginning of the first following bar. The
duration of the very last event of the master track never has any
significance; it is safe to set it to "b".


Errors
------

The whole processing of the material given within \setvoice commands
takes place within the \processvoices macro which has to be called
within a \startpiece...\endpiece pair. Therefore, if a syntax error
occurs within some <material>, the line number given by TeX along with
the error message won't point to the true location of the error;
instead, it will always refer to the line of the \processvoices
call. The most useful information for finding the error source thus is
the bar number trace that MusiXTeX outputs on the console while
running; the number of the last bar completed before the error happens
gives a reliable hint. In order to be able to evaluate this
information, it's good style to include bar numbers as comments in
your <material>.

Some typical error messages and interpretations:

! Missing number, treated as zero.

     Possibly an error within the <duration> syntax.

Runaway argument? ...
! Forbidden control sequence found while scanning use of +.

     Most probably a forgotten space character between <duration> and
     <contents>.

! No column skip for ... tics defined.

     You have to provide a duration-to-space mapping as explained
     above.

If TeX ends without error but you feel that something's gone wrong
with the synchronization of the voices, you may try to issue the
command

  \tracingticstrue

somewhere in your piece's preamble. MusiXTeX will then print below each
"column" (i.e. each beat where something musical happens) the number
of tics it has determined as the time value of this column. This
provides some help for tracing the synchronization decisions of
musixser it has made when assembling the score from the distinct
voices.


Planned enhancements
--------------------

- automatic slur and beam number management

- facility for defining abbreviations of repeadedly occuring patterns

------ =_NextPart_000_01BDCF27.1BCDC6E0
Content-Type: application/octet-stream;
	name="GLORIA.TEX"
Content-Disposition: attachment;
	filename="GLORIA.TEX"

\input musixtex
\input musixser

\instrumentnumber2
\songtop2 \songbottom1
\generalsignature1
\generalmeter\meterC

\setvoice21
  {% bars 1-3
   +b \wh n+b \wh k+b \wh k%
   % bar 4
   +2 \itieu2k\hl k+8 \ttie2\ibl2k{-1}\qb2k+8 \qb2j+8 \qb2i+8 \tqb2h}
\setvoice12
  {% bar 1
   +2 \zh i\hu k%
   +8 \ibu1j{-1}\zq j\qb1l+8 \zq i\qb1k+8 \zq h\qb1j+8 \zq g\tqh1i%
   % bar 2
   +2 \zh h\hu j%
   +8 \ibu1i{-1}\zq i\qb1k+8 \zq h\qb1j+8 \zq g\qb1i+8 \zq f\tqh1h%
   % bar 3
   +2 \zh g\hu i%
   +8 \ibu1h{-1}\zq h\qb1j+8 \zq g\qb1i+8 \zq f\qb1h+8 \zq e\tqh1g%
   % bar 4
   +3/8 \zqp f\qup h+8 \cu f+2 \hu d}
\setvoice11
  {% bar 1
   +4 \lower6\internote\qp+4 \itied1g\ql g+2 \ttie1\itied1g\hl g%
   % bar 2
   +4 \roff{\ttie1\ql g}+3/4 \itied1d\hlp d%
   % bar 3
   +4 \ttie1\ql d+3/4 \hlp N%
   % bar 4
   +3/8 \qlp d+8 \cl d+2 \hl d}

\barduration{4/4}

\startpiece
\addspace\afterruleskip
\processvoices
\Endpiece
\bye

------ =_NextPart_000_01BDCF27.1BCDC6E0--

From mutex-owner@mail2.gmd.de Mon Aug 24 13:17:46 1998
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From: "Weinrich, 383, NL CE" <M.Weinrich@deutschepost.de>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Missing .zip-file
Date: Mon, 24 Aug 1998 15:17:46 +0200
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Hi all,

using MusiXTeX under emTeX in a MS-DOS environment I have got the
following problem:
1. Step: Running TeX is ok
2. Step: Running musixflx --> Error message: ''No DPMI - get
csdpmi*b.zip''

I have no idea where to get csdpmi*b.zip. Does it belong to emTeX or
MusiXTeX? I also use MusiXTeX under Windows NT (MikTeX/yap) and have no
problems.

Any hints?!

Thank you!

Weini

From mutex-owner@mail2.gmd.de Tue Aug 25 13:10:03 1998
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> From: "Weinrich, 383, NL CE" <M.Weinrich@deutschepost.de>
> Date: Mon, 24 Aug 1998 15:17:46 +0200
> 
> Hi all,
> 
> using MusiXTeX under emTeX in a MS-DOS environment I have got the
> following problem:
> 1. Step: Running TeX is ok
> 2. Step: Running musixflx --> Error message: ''No DPMI - get
> csdpmi*b.zip''
> 
> I have no idea where to get csdpmi*b.zip. Does it belong to emTeX or
> MusiXTeX? I also use MusiXTeX under Windows NT (MikTeX/yap) and have no
> problems.
> 
> Any hints?!
> 
> Thank you!
> 
> Weini
> 
The error message refers to a free-ware DPMI server, called cwsdpmi.
It is normally used with programs compiled under the `DJGPP'
environment for DOS (which is an alternative to the `EMX' environment
used by the emTeX programs).  Three possible solutions:

	1.  Use under Windows (any flavour) or OS/2, which provide 
	their own DPMI services.

	2. Get the source for musixflx and recompile using the EMX
	development tools.

	3. Get the cwsdpmi program.

For (3), look at a DJGPP directory on a simtelnet mirror site.  For
instance:
	ftp.cdrom.com/pub/simtelnet/gnu/djgpp/v2misc/csdpmi4b.zip


My documentation for DJGPP mentions that there is a German simtelnet
mirror site, as follows:
	ftp.mpi-sb.mpg.de (directory /pub/simtelnet/gnu/djgpp)

Good luck,

Andrew Gray

From mutex-owner@mail2.gmd.de Tue Aug 25 13:46:48 1998
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Subject: Musixtex,footlineheadline
To: mutex@gmd.de (gmd.de/Misc/Music)
Date: Tue, 25 Aug 1998 15:46:48 +0200 (MET DST)
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Hi,

for an unknown reason, I cannot influence the \footline in Musixtex.
Whatever code I write for \footline, it remains the same. Since I 
have so many voices,
it is hard to keep track, expecially for drafts, and I must print
the date, the composition, the instrument and the pageno onto the sheets.
Before I loose time in experimenting how to cope, I ask for
existing solutions. I am sure that other people had the same
problems and found a nice solution.

Christof.


From mutex-owner@mail2.gmd.de Tue Aug 25 15:48:21 1998
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Date: Tue, 25 Aug 1998 17:48:21 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX Unix/C 1.3.8 --- at last
Message-Id: <Pine.A32.3.93.980825173256.13420A-100000@cip40.mathematik.uni-stuttgart.de>
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Hi people!

Finally, the Unix/C version of PMX-1.3.8 is ready for release. 
We've redesigned the installation script and instructions, which should
make installation nearly trivial on most Unix / TeX variants.

I'll upload it to the GMD archive as soon as possible. This may take a
while, however, so if you need the new version right now you can obtain it
from 

http://ftp.mathematik.uni-stuttgart.de/pub/software/pmx/pmx-1.38.tar.gz

One more thing: I'm told that recent versions of g77 have no problems with
the PMX fortran source (my main reason for creating the Unix/C port was
that I was unable to compile the fortran source in the first place). This
would mean that PMX Unix/C would only be of interest to people who

  - have neither a recent version of g77 nor a native fortran compiler
  - find the automatic install process much more convenient than a manual
    installation

I've been wondering if there's any point in continuing the C ports.  Thus
I'd like to hear from people who still use them to get an idea of how many
of you there are (if any).

I've also been toying with the idea of including the M-Tx source in my
distribution so you could install PMX and M-Tx in one go (Dirk says he
can't stop me because he's released it under the GPL ;-). Anybody
interested? Again, the main advantage would be to have an install script
that puts musixlyr.tex in the right place.

Regards,
Stefan


************************************************************             
**   We fat all creatures else to fat us, and we fat      **
**   ourselves for maggots. Your fat King and your lean   **
**   beggar, is but variable service, two dishes but to   **
**   one table; that's the end.                           **
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [update pending]                                       **
**--------------------------------------------------------**
** schtepf@gmx.de                          (Stefan Evert) **
************************************************************       


From mutex-owner@mail2.gmd.de Tue Aug 25 17:07:10 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Missing .zip-file
To: A.J.Gray@durham.ac.uk
Date: Tue, 25 Aug 1998 19:07:10 +0200 (SAT)
In-Reply-To: <8870.199808251310@altair> from "A.J.Gray@durham.ac.uk" at Aug 25, 98 02:10:03 pm
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A.J.Gray@durham.ac.uk wrote:
> 
> > using MusiXTeX under emTeX in a MS-DOS environment I have got the
> > following problem:
> > 1. Step: Running TeX is ok
> > 2. Step: Running musixflx --> Error message: ''No DPMI - get
> > csdpmi*b.zip''
> > 
> > I have no idea where to get csdpmi*b.zip. Does it belong to emTeX or
> > MusiXTeX? I also use MusiXTeX under Windows NT (MikTeX/yap) and have no
> > problems.
> > 
> > Any hints?!
> > 
> > Thank you!
> > 
> > Weini
> > 
> The error message refers to a free-ware DPMI server, called cwsdpmi.
> It is normally used with programs compiled under the `DJGPP'
> environment for DOS (which is an alternative to the `EMX' environment
> used by the emTeX programs).  Three possible solutions:
> 
> 	1.  Use under Windows (any flavour) or OS/2, which provide 
> 	their own DPMI services.
> 
> 	2. Get the source for musixflx and recompile using the EMX
> 	development tools.
> 
> 	3. Get the cwsdpmi program.
> 
> For (3), look at a DJGPP directory on a simtelnet mirror site.  For
> instance:
> 	ftp.cdrom.com/pub/simtelnet/gnu/djgpp/v2misc/csdpmi4b.zip
> 
> 
> My documentation for DJGPP mentions that there is a German simtelnet
> mirror site, as follows:
> 	ftp.mpi-sb.mpg.de (directory /pub/simtelnet/gnu/djgpp)
> 
Another solution is to compile musixflx.c yourself using a DOS C compiler.
I managed quite well with Turbo C++ 3.0 using the 'huge' memory model.

Dirk


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From: hunsberg@sqa1.si.com (Joel Hunsberger)
Subject: Re:  Missing .ZIP file, ... Versions of musixflx
To: mutex@gmd.de (MusiXTex Mailinglist)
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Good News:  Werner Icking anticipated and solved this problem once upon
a time... (read on)...

Dirk Laurie <dirk@calvyn.puk.ac.za> wrote...
> Subject: Re: Missing .zip-file
> A.J.Gray@durham.ac.uk wrote:
> > 
> > > using MusiXTeX under emTeX in a MS-DOS environment I have got the
> > > following problem:
> > > 1. Step: Running TeX is ok
> > > 2. Step: Running musixflx --> Error message: ''No DPMI - get
> > > csdpmi*b.zip''
> > > 
> > > I have no idea where to get csdpmi*b.zip. Does it belong to emTeX or
> > > MusiXTeX? I also use MusiXTeX under Windows NT (MikTeX/yap) and have no
> > > problems.
> > > 
> > > Any hints?!
> > > 
> > > Thank you!
> > > 
> > > Weini
> > > 
> > The error message refers to a free-ware DPMI server, called cwsdpmi.
> > It is normally used with programs compiled under the `DJGPP'
> > environment for DOS (which is an alternative to the `EMX' environment
> > used by the emTeX programs).  Three possible solutions:
> > 
> > 	1.  Use under Windows (any flavour) or OS/2, which provide 
> > 	their own DPMI services.
> > 
> > 	2. Get the source for musixflx and recompile using the EMX
> > 	development tools.
> > 
> > 	3. Get the cwsdpmi program.
> > 
> > For (3), look at a DJGPP directory on a simtelnet mirror site.  For
> > instance:
> > 	ftp.cdrom.com/pub/simtelnet/gnu/djgpp/v2misc/csdpmi4b.zip
> > 
> > 
> > My documentation for DJGPP mentions that there is a German simtelnet
> > mirror site, as follows:
> > 	ftp.mpi-sb.mpg.de (directory /pub/simtelnet/gnu/djgpp)
> > 
> Another solution is to compile musixflx.c yourself using a DOS C compiler.
> I managed quite well with Turbo C++ 3.0 using the 'huge' memory model.
> 
> Dirk
> 

I recall that Werner gathered a collection of compilations for 
musixflx to support various systems, realizing that not all PCs or
other systems were compatible with the advanced compiled executable provided
in the Musixtex distribution...

I believe that this collection is available via ftp from ftp.gmd.de
in the same directories where MusiXTex is found.

On Thu, 26 Mar 1998, Werner Icking <Werner.Icking@gmd.de> wrote:
> Subject: Musixflx version T.83 - musixflx.zip
> 
> There is now an updated musixflx.zip, which contains following files:
> 
>   40960  12-01-97  17:58   musixflx/OSF1-alpha/musixflx
>   39795  12-02-97  14:57   musixflx/Warp4/musixflx.exe
>   26523  12-02-97  16:04   musixflx/AIX/musixflx
>   62464  12-01-97  18:56   musixflx/Win32/musixflx.exe
>   18828  12-02-97  14:14   musixflx/Linux-I86/musixflx
>   27236  12-01-97  18:00   musixflx/SunOS-sparc/musixflx
>   32768  12-02-97  14:48   musixflx/Hp-ux/musixflx
>   41092  12-02-97  12:04   musixflx/Linux-alpha/musixflx
>  141276  12-01-97  15:49   musixflx/Dos16/musixflx.exe
>     896  12-01-97  17:00   musixflx/Dos16/readme16.mfx
>      51  12-01-97  15:48   musixflx/Dos16/build16.bat
>   27612  12-02-97  16:07   musixflx/Irix-SGI/musixflx
>   18944  12-02-97  16:01   musixflx/AXP-VMS/musixflx.exe
>   21890  12-02-97  16:35   musixflx/Freebsd/musixflx
>   43353  03-23-98  17:32   musixflx/Mac/MusiXFlx.sit
>   49905  03-23-98  17:32   musixflx/Mac/README.sit
>   33150  12-01-97  13:03   musixflx/musixflx.c
>    2676  12-02-97  12:17   musixflx/musixflx.mx1
>     930  12-02-97  12:17   musixflx/musixflx.mx4
> 
> If you can generate a version for another system, feed it with .mx1 to
> get a .mx2. This should be identical to .mx4.
> 
> Any Amiga version out there? Any other version worth to be put into the zip?
> 

It happens that the Dos16/musixflx.exe will run on almost any PC, 
including an old XT, if you could get EmTex + MusixTex to run on that!
:-)

Check the list archives, because I think that even an amiga version
was later included (but I don't recall...)

Hope this helps.

Joel Hunsberger
hunsberg@sqa1.si.com

From mutex-owner@mail2.gmd.de Wed Aug 26 10:02:57 1998
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Date: Wed, 26 Aug 1998 12:02:57 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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Dear fellow mutex subscribers.

Since I started experimenting with pmx and mtx I have been doing most of
my editing within the win32 MiKTeX port of TeX. With MiKTeX version 1.11
recently released I want to recommend it to those of you doing music
typesetting on win32 machines.

Among the powerfull features of MiKTeX is the dvi previewer YAP which
has been remarkably improved through the last releases. With YAP you
have got a very powerfull TeX previewing and printing tool.

Another nice feature of MiKTeX was introduced with the beta release of
1.11. During the  installation - performed through a standard win32
install wizzard interface - your are offered to set up a local texmf
tree besides the core texmf tree. In the local texmf you may install
your MusiXTeX etc. stuff once and for all without having to redo this
when you upgrade MiKTeX later. I did so when I installed the 1.11 beta
release and was able to continue my mtx editing immediately after having
upgraded to the final version.

That was all :-)
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Aug 26 02:12:36 1998
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In-Reply-To: <Pine.A32.3.93.980825173256.13420A-100000@cip40.mathematik.uni-stuttgart.de>
From: "Reinhard Katzmann" <Suamor@student.uni-tuebingen.de>
Date: Tue, 25 Aug 1998 21:12:36 -0500
Reply-To: "Reinhard Katzmann" <suamor@student.uni-tuebingen.de>
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> Hi people!

[people cries:] Hi Stefan ;-)

> Finally, the Unix/C version of PMX-1.3.8 is ready for release.
> We've redesigned the installation script and instructions, which should
> make installation nearly trivial on most Unix / TeX variants.

Nice to hear :)

> I've been wondering if there's any point in continuing the C ports.
> Thus
> I'd like to hear from people who still use them to get an idea of how
> many
> of you there are (if any).

Well for my platform (Amiga OS 3.1) there exists no recent version of a
fortran compiler. Maybe I'm lucky to find a g77, but I would need the
version number which is able to compile it. Until this does not exist,
at least the amiga port would require a C Version.

> I've also been toying with the idea of including the M-Tx source in my
> distribution so you could install PMX and M-Tx in one go (Dirk says he
> can't stop me because he's released it under the GPL ;-). Anybody
> interested? Again, the main advantage would be to have an install script
> that puts musixlyr.tex in the right place.

Up to now I had no need for M-Tx, and this won't change the next few
months. Later I can't yet tell.

Reinhard Katzmann
---
This Mail was created on the Amiga using UMS and BED

E-Mail: suamor@student.uni-tuebingen.de

Concept for RPS Pertergin (still in german) avalaible on Request
Current Amiga project: MapEditor Class and BGUIMenu V1.1BETA
Current music project: Bach Triosonate f minor and learning guitar playing

-- 
Approved by mutex-owner


--
      o      (     Wolfgang.Strobl@gmd.de (+49 2241) 14-2394
     /\        *   GMD mbH                       #include 
   _`\ `_<===      Schloss Birlinghoven,         <std.disclaimer>
__(_)/_(_)___.-._  53754 Sankt Augustin, Germany ________________

From mutex-owner@mail2.gmd.de Mon Aug 31 07:21:48 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808310721.JAA16213@calvyn.puk.ac.za>
Subject: Suggested enhancements to MusiXTeX font package
To: mutex@gmd.de
Date: Mon, 31 Aug 1998 09:21:48 +0200 (SAT)
Cc: taupin@lps.u-psud.fr
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I find 10-point too small and 12-point too large, /rm too light
and /bf too dark, to have readable lyrics.  I've therefore
made myself an include file (included below) that provides:
1. 11-point in /rm, /bf and /it.  I have tentatively called
   this size \Normtype.
2. Sans-serif in 8, 9, 10, 11, 12 point
I can only check the old standard encoding, so the DC and EC options
may contain mistakes.

Although the file serves my needs, this sort of thing belongs in
musixtex.tex.  My file is 87 lines long, but much of it duplicates what
is already in musixtex.tex.  So if such an enhancement were made to
musixtex.tex, that would be a more economical way of doing it.

Just a suggestion ...

Dirk

------------------------- 8< -------- 8< -----------------------
%  Additional fonts for MusiXTeX.  
%     1. Adds 11-point size as \elevenrm etc and \Normtype.  
%     2. Supplies sans-serif in sizes 8-point to 11-point as \eightsf etc.

\ifx\undefined\elevenrm
\iflongDCfontnames
  \font\eightrm=\fontid r1000 scaled \magstephalf
  \font\eightbf=\fontid bx1000 scaled \magstephalf
  \font\eightit=\fontid ti1000 scaled \magstephalf
\else\iflongECfontnames
  \font\eightrm=\fontid rm1000 scaled \magstephalf
  \font\eightbf=\fontid bx1000 scaled \magstephalf
  \font\eightit=\fontid ti1000 scaled \magstephalf
\else  
  \font\eightrm=\fontid r10 scaled \magstephalf
  \font\eightbf=\fontid bx10 scaled \magstephalf
  \font\eightit=\fontid ti10 scaled \magstephalf
\fi
\fi  
\fi

\ifx\undefined\tensf
\iflongDCfontnames
  \font\eightsf=\fontid ss800
  \font\ninesf=\fontid ss900
  \font\tensf=\fontid ss1000
  \font\elevensf=\fontid ss1000 scaled \magstephalf
  \font\twelvesf=\fontid ss1200
\else\iflongECfontnames
  \font\eightsf=\fontid ss800  
  \font\ninesf=\fontid ss900   
  \font\tensf=\fontid ss1000   
  \font\elevensf=\fontid ss1000 scaled \magstephalf
  \font\twelvef=\fontid ss1200
\else  
  \font\eightsf=\fontid ss8  
  \font\ninesf=\fontid ss9   
  \font\tensf=\fontid ss10   
  \font\elevensf=\fontid ss10 scaled \magstephalf
  \font\twelvesf=\fontid ss12
\fi
\fi  
\fi

\def\tinytype{%
  \let\rm\eightrm
  \let\bf\eightbf
  \let\it\eightit
  \let\sf\eightsf
  \rm}

\def\smalltype{%
  \let\rm\ninerm
  \let\bf\ninebf
  \let\it\nineit
  \let\sf\ninesf
  \rm}

\def\normtype{%
  \let\rm\tenrm
  \let\bf\tenbf
  \let\it\tenit
  \let\sf\tensf
  \rm}

\def\Normtype{%
  \let\rm\elevenrm
  \let\bf\elevenbf
  \let\it\elevenit
  \let\sf\elevensf
  \rm}

\def\medtype{%
  \let\rm\twelverm
  \let\bf\twelvebf
  \let\it\twelveit
  \let\sf\twelvesf
  \rm}

\endinput

From mutex-owner@mail2.gmd.de Mon Aug 31 11:10:12 1998
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From: taupin <taupin@lps.u-psud.fr>
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To: wskdpl@pukrs12.puk.ac.za, mutex list <mutex@gmd.de>
Subject: Re: Suggested enhancements to MusiXTeX font package
References: <199808310721.JAA16213@calvyn.puk.ac.za>
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Dirk Laurie wrote:
>=20
> I find 10-point too small and 12-point too large, /rm too light
> and /bf too dark, to have readable lyrics.  I've therefore
> made myself an include file (included below) that provides:
> 1. 11-point in /rm, /bf and /it.  I have tentatively called
>    this size \Normtype.
> 2. Sans-serif in 8, 9, 10, 11, 12 point
> I can only check the old standard encoding, so the DC and EC options
> may contain mistakes.
>=20
> Although the file serves my needs, this sort of thing belongs in
> musixtex.tex.  My file is 87 lines long, but much of it duplicates what
> is already in musixtex.tex.  So if such an enhancement were made to
> musixtex.tex, that would be a more economical way of doing it.

No. I shall never change existing (and working) features, for compatibili=
ty with all work
already invested bu people. The best things one can do is to define ad di=
fferent macro name
which calls the lyrics insertion procedures with (inside) a change in fon=
t size or - why not -
uses Times or fraktur fonts if available.
>=20
> Just a suggestion ...
>=20
> Dirk
>=20
> ------------------------- 8< -------- 8< -----------------------
> %  Additional fonts for MusiXTeX.
> %     1. Adds 11-point size as \elevenrm etc and \Normtype.
> %     2. Supplies sans-serif in sizes 8-point to 11-point as \eightsf e=
tc.
>=20
> \ifx\undefined\elevenrm
> \iflongDCfontnames
>   \font\eightrm=3D\fontid r1000 scaled \magstephalf
>   \font\eightbf=3D\fontid bx1000 scaled \magstephalf
>   \font\eightit=3D\fontid ti1000 scaled \magstephalf
> \else\iflongECfontnames
>   \font\eightrm=3D\fontid rm1000 scaled \magstephalf
>   \font\eightbf=3D\fontid bx1000 scaled \magstephalf
>   \font\eightit=3D\fontid ti1000 scaled \magstephalf
> \else
>   \font\eightrm=3D\fontid r10 scaled \magstephalf
>   \font\eightbf=3D\fontid bx10 scaled \magstephalf
>   \font\eightit=3D\fontid ti10 scaled \magstephalf
> \fi
> \fi
> \fi
>=20
> \ifx\undefined\tensf
> \iflongDCfontnames
>   \font\eightsf=3D\fontid ss800
>   \font\ninesf=3D\fontid ss900
>   \font\tensf=3D\fontid ss1000
>   \font\elevensf=3D\fontid ss1000 scaled \magstephalf
>   \font\twelvesf=3D\fontid ss1200
> \else\iflongECfontnames
>   \font\eightsf=3D\fontid ss800
>   \font\ninesf=3D\fontid ss900
>   \font\tensf=3D\fontid ss1000
>   \font\elevensf=3D\fontid ss1000 scaled \magstephalf
>   \font\twelvef=3D\fontid ss1200
> \else
>   \font\eightsf=3D\fontid ss8
>   \font\ninesf=3D\fontid ss9
>   \font\tensf=3D\fontid ss10
>   \font\elevensf=3D\fontid ss10 scaled \magstephalf
>   \font\twelvesf=3D\fontid ss12
> \fi
> \fi
> \fi
>=20
> \def\tinytype{%
>   \let\rm\eightrm
>   \let\bf\eightbf
>   \let\it\eightit
>   \let\sf\eightsf
>   \rm}
>=20
> \def\smalltype{%
>   \let\rm\ninerm
>   \let\bf\ninebf
>   \let\it\nineit
>   \let\sf\ninesf
>   \rm}
>=20
> \def\normtype{%
>   \let\rm\tenrm
>   \let\bf\tenbf
>   \let\it\tenit
>   \let\sf\tensf
>   \rm}
>=20
> \def\Normtype{%
>   \let\rm\elevenrm
>   \let\bf\elevenbf
>   \let\it\elevenit
>   \let\sf\elevensf
>   \rm}
>=20
> \def\medtype{%
>   \let\rm\twelverm
>   \let\bf\twelvebf
>   \let\it\twelveit
>   \let\sf\twelvesf
>   \rm}
>=20
> \endinput

--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Aug 31 16:28:56 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199808311628.SAA18757@calvyn.puk.ac.za>
Subject: Re: Suggested enhancements to MusiXTeX font package
To: taupin@lps.u-psud.fr (taupin)
Date: Mon, 31 Aug 1998 18:28:56 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <35EA8494.4FACD755@lps.u-psud.fr> from "taupin" at Aug 31, 98 01:10:12 pm
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taupin wrote:
> 
> Dirk Laurie wrote:
> > 
> > I find 10-point too small and 12-point too large, /rm too light
> > and /bf too dark, to have readable lyrics.  I've therefore
> > made myself an include file (included below) that provides:
> > 1. 11-point in /rm, /bf and /it.  I have tentatively called
> >    this size \Normtype.
> > 2. Sans-serif in 8, 9, 10, 11, 12 point
> > I can only check the old standard encoding, so the DC and EC options
> > may contain mistakes.
> > 
> > Although the file serves my needs, this sort of thing belongs in
> > musixtex.tex.  My file is 87 lines long, but much of it duplicates what
> > is already in musixtex.tex.  So if such an enhancement were made to
> > musixtex.tex, that would be a more economical way of doing it.
> 
> No. I shall never change existing (and working) features, for compatibility with all work
> already invested bu people. The best things one can do is to define ad different macro name
> which calls the lyrics insertion procedures with (inside) a change in font size or - why not -
> uses Times or fraktur fonts if available.

Oh-oh, I made a horrid mistake.  The intention was not to change an existing
feature, it was to add new macros

\elevenrm, \elevenbf, \elevenit, \eightsf, \ninesf, \tensf, \elevensf
and \twelvesf.

Unfortunately I forgot to change "eight" to "eleven" and since I only
used the sans-serif ones it didn't show up in testing. :-(

Dirk

From mutex-owner@mail2.gmd.de Tue Sep  1 09:58:43 1998
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From: =?iso-8859-1?Q?FRAPPE_Fran=E7ois-Nicolas_108324?=
	 <FRAPPE@mandrake.ipsn.fr>
To: "'club mutex'" <mutex@gmd.de>
Subject: Problem with uptext
Date: Tue, 1 Sep 1998 11:58:43 +0200 
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Hello,

I am writing a duo for two clarinets from F.J. Haydn, and transposing =
it for
two flutes.

Here is the non transposed version of the 4 first bars.
I use the f option (sol-fa notation)

At the bars 3-4, there is two decrescendos.

For flute 1, it begins on the second note of the bar 3 (do) and ends on =
the
second note of the bar 4 (re)
For flute 2, it begins on the fourth note of the bar 3 (re) and ends on =
the
fifth note of the bar 4 (sol)

But when I compile the mtx file, then pmx, and finally tex, I obtain an =
dvi
file where the two decrescendos are identical. In the dvi, the Flute 2 =
has
the same decresc. as flute 1 .... !

How to get the two decresc. differents ?

Thanks for help.

############## start of mtx file
Flute1: Voices Fl1; Clefs G
Flute2: Voices Fl2; Clefs G
Title: Six duos concertants - Duo I
Composer: F.J.Haydn
Name: Flute~1 Flute~2
Style: Flute1 Flute2
Meter: 2/4
Pages: 1
Systems: 1
Indent: 0.15
Options: f

%%\\stdbarrules\vsize 270mm\
%%\\shorttitle{Duo I}\shortauthor{F.J.Haydn}\
%%h260m Ar
% K-1-2
%
% 0-1
U:@v-2 mf
( \Uptext{Allegro~spiritoso}\ m1 s ) | [ d8 o.: d d o: ( f1 m ) ] |
U:@v-2 !twelveit ~ dolce
\Uptext{Allegro~spiritoso}\ "r8 | "r [ m8 o. m o. ] "r |

% 2
r8 o.: r r o: ( s1 f ) |
"r [ t o. t o. ] "r |

% 3
U: ~ >
e8 o. ( d+ l f ) |
U: >
d+ o. ( m- f r ) |

% 4
U: ~ >. p
( m4 r8 ) ( f1 r ) |
U: ~ ~ ~ ~ >.
( s1 fs s f s8 ) "r |
#####################end of mtx file

 <<test.mtx>>  <<TEST.PMX>>  <<TEST.TEX>>  <<test.dvi>>=20
--------------------------------------------------------------
Docteur Fran=E7ois-Nicolas Frappe, MD
Institut de Protection et de Surete Nucleaire
DPHD/SDOS
BP6
92265 Fontenay aux Roses Cedex
FRANCE
Tel:  + 33 1 46 54 80 43
Fax: + 33 1 46 54 93 65
e-mail : frappe@ipsn.fr




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Content-Type: application/octet-stream;
	name="test.mtx"
Content-Disposition: attachment;
	filename="test.mtx"

Flute1: Voices Fl1; Clefs G
Flute2: Voices Fl2; Clefs G
Title: Six duos concertants - Duo I
Composer: F.J.Haydn
Name: Flute~1 Flute~2
Style: Flute1 Flute2
Meter: 2/4
Pages: 1
Systems: 1
Indent: 0.15
Options: f

%%\\stdbarrules\vsize 270mm\
%%\\shorttitle{Duo I}\shortauthor{F.J.Haydn}\
%%h260m Ar
% K-1-2
%
% 0-1
U:@v-2 mf
( \Uptext{Allegro~spiritoso}\ m1 s ) | [ d8 o.: d d o: ( f1 m ) ] |
U:@v-2 !twelveit ~ dolce
\Uptext{Allegro~spiritoso}\ "r8 | "r [ m8 o. m o. ] "r |

% 2
r8 o.: r r o: ( s1 f ) |
"r [ t o. t o. ] "r |

% 3
U: ~ >
e8 o. ( d+ l f ) |
U: >
d+ o. ( m- f r ) |

% 4
U: ~ >. p
( m4 r8 ) ( f1 r ) |
U: ~ ~ ~ ~ >.
( s1 fs s f s8 ) "r |


------ =_NextPart_000_01BDD58E.8549F6B2
Content-Type: application/octet-stream;
	name="TEST.PMX"
Content-Disposition: attachment;
	filename="TEST.PMX"

---
\immediate\write10{M-Tx 0.40a (Music from TeXt) <12 June 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
2 2 2 4 2 4  0.50000 0 1 1 20 0.15
{\twelvebf{Flute~2}}
{\twelvebf{Flute~1}}
00
./
Tt
Six duos concertants - Duo I
Tc
F.J.Haydn
% Paragraph 2 line 13 bar 0
\\stdbarrules\vsize 270mm\
\\shorttitle{Duo I}\shortauthor{F.J.Haydn}\
h260m Ar
\Uptext{Allegro~spiritoso}\ r8 \zchar{-6}{\twelveit{dolce}}\ r8 [ e84 o. e8 o. ] r8 | /
\Uptext{Allegro~spiritoso}\zchar{-6}{\ppff{mf}}\ e14 s g1 s | [ c8 o.: c8 c8 o: f1 s e1 s ] | /

% Paragraph 3 line 24 bar 2
r8 [ b8 o. b8 o. ] r8 | /
d8 o.: d8 d8 o: g1 s f1 s | /

% Paragraph 4 line 28 bar 3
\zchar{-6}{\twelveit{\icresc}}\ c8+ o. e8- s f8 d8 s | /
e8 o. \zchar{-6}{\icresc}\ c8+ s a8 f8 s | /

% Paragraph 5 line 34 bar 4
g1 s f1s g1 f1 \zchar{-6}{\twelveit{\tdecresc}}\ g8 s r8 | \\\let\Endpiece=\endpiece\
 /
e4 s \zchar{-6}{\tdecresc}\ d8 s \zchar{-6}{\ppff{p}}\ f1 s d1 s | /


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Content-Type: application/octet-stream;
	name="TEST.TEX"
Content-Disposition: attachment;
	filename="TEST.TEX"

%%%%%%%%%%%%%%%%%
%
% test.tex
%
%%%%%%%%%%%%%%%%
\immediate\write10{M-Tx 0.40a (Music from TeXt) <12 June 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize=737pt
\def\nbinstruments{2}
\setstaffs11
\setclef10
\setname1{{\twelvebf{Flute~2}}}
\setstaffs21
\setclef20
\setname2{{\twelvebf{Flute~1}}}
\generalsignature{ 0}%
\generalmeter{\meterfrac{2}{4}}%
\parindent 78pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\readmod{test}
\stdbarrules\vsize 270mm%
\shorttitle{Duo I}\shortauthor{F.J.Haydn}%
\startmuflex\startpiece\addspace\afterruleskip%
\advance\barno by -1
\relativeaccid%
\znotes&\zcharnote{16}{\titles{2.0}{}{0}%
{Six duos concertants - Duo I}{2.0}{F.J.Haydn}{2.0}}\en%
% bar  0
\def\Notes{\vnotes1.41\elemskip}%
\def\NOtes{\vnotes2.00\elemskip}%
\Notes\Uptext{Allegro~spiritoso}\ds&%
\Uptext{Allegro~spiritoso}\zchar{-6}{\ppff{mf}}\ibbu2f3\islurd8e\qb2e%
\tslur8g\tbu2\qb2g\en%
% bar  1
\xbar
\NOtes\zchar{-6}{\twelveit{dolce}}\ds\ibu1e0\lpz e\qb1e\lpz e\tbu1\qb1e&%
\ibl2{'d}0\upz c\qb2c\upz c\qb2c\upz c\qb2c\en%
\Notes\ds&\isluru8{'f}\nbbl2\qb2f\tslur8e\tbl2\qb2e\en%
% bar  2
\xbar
\NOtes\ds\ibu1b0\lpz b\qb1b\lpz b\tbu1\qb1b&\ibl2{'d}0\upz d\qb2d\upz d%
\tbl2\qb2d\ibl2e1\upz d\qb2d\en%
\Notes\ds&\isluru8{'g}\nbbl2\qb2g\tslur8f\tbl2\qb2f\en%
% bar  3
\xbar
\NOtes\zchar{-6}{\twelveit{\icresc}}\ibu1{'a}{-2}\lpz c\qb1c\islurd8{`e}%
\qb1e\qb1f\tslur8d\tbu1\qb1d&\ibl2{'g}0\upz e\qb2e\zchar{-6}{\icresc}%
\isluru8{'c}\qb2c\qb2a\tslur8{`f}\tbl2\qb2f\en%
\let\Endpiece=\endpiece%
% bar  4
\xbar
\Notes\ibbu1g0\islurd8g\qb1g\sh f\qb1f\qb1g\tbu1\qb1f&\isluru7{'e}\ql e%
\en%
\NOtes\zchar{-6}{\twelveit{\tdecresc}}\tslur8g\cu g&%
\zchar{-6}{\tdecresc}\ibl2{'e}0\tslur7d\qb2d\en%
\Notes\ds&\zchar{-6}{\ppff{p}}\isluru8{'f}\nbbl2\qb2f\tslur8d\tbl2\qb2d%
\en%
\Endpiece
\vfill\eject\endmuflex
\bye

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	filename="test.dvi"
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From mutex-owner@mail2.gmd.de Wed Sep  2 08:02:10 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199809020802.KAA27865@calvyn.puk.ac.za>
Subject: \icresc and \tcresc in MusiXTeX (was: Problem with uptext)
To: FRAPPE@mandrake.ipsn.fr (=?iso-8859-1?Q?FRAPPE_Fran=E7ois-Nicolas_108324?=)
Date: Wed, 2 Sep 1998 10:02:10 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199809010954.LAA25547@muguet.saclay.cea.fr> from "=?iso-8859-1?Q?FRAPPE_Fran=E7ois-Nicolas_108324?=" at Sep 1, 98 11:58:43 am
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FRAPPE_Franc,ois-Nicolas_108324 wrote:
> 
> At the bars 3-4, there is two decrescendos.
> 
> For flute 1, it begins on the second note of the bar 3 (do) and ends on =
> the
> second note of the bar 4 (re)
> For flute 2, it begins on the fourth note of the bar 3 (re) and ends on =
> the
> fifth note of the bar 4 (sol)
> 
> But when I compile the mtx file, then pmx, and finally tex, I obtain an =
> dvi
> file where the two decrescendos are identical. In the dvi, the Flute 2 =
> has
> the same decresc. as flute 1 .... !
> 
> How to get the two decresc. differents ?
> 
This is a complicated issue which needs to be answered at the MusiXTeX
level, and I am not sure I am competent to do that.  So the following
explanation may contain some errors.

M-Tx translates < or > to \zchar{-6}{\icresc}, <. to \zchar{-6}{\tcresc} 
and >. to \zchar{-6}{\tdecresc} (of course the vertical position is not 
always -6).  When you say \icresc MusiXTeX remembers the x-coordinate
but does not yet typeset anything.  When you say \tcresc or \tdecresc
the whole symbol is calculated and typeset.  An \icresc remains in effect
until you get another \icresc.

In your case two \icresc's in different voices are generated, but you
have not yet used the first \icresc by the time the second one comes.
So the second one redefines the first and both decrescendos come out
the same.  (MusiXTeXperts: don't stop reading here, after I answer
Franc,ois's question I have another example I cannot understand.)

You can solve this problem by using the variable-length \decrescendo
which specifies the whole symbol at once.   Replace your last two music 
paragraphs by 

% 3
U: ~ ~ \decrescendo{11\elemskip}
e8 d+ l f |
U: \decrescendo{15\elemskip}
d+ m- f r |

% 4
U: ~        ~     p
( m4        r8 ) ( f1 r ) |
U: ~ ~  ~ ~ ~ 
( s1 fs s f s8 ) "r | 

to get the desired effect.  (In M-Tx 0.42 you will be able to write
">11" and ">15" for this.)

OK, this answers the question.  Now the part I don't understand. 
I first give a test score in M-Tx and then the MusiXTeX coding
for the notes in the bars containing \icresc and \tcresc.  Note that
the difference between the first and second music paragraph is that
the voices are reversed, and the difference between the last two
and the first two paragraphs is that everything goes at twice the
duration.

----------------- 8< -------------- 8< -----------------------
Style: Duet
Systems: 3
Composer: Not F. J. Haydn
Title: Crescendo Woes

U: @v < ~ ~ ~ ~ ~ ~ <.
     c8 d e f g a b g c0 
U: @v ~ ~ ~ < ~ ~ <.
     c8 b c d e f g f e0 

U: ~ ~ ~ < ~ ~ <.
 c8- b c d e f g f e0 
U: < ~ ~ ~ ~ ~ ~ <.   
  c8 d e f g a b g c0 

U: ~ ~ ~ < ~ ~ <.
  c4 b c d e f g f ( e0 e0 )
U: < ~ ~ ~ ~ ~ ~ <.
 c4- d e f g a b g ( c0 c0 )

U: < ~ ~ ~ ~ ~ ~ <.
  c4 d e f g a b g ( c0 c0 )
U: ~ ~ ~ < ~ ~ <.
 c4- b c d e f g f ( e0 e0 ) 
----------------- 8< -------------- 8< -----------------------
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOTES{\vnotes5.66\elemskip}%
\NOtes\ibu1{'C}0\qb1C\qb1B\qb1C\zchar{-4}{\icresc}\tbu1\qb1D\ibl1F0\qb1E%
\qb1F\zchar{-4}{\tcresc}\qb1G\tbl1\qb1F&\zchar{-4}{\icresc}\ibu2d1\qb2c%
\qb2d\qb2e\tbu2\qb2f\ibu2{'a}0\qb2{`g}\qb2{'a}\qb2b\zchar{-4}{\tcresc}%
\tbu2\qb2{`g}\en%
...
% bar  3
\xbar
\NOtes\zchar{-4}{\icresc}\ibl1{'D}1\qb1C\qb1D\qb1E\tbl1\qb1F\ibl1{'A}0%
\qb1{`G}\qb1{'A}\qb1B\zchar{-4}{\tcresc}\tbl1\qb1{`G}&\ibu2c0\qb2c\qb2b%
\qb2c\zchar{-4}{\icresc}\tbu2\qb2d\ibu2f0\qb2e\qb2f\zchar{-4}{\tcresc}%
\qb2g\tbu2\qb2f\en%
...
% bar  5
\xbar
\NOTes\zchar{-4}{\icresc}\qu{'C}\qu D\ql E\ql F&\qu c\qu b\qu c%
\zchar{-4}{\icresc}\qu d\en%
% bar  6
\xbar
\NOTes\ql{'G}\ql{'A}\ql B\zchar{-4}{\tcresc}\ql{`G}&\qu e\qu f%
\zchar{-4}{\tcresc}\qu g\qu f\en%
...
% bar  9
\xbar
\NOTes\qu{'C}\qu B\qu C\zchar{-4}{\icresc}\qu D&\zchar{-4}{\icresc}\qu c%
\qu d\qu e\qu f\en%
% bar 10
\xbar
\NOTes\ql{'E}\ql F\zchar{-4}{\tcresc}\ql G\ql F&\qu g\qu{'a}\ql b%
\zchar{-4}{\tcresc}\qu{`g}\en%
----------------- 8< -------------- 8< -----------------------

What happens: 

  In bars 1 and 3 we get crescendod starting and ending at the notes
  as specified in the M-Tx original.  I think this is because the whole bar
  appears inside a single \NOtes...\en bracket and the \icresc ... \tcresc
  pair is local to each voice.

  In bars 5 and 6 both crescendos start at the fourth note (which is
  the one specified in the upper voice) and end at the note specified.
  I think this is because the \icresc's appear in a different 
  \NOtes...\en bracket and only the most recent value is retained.

  In bars 9 and 10 both crescendos start at the first note (which is
  the one specified in the upper voice) and end at the seventh note
  (which is the one specified in the lower voice).  I can understand 
  the start but not the end: I think the two crescendos should end
  at different notes.

Finally, another surprise: if you set the piece over four systems,
only bar 3 comes out right.  Here is the relevant MusiXTeX:
----------------- 8< -------------- 8< -----------------------
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOTES{\vnotes5.66\elemskip}%
\NOtes\ibu1{'C}0\qb1C\qb1B\qb1C\zchar{-4}{\icresc}\tbu1\qb1D\ibl1F0\qb1E%
\qb1F\zchar{-4}{\tcresc}\qb1G\tbl1\qb1F&\zchar{-4}{\icresc}\ibu2c1\qb2c%
\qb2d\qb2e\tbu2\qb2f\ibu2{'a}0\qb2{`g}\qb2{'a}\qb2b\zchar{-4}{\tcresc}%
\tbu2\qb2{`g}\en%
...
% bar  3
\def\NOTes{\vnotes2.83\elemskip}%
\alaligne
\NOtes\zchar{-4}{\icresc}\ibl1{'D}1\qb1C\qb1D\qb1E\tbl1\qb1F\ibl1{'A}0%
\qb1{`G}\qb1{'A}\qb1B\zchar{-4}{\tcresc}\tbl1\qb1{`G}&\ibu2c0\qb2c\qb2b%
\qb2c\zchar{-4}{\icresc}\tbu2\qb2d\ibu2f0\qb2e\qb2f\zchar{-4}{\tcresc}%
\qb2g\tbu2\qb2f\en%
...
.r  5
\xbar
\NOTes\zchar{-4}{\icresc}\qu{'C}\qu D\ql E\ql F&\qu c\qu b\qu c%
\zchar{-4}{\icresc}\qu d\en%
% bar  6
\alaligne
\NOTes\ql{'G}\ql{'A}\ql B\zchar{-4}{\tcresc}\ql{`G}&\qu e\qu f%
\zchar{-4}{\tcresc}\qu g\qu f\en%
..
% bar  9
\alaligne
\NOTes\qu{'C}\qu B\qu C\zchar{-4}{\icresc}\qu D&\zchar{-4}{\icresc}\qu c%
\qu d\qu e\qu f\en%
% bar 10
\xbar
\NOTes\ql{'E}\ql F\zchar{-4}{\tcresc}\ql G\ql F&\qu g\qu{'a}\ql b%
\zchar{-4}{\tcresc}\qu{`g}\en%
----------------- 8< -------------- 8< ----------------------- 

I have no explanations here, except to guess that \alaligne does
something different from \xbar to the register containing the stored
value from \icresc.

Dirk

From mutex-owner@mail2.gmd.de Wed Sep  2 10:29:56 1998
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Subject: pmx_musixser_and_partitura
To: mutex@gmd.de (gmd.de/Misc/Music)
Date: Wed, 2 Sep 1998 12:29:56 +0200 (MET DST)
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Hi,

as known, pmx can handle only a limited number of voices.
Werner Icking has shown how to set a partitura. I typeset
a partitura containing keyboard, wood and strings with totally
11 voices, enough for musixmad, but for pmx I had to split the
partitura into different files for strings, wood and keyboard.
A trial to merge the different voices put to TeX with pmx 
turned out to be a Sisyphos work, because all slurs
and beams had to be renumbered and \notes ...\en parts had to
be often divided to smaller parts in order not to exceed the allowed
number of beams. Actually, it turned out that writing the score
from scratch would be less error-prone. To put in manually \xbar
and \alaligne to have an approximate alignment per line and gluing the
pieces together is a solution which does not look particularly nice.

It would really be a terrific tool to have
a voice2score program that would make the merging.  Rainer Dunker's
musixser seems to allow merging of different voices; however, 
I suspect that reading in twelve 11 voices of a few hundred bars each
into separate macros will exceed the TeX memory. And it is of course
not compatible with pmx code, which would also mean resetting the entire
piece.
What is missing is a preprocessor compatible with pmx code; it is
impractical to typeset every piece of music with a different code.
Has anybody an idea what one can do with the available programs?
Maybe I just not have yet the experience to see a practicable solution.

Christof.


From mutex-owner@mail2.gmd.de Wed Sep  2 17:06:25 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Scalable fonts for MusiXTeX?
To: mutex@gmd.de
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Is there anyone on this list who could comment on the feasibility and 
advisability of making the MusiXTeX fonts truly scalable?  At what 
points in the curret scheme (pmx => MusiXTeX => TeX => dvips or 
dvi2scr) would changes be needed?  I don't know enough about either 
ATM or True-Type to say anything intelligent here, but it seems to me 
that there would be at least two advantages:

1.  Avoid the need to generate a new set of pixel fonts with every 
font-size change.

2.  Make it possible to generate decent-looking PDF files.  Whenever I 
do this now, the bit-mapped fonts come out looking really crappy when 
viewed on screen (yes, they still look OK when printed).

--Don Simons

From mutex-owner@mail2.gmd.de Thu Sep  3 06:39:27 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199809030639.IAA00303@calvyn.puk.ac.za>
Subject: Re: pmx_musixser_and_partitura
To: cbiebri@gwdg.de
Date: Thu, 3 Sep 1998 08:39:27 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199809021029.AA06981@gwdu20.gwdg.de> from "cbiebri@gwdg.de" at Sep 2, 98 12:29:56 pm
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cbiebri@gwdg.de wrote:
> 
> as known, pmx can handle only a limited number of voices.

Of all PMX restrictions, this is the easiest one to lift.
You simply replace all occurrences of  nm=7  in the Fortran
source by  nm=15  or whatever.   For some values there may be
common block alignment problems on some computers, but stepping
up by some multiple of 8 seems to work most of the time.

Dirk 

From mutex-owner@mail2.gmd.de Thu Sep  3 16:00:23 1998
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From: dsimons@logicon.com (Don Simons)
Subject: PMX nm>7 (was Re: pmx_musixser_and_partitura)
Cc: mutex@gmd.de
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Dirk Laurie <dirk@calvyn.puk.ac.za> at INTERNET-MAIL wrote

> [Christof] <cbiebri@gwdg.de> wrote:

>> 
>> as known, pmx can handle only a limited number of voices.

>Of all PMX restrictions, this is the easiest one to lift. You simply 
>replace all occurrences of  nm=7  in the Fortran
>source by  nm=15  or whatever.   For some values there may be common 
>block alignment problems on some computers, but stepping up by some 
>multiple of 8 seems to work most of the time.

I thought the common block alignment warnings were due to the order of 
variable names in common lists, not the dimensions of the variables.  
In any event, it would be useful if poeple who have attempted to 
compile my sources, regardless of the value of nm, would send me 
copies of the warnings, so maybe I can rearrange some of the blocks 
and eliminate the warnings.

Christof has already pointed out (in private correspondence) some 
problems with output formats for beam and slur numbers when nm=14.  
These might be easy to fix, but more likely they are tips of 
modest-sized icebergs.  I'm afraid I'm not inclined at the moment to 
spend my time on this.

This would be a good job for an assistant programmer.

--Don

From mutex-owner@mail2.gmd.de Fri Sep  4 06:29:29 1998
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Subject: Re: PMX nm>7 
To: dsimons@logicon.com (Don Simons)
Date: Fri, 4 Sep 1998 08:29:29 +0200 (SAT)
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Don Simons wrote:
> 
> Dirk Laurie <dirk@calvyn.puk.ac.za> at INTERNET-MAIL wrote
> 
> > [Christof] <cbiebri@gwdg.de> wrote:
> >> 
> >> as known, pmx can handle only a limited number of voices.
> 
> >Of all PMX restrictions, this is the easiest one to lift. You simply 
> >replace all occurrences of  nm=7  in the Fortran
> >source by  nm=15  or whatever.   For some values there may be common 
> >block alignment problems on some computers, but stepping up by some 
> >multiple of 8 seems to work most of the time.
> 
> I thought the common block alignment warnings were due to the order of 
> variable names in common lists, not the dimensions of the variables.  
> In any event, it would be useful if poeple who have attempted to 
> compile my sources, regardless of the value of nm, would send me 
> copies of the warnings, so maybe I can rearrange some of the blocks 
> and eliminate the warnings.
> 
You are right, but certain dimensions can make things work out lucky 
even when the order is not yet perfect.

What happens is this: the blocks get rearranged to get rid of the
warnings, but this does not yet imply that the ideal of descending
length (which would be immune to changes in nm) has been attained.
There may be places left where something like
REAL, CHAR, CHAR(NM), REAL
occurs.  This does not give an error message for nm=7 or nm=15,
but may do so for nm=11 when REAL has length 8, and usually does
for other nm between 7 and 15.

Ideally those of us who have finicky Fortran compilers should 
try compiling at two consecutive values of nm so we can send you
a longer list of alignment errors :-/

Dirk

From mutex-owner@mail2.gmd.de Mon Sep  7 08:40:04 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199809070840.KAA00354@sunick.gmd.de>
To: mutex@gmd.de, scancm@biobase.dk
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> Date: Sat, 15 Aug 1998 14:05:32 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> As a follow up on the discussion on ao. nested and dotted slurs and beaming of 8'ths in
> vocal scores I have uploaded to ftp://ftp.gmd.de/music/incoming/ the score that gave
> rise to the discussion. The name of file is jen.zip containing a four part choire score
> on the same dialect text as the file jen1 in my entry in the GMD archive.

1.) ftp://ftp.gmd.de/incoming/* is not useable for exchanging files. It's
    world-wide writeable, but _not_ world-wide readable. We had to introduce
    this restriction because that part of our ftp-archive was misused to 
    distribute illegal files.

    Lateron I'll look at Christian's files to see whether they shall show-up
    in the official music-archive.

2.) I'm back and will now deal with the many mails which accumulated in the
    last three weeks. I hope I'll come through today with the mails concerning
    the list. I thank for the many good wishes for my vacation. They helped. We
    - 5 adult and 2 small children (1 and 3) - had a nice holiday in the South-
    tyrolian alpes.

-- Werner 

From mutex-owner@mail2.gmd.de Mon Sep  7 10:32:24 1998
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This post will raise a pure MusiXTeX question and a PMX question.
Here is an invalid PMX input file:

------------------------------------------------------------------
1 1 4 4 0 6  0.00000 0 1 1 20 0

6
./
rp-6         | g43 a4 b4 g4 | c0 //
c43 d4 e4 f4 | rp+6         | c0 /
------------------------------------------------------------------

It describes what I want to do, but is invalid because rp does not 
take modifiers.  What I want is:

Bar 1: music in the upper melodic strand, pause 6 internotes below
center in the lower.

Bar 2: music in the lower melodic strand, pause 6 internotes above
center in the upper.

So I need some inline TeX.  Don Simons on July 29 supplied a solution to
the related problem of setting two full-bar rests, one above the other,
which I adapted without really understanding it, to give the following:

---
\def\lrp#1{\centerbar{\lower#1\internote\pause}}
\def\rrp#1{\centerbar{\raise#1\internote\pause}}
---
1 1 4 4 0 6  0.00000 0 1 1 20 0

6
./
 MS1 \\\def\atnextbar{\znotes\rrp6\en}\ M
 MS2 \\\def\atnextbar{\znotes\lrp6\en}\ M 
r0b //
c43 d4 e4 f4 /

MP2 g43 a4 b4 g4 //
r0b /

c0 //
MP1 c0 /

This nearly gives what I want.  The second \pause symbol should appear
on the second leger line above the staff (where the note E would appear)
but just hangs in mid-air.

1. To MusiXTeX experts: what must I do to get those two leger lines?
2. To PMX experts: why do I need to put the MP1 and MP2 in the block
   after the rest instead of the block containing it?  BTW, if I put
   everything in one block I get the wrong result, even with bar line
   marking it off like the above.  I also get the same wrong result 
   if the MP immediately follows the r0b here: the first pause vanishes
   and the second one appears in the first bar.

Dirk

From mutex-owner@mail2.gmd.de Mon Sep  7 14:54:39 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, wskdpl@pukrs12.puk.ac.za
Subject: Re: [PMX, MusiXTeX] Full-bar rests in counterpoint
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Mon, 7 Sep 1998 12:32:24 +0200 (SAT)
> 
> This post will raise a pure MusiXTeX question and a PMX question.
> Here is an invalid PMX input file:
> 
> ------------------------------------------------------------------
> 1 1 4 4 0 6  0.00000 0 1 1 20 0
> 
> 6
> ./
> rp-6         | g43 a4 b4 g4 | c0 //
> c43 d4 e4 f4 | rp+6         | c0 /
> ------------------------------------------------------------------
> 
> It describes what I want to do, but is invalid because rp does not 
> take modifiers.  What I want is:
> 
> Bar 1: music in the upper melodic strand, pause 6 internotes below
> center in the lower.
> 
> Bar 2: music in the lower melodic strand, pause 6 internotes above
> center in the upper.

Use r0 instead of rp. This fixes the first bar, but not the 2nd, because
there is the PMX-error that "r0" in upper voices are suppressed for
unknown reason. (If I remember right, you - Dirk - said, that it isn't
a bug, but a (useful) feature. But maybe it was misunderstanding :-)
 
[... In-line TeX solution deleted ...]

> This nearly gives what I want.  The second \pause symbol should appear
> on the second leger line above the staff (where the note E would appear)
> but just hangs in mid-air.
> 
> 1. To MusiXTeX experts: what must I do to get those two leger lines?

As far as I know, a whole or full bar rest does not have ledger lines.
To discriminate it from half bar rests, the later has one "built-in"
ledger line.

You should post it as near as possible to the lower voice.

If in a similar case I had a need for ledger lines I would look at
how whole notes are made and how noteheads e.g. drum notes are
exchanged. So one could generate a whole note without a note head :-)

> 2. To PMX experts: why do I need to put the MP1 and MP2 in the block
>    after the rest instead of the block containing it?

Because ///-Inline-TeX appears just in front of the next "\xbar" or
"\alaligne". I.e. a PMX-input block starts with a bar-line.

>                                                       BTW, if I put
>    everything in one block I get the wrong result, even with bar line
>    marking it off like the above.  I also get the same wrong result 
>    if the MP immediately follows the r0b here: the first pause vanishes
>    and the second one appears in the first bar.

Bar line markings in PMX-input are (up to now) only for debugging purposes.

Instead of using "\\\def\atnextbar" at the beginning of an input block you may 
use "\gdef\atnextbar" (\global\def) just before the last "real" PMX-item in
a bar. ("Real" PMX items are notes, rests, ???, but not: non-spacing notes,
ornaments, slurs, ...

-- Werner


From mutex-owner@mail2.gmd.de Mon Sep  7 15:31:24 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199809071531.RAA00422@sunick.gmd.de>
To: mutex@gmd.de, cbiebri@gwdg.de
Subject: Re: Musixtex,footlineheadline
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> From: cbiebri@gwdg.de
> Date: Tue, 25 Aug 1998 15:46:48 +0200 (MET DST)

> for an unknown reason, I cannot influence the \footline in Musixtex.
> Whatever code I write for \footline, it remains the same. [...]

Have a look at the publications at http://www.gmd.de/Misc/Music/scores/

Many of them use an own footline, e.g. my publication of Bach's BWV1001.
My usage is hidden in mymusic.tex which provides a \myfootline{<year>}.
It's called in bwv1001.tex before \startpiece.

-- Werner

PS: I just notice usage of /footline together with MusiXTeX in some
   "add-ons" to MusiXTeX found on http://www.gmd.de/Misc/Music/" 
   e.g. partitur.tex (orchestral scores), rests.tex, ...
   These examples are smaller. 

From mutex-owner@mail2.gmd.de Tue Sep  8 15:08:41 1998
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To: mutex@gmd.de
From: Dan Flath <flath@knots.mathstat.usouthal.edu>
Subject: transposing
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I am a rank newcomer to music typesetting.  I want to type in only the
melody line from a piano score, then print only that melody line - but
transposed into a different key (to facilitate piano/wind intrument duets
with my children.)  What is the simplest way to do this?  Thanks for your
guidance.

Dan Flath

Daniel Flath
Department of Mathematics and Statistics
University of South Alabama
Mobile, Alabama 36688
Phone:  334-460-7335
Fax:  334-460-7969



From mutex-owner@mail2.gmd.de Tue Sep  8 18:25:36 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: transposing
To: mutex@gmd.de
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Dan Flath <flath@knots.mathstat.usouthal.edu> wrote

>I am a rank newcomer to music typesetting.  I want to type in only 
>the melody line from a piano score, then print only that melody line 
>- but transposed into a different key (to facilitate piano/wind 
>intrument duets with my children.)  What is the simplest way to do 
>this?  Thanks for your guidance.

The simplest way--this is not a joke--is to buy a commercial music 
notation program like Score or Finale.  If you have never used TeX or 
MusiXTeX before, there is no simple way that relies on these programs. 
 If you have some experience with TeX and are willing to invest some 
time (rather than money) to get up and running with MusiXTeX, then 
there are several ways, the easiest of which is to use the "K" command 
in the PMX preprocessor.

--Don Simons

From mutex-owner@mail2.gmd.de Tue Sep  8 19:55:26 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199809081955.VAA30130@calvyn.puk.ac.za>
Subject: Re: transposing
To: flath@knots.mathstat.usouthal.edu (Dan Flath)
Date: Tue, 8 Sep 1998 21:55:26 +0200 (SAT)
In-Reply-To: <v03110701b21af7ea1184@[192.245.221.125]> from "Dan Flath" at Sep 8, 98 10:08:41 am
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Dan Flath wrote:
> 
> I am a rank newcomer to music typesetting.  I want to type in only the
> melody line from a piano score, then print only that melody line - but
> transposed into a different key (to facilitate piano/wind intrument duets
> with my children.)  What is the simplest way to do this?  Thanks for your
> guidance.
> 
ABC2MTeX is the simplest.  PMX and M-Tx are almost as simple for this
job, but allow you to grow to bigger scores -- more instruments, two or
even three staves per instrument, lyrics included.  Judge for yourself.
Here is `Silent Night' in M-Tx, coded in C major (it is easiest to code
in C major if you wish to transpose) but transposed down to B flat major.
You could have put in bar lines, but they are not required. The blanks
and open lines are required.

-----------------------------------------------------------------
Title: Silent Night
Style: Singer
Meter: 6/8
Systems: 2

%% Ar K-1-2
( g.a ) g e4d ( g8.a ) g e4d d4+,d bd c,c gd

a,a ( c8.b ) a ( g.a ) g e4d a4,a ( c8.b ) a ( g.a ) g e4d

d+,d ( f8.d ) b c4d ed ( c8.g ) e ( g.f ) d c2d
-----------------------------------------------------------------

Here it is in PMX (as you can see, the notation for the notes themselves
is practically identical)

-----------------------------------------------------------------
1 1 6 8 6 8  0.00000 0 1 2 20 0

0
./
Tt
Silent Night
Ar K-1-2 ( g84.a ) g e4d ( g8.a ) g e4d d4+,d bd c,c gd
a,a ( c8.b ) a ( g.a ) g e4d a4,a ( c8.b ) a ( g.a ) g e4d
d+,d ( f8.d ) b c4d ed ( c8.g ) e ( g.f ) d c2d /
-----------------------------------------------------------------

And here it is in ABC2MTeX.  (You could have put in blanks, but
they are not required).  Transposition is done interactively.

-----------------------------------------------------------------
X: 1
T: Silent Night
L: 1/8
M: 6/8
K: C
G3/2A/2GE3|G3/2A/2GE3|d2dB3|c2cG3|
A2Ac3/2B/2A|G3/2A/2GE3|A2Ac3/2B/2A|G3/2A/2GE3|
d2df3/2d/2B|c3e3|c3/2G/2EG3/2F/2D|C6
-----------------------------------------------------------------

Differences in philosophy: PMX and M-Tx let note values, pitch, octave
depend on the previous note, on the grounds that they change little
in the typical melody.  E.g. `g' means the closest g, up or down.
In ABC2MTeX these are absolute: G is in the first octave above middle
C, g in the second; G3/2 means one and a half beats in the counting unit
(which you specify in L: 1/8).

Hope this helps.

Dirk Laurie (author of M-Tx :-)



From mutex-owner@mail2.gmd.de Wed Sep  9 14:37:43 1998
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Subject: Re: transposing
To: flath@knots.mathstat.usouthal.edu (Dan Flath), mutex@gmd.de
Date: Wed, 9 Sep 1998 15:37:43 +0100 (BST)
Cc: C.Walshaw@greenwich.ac.uk ()
Reply-To: C.Walshaw@greenwich.ac.uk
In-Reply-To: <199809081955.VAA30130@calvyn.puk.ac.za> from Dirk Laurie at "Sep 8, 98 09:55:26 pm"
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> And here it is in ABC2MTeX.  (You could have put in blanks, but
> they are not required).  Transposition is done interactively.
> 
> -----------------------------------------------------------------
> X: 1
> T: Silent Night
> L: 1/8
> M: 6/8
> K: C
> G3/2A/2GE3|G3/2A/2GE3|d2dB3|c2cG3|
> A2Ac3/2B/2A|G3/2A/2GE3|A2Ac3/2B/2A|G3/2A/2GE3|
> d2df3/2d/2B|c3e3|c3/2G/2EG3/2F/2D|C6
> -----------------------------------------------------------------
> 
	Personally I would have coded this as:

X: 1
T: Silent Night
L: 1/8
M: 6/8
K: C
G>AG E3|G>AG E3|d2d B3|c2c G3|
A2A c>BA|G>AG E3|A2A c>BA|G>AG E3|
d2d f>dB|c3 e3|c>GE G>FD|C6|]

	(the symbol > just means dot the previous note and halve the
length of the next one). You don't have to put in blanks but they
define which notes are beamed together (and make it all a bit clearer).

	Other things you should know - abc2mtex was the first
package available using abc notation (written by me :-) which 
translates abc to MusiXTeX but there are now many other abc based
packages available to translate abc directly into postscript or midi
together with software to display, print or play abc notation on PC's,
Macs or UNIX boxes. Some of the packages can handle lyrics and
multiple staves. abc has become somewhat of a de facto standard
in the newsgroups and mail-lists which discuss folk & traditional
music and there are well over 10000 tunes coded up in abc available
over the web. The home page (which includes a searchable index
of ~9000 of these tunes) plus a list of all known abc software
packages (and there's around 25 of them, mostly freeware or shareware)
is at
	http://www.gre.ac.uk/~c.walshaw/abc/

	Regards,

	Chris Walshaw
	C.Walshaw@gre.ac.uk


From mutex-owner@mail2.gmd.de Thu Sep 10 20:31:58 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Shifted accidentals in PMX
To: mutex@gmd.de
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I'm working on coding shifted accidentals.  I would like to hear 
preferences of other users on the following matters:

1.  Are vertical shifts needed as well as horizontal?  I believe if I 
do put in vertical shifts, they will have to be in integral multiples 
of \internote .

2.  If I do put in vertical shifts, should they come before the 
horizontal shift?  (e.g cs+1-.5 would shift up one \internote and left 
by half a notehead width).  

As of now, I'm leaning toward vertical first, then horizontal, and 
requiring both always to be entered even if one is zero.   I think 
this would avoid backward incompatibilities with existing octave and 
duration syntax.  (Anyone disagree?)  And the order is consistent with 
existing syntax for slurs and dots.

If I do not allow vertical shifts, or allow them but don't require 
both shifts to be entered (in either order), the syntax would not be 
compatible, e.g. cs+1 now means something else.

3.  Should shifts be cumulative?  In other words, if a notehead has 
been explicitly shifted (cse or csr), now the accidental is 
automatically shifted left or right (I've fixed the error with 
left-shifted chordal notes).  Should explicitly specified accidental 
shifts be relative to the already shifted position?  In other 
situaltions of shifts I have not been consistent on this.

4.  What are the maximum vertical shifts (in \internote) or horizontal 
shifts (in notehead widths) that will ever be needed?

5.  Will there ever be a need for a positive horizontal shift (i.e., 
to the right?).

6.  I intend to use \loffset for this.  Due to the way it is  definied 
in MusiXTeX, it cannot be nested with other copies of itself.   So 
these shifts will cause problems if someone tries to use them inside 
another shift, e.g. X2.5S c44s+0-2.3 .  I could possibly get around 
this using \off{-...}\...\off{...} but that would make the TeX output 
messier.  Is it worth it?  If I did it that way, I would need to give 
the argument of \off in some length unit.  Points?  (Strangely, there 
is no externally accessible length variable defined in MusiXTeX that 
is the width of a notehead).

--Don

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199809110757.JAA13073@calvyn.puk.ac.za>
Subject: Re: Shifted accidentals in PMX
To: dsimons@logicon.com (Don Simons)
Date: Fri, 11 Sep 1998 09:57:20 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <000F4408.003305@logicon.com> from "Don Simons" at Sep 10, 98 01:31:58 pm
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Don Simons wrote:
> 
> I'm working on coding shifted accidentals.  I would like to hear 
> preferences of other users on the following matters:
> 
> 1.  Are vertical shifts needed as well as horizontal?  I believe if I 
> do put in vertical shifts, they will have to be in integral multiples 
> of \internote .
> 
I can't imagine what a vertical shift could be good for, except to render
faithfully a carelessly written manuscript.  And what is the performer
to make of "d zfs" when the sharp is shifted down one internote?

> 2.  If I do put in vertical shifts, should they come before the 
> horizontal shift?  (e.g cs+1-.5 would shift up one \internote and left 
> by half a notehead width).  
> 
> As of now, I'm leaning toward vertical first, then horizontal, and 
> requiring both always to be entered even if one is zero.   I think 
> this would avoid backward incompatibilities with existing octave and 
> duration syntax.  (Anyone disagree?)  And the order is consistent with 
> existing syntax for slurs and dots.
> 
> If I do not allow vertical shifts, or allow them but don't require 
> both shifts to be entered (in either order), the syntax would not be 
> compatible, e.g. cs+1 now means something else.
> 
The [+-]i syntax is getting to be overworked in PMX.  Personally I
would prefer all horizontal shifts to be indicated by < and > with the
rule that the shift applies to the object immediately to the left, if
that makes sense, otherwise to the note itself.  I.e. cs< means "c with
left-shifted sharp", cd> means what cd+0+1 means now, c< means what ce
does now.  An optional unsigned number is used only when the shift is
not one unit.  Then the +- syntax is kept for all vertical shifts: octave
if applied to the note, \internote if applied to the accidental or dot.
To keep things symmetric, the number after the + or - should also be
optional if it happens to be 1.  By all means keep the present syntax
for backward compatibility, but don't stretch it any further.

> 3.  Should shifts be cumulative?  In other words, if a notehead has 
> been explicitly shifted (cse or csr), now the accidental is 
> automatically shifted left or right (I've fixed the error with 
> left-shifted chordal notes).  Should explicitly specified accidental 
> shifts be relative to the already shifted position?  In other 
> situaltions of shifts I have not been consistent on this.
> 
In practice a left-shifted note obviously MUST have a left-shifted accidental
but a right-shifted note usually should not.  This may by a complicated,
inconsistent rule but it will lead to less typing and a cleaner look to
the score.

> 4.  What are the maximum vertical shifts (in \internote) or horizontal 
> shifts (in notehead widths) that will ever be needed?
> 
As motivated above: no vertical shift will ever be needed.  
Horizontal: how would you write a chord involving all the white and black
notes from middle C to the C above?  Of course, three fingers have to be
deployed in the cracks between two white notes :-)  Solve that one,
and that will answer the maximum number of horizontal shifts needed.
 
> 5.  Will there ever be a need for a positive horizontal shift (i.e., 
> to the right?).
> 
Reasonably no, but see answer to previous question.  (Maybe you will need a
new convention that an accidental can be applied to the note to the left
of it when that note is on the right of a bunch of chordal notes.) 

Hope this helps.

Dirk Laurie

From mutex-owner@mail2.gmd.de Sat Sep 12 21:50:27 1998
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From: dsimons@logicon.com (Don Simons)
Subject: PMXagrams
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When inputting PMX code I've often seen accidental English words 
appear.  So I think it's time to issue the PMXagram challenge:  Just 
see what kinds of proper English words, phrases, or sentences you can 
come up with that will make it through the preprocessor and produce 
some sort of output.  Since there's no referee or prize money, you can 
make up whatever other rules and restrictions you want (like maybe do 
it in some other language, although no matter how clever you were it 
would be lost on me).

So here's my first shot:
==============================
1 1 7 8 7 8 0 0 0 4 20 0

t
c:\pctex\texinput\
c84
%
% PMXagram:
%
   a can of sAlt and curd
%
c sAt / 
==============================
--Don



From mutex-owner@mail2.gmd.de Sat Sep 12 23:50:54 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMXagrams
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Of course the next step, after we all master making up PMXagrams, is 
to make up puzzles consisting of either TeX files, dvi files, or 
images that were created from PMX code that had the PMXagram in it.  
Post just the image, dvi, or TeX file, and everyone else tries to 
figure out what the PMXagram was.  Here's a really simple example:

======================================
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{-2}%
\generalmeter{\meterfrac{2}{4}}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{junk}
\startmuflex\startpiece\addspace\afterruleskip%
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\NOtes\cl d\roff{\cl e}\nextvoice\zq{'b}\cu{`f}\zq f\cu{'a}\en%
\NOTes\ql d\nextvoice\zq{'b}\qu{`f}\en%
\Endpiece
\vfill\eject\endmuflex
\bye

==================================

The product of an idle mind.

--Don

From mutex-owner@mail2.gmd.de Sun Sep 13 15:03:18 1998
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Hi there,
Stefan wrote:

> I've been wondering if there's any point in continuing the C ports.
Thus
> I'd like to hear from people who still use them to get an idea of how
many
> of you there are (if any).

I think that the C version is worth to be supported for the following
reasons:
- the standard language for linux-systems is and (hopefully will remain)
C / C++
- FORTRAN is the ugliest language ever seen in this world (ok, I admit
there is COBOL... ;-) )
- maybe Don is willing some day to change the primary development to C
and leave this
  FORTRAN-dinosaur (Hi, Don...)

I am using Mtx PMX MusixTeX teTeX on linux and everthing is fine with
the C version of PMX.
I encountered some troubles with the original PMX compiling with g77 and
naturally turned to
the C version.

so long and thanks for all the fish

Ingo

(...sorry, but I hate FORTRAN, imho it should be burned, burried and be
forgotten...)


From mutex-owner@mail2.gmd.de Mon Sep 14 00:55:14 1998
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struck@student.uni-siegen.de wrote:
>=20
> Hi there,
> Stefan wrote:
>=20
> > I've been wondering if there's any point in continuing the C ports.
> Thus
> > I'd like to hear from people who still use them to get an idea of how
> many
> > of you there are (if any).

C is presently the most portable language. Note that musixflx was
initially written in Fortran, and it HAD TO be ported to C because many
people had a compiler and NOT a Fortran.
Allc omputers which possesss compiler have at least a C compiler.
>=20
> I think that the C version is worth to be supported for the following
> reasons:
> - the standard language for linux-systems is and (hopefully will remain=
)
> C / C++
> - FORTRAN is the ugliest language ever seen in this world (ok, I admit
> there is COBOL... ;-) )

Ugly, yes. But more strictly typed than C which confuses characters and
integers!


> Ingo
>=20
> (...sorry, but I hate FORTRAN, imho it should be burned, burried and be
> forgotten...)

You may hate it (and although its my mother language, I hate its
restrictions),
but you must be aware that 40 years of scientific programming is
archived in Fortran.
Would you like to destroy all that?

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Sep 14 07:27:16 1998
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struck@student.uni-siegen.de wrote:
> 
> I encountered some troubles with the original PMX compiling with g77 and
> naturally turned to
> the C version.

Use f2c in stead of g77. You may want that if you are going to compile a
version of pmx exceeding the default 7 voices limit.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Mon Sep 14 09:24:22 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Thu, 10 Sep 1998 13:31:58 -0700
> From: dsimons@logicon.com (Don Simons)
 
> I'm working on coding shifted accidentals.  I would like to hear 
> preferences of other users on the following matters:
> 
> 1.  Are vertical shifts needed as well as horizontal?  I believe if I 
> do put in vertical shifts, they will have to be in integral multiples 
> of \internote .

Vertically and horizontally shifted accidentals may be used together
with \relativeaccid(entals) to put the right accidentals e.g. above
a note head. I used this technique in several editions for something
like cautionary accidentals when there is not much space or in my
Urtext-edition of Bach's S&P for violin solo, because Bach wrote
accidentals sometimes that way.


> 2.  If I do put in vertical shifts, should they come before the 
> horizontal shift?  (e.g cs+1-.5 would shift up one \internote and left 
> by half a notehead width).  

The cases are so rare that you should use the same syntax as with other
similar cases, e.g. slurs. So first vertical, next horizontal. If
necessary it's ok to require both if one is given; the cases are rare.

> 3.  Should shifts be cumulative?  In other words, if a notehead has 
> been explicitly shifted (cse or csr), now the accidental is 
> automatically shifted left or right (I've fixed the error with 
> left-shifted chordal notes).  Should explicitly specified accidental 
> shifts be relative to the already shifted position?  In other 
> situaltions of shifts I have not been consistent on this.

Imho it's best not to accumulate shifts. (I have already some PMX-sources,
which assume, that non-shifted accidentals esp. for right shifted are
not a bug, but a feature!
 
> 4.  What are the maximum vertical shifts (in \internote) or horizontal 
> shifts (in notehead widths) that will ever be needed?

20 vertical, 8 horizontal?

> 5.  Will there ever be a need for a positive horizontal shift (i.e., 
> to the right?).

Yes, e.g. to put an accidental above or under the notehead.

> 6.  I intend to use \loffset for this.  Due to the way it is  definied 
> in MusiXTeX, it cannot be nested with other copies of itself.   So

Yes, that's a pity. Maybe it can be correct in musixtex.tex. I don't
think that it's possible to be corrected without any incompatibilities.

> these shifts will cause problems if someone tries to use them inside 
> another shift, e.g. X2.5S c44s+0-2.3 .  I could possibly get around 
> this using \off{-...}\...\off{...} but that would make the TeX output 
> messier.  Is it worth it?  If I did it that way, I would need to give 
> the argument of \off in some length unit.  Points?  (Strangely, there 
> is no externally accessible length variable defined in MusiXTeX that 
> is the width of a notehead).

Imho you may use  \qn@width as it is used in \roff, \hroff, ...

-- Werner

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Subject: Re: Shifted accidentals in PMX
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   I'm working on coding shifted accidentals.  I would like to hear 
   preferences of other users on the following matters:

   1.  Are vertical shifts needed as well as horizontal?  I believe if I 
   do put in vertical shifts, they will have to be in integral multiples 
   of \internote .

Never do a half job.

   2.  If I do put in vertical shifts, should they come before the 
   horizontal shift?  (e.g cs+1-.5 would shift up one \internote and left 
   by half a notehead width).  

   As of now, I'm leaning toward vertical first, then horizontal, and 
   requiring both always to be entered even if one is zero.   I think 
   this would avoid backward incompatibilities with existing octave and 
   duration syntax.  (Anyone disagree?)  And the order is consistent with 
   existing syntax for slurs and dots.

So cs+2+1-0 would be a half-note c-sharp, one octave higher than the
default, with the accidental moved up one \internote, in the default
horizontal position?  While cs+1-0 would be a c-sharp the same length
as the previous note, at the default position and with the accidental
moved as described above?  The syntax seems slightly awkward and (more
to the point) confusing to read.  I'd suggest adding a letter before
the accidental shift, e.g. cs+2m+1-0 or csm+1-0, respectively.  ("m"
for "move")  This would also avoid ambiguity if you decide to not
allow vertical shifts.

Alternatively, you could use different indicators for horizontal
vs. vertical movement.  cs+2v1 or csv1 or csh.5.  m, h, and v are all
available if I read the PMX reference table correctly.  The
disadvantage of this is that it requires an extra letter before the
accidental shift (as compared with Don's proposal).  The advantage is
that the composer can specify only one shift if so desired, and the
shifts can be in whichever order the composer prefers.  (Also easier
to read -- you don't have to remember which order they come in.)(*)


   If I do not allow vertical shifts, or allow them but don't require 
   both shifts to be entered (in either order), the syntax would not be 
   compatible, e.g. cs+1 now means something else.

   3.  Should shifts be cumulative?  In other words, if a notehead has 
   been explicitly shifted (cse or csr), now the accidental is 
   automatically shifted left or right (I've fixed the error with 
   left-shifted chordal notes).  Should explicitly specified accidental 
   shifts be relative to the already shifted position?  In other 
   situaltions of shifts I have not been consistent on this.

Not sure.  I haven't had occasion to need this feature yet.

   4.  What are the maximum vertical shifts (in \internote) or horizontal 
   shifts (in notehead widths) that will ever be needed?

Assume as large an amount as MusiXTeX can handle.  Programming axiom:
the number 2 is inherently ridiculous.

   5.  Will there ever be a need for a positive horizontal shift (i.e., 
   to the right?).

See comment on #4.  Don't do a half-assed job.

   6.  I intend to use \loffset for this.  Due to the way it is  definied 
   in MusiXTeX, it cannot be nested with other copies of itself.   So 
   these shifts will cause problems if someone tries to use them inside 
   another shift, e.g. X2.5S c44s+0-2.3 .  I could possibly get around 
   this using \off{-...}\...\off{...} but that would make the TeX output 
   messier.  Is it worth it?  If I did it that way, I would need to give 
   the argument of \off in some length unit.  Points?  (Strangely, there 
   is no externally accessible length variable defined in MusiXTeX that 
   is the width of a notehead).

In about my 5th year of programming I tried making the assumption that
"no one would ever need to do that."  I had to fix the program about 2
months later.  If the syntax makes it possible, you should be able to
handle it.

(*) For those who think M-Tx and PMX are for people to write and only
software to read, I just found an appropriate quote in a magazine
article I'm reading: "The task, says Knuth, is not to describe to the
computer what to do, but to explain to another human being what we
want the computer to do." [Work: Cathedrals, Bazaars, and News
Readers, by Jeffreys Copeland and Haemer, SunExpert, July 1998,
Vol. 9, No. 7, p. 57.]

-- 
Approved by mutex-owner

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: PMX Unix/C 1.3.8 released (fwd)
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Christian Mondrup wrote:
> struck@student.uni-siegen.de wrote:
> > 
> > I encountered some troubles with the original PMX compiling with g77 and
> > naturally turned to
> > the C version.
> 
> Use f2c in stead of g77. You may want that if you are going to compile a
> version of pmx exceeding the default 7 voices limit.
> 
Or even easier, use fort77.  This gives a convenient interface to
f2c.  I literally type only

  fort77 pmxa.f -o pmxa

etc 

It may be necessary to re-align some common blocks first.

Dirk

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Subject: [PMX]shifted_accidentals
To: mutex@gmd.de (gmd.de/Misc/Music)
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Don Simons wrote:
> 
> I'm working on coding shifted accidentals.  I would like to hear 
> preferences of other users on the following matters:
> 
> 1.  Are vertical shifts needed as well as horizontal?  I believe if I 
> do put in vertical shifts, they will have to be in integral multiples 
> of \internote .
> 
There is a high need for horizontal shift of accidentals, no question.
Modern organ music is full of dense clusters with lots of
accidentals. One has to make heavy use of shifted accidental, because
everything smaller than a fourth will clash. That means that one needs
often three rows of accidentals. Obviously, the left-most row should
be reserved for the left-shifted notes of the cluster.
Reading this music is quite difficult; usually the player usually
has to indicate with a thin pencil mark to which note the accidental
belongs, especially if there are two close notes, one with 
an accidental, the other one without.
I personally prefer in these cases that every note has its accidental 
whether one is needed or not, because then one can see
at the first glance what one has to play. 
The biggest problems cause the quite common case where the cluster 
contains two notes with the same absolute pitch but different accidentals.
Some printers use split chordal lines for this case, but I have not seen
yet a convincing notation. However, vertical shifting brings no
advantage in these cases. I cannot remember to have seen vertical
shifting of accidentals in print.


Christof.


From mutex-owner@mail2.gmd.de Tue Sep 15 00:11:53 1998
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Date: Mon, 14 Sep 1998 22:11:53 -0200
From: taupin <taupin@lps.u-psud.fr>
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cbiebri@gwdg.de wrote:
>=20
>
> The biggest problems cause the quite common case where the cluster
> contains two notes with the same absolute pitch but different accidenta=
ls.
> Some printers use split chordal lines for this case, but I have not see=
n
> yet a convincing notation. However, vertical shifting brings no
> advantage in these cases. I cannot remember to have seen vertical
> shifting of accidentals in print.

In that case, I remember to have seen at the same altitude something
like:


 \sharp <noteheas> \nat <notehead>
           |________________|
                    |
                    |
                    | =20
                   (the comon stem).
>=20
> Christof.

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Sep 15 06:19:01 1998
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: dsimons@logicon.com
Cc: mutex@gmd.de
Subject: Re: Shifted accidentals in PMX
Date: Tue, 15 Sep 1998 08:19:01 +0200
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I'd like to comment on three topics:

1. In case of shift, should always both horizontal and vertical shifts
be required?

I'd say no, because - besides from the case Werner mentioned (accidental
above note) - you'll always need only horizontal shift. Therefore,
whatever the precise syntax may be, it should be sufficient to specify a
horizontal shift value whereas vertical shift should be optional.

2. What should be the unit for horizontal shift?

I can't think of a reason not to use \qn@width here.

3. Should accidental shifts be relative to notehead shifts?

Although this sounds reasonable, I'm sure that it would complicate
things in nearly all situations. Consider for example:

  \sh f\roff{\zq f}\qu e

There's no need at all to stick the accidental to the notehead. Or,
consider this one:

  \sh k\loff{\sh g}\loffset2{\sh i}\zql i\roffset{0.3}{\zq g\qu k}

Here, the g notehead is shifted right whereas the same note's accidental
has to be shifted left.
Therefore, I'd strongly vote for treating notehead shifts and accidental
shifts separately.

Regards, Rainer


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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: mutex@gmd.de
Subject: Re: transposing
Date: Tue, 15 Sep 1998 08:19:01 +0200
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Don Simons wrote:

> Dan Flath <flath@knots.mathstat.usouthal.edu> wrote
> 
> >I am a rank newcomer to music typesetting.  I want to type in only 
> >the melody line from a piano score, then print only that melody line 
> >- but transposed into a different key (to facilitate piano/wind 
> >intrument duets with my children.)  What is the simplest way to do 
> >this?  Thanks for your guidance.
> 
> The simplest way--this is not a joke--is to buy a commercial music 
> notation program like Score or Finale.  [...]

I agree, but as far as I know Score and Finale are rather the high end
of music notation programs - concerning capabilities as well as
price. There are much cheaper solutions which also fulfill your very
moderate needs. For example, I'm quite happy with a small low-price
program called MusicTime; it has rather poor typesetting qualities,
but it offers real-time MIDI entry as well as transposition. Moreover,
it is very simple to operate, thus just entering, transposing and
printing out a single tune (with a non-professional layout) should be
accomplished quite quickly. I'm sure that other cheap products have
similar properties.

Regards,

Rainer



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Daniel Taupin wrote:
>In that case, I remember to have seen at the same altitude something
>like:
>
>
> \sharp <noteheas> \nat <notehead>
>           |________________|
>                    |
>                    |
>                    | =20
>                   (the comon stem).
> 
This is exactly what I meant. However, it is clumsy unless the
notes are at the upper or lower end of the cluster. But how is
that coded in Musixtex? As stated in your manual, it would not
make sense to include it in the regular musixtex, but if somebody
could make a nice add-on to \input, it might be helpful for potential
composers. But as long nobody asks for that feature...
Copying contemporary music would be illegal anyhow.

Christof.


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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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I found following information in the Lilypond discussion list which may be
of interest here, because MusiXTeX supports Gregorian chant notation:

--- snip --------------------------------------------------------------------

From: Bill White <billw@wolfram.com>
Date: 16 Sep 1998 11:19:06 -500
Message-ID: <ruo3e9sxc79.fsf@banshee.wolfram.com>

[...] See http://www.netaxs.com/~rmk/Chant/index.html for an introduction to
      Gregorian chant notation. [...]
--
Bill White . billw@wolfram.com . http://www.wolfram.com/~billw
--- snip --------------------------------------------------------------------

-- Werner

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I frankly have  no knowledge about tex programs, or musictex either.
However, I have used LaTeX2e for typesetting mathematics for nearly a
year and half.  I may be aware of a little of tex file documentation.
Recently, since I am interested in running Musictex and enjoy playing
music, I tried, several times, to run musictex in the tex software with
the file musictex.zip downloaded.  First time, it seemed to run
musicdoc.tex fine, but the actual notes in the staff did not appear; it
just looked like some vertical bars.

I don't usually enjoy reading much instruction.  Please, tell me some
quick installation of this package and what was the problem if there is
out there someone who knows it.

--


Sincerely Sungkon

========================================================
          You may say I am a dreamer, but I am not the only one.
========================================================
         John Lennon


Please, consider that I usually check email 1:00 am.



From mutex-owner@mail2.gmd.de Sun Sep 20 23:08:51 1998
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Date: Mon, 21 Sep 1998 00:08:51 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: OpusTeX-Linux
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Hi all,

I am trying to get OpusTeX 0.84 to work under Linux/teTeX.  I have
successfully used it with OzTeX on a Mac and with emTeX on a PC.  Now,
however, I seem to have met with something I can't figure out.  I have put
the *.tfm files in:

/usr/lib/texmf/texmf/tex/fonts/tfm/opustex.tfm/

This puts them "next door" to the other *.tfm files.  Presumably, TeX
should find them.  It doesn't.

My *.mf files are in:

/usr/lib/texmf/texmf/tex/fonts/opus.mf/

This puts them "next door" to the other *.mf files.  Also, presumably,
MetaFont should find them.  It doesn't either.

When I tried to run initex on opustex.ini as per the instructions I got a
message that neither the *.tfm nor *.mf files could be found.  Does anyone
have any idea what I'm doing wrong?  I'm fairly new to Linux but I'm learning.

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Sep 21 06:58:11 1998
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From: Zdenek Pytela <letty@phil.muni.cz>
Message-Id: <199809210658.IAA30365@lvt.phil.muni.cz>
Subject: Re: OpusTeX-Linux
To: mutex@gmd.de
Date: Mon, 21 Sep 1998 08:58:11 +0200 (CEST)
In-Reply-To: <3.0.3.32.19980921000851.0069865c@centrum.is> from "David Bobroff" at Sep 21, 98 00:08:51 am
Organization: Masaryk University, Faculty of Arts
Postal-Address: Arna Novaka 1, 660 88 Brno, Czech Republic
Phone: +420 5 41121 147, Fax: +420 5 41121 406
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David Bobroff writes:
> Hi all,
> 
> I am trying to get OpusTeX 0.84 to work under Linux/teTeX.  I have
> successfully used it with OzTeX on a Mac and with emTeX on a PC.  Now,
> however, I seem to have met with something I can't figure out.  I have put
> the *.tfm files in:
> 
> /usr/lib/texmf/texmf/tex/fonts/tfm/opustex.tfm/
> 
> This puts them "next door" to the other *.tfm files.  Presumably, TeX
> should find them.  It doesn't.
> 
> My *.mf files are in:
> 
> /usr/lib/texmf/texmf/tex/fonts/opus.mf/
> 
> This puts them "next door" to the other *.mf files.  Also, presumably,
> MetaFont should find them.  It doesn't either.
> 
> When I tried to run initex on opustex.ini as per the instructions I got a
> message that neither the *.tfm nor *.mf files could be found.  Does anyone
> have any idea what I'm doing wrong?  I'm fairly new to Linux but I'm learning.
	If you have well configured texmf subsystem (in all linux
distributions I know it is done), the only thing you should do is to put .mf
sources in apropriate directory, for instance the one you typed above. Then
you should update list of directory tree - there is a file ls-R which
contains it for the whole tree is too big to search every time you use tex
or mf. Command texhash does the job. .tfm and .pk files will be created (and
later possibly deleted) automagically.
Good luck,

-- 

--Zdenek <pytela@phil.muni.cz>


From mutex-owner@mail2.gmd.de Mon Sep 21 07:55:34 1998
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To: David Bobroff <bobroff@centrum.is>
Cc: mutex@gmd.de
Subject: Re: OpusTeX-Linux 
In-Reply-To: Your message of "Mon, 21 Sep 1998 00:08:51 BST."
             <3.0.3.32.19980921000851.0069865c@centrum.is> 
Date: Mon, 21 Sep 1998 08:55:34 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I am trying to get OpusTeX 0.84 to work under Linux/teTeX.  I have
> successfully used it with OzTeX on a Mac and with emTeX on a PC.  Now,
> however, I seem to have met with something I can't figure out.  I have put
> the *.tfm files in:
> 
> /usr/lib/texmf/texmf/tex/fonts/tfm/opustex.tfm/
> 
> This puts them "next door" to the other *.tfm files.  Presumably, TeX
> should find them.  It doesn't.
> [etc.]

you've presumably not run texhash (or as it's nowadays called
mktexlsr), and tex is set not to examine directories in the main tree
(as is default).

r

From mutex-owner@mail2.gmd.de Mon Sep 21 09:09:33 1998
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Date: Mon, 21 Sep 1998 10:09:33 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Linux-OpusTeX thanks!
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Thanks to those who sent the answer I needed.  I ran texhash and then all
proceeded without fail.  I have now added one more snippet of information
to my meager knowledge of TeX.

Thanks again,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Sep 21 10:34:44 1998
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Date: Mon, 21 Sep 1998 06:34:44 -0400 (EDT)
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 > From: David Bobroff <bobroff@centrum.is>
 > Subject: OpusTeX-Linux
 > 
 > I am trying to get OpusTeX 0.84 to work under Linux/teTeX.  I have
 > successfully used it with OzTeX on a Mac and with emTeX on a PC.  Now,
 > however, I seem to have met with something I can't figure out.  I have put
 > the *.tfm files in:
 > 
 > /usr/lib/texmf/texmf/tex/fonts/tfm/opustex.tfm/
 > 
 > This puts them "next door" to the other *.tfm files.  Presumably, TeX
 > should find them.  It doesn't.
 > 
 > My *.mf files are in:
 > 
 > /usr/lib/texmf/texmf/tex/fonts/opus.mf/
 > 
 > This puts them "next door" to the other *.mf files.  Also, presumably,
 > MetaFont should find them.  It doesn't either.
 > 
Perhaps opustex.tfm and opustex.mf aren't tfm or mf files, but rather
tarred (gzipped possibly) directories containing the tfms and mf
sources.  Do 

file opustex.tfm
file opustex.mf 

to find out exactly what kind of files they are.

Bob T.

From mutex-owner@mail2.gmd.de Mon Sep 21 12:42:49 1998
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Date: Mon, 21 Sep 1998 14:42:49 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Mon, 21 Sep 1998 03:22:25 +0900
> From: Sungkon Chang <jsbach@ppp.kornet21.net>
                       ^^^^^^
Hello JSB, I saw your Sonatas and Partitas for Violin Solo typeset with
MusiXTeX on http://www.gmd.de/Misc/Music/scores/. So I'm astonished
about your problems using MusiXTeX and reading the docs :-/


> I frankly have  no knowledge about tex programs, or musictex either.

I hope you have some knowledge about typessetting music. Without such
knowledge it will be hard to get nice TeX-processed sheet music (maybe
except with PMX or Mtx)

> However, I have used LaTeX2e for typesetting mathematics for nearly a
> year and half.  I may be aware of a little of tex file documentation.
> Recently, since I am interested in running Musictex and enjoy playing
> music, I tried, several times, to run musictex in the tex software with
> the file musictex.zip downloaded.  First time, it seemed to run
> musicdoc.tex fine, but the actual notes in the staff did not appear; it
> just looked like some vertical bars.

... plus some stems, some beams, ...?

This specific problem seems to be that your TeX system does not find
the font files for the music symbols. The reason may be that the
fonts are not generated automatically; that the mf-files are not
put at the right place; that you forgot to run something like "texhash"
after installing the file; that the pk-files are not named properly (e.g. 
\300dpi\musix20.pk or musix20.pk300 or ???); ...

Please correct :-)
  
> I don't usually enjoy reading much instruction.  Please, tell me some
> quick installation of this package and what was the problem if there is
> out there someone who knows it.

The archive of the Mu{si[c|X]}TeX mailing list (cf. http://www.gmd.de/Mail/)
contains some mails concerning installation. But maybe it's easier to
read musixdoc.ps, musixdoc.lj, musixdoc.tex, or musixdoc.dvi as to find
that mails :-(

-- Werner Icking

From mutex-owner@mail2.gmd.de Mon Sep 21 13:10:49 1998
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Date: Mon, 21 Sep 1998 09:10:49 -0400 (EDT)
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To: jsbach@ppp.kornet21.net, mutex@gmd.de
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 > From: Sungkon Chang <jsbach@ppp.kornet21.net>
 > 
 > I frankly have  no knowledge about tex programs, or musictex either.
 > However, I have used LaTeX2e for typesetting mathematics for nearly a
 > year and half.  I may be aware of a little of tex file documentation.
 > Recently, since I am interested in running Musictex and enjoy playing
 > music, I tried, several times, to run musictex in the tex software with
 > the file musictex.zip downloaded.  First time, it seemed to run
 > musicdoc.tex fine, but the actual notes in the staff did not appear; it
 > just looked like some vertical bars.
 > 
First, I suggest using musiXtex, which gives better slurs, though
it requires separate passes.  Your problem above is surely that you
haven't installed the necessary fonts.  On a good TeX system, you
should only need to put the mf (metafont)  files in a sub-directory of a
directory where your system finds mf files and everything will work out.
Otherwise you'll have to generate tfm and pk files yourself and you'd
better get advice from a guru.

Bob T.

From mutex-owner@mail2.gmd.de Mon Sep 21 15:26:49 1998
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Message-Id: <199809211526.RAA02012@AMSUN07.math.uni-hamburg.de>
Subject: some questions on PMX (including source)
To: mutex@gmd.de
Date: Mon, 21 Sep 1998 17:26:49 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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hello everybody,


a while ago somebody suggested a "sticking feature"
for M-Tx and PMX:
  aD b c d e f gD a
would not only provide the first 'a' with a D)ot 
but also the following notes. Only the 'D' after
the note g would stripe off this sticky dot.

Has this feature been implemented meanwhile?


Also I remember that you, Don, were planning a switch for
switching off the bar calculating automatism which is useful for
(e.g.) some early baroque music: In this style,
N 16-th notes do not always add up to the value of
N/16 th.  Have you implemented this feature meanwhile?

And is there a possibility to change the meter within
a bar?  In other words: Is there a possibility to
suppress the barline at a meter change?
(i.e. How can I make \newtimes make forget the barline?)

How do I  print a breve rest by coding r9?
And how do I get dotted breve?

Here is the code (of a quite peculiar piece),
I included my questions as comments.
===================================================================
2 2  6 0 3 1  0 0   3 21 16 0.07


bt
./


Tc
Benedetto Ferrari
Tt
Ciaccona

\\def\makefootline{\baselineskip2pt\line{\the\footline}}\
\\def\copyr{\eightrm\copyright~1998 Eckart (begemann@math.uni-hamburg.de)}\
\\footline{\copyr\hss\eightrm private use welcome}\


%1
r2 g23 g g  d0 e2 c0 c2 d0 /
rp /
%%Actually I would prefer three breve rests: How do I get them? See below.

%2
g2- g+ g g  d0  e2 c0  c2 d0 /
rp /

%3
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 g24 g g  ( a0 a2 ) a0 b2 b.a /

%4
g2- g+ g g  d0  e2 c0  c2 d0 /
g4 d e fs g a b c  d0 g- r2 e d.c /

%5
g2- g+ g g  d0  e2 c0  c2 d0 /
b2 d e e  fs.f g a b c a.g /

%6
g2- g+ g g  d0  e2 c0  c2 d0 /
g2 d+ d d d.c c9d /

%7
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 b b b b.a g9d /

%8
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d ( d9 d9 ) ( d0 /

%9
g2- g+ g g  d0  e2 c0  c2 d0 /
d9d )  r2 e4 fs g a b c a2.a /
%%%How do I get a dotted breve???

%10
g2- g+ g g  d0  e2 c0  c2 d0 /
b9 r4 d e fs g b- c d e g- c b a2.g /

%11
g2- g+ g g  d0  e2 c0  c2 d0 /
g9 r9 r9 /
%%%How do I get a breve rest? (=\PAuse)

%12
g2- g+ g g  d0  e2 c0  c2 d0 /
r9 r9 r9 /

%13
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d4+ c b2 a4 g fs g a b g2 d+ d d  d4 c b a /

%14 -- in C
g2- c c c  g0 a2 e0 f2 g0 /
b2 g4+ f e2 d4 c b c d e c2 g+ g g  g4 f e d /

%15
c2- c+ c c  g0 a2 e0 f2 g0 /
e0 r2 g- b.b c4 b c d  e2 d d2d oT c4 /
%%%Why does a wavy line (one wave) come out here although it is not "oTt" ?

%16
c2- c+ c c g0 a2 f0 f2 g0 /
c2 g g g0 g4 f e2 a4 b c d e f ( d e ) ( f g ) /

%17
c2- c+ c c g0 a2 f0 f2 g0 /
e2 d9 ( d2 d0d ) d2 d.c /

%18
c2 g+ g g d0 e2 c0 c2 d0 /
c2 b c d  c b c b c b a.g /

%19
g2- g+ g g d0 e2 b0 c2 d0 /
g2 d+ d d ( d0d d0 ) a2 a.g /

%20
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%21
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r9 /

%22
g2- g+ g g d0 b2 c0 c2 d0 /
r2 cs d c d c d e fs g a-.g /

%23
g2- c c c g0 a2 f0 f2 g0 /
g2 g g f f e e f g a d-.c /

%24
c2- c+ c c g0 a2 f0 f2 g0 /
c2 e+ f g d e f e f e d.c /

%25
c2 g+ g g  d0 e2 c0 c2 d0 /
c2 b c d a b c b c b a.g /

%26
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%27
g2- g+ g g d0 e2 c0 c2 d0 /
g4 a g a b c b c d0 c4 d c b a b a g fs2d ( e4 /

%28
g2- g+ g g d0 b2 c0 c2 d0 /
d2 ) a+ a a ( b a )  ( b a ) ( b4 a b [ c8 a ] ) a0 /

%29
g2- g+ g g d0 b2 c0 c2 d0 /
r2 d d d ( e d ) ( e d ) ( e4 d e [ fs8 d ] ) d0 /

%30
g2- g+ g g d0 e2 c0 c2 d0 /
r9 d2 c ( b c ) ( d e ) a- b /

%31
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d4+ c b2 c4 d  b2  c4 d  b2  c4 d e fs g a- a2.g /

%32
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d d e ( fs g ) ( a b ) ( c b ) ( d a ) /

%33
g2- g+ g g  d0 ed b2 d0 /
( b2 a b c d b ) ( e d c b ) a.g /

%34
g2- g+ g g d0 e2 b0 c2 d0 /
g2 b b b ( b0 ( b9 ) b2 ) cs /

%35
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d d2d ) [ e8 fs ] g2 a- a.g /
%%( d9 ( d0 ) d2d ) [ e8 fs ] g2 a- a.g /

%36
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%37
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r0 r2 d4+ c  /


%38
g2- c c c g0 a f g /
b2 c4 d c d e f g0 e0d f2 d.d /

%39
c2- c+ c c g0 a2 f0 f2 g0 /
e9  d4 b c d  c b a g  a g f e  d2.c /

%40
c2- c+ c c g0 a2 f0 f2 g0 /
c0 r2 g+ e.d c0 r2 a+ g.f /

%41
c2- c+ c c g0 a2 f0 f2 g0 /
e2 b+ b b ( b0 b0d ) b2 b2d ( a4 /

%42
c2- c+ c c g0 a2 f0 f2 g0 /
g2 ) e+ e0d   f4 g f0d d2 d.c /

%43
c2- c+ c c  g0 a2 f0 f2 g0 /
c2 g g g g.f  ( f9 oT  e0 ) /

%44
c2 g+ g g  d0 e2 c0 c2 d0 /
e2 d+ d d d c ( c9 oT b0 ) /

%45
g2- g+ g g d0 e2 c0 c2 d0 /
b9    b4 a b c  b a b c  b a b c  a2.g /

%46
g2-  g+ g g  d0 e2 c0 c2 d0 /
g9 r9 r9 /

%47
g2-  g+ g g  d0 e2 c0 c2 d0 /
r2 d d d ( d0 d0 ) d9 /

%48
g2- g+ g g d0 e2 b0 c2 d0 /
r2 e e e  fs0 r  r2 a a a /

%49
g2- g+ g g d0 e2 b0 c2 d0 /
b2 e e e  fsd [ e8 f ] g0.e d2.c /

%50
g2- g+ g g d0 e2 b0 c2 d0 /
b2 d4 c b2 c4 d  a0 g2 fs g a  fsd oT e4 /
%%Same question as above: Why does a wave appear here?

%51
g2- g+ g g d0 e2 c0 c2 d0 /
d2 a+ a a0 a4 b g2 c c c0 c4 d /

%52
g2- g+ g g d0 e2 b0 c2 d0 /
b0.d  ( d0 d2 ) d0 d2 ( d0 /

%53
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d ) d0 )  b2 b a.g /

%54b
m3o00
g9- r0 /
g9 r0 /

%54b
%%%%%How do I force a line break here?
%%%%%And how can I suppress the barline here (in spite of the line break)?
m2006
g0+  ( e 5  /
r4  b8 b  b0 b4d X0.8 [ cs1 d ] /

%55
m3000
( e0 #6 ) e0 ) d0 4 x12#  /
cs0 c4 r1 X0.4 [ e d c ] [ b a g d+ ] X0.4 [ e fs g  g- ] X0.8 g4 a2 a4 /

%56
m2000
b0 6 c /
r2  [ d1 X0.4 b8d   X1   c1 X0.4 d8d X1 ] e0 /
%%                       ^
%%How can a flip the second beam of the 'c' to the right?

%57
e0 5 x142 x346  d /
[ g1- X0.3 e8d   X1   fs1 X0.4 g8d  X1 ] g0 fs2 /
%% Same question as above, concerning the f sharp.
%%[ g1- e8d ] [ fs1 g8d ] g0 fs2 /



%58 (lt.Takt)
\def\zbreve{\zlonga}\ g9- /
\def\zbreve{\zlonga}\ g9 /

=================================================================
Thanks for your help!

  best regards 
    Eckart




From mutex-owner@mail2.gmd.de Mon Sep 21 19:39:56 1998
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Date: Mon, 21 Sep 1998 20:39:56 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: more teTeX & OpusTeX
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Hello again,

After considerable head-banging I thought it was time to ask those with the
answers.  As I noted earlier, the texhash business was what I was missing.
Now the problem is that I find that in order to use the OpusTeX macros, the
various opus*.tex files need to be in my working directory if teTeX is to
find them.  This is rather inelegant.  After some poking around I have
fonud a texmf.cnf file.  I suspect I need to add a line to it but I don't
really know what I'm doing.

If someone could tell me the canonical place to put the opus*.tex files and
opustex.sty file under teTeX and tell me how to tell teTeX to find them I
would very much appreciate it.

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Sep 21 23:54:24 1998
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 > From mutex-owner@mail2.gmd.de Mon Sep 21 19:22 EDT 1998
 > Date: Mon, 21 Sep 1998 20:39:56 +0100
 > To: mutex@gmd.de
 > From: David Bobroff <bobroff@centrum.is>
 > Subject: more teTeX & OpusTeX
 > 
 > Now the problem is that I find that in order to use the OpusTeX macros, the
 > various opus*.tex files need to be in my working directory if teTeX is to
 > find them.  This is rather inelegant.  
 > If someone could tell me the canonical place to put the opus*.tex files and
 > opustex.sty file under teTeX and tell me how to tell teTeX to find them I
 > would very much appreciate it.
 > 
$TEXMF/tex/musix

and then texhash.

Bob T.

From mutex-owner@mail2.gmd.de Tue Sep 22 08:21:38 1998
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On Mon, 21 Sep 1998, David Bobroff wrote:

> find them.  This is rather inelegant.  After some poking around I have
> fonud a texmf.cnf file.  I suspect I need to add a line to it but I don't
> really know what I'm doing.
>=20
> If someone could tell me the canonical place to put the opus*.tex files a=
nd
> opustex.sty file under teTeX and tell me how to tell teTeX to find them I
> would very much appreciate it.

You don't have to change texmf.cnf in any way. To make the TeX system find
your xxx.tex and xxx.sty files, you just have to put anywhere in
texmf/tex/ or one of its sub[sub[sub]]directories and to update the file
index "ls-R".

Since opustex files can be used by both tex and latex, I would recommend
you to put them in texmf/tex/generic/opustex/.

So, make a directory "opustex" in texmf/tex/generic/, put all the tex and
sty files from opustex there and update the file index "ls-R" by typing

texconfig rehash

And you're done. Do not try to change texmf.cnf unless you really know
what you are doing.

Christophe BERNARD
Centre de Math=E9matiques Appliqu=E9es, =C9cole Polytechnique,
91128 Palaiseau c=E9dex, FRANCE  t=E9l 33-1-69334665 -- fax 33-1-69333011
http://www.cmap.polytechnique.fr/~bernard/




From mutex-owner@mail2.gmd.de Tue Sep 22 09:37:11 1998
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Subject: Linux/teTeX/Opus/LaTeX works
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Christophe BERNARD wrote:

>Since opustex files can be used by both tex and latex, I would recommend
>you to put them in texmf/tex/generic/opustex/.

As it turns out, it was LaTeX that was having trouble finding opustex.  I
figured out your suggestion before I actually recieved it.  Getting this
information just confirmed that I got it right.  Thank you.

Regards,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Tue Sep 22 04:43:32 1998
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Date: Mon, 21 Sep 1998 21:43:32 -0700
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From: dsimons@logicon.com (Don Simons)
Subject: Re: problems (PMX)
To: mutex@gmd.de
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Eckart Begemann wrote:

>a while ago somebody suggested a "sticking feature" 
>for M-Tx and PMX:
>  aD b c d e f gD a
>would not only provide the first 'a' with a D)ot 
>but also the following notes. Only the 'D' after 
>the note g would stripe off this sticky dot.
>
>Has this feature been implemented meanwhile?

I could put it one the list but wouldn't get to it for a very long 
time.  (It doesn't seem that useful to me).  I did put in sticky 
ornaments.

>Also I remember that you, Don, were planning a switch for 
>switching off the bar calculating automatism which is useful for 
>(e.g.) some early baroque music: 

I was?

>In this style,
>N 16-th notes do not always add up to the value of 
>N/16 th.  Have you implemented this feature meanwhile?

No, but I have put in a new meter change syntax that allows numbers 
bigger than 20, so e.g. you could go m23/8/0/0 or 49/16/0/0 

>And is there a possibility to change the meter within 
>a bar?  In other words: Is there a possibility to 
>suppress the barline at a meter change?
>(i.e. How can I make \newtimes make forget the barline?)

See comments in bar 54 of the example below.  I'll put this near the 
top of the list for the release after the next one (next one is just 
about wrapped up).  But it's going to be hard to code because there 
are so many special cases, like the one you came up with in bar 54.

>Here is the code (of a quite peculiar piece), 
>I included my questions as comments.

Very interesting piece:  a sort of standard Italian Ciaccona except 
the bass line would more usually be g2 g0 g2 d0 e2 b0 c2 d0 (unless 
you wrote it in a more sensible notation :-)  I've played several 
pieces like this on harpsichord, a solo Ciaconna by Bernardo Storace, 
and "Zefiro Torna" by Claudio Monteverdi.   The harmony does get a 
little wierd in bar 41. 

I put my answers in the score as comments and modified the code 
accordingly.  BTW it is a pleasant surprise that PMX didn't choke on 
the time signature.  Turns out you also could have used 3 9 .
=================================================================== 

2 2  6 0 3 1  0 0   
3 21 16 0.07


bt
c:\pctex\texinput\


Tc
Benedetto Ferrari
Tt
Ciaccona

\\def\makefootline{\baselineskip2pt\line{\the\footline}}\ 
\\def\copyr{\eightrm\copyright~1998 Eckart (begemann@math.uni-hamburg.de)}\ 
\\footline{\copyr\hss\eightrm private use welcome}\
%
% (D.S.) definition to replace \pause with \PAuse
\\def\PAforpa{\let\patemp\pause\def\pause{\PAuse\let\pause\patemp}}\ 

%1
r2 g23 g g  d0 e2 c0 c2 d0 /
%rp /
%%Actually I would prefer three breve rests: How do I get them? See below.
%
% (D.S.) I will fix this in the code.  Meanwhile, use this in-line.
\PAforpa\ r9 \PAforpa\ r \PAforpa\ r /

%2
g2- g+ g g  d0  e2 c0  c2 d0 /
rp /

%3
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 g24 g g  ( a0 a2 ) a0 b2 b.a /

%4
g2- g+ g g  d0  e2 c0  c2 d0 /
g4 d e fs g a b c  d0 g- r2 e d.c /

%5
g2- g+ g g  d0  e2 c0  c2 d0 /
b2 d e e  fs.f g a b c a.g /

%6
g2- g+ g g  d0  e2 c0  c2 d0 /
g2 d+ d d d.c c9d /

%7
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 b b b b.a g9d /

%8
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d ( d9 d9 ) ( d0 /

%9
g2- g+ g g  d0  e2 c0  c2 d0 /
%d9d )  r2 e4 fs g a b c a2.a /
%%%How do I get a dotted breve???
%
%(D.S.) I don't plan to put this in the code, because it would require a
%       new notes group definition.  So you just have to in-line it:
\roffset{.3}{\pt{-1}}\ d9 ) rb0 r2 e4 fs g a b c a2.a /

%10
g2- g+ g g  d0  e2 c0  c2 d0 /
b9 r4 d e fs g b- c d e g- c b a2.g /

%11
g2- g+ g g  d0  e2 c0  c2 d0 /
g9 r9 r9 /
%%%How do I get a breve rest? (=\PAuse)

%12
g2- g+ g g  d0  e2 c0  c2 d0 /
r9 r9 r9 /

%13
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d4+ c b2 a4 g fs g a b g2 d+ d d  d4 c b a /

%14 -- in C
g2- c c c  g0 a2 e0 f2 g0 /
b2 g4+ f e2 d4 c b c d e c2 g+ g g  g4 f e d /

%15
c2- c+ c c  g0 a2 e0 f2 g0 /
%e0 r2 g- b.b c4 b c d  e2 d d2d oT c4 /
%%%Why does a wavy line (one wave) come out here although it is not "oTt" ?
%
% (D.S.) oT gives tr + wavy line, total length 1.  oTt gives wavy line only.
%    Sorry, but it's an RTFM.
e0 r2 g- b.b c4 b c d  e2 d d2d oT0 c4 /

%16
c2- c+ c c g0 a2 f0 f2 g0 /
c2 g g g0 g4 f e2 a4 b c d e f ( d e ) ( f g ) /

%17
c2- c+ c c g0 a2 f0 f2 g0 /
e2 d9 ( d2 d0d ) d2 d.c /

%18
c2 g+ g g d0 e2 c0 c2 d0 /
c2 b c d  c b c b c b a.g /

%19
g2- g+ g g d0 e2 b0 c2 d0 /
g2 d+ d d ( d0d d0 ) a2 a.g /

%20
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%21
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r9 /

%22
g2- g+ g g d0 b2 c0 c2 d0 /
r2 cs d c d c d e fs g a-.g /

%23
g2- c c c g0 a2 f0 f2 g0 /
g2 g g f f e e f g a d-.c /

%24
c2- c+ c c g0 a2 f0 f2 g0 /
c2 e+ f g d e f e f e d.c /

%25
c2 g+ g g  d0 e2 c0 c2 d0 /
c2 b c d a b c b c b a.g /

%26
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%27
g2- g+ g g d0 e2 c0 c2 d0 /
g4 a g a b c b c d0 c4 d c b a b a g fs2d ( e4 /

%28
g2- g+ g g d0 b2 c0 c2 d0 /
d2 ) a+ a a ( b a )  ( b a ) ( b4 a b [ c8 a ] ) a0 /

%29
g2- g+ g g d0 b2 c0 c2 d0 /
r2 d d d ( e d ) ( e d ) ( e4 d e [ fs8 d ] ) d0 /

%30
g2- g+ g g d0 e2 c0 c2 d0 /
r9 d2 c ( b c ) ( d e ) a- b /

%31
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d4+ c b2 c4 d  b2  c4 d  b2  c4 d e fs g a- a2.g /

%32
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d d e ( fs g ) ( a b ) ( c b ) ( d a ) /

%33
g2- g+ g g  d0 ed b2 d0 /
( b2 a b c d b ) ( e d c b ) a.g /

%34
g2- g+ g g d0 e2 b0 c2 d0 /
g2 b b b ( b0 ( b9 ) b2 ) cs /

%35
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d d2d ) [ e8 fs ] g2 a- a.g /
%%( d9 ( d0 ) d2d ) [ e8 fs ] g2 a- a.g /

%36
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%37
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r0 r2 d4+ c  /


%38
g2- c c c g0 a f g /
b2 c4 d c d e f g0 e0d f2 d.d /

%39
c2- c+ c c g0 a2 f0 f2 g0 /
e9  d4 b c d  c b a g  a g f e  d2.c /

%40
c2- c+ c c g0 a2 f0 f2 g0 /
c0 r2 g+ e.d c0 r2 a+ g.f /

%41
c2- c+ c c g0 a2 f0 f2 g0 /
e2 b+ b b ( b0 b0d ) b2 b2d ( a4 /

%42
c2- c+ c c g0 a2 f0 f2 g0 /
g2 ) e+ e0d   f4 g f0d d2 d.c /

%43
c2- c+ c c  g0 a2 f0 f2 g0 /
c2 g g g g.f  ( f9 oT  e0 ) /

%44
c2 g+ g g  d0 e2 c0 c2 d0 /
e2 d+ d d d c ( c9 oT b0 ) /

%45
g2- g+ g g d0 e2 c0 c2 d0 /
b9    b4 a b c  b a b c  b a b c  a2.g /

%46
g2-  g+ g g  d0 e2 c0 c2 d0 /
g9 r9 r9 /

%47
g2-  g+ g g  d0 e2 c0 c2 d0 /
r2 d d d ( d0 d0 ) d9 /

%48
g2- g+ g g d0 e2 b0 c2 d0 /
r2 e e e  fs0 r  r2 a a a /

%49
g2- g+ g g d0 e2 b0 c2 d0 /
b2 e e e  fsd [ e8 f ] g0.e d2.c /

%50
g2- g+ g g d0 e2 b0 c2 d0 /
b2 d4 c b2 c4 d  a0 g2 fs g a  fsd oT e4 /
%%Same question as above: Why does a wave appear here?
%
% (D.S.) Same reason :-)

%51
g2- g+ g g d0 e2 c0 c2 d0 /
d2 a+ a a0 a4 b g2 c c c0 c4 d /

%52
g2- g+ g g d0 e2 b0 c2 d0 /
b0.d  ( d0 d2 ) d0 d2 ( d0 /

%53
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d ) d0 )  b2 b a.g /

%54b
m3o00
g9- r0 /
g9 r0 /

%54b
%%%%%How do I force a line break here?
%
% (D.S.) RTFM again:
L21
%%%%%And how can I suppress the barline here (in spite of the line break)? 
%
% (D.S.) Not so easy.  Others have asked for this but and I haven't gotten 
%  around to putting it into PMX yet.   But even if I had, this would be a 
%  way-out special case due to the meter change at the end of the line.
%  If it were a normal line-end, you would use
% \\\let\alalt\alaligne\def\alaligne{\zalaligne\let\alaligne\alalt}\
5  and if in the middle of a line, similar but \xbar => \zbar .
%  But the meter change at line-end normally gives 
%  (barline)(meter symbol)(no bar line) before the line break, and the bar line
%  comes from \xchangecontext (defined in pmx.tex to give change context
%  with no line break).  So 
\\\def\xchangecontext{\zchangecontext}\
% 
%  You would have to be more careful if you ever needed 
%  \xchangecontext again.
%
m2006
g0+  ( e 5  /
r4  b8 b  b0 b4d X0.8 [ cs1 d ] /

%55
m3000
( e0 #6 ) e0 ) d0 4 x12#  /
cs0 c4 r1 X0.4 [ e d c ] [ b a g d+ ] X0.4 [ e fs g  g- ] X0.8 g4 a2 a4 /

%56
m2000
b0 6 c /
%r2  [ d1 X0.4 b8d   X1   c1 X0.4 d8d X1 ] e0 / %%                       ^
%%How can a flip the second beam of the 'c' to the right?
%
% (D.S.) It's a little tricky.
r2  [ d1 X0.4 b8d  \let\tbblt\tbbl\def\tbbl#1{\roff{\tbblt{#1}}}\ 
  X1 c1 X0.4 d8d X1 ] e0 / 
%
%  You don't need to restore \tbbl since the def'n is local withing
%  the notes group.
%
%57
e0 5 x142 x346  d /
[ g1- X0.3 e8d   X1   fs1 X0.4 g8d  X1 ] g0 fs2 / 
%% Same question as above, concerning the f sharp. 
%
% (D.S.) Similar answer, but now it's tbbu

%58 (lt.Takt)
\def\zbreve{\zlonga}\ g9- /
\def\zbreve{\zlonga}\ g9 /






From mutex-owner@mail2.gmd.de Wed Sep 23 10:55:25 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199809231055.MAA10609@calvyn.puk.ac.za>
Subject: mtx/source/contrib
To: mutex@gmd.de
Date: Wed, 23 Sep 1998 12:55:25 +0200 (SAT)
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M-Tx 0.50 is nearly ready.  I'd like to include some .mtx files written
by M-Tx users apart from myself, satisfying the following criteria:

1. You like the piece yourself and would feel happy to make it
   known to others.
2. The piece is by a composer, and the lyrics (if any) by a poet, 
   who is either yourself or who has been dead at least 50 years
   (to avoid copyright problems)
3. If you wish to put some sort of copyright restriction on it
   (e.g. that copies may only be printed for private use) make
   sure that the source code contains the necessary instructions
   to print it.

I'll check that your file passes through M-Tx 0.50, and may edit it
slightly if it is obvious that one of the new features could do it
good.  (E.g. broken (dotted) slurs, aligned verse numbers, etc.)

Please email anything suitable to:

   wskdpl@pukrs12.puk.ac.za (Dirk Laurie) 

Dirk
 

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Subject: new movement versus flexible line break
To: mutex@gmd.de
Date: Wed, 23 Sep 1998 20:25:47 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello, it is me again with two problems:
 a new one (A) and the old (B) question of suppressing a bar line.

A) Writing a piece consisting of several movements I encounter the following
   problem related to PMX:
   While developing a piece it is recommended to set npages=0 and
   nsystems=3 (approx) (approx 3 bars per line), because this saves
   the effort to increase these numbers steadily.
   But startin a new movement you need to say "L7PM" (or somewhat similar).
   This leads to an errormessage, because "npages=0" does not like this.
   (Obiously the systems are not counted?)
   Which is an elegant way to handle this task?

B)
After changing the source there are only
two questions left:
 1) those dotted breves (probably a difficult work?)
    (Anyway: Do I understand correctly that PMX is not
     going to change anymore?)
 2) And how do I suppress the barline at a meter change.
    (In my last mail message my question was not precise,
     so you choose not the spot I wanted: sorry!)
    (I know that - modern printing assumed - my wish is not
     sensible. I just would like to be close to the original
     notation whether it means something or not.
     (I use it just for myself, don't worry.))


Here is the improved (but not yet perfect:-) code of question B:
================================
2 2  6 0 3 1  0 0   3 21 16 0.07


bt
./


Tc
Benedetto Ferrari
Tt
Ciaccona

\\def\makefootline{\baselineskip2pt\line{\the\footline}}\
\\def\copyr{\eightrm\copyright~1998 Eckart (begemann@math.uni-hamburg.de)}\
\\footline{\copyr\hss\eightrm private use welcome}\
%% so don't use musixsty.tex! (RTFM)

%1
r2 g23 g g  d0 e2 c0 c2 d0 /
rp /
%%Actually I would prefer three breve rests: How do I get them? See below.

%2
g2- g+ g g  d0  e2 c0  c2 d0 /
rp /

%3
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 g24 g g  ( a0 a2 ) a0 b2 b.a /

%4
g2- g+ g g  d0  e2 c0  c2 d0 /
g4 d e fs g a b c  d0 g- r2 e d.c /

%5
g2- g+ g g  d0  e2 c0  c2 d0 /
b2 d e e  fs.f g a b c a.g /

%6
g2- g+ g g  d0  e2 c0  c2 d0 /
g2 d+ d d d.c c9d /

%7
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 b b b b.a g9d /

%8
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d ( d9 d9 ) ( d0 /

%9
g2- g+ g g  d0  e2 c0  c2 d0 /
d9d )  r2 e4 fs g a b c a2.a /
%%%How do I get a dotted breve???

%10
g2- g+ g g  d0  e2 c0  c2 d0 /
b9 r4 d e fs g b- c d e g- c b a2.g /

%11
g2- g+ g g  d0  e2 c0  c2 d0 /
g9 r9 r9 /
%%%How do I get a breve rest? (=\PAuse)

%12
g2- g+ g g  d0  e2 c0  c2 d0 /
r9 r9 r9 /

%13
g2- g+ g g  d0  e2 c0  c2 d0 /
r2 d4+ c b2 a4 g fs g a b g2 d+ d d  d4 c b a /

%14 -- in C
g2- c c c  g0 a2 e0 f2 g0 /
b2 g4+ f e2 d4 c b c d e c2 g+ g g  g4 f e d /

%15
c2- c+ c c  g0 a2 e0 f2 g0 /
e0 r2 g- b.b c4 b c d  e2 d d2d oT0 c4 /

%16
c2- c+ c c g0 a2 f0 f2 g0 /
c2 g g g0 g4 f e2 a4 b c d e f ( d e ) ( f g ) /

%17
c2- c+ c c g0 a2 f0 f2 g0 /
e2 d9 ( d2 d0d ) d2 d.c /

%18
c2 g+ g g d0 e2 c0 c2 d0 /
c2 b c d  c b c b c b a.g /

%19
g2- g+ g g d0 e2 b0 c2 d0 /
g2 d+ d d ( d0d d0 ) a2 a.g /

%20
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%21
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r9 /

%22
g2- g+ g g d0 b2 c0 c2 d0 /
r2 cs d c d c d e fs g a-.g /

%23
g2- c c c g0 a2 f0 f2 g0 /
g2 g g f f e e f g a d-.c /

%24
c2- c+ c c g0 a2 f0 f2 g0 /
c2 e+ f g d e f e f e d.c /

%25
c2 g+ g g  d0 e2 c0 c2 d0 /
c2 b c d a b c b c b a.g /

%26
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%27
g2- g+ g g d0 e2 c0 c2 d0 /
g4 a g a b c b c d0 c4 d c b a b a g fs2d ( e4 /

%28
g2- g+ g g d0 b2 c0 c2 d0 /
d2 ) a+ a a ( b a )  ( b a ) ( b4 a b [ c8 a ] ) a0 /

%29
g2- g+ g g d0 b2 c0 c2 d0 /
r2 d d d ( e d ) ( e d ) ( e4 d e [ fs8 d ] ) d0 /

%30
g2- g+ g g d0 e2 c0 c2 d0 /
r9 d2 c ( b c ) ( d e ) a- b /

%31
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d4+ c b2 c4 d  b2  c4 d  b2  c4 d e fs g a- a2.g /

%32
g2- g+ g g d0 e2 c0 c2 d0 /
g2 d d e ( fs g ) ( a b ) ( c b ) ( d a ) /

%33
g2- g+ g g  d0 ed b2 d0 /
( b2 a b c d b ) ( e d c b ) a.g /

%34
g2- g+ g g d0 e2 b0 c2 d0 /
g2 b b b ( b0 ( b9 ) b2 ) cs /

%35
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d d2d ) [ e8 fs ] g2 a- a.g /
%%( d9 ( d0 ) d2d ) [ e8 fs ] g2 a- a.g /

%36
g2- g+ g g d0 e2 c0 c2 d0 /
g9 r9 r9 /

%37
g2- g+ g g d0 e2 c0 c2 d0 /
r9 r9 r0 r2 d4+ c  /


%38
g2- c c c g0 a f g /
b2 c4 d c d e f g0 e0d f2 d.d /

%39
c2- c+ c c g0 a2 f0 f2 g0 /
e9  d4 b c d  c b a g  a g f e  d2.c /

%40
c2- c+ c c g0 a2 f0 f2 g0 /
c0 r2 g+ e.d c0 r2 a+ g.f /

%41
c2- c+ c c g0 a2 f0 f2 g0 /
e2 b+ b b ( b0 b0d ) b2 b2d ( a4 /

%42
c2- c+ c c g0 a2 f0 f2 g0 /
g2 ) e+ e0d   f4 g f0d d2 d.c /

%43
c2- c+ c c  g0 a2 f0 f2 g0 /
c2 g g g g.f  ( f9 oT0  e0 ) /

%44
c2 g+ g g  d0 e2 c0 c2 d0 /
e2 d+ d d d c ( c9 oT0 b0 ) /

%45
g2- g+ g g d0 e2 c0 c2 d0 /
b9    b4 a b c  b a b c  b a b c  a2.g /

%46
g2-  g+ g g  d0 e2 c0 c2 d0 /
g9 r9 r9 /

%47
g2-  g+ g g  d0 e2 c0 c2 d0 /
r2 d d d ( d0 d0 ) d9 /

%48
g2- g+ g g d0 e2 b0 c2 d0 /
r2 e e e  fs0 r  r2 a a a /

%49
g2- g+ g g d0 e2 b0 c2 d0 /
b2 e e e  fsd [ e8 f ] g0.e d2.c /

%50
g2- g+ g g d0 e2 b0 c2 d0 /
b2 d4 c b2 c4 d  a0 g2 fs g a  fsd oT0 e4 /

%51
g2- g+ g g d0 e2 c0 c2 d0 /
d2 a+ a a0 a4 b g2 c c c0 c4 d /

%52
g2- g+ g g d0 e2 b0 c2 d0 /
b0.d  ( d0 d2 ) d0 d2 ( d0 /

%53
g2- g+ g g d0 e2 b0 c2 d0 /
( d9d ) d0 )  b2 b a.g /

%54a
m3o00
g9- r0 /
g9 r0 \zalasal\  /

\\let\alalignesav\alaligne\
\\def\zalasal{\gdef\alaligne{\zalaligne\let\alaligne\alalignesav}}\

%54b
L21
%%%%%I begin a new line here.
%%%%%How can I suppress the barline here (in spite of the line break
%%%%% AND the meter change? What I would like is to suppress the barline
%%%%% just before the meter change at the end of the line.)
m2006
g0+  ( e 5  /
r4  b8 b  b0 b4d X0.8 [ cs1 d ] /

%55
m3000
( e0 #6 ) e0 ) d0 4 x12#  /
cs0 c4 r1 X0.4 [ e d c ] [ b a g d+ ] X0.4 [ e fs g  g- ] X0.8 g4 a2 a4 /

%56
m2000
b0 6 c /
r2  [ d1 X0.4 b8d   X1 \let\tbblt\tbbl\def\tbbl#1{\roff{\tbblt{#1}}}\
       c1 X0.4 d8d X1 ] e0 /
%%flipping the beam (of the c) to the right side.


%57
e0 5 x142 x346  d /
[ g1- X0.3 e8d   X1  \let\tbbut\tbbu\def\tbbu#1{\roff{\tbbut{#1}}}\
   fs1 X0.4 g8d  X1 ] g0 fs2 /
%% Same question as above, dealing with the f sharp.
%%[ g1- e8d ] [ fs1 g8d ] g0 fs2 /



%58 (lt.Takt)
\def\zbreve{\zlonga}\ g9- /
\def\zbreve{\zlonga}\ g9 /

From mutex-owner@mail2.gmd.de Thu Sep 24 07:15:51 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199809240715.JAA01774@sg10.chem.tue.nl>
Subject: MusiXTeX question
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Thu, 24 Sep 1998 09:15:51 +0200 (MET DST)
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Hi all,

This is probably very easy, but I couldn't find it in the manual.
How can I turn off the pagenumbering in MusiXTeX?
I've tried \nopagenumbers, but that doesn't work. Perhaps the included
.tex files make a difference? I have included:
musixtex.tex, musixcpt.tex, musixsty.tex, musixcho.tex 
musixgui.tex, musixlyr.tex, musixext.tex

Thanks for any help you can give,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
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From mutex-owner@mail2.gmd.de Thu Sep 24 12:39:34 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
> Date: Thu, 24 Sep 1998 09:15:51 +0200 (MET DST)

> This is probably very easy, but I couldn't find it in the manual.
> How can I turn off the pagenumbering in MusiXTeX?
> I've tried \nopagenumbers, but that doesn't work. Perhaps the included
> .tex files make a difference? I have included:
> musixtex.tex, musixcpt.tex, musixsty.tex, musixcho.tex 
> musixgui.tex, musixlyr.tex, musixext.tex

Why do you include all these files?

musixcpt should only be used if needed. Otherwise it changes a lot
of MusiXTeX's behaviour to the old musiCtex features. Do you want
that? Do you need that?

As far as I can see page numbers appear after including musixsty.
It defines an output-routine which puts out the page-number in
a way that it is not switchable using \nopagenumbers. So if you
request musixsty, you request that behaviour. Do you want that?

Hope this hilft -- Werner

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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199809241249.OAA04289@sg10.chem.tue.nl>
Subject: Re: MusiXTeX question
To: Werner.Icking@gmd.de (Werner Icking)
Date: Thu, 24 Sep 1998 14:49:56 +0200 (MET DST)
Cc: mutex@gmd.de
In-Reply-To: <199809241239.OAA02832@sunick.gmd.de> from "Werner Icking" at Sep 24, 98 02:39:34 pm
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Werner Icking wrote
> 
> Why do you include all these files?
\input musixtex % obvious
\input musixgui % for chord pictograms
\input musixlyr % for lyrics
\input musixext % for \slide
\input musixcho % for \biglbrace
\input musixsty % For title, subtitle and fonts

> musixcpt should only be used if needed. Otherwise it changes a lot
> of MusiXTeX's behaviour to the old musiCtex features. Do you want
> that? Do you need that?

I don't need musixcpt at all. It was there because I copied it from some
example file. I just kept using it without thinking. I took it out now,
but it doesn't help for the pagenumbering problem.

> As far as I can see page numbers appear after including musixsty.
> It defines an output-routine which puts out the page-number in
> a way that it is not switchable using \nopagenumbers. So if you
> request musixsty, you request that behaviour. Do you want that?

I could cut-and-paste some of the features of musixsty into another 
file and \input that, of course. I think I will do that. That leaves 
one new question, though: can you tell me how I can put text
iside the brackets "()" that appear at the bottom of the page? These
brackets also appear without \input-ing musixsty. I couldn't find how to
do it by browsing the manual. With musixsty, I use \shortauthor to put
text between the brackets.

Thanks for your help,
Ronald

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Thu Sep 24 12:59:15 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: new movement versus flexible line break
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> Date: Wed, 23 Sep 1998 20:25:47 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

> A) Writing a piece consisting of several movements I encounter the following
>    problem related to PMX:
>    While developing a piece it is recommended to set npages=0 and
>    nsystems=3 (approx) (approx 3 bars per line), because this saves
>    the effort to increase these numbers steadily.
>    But startin a new movement you need to say "L7PM" (or somewhat similar).
>    This leads to an errormessage, because "npages=0" does not like this.
>    (Obiously the systems are not counted?)
>    Which is an elegant way to handle this task?

For bigger pieces, long movements, more than one movement, ... I develop
some bars or a movement or some other part seperately using e.g. 0 3
as you describe. When that is ok I add it to the already developed parts
incrementing the number of pages and systems.

> B)
> After changing the source there are only two questions left:
>  1) those dotted breves (probably a difficult work?)

Don't know.

>  2) And how do I suppress the barline at a meter change.

Look at the generated TeX-source how the bar line is generated
and then replace that code by the appropriate code not generating
a bar line. This can often be done using In-line TeX.

If the barline is generated calling \xxx and the same code without
a barline is \zxxx then add to the beginning of the PMX-code:

\\let\xxxsav\xxx\
\\def\zxxxforxxx{\gdef\xxx{\global\let\xxx\xxxsav\zxxx}}\

If \xxx and \zxxx have e.g. one parameter use:

\\def\zxxxforxxx{\gdef\xxx##1{\global\let\xxx\xxxsav\zxxx{##1}}}\

Then use just *before* the last real note or rest before the barline
\zxxxforxxx\  e.g if the original code is

c d e f /
L3 c d e f /

and the barline for line 3 is generated by \alaligne use:

\\let\alalignesav\alaligne\
\\def\zalaligneforalaligne{\gdef\alaligne{\global\let\alaligne\alalignesav\zalaligne}}\

...
c d e \zalaligneforalaligne\ f /
L3 c d e f


I didn't analyze your example in detail. The problem, that your implementation(?)
of Don's proposal does not work is that you wrote:

> %54a
> m3o00
> g9- r0 /
> g9 r0 \zalasal\  /

instead of

  g9    \zalasal\  r0 /

In-line TeX at the end of an input block does not belong to any real note or rest.
It simply disappears.


-- Werner

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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199809241404.QAA04621@sg10.chem.tue.nl>
Subject: MusiXTeX pagenumbers problem solved
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Thu, 24 Sep 1998 16:04:12 +0200 (MET DST)
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Hello all,

My pagenumbering problem with MusiXTeX is solved. Thanks to Werner and
Zdenek for their help. 

The problem was that I used the "musixtex" script which is provided 
in the Debian (Linux) package for MusiXTeX. This script seems to include
all MusiXTeX packages automagically. The thus included musixsty package
produced the pagenumbers that wouldn't be overruled. So, even if I
didn't include musixsty.tex myself, the script would do it for me.

Well, not anymore :-]

Happy typesetting,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Sun Sep 27 18:05:17 1998
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From: David Bobroff <bobroff@centrum.is>
Subject: Linux script
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I would like to write a script to automate the following sequence of
commands in Linux:

tex \&opustex jobname
opusflex jobname
tex \&opustex jobname
dvips -o jobname.ps jobname
gv jobname

I'm new to Linux and have not yet been able to find the correct syntax for
such a script.  Could someone reveal the secret to me?

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Sep 28 01:03:16 1998
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 > I would like to write a script to automate the following sequence of
 > commands in Linux:
 > 
 > tex \&opustex jobname
 > opusflex jobname
 > tex \&opustex jobname
 > dvips -o jobname.ps jobname
 > gv jobname
 > 

Create a file as follows:

#!/usr/bin/sh
tex \&opustex $1
opusflex $1
tex \&opustex $1
dvips -o $1.ps $1
gv $1.ps

Your sh executable might be elsewhere; do which sh to see.
Make filename executable by doing chmod +x filename.
Make sure that the file is in your path (or use the full path to call it).
If the file you want to process is foo.tex, call it with just foo
as the argument.

Some helpful hints.  You don't need to re-start gv every time.  Start it 
once and leave it running while you revise.  You can also preview using 
xdvi, which will give you better displays than gv and save you the dvips 
step.  You might want to remove the mx1 and mx2 files after the second TeXing.  
You can create an opustex "format" so that those macros don't have
to be re-processed again and again.

Bob T.

From mutex-owner@mail2.gmd.de Mon Sep 28 05:54:20 1998
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To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: Linux script 2
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>Some helpful hints.  You don't need to re-start gv every time.  Start it 
>once and leave it running while you revise.  You can also preview using 
>xdvi, which will give you better displays than gv and save you the dvips 
>step.

Except that I have found xdvi to be a bit flakey.  Some elements get
partially masked behind invisible boxes (this is the only explanation I can
come up with) but if I view with gv I see everything.  Maybe that is
because I have teTeX 0.4.  I have downloaded 0.9 but I want to find out how
to upgrade without destroying my current set-up.

>You might want to remove the mx1 and mx2 files after the second TeXing.  
>You can create an opustex "format" so that those macros don't have
>to be re-processed again and again.

I'm actually using a format so that part is done.  I'd like to add
automatic removal of *.ox2 (I'm using OpusTeX) to my script (is it
necessary to remove *.mx1/*.ox1?  I thought it was necessary only for
*.mx2/*.ox2).  Anyway, I'd like to have this done by the script as well.
That's what a computer is for, right? ;-)

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Sep 28 08:06:07 1998
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To: David Bobroff <bobroff@centrum.is>
Cc: mutex@gmd.de
Subject: Re: Linux script 
In-Reply-To: Your message of "Sun, 27 Sep 1998 19:05:17 BST."
             <3.0.3.32.19980927190517.006aa57c@centrum.is> 
Date: Mon, 28 Sep 1998 09:06:07 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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unix scripts (to first order) are trivial.  you have to tell it which
shell you're going to use, so:

  #! /bin/sh
> tex \&opustex jobname
> opusflex jobname
> tex \&opustex jobname
> dvips -o jobname.ps jobname
> gv jobname

will do it; then make the file executable

  chmod +x runopus

and you're away

robin

From mutex-owner@mail2.gmd.de Sun Sep 27 15:33:53 1998
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On Sun, Sep 27, 1998 at 07:05:17PM +0100, David Bobroff wrote:
> I would like to write a script to automate the following sequence of
> commands in Linux:
> 
> tex \&opustex jobname
> opusflex jobname
> tex \&opustex jobname
> dvips -o jobname.ps jobname
> gv jobname
> 
> I'm new to Linux and have not yet been able to find the correct syntax for
> such a script.  Could someone reveal the secret to me?

Well... Just put all the commands above in a file, make itexecutable
and run it by typing it's name. ;)

Since you use a parameter (the jobname) and want the script to stop
executing commands when an error occurs, it is a little more advanced, but
I believe that the following might work just fine:

#!/bin/sh
set -e
jobname=3D$1
tex \&opustex $jobname
opusflex $jobname
tex \&opustex $jobname
dvips -o $jobname.ps $jobname
gv jobname

set -e tells the script to stop immediately when a command fails.
jobname=3D$1 creates variable named $jobname which contains the first
parameter with which you invoked the script. The first line
#!/bin/sh IS important, it tells the loader which shell to use for
executing the script.

You have to make the script executable (chmod 755 scriptname) and place
it in your search path to run. You might have to reload the path cache
in your current running shell by saying "hash -r" or "rehash".

	-Klaus Knopper  mailto:knopper@unix-ag.uni-kl.de
	                http://home.pages.de/~knopper
	"Disk Space... The final frontier!"

-- 
Approved [and MIME&PGP unedited] by mutex-owner

From mutex-owner@mail2.gmd.de Mon Sep 28 12:55:21 1998
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Date: Mon, 28 Sep 1998 14:55:21 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: Linux script
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If download time doesn't matter, you'll find a good example for such a
shell script in the Unix port of PMX available from the GMD music archive 
(I can't remember the precise path, but Werner Icking will be able to
provide that). That package contains a shell script named 'pmx' which does
exactly what you want except it runs PMX and MusiXTeX rather than OpusTeX.
However, you shoud be able to edit it for your purposes (that's easier
than writing a script from scratch anyway). Said PMX script stops when
any of the passes fails and it cleans up most of the temporary files.

HTH,
Schtepf.

************************************************************             
**   We fat all creatures else to fat us, and we fat      **
**   ourselves for maggots. Your fat King and your lean   **
**   beggar, is but variable service, two dishes but to   **
**   one table; that's the end.                           **
************************************************************           
** HomeBrew Entertainment                                 **
**     http://www.mathematik.uni-stuttgart.de/~evert/     **
** [update pending]                                       **
**--------------------------------------------------------**
** schtepf@gmx.de                          (Stefan Evert) **
************************************************************       


From mutex-owner@mail2.gmd.de Mon Sep 28 15:38:10 1998
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Date: Mon, 28 Sep 1998 11:38:10 -0400 (EDT)
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  >You can also preview using 
 > >xdvi, which will give you better displays than gv and save you the dvips 
 > >step.
 > 
 > Except that I have found xdvi to be a bit flakey.  Some elements get
 > partially masked behind invisible boxes (this is the only explanation I can
 > come up with) but if I view with gv I see everything.  

Be sure that Netscape or other color-map-gobbling applications aren't 
running, or start up Netscape with option -ncols 64 .
 > 
 > >You might want to remove the mx1 and mx2 files after the second TeXing.  
 > I'd like to add
 > automatic removal of *.ox2 (I'm using OpusTeX) to my script (is it
 > necessary to remove *.mx1/*.ox1?  I thought it was necessary only for
 > *.mx2/*.ox2).  Anyway, I'd like to have this done by the script as well.
 > 
Just add a rm $1.ox1 $!.ox2 command to the script.  

From mutex-owner@mail2.gmd.de Mon Sep 28 19:08:22 1998
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Message-Id: <199809281908.VAA16058@AMRISC02.math.uni-hamburg.de>
Subject: restrictions of Composer/Title (PMX)
To: mutex@gmd.de
Date: Mon, 28 Sep 1998 21:08:22 +0200 (DFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello, are there any restrictions concerning the Composer's 'length'?
:-)
I mean, why do I have problems to procede with

Tc
Nicolo Corradini (birthdate - date of death)?

Best regards
 Eckart

From mutex-owner@mail2.gmd.de Mon Sep 28 20:21:04 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199809282021.WAA03187@sunick.gmd.de>
To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: restrictions of Composer/Title (PMX)
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> Date: Mon, 28 Sep 1998 21:08:22 +0200 (DFT)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

> Hello, are there any restrictions concerning the Composer's 'length'?
> :-)

Yes; there are.

> I mean, why do I have problems to procede with
> 
> Tc
> Nicolo Corradini (birthdate - date of death)?

Because there are restrictions for the lenght of a composer name :-)

-- Werner



PS: Try

\\def\cmpsrnm{Wolfgang Wolfgangerl Amadeus Gottlieb Theophilus MoZart (...)}\
Tc
\cmpsrnm

From mutex-owner@mail2.gmd.de Mon Sep 28 20:29:37 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Mon, 28 Sep 1998 14:55:21 +0200 (MSZ)
> From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>

> If download time doesn't matter, you'll find a good example for such a
> shell script in the Unix port of PMX available from the GMD music archive 
> (I can't remember the precise path, but Werner Icking will be able to
> provide that).

http://www.gmd.de/Misc/Music/  look for MusiXTeX, PMX, Unix/C-version

> That package contains a shell script named 'pmx' which [...]

[... Long signature replaced by script :-]

#!/bin/sh
#
# Script to run pmxa, pmxb and all 3 passes of MusiXTeX
# (courtesy of Jan Arne Fagertun, modified by Stefan Evert)
#
# Tue Feb 18 18:12:15 MET 1997 Jan.A.Fagertun@energy.sintef.no
# last modified:
# Mon Jul 21 13:05:46 MET DST 1997 evert@mathematik.uni-stuttgart.de
#
if [ "$1" != "" ]
then
  FILE=$1
  if [ ! -f $FILE ]
  then
    FILE=$1".pmx"
  fi
  if [ -f $FILE ]
  then
    BASE=`basename $FILE .pmx`
    TEX=$BASE".tex"
    #
    # Cleaning up in case of crash
    #
    if [ -f $TEX ]
    then
      echo "Deleting $TEX"
      rm -f $TEX
    fi
    LOG=$BASE".log"
    if [ -f $LOG ]
    then
      echo "Deleting $LOG"
      rm -f $LOG
    fi
    MX1=$BASE".mx1"
    if [ -f $MX1 ]
    then
      echo "Deleting $MX1"
      rm -f $MX1
    fi
    MX2=$BASE".mx2"
    if [ -f $MX2 ]
    then
      echo "Deleting $MX2"
      rm -f $MX2
    fi
    if [ -f pmxtex.dat ]
    then
      echo "Deleting pmxtex.dat"
      rm -f pmxtex.dat
    fi
    if [ -f pmxtex.fig ]
    then
      echo "Deleting pmxtex.fig"
      rm -f pmxtex.fig
    fi
    #
    # Start of pmx - pmxa
    #
    echo "=== RUNNING PMXA (1st pass) ==="
    (echo $BASE | pmxa) || exit 1
    #
    # Check if successful
    #
    if [ ! -f pmxtex.dat ]
    then
      exit 1
    fi
    if [ ! -f pmxtex.fig ]
    then
      exit 1
    fi
    #
    # pmxb
    #
    echo "=== RUNNING PMXB (2nd pass) ==="
    pmxb || exit 1
    #
    # check for success
    #
    if [ ! -f $TEX ] 
    then
      exit 1
    fi
    #
    # Cleaning up after pmx
    #
    echo "Cleaning up (pmxtex.dat pmxtex.fig)"
    rm -f pmxtex.dat
    rm -f pmxtex.fig
    #
    # Start MusiXTeX - tex
    #
    echo "=== RUNNING MUSIXTEX: 1st pass (tex) ==="
    tex $BASE || exit 1
    if [ ! -f $MX1 ]
    then
      exit 1
    fi
    #
    # Discard .dvi created by first pass
    #
    DVI=$BASE".dvi"
    if [ -f $DVI ]
    then
      echo "Discarding $DVI"
      rm -f $DVI
    fi
    #
    # musixflx
    #
    echo "=== RUNNING MUSIXTEX: 2nd pass (musixflx) ==="
    musixflx $BASE || exit 1
    if [ ! -f $MX2 ]
    then
      exit 1
    fi
    #
    # tex again
    #
    echo "=== RUNNING MUSIXTEX: 3rd pass (tex) ==="
    tex $BASE || exit 1
    #
    # Check if we're successful
    #
    if [ ! -f $DVI ]
    then
      echo "*** PMX failed"
      exit 1
    fi
    #
    # Cleaning up after MusiXTeX
    #
    if [ -f $MX1 ]
    then
      echo "Deleting $MX1"
      rm $MX1
    fi
    if [ -f $MX2 ]
    then
      echo "Deleting $MX2"
      rm $MX2
    fi
    echo "Done."
  else
    echo "Can't find either "$1" or "$FILE
  fi
else
  echo "PMX-1.3.8: Convert .pmx input file into .dvi"
  echo "Usage:  pmx <pmx_input_file>"
fi

From mutex-owner@mail2.gmd.de Tue Sep 29 09:35:51 1998
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Date: Tue, 29 Sep 1998 11:35:51 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: Linux script 2
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On Mon, 28 Sep 1998, Robert Tennent wrote:

>   >You can also preview using 
>  > >xdvi, which will give you better displays than gv and save you the dvips 
>  > >step.
>  > 
>  > Except that I have found xdvi to be a bit flakey.  Some elements get
>  > partially masked behind invisible boxes (this is the only explanation I can
>  > come up with) but if I view with gv I see everything.  
> 
> Be sure that Netscape or other color-map-gobbling applications aren't 
> running, or start up Netscape with option -ncols 64 .

I usually start Netscape with -install ...
However, that won't help if you're running X windows with a colour depth
of 15bit or more. Xdvi works best with 8bit (PseudoColor) displays. On
TrueColor displays quality is much poorer (especially when previewing
scores). GV on the other hand can handle TrueColor displays.

To put it in a nutshell: make sure you're running X in 8bit mode and start
xdvi before you run Netscape.

Regards,
Stefan.


[long signature cut out :-] 


From mutex-owner@mail2.gmd.de Thu Oct  1 15:52:12 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810011552.RAA19423@calvyn.puk.ac.za>
Subject: M-Tx version 0.50
To: mutex@gmd.de
Date: Thu, 1 Oct 1998 17:52:12 +0200 (SAT)
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I've just uploaded mtx050.zip to ftp.gmd.de.   If you can't find
it yet, be patient. -- Dirk Laurie



M-Tx is a music-from-text language designed to look as much as possible
like printed music.  To give you an idea of what that means, here is some
typical input code (users of M-Tx 0.40 may skip to "What's New?"):

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
Space: 9

%% w190m
@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
@^+5   rp   | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4  | f2d     |]
LT:           Net soos ek is, O Lam van God, ek kom. 
    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
------------------------------------------------------------------------
             

Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "%% w190m" means "Issue PMX command 'w190m' here" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the alto, tenor and bass voice lines.
  6. Notes and ornaments are written in the PMX language developed by 
     Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "@^+5" means "set this line of lyrics above the stave and 5 internotes 
     higher than usual."
 10. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.50 from
    http://www.gmd.de/Misc/Music/musixtex/software/mtx
(or if you prefer FTP)
    ftp://ftp.gmd.de/music/musixtex/software/mtx
To make your own scores, you will need to unzip mtx050.zip, using an
unzipper with a text file conversion option (e.g. 'unzip -a mtx050'
for GNU unzip).  You should first read the README file and then view
the file doc/mtx050.dvi (for that you need the MusiXTeX fonts).

To run M-Tx, you need MusiXTeX 0.80 or later, PMX 1.3.8 (the current
version) and musixlyr 1.1 (the current version).  By kind permission of
Rainer Dunker the file musixlyr.tex (but not the documentation, which
is strongly recommended) is included in mtx050.zip.  These materials
are all available from the above-mentioned archive.


            What's new?

   1. Broken (dotted) slurs.
   2. Blind slurs, i.e. user-defined melismas.
   3. rp (pause) always printed, even with a two-voiced stave,
      rpb and vertically adjusted pauses (e.g. rp+2)
   4. 'Part' and 'Poet' in the heading
   5. Flexible support for multiple versions of a score: whole
      paragraphs or certain lines of a paragraph may be skipped
      depending on a run-time option.
   6. Preamble may run over several paragraphs, some of which
      are optionally skipped
   7. 'Start' preamble commmand to specify bits prepended to first
       paragraph - mainly useful in optional paragraphs
   8. 'G8' clef for tenor voice: standard in SATB style
   9. Support for left-aligned verse numbers and a short explanation
      of some musixlyr commands.
  10. Crescendo and decrescendo
  11. Multi-bar rests
  12. SUSPEND and RESUME to cut out parts of a score during debugging
  13. An annotated example on how to add TeX text to a score (contributed
      by Christian Mondrup)

      Bug fixes (too many to mention)

   
Happy music typesetting!

Dirk Laurie    





From mutex-owner@mail2.gmd.de Thu Oct  1 17:46:12 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199810011746.TAA03530@sunick.gmd.de>
To: mutex@gmd.de, wskdpl@pukrs12.puk.ac.za
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Thu, 1 Oct 1998 17:52:12 +0200 (SAT)

> I've just uploaded mtx050.zip to ftp.gmd.de.   If you can't find
> it yet, be patient. -- Dirk Laurie

It's already in the right subdirectory but not integrated into the WEB-page

 http:/www.gmd.de/Misc/Music/

So if you can't wait, go there look for MusixTeX/M-Tx and go to that 
subdirectory.

-- Werner

From mutex-owner@mail2.gmd.de Sun Oct  4 23:50:58 1998
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From: dsimons@logicon.com (Don Simons)
Subject: dynamic marks in PMX
To: mutex@gmd.de
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I'm working on coding dynamic marks into PMX.  Here's your chance to 
get in on the ground floor with your comments and suggestions.

What I have so far is:

1. Accept only the 12 MusiXTeX combinations (pppp...ffff) (because the 
MusiXTeX macros use special kerning).
2. Associate them only with notes, not rests. 
3. One symbol at a time per line of music. 
4. The default vertical position is 5\internote below the lowest of 
(a) bottom of the staff, (b) bottom of lowest notehead, or (c) bottom 
of stem.  I haven't worked out the height calculations for down-beamed 
notes...it's possible but very tricky.  I also haven't fine tuned the 
position under a down-stemmed single note to account for different 
stem lengths, but I don't do the analogous fine-tuning for ornaments 
above upstemmed notes either.
5. The default horizontal position is with the first letter of the 
dynamic mark under the note (just use \zcharnote).
6. Vertical position can be shifted from default by +/- 32 \internote 
7. Horizontal position can be shifted from default by +/- 6.4 notehead 
widths.

The syntax is D(dynamic symbol)[(+|-)(integer)[(+|-)number]]

Issues:

1. Is the basic default height correct?
2. Should "f"..."ffff" be positioned one notch lower than the others? 
3. Should there be an option to specify the absolute height, perhaps 
e.g. Dppppa-3 for a space of 3 internotes between the top of the "f" 
and the bottom of the staff?  This would make it easier to align all 
the marks in a particular staff.
4. How important is it to deal with the effect of down-beams on the 
default height?  Or can I just let people manually adjust?
5. How important is it to deal with the effect of length variablilty 
of down-stems on the default height?  Or can I just let people 
manually adjust?

While we're at it, although I haven't started coding, I'm planning to 
use ">" and "<" as toggles for dim and cresc, again only on notes (not 
rests), height and horizontal shifts as above on the starting point, 
horizontal shift only on the termination.  I'll probably base the 
default height on the starting note since that's easiest.  Comments?

--Don

From mutex-owner@mail2.gmd.de Fri Oct  2 21:38:19 1998
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From: barry.gold@platinum.com (Barry Gold)
Message-Id: <9810022138.AA20566@janus.la.platinum.com>
To: mutex@gmd.de
Subject: "downtext" and text below the staff
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I'm trying to do two things I've never tried before.  One is to
produce a "downtext" line - using @v as described in section 4.2 of
the M-Tx guide.  I commented it out below after discovering that it
wasn't producing any output.

The second thing is to use the PMX "l" key to add text below the
staff, as described under "text" in section 2.3 of the PMX guide.
Now, actually, I don't have any realistic expectation that this
construct can get through M-Tx, considering that the text line has to
be on the _following_ line, which probably looks to M-Tx like I'm trying
to code an extra line of music there.

Other suggestions?  Maybe using U: with a large negative vertical @
adjustment?  Or should I just run prepmx once and then add my text
lines in the PMX?

Also, the + sign (footnote mark) at the end of the "lyrics" doesn't look
right.  Suggestions on TeX coding to make it look like a footnote
mark?  I've been looking at the TeXbook for info on footnotes, but
everything is behind "dangerous bend" signs which suggests folks like
me shouldn't try to mess in there.

The label on my first volta doesn't quite look right either.  Any
ideas?  Do you think I should insert a thinspace somewhere or adjust
the font?  My second volta has a box ending even though I put a Vx
after it.  Why?

Anyway, here's the input.

Meter: 4/4
Flats: 1
Style: SINGER
Bars/Line: 2
Space: 7
% Pages: 1
% Systems: 5

%% h9.8i
%% w7i
%% Ar
%% \\input bdgmusic\ 
%% \\pageno=6\ 
%% \\headline{\twelverm XenoFilkia \#62\hfill page XX}\ 
%% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FERROEQUINOLOGY\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by David T. Okamura\hfill}\ 
%% \\nobarnumbers\ 
% U: @v mf
U:@+1 Quick~and~lively*  |
@+3 r2 r4 r8  c8         | a+  a   a     a f o> f  g of a  |
L:            If           you com-posed a mas-ter list of

U:                                 |                                   
   b   b  b    b  d o> c b of g    | a   a  a  a   a     a   g   f     |
L: ev'-ry type of sci-en-tist with   ev'-ry ma-jor field and spe-cial- 

U:                 |                               
   g4 r4 r4 r8 c-8 | a+  a    a   a    f o> f g of a |
L: ty          the   sub-ject you will ne-ver see  is

U:                            |                                   
   b   b  b b   d o> c b of g | a      a   f    f  g    g   f    e |
L: fer-ro-e-qui-nol-o-gy, but   that's the line of scho-lar-ship for

U:            
   V1-7 f2d r8  c8       |]
L:      me.    (There's)

% %% l
% * The "railroad rhythm" should grow more pronounced as the song progresses.
% %% l
% + You can use a toy train whistle, otherwise optional
U:          |                 
   Vb8 ( f0 | f2 ) Vx r8  f8 o> f4 of  
L:       me              (Whoo-whoo!)+

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Mon Oct  5 14:27:58 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810051427.QAA07208@calvyn.puk.ac.za>
Subject: Re: "downtext" and text below the staff
To: barry.gold@platinum.com (Barry Gold)
Date: Mon, 5 Oct 1998 16:27:58 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9810022138.AA20566@janus.la.platinum.com> from "Barry Gold" at Oct 2, 98 02:38:19 pm
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Barry Gold wrote:
> 
> I'm trying to do two things I've never tried before.  One is to
> produce a "downtext" line - using @v as described in section 4.2 of
> the M-Tx guide.  I commented it out below after discovering that it
> wasn't producing any output.
> 
At present there can be only one uptext line per voice.  So the
second uptext line just wipes out the first.  If you put
U:@+1 Quick~and~lively* ~ @v mf 
you get the required downtext.  In this case it is OK because the mf
anyway looks better near the first note than under the half-note rest,
but I'll think about allowing more than one uptext line in future.

> The second thing is to use the PMX "l" key to add text below the
> staff, as described under "text" in section 2.3 of the PMX guide.
> Now, actually, I don't have any realistic expectation that this
> construct can get through M-Tx, considering that the text line has to
> be on the _following_ line, which probably looks to M-Tx like I'm trying
> to code an extra line of music there.
> 
The trick to do what you need is documented in a nice little contribution
by Christian Mondrup to the M-Tx 0.50 manual.

> Also, the + sign (footnote mark) at the end of the "lyrics" doesn't look
> right.  Suggestions on TeX coding to make it look like a footnote
> mark?  
L:       me              (Whoo-whoo!)$^+$
or even better ... $^\dagger$
 
I've been looking at the TeXbook for info on footnotes, but
> everything is behind "dangerous bend" signs which suggests folks like
> me shouldn't try to mess in there.
> 
> The label on my first volta doesn't quite look right either.  Any
> ideas?  Do you think I should insert a thinspace somewhere or adjust
> the font?  My second volta has a box ending even though I put a Vx
> after it.  Why?
> 
(a) Try V1.--7 instead of V1-7.  Fiddling with the font is tricky but
possible, e.g. put \\let\BF\bf\ on one of your %% lines and then
V\BF1.--7 and V\BFb8 is possible and looks quite nice.  But \bf on its
own confuses PMX.

(b) Put the Vx immediately after the bar line, before the f2.

Dirk

From mutex-owner@mail2.gmd.de Mon Oct  5 14:51:48 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810051451.QAA07321@calvyn.puk.ac.za>
Subject: M-Tx 0.50 bug and workaround
To: mutex@gmd.de
Date: Mon, 5 Oct 1998 16:51:48 +0200 (SAT)
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The following bug crept into M-Tx 0.50 while I wasn't looking:

If you code a bar line just about anywhere in the last paragraph,
the piece will end with a single bar instead of a double one.

I'm holding back the fix until PMX 1.40 appears (it has been looming on
the horizon).  Several things contributing to the bug will then have
much neater implementations than the present ones.  In the meanwhile,
the workaround is simply not to code bar lines in the final paragraph.
If this irks you, put the last bar into its own paragraph.

Dirk

From mutex-owner@mail2.gmd.de Mon Oct  5 15:26:52 1998
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'barry.gold@platinum.com'" <barry.gold@platinum.com>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: "downtext" and text below the staff
Date: Mon, 5 Oct 1998 17:26:52 +0200 
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Hello Barry,

> Also, the + sign (footnote mark) at the end of the "lyrics" doesn't
look
> right.  Suggestions on TeX coding to make it look like a footnote
> mark?  I've been looking at the TeXbook for info on footnotes, but
> everything is behind "dangerous bend" signs which suggests folks like
> me shouldn't try to mess in there.

How about "(Whoo-whoo!)$^+$" (without the quotation marks, of course)?

Regards,

Rainer


From mutex-owner@mail2.gmd.de Tue Oct  6 15:05:52 1998
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Date: Tue, 6 Oct 1998 10:05:52 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Cc: wskdpl@pukrs12.puk.ac.za
Subject: Mac M-Tx 0.50 (Was: M-Tx version 0.50)
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On Thu, 1 Oct 1998, Dirk Laurie wrote:

> I've just uploaded mtx050.zip to ftp.gmd.de.   If you can't find
> it yet, be patient. -- Dirk Laurie

> If you would like to see how this looks, you can download M-Tx 0.50 from
>     http://www.gmd.de/Misc/Music/musixtex/software/mtx
> (or if you prefer FTP)
>     ftp://ftp.gmd.de/music/musixtex/software/mtx

And the Mac version is being uploaded as I type, and is also available
from

	<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Fri Oct  9 17:25:05 1998
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Date: Fri, 9 Oct 1998 12:25:05 -0500 (CDT)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Cc: wskdpl@pukrs12.puk.ac.za
Subject: Mac M-Tx 0.50a
Message-Id: <Pine.SGI.3.96.981009121836.14691A-100000@ir7.msi.umn.edu>
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The Mac version has being uploaded to ftp.gmd.de, and is also available
from

        <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Oct 12 14:34:16 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: M-Tx 0.50a
To: mutex@gmd.de
Date: Mon, 12 Oct 1998 16:34:16 +0200 (SAT)
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M-Tx 0.50a has been uploaded to ftp.gmd.de.  Until such time as it
becomes visible to downloaders, you can also get it from 
  ftp://calvyn.puk.ac.za/dirk/mtx/mtx050a.zip
It is still based on PMX 1.3.8, despite my intention to wait for
PMX 1.4.  Two further bugs in 0.50 have been reported, and these
are irksome enough to justify a bug-fixing release.

The following bugs have been corrected:

1. The double-bar at the end of the piece got lost if you had the
   good habit of always coding bar lines.

2. If every line in the first music paragraph is labelled, that
   paragraph was regarded as an extra preamble paragraph, resulting
   in all sorts of weird diagnostic messages.

3. If you did not use the new Start feature, the start strings were
   not properly initialized.  In the case of the MSDOS executable
   this produced random garbage in the generated PMX file.  Executables
   made directly from the C code did not suffer from this bug.

4. The manual mistakenly mentioned \tinymusicsize as a possible music size.

Dirk Laurie

From mutex-owner@mail2.gmd.de Tue Oct 13 15:28:09 1998
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Date: Tue, 13 Oct 1998 16:28:09 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
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I have managed to use colordvi.tex to colorize some elements in OpusTeX.  A
friend is working from an old manuscript and would like to colorize
underlying text.  This is no problem.  It is also no problem to colorize
individual neumes as well.  What he would like to do, if it is possible, is
to make the staff lines red.  I have not figured out how to do this if it
can be done.  If anyone has an elegant solution (or even a clumsy kludge,
for that matter) please let me know.

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Tue Oct 13 16:53:14 1998
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Subject: PMX, shifted accidentals, slur-ID
To: mutex@gmd.de
Date: Tue, 13 Oct 1998 18:53:14 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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hello everybody,

I append a PMX-source which raises the following questions:


1) How can I shift accidentals within PMX-code?
   In MusiXTeX   you would code e.g.  "\lsh e"  
   The problem arises especially in a 'chordal context' ...
   I did not find any hints in PMX' 'FM', .... :-)
   I find inline-TeX in this case not so useful, because
   you never know the present state of the \transpose-register,
   so you would have to trie it, which seems kind of stange ....

2) At the end of the piece I trie to use the ID-code for slurs,
   (search for "(A" and ")A").
   but it does not come out  as I want ...
   What is my mistake?  Is it due to features of \nextvoice?
  
3) Further I would suggest PMX to provide a command which
   takes a single note out of its measure controll
   and makes it an unspaced note.
   At least this is what forces me to code this strange
   inline-TeX in bar 27. Is there a more elegant way to 
   code this music?

===========================================
3 -2  1 2   4 4  0 6  0 0   2 10  16  0.07
Pedal
Manual
bbt
./

Tc
\compname
Tt
All Things bright and beautiful

Arb
B

\\sepbarrules\
\\def\compname{\twelverm Eckart Begemann, 9.Okt~1998}\
\\def\makefootline{\baselineskip2pt\line{\the\footline}}\
\\def\copyr{\eightrm\copyright~1998 Eckart (begemann@math.uni-hamburg.de)}\
\\footline{\copyr\hss}\

%1
\uptext{\it 4'}\
rp /
rp /
e15 zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+
 e zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+ /

%2
rp /
[ c83 r1 ( g+1 ] [ g1 ) r g-8 ]
  [ c8 r1 ( g+1 ] [ g1 ) r g-8 ] /
e15 zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+
 e zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+ /

%3
c44 e- f a /
[ c83 r1 ( g+1 ] [ g1 ) r g-8 ]
  [ c8 r1 ( f1 ] [ f1 ) r f-8 ] /
e15 zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+
 f za ds- zb+ f za d- zb+   f za d- zb+   f za d- zb+  /

%4
g4d e8 c4 e /
[ c83 r1 ( g+1 ] [ g1 ) r g-8 ]
  [ c8 r1 ( e1 ] [ e ) r c8 ] /
e15 zg c- za+ e zg c- za+
 e zg c- za+  e zg c- za+
 e zg c- za+  e zg c- za+
 fs za e zc+   f- za e zc+ /

%5
d4 b+ b.a /
[ d8 r1 ( g1 ] [ g1 ) r d8 ]
  [ d-8 r1 ( fs+ ] [ f ) r d8 ] /
g1 zb d- zc+
  g1 zb d- zc+
  g1 zb d- zc+
  g1 zb d- zc+
   fs- zc+ d- zd+
   f- zc+ d- zd+
   f- zc+ d- zd+
   f- zc+ d- zd+ /

%6
g2 r /
[ g8 r1 ( d ] [ d ) r g-8 ]   r1 a+8 za- r1   r8 b+8 zb- /
g-1 zb d- zd+
 g- zb d- zd+
 g- zb d- zd+
 g- zb d- zd+
 fs- zb d- zd+
 f- zb d- zd+
 fn- zb d- zd+
 f- zb d- zd+ /

%7
c44 e- f a /
[ c83 r1 ( g+1 ] [ g1 ) r g-8 ]
  [ c8 r1 ( f1 ] [ f1 ) r f-8 ] /
e15 zg c- za+ e zg c- za+    e zg c- za+    e zg c- za+
 f za ds- zb+ f za d- zb+   f za d- zb+   f za d- zb+  /

%8
g4.e c4 a+ /
[ c83 r1 ( g+1 ] [ g1 ) r g-8 ]
  [ c8 r1 ( e1 ] [ e ) r c8 ] /
e15 zg c- za+ e zg c- za+
 e zg c- za+  e zg c- za+
 e zg c- za+  e zg c- za+
 \lsh f\ f zee a zc-  f zee a zc- /

%9
g4 c e-.d /
[ g8 r1 ( g+ ] [ g ) r g-8 ]
  [ g8 r1 ( g+ ] [ g ) r g-8 ] /
[-2 c1 ze g  zg-
  c ze g zg- ]
[-2  c ze g zg-
  c ze g zg- ]
[-1  b zf+ g zg-
  b zf+ g zg- ]
[-1  b zf+ g zg-
  b zf+ g zg- ] /

%10
c2 r /
c8 r r4 f-4 af /
  [-1 c1 zf zg-  c ze zg-
     c zf zg-   c ze zg- ]
  [u-2  d+ zg-  ze c+ zg ze
     d+ zg- ze  c+ zg ze ]
  [u-2 b+ zf zc   a+ zf zc
     b+ zf zc   a+ zf zc ]
  [u-2 g+ zdr zc  f zdr zc
     g+ zdr zc  f zdr zc ] /

%11
\uptext{\it + 16', + 8'}\
rp /
g0 //
g+4 fs fn2 /
[-2 f1 zc e zc  f zc e zc ]
  [-2 b+ ze-f zc  a+ ze zc     b+ ze-  zc  a+ ze zc ]
  [u-2 c+ zaf zd-  b+ zar zd-  c+ za zd-   b+ zar zd- ][
       c+ za zd-   b+ zar zd-  c+ za zd-   b+ zar zd- ] /

%12
rp /
e+4 zc- r4 r2 /
[u  c+4x3 zg ze      c+ zg ze   c+ zg ze ]
  [u  c+4x3 zg ze    c+ zg ze   c+ zg ze ]
  [u  c+4x3 zg ze    c+ zg ze   c+ zg ze ]
  [u  c+4x3 zdr zg-r zf   c+ zdr zg-r zf  c+ zdr zg-r zf ] /

%13
c2 c- /
Ct  \uptext{\it forte}\  c45 e- f a /
  [-1  c+4x3n  ze  zg-  c ze zg-   c ze zg- ]
  [-1  c4x3n   zg+ zg-  c zg+ zg-  c zg+ zg- ]
  [-1  c4x3n   zg+ za-  c zg+ za-  c zg+ za- ]
  [+1  b4x3n   zd  zf   b- zd zf   b- zd zf ] /

%14
c+2.a /
g4.e c e /
[-1    c4x3n  ze  zg-  c ze zg-   c ze zg- ]
  [-1  c4x3n  ze  zg-  c ze zg-   c ze zg- ]
  [-1  c4x3n  ze  zg-  c ze zg-   c ze zg- ]
%  \lsh m\
%  [-1  c4x3n  zee zf za-   c zee zf za-   c zee zf za- ] /
  [-1   c4x3n  za zfs+   c za zf+   c za zf+ ] /

%15
b4 cs e fs /
d4 b+ b as /
[-1    d4x3n zg zb-  d zg zb-   d zg zb- ]
  [-1  e4x3n zg zb-  e zg zb-   e zg zb- ]
  [-1  e4x3n zg zcs-e zb   e zg zc-e zb  e zg zc-e zb ]
  [-1  c4x3n zas ze+e zfs  c za ze+e zf  c za ze+e zf ] /

%16
b-2 b+ /
b4 ds- e gs /
[-1    ds4x3n zb zfs+   d  zb zf+   d  zb zf+ ]
  [-1  b-4x3n zfs zf+   b- zf zf+   b- zf zf+ ]
  [-1  b-4x3n zgs zf+   b- zg zf+   b- zg zf+ ]
  [+1  as-4x3n zcs ze   a- zc ze    a- zc ze ] /

%17
b-0 /
fs4.ds b d /
[u-1     ds4x3n  zb zfs     d+ zb zf  d+ zb zf ]
  [u-2   ds+4x3n zb zf     d+ zb zf  d+ zb zf ]
  [u-3   ds+4x3n zb zf     d+ zb zf  d+ zb zf ]
  [l-1    b4x3n zgs zds+e zes  b zg zd+e ze   b zg zd+e ze  ] /

%18
as0 /
ds4 as+ as- gs+ /
[-1     ds4x3n zas zf+ss   d za zf+  d za zf+ ]
  [-1   ds4x3n zas zf+ss   d za zf+  d za zf+ ]
  [-1   css4x3n zgs zf+    c zg zf+  c zg zf+ ]
  [-1   c4x3n   zg zes+    c zg ze+  c zg ze+ ] /

%19
b2.gs /
fs4.ds b d /
[u-1     ds4x3n  zfs-     d+ zb zf  d+ zb zf ]
  [u-2   d+4x3n zb zf     d+ zb zf  d+ zb zf ]
  [u-3   d+4x3n zb zf     d+ zb zf  d+ zb zf ]
  [l-1    b4x3n zgs zes+  b zg ze+   b zg ze+  ] /

%20
as4 bs ds es /
cs4 as+ a gss /
[-1      cs4x3n  zas zfs+     c za zf+      c za zf+ ]
   [-1   ds4x3n  za  zf+      d za zf+      d za zf+ ]
   [l-1   a-4x3n  zbse zd zf    a- zbe zd zf  a- zbe zd zf  ]
   [-1   b-4x3n  zgss zd+e ze  b zg zd+e ze   b zg zd+e ze ] /

%21
bf0 /
bf4 dn- ef gf /
[l+1     bf4x3n  zdn zfn  b- zd zf   b- zd zf ]
  [l+1   bf-4x3n  zdn zfn  b- zd zf   b- zd zf ]
  [l+1   bf-4x3n  zef zgf  b- ze zg   b- ze zg ]
  [l+1   an-4x3n  zef+ zgf  a- ze+ zg   a- ze+ zg ] /

%22
af0 /
f4.d bf f+ /
[l+1     bf-4x3n  zd zf  b- zd zf   b- zd zf ]
   [l+1  b-4x3n  zd zf  b- zd zf   b- zd zf ]
   [l+1  b-4x3n  zd zf  b- zd zf   b- zd zf ]
   [l+1  b-4x3n  zd zf  b- zd zf   b- zd zf ] /

%23
g2.fs /
d+4 bn c ef /
[l+1     bn-4x3n  zd zf  b- zd zf   b- zd zf ]
   [l+1  b-4x3n   zd zf  b- zd zf   b- zd zf ]
   [l+3  fs-4x3n  zan zef+  f- za ze+   f- za ze+ ]
   [u-1 c4x3n zaf zef   c+ za ze   c+ za ze  ] /

%24
fn0 /
d4.bn g b /
[+3     d4x3n   zg zbn  d- zg zb   d- zg zb ]
   [+3  d-4x3n  zg zb   d- zg zb   d- zg zb ]
   [+3  d-4x3n  zg zb   d- zg zb   d- zg zb ]
   [-3  d4x3n   zb zg   d+ zb zg   d+ zb zg ] /

%25
e2 fs /
c4 g a e /
[-3       e+4x3n  zc zg  e+ zc zg   e+ zc zg ]
   [-3    e+4x3n  zc zg  e+ zc zg   e+ zc zg ]
   [-3    e+4x3n  zc za  e+ zc za   e+ zc za ]
   [-3    e+4x3n  zc za  e+ zc za   e+ zc za ] /

%26
( g0 /
e+2  ef za /
[l+1     g4x3n   zc ze zg    g- zc ze zg    g- zc ze zg ]
   [l+1  g-4x3n  zc ze zg    g- zc ze zg    g- zc ze zg ]
   [l+1  a-4x3n  zc zfs    a- zc zf   a- zc zf  ]
   [l+1  a-4x3n  zc zf    a- zc zf   a- zc zf  ] /

%27
( g0 ) /
r2 d--4 e  //
\lw k\ (A-0-1 d-2 c  /
[l+1     af-4x3n  zc zfn    a- zc zf   a- zc zf  ]
   [l+1  a-4x3n  zc zf    a- zc zf   a- zc zf  ]
   [+1   c4x3n   zf zaf   c- zf za   c- zf za ]
   [+1   c-4x3n   zf za   c- zf za   c- zf za ] /

%28
( g0 ) /
(1 d+0 )A  (2 zb (3 zf /
[         b-4x3n zd zfe zg   b- zd zfe zg   b- zd zfe zg ]
   [      b-4x3n zd zfe zg   b- zd zfe zg   b- zd zfe zg ]
   [      b-4x3n zd zfe zg   b- zd zfe zg   b- zd zfe zg ]
   [      b-4x3n zd zfe zg   b- zd zfe zg   b- zd zfe zg ] /

%29
g2 ) r /
d+2 )1 zb )2 zf )3 r /
b-2 zd zfe zg r /


From mutex-owner@mail2.gmd.de Tue Oct 13 18:53:00 1998
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199810131853.UAA05459@sunick.gmd.de>
To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: PMX, shifted accidentals, slur-ID
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> Date: Tue, 13 Oct 1998 18:53:14 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

partial answer:

> 1) How can I shift accidentals within PMX-code?
[...]
>    I find inline-TeX in this case not so useful, because
>    you never know the present state of the \transpose-register,
>    so you would have to trie it, which seems kind of stange ....

There is no problem to make in-line TeX and PMX completely
independant. Use "!" to reset the transpose register for your
in-line TeX and use grouping "{...}" to avoid confusing the PMX
code. I often use "\\def\z{}\" at the very beginning of a PMX-
source and e.g. "... \z{\lsh{!'c}} ..." as in-line TeX.

I believe that Don will answer the original problem. 

> 2) At the end of the piece I trie to use the ID-code for slurs,
>    (search for "(A" and ")A").
>    but it does not come out  as I want ...
>    What is my mistake?  Is it due to features of \nextvoice?

If I remember right I had the same problem and found that a single 
voice is the "lower" voice. So you start the "A"-slur in the upper-
voice and try to end it in the lower voice.

I pointed Don already at that problem, because it's difficult to solve 
by the user. If a piece has only a few place with two voices but a lot
of complicated slurs it can be neccessary to code always two voices, 
where only one is needed.

   
> 3) Further I would suggest PMX to provide a command which
>    takes a single note out of its measure controll
>    and makes it an unspaced note.

Imho this is a good proposal. Nevertheless it's fine that PMX
allows to code such things as in-line TeX. So we can/have_to
wait for a PMX-solution.

-- Werner

From mutex-owner@mail2.gmd.de Tue Oct 13 20:33:49 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMX, shifted accidentals, slur-ID
To: mutex@gmd.de, begemann@math.uni-hamburg.de (Eckart Begemann)
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begemann wrote

>1) How can I shift accidentals within PMX-code?
>In MusiXTeX   you would code e.g.  "\lsh e"  
>The problem arises especially in a 'chordal context' ... I did not 
>find any hints in PMX' 'FM', .... :-)
>I find inline-TeX in this case not so useful, because
>you never know the present state of the \transpose-register, so you 
>would have to trie it, which seems kind of stange ....

In the soon-be-released upgrade om PMX, it will be easy to shift 
accidentals, and PMX will insert extra space if needed to make room 
for the shifted accidentals.  (Please be patient).  Meanwhile, as I 
have done many times in my own scores, you can inline for example 
\loffset{.8}{\bigsh5}\ .  Of course this will not be transposed if you 
use PMX facilities to transpose the whole piece, but it does avoid the 
octave problem.  I believe you can also somehow enter an absolute 
pitch in the inline with "!", but I've never used that myself.

I'll get to the other questions later...have to get back to work now.

--Don

From mutex-owner@mail2.gmd.de Tue Oct 13 21:23:44 1998
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From: barry.gold@platinum.com (Barry Gold)
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To: mutex@gmd.de
Subject: voltas - partially fixed
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Well, I reread the stuff on voltas and noticed the bit about "start of
bar only".  I moved my volta-end markers to the start of their
respective bars and got my thin-thick bar as I coded it, and the
second volta is now open.  But the first volta still extends too far
to the right (bumping into the opening of the second volta).  And I
don't get a thin-thick bar at the end of the piece even when I
explicitly code it.  My current version of the volta paragraphs is
below:

   V1--7 f2d r8     c8      |] Vb
C:       a
L:       me.       (There's)

% %% l
% * The "railroad rhythm" should grow more pronounced as the song progresses.
% %% l
% + You can use a toy train whistle, otherwise optional
U:         |                 
   V8 ( f0 | Vx f2 ) r8  f8 o> f4 of             |]
C:      a-      a
L:      me               (Whoo-whoo!)$^\dagger$

-- 
Approved by mutex-owner

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From: barry.gold@platinum.com (Barry Gold)
Message-Id: <9810132059.AA37691@janus.la.platinum.com>
To: mutex@gmd.de
Subject: M-Tx: voltas, special bars, optional notes
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Thanks to suggestions from Dirk and a few others, I'm now able to get
close to the output I want (including the "footnote" lines at the
bottom).  But the thin-thick bar line ( |] ) I coded at the end of bar 9
(line 42 of the input) appears as a normal bar -- and so does the end
of the piece which would normally have a thin-thick bar added
automatically.

Also my voltas aren't coming out the way I want them.  I want the
first volta to end slightly *before* the bar line (so it doesn't run
into the second volta), and the second volta is supposed to be open (I
coded Vx in bar 11).

Finally, the piece as submitted by the author has two optional notes
in bar 5 (which I replaced with a half-rest and an eight-rest).  He
handwrote them as notes in parentheses, but I have no idea how to get
that effect in M-Tx or PMX.  I do see that I could do it in raw
MusiXTeX using the \lpar and \rpar macros.

Suggestions?

----->   input to M-Tx <-----
Meter: 4/4
Flats: 1
Style: SINGER
% Bars/Line: 2
Space: 9
Pages: 1
Systems: 4

%% h9.8i
%% w7i
%% Ar
%% \\input bdgmusic\ 
%% \\pageno=6\ 
%% \\headline{\twelverm XenoFilkia \#62\hfill page XX}\ 
%% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FERROEQUINOLOGY\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by David T. Okamura\hfill}\ 
%% \\let\endpiecesav\endpiece\ 
%% \\def\endpiece{\endpiecesav\input ferroend}\ 
U:@+1 Quick~and~lively* @v mf      |
@+9   r2db        X-2: r8b X: c8   |  a+  a   a     a f o> f  g of a  |
C:                                 |  f   ~   f     ~ a-   ~  e    ~
L:                            If      you com-posed a mas-ter list of

U:                                 |                                   
   b   b  b    b  d o> c b of g    | a   a  a  a   a     a   g   f    |
C: g   ~  g    ~  b    ~ g    ~      f   ~  f  ~   f     ~   e   ~
L: ev'-ry type of sci-en-tist with   ev'-ry ma-jor field and spe-cial- 

U:                 |                               
   g4 r2    r8 c-8 | a+  a    a   a    f o> f g of a |
C: e               | f   ~    f   ~    a-   ~ e    ~
L: ty          the   sub-ject you will ne-ver see  is

U:                            |                                   
   b   b  b b   d o> c b of g | a      a   f    f  g    g   f    e |
C: g   ~  g ~   b    ~ g    ~   f      ~   a-   ~  e    ~   a-   ~  
L: fer-ro-e-qui-nol-o-gy, but   that's the line of scho-lar-ship for

U:             
   V1--7  f2d r8     c8 Vb |]
C:        a
L:        me.       (There's)

% %% l
% * The "railroad rhythm" should grow more pronounced as the song progresses.
% %% l
% + You can use a toy train whistle, otherwise optional
U:         |                 
   V8 ( f0 | f2 ) r8  f8 o> Vx f4 of
C:      a-   a
L:      me            (Whoo-whoo!)$^\dagger$

----->   bdgmusic.tex <-----
% \vsize=10in
\hoffset=.05in\voffset=.05in
\font\twelverm=cmr12
\font\sevtrm=cmr17
\def\bang{\char33}
\def\chorus{\sevtrm~\bf{Chorus:}}
\def\emdash{---}
\def\hy{\thinspace-}
\def\bd{\lyrlayout{\def\lyrhyphenchar{---}\minmulthyphens=10cm}}
\def\ed{\lyrlayout{}}
\def\twolines{\line{\twelverm ~\hfill}\line{\twelverm ~\hfill}}
\nobarnumbers\forcelyrhyphenstrue

----->   ferroend.tex <-----
\vskip 1 mm
\noindent
\line{* The "railroad rhythm" should grow more pronounced as the song progresses.\hfill}
\vskip 1 mm
\line{$^\dagger$ You can use a toy train whistle, otherwise optional\hfill}

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Wed Oct 14 14:10:54 1998
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In typsetting classical guitar music I need to create a straight-line
slide from one note to another (indicates either a glissando, or just
the fact that the left-hand finger that is fretting the first note, is
to be carried along the same string, without sounding, to the position
of the second note).  This slide should work just as a slur (\isslur
variety) except that it must be straight and not curved. I was unable to
create this effect and would appreciate any suggestions.

George Svetlichny

From mutex-owner@mail2.gmd.de Wed Oct 14 15:52:07 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, svetlich@saci.mat.puc-rio.br
Subject: Re: MusixTeX. Straight line slides (how to)
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> Date: Wed, 14 Oct 1998 11:10:54 -0300
> From: George Svetlichny <svetlich@saci.mat.puc-rio.br>

> In typsetting classical guitar music I need to create a straight-line
> slide from one note to another (indicates either a glissando, [...]

2.26.8 musixext

\slide ... glissando

or

\varline


From mutex-owner@mail2.gmd.de Wed Oct 14 18:32:36 1998
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Werner Icking wrote:
> 
> > Date: Wed, 14 Oct 1998 11:10:54 -0300
> > From: George Svetlichny <svetlich@saci.mat.puc-rio.br>
> 
> > In typsetting classical guitar music I need to create a straight-line
> > slide from one note to another (indicates either a glissando, [...]
> 
> 2.26.8 musixext
> 
> \slide ... glissando
> 
> or
> 
> \varline

\slide is wavy, I want a straight line

\varline works to some extent, but is hard to get just right. Isn't
there a way to impose zero overall curvature on a slur?

George Svetlichny

From mutex-owner@mail2.gmd.de Thu Oct 15 07:13:51 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810150713.JAA27121@calvyn.puk.ac.za>
Subject: Re: M-Tx: voltas, special bars, optional notes
To: barry.gold@platinum.com (Barry Gold)
Date: Thu, 15 Oct 1998 09:13:51 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9810132059.AA37691@janus.la.platinum.com> from "Barry Gold" at Oct 13, 98 01:59:02 pm
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Barry Gold wrote:
> 
> But the thin-thick bar line ( |] ) I coded at the end of bar 9
> (line 42 of the input) appears as a normal bar -- and so does the end
> of the piece which would normally have a thin-thick bar added
> automatically.
> 
This was a bug in 0.50 that has been fixed in 0.50a.

Dirk

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Message-Id: <199810150729.JAA27194@calvyn.puk.ac.za>
Subject: Re: voltas - partially fixed
To: barry.gold@platinum.com (Barry Gold)
Date: Thu, 15 Oct 1998 09:29:57 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <9810132123.AA26566@janus.la.platinum.com> from "Barry Gold" at Oct 13, 98 02:23:44 pm
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Barry Gold wrote:
> 
>    V8 ( f0 | Vx f2 ) r8  f8 o> f4 of             |]

The revised version looks fine using M-Tx 0.50a (as my previous post
suggests) but lacks the footnotes.  To get them, change all instances 
of "\endpiece" to "\Endpiece" earlier on.  

Dirk

From mutex-owner@mail2.gmd.de Thu Oct 15 08:21:31 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, svetlich@saci.mat.puc-rio.br
Subject: Re: MusixTeX. Straight line slides (how to)
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> Date: Wed, 14 Oct 1998 15:32:36 -0300
> From: George Svetlichny <svetlich@saci.mat.puc-rio.br>

> \varline works to some extent, but is hard to get just right. Isn't
> there a way to impose zero overall curvature on a slur?

No. There are simple curved slurs as one piece and complex slurs
starting with a curved beginning, continuing with a curved middle
and ending with a curved ending.

Take \varline as a model and make a better definition for your
purpose - and let us participate :-)

-- Werner

From mutex-owner@mail2.gmd.de Sat Oct 17 19:37:35 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: M-Tx: voltas, special bars, optional notes
To: mutex@gmd.de
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Author:  barry.gold@platinum.com (Barry Gold) at internet-mail
Date:    10/13/98  1:59 PM
Barry gold wrote

>the piece as submitted by the author has two optional notes
>in bar 5 (which I replaced with a half-rest and an eight-rest).  He
>handwrote them as notes in parentheses, but I have no idea how to get
>that effect in M-Tx or PMX.  I do see that I could do it in raw
>MusiXTeX using the \lpar and \rpar macros.

In PMX there are ornaments o( and o) that come out looking 
suspiciously like left and right parentheses to the left or right of 
the notehead respectively.  They were intended to be used as French 
baroque keyboard ornaments but might do what you want.

--Don Simons 

From mutex-owner@mail2.gmd.de Mon Oct 19 10:05:45 1998
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Message-Id: <199810191005.MAA19934@AMSUN08.math.uni-hamburg.de>
Subject: breves in M-Tx or musixlyr?
To: mutex@gmd.de
Date: Mon, 19 Oct 1998 12:05:45 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Writing a piece in M-Tx I found that
the breves do not take any syllables:
Concerning the text they are obviously 
handled as if they were pauses.

This maybe a problem of musixlyr,
I don't know, I have not checked it yet.
(lazy ...  I know).
But anyway I think the authors will 
know quite immediately the root of this
behaviour.

If it is a problem of MusixLyr, don't forget
to make the same changes to the \zmaxima
as well. 


PS: Still I am *very* grateful for the work
  of you, the authors of MusixTex, its packages,
  its (Pre)Preprocessors!
    This should be remembered every now and then
  because I don't want to appear as the always
  complaining person ... 
    It is a lot of fun to use these programs and
  I do not write this to the mailing list
  every time I feel so. I only write when I 
  find some 'hole'. Of course this is  not fair ...

From mutex-owner@mail2.gmd.de Mon Oct 19 17:02:08 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810191702.TAA17585@calvyn.puk.ac.za>
Subject: Re: breves in M-Tx or musixlyr?
To: begemann@math.uni-hamburg.de
Date: Mon, 19 Oct 1998 19:02:08 +0200 (SAT)
In-Reply-To: <199810191005.MAA19934@AMSUN08.math.uni-hamburg.de> from "Eckart Begemann" at Oct 19, 98 12:05:45 pm
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Eckart Begemann wrote:
> 
> Writing a piece in M-Tx I found that
> the breves do not take any syllables:
> Concerning the text they are obviously 
> handled as if they were pauses.
> 
> This maybe a problem of musixlyr,
> I don't know, I have not checked it yet.
> (lazy ...  I know).
> But anyway I think the authors will 
> know quite immediately the root of this
> behaviour.
> 
> If it is a problem of MusixLyr, don't forget
> to make the same changes to the \zmaxima
> as well. 
> 
> 

You can work around the problem by putting \lyr\ in front of
each breve.  

Dirk


From mutex-owner@mail2.gmd.de Tue Oct 20 16:47:22 1998
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Subject: MTx050a-release (Case/Only),  \lyricson?, linebreaks (PMX?)
To: mutex@gmd.de
Date: Tue, 20 Oct 1998 18:47:22 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello again,

Thanks for your hint concerning \lyr\ics, Dirk!
It did work, at least it made it going again.

Still I do not quite understand the behaviour of MTx
concerning slurs when lyrics have to be attached.

Therefore I enclose the file "mutexlau.mtx" which shows 
the source:  
The output lacks the lyrics at the end completely!

Also the output shows a strange feature concerning the
linebreads.  It seems to me that  the program which is
in response of the linebreaks  does not take the meter 
changes properly into account. Or which is the reason
for the last line to be squeezed so much?


Here it is:

================= mutexlau.mtx ==========================

Title: Laudate Dominum
Composer: Claudio Monteverdi
%%%%%%Style: BassoBC
%%%%%%BassoBC: Voices Basso; Vocal; Voices bc; Clefs F F
Basso: Voices Basso; Vocal; Clefs F
BC:    Voices bc; Clefs F
Style: Basso BC
Flats: 0
Meter: m4206
PMX: Arb B
Space: 2
Pages: 2
Systems: 14

%%%%%Ti
%%a Basso solo


%1
r4 d f2 d r4 d
L: Lau-da-te lau-
d0 (t d0

%2
m4400  f2 ( g1 e f (tl g g4 )t ) 
L: da-te Do-mi-num
m4400 d2 )t bf 

%3
a8.a a4 r2
L: Do-mi-num
a2 r4 a+1 g f e

%4
r4 ( a1 g f e f4 ) r 
L: o-
f4 r r f1 e d c 

%5
r4 ( f1 e d c d4 )  ( d+1 c bf a
L: o-om-
d4 c bf a

%6
bf1 g a b  c b a g  a g f e  f d e f
g2 f

%7
m4200 c4 )+5 a c2  f-0
L: nes gen-tes.
m4200 c+4 a c2 f-0

%8
m4400  r4 f+ f f8 g | 
L: Lau-da-te lau-
m4400  (t f+0 | 

%9
a4 f r f |
L: da-te lau-
f0 )t |

%10
a2  ( bn1 g a (tl b b4 )t ) |
L: da-te 
d0 |

%11
c4 c r4 ( c1 b c3 a b c
L: e-um o-
c0

%12
g4 ) r r ( g1 f g3 e f g |
L: o-
r4 c1 b c3 a b c  g2 |  

%13
d4.e f.g
L: o-
r4 g1 f  g3 e f g  d4.e

%14
a2 ) ( c1 b c3 a b c )  ( bf1 a b3 g a b ) | ( a8 c1 bf  a g f e  d e f e  d8d  c3 b oef
L: om-~-~
f2.g _ | a2 d |

%16
m4200 a4 )+5 g a.a d0
L: new po-pu-li.
m4200 a4 g a.a d0

%17
m18203 d+0d c2 b0 a9 a0 g9 r0
L: Quo-ni-am quo-ni-am
m18203 g-0d a2 b0 c9 d0 e b c

%18
m12200  r0 fs fs g9 g0
L: con-fir-ma-ta
m12200  \hroff{\pt K}\  d9 # r0b e0 b c

%19
fs0 f f  g9 r0
L: est su-per nos
\hroff{\pt K}\ d9 # r0b e0 b c

%20
fs0 f f g9 g0
L: mi-se-ri-cor-di-
\hroff{\pt K}\ d9 # r0b e0 b c

%21
m6206 fs2 r8 a a a bf2d  b8 a a0
L: -a  mi-se-ri-cor-di-a e-
m6206 d4.e fs2 g c- d0

%22
m12203 g9 e0 f.g a
L: ius et ve-ri-tas
m12203 g9 e0 f.g a

%23
g0 g9 c- r0
L: Do-mi-ni
g0 g-9 c0 c+ c

%24
m18200 r0 r0 r0 r0 c+ c b.b  a2 g
L: ma-net ma-net in ae-
m18200 b0d a2 a g \hroff{\pt a}\ a9 r0b  \hroff{\pt N}\ g9 r0b

%25
m12200 a0 a r  r0 r r
L: ter-num
m12200 r0 f f e.d d2 c

%26
r0 f f  e.d d2 c
L: ma-net ma-net in ae-
\hroff{\pt K}\ d9 r0b \hroff{\pt J}\ c9 r0b

%27
d0 d e f.g a
L: ter-num et ve-ri-tas
g9 c0 d.e f

%28
a0 g9 oes a0 (t a9
L: Do-mi-ni- ma-
\hroff{\pt L}\ e9 r0b a0 a a

%29
\hroff{\pt a}\ a9 )t r0b \hroff{\pt a}\ a9 r0b
L: -net
g0.f f2 e f0 f f

%30
(1t \hroff{\pt a}\ a9 r0b (2t \hroff{\pt a}\ a9 )1t r0b
L: ma-
e0.d d2 cs d0 d d

%31
(3t \hroff{\pt a}\ a9 )2t r0b \hroff{\pt a}\ a9 )3t r0b
L: ~
c0.b b2 a a0 g g

%32
m6206 a2 a4 a ( a2 gs ) a0
L: -net in ae-ter-num.
m6206 f2 f8 e e d e0 a

%33
m12203 a0.a g (+2 f2 g a b c a
L: Glo-ri-a Glo-
m12203 f+9,e d,c

%34
b2 a g f e d c9 )+3 c0
L: -ri
\hroff{\pt I}\ bf9 r0b c9,c

%35
f-9 r0 f+ g a
L: a Glo-ri-a
f9,e d,c

%36
bf0 g f ( f e2 f g a )
L: Glo-ri-a Pa-
\hroff{\pt I}\ b9 r0b \hroff{\pt C}\ c9 r0b

%37
f9 r0 a bf c
L: tri Glo-ri-a
f9,e d,c

%38
d0 g- g ( g c2 bf a ) g
L: Pa-tri et Fi-li
\hroff{\pt I}\ b9 r0b \hroff{\pt C}\ c9 r0b

%39
f9 r0 r f e
L: o et Spi-
f9,e d,c

%40
d0 c bf (u c c2 a b c )
L: ri-tu-i Sanc-
\hroff{\pt I}\ b9 r0b \hroff{\pt C}\ c9 r0b

%41
f-9  r0 r0 a+ b
L: to Si-cut
f9,g a,gs

%42
m6200  c0.c b2 a
L: e-rat in prin-
m6200  a0 g f

%43
m12200 ( b2 g a b c b c a b0d ) b2
L: ci-pi-
m12200 e0.d c a e+9

%44
m6200 a0 c b
L: o in prin-
m6200 a-0 a+ gs

%45
m12200 a0.a gs2 fs ( g e f g a0 )
L: ci-pi-o et nunc
m12200 a0 g f oen e0.d c

%46
a0 a.gs a a gs
L: et sem-per nunc et
a0 e+9 a-0 a+ gs

%47
m18200 a0.a g2 f e0 e2 d c0 a e+9
L: sem-per et in sae-cu-la sae-cu-lo-
m18200 a0 g f e.d c a e+9

%48
m4406 a-2 r4 r1 ( a+ g a
L: rum. A-
m4406 a-4 r1 a+ g a f4 r

%49
f4 ) r r r1 ( f e f
L: A-
r4 r1 f e f d4 r

%50
d4 ) r ( d+8.c ) ( c.bf )
L: A-
d+8.c c.bf b4 r

%51
bf4 r ( bf8.a ) ( a.g )
L: A-
bf8.a a.g g4 r

%52
( g1 f e f  g a bf g  a g f g  a b c a
L: -
g2 _ fs

%53
bf1 c d c  b a g f  g8d  f3 e ) d3 d d d  d d d d
L: -
g2 g-

%54
m6200 ( d4   d1 ) ( c d3 b c d g-2 )  d+9
L: ~ ~ men.
m6200 (t g2 g )t d+9
=============ENDE von mutexlau.mtx ===============================



I tried to fix the problems an came to the following file, called 
laudate.mtx
It reveals the following problems
1) I do not understand the Case-feature or the Only-feautre (or both...)
   If you take out the Case-paragraph the whole thing will work
   and rises the next questions:
2) I do not understand why I have to give so many \beginmel \endmel:
   Should not the slurs be enough?
3) I do not understand why I have to give \lyricson?
   Who switched it off?????

4)  Again concerning Case/Only: I tried to process the cervus.mtx of
    the distribution (mtx050a) but it does not work. It tells me
    some error message like "no music paragraph".


Thanks a lot for your trouble with my questions!

  ### Eckart Bg


============= BEGIN of laudate.mtx ======================
Title: Laudate Dominum
Composer: Claudio Monteverdi
%%%%%%Style: BassoBC
%%%%%%BassoBC: Voices Basso; Vocal; Voices bc; Clefs F F
Basso: Voices Basso; Vocal; Clefs F
BC:    Voices bc; Clefs F
Style: Basso Piano
Flats: 0
Meter: m4206
PMX: Arb B
Space: 2
Pages: 3
Systems: 14

%%%%%Ti
%%a Basso solo

Case: 0
Style: Basso BC
Only: 1,3
Pages: 2


%1
r4 d f2 d r4 d
LBasso: Lau-da-te lau-
r0b rb
d0 (t d0

%2
m4400  f2 ( g1 e f (tl g g4 )t ) 
LBasso: da-te Do-mi-num
rpb
m4400 d2 )t bf 

%3
a8.a a4 r2
LBasso: Do-mi-num
rpb
a2 r4 a+1 g f e

%4
r4 ( a1 g f e f4 ) r 
LBasso: o-
rpb
f4 r r f1 e d c 

%5
r4 ( f1 e d c d4 )  ( d+1 c bf a
LBasso: o-om-
rpb
d4 c bf a

%6
%%L2
bf1 g a b  c b a g  a g f e  f d e f
LBasso: ~
rpb
g2 f

%7
m4200 c4 )+5 a c2  f-0
LBasso: nes gen-tes.
rpb
m4200 c+4 a c2 f-0

%8
m4400  r4 f+ f f8 g | 
LBasso: Lau-da-te lau-
rpb
m4400  (t f+0 | 

%9
a4 f r f |
LBasso: da-te lau-
rpb
f0 )t |

%10
a2  ( bn1 g a (tl b b4 )t ) |
LBasso: da-te
rpb
d0 |

%11
c4 c r4 ( c1 b c3 a b c
LBasso: e-um o-
rpb
c0

%12
%%L3
g4 ) r r ( g1 f g3 e f g |
LBasso: o-
rpb
r4 c1 b c3 a b c  g2 |  

%13
d4.e f.g
LBasso: o-
rpb
r4 g1 f  g3 e f g  d4.e

%14
a2 ) ( c1 b c3 a b c )  ( bf1 a b3 g a b )
LBasso: om-~
rpb
f2.g _

%15
( a8 c1 bf  a g f e  d e f e  d8d  c3 b oef
LBasso: ~
rpb
a2 d

%16
m4200 a4 )+5 g a.a d0
LBasso: new po-pu-li.
m4200 rpb
m4200 a4 g a.a d0

%17
%%L4
m18203 d+0d c2 b0 \lyr\ a9 a0 \lyr\ g9 r0
LBasso: Quo-ni-am quo-ni-am
m18203 r0b rb rb  rb rb rb  rb rb rb
m18203 g-0d a2 b0 c9 d0 e b c

%18
m12200  r0 fs fs \lyr\ g9 g0
LBasso: con-fir-ma-ta
m12200 r0b rb rb  rb rb rb
m12200  \hroff{\pt K}\  d9 # r0b e0 b c

%19
fs0 f f  \lyr\ g9 r0
LBasso: est su-per nos
r0b rb rb  rb rb rb
\hroff{\pt K}\ d9 # r0b e0 b c

%20
fs0 f f \lyr\ g9 g0
LBasso: mi-se-ri-cor-di-
r0b rb rb  rb rb rb
\hroff{\pt K}\ d9 # r0b e0 b c

%21  Why is \lyr\ needed?
m6206 \lyr\ fs2 r8 a a a bf2d  b8 a a0
LBasso: -a  mi-se-ri-cor-di-a e-
m6206 r2b rb rb  rb rb rb
m6206 d4.e fs2 g c- d0

%22
m12203 \lyr\ g9 e0 f.g a
LBasso: ius et ve-ri-tas
m12203 r0b rb rb  rb rb rb
m12203 g9 e0 f.g a

%23
g0 \lyr\ g9 \lyr\ c- r0
LBasso: Do-mi-ni
r0b rb rb  rb rb rb
g0 g-9 c0 c+ c

%24
m18200 r0 r0 r0 r0 c+ c b.b  a2 g
LBasso: ma-net ma-net in ae-
m18200  r0b rb rb  rb rb rb  rb rb rb
m18200 b0d a2 a g \hroff{\pt a}\ a9 r0b  \hroff{\pt N}\ g9 r0b

%25
m12200 a0 a r  r0 r r
LBasso: ter-num
m12200 r0b rb rb  rb rb rb
m12200 r0 f f e.d d2 c

%26
r0 f f  e.d d2 c
LBasso: ma-net ma-net in ae-
r0b rb rb  rb rb rb
\hroff{\pt K}\ d9 r0b \hroff{\pt J}\ c9 r0b

%27
d0 d e f.g a
LBasso: ter-num et ve-ri-tas
r0b rb rb  rb rb rb
g9 c0 d.e f

%28
a0 \lyr\ g9 oes a0 (t \lyr\ a9
LBasso: Do-mi-ni ma-
r0b rb rb  rb rb rb
\hroff{\pt L}\ e9 r0b a0 a a

%29
\hroff{\pt a}\ a9 )t r0b \hroff{\pt a}\ \lyr\ a9 r0b
LBasso: net
r0b rb rb  rb rb rb
g0.f f2 e f0 f f

%30
(1t \hroff{\pt a}\ \lyr\ a9 r0b (2t \hroff{\pt a}\ a9 )1t r0b
LBasso: ma-
r0b rb rb  rb rb rb
e0.d d2 cs d0 d d

%31
(3t \hroff{\pt a}\ a9 )2t r0b \hroff{\pt a}\ \lyr\ a9 )3t r0b
LBasso: ~
r0b rb rb  rb rb rb
c0.b b2 a a0 g g

%32 Why do I have to switch the \lyricson ? And why \begin/endmel ??
m6206 \lyricson\ a2 a4 a \beginmel\ ( a2 \endmel\ gs ) a0
LBasso: net in ae-ter-num.
m6206 r2b rb rb  rb rb rb
m6206 f2 f8 e e d e0 a

%33
m12203 a0.a g \beginmel\ (+2 f2 g a b c a
LBasso: Glo-ri-a Glo-
m12203 r0b rb rb  rb rb rb
m12203 f+9,e d,c

%34
b2 a g f e d \endmel\ c9 )+3 \lyr\ c0
LBasso: ri
r0b rb rb  rb rb rb
\hroff{\pt I}\ bf9 r0b c9,c

%35
\lyr\ f-9 r0 f+ g a
LBasso: a Glo-ri-a
r0b rb rb  rb rb rb
f9,e d,c

%36
bf0 g f ( \beginmel\ f e2 f g \endmel\ a )
LBasso: Glo-ri-a Pa-
r0b rb rb  rb rb rb
\hroff{\pt I}\ b9 r0b \hroff{{\pt{!I}}}\ c9 r0b

%37
\lyr\ f9 r0 a bf c
LBasso: tri Glo-ri-a
r0b rb rb  rb rb rb
f9,e d,c

%38
d0 g- g ( \beginmel\ g c2 bf \endmel\ a ) g
LBasso: Pa-tri et Fi-li-
r0b rb rb  rb rb rb
\hroff{\pt I}\ b9 r0b \hroff{{\pt{!I}}}\ c9 r0b

%39
\lyr\ f9 r0 r f e
LBasso: o et Spi-
r0b rb rb  rb rb rb
f9,e d,c

%40
d0 c bf (u \beginmel\ c c2 a b \endmel\ c )
LBasso: ri-tu-i Sanc-
r0b rb rb  rb rb rb
\hroff{\pt I}\ b9 r0b \hroff{\pt C}\ c9 r0b

%41
\lyr\ f-9  r0 r0 a+ b
LBasso: to Si-cut
r0b rb rb  rb rb rb
f9,g a,gs

%42
m6200  c0.c b2 a
LBasso: e-rat in prin-
m6200 r2b rb rb  rb rb rb
m6200  a0 g f

%43
m12200 ( \beginmel\ b2 g a b c b c a b0d \endmel\ ) b2
LBasso: ci-pi-
m12200 r0b rb rb  rb rb rb
m12200 e0.d c a e+9

%44
m6200 a0 c b
LBasso: o in prin-
m6200 r2b rb rb  rb rb rb
m6200 a-0 a+ gs

%45
m12200 a0.a gs2 fs ( \beginmel\ g e f g \endmel\ a0 )
LBasso: ci-pi-o et nunc
m12200 r0b rb rb  rb rb rb
m12200 a0 g f e0.d c

%46
a0 \beginmel\ ad \endmel\ gs2 a0 a gs
LBasso: et sem-per nunc et
r0b rb rb  rb rb rb
a0 e+9 a-0 a+ gs

%47
m18200 a0.a g2 f e0 e2 d c0 a \lyr\ e+9
LBasso: sem-per et in sae-cu-la sae-cu-lo-
m18200 r0b rb rb  rb rb rb rb rb rb
m18200 a0 g f e.d c a e+9

%48
m4406 a-2 r4 r1 ( \beginmel\ a+ g a
LBasso: rum. A-
m4406 r0b
m4406 a-4 r1 a+ g a f4 r

%49
\endmel\ f4 ) r r r1 ( \beginmel\ f e f
LBasso:  A-
r0b
r4 r1 f e f d4 r

%50
\endmel\ d4 ) r \beginmel\ ( d+8.c ) ( c.bf )
LBasso: A-
r0b
d+8.c c.bf b4 r

%51
\endmel\ bf4 r \beginmel\ ( bf8.a ) ( a.g )
LBasso: A-
r0b
bf8.a a.g g4 r

%52
%%L14
( g1 f e f  g a bf g  a g f g  a b c a
LBasso: -
r0b
g2 _ fs

%53
bf1 c d c  b a g f  g8d  f3 e ) [ d3 d d d  d d d d ]
LBasso: -
r0b
g2 g-

%54
m6200 ( d4   d1 ) ( c d3 b c d \endmel\ g-2 )  \lyr\ d+9
LBasso:   men.
m6200 r2b rb rb  rb rb rb
m6200 (t g2 g )t d+9

===============END  of laudate.mtx ======================

From mutex-owner@mail2.gmd.de Tue Oct 20 19:02:03 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: "'begemann@math.uni-hamburg.de'" <begemann@math.uni-hamburg.de>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: breves in M-Tx or musixlyr?
Date: Tue, 20 Oct 1998 21:02:03 +0200
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Hi Eckart,

> Writing a piece in M-Tx I found that
> the breves do not take any syllables:
> Concerning the text they are obviously 
> handled as if they were pauses.
> 
> This maybe a problem of musixlyr,
> I don't know, I have not checked it yet.

Indeed, it is. For the sake of chords, musixlyr doesn't attach syllables
to non-spacing notes. Unfortunately, MusiXTeX provides breve, longa, and
maxima only in a non-spacing fashion, and I can't think of a way to
solve this difficulty in an unambiguous way. (Do you have any ideas?)
Nevertheless, I'm sure that there are reasonable workarounds. Could you
please provide an example demonstrating the problem? With this, I'll try
to find a proper solution.

Regards,

Rainer


From mutex-owner@mail2.gmd.de Tue Oct 20 18:55:59 1998
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Date: Tue, 20 Oct 1998 19:55:59 +0100
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: 5 questions
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I'm using OpusTeX 0.84 and I have some things I would like to do that I
have not yet figured out.

1) I would like to display a time signature at the end of a line as well as
at the beginning of the next system.

2) I would like to have "invisible" note heads *with* visible stems.  This
should allow me to have stems attached to beams while giving me control of
the stem length by specifying the pitch of the invisible notehead.  I would
also like to have headless \qu and \qd and be able to put visible \pt with
them.  In short, I would like to have regular notes but without heads.

3) I would like to suppress a barline at a time signature change.  The
manuscript has, for example; 2/4 {some notes} +3/8 {some more notes} | 1/4
etc....The "+3/8" indicates in the middle of a bar that there is an
additional 3/8 worth of time in the bar rather than a new bar of 3/8.  Yes,
there is a large + immediatly to the left of the time signature instead of
a barline.

4) I would like to place a letter X in the top of a time signature.  Using
\generalmeter{\meterfrac{X}{4}} does not work, of course.

5) Probably off topic but maybe someone here knows--I would like to rotate
a bit of text.  I don't know the angle but it is no more than about 45
degrees.  This is probably a PostScript issue and I'll be looking elsewhere
as well for an answer to this.

I know some of this stuff is a bit odd but the manuscript has it this way
and I am trying to be as faithful as possible to it.

Thanks,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Tue Oct 20 23:33:39 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: 5 questions
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David Bobroff wrote

>1) I would like to display a time signature at the end of a line as well as 
>at the beginning of the next system.

PMX does that by default whenever a meter change falls at the start of 
a new system.  You could run PMX to see what the MesiXTeX syntax is.  
Don't know how that translates to OpusTeX.

--Don Simons


From mutex-owner@mail2.gmd.de Wed Oct 21 09:18:24 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810210918.LAA27658@calvyn.puk.ac.za>
Subject: Re: MTx050a-release (Case/Only),  \lyricson?, linebreaks (PMX?)
To: begemann@math.uni-hamburg.de
Date: Wed, 21 Oct 1998 11:18:24 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199810201647.SAA00082@AMSUN07.math.uni-hamburg.de> from "Eckart Begemann" at Oct 20, 98 06:47:22 pm
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Eckart Begemann wrote:
> 
> Still I do not quite understand the behaviour of MTx
> concerning slurs when lyrics have to be attached.
> 
> Therefore I enclose the file "mutexlau.mtx" which shows 
> the source:  
> The output lacks the lyrics at the end completely!
> 
You have interlocking slurs, which confuses M-Tx.  In fact, I don't
even know how to define what lyrics should do in that case.  I can
see what you are trying to do: the usual M-Tx construction )( for
continuation slurs does not give ties, and if you use )t( only the
first slur gets a 't'.  The easy workaround is to use (t and )t for
the beginning and end of the whole four-note sequence, and 'st st'
instead of )(.  But I can see that this will be a common problem,
so I'll devote some thought to fixing it at the M-Tx level.

> Also the output shows a strange feature concerning the
> linebreads.  It seems to me that  the program which is
> in response of the linebreaks  does not take the meter 
> changes properly into account. Or which is the reason
> for the last line to be squeezed so much?
> 
> 
I can't help you here, except to suggest manual linebreaks.
Send Don the PMX file :-)

> I tried to fix the problems and came to the following file, called 
> laudate.mtx
> 2) I do not understand why I have to give so many \beginmel \endmel:
>    Should not the slurs be enough?
> 3) I do not understand why I have to give \lyricson?
>    Who switched it off?????
You are only supposed to use specially labelled lyrics if the line
already has normal lyrics.  So use L:, not LBasso:.  And the previous
comment on interlocking slurs still applies.

> It reveals the following problems
> 1) I do not understand the Case-feature or the Only-feature (or both...)
"Only" refers to the actual physical lines of the paragraph, not the
logical music lines.  The best way to use it is to have exactly the same
layout in each paragraph (padding short paragraphs with comments if needed).

> 4)  Again concerning Case/Only: I tried to process the cervus.mtx of
>     the distribution (mtx050a) but it does not work. It tells me
>     some error message like "no music paragraph".
That was a problem with 0.50 and one of the reasons for 0.50a.  I have
just checked it on Linux and on MS-DOS, starting with a fresh unzipping
of mtx050a.zip in both cases, and if I type in
prepmx cervus
prepmx cervus -0
etc, I get the correct result in each case.  You must somehow still have
either the prepmx program or the cervus.mtx file from 0.50 still lying
around earlier in the search path.

Dirk

From mutex-owner@mail2.gmd.de Wed Oct 21 09:56:05 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, bobroff@centrum.is
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> Date: Tue, 20 Oct 1998 19:55:59 +0100
> From: David Bobroff <bobroff@centrum.is>

> I'm using OpusTeX 0.84 and I have some things I would like to do that I
> have not yet figured out.
[...]
> 2) I would like to have "invisible" note heads *with* visible stems.  [...]
> [...]  In short, I would like to have regular notes but without heads.

For MusiXTeX I know the solution. Looking at the definition of e.g.
\qu, \dqu, ... you see how you may get whatever you want as notehead:

\makeatletter
\def\my@symbol{\def\q@u{}}
\def\myqu{\my@symbol\@qu}
\makeatother
\generalmeter{\meterfrac{X}{Y}}
\startextract\Notes\qu{abcdef}\en\bar\Notes\myqu{abcdef}\en\endextract
\def\mynotehead{\lower1.5\internote\hbox{X}}
\makeatletter\def\my@symbol{\def\q@u{\mynotehead}}\makeatother
\startextract\Notes\qu{abcdef}\en\bar\Notes\myqu{abcdef}\en\endextract\bye
 
> 4) I would like to place a letter X in the top of a time signature.  Using
> \generalmeter{\meterfrac{X}{4}} does not work, of course.

s.a. - works for MusiXTeX.

-- Werner

From mutex-owner@mail2.gmd.de Fri Oct 23 06:18:14 1998
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Date: Fri, 23 Oct 1998 08:18:14 +0200
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To: MUTEX@gmd.de, BOBROFF@centrum.is
Subject: Re: 5 questions
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>   5) Probably off topic but maybe someone here knows--I would like to
>   rotate
>  a bit of text. I don't know the angle but it is no more than about 45
>   degrees. This is probably a PostScript issue and I'll be looking
>   elsewhere
>   as well for an answer to this.
   
This works with my Emtex distribution : 

\input rotate

\notes\zcharnote<your_note>{\rotstart{<angle> rotate}<your text>\rotfinish}\en

example : 

\notes\zcharnote q{\rotstart{-10 rotate} lahdeedah \rotfinish}\en

You will not see any rotation with your viewer and with your usual
print command file. But the rotation will be there in the Postscript
file after you have used dvips. There are examples in my edition
of Delioux, Carnaval Espagnol bars # 108, 114 and 151.

Jean-Pierre Coulon.

From mutex-owner@mail2.gmd.de Sun Oct 25 03:13:14 1998
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--
--PART-BOUNDARY=.19810242113.ZM1969.iwr.uni-heidelberg.de
Content-Type: text/plain; charset=us-ascii

Dear List Reader,

I'm new to this list and to musiXTeX, so if I simple overlooked some of the
questions in the docu, please point me to it.

1) shifted alto clef:

\setclef14
\setsign1{1}

  produces the sharp # above the top line of the staffs, in the score I'm
excerpting from, the sharp is noted one octave deeper - How could this be
changed ?
Is the usual notation to note the sharp above the highest staff line ?


2) a \tslur after a \ibsluru seems to terminate with a beam expected, to make
it terminate on the note itself I must give an incorrect pitch to \tslur (see
example below), how is the right way to terminate without a beam ?

3) I need a \turn symbol with a (short) vertical bar through it (This seems to
be an equivalent notation for a \backturn used in older scores, but I'm not
shure they are really equivalent), how can that be achieved ? (I'm not TeXpert,
so maybe knowing how to overlay two symbols may all I need to know).

An example with problem 1+2 is included below.

Many thanks for any suggestions to solve the problems above and for all the
work on musiXTeX - I'm impressed about it.

Greetings

     Hermann

P.S.: I found the WWW pages with the preprocessors to musiXTeX today (m-tx,
mpp, pmx, lilipond). Is one of them (or which one) best suitable to do fast
input of the notes and produces nice musixtex files for further editing ?
(sorry, a the moment I have not the time to try them all out.)

--PART-BOUNDARY=.19810242113.ZM1969.iwr.uni-heidelberg.de
X-Zm-Content-Name: test.tex
Content-Description: Text
Content-Type: text/plain ; name="test.tex" ; charset=us-ascii

\documentclass[a4paper]{article}
\usepackage{musixtex}

\newcommand{\taktno}[1]{\def\writebarno{\tenrm\the\barno\barnoadd}%
\def\raisebarno{2\internote}%
\def\shiftbarno{2.5\Interligne}%
\startbarno=#1%
\nobarnumbers%
}
\newcommand{\instname}[2][1]{\settowidth{\parindent}{#2}\setname#1{#2}}%
\newcommand{\takt}{\uptext{\kern-3mm\the\barno}}%
\newcommand{\Takt}{\Uptext{\kern-3mm\the\barno}}%
\newcommand{\NQPu}[2][]{\Notesp{#1}\ibu0{#2}0\qbp0{#2}\en\notes\tbbu0\tbu0\qb0{#2}\en}
\newcommand{\NQPl}[2][]{\Notesp{#1}\ibl0{#2}0\qbp0{#2}\en\notes\tbbl0\tbl0\qb0{#2}\en}
\newcommand{\NQpu}[3][]{\Notesp{#1}\Ibu0{#2}{#3}1\qbp0{#2}\en\notes\tbbu0\tbu0\qb0{#3}\en}
\newcommand{\NQpl}[3][]{\Notesp{#1}\Ibl0{#2}{#3}1\qbp0{#2}\en\notes\tbbl0\tbl0\qb0{#3}\en}


\begin{document}
\begin{music}
\taktno{82}
\setname1{Vc}
\setclef14
\setsign1{1}
\startextract
\geometricskipscale
\NQPl{!'a}\bar
\NQpl[\Takt]{!'a}{!f}\NOtes\qa{^d}\en
\zendextract
\end{music}

\begin{music}
\taktno{2}
\instname{Vl 1+2}
\setsign1{-3}
\startextract
\Notes\takt\zq{b}\cu{e}\en
\Notes\ibsluru0{`g}\Tqbu{!`g}{!b}{!e}\Ibl0{!g}{'g}3\qb0{!g'be}\tslur0{a}\tqb0{g}\en\bar
\NOtes\qa{''b}\qp\en\NOTes\hpause\en
\endextract
\end{music}
\end{document}
--PART-BOUNDARY=.19810242113.ZM1969.iwr.uni-heidelberg.de--


From mutex-owner@mail2.gmd.de Sun Oct 25 11:26:33 1998
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Subject: Music-setting_conventions
To: mutex@gmd.de (gmd.de/Misc/Music)
Date: Sun, 25 Oct 1998 12:26:33 +0100 (MET)
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Hermann Lauer wrote:

>1) shifted alto clef:

>\setclef14
>\setsign1{1}

>  produces the sharp # above the top line of the staffs, in the score I'm
>excerpting from, the sharp is noted one octave deeper - How could this be
>changed ?
>Is the usual notation to note the sharp above the highest staff line ?


>2) a \tslur after a \ibsluru seems to terminate with a beam expected, to make
>it terminate on the note itself I must give an incorrect pitch to \tslur (see
>example below), how is the right way to terminate without a beam ?
>
>3) I need a \turn symbol with a (short) vertical bar through it (This seems to
>be an equivalent notation for a \backturn used in older scores, but I'm not
>shure they are really equivalent), how can that be achieved ? (I'm not TeXpert,
>so maybe knowing how to overlay two symbols may all I need to know).

The practice for putting the accidentals and even more so the signs for
ornaments have changed during music history very much. The present rules
are: put prescribed accidentals always within the line system and never
double them: if two of them fit into the line system (e.g. two sharps
in the G key) take only the higher one. I think there were no conventions
in earlier time, and each composer had the liberty to write as it seemed
appropriate for him. If you want to reproduce the
ornaments from the english virginalists, or the french
harpsichord masters, you would have to create numerous new fonts.
If you are an expert on Metafont, you may do it, otherwise one has to
stick to the modern conventions.

Preprocessors save a lot of typing and are highly recommended.
I use pmx for instrumental and mtx for vocal music. mtx
is a preprocessor for pmx; therefore you do not have
to learn two different systems. I have made only a few half-hearted
attempts to try out other preprocessors; I therefore am not able to compare.

Christof

From mutex-owner@mail2.gmd.de Sun Oct 25 13:16:23 1998
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Date: Sun, 25 Oct 1998 08:16:23 -0500 (EST)
From: Laird Pruiksma <pruiksma@eecs.umich.edu>
To: mutex@gmd.de
Subject: re: Lauer; gli[t]ches while coding...
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> 
> 1) shifted alto clef:
> 
> \setclef14
> \setsign1{1}
> 
>   produces the sharp # above the top line of the staffs, in the score I'm
> excerpting from, the sharp is noted one octave deeper - How could this be
> changed ?
> Is the usual notation to note the sharp above the highest staff line ?

-----
I don't believe there is a 'usual notation' for key signatures before,
perhaps, the last century--I have seen different variants, especially
in the C clefs.  However, the following changes give key signatures
which follow the manuscripts I set, including lowering the first
sharp in a C4 clef:

in musixtex.tex, find the definition of \C@sig, and add the four
lines indicated in the cut below between 'lwp+' and 'lwp-'

\def\C@sig#1{\n@iii#1% Correction by W. Icking
  \advance\n@iii\ut@ref \advance\n@iii\ut@ref
  \ifnum\ut@ref=\si@ \advance\n@iii-\fourt@@n%
  \else \ifnum\ut@ref>\z@ \advance\n@iii-\s@v@n \fi\fi
  \ifnum\n@iii<\@ne \global\advance\n@iii\s@v@n \fi
  \ifnum\n@iii<\@ne \global\advance\n@iii\s@v@n \fi
  \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
  \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
%%%lwp+
  \ifnum\ut@ref=\@ne\ifnum\n@iii<\f@ur\advance\n@iii\s@v@n\fi\fi
  \ifnum\ut@ref=\tw@\ifnum\n@iii<\f@ur\advance\n@iii\s@v@n\fi\fi
  \ifnum\ut@ref=\f@ur\ifnum\n@iii>\t@n\advance\n@iii-\s@v@n\fi\fi
  \ifnum\ut@ref=\fiv@\ifnum\n@iii>\nin@\advance\n@iii-\s@v@n\fi\fi
%%%lwp-
  \advance\n@iii-\tw@ \raise\n@iii\internote
  \hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
  

This is a somewhat clumsy addition; it also gives bad results in some
cases, such as more than three flats in C1--but then, I never see such
music.  If you want to rewrite the key signatures in cleaner fashion, you
may want to change the constants in the definition of \writ@sign as well
as the arithmetic in \C@sig.  Modify musixtex.tex at your own risk! :>

:lwp
-- 
Approved by mutex-owner

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Date: Mon, 26 Oct 1998 11:54:22 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199810261054.LAA07946@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re: Music-setting_conventions
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> From: cbiebri@gwdg.de
> Date: Sun, 25 Oct 1998 12:26:33 +0100 (MET)

> Hermann Lauer wrote:
[...]
> >  produces the sharp # above the top line of the staffs, in the score I'm
[...]
> >Is the usual notation to note the sharp above the highest staff line ?

> [...] The present rules
> are: put prescribed accidentals always within the line system and never
> double them: if two of them fit into the line system (e.g. two sharps
> in the G key) take only the higher one. [...]

But what is within the system? For /setclef10/setsign13 (A-major)
G-sharp is just there, where in Hermann Lauer's case the F-sharp is
notated. So I think MusiXTeX's solution of /setclef14/setsign11 is ok.

I append an old test-source. It may help if some want to make the
best and newest solution :-)


> Preprocessors save a lot of typing and are highly recommended.
> I use pmx for instrumental and mtx for vocal music. [...]

So do I. And whilst in former times I had to add a lot of
in-line TeX, which is supported by PMX, or did some post-editing
on PMX's MusiXTeX output, which is excellent man-readable, now
with any new version of pmx there is less need for in-line TeX
or post-editing.

-- Werner



\nopagenumbers
\input musixtex
\nobarnumbers
\nostartrule
\smallmusicsize
\stafftopmarg2\Interligne\staffbotmarg1\Interligne

\makeatletter\let\C@sigsav\C@sig\makeatother

\def\signature#1{\generalsignature{#1}\znotes\zcharnote{12}{#1}\en}

\def\allsigns{
\generalsignature{0}\startextract
\ignorenats\signature{-1}\zchangecontext
\ignorenats\signature{-2}\zchangecontext
\ignorenats\signature{-3}\zchangecontext
\ignorenats\signature{-4}\zchangecontext
\ignorenats\signature{-5}\zchangecontext
\ignorenats\signature{-6}\zchangecontext
\ignorenats\signature{-7}\zchangecontext
\ignorenats\signature{1}\zchangecontext
\ignorenats\signature{2}\zchangecontext
\ignorenats\signature{3}\zchangecontext
\ignorenats\signature{4}\zchangecontext
\ignorenats\signature{5}\zchangecontext
\ignorenats\signature{6}\zchangecontext
\ignorenats\signature{7}\zchangecontext\endextract}

\parindent 13pt\def\clef#1{\setname1{clef #1}\setclef1{#1}}

\def\allclefs{\vskip12pt
\clef9\allsigns\clef0\allsigns\clef1\allsigns\clef2\allsigns
\clef3\allsigns\clef4\allsigns\clef5\allsigns\clef6\allsigns
\clef7\allsigns}


\makeatletter\let\C@sig\C@sigsav\makeatother

MusiXTeX --- current version

\allclefs

MusiXTeX --- previous version

\makeatletter
\def\C@sig#1{\n@iii#1%
  \ifnum\ut@ref>\z@
  \advance\n@iii\ut@ref \advance\n@iii\ut@ref
  \ifnum\ut@ref=\si@ \advance\n@iii-\s@v@n \fi
  \ifnum\ut@ref>\thr@@ \advance\n@iii-\s@v@n \fi
  \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
\fi
\advance\n@iii-\tw@ \raise\n@iii\internote
\hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
\makeatother

\allclefs

\eject

Yet another version

\makeatletter
\def\C@sig#1{\n@iii#1%
    \ifnum\ut@ref=\z@ \else
    \advance\n@iii\ut@ref \advance\n@iii\ut@ref \advance\n@iii-\s@v@n
    \ifnum\ut@ref=-\@ne\advance\n@iii\s@v@n  \fi
    \ifnum\ut@ref=\si@ \advance\n@iii-\s@v@n \fi
    \ifnum\ut@ref=\@ne \advance\n@iii\s@v@n \fi
    \ifnum\n@iii<\@ne    \advance\n@iii\s@v@n  \fi
    \ifnum\n@iii>\@l@v@n \advance\n@iii-\s@v@n \fi
    \fi
\advance\n@iii-\tw@ \raise\n@iii\internote
\hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
\makeatother

\allclefs

4th version

\makeatletter
\def\C@sig#1{\n@iii#1%
    \ifnum\ut@ref=\z@ \else
    \advance\n@iii\ut@ref \advance\n@iii\ut@ref \advance\n@iii-\s@v@n
    \ifnum\ut@ref=-\@ne\advance\n@iii\s@v@n  \fi
    \ifnum\ut@ref=\si@ \advance\n@iii-\s@v@n \fi
    \ifnum\ut@ref=\@ne \advance\n@iii\s@v@n \fi
    \ifnum\n@iii<\z@  \advance\n@iii\s@v@n  \fi
    \ifnum\n@iii>\t@n \advance\n@iii-\s@v@n \fi
    \fi
\advance\n@iii-\tw@ \raise\n@iii\internote
\hbox\@to\tw@\internote{\hss\keychar\n@v\hss}}
\makeatother

\allclefs

\bye


From mutex-owner@mail2.gmd.de Mon Oct 26 20:20:52 1998
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From: "Hermann Lauer" <Hermann.Lauer@iwr.uni-heidelberg.de>
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Date: Mon, 26 Oct 1998 14:20:52 -0600
In-Reply-To: cbiebri@gwdg.de
        "Music-setting_conventions" (Oct 25, 12:26pm)
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On Oct 25, 12:26pm, cbiebri@gwdg.de wrote:
> Subject: Music-setting_conventions
> Hermann Lauer wrote:
>
> >1) shifted alto clef:
>
> >\setclef14
> >\setsign1{1}
>
> >  produces the sharp # above the top line of the staffs, in the score I'm
> >excerpting from, the sharp is noted one octave deeper - How could this be
> >changed ?
> >Is the usual notation to note the sharp above the highest staff line ?
.....
> The practice for putting the accidentals and even more so the signs for
> ornaments have changed during music history very much. The present rules
> are: put prescribed accidentals always within the line system and never
> double them: if two of them fit into the line system (e.g. two sharps
> in the G key) take only the higher one. I think there were no conventions
> in earlier time, and each composer had the liberty to write as it seemed
> appropriate for him. If you want to reproduce the
> ornaments from the english virginalists, or the french
> harpsichord masters, you would have to create numerous new fonts.
> If you are an expert on Metafont, you may do it, otherwise one has to
> stick to the modern conventions.

After your description the score I have seems to take the modern convention -
but musiXTeX seems to do not ! Please try:

\setclef14
\setsign1{1}

I get the sharp then above the highest staff line, an not within the line
system.

What are I'm missing ? (Sorry for not beeing an Metafont expert, so another
solution would be helpfull...)

Thanks for any help.

Greetings

   Hermann

From mutex-owner@mail2.gmd.de Mon Oct 26 17:56:26 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Horizontal spacing for PMX
To: mutex@gmd.de
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All--

There are several rather unlikely cases of horizontal spacing that 
crash PMX, and others that lead to ridiculous output.  As I've been 
thinking about how to revise the horizontal algorithm, I realize that 
for some situations I don't even know what spacing I want, let alone 
how to achieve it in PMX.  So I'd like to solicit opinions from the 
list.  

To open this discussion, let me first explain a few things about the 
existing algorithm.  For a single-voice score, IMHO the existing 
algorithm is entirely adequate, and any proposed set of rules for 
multiple voices should reduce to the existing single-voice rule when 
there is only one voice.  The rule is very simple.  If t is the time 
duration (in whole notes), then the number of elemskips l is 
sqrt(32*t).  So a half note has l=4; an eighth l=2.  For xtuplets the 
same rule is used.  For example, one note of an eighth-note triplet 
has t=1/24, so l=1.155 .  If on the other hand t is the *entire* 
duration of a n-tuplet, the length would be sqrt(32*n*t) (an exercise 
for the reader).

For multiple voices with no xtuplets, the existing algorithm is also 
fine.  You just break up time into a set of consecutive intervals 
defined by the starts and stops of ALL the notes in a bar or line, and 
assign a length sqrt(32*t) to each time interval.  

To go one step further, if in a multiple voice score only one voice 
(at a time) has an xtuplet, the existing rule also works fine, with 
the additional requirement that xtuplet notes are always equally 
spaced.  The entire xtuplet has a natural length sqrt(32*n*t) where 
now t is the duration of the entire xtuplet.  To set up the horizontal 
spacing, begin by ignoring the xtuplets, break up time into intervals 
as before.  Now compare the natural length of any xtuplet to the sum 
of natural lengths of the intervals it spans.  If the former is 
bigger, scale up the lengths of the intervals; if the latter is 
bigger, scale up the horizontal spacing of the xtuplet.

Notice that because of the requirement of equal spacing for xtuplets, 
you get different horizontal spacing for example with 

c43   c8 c /
c84 c c  c /

and

c43 c8 c /
c24x4 c c c /

In fact, in the latter, the 3rd member of the quadruplet in voice 2 
will not align with the 2nd eighth in voice 1.  But IMHO that's OK.

The problems all arise when there are xtuplets in more than one voice. 
I don't even have a reasonable proposal that would cover ALL such 
cases (and PMX should be able to handle all situations that can be 
notated within it's other restrictions).  Here one case that doesn't 
even go through PMX:

c43   c2x4 d e d   c4  /
c24x4 d e d  cx4 d e d / 

One strong possibility for this particular case is spacing just as if 
the quadruplets were eighths, namely, 8 equal time intervals each with 
l=2 .  But even knowing that, it's difficult to come up with a general 
rule or algorithm that leads to that result and (remember) it must be 
consistent with the other rules I've already mentioned.  

So to focus the discussion, consider this slightly modified example:

c43   c2x5 d e d c  c4  /
c24x3 d e   cx7 d e f e d c / 

There are two questions.

(1) The easy one: What should the spacing be?  

(2) The hard one: What is the general set of rules that leads to the 
answer (1) and is consistent with the existing PMX rules?

I'll give a free copy of PMX to the first person who comes up with 
good answers to both. 

--Don Simons

From mutex-owner@mail2.gmd.de Tue Oct 27 09:52:50 1998
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Date: Tue, 27 Oct 1998 10:52:50 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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Di Don,

> (1) The easy one: What should the spacing be?
> 
> (2) The hard one: What is the general set of rules that leads to the
> answer (1) and is consistent with the existing PMX rules?

Good news: I know the answers to both questions.
Bad news: I can't put it up from scratch, I have to look into my
documentation at home.

I have developed such algorithm for my WYSIWIG OpusTeX preprocessor
(Amiga only, sorry) as a diploma work at the university, and works fine
in almost all bad cases. (It fails, but not horribly, only at a certain
combinations of different tuplets at the same time, as well as Encore
for example.) I'll try to post it on Thursday for further discussion.

Bye,
Stanislav Kneifl.

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Tue Oct 27 15:48:22 1998
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Date: Tue, 27 Oct 1998 10:48:22 -0500
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Subject: M-Tx:  Starting note offset offends PMX
To: mutex@gmd.de
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Greetings:

I have been away from this all too long, and find that I have forgotten 
more than I knew.. :-)

After looking around in the M-Tx .50A manual, I can't seem to find the 
answer to this one.

When starting a piece, how do I get a starting point more than one octave 
away without offending PMX?

For example, this input:

[...snip...]
PSPEC: Voices PS,PA PB; Group; Clefs G F
Style:  SATB PSPEC

S: r8 | rp |
A: r8 | rp |
T: r8 | rp |
B: r8 | rp |
PS: [ a1+ b ] | ( c2  c4 ) r8 (l [ a1 b ] |
PA: r8    | (u c++1r a e c  a4 ) (u c1r+ a e c ) a4 |
                 ^^ - This is the offending construct
PB: r8  C0  | a4d e1+ g ( a4 a8 ) e1 g |

[...snip...]

...causes PMX to produce the following warning:


*********WARNING*********


ERROR in line 31, bar 1: Before version 1.2, +/- was ignored if octave was
        v
r8 | c15+r su a1 e1 c1 a4 s c1r+ su a1 e1 c1 s a4 | //                      
  
        ^
explicitly specified.  May need to edit old editions

 Bar0  Bar 1   [...snip...]

Otherwise, it runs to completion okay, but it raises my curiosity as to how 
to tell M-Tx to start higher or lower than the expected first octave of a 
range.

Any hints will be appreciated... I suspect that this is something simple 
that I have just overlooked.

(embarrassed in advance)
Joel Hunsberger
Hunsberger_Joel@si.com

From mutex-owner@mail2.gmd.de Wed Oct 28 07:05:59 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810280705.JAA31201@calvyn.puk.ac.za>
Subject: Re: M-Tx:  Starting note offset offends PMX
To: hunsberger_joel@si.com
Date: Wed, 28 Oct 1998 09:05:59 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <00007A5E.CE21188@si.com> from "hunsberger_joel@si.com" at Oct 27, 98 10:48:22 am
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hunsberger_joel@si.com wrote:
> 
> When starting a piece, how do I get a starting point more than one octave 
> away without offending PMX?
> 
> [...snip...]
> 
> ...causes PMX to produce the following warning:
> 
> *********WARNING*********
> 
> ERROR in line 31, bar 1: Before version 1.2, +/- was ignored if octave was
>         v
> r8 | c15+r su a1 e1 c1 a4 s c1r+ su a1 e1 c1 s a4 | //                      
>   
>         ^
> explicitly specified.  May need to edit old editions
> 
>  Bar0  Bar 1   [...snip...]
> 
c15+r is and always was fully legal PMX, but used to mean the same
as c15r whereas nowadays it means the same as c16r.  The PMX message
is intended to help you in case you are re-PMX'ing an old score and
can't understand why the octaves suddenly seem wrong.  In the case of
a new score the message is not needed, but PMX can't tell whether your
score is old or new so it issues the message regardless.  Admittedly
ERROR all in capitals is a rather strong way of telling you about
something that conforms to the official language description, but it
does not annoy me enough to put code in M-Tx to avoid it.  If you compile
your own PMX executable, it is always possible just to comment out the
line that issues the error message.  Maybe after some time we can ask
Don to take it out himself, because by then it will only be applicable 
to ancient, not merely old, scores.

Dirk

From mutex-owner@mail2.gmd.de Tue Oct 27 20:42:28 1998
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To: mutex@gmd.de
In-Reply-To: <199810251126.AA30009@gwdu20.gwdg.de>
Subject: Re: Music-setting_conventions
From: stk@snafu.de (Stefan Haller)
Date: Tue, 27 Oct 1998 21:42:28 +0100
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<cbiebri@gwdg.de> wrote:

> The practice for putting the accidentals and even more so the signs for
> ornaments have changed during music history very much. The present rules
> are: put prescribed accidentals always within the line system and never
> double them: if two of them fit into the line system (e.g. two sharps
> in the G key) take only the higher one.

In his book "Die Praxis des Notengraphikers", Herbert Chlapik includes a
table of key signatures for up to seven sharps or flats for all C clefs.
He doesn't say where this comes from, but it looks reasonable to me.
Appended below.  I would appreciate it if someone could patch MusiXTeX
so that it matches this table.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/




%&Plain
\input musixtex
\sepbarrules\nostartrule
\nopagenumbers\nobarnumbers
\hsize=6in\hoffset 0in\voffset 0in%
\def\nbinstruments{5}%
\setclef51%
\setname5{Soprano}%
\setclef42%
\setname4{Mezzo-Soprano}%
\setclef34%
\setname3{Tenor}%
\setclef25%
\setname2{Baritone}%
\setclef17%
\setname1{Sub-Bass}%
\generalsignature{-7}%
\def\o{\off{2\internote}}%

The left sides show what MusiXTeX generates (version T.88), the
right sides show what it should be (according to Herbert Chlapik:
{\it Die Praxis des Notengraphikers,} Doblinger, Wien 1987,
$^2$1991, p.~47).

\medskip
\hbox to \hsize{%
\hss\parindent 30mm%
\startextract\bar\addspace\afterruleskip
\notes
% Sub-Bass
    \fl{I}\o\fl{L}\o\fl{H}\o\fl{K}\o\fl{G}\o\fl{J}\o\fl{F}&%
% Baritone
    \fl{b}\o\fl{L}\o\fl{a}\o\fl{K}\o\fl{N}\o\fl{J}\o\fl{M}&%
% Tenor
    \fl{b}\o\fl{e}\o\fl{a}\o\fl{d}\o\fl{N}\o\fl{c}\o\fl{M}&%
% Mezzo-Soprano
    \fl{b}\cfl{i}\o\fl{e}\o\fl{h}\o\fl{d}\o\fl{g}\o\fl{c}\o\fl{f}&%
% Soprano
    \fl{i}\o\fl{e}\o\fl{h}\o\fl{d}\o\fl{g}\o\fl{c}\o\fl{f}\en
\addspace\afterruleskip\zendextract
\setname5{}%
\setname4{}%
\setname3{}%
\setname2{}%
\setname1{}%
\generalsignature{7}%
\hss\hss\hss\parindent 0mm%
\startextract\bar\addspace\afterruleskip
\notes
% Sub-Bass
    \sh{F}\o\sh{J}\o\sh{G}\o\sh{K}\o\sh{H}\o\sh{L}\o\sh{I}&%
% Baritone
    \sh{M}\o\sh{c}\o\sh{N}\o\sh{d}\o\sh{a}\o\sh{L}\o\sh{b}&%
% Tenor
    \sh{M}\o\sh{c}\o\sh{N}\o\sh{d}\o\sh{a}\o\sh{e}\csh{L}\o\sh{b}&%
% Mezzo-Soprano
    \sh{f}\o\sh{c}\o\sh{g}\o\sh{d}\o\sh{h}\csh{a}\o\sh{e}\o\sh{b}&%
% Soprano
    \sh{f}\o\sh{c}\o\sh{g}\o\sh{d}\o\sh{h}\o\sh{e}\o\sh{i}\en
\addspace\afterruleskip\zendextract
\hss}
\bye

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Wed Oct 28 07:05:59 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199810280705.JAA31201@calvyn.puk.ac.za>
Subject: Re: M-Tx:  Starting note offset offends PMX
To: hunsberger_joel@si.com
Date: Wed, 28 Oct 1998 09:05:59 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <00007A5E.CE21188@si.com> from "hunsberger_joel@si.com" at Oct 27, 98 10:48:22 am
Reply-To: wskdpl@pukrs12.puk.ac.za
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hunsberger_joel@si.com wrote:
> 
> When starting a piece, how do I get a starting point more than one octave 
> away without offending PMX?
> 
> [...snip...]
> 
> ...causes PMX to produce the following warning:
> 
> *********WARNING*********
> 
> ERROR in line 31, bar 1: Before version 1.2, +/- was ignored if octave was
>         v
> r8 | c15+r su a1 e1 c1 a4 s c1r+ su a1 e1 c1 s a4 | //                      
>   
>         ^
> explicitly specified.  May need to edit old editions
> 
>  Bar0  Bar 1   [...snip...]
> 
c15+r is and always was fully legal PMX, but used to mean the same
as c15r whereas nowadays it means the same as c16r.  The PMX message
is intended to help you in case you are re-PMX'ing an old score and
can't understand why the octaves suddenly seem wrong.  In the case of
a new score the message is not needed, but PMX can't tell whether your
score is old or new so it issues the message regardless.  Admittedly
ERROR all in capitals is a rather strong way of telling you about
something that conforms to the official language description, but it
does not annoy me enough to put code in M-Tx to avoid it.  If you compile
your own PMX executable, it is always possible just to comment out the
line that issues the error message.  Maybe after some time we can ask
Don to take it out himself, because by then it will only be applicable 
to ancient, not merely old, scores.

Dirk

From mutex-owner@mail2.gmd.de Tue Oct 27 20:42:28 1998
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  (5.67b8/IDA-1.5 for mutex-outer); Wed, 28 Oct 1998 10:39:07 +0100
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To: mutex@gmd.de
In-Reply-To: <199810251126.AA30009@gwdu20.gwdg.de>
Subject: Re: Music-setting_conventions
From: stk@snafu.de (Stefan Haller)
Date: Tue, 27 Oct 1998 21:42:28 +0100
Message-Id: <1dhkuvj.t59uu918yynjeM@n247-181.berlin.snafu.de>
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<cbiebri@gwdg.de> wrote:

> The practice for putting the accidentals and even more so the signs for
> ornaments have changed during music history very much. The present rules
> are: put prescribed accidentals always within the line system and never
> double them: if two of them fit into the line system (e.g. two sharps
> in the G key) take only the higher one.

In his book "Die Praxis des Notengraphikers", Herbert Chlapik includes a
table of key signatures for up to seven sharps or flats for all C clefs.
He doesn't say where this comes from, but it looks reasonable to me.
Appended below.  I would appreciate it if someone could patch MusiXTeX
so that it matches this table.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/




%&Plain
\input musixtex
\sepbarrules\nostartrule
\nopagenumbers\nobarnumbers
\hsize=6in\hoffset 0in\voffset 0in%
\def\nbinstruments{5}%
\setclef51%
\setname5{Soprano}%
\setclef42%
\setname4{Mezzo-Soprano}%
\setclef34%
\setname3{Tenor}%
\setclef25%
\setname2{Baritone}%
\setclef17%
\setname1{Sub-Bass}%
\generalsignature{-7}%
\def\o{\off{2\internote}}%

The left sides show what MusiXTeX generates (version T.88), the
right sides show what it should be (according to Herbert Chlapik:
{\it Die Praxis des Notengraphikers,} Doblinger, Wien 1987,
$^2$1991, p.~47).

\medskip
\hbox to \hsize{%
\hss\parindent 30mm%
\startextract\bar\addspace\afterruleskip
\notes
% Sub-Bass
    \fl{I}\o\fl{L}\o\fl{H}\o\fl{K}\o\fl{G}\o\fl{J}\o\fl{F}&%
% Baritone
    \fl{b}\o\fl{L}\o\fl{a}\o\fl{K}\o\fl{N}\o\fl{J}\o\fl{M}&%
% Tenor
    \fl{b}\o\fl{e}\o\fl{a}\o\fl{d}\o\fl{N}\o\fl{c}\o\fl{M}&%
% Mezzo-Soprano
    \fl{b}\cfl{i}\o\fl{e}\o\fl{h}\o\fl{d}\o\fl{g}\o\fl{c}\o\fl{f}&%
% Soprano
    \fl{i}\o\fl{e}\o\fl{h}\o\fl{d}\o\fl{g}\o\fl{c}\o\fl{f}\en
\addspace\afterruleskip\zendextract
\setname5{}%
\setname4{}%
\setname3{}%
\setname2{}%
\setname1{}%
\generalsignature{7}%
\hss\hss\hss\parindent 0mm%
\startextract\bar\addspace\afterruleskip
\notes
% Sub-Bass
    \sh{F}\o\sh{J}\o\sh{G}\o\sh{K}\o\sh{H}\o\sh{L}\o\sh{I}&%
% Baritone
    \sh{M}\o\sh{c}\o\sh{N}\o\sh{d}\o\sh{a}\o\sh{L}\o\sh{b}&%
% Tenor
    \sh{M}\o\sh{c}\o\sh{N}\o\sh{d}\o\sh{a}\o\sh{e}\csh{L}\o\sh{b}&%
% Mezzo-Soprano
    \sh{f}\o\sh{c}\o\sh{g}\o\sh{d}\o\sh{h}\csh{a}\o\sh{e}\o\sh{b}&%
% Soprano
    \sh{f}\o\sh{c}\o\sh{g}\o\sh{d}\o\sh{h}\o\sh{e}\o\sh{i}\en
\addspace\afterruleskip\zendextract
\hss}
\bye

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Wed Oct 28 12:50:36 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: stk@snafu.de (Stefan Haller)
> Date: Tue, 27 Oct 1998 21:42:28 +0100

> In his book "Die Praxis des Notengraphikers", Herbert Chlapik includes a
> table of key signatures for up to seven sharps or flats for all C clefs.
> He doesn't say where this comes from, but it looks reasonable to me.
> Appended below.  I would appreciate it if someone could patch MusiXTeX
> so that it matches this table.

I tried just that when I develloped the TeX-source I posted some days ago.

If I remember right I gave up because I found, that there seem to be
no consistent rules, e.g. a sharp above the top line (as it is used
for A-major in the treble clef) seems to be forbidden with the tenor
clef.

So I doubt whether Chaplik's version is more reasonable than that
what MusiXTeX (or MusicTeX) generates now.

-- Werner

From mutex-owner@mail2.gmd.de Thu Oct 29 13:49:07 1998
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Subject: Re: Music-setting_conventions
From: stk@snafu.de (Stefan Haller)
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> So I doubt whether Chaplik's version is more reasonable than that
> what MusiXTeX (or MusicTeX) generates now.

Reasonable or not, what MusiXTeX generates is clearly wrong in some very
common cases.  For example a soprano clef with one flat (you need this
all the time when typesetting pre-baroque music).


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Thu Oct 29 21:23:54 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Music-setting_conventions
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Stefan Haller wrote

>Reasonable or not, what MusiXTeX generates is clearly wrong in some 
>very common cases.  For example a soprano clef with one flat (you 
>need this all the time when typesetting pre-baroque music).

Well, I tried it (via vanilla PMX), and by gosh the flat does show up 
below the staff!  Interesting to know.

And historically, it's not even limited to pre-baroque.  Just last 
weekend I played a quartet by Louis Antoine Dornel (1685-1765) for 
three unspecified treble instruments and continuo.  Two lines were in 
treble clef, one soprano, and continuo was bass with occasional alto.  

However, for me personally this is not an issue.  The reason gets into 
some typesetting philosophy.  When I first started typesetting music, 
I also  took the "purist" approach, trying to use same clefs and other 
notational conventions as in original manuscripts, to the extent 
permitted by the typesetting program.  Even then, it occurred to me 
that there was a certain inconsistency: the very act of typesetting a 
piece changes its appearance from the original.  One particular event 
pushed me over to the "modern-conventions" camp: A very accomplished 
baroque violinist told me that she found my use of the archaic 
accidental convention very confusing, simply due to the incongruity of 
the use of this convention in a modern-looking, neatly typeset score.

This is a personal choice of mine; others of course may do as they 
wish.  And none of this in any way excuses MusiXTeX for putting a flat 
below the staff as part of a key signature.

--Don Simons


From mutex-owner@mail2.gmd.de Mon Nov  2 05:16:53 1998
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From: dsimons@logicon.com (Don Simons)
Subject: TeX Problem
To: mutex@gmd.de
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In the following tex file, can anyone figure out why "Dessus" and 
"XXXDessus" come out in different fonts?  And what happened to the 
first two X's in "XXXDessus"?

--Don Simons

============================
\input musixtex
\font\BIGfont=\fontid bx10 scaled\magstep4 
\font\Bigfont=\fontid bx10 scaled\magstep2 
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\makeatletter%
\def\titles#1#2{\kern-\lin@pos%
\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip% 
\kern-\sign@skip\vbox{\vskip#1\Interligne% 
\if#2\empty\relax\else\leftline{\Bigtype #2}\fi}}% 
\makeatother%
\startmuflex\startpiece\addspace\afterruleskip% 
\znotes\zcharnote{16}{\titles{2.0}{XXXDessus}}\en% 
\alaligne
\znotes\zcharnote{16}{\titles{2.0}{Dessus}}\en% 
\Endpiece
\vfill\eject\endmuflex
\bye


From mutex-owner@mail2.gmd.de Mon Nov  2 16:07:08 1998
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Date: Mon, 02 Nov 1998 17:07:08 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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Subject: Horizontal spacing
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Hi everybody (especially Don Simons)!

Here is the promised algorithm for horizontal spacing:
(sorry for the delay)

1. For each column (of notes starting at the same time) Ci find its
   starting time Ti and duration Di (Di = T(i+1) - Ti)
2. For each column Ci:
   a. if Di (column duration) is shorter than the shortest note in the
      column, set Di = Di / 2      (it's not a trick, it's a SONY :-))
   b. compute graphical length of the column: Li = c*sqrt(Di)
      where c is any reasonable constant; linear scaling is not
important
      in this stage.
   c. increase Li if there should be more space for lyrics or
accidentals
      of the next column.

That's all, folks.

You may ask me, how does it solve combination of triplets and quarter
notes, for example. Look at this picture:

Column:    C1      C2   C3   C4      C5
Time:      0       1/3  1/2  2/3     1
Duration:  1/3     *)   1/12 1/3
---------------------------------------
           Q            Q            Q  (quarters)
           T       T         T       T  (triplets)

   *) applying step 2.a.: (1/2 - 1/3) / 2 = 1/12

What do we need?

1. Equally spaced quarters: L1 + L2 = L3 + L4
   Obviously true: L1 = L4 = sqrt(1/3)
                   L2 = L3 = sqrt(1/12).

2. Equally spaced triplets, i.e.: L1 = L2 + L3 = L4
                            1
   L1 = L4 = sqrt(1/3) = -------
                         sqrt(3)

   L2 + L3 = sqrt(1/12) + sqrt(1/12) =

          2           2          2           1
     = -------- = --------- = --------- = -------
       sqrt(12)   sqrt(4.3)   2.sqrt(3)   sqrt(3)

BINGO!

This algorithm is very simple and will not fail in any rythmic
situation.
(I mean: the result is always reasonable in any situation.) It does not
solve correctly for example combination of different irregular values at
the same time. (For example: imagine quintuplet in upper staff and
triplet in lower staff. The result will not be extremely ugly, only the
space after the first quintuplet will be a little bit wider than should
be.)

For further discussion:
Is the step 2.a. acceptable? Look at these pictures:

  Q.          S   Q     (Q = quarter, Q. = dotted quarter, S = 8th)
  Q       Q       Q     before 2.a., equal space before and after 8th

and

  Q.         S   Q
  Q       Q      Q     after 2.a., space before 8th is shortened

Remember: the SPACE is not divided by two, only the TIME before sqrt.
The resulting space is 1/sqrt(2) times shorter.
Is this better (I think it is, my book of notography recommends it),
or not?

Any comments welcomed.

Bye,
Stanislav Kneifl.

-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Mon Nov  2 14:54:27 1998
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Subject: Re: TeX Problem
To: mutex@gmd.de, dsimons@logicon.com (Don Simons)
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Don:

I believe the solution to this is rather straightforward (and am relieved 
to say) there is not a TeX bug involved.  The problem is in the macro 
definition...  It should be...

\def\titles#1#2{\kern-\lin@pos%
\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip% 
\kern-\sign@skip\vbox{\vskip#1\Interligne% 
\if{#2}\empty\relax\else\leftline{\Bigtype #2}\fi}}% 
   ^  ^....BRACKETS here around #2 are all that changes.

This ultimately explains most of what you were seeing.  When the \if tested
#2 without brackets, it ultimately tested just X, and (for some reason I can't 
explain) concluded it was empty, and then concluded the macro (\relax)... It 
appears that this was tested a second time (accounting for the two X removals), 
and then (here's the fun part), it was left with inline text "XDessus" but was 
NOT executing your macro \titles anymore, so it just set the text as \tenrm 
XDessus.  (TeX was just doing what TeX would do when it runs into inline text.)

By putting brackets around the argument in that setting, it appears that TeX is 
forced to consider all of the argument to determine the logic outcome, and (when
I ran it) it appeared to be more what you might expect.

By the way, all this can be seen by putting \tracingall% right before the first 
instance of your macro.  A patient person can then search the resultant .log 
file for a step-by-step record of what TeX is doing.  This is where it can be 
seen that Tex was processing your \if test based only on the first X.

I hope the result here is just what you need.  It is possible that the \if test 
activity has more complications than this suggestion might handle, (for 
example)... I worry that maybe the brackets will make it always fail the test, 
then you wouldn't have what you wanted either...  but as was once written 
"Sufficient for the day is the trouble thereof."

Regards
Joel Hunsberger
Hunsberger_Joel@si.com         

______________________________ Reply Separator _________________________________
Subject: TeX Problem
Author:  dsimons@logicon.com (Don Simons) at SMTPpost
Date:    11/1/98 9:16 PM


In the following tex file, can anyone figure out why "Dessus" and 
"XXXDessus" come out in different fonts?  And what happened to the 
first two X's in "XXXDessus"?

--Don Simons

============================
\input musixtex
\font\BIGfont=\fontid bx10 scaled\magstep4 
\font\Bigfont=\fontid bx10 scaled\magstep2 
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\makeatletter%
\def\titles#1#2{\kern-\lin@pos%
\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip% 
\kern-\sign@skip\vbox{\vskip#1\Interligne% 
\if#2\empty\relax\else\leftline{\Bigtype #2}\fi}}% 
\makeatother%
\startmuflex\startpiece\addspace\afterruleskip% 
\znotes\zcharnote{16}{\titles{2.0}{XXXDessus}}\en% 
\alaligne
\znotes\zcharnote{16}{\titles{2.0}{Dessus}}\en% 
\Endpiece
\vfill\eject\endmuflex
\bye


From mutex-owner@mail2.gmd.de Mon Nov  2 17:57:24 1998
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Date: Mon, 2 Nov 1998 18:57:24 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199811021757.SAA09122@sunick.gmd.de>
To: mutex@gmd.de, hunsberger_joel@si.com
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> From: hunsberger_joel@si.com
> Date: Mon, 2 Nov 1998 09:54:27 -0500

Hi Joel, I think you found the solution ...

> \if{#2}\empty\relax\else\leftline{\Bigtype #2}\fi}}% 
>    ^  ^....BRACKETS here around #2 are all that changes.
> 
> This ultimately explains most of what you were seeing.  When the \if tested
> #2 without brackets, it ultimately tested just X, and (for some reason I can't 
> explain) concluded it was empty, [...]

... and I found the explanation and wrote it already to Don in a
private mail.

\if#2\empty\relax

If you now insert something which starts with twice the same character
e.g. XXXDesus TeX compares the first X with the 2nd X(!), eats them 
because they are equal and returns the remainder "XDesus" and "\empty\relax"
as result. If the first two tokens of #2 are not equal then the "else"-part 
is executed and the whole string displayed :-)

Up to now this hasn't been detected because the else-part for an
empty string is nearly the same as the \relax in the then-part :-)

-- Werner






and then concluded the macro (\relax)... It 
> appears that this was tested a second time (accounting for the two X removals), 
> and then (here's the fun part), it was left with inline text "XDessus" but was 
> NOT executing your macro \titles anymore, so it just set the text as \tenrm 
> XDessus.  (TeX was just doing what TeX would do when it runs into inline text.)
> 
> By putting brackets around the argument in that setting, it appears that TeX is 
> forced to consider all of the argument to determine the logic outcome, and (when
> I ran it) it appeared to be more what you might expect.
> 
> By the way, all this can be seen by putting \tracingall% right before the first 
> instance of your macro.  A patient person can then search the resultant .log 
> file for a step-by-step record of what TeX is doing.  This is where it can be 
> seen that Tex was processing your \if test based only on the first X.
> 
> I hope the result here is just what you need.  It is possible that the \if test 
> activity has more complications than this suggestion might handle, (for 
> example)... I worry that maybe the brackets will make it always fail the test, 
> then you wouldn't have what you wanted either...  but as was once written 
> "Sufficient for the day is the trouble thereof."
> 
> Regards
> Joel Hunsberger
> Hunsberger_Joel@si.com         
> 
> ______________________________ Reply Separator _________________________________
> Subject: TeX Problem
> Author:  dsimons@logicon.com (Don Simons) at SMTPpost
> Date:    11/1/98 9:16 PM
> 
> 
> In the following tex file, can anyone figure out why "Dessus" and 
> "XXXDessus" come out in different fonts?  And what happened to the 
> first two X's in "XXXDessus"?
> 
> --Don Simons
> 
> ============================
> \input musixtex
> \font\BIGfont=\fontid bx10 scaled\magstep4 
> \font\Bigfont=\fontid bx10 scaled\magstep2 
> \hsize=524pt
> \vsize740pt
> \def\nbinstruments{1}
> \setstaffs11
> \setclef10
> \makeatletter%
> \def\titles#1#2{\kern-\lin@pos%
> \kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip% 
> \kern-\sign@skip\vbox{\vskip#1\Interligne% 
> \if#2\empty\relax\else\leftline{\Bigtype #2}\fi}}% 
> \makeatother%
> \startmuflex\startpiece\addspace\afterruleskip% 
> \znotes\zcharnote{16}{\titles{2.0}{XXXDessus}}\en% 
> \alaligne
> \znotes\zcharnote{16}{\titles{2.0}{Dessus}}\en% 
> \Endpiece
> \vfill\eject\endmuflex
> \bye
> 
> 

From mutex-owner@mail2.gmd.de Mon Nov  2 18:23:59 1998
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Date: Mon, 02 Nov 1998 19:23:59 +0100
From: reccmo <scancm@biobase.dk>
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Subject: Strange dvi output from musixtex handled by MiKTeX
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Dear mutex subscribers.

During the typesetting of one of the scores in my GMD entry (Miraklet,
http://www.gmd.de/Misc/Music/scores/mondrup/mon.gif) I have experienced
a strange difference between the dvi output generated by MiKTeX (win32)
and TeTeX(linux) on the other hand.

I have made a condensed one bar excerpt from the score to illustrate the
problem. The musixtex result generated by mtx v. 0.52 and the not yet
released v. 1.42 of pmx goes like this:

\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixtex
\input pmx
\input musixmad
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs12
\setclef1{60}
\setname1{ }
\generalsignature{ 0}%
\generalmeter{\meterfrac{9}{8}}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\readmod{test}
\startmuflex\startpiece\addspace\afterruleskip%
\advance\barno by -1
\znotes|\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 0
\def\Notes{\vnotes1.41\elemskip}%
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOtesp{\vnotes2.45\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\NOtes\cu{'A}|\cl a\nextvoice\bigna c\cu c\en%
% Bar count 1
\xbar
\NOtesp\qup G|\roff{\ql b}\nextvoice\ibu3b1%
\makeatletter\def\C@Point#1#2{\PMXpt{1.0}{1.0}0}\makeatother\qbp3b\en%
\Notes|\nextvoice\tbbu3\qb3c\en%
\NOtes|\cl b\nextvoice\tbu3\qb3d\en%
\NOTes\qu{'C}|\ql c\nextvoice\isu8d{.8}\qup e\en%
\NOtes\cu{'B}|\cl d\nextvoice\en%
\NOTes\qu{'A}|\ql c\nextvoice\tslur8e\qu e\en%
\NOtes\ds|\lower4\internote\ds\nextvoice\raise2\internote\ds\en%
\endpiece
\vfill\eject\endmuflex
\bye

Now if I let MiKTeX process this file I get - besides the right- and
upward adjustment of the dot in the first upper righthand note of bar 1
- 32'th flags on the stem of that note. If I remove the dot adjustment
directives the flags disappear.

I don't get these flags at all, however, if I let linux TeTeX process
the musixtex code. But as I normally do my typesetting from win32 I find
the problem interesting enough to post it here.

You may look at the two different dvi outputs in the attached zip file.

Will some TeX guru mutex subscriber please explain what goes on here :-)

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07


--------------361D32BD2C81E1CC7EE44D44
Content-Type: application/zip; name="dvi.zip"
Content-Transfer-Encoding: base64
Content-Disposition: inline; filename="dvi.zip"

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AgAAbGludXguZHZpUEsFBgAAAAACAAIAbgAAALwFAAAAAA==
--------------361D32BD2C81E1CC7EE44D44--


From mutex-owner@mail2.gmd.de Mon Nov  2 22:38:05 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: Strange dvi output from musixtex handled by MiKTeX
To: mutex <mutex@gmd.de>
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Christian Mondrup wrote

>During the typesetting of one of the scores in my GMD entry (Miraklet, 
>http://www.gmd.de/Misc/Music/scores/mondrup/mon.gif) I have 
>experienced a strange difference between the dvi output generated by 
>MiKTeX (win32) and TeTeX(linux) on the other hand.
>
>I have made a condensed one bar excerpt from the score to illustrate the 
>problem. The musixtex result generated by mtx v. 0.52 and the not yet 
>released v. 1.42 of pmx goes like this:

I have been in discussion with Christian for several weeks about this 
problem but I do not use MikTeX and I cannot reproduce it, so I encouraged 
him to post it to the list.  

There is a bit of a complication for people with pmx 1.38 or earlier:
Christian is using a beta of pmx1.42 in which I have redefined \PMXpt as 
follows:

\def\PMXpt#1#2#3{\ifodd\n@i\else\raise\internote\fi%
\hbox{\raise#1\internote\hbox{\kern#2\qn@width\musixchar#3\kernm#2\qn@widt
h}}%
\global\let\C@Point\C@Psave}%

If you have the pmx.tex that came with version 1.38 or earlier, you'll 
need to replace the existing definition of \PMXpt with the above.  
Either temporarily make the replacement in place in pmx.tex, or if you 
do it elsewhere, be sure to surround the new definition with 
\makeatletter...\makeatother.

Sorry about the confusion.  (The redefinition was needed to enable 
double dots to be moved.)

--Don Simons

From mutex-owner@mail2.gmd.de Tue Nov  3 12:42:46 1998
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Christian Mondrup wrote:


>Now if I let MiKTeX process this file I get - besides the right- and
>upward adjustment of the dot in the first upper righthand note of bar 1
>- 32'th flags on the stem of that note. If I remove the dot adjustment
>directives the flags disappear.

I am using MikTeX and had this problem once also, after loading a new
version of MtX or PMX. It disappeared after relading the newest version.
It was not a bug of MikTeX or MusixTeX, but something in the preprocessor.
The newest versions of the preprocessor do not make that.

Christof

From mutex-owner@mail2.gmd.de Thu Nov  5 14:36:01 1998
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reccmo wrote:

> Dear mutex subscribers.
>
> During the typesetting of one of the scores in my GMD entry (Miraklet,
> http://www.gmd.de/Misc/Music/scores/mondrup/mon.gif) I have experienced
> a strange difference between the dvi output generated by MiKTeX (win32)
> and TeTeX(linux) on the other hand.

TeX code removed

> Now if I let MiKTeX process this file I get - besides the right- and
> upward adjustment of the dot in the first upper righthand note of bar 1
> - 32'th flags on the stem of that note. If I remove the dot adjustment
> directives the flags disappear.

Thanks to some helping hints from Christof (cbiebri@gwdg.de) the problem could
be explained by an outdated mpx.tex within the texmf/tex tree. This error was
not found in the linux/tetex installation.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Sun Nov  8 08:43:51 1998
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Date: Sun, 8 Nov 1998 08:43:51 +0000
From: herbert <herbert@paulina.shnet.org>
To: mutex@gmd.de
Subject: Is "<>" possible?
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Hello,

 I am using MusixTeX for typesetting liturgical works. Quite regularely
I need this - no idea what it is called. It is a sforzato together with
its opposite on top of one note. Is there already any character like this
avaliable? If there was a single "<" I could build up my own but I could
not find that one in the docs either.

Any ideas?

Herbert

-- 

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From mutex-owner@mail2.gmd.de Mon Nov  9 12:55:57 1998
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Date: Mon, 9 Nov 1998 13:55:57 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Sun, 8 Nov 1998 08:43:51 +0000
> From: herbert <herbert@paulina.shnet.org>

> [...] It is a sforzato together with
> its opposite on top of one note. Is there already any character like this
> avaliable? If there was a single "<" I could build up my own but I could
> not find that one in the docs either.

\usf or \lsf provides a sforzato on top of a note or below a note. But 
the opposite symbol isn't in the musix-font.

You can use something like \roffset{.5}{\zcharnote{<pitch>}{\lrlap{$<>$}}}.
But you should embed this in something like "\uacc@Char" which can be
found in musixtex.tex

-- Werner

From mutex-owner@mail2.gmd.de Sun Nov 15 07:35:29 1998
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From: dsimons@logicon.com (Don Simons)
Subject: TeX is impossible to understand
To: mutex@gmd.de
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I still can't figure out how to make my \titles macro do what I want.  
I have tried something like

\def\title#1{\if{#1}\empty\relax\else{\centerline #1}\fi}

If I say

\title{This is the tile}

I want it to print the title, but if I say

\title{}

I want it to do absolutely nothing.  The problem is that with a 
0-length argument like this, it still fails the \if test, moves past 
the \else, and puts in a box which seems to takes up vertical space. 

Is there any logical test I can use for a 0-length argument?  I've 
tried a zillion other combinations with \if, \ifx, with and without 
{}, but I still haven't found any that pass the test. I can't even 
find any that pass a comparison test with a non-blank argument unless 
I remove the parentheses, e.g. if #1 is x, then \ifx#1x is true but 
\ifx{#1}x and \ifx{#1}{x} are both false.  And as we saw before, 
removing the parentheses defeats the whole process, because then the 
test is true if #1 starts with any repeated character.

:-(

--Don Simons



 

From mutex-owner@mail2.gmd.de Sun Nov 15 12:08:35 1998
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From: "Rainer Dunker" <rainer.dunker@munich.ixos.de>
To: dsimons@logicon.com
Cc: mutex@gmd.de
Subject: Re: TeX is impossible to understand
Date: Sun, 15 Nov 1998 13:08:35 +0100
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Hello Don,

how about the following:

	\def\title#1{\def\thetitle{#1}\ifx\thetitle\empty
\else{\centerline #1}\fi}

This works as follows: If #1 is empty, so is \thetitle. \ifx compares
whether macro definitions are identical, and in this case the \thetitle
definition equals the \empty macro definition, thus the \ifx will skip
the \else section. (Of course the \thetitle control sequence shouldn't
be used anywhere else.)

The following is easier:

	\def\title#1{\ifx\relax#1\relax \else{\centerline #1}\fi}

If #1 is empty, the \ifx finds \relax\relax, thus is true and skips the
\else section. If #1 is not empty, the first \relax won't match the
first element of #1, thus the rest of #1 will be skipped and the \else
section gets executed. However, this construct assumes that #1 doesn't
begin with \relax and that it doesn't contain unmatched \if constructs.

Best regards,

Rainer

> ----------
> Von: 	dsimons@logicon.com[SMTP:dsimons@logicon.com]
> Gesendet: 	Sonntag, 15. November 1998 08:35
> An: 	mutex@gmd.de
> Betreff: 	TeX is impossible to understand
> 
> I still can't figure out how to make my \titles macro do what I want.
> 
> I have tried something like
> 
> \def\title#1{\if{#1}\empty\relax\else{\centerline #1}\fi}
> 
> If I say
> 
> \title{This is the tile}
> 
> I want it to print the title, but if I say
> 
> \title{}
> 
> I want it to do absolutely nothing.  The problem is that with a 
> 0-length argument like this, it still fails the \if test, moves past 
> the \else, and puts in a box which seems to takes up vertical space. 
> 
> Is there any logical test I can use for a 0-length argument?  I've 
> tried a zillion other combinations with \if, \ifx, with and without 
> {}, but I still haven't found any that pass the test. I can't even 
> find any that pass a comparison test with a non-blank argument unless 
> I remove the parentheses, e.g. if #1 is x, then \ifx#1x is true but 
> \ifx{#1}x and \ifx{#1}{x} are both false.  And as we saw before, 
> removing the parentheses defeats the whole process, because then the 
> test is true if #1 starts with any repeated character.
> 
> :-(
> 
> --Don Simons
> 
> 
> 
>  
> 

From mutex-owner@mail2.gmd.de Wed Nov 18 11:05:59 1998
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Date: Wed, 18 Nov 1998 12:05:59 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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Hi everyone,

I'd like to know if there are some people using Amiga and
MusiXTeX/OpusTeX out there. If so, please, let me know, I'd like to ask
you to become a beta-tester of my powerful WYSIWIG music editor.

Key features:
Multiple scores/views opened at the same time, book (sequence of scores)
support, MIDI files import/export, MIDI keyboard input and playback,
OpusTeX export (no adjustments necessary). automatic but adjustable
handling of accidentals, chord heads, slurs, ties, beams..., up to 256
voices (max. 16 instruments, each with max. 4 staffs, each with max. 4
voices), automatic horizontal spacing, MIDI mixing witch access to any
MIDI controller (similar to Cakewalk), access to all OpusTeX features,
extremely effective and powerful user interface (MUI, keyboard
shortcuts, changing properties of multiple objects at the same time),
automatic beaming according to time signature, multiple undo/redo of ALL
operations, fast and interruptible display (separate task) with
scrolling and screen dragging and MUCH MUCH MORE.

Planned in the near future: lyrics, clipboard, ARexx, inline TeX code,
automatic line breaking, ...

Requirements: at least 4 MB RAM, OS v3.0, MUI v3.8, TeX and OpusTeX
installed (uses PK fonts).

I plan to release a beta-test version in a few months, please let me
know if you are interested in this project. Now it has about 30 000
lines of C code, 500 KB of code and is growing instantly.

Bye,

Stanislav Kneifl.

From mutex-owner@mail2.gmd.de Wed Nov 18 18:33:47 1998
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Subject: Re: Amiga & OpusTeX
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On Wed, 18 Nov 1998, Stanislav Kneifl wrote:

> Hi everyone,
> 
> I'd like to know if there are some people using Amiga and
> MusiXTeX/OpusTeX out there. If so, please, let me know, I'd like to ask
> you to become a beta-tester of my powerful WYSIWIG music editor.

Hey, this sounds great :-). Which GUI toolkit did you use ?
Betatesting is ok for me, but I have not much time to test it, probably
only some hours a week. OTOH I can test on both Linux with UAE and on an
native Amiga with midi interface.

> Key features:
> Multiple scores/views opened at the same time, book (sequence of scores)
> support, MIDI files import/export, MIDI keyboard input and playback,

Finally I can reactivate my keyboard :-)

> OpusTeX export (no adjustments necessary). automatic but adjustable
> handling of accidentals, chord heads, slurs, ties, beams..., up to 256
> voices (max. 16 instruments, each with max. 4 staffs, each with max. 4
> voices), automatic horizontal spacing, MIDI mixing witch access to any
> MIDI controller (similar to Cakewalk), access to all OpusTeX features,

Are you directly using MusiXtex or do you translate to PMX before making
the .tex- File ?

> extremely effective and powerful user interface (MUI, keyboard
> shortcuts, changing properties of multiple objects at the same time),
> automatic beaming according to time signature, multiple undo/redo of ALL
> operations, fast and interruptible display (separate task) with
> scrolling and screen dragging and MUCH MUCH MORE.

Do you have a homepage with screenshots on it ? :-) I'd really like to see
the GUI :) (and the above question is obsolete, you are using MUI)

> Planned in the near future: lyrics, clipboard, ARexx, inline TeX code,
> automatic line breaking, ...
> 
> Requirements: at least 4 MB RAM, OS v3.0, MUI v3.8, TeX and OpusTeX
> installed (uses PK fonts).

My System is A4000/040/40 28 MB RAM (yes 28 :), MUI (don't know which
version but quite recently), PasTeX, MusiXTeX up to now, installing
OpusTeX is no problem (except when it costs something... I'm out of money 
for at least 1 year)

> I plan to release a beta-test version in a few months, please let me
> know if you are interested in this project. Now it has about 30 000
> lines of C code, 500 KB of code and is growing instantly.

Of course I am and I know that some others are, too. With UAE tested,
nearly everyone should be able to use it. It would be good then to
be able to safe the file as TeX-File so I can compile it under Linux
(which would be faster..)

Reinhard Katzmann
---
EMAIL: suamor@student.uni-tuebingen.de

Please ignore the somewhat outdated projects below
PTG-Konzept (In german) avalaible on request.
Current Amiga project: GuideTool (GUI) V1.1BETA
Current music project: Current music project: Mendelssohn sonata F Minor, 1. Movement

-- 
Approved by mutex-owner

PS: My first attempt to approve the above message failed, because I replied to
    the BOUNCE-Message instead of forwarding it to mutex@gmd.de. So I disposed
    the simple list password; in the meantime I changed it. Nevertheless I'll
    remove the failed attempt from the archives.                        Werner

From mutex-owner@mail2.gmd.de Fri Nov 20 11:19:01 1998
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Date: Fri, 20 Nov 1998 12:19:01 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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Hi there,

First of all: thanks for replies, I'll try to remember them.

Now:

Reinhard Katzmann wrote:
> 
> On Wed, 18 Nov 1998, Stanislav Kneifl wrote:
> 
> > Hi everyone,
> >
> > I'd like to know if there are some people using Amiga and
> > MusiXTeX/OpusTeX out there. If so, please, let me know, I'd like to ask
> > you to become a beta-tester of my powerful WYSIWIG music editor.

> > ...

> > voices), automatic horizontal spacing, MIDI mixing witch access to any
> > MIDI controller (similar to Cakewalk), access to all OpusTeX features,
> 
> Are you directly using MusiXtex or do you translate to PMX before making
> the .tex- File ?

I create OpusTeX file directly, there is no reason for using
preprocessor (remember: the preprocessors are for humans, being more
readable; but they are also less powerful than the target language).
Besides, I know a lot about OpusTeX's internals, but nothing about PMX
or so, and therefore the OpusOne (this is the name of my project, I
forgot to mention it before) could not be WYSIWIG when using PMX.

> Do you have a homepage with screenshots on it ? :-) I'd really like to see
> the GUI :) (and the above question is obsolete, you are using MUI)

Not yet, but I can create some in a week or so...

> My System is A4000/040/40 28 MB RAM (yes 28 :), MUI (don't know which
> version but quite recently), PasTeX, MusiXTeX up to now, installing
> OpusTeX is no problem (except when it costs something... I'm out of money
> for at least 1 year)

OpusTeX is free, but not yet entirely finished set of TeX macros. It is
another branch of TeX music typesetting, grown from MusiXTeX, well
optimized (no french relicts, twice faster), with excellent gregoriant
chant, PostScript slurs, ties and crescendos ... (end of advertisement).
Andreas Egler is working on it (at least he did, I haven't seen a new
release for a couple of months). By 'unfinished' I mean that the macro
names and even the basic ideas are not granted to be definitive, it's
still a beta-version. But IMHO better than MusiXTeX...

However, OpusTeX code is so similar to MusiXTeX, that simple replacement
proggie (sed script) could do the conversion between them, except some
features the MusiXTeX does not have.
 
> Of course I am and I know that some others are, too. With UAE tested,
> nearly everyone should be able to use it. It would be good then to
> be able to safe the file as TeX-File so I can compile it under Linux
> (which would be faster..)

No problem, the TeX files are compatible anywhere...

About porting:
Major part of this program is the GUI and it's pretty hard to port - you
have to know a lot about both source and target system. I do not.
Besides, I am not willing to give away the source - I still did not drop
off the idea to make OpusOne a (bit) commercial product and get some
money from the two (and probably more) years I spent on it...
If the things will go well, the resulting program will be as powerful as
Encore for example, with better output and much more effective user
interface.

At least I hope...

Bye,

Stanislav Kneifl.

From mutex-owner@mail2.gmd.de Mon Nov 23 08:06:59 1998
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Subject: OpusTeX <--> MusiXTeX (was: Amiga ...)
To: standa@hiero.cz (Stanislav Kneifl)
Date: Mon, 23 Nov 1998 10:06:59 +0200 (SAT)
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In-Reply-To: <36555025.4C9823E4@hiero.cz> from "Stanislav Kneifl" at Nov 20, 98 12:19:01 pm
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Stanislav Kneifl claimed:
> 
> However, OpusTeX code is so similar to MusiXTeX, that simple replacement
> proggie (sed script) could do the conversion between them, except some
> features the MusiXTeX does not have.
>  
I should be very interested in such a script, and also its
converse: MusiXTeX to OpusTeX, which is presumably possible
except for some backward compatibilities that OpusTeX has
discarded?

Dirk

From mutex-owner@mail2.gmd.de Mon Nov 23 08:06:59 1998
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Subject: OpusTeX <--> MusiXTeX (was: Amiga ...)
To: standa@hiero.cz (Stanislav Kneifl)
Date: Mon, 23 Nov 1998 10:06:59 +0200 (SAT)
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In-Reply-To: <36555025.4C9823E4@hiero.cz> from "Stanislav Kneifl" at Nov 20, 98 12:19:01 pm
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Stanislav Kneifl claimed:
> 
> However, OpusTeX code is so similar to MusiXTeX, that simple replacement
> proggie (sed script) could do the conversion between them, except some
> features the MusiXTeX does not have.
>  
I should be very interested in such a script, and also its
converse: MusiXTeX to OpusTeX, which is presumably possible
except for some backward compatibilities that OpusTeX has
discarded?

Dirk

From mutex-owner@mail2.gmd.de Mon Nov 23 16:56:12 1998
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From: dsimons@logicon.com (Don Simons)
Subject: PMX Version 1.43
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Werner has just activated a new version of PMX at 

http://www.gmd.de/Misc/Music/  

Here is the readme:

PMX is a preprocessor for MusiXTeX that produces nearly professional-looking 
scores and parts with far less effort than would be required using MusiXTeX 
alone.

All files necessary for the DOS version are contained in pmx143.zip.  The full
instruction manual is in pmx143.tex (use LaTeX 2.09).  There is also a 
postscript image in case you have problems TeX'ing it.

ref143.tex is a summary of all the legal PMX "symbols".  You should still 
read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other versions
may appear on ftp.gmd.de.
 
What's new since Version 1.38?

NOTICE:
There are a number of operations that have been made automatic, which formerly
required user intervention.  These include addition of extra space if needed
around shifted accidentals, repetition of certain symbols just before
a page break, and other subtle changes that may affect horizontal spacing
or system breaking.  These could cause some old scores to require minor 
editing.

OTHER NEW FEATURES:
Manual has boxes in margin to highlight descriptions of new features.
Easier meter change syntax option, e.g: m29/16/0/0 .
Centered whole-bar rests with double lines of music.  
Option "o" to suppress centering full-bar rests. 
Shift accidentals, either [+|-][integer][+|-][number] or [<|>][number].
Insert space as needed for left-shifted accidentals.
Automatically shift accidental on left-shifted chord note.
Rest as any note of xtuplet except last.
Rb to force single bar at movement break or end of piece. 
Change number of instruments at a movement break.  
Option to control reprinting of instrument names at movement break.
Double-dotted notes.
Adjust position of double dot.
pmxa always writes pmxaerr.dat, containing line number of error. 
Dotted slurs.
Option to continue bar numbering at a movement break.
Test that total number of lines of music does not exceed 7.
Permit ":" as last character of path name.
pmxa writes file containing line number of terminal error.
Double whole rest.
Control transfer of horizontal shifts and hardspaces into parts. 
Numerous bug fixes as usual.

--Don Simons
dsimons@logicon.com , dons@lanl.gov

From mutex-owner@mail2.gmd.de Tue Nov 24 07:23:35 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199811240723.IAA04948@sg10.chem.tue.nl>
Subject: MusiXTeX: please help with TAB macros
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Tue, 24 Nov 1998 08:23:35 +0100 (MET)
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Hello,

In order to write TAB music, I've created a few macros, which I use in
MusiXTeX. I use six staff lines and put numbers on them. It works fine,
but I would like it if the staff lines would stop just before a number
and continue just after each number. In other words, each number should
have a white background. At the moment, the staff lines strike right
through them. Does anyone know how to do this?

For an example, see:
www.tak.chem.tue.nl/personal/rgelten/songs/acoustic_motorbike/exploring.gif

If anyone is interested in the macros, I'd be happy to mail them to this
list.

Thanks,
Ronald

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Nov 24 14:50:53 1998
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From: Stanislav Kneifl <standa@hiero.cz>
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Ronald Gelten wrote:
> In order to write TAB music, I've created a few macros, which I use in
> MusiXTeX. I use six staff lines and put numbers on them. It works fine,
> but I would like it if the staff lines would stop just before a number
> and continue just after each number. In other words, each number should
> have a white background. At the moment, the staff lines strike right
> through them. Does anyone know how to do this?

The simpliest solution is to use PostScript and draw a white rectangle
under the number. You can do this using pstricks for example, or use
inline PostScript code or set color to white and draw rule of the same
size as the \hbox containing the number. In the latter case, of course,
you will see nasty black rectangles using non-PostScript DVI drivers.

Clean TeX solution is much harder - you would have to draw staff lines
yourself, keeping track of sizes of the line segments... pufff.

Happy TeXing!

Stanislav Kneifl.

From mutex-owner@mail2.gmd.de Wed Nov 25 07:07:39 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199811250707.IAA15450@sg10.chem.tue.nl>
Subject: Re: MusiXTeX: please help with TAB macros
To: standa@hiero.cz (Stanislav Kneifl)
Date: Wed, 25 Nov 1998 08:07:39 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <365AC7CD.CDF16996@hiero.cz> from "Stanislav Kneifl" at Nov 24, 98 03:50:53 pm
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Stanislav Kneifl wrote

> > and continue just after each number. In other words, each number should
> > have a white background. At the moment, the staff lines strike right
> > through them. Does anyone know how to do this?
> 
> The simpliest solution is to use PostScript and draw a white rectangle
> under the number. You can do this using pstricks for example, or use
> inline PostScript code or set color to white and draw rule of the same
> size as the \hbox containing the number. In the latter case, of course,
> you will see nasty black rectangles using non-PostScript DVI drivers.

Hmm. Not what I hoped for :-( At the moment, it looks excellent in xdvi,
with wite boxes etc. That's why I hoped it would be an easy solution.
Editing tons of numbers in postscript files is too much work for such a
detail.

> Clean TeX solution is much harder - you would have to draw staff lines
> yourself, keeping track of sizes of the line segments... pufff.

Eek! I'm far from being a TeXpert, so I'm not gonna stirr up this one.

> Happy TeXing!
Thanks for your help!
Ronald

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Nov 24 19:35:26 1998
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Subject: Re: MusiXTeX: please help with TAB macros
References: <199811240723.IAA04948@sg10.chem.tue.nl>
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There is a TeX-like tablature typesetting program by Wayne Cripps. If
you have a C++ compiler you can download the source.
If you run Windows 95/NT you can get a copy from me for other systems
you should ask Wayne Cripps. See

ftp://ftp.cs.dartmouth.edu/pub/lute

Since guitar tab is more or less identical to 16th century Spanish/Milan
vihuela tablature you should have a look at the program.

Rainer adS
 

Ronald Gelten wrote:
> 
> Hello,
> 
> In order to write TAB music, I've created a few macros, which I use in
> MusiXTeX. I use six staff lines and put numbers on them. It works fine,
> but I would like it if the staff lines would stop just before a number
> and continue just after each number. In other words, each number should
> have a white background. At the moment, the staff lines strike right
> through them. Does anyone know how to do this?
> 
> For an example, see:
> www.tak.chem.tue.nl/personal/rgelten/songs/acoustic_motorbike/exploring.gif
> 
> If anyone is interested in the macros, I'd be happy to mail them to this
> list.
> 
> Thanks,
> Ronald
> 
> --
> Eindhoven University of Technology | tel: +31 40 2473575
> e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
> http://www.tak.chem.tue.nl/personal/rgelten/
> "Trust me, I'm a doctor!" - S.P. Bates, Ph.D.


From mutex-owner@mail2.gmd.de Wed Nov 25 09:02:58 1998
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Date: Wed, 25 Nov 1998 10:02:58 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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To: Ronald Gelten <tgakrg@sg10.chem.tue.nl>, MuTeX mailing list <mutex@gmd.de>
Subject: Re: MusiXTeX: please help with TAB macros
References: <199811250707.IAA15450@sg10.chem.tue.nl>
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> > The simpliest solution is to use PostScript and draw a white rectangle
> > under the number. You can do this using pstricks for example, or use
> > inline PostScript code or set color to white and draw rule of the same
> > size as the \hbox containing the number. In the latter case, of course,
> > you will see nasty black rectangles using non-PostScript DVI drivers.
> 
> Hmm. Not what I hoped for :-( At the moment, it looks excellent in xdvi,
> with wite boxes etc. That's why I hoped it would be an easy solution.
> Editing tons of numbers in postscript files is too much work for such a
> detail.

Not SO hard; something like this could do the job (NOT TESTED):

\def\num#1#2{\setbox0=\hbox{#2}
   \special{ps: 1 setgray}
   \zcharnote{#1}{\vrule height \ht0 width \wd0 depth \dp0}
   \special{ps: 0 setgray}
   \zcharnote{#1}{\box0}}

\num02 puts number '2' at the bottom line

Please tell me if it works (it should) ...

Stanislav Kneifl.

From mutex-owner@mail2.gmd.de Wed Nov 25 10:13:18 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199811251013.LAA17728@sg10.chem.tue.nl>
Subject: Re: MusiXTeX: please help with TAB macros
To: standa@hiero.cz (Stanislav Kneifl)
Date: Wed, 25 Nov 1998 11:13:18 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <365BC7C2.ADA3FC29@hiero.cz> from "Stanislav Kneifl" at Nov 25, 98 10:02:58 am
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Stanislav Kneifl wrote

> Not SO hard; something like this could do the job (NOT TESTED):
> 
> \def\num#1#2{\setbox0=\hbox{#2}
>    \special{ps: 1 setgray}
>    \zcharnote{#1}{\vrule height \ht0 width \wd0 depth \dp0}
>    \special{ps: 0 setgray}
>    \zcharnote{#1}{\box0}}
> 
> \num02 puts number '2' at the bottom line
> 
> Please tell me if it works (it should) ...

Wow! After a small change, it worked. Your code produced overfull
hboxes. What I'm using now is:

%% tabbox ensures a white background for the tab number in the ps-file
%% (the stafflines don't overrun the number.
\def\tabbox#1#2{\setbox0=\hbox{\chordfnt #2}%
   \special{ps: 1 setgray}%
   \ccharnote{#1}{\vrule height \ht0 width \wd0 depth \dp0}%
   \special{ps: 0 setgray}%
   \ccharnote{#1}{\box0}%
}
%% \tab takes two arguments. 
%% #1 is the string number 
%% #2 is the symbol to be put on the string
%% the symbols are horizontally centered and a \sk is put behind it,
%% to jump to the position of the next symbol
\def\tab#1#2{%
  \ifnum#1=1\tabbox n#2%
    \else\ifnum#1=2\tabbox l#2%
      \else\ifnum#1=3\tabbox j#2%
        \else\ifnum#1=4\tabbox h#2%
          \else\ifnum#1=5\tabbox f#2%
            \else\ifnum#1=6\tabbox d#2%
  \fi\fi\fi\fi\fi\fi
  \sk
}

So, \tab12 puts a "2" on string number 1, with a fancy white box behind
it.

Thanks a LOT!

Cheers,
Ronald

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Fri Nov 27 10:49:41 1998
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Date: Fri, 27 Nov 1998 11:49:41 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: mutex <mutex@gmd.de>
Subject: Translating mensural notation to modern scores
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Dear mutex subscribers.

I'm trying to see how far I can get in typesetting modern score editions
of renaissance music from original mensural notation mss and prints
using mtx/pmx.

As is customary with modern editions I want to prefix the scores with an
'incipit', a leading section showing the original keys, note values,
note shapes and mensural symbols. I can get the needed symbols I want
from the MusiXTeX fonts except for some of the mensural symbols. For
example if I want to indicate an original tempus perfectus I need a
circle or an oval shaped analogous to the C meter symbol (tempus
imperfectus). The original notation might be dividing the semibrevis
into three minima, in this case a centered dot were added to the tempus
sign.

I also want to indicate ligatures (compact notes with special meanings)
with brackets over the notes corresponding to the ligature.

For more details on mensural notation see
http://www.uconect.net/~raybro/index1.html.

For examples of modern editions of renaissance music see eg
http://ace.acadiau.ca/score/archive/ftp.htm

Any suggestions how to implement these features ?

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Mon Nov 30 18:03:41 1998
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Subject: MusixTeX T.92 available
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Subject: MusiXTeX version T.92

New version T.92 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.92  manual corrected, corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
 - T.82  optional width of ledger lines and optional dot after "volta" nu=
mbering
 - T.81  naturals always before final signature with changecontext
 - T.80  possible inhibition of naturals at signature change
 - T.79  dotted slurs (thanks to W. Icking)
=20
Daniel Taupin


--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Dec  1 08:00:54 1998
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199812010800.KAA11991@calvyn.puk.ac.za>
Subject: M-Tx 0.52 available
To: mutex@gmd.de (List for MusicTeX etc)
Date: Tue, 1 Dec 1998 10:00:54 +0200 (SAT)
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M-Tx is a music-from-text language designed to look as much as possible
like printed music.  To give you an idea of what that means, here is some
typical input code (users of M-Tx 0.50 may skip to "What's New?"):

------------------------------------------------------------------------
Title: Net soos ek is
Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
Space: 9

%% w190m
@+5 b4 b b  | b2d    | a4 a a | a2d     | d4 e- f  | g2 e4    | d2d of  |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
    d4s g f | e2d    | e4 f e | d2d     | d4 dr d  | d2 c4    | d2d     |]
@^+5   rp   | b4 e d | c2d    | a4 d c  | ( b2d    | b2 ) g4  | f2d     |]
LT:           Net soos ek is, O Lam van God, ek kom. 
    a4 a a  | g2d    | g4 g g | f2d     | b4- g+ f | e2 a4-   | d2d ofd |]
L: Net soos ek is, net soos ek is, O Lam van God, ek kom. 
------------------------------------------------------------------------
             

Notes:
  1. Lines describing title, composer, sharps and meter are
     self-explanatory, I hope.
  2. "Style: SATB" means "four-voice choral music on two staves."
  3. "%% w190m" means "Issue PMX command 'w190m' here" (which means
     "Set the piece to a width of 190mm.")
  4. "Space: 9" means "Use 9 interlines of extra space between the staves."
  5. Line boundaries are meaningful. You can see the lines for soprano,
     alto, tenor and bass from top to bottom, interspersed by lyrics 
     associated with the alto, tenor and bass voice lines.
  6. Notes and ornaments are written in the PMX language developed by 
     Don Simons.
  7. ( ... ) are notes under a slur.
  8. In general each syllable of lyrics is aligned with a note from its
     associated voice.  A group of notes that are slurred together only
     uses one syllable of lyrics. 
  9. "@^+5" means "set this line of lyrics above the stave and 5 internotes 
     higher than usual."
 10. This piece has been typed neatly, with notes aligned and bar lines
     put in, to look like real music, but you need not actually be so
     painstaking.

If you would like to see how this looks, you can download M-Tx 0.52 from
    http://www.gmd.de/Misc/Music/musixtex/software/mtx
(or if you prefer FTP)
    ftp://ftp.gmd.de/music/musixtex/software/mtx
To make your own scores, you will need README.052 and mtx052.zip,
and depending on your printer either mtx052.lj or mtx052.ps.
The latter two are optional, since mtxdoc.dvi is in mtx052.zip (but it
does use MusiXTeX fonts).

To run M-Tx, you need MusiXTeX 0.80 or later, PMX 1.43 (the current
version) and musixlyr 1.1 (the current version).  By kind permission of
Rainer Dunker the file musixlyr.tex (but not the documentation, which
is strongly recommended) is included in mtx052.zip.  These materials
are all available from the above-mentioned archive.


            What's new?

   1. Dot and accidental adjustments available in PMX 1.43 no longer
      confuse M-Tx.
   2. c..d shortcut for double-dotted notes.
   3. )t(t for continuation ties.
   4. Relies on PMX 1.43 for certain features previously in M-Tx but
      not in PMX 1.38 (e.g. more than one whole-bar rest on a stave)
   5. More than one preamble paragraph allowed to overcome 24-line
      restriction.  

      Bug fixes (too many to mention)

As you have no doubt noticed, this is not a major release.  The main
purpose was to make M-Tx more compliant with the recent major release
of PMX.  It is likely to be the last release of M-Tx with source code 
that does not require a C++ compiler.

Happy music typesetting!

Dirk Laurie    





From mutex-owner@mail2.gmd.de Wed Dec  2 09:28:33 1998
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Date: Wed, 02 Dec 1998 10:28:33 +0100
From: Christian Mondrup <scancm@biobase.dk>
Organization: Scandiatransplant
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Mime-Version: 1.0
To: mutex <mutex@gmd.de>
Subject: Re: Translating mensural notation to modern scores
References: <199811271354.OAA20015@spitfire.e.kth.se>
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Mats Bengtsson wrote:
> 
> Hej Christian!
> 
> I recently incorporated mensural tempus signs into the font used
> in Lilypond, the GNU Project Music Typesetter.
> You could view the symbols from the Lilypond web site,
> http://www.cs.ruu.nl/people/hanwen/lilypond/index.html
> Just click on "Reference Manual", search for the word
> "timeSignatureStyle" and yuo will find an example a few
> lines below.
> 
> If you wish to use the symbols in MusiXTeX, you could either
> copy the full font (the MetaFont source files are in the mf/
> directory of the Lilypond source tree) and define some suitable
> TeX commands to access them or you could use the source code
> (from mf/feta-timesig.mf) as inspiration for you own implementation
> in for example xgreggen.mf in MusiXTeX. You simply have to replace
> some Lilypond specific MetaFont macros.

This is just what I need :-) I choose to install the fonts - the whole
Lilypond package as a matter of fact - and thus have full access to all
it's printing types.

The song 'Seruants out of Seruice' by Thomas Ravenscroft newly published
on the GMD archive demonstrates how I make use of the Lilypond mensural
notation symbol 'Tempus imperfectum cum prolatione perfecta', a broken
circle with a dot inside. I print it in the incipit of the score showing
the meter(s), clefs, signs and leading notes of the original part books. 

In the file chngclfs.tex included into the mtx source file I define this
mensural notation macro:

% Tempus imperfecetum cum prolatione perfecta
% using LilyPond font feta16
%
\font\lilyfnt=feta16%
%
\def\oldm{\lilyfnt\char76}%
\def\imperfp{\roffset{.5}{\zcharnote3{\oldm}}}%

allowing me to reference it in a mtx music paragraph where I need it:

m1/8/0/0 \imperfp\nexts\ r8b ||
m1/8/0/0 \imperfp\nexta\ r8b ||
m1/8/0/0 \imperfp\nextt\ r8b ||
m1/8/0/0 \imperfp\nextb\ r8b ||

The \nexts\ etc. macros are used for printing mensural notation style
notes with diamond heads. These printing types are in the MusiXTeX
fonts, but not - yet - in Lilypond.

When I started experimenting with the fonts I didn't know myself how to
get access to a TeX font and the key codes of it's printing types. A TeX
guru then told me how to use the TeX testfont utility. For those of you
also missing this information I repeat it here:

At the command prompt enter 'tex testfont' and print the name of the
font when prompted for it. The font name you want is a file name within
the texmf/fonts/source directory tree. Next you may enter \help to get a
list of commands, eg \table that produces a dvi file with a table of all
the printing types in the current font ready to print out. End your
testfont section with the command \end.

In my first mutex posting on the current subject I also asked for advice
on printing brackets indicating mensural notation ligatures. I allow
myself to repeat this question :-)

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Wed Dec  2 18:24:46 1998
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Date: Wed, 02 Dec 1998 13:24:46 -0500
From: Eric Petersen <epeterse@msi.umn.edu>
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To: mutex@gmd.de
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Hello,

  I've just uploaded PMX for MacOS 1.4.3 to ftp.gmd.de,
so it should show up on

  <http://www.gmd.de/Misc/Music/>

shortly. As usual it will also be available from

  <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

Happy PMX'ing,
    Eric

+------------------------------------------------------------------------+

| Eric Petersen, University of Minnesota             (Home) 612-533-2654
|
| Dept of Aerospace Engineering and Mechanics               612-624-3516
|
| Minnesota Supercomputer Institute                         612-624-1524
|
| epeterse@aem.umn.edu, epeterse@msi.umn.edu
|
| http://www.aem.umn.edu/people/students/epeterse/
|
+------------------------------------------------------------------------+




From mutex-owner@mail2.gmd.de Thu Dec  3 10:37:31 1998
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Date: Thu, 3 Dec 1998 11:37:31 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: PMX for MacOS 1.4.3 
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On Wed, 2 Dec 1998, Eric Petersen wrote:

>   I've just uploaded PMX for MacOS 1.4.3 to ftp.gmd.de,
> so it should show up on
> 
>   <http://www.gmd.de/Misc/Music/>
> 

Speaking of which ... pmx-unix-1.43.tar.gz is there, too.

Best wishes,
Stefan.


======================================================================
  `` ... everything of any importance is founded on mathematics. ''
                                  -- from "Starship Troopers"
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)



From mutex-owner@mail2.gmd.de Thu Dec  3 17:55:56 1998
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From: dsimons@logicon.com (Don Simons)
Subject: Re: PMX for MacOS 1.4.3 and for UNIX 
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Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de> wrote

>On Wed, 2 Dec 1998, Eric Petersen wrote:
>
>>   I've just uploaded PMX for MacOS 1.4.3 to 
>>ftp.gmd.de, > so it should show up on
>> 
>>   <http://www.gmd.de/Misc/Music/>
>> 
>
>Speaking of which ... pmx-unix-1.43.tar.gz is there, too.


Many thanks to Stefan and Eric for their continued support of PMX.


--Don Simons

From mutex-owner@mail2.gmd.de Thu Dec  3 21:30:06 1998
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Date: Thu, 3 Dec 1998 15:30:06 -0600 (CST)
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Cc: Werner Icking <Werner.Icking@gmd.de>
Subject: M-Tx 0.52 for MacOS
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Hello,

  I've just uploaded M-Tx for MacOS 0.52 to ftp.gmd.de,
so it should show up on

  <http://www.gmd.de/Misc/Music/>

shortly. As usual it will also be available from

  <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

Happy M-Tx'ing,
    Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Tue Dec  8 00:40:55 1998
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From: Rachmat Sukendro <rachmat@melsa.net.id>
Subject: Hi
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Hi,
  I'm new and I have questions:
1. Where can I get good FAQs/guide on mutex, musictex, musixtex?
2. Sometimes, I need to draw a tie that crosses two staffs. How do I do that?

Thanks,

Husein

        "This could be the begining of a biyuuuutiful friendship"
                - Bugs



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From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
To: Rachmat Sukendro <rachmat@melsa.net.id>
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On 08-Dec-98 Rachmat Sukendro wrote:
> Hi,
>   I'm new and I have questions:
> 1. Where can I get good FAQs/guide on mutex, musictex, musixtex?
> 2. Sometimes, I need to draw a tie that crosses two staffs. How do I do that?
> 
> Thanks,
> 
> Husein


Hallo!

Since you found the mailinglist at gmd, you could try to have a look at the
file: musixdoc.ps.gz
on the gmd server http://www.gmd.de/Misc/Music/musixtex/ 
as well. This is a over 100 pages book on musixtex (brand new version T.92).

For the ties look at slurs in that book: Chapter 2.12 (esp. 2.12.3.4, page 43
in the Version T.89)  :-)

K.-H.

----------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Date: 08-Dec-98      Time: 14:35:08
----------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Dec  9 10:37:31 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
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Subject: MusiXTeX: changing rightrepeat?
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Wed, 9 Dec 1998 11:37:31 +0100 (MET)
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Hi all,

In order to improve my macro set for guitar tabulature, I would like to
change the format of the repeat colons in \rightrepeat etc. At the
moment, it seems to me that MusiXTeX puts in a colon when the repeats
are called for (excerpt from musixtex.tex):

% write colons on all staffs (a part of [left][right]repeat symbols
\def\writ@colons{\n@loop{\w@coli}\repeat}
\def\w@coli{\p@loop                                       
\raise\altportee\hbox{\raise4\internote\hbox{\keychar55}}\count@portee\repeat}

This works fine for five-line staffs. However, for six-line staffs, this
means that (1) the colon is places too low, and (2) the dots in the colon 
are rather close together. 

To resolve (1), I would like the colon to be centered in a \vbox which
has the height of the staff. However, this would put the dots on top of
the staff lines, and thus render them invisible. I could try to resolve
that by putting a white box behind them, though. Problem (2) could only
be resolved (I think) by putting two separate dots instead of a colon. 
I believe that is what is done in OpusTeX.

All these changes would require changes in the MusiXTeX core. Would
anybody know a more "external" solution? Perhaps something along the
line of defining a \tabrightrepeat etc.? I found out that my knowledge 
of TeX is not enough to work this out.

Thanks for any help you can give me,
Ronald Gelten

-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Mon Dec 14 12:53:50 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199812141253.NAA15875@sg10.chem.tue.nl>
Subject: hacking MusiXTeX: inconsistent \raise?
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Mon, 14 Dec 1998 13:53:50 +0100 (MET)
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Hi all,

For my tabulature extensions of MusiXTeX, I'm trying to hack some code.
First of all, I'd like to know if the code below is acceptable.
My problem is the \edef line. This is taken from musixtex.tex and by
using it in my tabdefs.tex, I can redifine \writ@colons. This may cause
erratic behaviour (I don't know). Redefining \writ@colons is necessary
(IMO) when multiple staffs are used, one of which is tabulature.


%%%%%%%%%%%%
% START CODE
% \settab n gives instrument n to tabulature staffs
\newcount\tabinstrument
\def\settab#1{%
  \tabinstrument=1%
  \setlines#1 6%
  \setclefsymbol#1\tabclef%
}

% \edef is needed to be able to redefine \writ@colons from musixtex.tex
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
\def\writ@colons{\n@loop{%
  \ifnum\noinstrum@nt=\tabinstrument\tabcoli%
  \else\w@coli\fi}\repeat%
}

\def\tabcoli{\p@loop\raise\altportee\hbox{%
  \raise5.2\internote\hbox{\musixchar'30}%
  \raise1.2\internote\hbox{\musixchar'30\addspace{\internote}}% 
  }\count@portee\repeat%
}
% END CODE
%%%%%%%%%%

My second question is about the behaviour of the above code. 
The code generates a \rightrepeat colon with large spacing for the
tabulature staffs (note the six staff lines):
  -------------------| ||
                     | ||
  -------------------| ||
                   . | ||
  -------------------| ||
                     | ||
  -------------------| ||
                   . | ||
  -------------------| ||
                     | ||
  -------------------| ||

If I have only one instrument, the dots of the colon are placed slightly 
too high (not centered between the stafflines). However, when I have 
two instruments, one of which has a tabulature staff, the dots are placed
slightly too low! Is this inconsistent behaviour of \raise, or does
anyone know other possibilities?

Thanks in advance,
Ronald

PS: the testcode that I used was:
\hsize=50mm
\settab 1
\nobarnumbers
\startpiece
  \Notes\tab60\tab17\tab20\tab37\tab17\tab20\tab37\tab40\en
  \setrightrepeat
\endpiece

\instrumentnumber{2}
\settab 1
\startpiece
  \Notes\tab60\tab17\tab20\tab37\tab17\tab20\tab37\tab40%
     &\ibu0m0\qb0 {`d}\qb0 {'o}\qb0 h\tbu0\qb0 k%
      \ibu0m0\qb0 o\qb0 h\qb0 k\tbu0\qb0 d\en
\setrightrepeat
\endpiece


-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Mon Dec 14 14:04:04 1998
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First:
since i'm not realy a musicant an do not realy write compositions i
don'n know if i'm doing right on first score i write for
elementary-school of our son. They do some operas for/with kids and i
want to typset scores so taht kids may read them for playing
instruments. I'd like to post a score if someone of you would take a
look at it an give me some comments on what to do better. Will you?

Some more:

If i start a \doublerepeat  after
\stoppiece[set-some-instrument-number-and-names]\startpiece on beginning
of a staff with 4 instruments the \leftrepeat doesn`t start at beginning
of staff (as regulary bars do at beginning of score) but behind
violin-key. How do i get \leftrepeat on the verry left of staff, an
across all instruments beginnig there?

on scores with more than one \setinstrumentnumber an with \setname's
when there is a linebreak and new lines begin there is no \setname at
beginnig of each new line, which i would like to have. How can i get 
this?

--
Gerhard Kroder		email:	kroder@fh-aachen.de

From mutex-owner@mail2.gmd.de Sun Dec 13 01:50:00 1998
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From: "SIMONS, DON " <DSIMONS@logicon.com>
To: mutex@gmd.de
Subject: PMX-Bug?
Date: Sat, 12 Dec 1998 17:50:00 -0800
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Frank Steffani wrote

>There is a problem, though, with some dotted half notes. Please
>look at bar 21 and bar 23 which are both in the very last printed
>staff of the piece (and on the page). It looks like a ")" between
>the half note and it's dot.

Using M-Tx 0.52 <29 October 1998>, and PMX version 1.43, I could not 
reproduce the error.  Sorry I can't help with that one, but meanwhile 
I see that the the 1st and 2nd ending boxes in bars 8-9 came out a 
different levels.  Haven't figured out what's wrong there yet.

--Don

      

From mutex-owner@mail2.gmd.de Mon Dec 14 17:56:06 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, kroder@fh-aachen.de
Subject: Re: some questions
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> Date: Mon, 14 Dec 1998 15:04:04 +0100
> From: Gerhard Kroder <kroder@fh-aachen.de>

> since i'm not realy a musicant an do not realy write compositions i
> don'n know if i'm doing right on first score i write for
> elementary-school of our son. They do some operas for/with kids and i
> want to typset scores so taht kids may read them for playing
> instruments. I'd like to post a score if someone of you would take a
> look at it an give me some comments on what to do better. Will you?

I hope, you didn't use pure MusiXTeX, but PMX (if there are less than
8 voices). PMX may help you much if you are not used to typeset music.
And PMX knows a lot about typesetting music which you have not to know
if you use PMX.

[...]
> If i start a \doublerepeat  after
> \stoppiece[set-some-instrument-number-and-names]\startpiece on beginning
> of a staff with 4 instruments the \leftrepeat doesn`t start at beginning
> of staff (as regulary bars do at beginning of score) but behind
> violin-key. How do i get \leftrepeat on the verry left of staff, an
> across all instruments beginnig there?

That will not be easy because it's wrong. First comes the "Akkolade"
or "Klavierklammer", then the clefs, then the key, then the meter
and then the leftrepeat.

> on scores with more than one \setinstrumentnumber an with \setname's
> when there is a linebreak and new lines begin there is no \setname at
> beginnig of each new line, which i would like to have. How can i get 
> this?

Have a look at http://www.gmd.de/Misc/Music/   Under "MusiXTex"/"Add-ons"
you can find an example for typesetting scores where this problem has been
solved. (You have to provide enough space to the left of the music and
supply the names using \ateverystaff, \zcharnote, ...)

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Tue Dec 15 09:18:58 1998
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Date: Tue, 15 Dec 1998 10:18:58 +0100
From: Gerhard Kroder <kroder@fh-aachen.de>
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\shorttitle provides a short title at the bottom line of every page
(MusiXTeX T.84). when i use it, it also shows up an open/close bracket
"()" behind title. Why? I don't see this documentet in manual. Is it for
\shortauthor, which i haven't set?

--
Gerhard Kroder		email:	kroder@fh-aachen.de

From mutex-owner@mail2.gmd.de Tue Dec 15 09:40:36 1998
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Date: Tue, 15 Dec 1998 10:40:36 +0100
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manual (Chapt. 6,mshortref) to musixtex says pitches may  be references
like 'c 'e 'f instead of j k l etc, bit this doesnt seeme to work(at
least within T.84). do i need a special input file for this? Which key
on keyboard (german-104 pc) is it actually: the one
left of BS
shift-left of BS
shift-#
??
--
Gerhard Kroder		email:	kroder@fh-aachen.de

From mutex-owner@mail2.gmd.de Tue Dec 15 10:47:39 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Tue, 15 Dec 1998 10:05:54 +0100
> From: Gerhard Kroder <kroder@fh-aachen.de>

[... extract from a private reply ...]

> Werner Icking wrote: 

> > Have a look at http://www.gmd.de/Misc/Music/   Under "MusiXTex"/"Add-ons"
> > you can find an example for typesetting scores where this problem has been
> > solved. (You have to provide enough space to the left of the music and
> > supply the names using \ateverystaff, \zcharnote, ...)
> 
> of course i could set it manually after every linebrake...
> \ateverystaff is not mentioned at musixdoc.ps.gz, V T.92. Where to look
> for this and others alike?

Sorry, that was a mixture between \everystaff and \atnextline, \atnextbar, ... :-(

-- Werner 

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199812151258.NAA01285@sunick.gmd.de>
To: mutex@gmd.de, kroder@fh-aachen.de
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> Date: Tue, 15 Dec 1998 10:40:36 +0100
> From: Gerhard Kroder <kroder@fh-aachen.de>

> manual (Chapt. 6,mshortref) to musixtex says pitches may  be references
> like 'c 'e 'f instead of j k l etc, bit this doesnt seeme to work(at
> least within T.84).

Hi Gerhard, as a newcomer you can be sure, that most commonly used features
of MusiXTeX work as described since years :-)

>                      do i need a special input file for this? Which key
> on keyboard (german-104 pc) is it actually: the one
> left of BS
> shift-left of BS
> shift-#

On a German keyboard ...

"shift-#" (single quote)               switches to the next upper octave;
"shift-left of BS/rubout" (back-quote) switches to the next lower octave;
"shift-1" (exclamation mark!)          resets to the untransposed state.

You may verify this by opening musixdoc.tex with your favourite editor 
programme or typesetting your music using PMX, which generates these
note names automagically for better human readability.

> ??

!! -- Werner

From mutex-owner@mail2.gmd.de Wed Dec 16 09:43:42 1998
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199812160943.KAA29837@sg10.chem.tue.nl>
Subject: MusiXTeX hacking problems solved
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Wed, 16 Dec 1998 10:43:42 +0100 (MET)
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Hi all,

Werner suggested that I post the solution to the colon problem to the 
list, so here goes.

The problem was that the [right][left]repeat colons are not vertically 
centered when a staff has six lines (like in guitar tabulature). I took 
the following steps to solve it. 
(1) the tabulature staff is treated as an instrument, termed tabinstrument.
(2) define a counter which holds the number of the tabinstrument. This
number is set when the macro \settab$n$ is called:
  \newcount\tabinstrument
  \def\settab#1{%
    \tabinstrument=#1%
    \setlines#1 6%
    \setclefsymbol#1\tabclef%
  }
(3) the macro \writ@colons from musixtex.tex normally calls another
macro, \w@coli, which writes the repeat-colon (\writ@colons loops over
all instrumens, \w@coli loops over all staffs of each instrument). I
redefined \writ@colons, so that it calls \tabcoli for the tabinstrument,
but keeps using \w@coli for all other instruments:
  \makeatletter % enables redefinition of "@" containing macros
  \def\writ@colons{\n@loop{\ifnum\noinstrum@nt=\tabinstrument\tabcoli%
                           \else\w@coli\fi}\repeat%
  } 
the \ifnum ... \else is added in comparison with the original
\writ@colons.
(4) define the macro \tabcoli, which is almost the same as \w@coli. The
difference is that \w@coli puts one character (the colon \keychar55),
whereas \tabcoli puts two separate dots:
  \newskip\tabcolskip       % define a horizontal skip, which is then
  \tabcolskip1.2\internote  % tuned to give an acceptable spacing
  \def\tabcoli{\p@loop\raise\altportee%
    \hbox{%
      \raise5\internote\rlap{\kernm\tabcolskip\hbox{\keychar24}}%
      \raise1\internote\rlap{\kernm\tabcolskip\hbox{\keychar24}}%
    }\count@portee\repeat%
  }
  \makeatother % close the previously called \makeatletter
The central \hbox is the only difference between tabcoli and \w@coli.

And this works nicely. A small problem: my dots are thinner than the
"normal" repeat colon, but that seems solvable.

As always, suggestions are welcome. I'm not a TeXpert at all, so more
efficient coding is probably possible.

Cheers,
Ronald
-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.
-- 
Eindhoven University of Technology | tel: +31 40 2473575
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Thu Dec 17 09:11:25 1998
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Date: Thu, 17 Dec 1998 10:11:25 +0100
From: Frank Stefani <frank@ead-systeme.de>
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        "Frank Stefani(Privat)" <f.stefani@gaponline.de>
Organization: EAD-Systeme GmbH
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Hi,

I have been using M-Tx since 0.30 and was very satisfied with
M-Tx/PMX/MusixTeX (let me call it M-P-M) cycle. Last week I
upgraded the whole M-P-M software to the current state, i.e.

  M-Tx-0.52 / PMX-1.4.3 / MusixTeX-T.92

I attach a song score written in M-Tx (the own part of M-P-M=20
I am able to use) where the following problems occur:

  * Whole rests (here I used whole bar rests) always get an
    additional fermata, which I didn't code
  * Dotted half notes show up with a small ")" between the
    note and the dot. This occurs in the very last music line
    of the (single) page so far. Looks something like this:

              |
             _|
            (_) )o

    In the attached score it's eg. in bar 21 ("e2d" in both
    voices) and in bar 23 ("e2d" with "a2d"). Only one ")"
    is visible in both bars, but seems, that is has to do
    with the lower voice, because in bar 23 it is printed
    with the lower "e2d" note.

This both occured first with the current M-P-M packages. Older
M-Tx sources, rebuilt with the new packages, show the same
erraneous output. I'm sooo clueless about what to do and I'm
totally unable to debug PMX or MusixTeX code :-(

If needed, I can send two tiny little GIF's to private mail
to show the output.

Thanks in advance for any help,
Frank.

[I use: Linux-2.0.33 / M-Tx-0.52 / PMX-1.4.3 / MusixTeX-T92]


-----SCORE START-----
Title: Herr, hier ist mein Herz
Composer: Text/Musik: Martin J. Smith
Style: Frank
Frank: Voices M,F; Vocal; Clefs G
%Bars/Line: 4
Systems: 5
Pages: 1
Size: 16
Sharps: 2
Meter: C
Options: b


{Zeile1}
1. Herr, hier ist mein Herz, ich streck' mich aus nach dir.
Je-sus, nimm mich ganz und lei-te mich.

{Zeile2}
2. Herr, hier ist mein Herz, ich streck' mich aus nach dir,
und la{\ss} mich f\"ur dich ein Op-fer sein.

{M=E4nner}
Und dich nur preis' ich, Herr.
Denn du gabst dich aus Lie-be hin.
Du bist jetzt un-ter uns.
Wir se-hen dei-ne Macht.

{Frauen}
Herr, ich prei-se dich.
Du gabst dich aus Lie-be hin.
Du bist hier.
Wir se-hen dei-ne Macht.

%-----
% Takt 1
Space: 10=20
M: @v+10 f4 f8 ( g g ) f4 ( d8 | d2 ) r4-1d d8 | d4 f8 ( e8 e ) d4 ( a8
| a2 ) r-1 |
L:{Zeile1,Zeile2}
F: r0b | r0b | r0b | r0b |

%-----
% Takt 5
Space: 12=20
M: @v+14 f4=3D f8 ( g g ) f4 ( d8 | d4d ) f8 e4d d8 | d0 | r0-1 :|
F: r0b | r0b | r0b | V1 r0 :|

%-----
% Takt 9 (mehrstimmig)
F: @v+10 Vb2 r2-9 r4-9d a8- || Vx f2=3D g | a2 ( d4d=3D e8 ) | e0r |
L:{M=E4nner}
M: @^+14 Vb2 r0b || Vx r0b | r0b | e2 f2 |
LM:{Frauen}

%-----
% Takt 13
F: @v+10 r2-9  r4-9d a8- | f2=3D g | a4 d8=3D ( d d ) ( d  e ) ( e | e0l =
) |
M: @^+14 g2 ( b4d a8 ) | a0 | r | e2r f |

%-----
% Takt 17
F: @v+10 r2-9 r4-9d a8- | f2=3D g | a d- | ( e0l |
M: @^+14 g4 f8 ( g  g ) ( b a ) ( a | a0 ) |  r | e2r  f2 |

%-----
% Takt 21
F: @v+12 e2d ) r8b d | d2 f | e2d+0 e4 |  d0 | r0-1
M: @^+14 e2d r8-1 d | g2 ( b4d  a8 ) | a2d g4 | f0 | r0b
-----SCORE END-----

--=20
EAD-Systeme GmbH * Frank Stefani
Email: Frank.Stefani@ead-systeme.de
http://www.ead-systeme.de

From mutex-owner@mail2.gmd.de Fri Dec 18 20:42:02 1998
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: Irregular meter
Date: Fri, 18 Dec 1998 12:42:02 -0800
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I need to change \generalmeter at a \bar.  I am now using
\generalmeter{...}\changecontext which works fine if the meter change happens
in middle of a line.  However, if the meter change happens at a linebreak, I
would like the new meter to be posted at the end of the current line and at
the beginning of the next:

       ...... music in, say, 4/4 ...|3/4 .. music in 3/4 ....|4/4

       4/4 .. back to 4/4 ...........

How do I achieve that?  I understand that PMX solves the problem by 
hard-coding the linebreak; however, I do not use any preprocessor and 
I would rather not hard-code the linebreaks myself.  Does a pure MusiXTeX
sulution exist?  I am using MusiXTeX v. T.84, 20 December 1997 but could 
upgrade to the current version.

Regards,
Mogens Lemvig Hansen 
mlhansen@uniserve.com



From mutex-owner@mail2.gmd.de Mon Dec 21 02:40:46 1998
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Date: Mon, 21 Dec 1998 09:40:46 +0700
To: mutex@gmd.de
From: Rachmat Sukendro <rachmat@melsa.net.id>
Subject: Musixtex on Mac
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Hi, all!
  Does MusixTex/PMX run on Macs? Where to download the binaries from?

Thanks,

RS

        "This could be the begining of a biyuuuutiful friendship"
                - Bugs



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Subject: Musixtex on Mac
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Hi, all!
  Does MusixTex/PMX run on Macs? Where to download the binaries from?

Thanks,

RS

        "This could be the begining of a biyuuuutiful friendship"
                - Bugs



From mutex-owner@mail2.gmd.de Mon Dec 21 09:43:59 1998
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Date: Mon, 21 Dec 1998 09:43:59 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: re: MusiXTeX on Mac
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Rachmat Sukendro asked about MusiXTex/PMX for Mac.  Eric Petersen takes
care of compiling PMX for Mac.  He posted this not long ago:

>  I've just uploaded PMX for MacOS 1.4.3 to ftp.gmd.de,
>so it should show up on
>
>  <http://www.gmd.de/Misc/Music/>
>
>shortly. As usual it will also be available from
>
>  <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

As for MusiXTeX; it is not a binary.  It is a macro package that runs under
TeX.  If you don't have a TeX installation you will need to get one. OzTeX
is good and very Mac-like (I have used it and it works quite well).  Some
like CMacTeX which is a bit more modular and  Unix-like.  You will need
musixflx compiled for the Mac.  This is a necessary component for MusiXTeX.
 I think Eric covers that, too.

As for MusiXTeX, Daniel Taupin (author of MusiXTeX) recently wrote:

>Subject: MusiXTeX version T.92
>
>New version T.92 of MusiXTeX available at anonymous ftp:
>  hprib.lps.u-psud.fr = 193.55.39.152
>  individual files in directory pub/musixtex
>  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip
>
>Warning: new musixflx.c to be recompiled (provided for PCs in the distrib)
>if your previous version is less than T.83

So, this is where you get MusiXTeX.  The musixflx program is provided for
PCs but as I mentioned you will need to download the Mac version of it (it
is not very big) or compile the source if you have the tools.

If you don't know about TeX then you are in for a bit of a learning curve.

Hope this helps,

David Bobroff
bobroff@centrum.is

From mutex-owner@mail2.gmd.de Mon Dec 21 11:58:53 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Mon, 21 Dec 1998 09:40:46 +0700
> From: Rachmat Sukendro <rachmat@melsa.net.id>

>   Does MusixTex/PMX run on Macs? Where to download the binaries from?

Yes. And most you need for that you can find at http://www.gmd.de/Misc/Music/

Nevertheless, MusiXTeX isn't a ordinary binary, although it contains some
binaries you find in musixflx.zip. It is a TeX-based macro-package. So
you need a TeX-system in addition (and some TeX-knowledge). For Macs there 
is e.g. OzTeX - a shareware package - or TeXtures - a commercial package -
or ...

TeX-server are CTAN-servers - ftp.tex.ac.uk, ftp.dante.de, ctan.tug.org -
and their many mirrors.

-- Werner

From mutex-owner@mail2.gmd.de Mon Dec 21 12:44:53 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
> Date: Fri, 18 Dec 1998 12:42:02 -0800


[... meterchange at a linebreak ...]
> How do I achieve that?  I understand that PMX solves the problem by 
> hard-coding the linebreak; however, I do not use any preprocessor and 
> I would rather not hard-code the linebreaks myself.  Does a pure MusiXTeX
> sulution exist? [...]

PMX generates "pure MusiXTeX" :-)

I don't know any solution which works different in the middle of a
staff and at a line break. \atnextline comes too late for that.

But I do not understand why you do not want to hard-code a line break?
A line-break is nothing else than e.g. \stoppiece\contpiece.

When hard-coding a line break then the solution is similar(!) to (un-tested):

 \bar\generalmeter...\changecontext\addspace{...}\advance\barno-1%
 \linegoal=...\zalaligne

-- Werner

From mutex-owner@mail2.gmd.de Mon Dec 21 20:34:43 1998
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: Irregular meter
Date: Mon, 21 Dec 1998 12:34:43 -0800
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Thank you for the answers so far.

I do not want to hard-code the line breaks because that is bad mark-up.
I want musixtex/musixflx to decide where the line breaks go, so that
I can change the width of the page later and not run into trouble.

Here is what I want
\def\irregularmeter#1{%
 \xbar            %     force a bar line with no line break
 \generalmeter{#1}%     change the meter
 \zchangecontext  %     without posting an extra bar
 \def\atnextline{\generalmeter{#1}}%  Post the meter again
 \zbar            %     IF the line break happens here
 \def\atnextline{}%     ELSE forget it.
}
   
However, this does not work (gives overfull lines) because posting
the meter change takes horizontal space and we don't know whether to
post the new meter (twice) until after musixflx has calculated the line breaks.
By then, musixflx (obviously) cannot take the extra horizontal space
into consideration.

Thus, it seems that any solution requires changing the way musixflx works,
which is beyond me.  It would be a nice feature, though :-)

Is there another way?

Regards,
Mogens Lemvig Hansen



From mutex-owner@mail2.gmd.de Mon Dec 21 23:13:00 1998
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From: "SIMONS, DON " <DSIMONS@logicon.com>
To: "\"'MuTeX mailing list'\" " <mutex@gmd.de>
Subject: RE: Irregular meter
Date: Mon, 21 Dec 1998 15:13:00 -0800
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"Mogens Lemvig Hansen" wrote

>I want musixtex/musixflx to decide where the line breaks go, so that
>I can change the width of the page later and not run into trouble.
>...
>However, this [proposed coding] does not work (gives overfull lines) 
>because posting the meter change takes horizontal space and we don't 
>know whether to
>post the new meter (twice) until after musixflx has calculated the 
>line breaks. By then, musixflx (obviously) cannot take the extra 
>horizontal space into consideration.

I assume you have some good reason for not using PMX, but nevertheless 
I'll point out that PMX does what you seem to want to do, i.e., allows 
you to change the width later with no trouble.  It does this by 
internally running its own musixflx-like calculations, taking account 
of the width of (practically) all symbols to be printed.  It does this 
first at a slightly crude level to determine where the line breaks go, 
and then at a more refined level on a second pass when inserting space 
to avoid crashes.  (And even if the more refined calculation is not 
exactly right, it doesn't usually matter because musixflx itself will 
smooth things out while still respecting the linebreaks that PMX 
dictated).

--Don Simons 

From mutex-owner@mail2.gmd.de Tue Dec 22 11:26:21 1998
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, mlhansen@uniserve.com
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> From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
> Date: Mon, 21 Dec 1998 12:34:43 -0800

> However, this does not work (gives overfull lines) because posting
> the meter change takes horizontal space and we don't know whether to
> post the new meter (twice) until after musixflx has calculated the line breaks.
> By then, musixflx (obviously) cannot take the extra horizontal space
> into consideration.

As you tell already it does not work and it cannot work, because in
MusiXTeX's phase 1 other code is possibly generated as in MusiXTeX's
phase 3. This may result in underfull or overfull lines.

A long time ago I considered a similar problem concerning additional
space for accidentals if a line is very narrow. Same bad result
EXCEPT you use PMX which knows in advance how many space between the
notes will remain.

And although PMX's capabilities are (a little bit) limited for some
very special cases, you may use it to generated a skeleton for
your music and afterwards post-edit PMX's MusiXTeX output. Stay as long
as it is possible with PMX and then switch to pure MusiXTeX.

I did it with the later parts of my edition of Bach's Sonatas and Partitas
for Violin solo or for most parts of my edition of Bach's Cello Suites
and it helped me a lot just with such problems of repeating meters at
line end, additional space for accidentals if necessary etc.

-- Werner

From mutex-owner@mail2.gmd.de Wed Dec 23 22:36:39 1998
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: Reasons not to use PMX...
Date: Wed, 23 Dec 1998 14:36:39 -0800
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Prompted by my question about conditional double posting of irregular =
meters, Werner expressed his bewilderment as why I do not use PMX, so I =
thought about it, and here is what I came up with:

PMX is yet another piece of software to get, make work, and learn how to =
use.

I am (in priciple) weary about software piles: TeX, LaTeX, MusiXTeX, =
PMX, (M-Tx) seems high; one broken piece and the tower tumbles.

I already have 321 hymn tunes in MusiXTeX =
(http://users.uniserve.com/~mlhansen/hymnal.html); I suppose I could =
write a Perl script translating the MusiXTeX to PMX and then have PMX =
translate it back again...=20

When people discuss PMX (or M-Tx) on this mailing list, the trouble is =
usually how to overcome some limitation of PMX (/M-Tx) by using in-line =
MusiXTeX code or post-editing the MusiXTeX file made by PMX.  I prefer =
to know MusiXTeX (and LaTeX and plain old TeX) well enough to just stay =
there.

So far I have only come across one feature, conditional double posting =
of irregular meters, which PMX can do (easily) while it seems impossible =
in "beautiful" MusiXTeX code.  (I do not blame PMX for using hard line =
breaks; if you use PMX, it is the PMX code that should be beautiful, not =
necessarily the generated MusiXTeX code.)

Regards,
Mogens


From mutex-owner@mail2.gmd.de Thu Dec 24 18:34:00 1998
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From: "SIMONS, DON " <DSIMONS@logicon.com>
To: mutex@gmd.de
Subject: RE: Reasons not to use PMX...
Date: Thu, 24 Dec 1998 10:34:00 -0800
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"Mogens Lemvig Hansen" wrote

>Prompted by my question about conditional double posting of irregular 
>meters, Werner expressed his bewilderment as why I do not use PMX, so 
>I thought about it, and here is what I came up with:
>
>PMX is yet another piece of software to get, make work, and learn how 
>to use.
>
>I am (in priciple) weary about software piles: TeX, LaTeX, MusiXTeX, 
>PMX, (M-Tx) seems high; one broken piece and the tower tumbles.

Mogens is certainly entitled to his opinion.  But the sad thing about 
this posting is that it could discourage others from trying PMX and 
forming their own opinions.  

Compared to installing TeX, PMX is a piece of cake.

Compared to the syntatictal labyrinth of TeX, the PMX language is a 
short straight path.

When you install and use any piece of software, you implicitly decide 
whether the hassle is worth the gain.  If it isn't, no one would use 
the software.  Mr. Mogens argument could apply as well to any word 
processor.  Why not just keep on using a typewriter?  

>I already have 321 hymn tunes in MusiXTeX 
>(http://users.uniserve.com/~mlhansen/hymnal.html); I suppose I could 
>write a Perl script translating the MusiXTeX to PMX and then have PMX 
>translate it back again...

If you enjoy programming so much that you would consider writing 
obviously useless software, then maybe you'd like to join the PMX 
programming team (currently one member) and do something that at least 
some people consider useful.

>When people discuss PMX (or M-Tx) on this mailing list, the trouble 
>is usually how to overcome some limitation of PMX (/M-Tx) by using 
>in-line MusiXTeX code or post-editing the MusiXTeX file made by PMX.  
>I prefer to know MusiXTeX (and LaTeX and plain old TeX) well enough 
>to just stay there.

People generally are far more likely to post their problems and 
questions than to go out of the way to praise something.  It's a 
little like the evening news.

>So far I have only come across one feature, conditional double 
>posting of irregular meters, which PMX can do (easily) while it seems 
>impossible in "beautiful" MusiXTeX code...  

Then I guess you've never made parts from a score.

But even if not for that capability or the flexibility in page width 
while maintaining end-of-line features, PMX will always save at least 
60% of the number of keystrokes required by MusiXTeX and will check 
that there are the correct number of beats in every measure and if 
not, tell you exactly where the mistake is.  It will also do countless 
other things that yes, you can do in TeX, but no thank you, I'd rather 
not bother, such as (for example) inserting extra space for 
accidentals, dots, and flags if needed to avoid crashes, and parse the 
input from a sensible, linear stream into the rugged jumble required 
by MusiXTeX.

"You pays your money ($0.00) and you makes your choice." 

--Don Simons

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Subject: Fw: Reasons not to use PMX...
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SIMONS, DON <DSIMONS@logicon.com> wrote:

>
>People generally are far more likely to post their problems and
>questions than to go out of the way to praise something.  It's a
>little like the evening news.


This pretty much describes me at the moment....  BUT anyway... THANKS DON,
and THANKS, Dirk!

It is true that we often neglect to express appreciation for all the
benefits these ones have brought to our previously more labor intensive and
complicated world.

On first learning MusiXTex, I was quite excited at the prospects of the
package... something I had always wanted to be able to do... "typeset music
score."  However, the initial excitement soon gave way to the overall hard
work of typing all that specialized text.  I tried more generalized macros
for the often repeated things, with enough success to keep me going, only to
again face the fact that I could not ever (it seemed) make the macros
generally usable enough for all applications (I had in mind) and I was
always struggling with the general problem of organizing all these macros so
I could even recognize where they could be found, the next time around.

Believe me... PMX and then M-Tx are a breath of fresh air!  Although I have
not had time to typeset the grand designs of my imagination, I am now able
(or should I say, enabled) to take an hour on a Sunday afternoon and crank
out that special variation that the choir needs for rehearsal that night, or
sketch out an instrumental obligato part right out of mind onto the printed
score.  This I could not do with just MusiXTex.

About complicated systems... Consider what a typical Windows 95 system goes
through just to bring you a reasonable (??) graphical user interface...  I
think that the whole Windows operating system is an order of magnitude more
fragile and complicated than the whole parade of M-Tx to Tex lineup.  The
whole thing is a house of cards anyway... Be thankful for every successfully
printed page.

"It is now safe to shut off your computer."

Thanks again to Don, Dirk, Daniel, Werner, and all those who patiently
answer my questions when I ask.  Bach should have had it so good!

Regards,
Joel Hunsberger
jhunsberger@i2k.com



From mutex-owner@mail2.gmd.de Sun Dec 27 19:16:17 1998
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: I am sorry
Date: Sun, 27 Dec 1998 11:16:17 -0800
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My comments about PMX offended Don Simons; that was not the intention
and I am very sorry for that.  Let us please not start a flame war.

Merry Christmas,
Mogens Lemvig Hansen


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From: Peter Rajczy <rajczy@caesar.elte.hu>
To: mutex@gmd.de
Subject: CSDPMI*B.ZIP?
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Dear MuTeX list readers,

I am new on this list although I have been using MusixTeX for some time. 
Now, I have installed EmTeX-T92 and the latest version of MusixTeX on my
computer and I have difficulties using musixflx. When I run this program
it stops and asks for csdpmi*b.zip. I cannot find this file. Does it
exist? Can you help me? 



From mutex-owner@mail2.gmd.de Wed Dec 30 13:50:58 1998
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Peter Rajczy" <rajczy@caesar.elte.hu>, <mutex@gmd.de>
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Peter Rajczy <rajczy@caesar.elte.hu> wrote:


>I am new on this list although I have been using MusixTeX for some time.
>Now, I have installed EmTeX-T92 and the latest version of MusixTeX on my
>computer and I have difficulties using musixflx. When I run this program
>it stops and asks for csdpmi*b.zip. I cannot find this file. Does it
>exist? Can you help me?
>

csdpmi4b.zip, is a DPMI support package which I believe is freely available
by FTP from any of the SIMTEL mirror sites around the world.  For example,
oak.oakland.edu is one, where /pub/simtelnet/msdos/djgpp might be the
correct directory.  (I am going from memory at this point, so please forgive
any inaccuracies in the actual path... It is relatively easy to browse
there.)

However, there is another solution:   musixflx is an "ancient C program" and
is really quite simplistic about the way it handles internal memory, etc.
In fact, it does run quite comfortably under the imfamous 640K limit of the
old DOS programs.  The only reason that the particular musixflx.exe in
question requires DPMI is simply that it was compiled using a C compiler
that imposed that assumption on the executable (probably DJGPP).

I think a good solution to this general problem is to go back to ftp.gmd.de
archives and get the package that contains several musixflx program
compilations.  I know there is one in the package that was compiled to the
lowest PC capability - (the XT).  It is in a DOS16 package within that
general collection.

The job tha musixflx does is basically just to accumulate and adjust
spacing, and to write the macros found in the .mx2 file, based on the
spacing information in the .mx1 file.  Efficiency is not a real concern,
especially with today's multi-hundred-megahertz processors.  In most cases,
you can afford to wait the few extra milliseconds it might require for a
16-biit compiled DOS application to run.  :-)
Compared to what MusiXTex is doing, this is done in a flash!

I would be curious to know what system you are running under, because a
typical Win95 application can use the musixflx found in the distribution
pacakge (or at least it could up through .83... where I am currently.)

I used to have problems running the distributed musixflx.exe under older DOS
machines, with Windows 3.1 and even more ancient stuff.  I used to have a
friend compile the C program to the lowest PC machinery available, which is
what led to the DOS16 version that is now available amongst the various
musixflx compilations stored at the MusiXTeX archive.

Happy New Year!

Joel Hunsberger
jhunsberger@i2k.com




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From: Peter Rajczy <rajczy@caesar.elte.hu>
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Thanks to all (Joel Hunsbergers and Daniel Taupin) who were helpful to
solve my problems.

Happy New Year to all MuTeX readers!

Adam

-------------------------------------
Adam Rajczy
Leo Weiner Music School
Budapest, Hungary
rajczy@caesar.elte.hu




From mutex-owner@mail2.gmd.de Sat Jan  2 17:51:14 1999
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Date: Sat, 02 Jan 1999 17:51:14 +0000
From: Rick Kavinoky <kavinokr@pacbell.net>
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In Scottish fiddle tunes there is a "straight slur":  a straight line
instead of a curved line, placed the same as a standard slur.

Is there some way to create this using musixtex?

Thank you

--
Richard Kavinoky
Department of Mathematics
College of San Mateo
San Mateo, CA 94402
********************************************************
Phone: (650) 574-6307                Fax: (650) 574-6324
********************************************************
http://www.smcccd.cc.ca.us/smcccd/csm/math/kavinokr.html



From mutex-owner@mail2.gmd.de Sun Jan  3 10:17:43 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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> Date: Sun, 03 Jan 1999 11:17:43 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> Rick Kavinoky wrote:
> 
> > In Scottish fiddle tunes there is a "straight slur":  a straight line
> > instead of a curved line, placed the same as a standard slur.
> >
> > Is there some way to create this using musixtex?
> 
> I'm also interested in this as straight lines are needed to indicate
> ligatures in modern transcriptions of music written in mensural notation.
> There is, however, the difference from the fiddle signs that the ligature
> must be indicated by brackets, i.e. the straight lines must be angled.

In a private discussion with Christian Mondrup we found that MusiXTeX's
\ovbkt and \unbkt is what he was looking for ;-)

Maybe that \ovbkt and \unbkt may help Rick Kavinoky, too, or at least
\varline which is the basis for the two others.

-- Werner

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Werner Icking wrote:
> 
> > Date: Sun, 03 Jan 1999 11:17:43 +0100
> > From: Christian Mondrup <scancm@biobase.dk>
> 
> > Rick Kavinoky wrote:
> >
> > > In Scottish fiddle tunes there is a "straight slur":  a straight line
> > > instead of a curved line, placed the same as a standard slur.
> > >
> > > Is there some way to create this using musixtex?
> >
> > I'm also interested in this as straight lines are needed to indicate
> > ligatures in modern transcriptions of music written in mensural notation.
> > There is, however, the difference from the fiddle signs that the ligature
> > must be indicated by brackets, i.e. the straight lines must be angled.
> 
> In a private discussion with Christian Mondrup we found that MusiXTeX's
> \ovbkt and \unbkt is what he was looking for ;-)
> 
> Maybe that \ovbkt and \unbkt may help Rick Kavinoky, too, or at least
> \varline which is the basis for the two others.
> 
> -- Werner

I essentially asked the same question some time back, and got
essentially the same answers. There is a need for straight slurs in
classical guitar scores (glissandos or else sliding a  finger along a
string without sounding). I temporarily solved the problem using
\varline, but it is not very satisfactory. First of all, it's much
harder to get it right than a slur since one has to adjust numerical
parameters for it to be placed correctly, something the slur macros do
automatically. Second, the line place by \varline is too thin. This can
probably be gotten around by placing two practically on top of each
other, but I haven't yet tried this. In any case all of this is a hack.
True straight slurs that work exactly as curved ones are sadly needed.

George Svetlichny

From mutex-owner@mail2.gmd.de Mon Jan 11 16:15:35 1999
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Subject: Re: Fw: Reasons not to use PMX... (fwd)
To: mutex@gmd.de
Date: Mon, 11 Jan 1999 17:15:35 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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> SIMONS, DON <DSIMONS@logicon.com> wrote:
> 
> >
> >People generally are far more likely to post their problems and
> >questions than to go out of the way to praise something.  It's a
> >little like the evening news.
> 
> 
> This pretty much describes me at the moment....  BUT anyway... THANKS DON,
> and THANKS, Dirk!

I totally agree.

> About complicated systems... Consider what a typical Windows 95 system goes
> through just to bring you a reasonable (??) graphical user interface...  I
> think that the whole Windows operating system is an order of magnitude more
> fragile and complicated than the whole parade of M-Tx to Tex lineup.  The
> whole thing is a house of cards anyway... Be thankful for every successfully
> printed page.

Yes, exactly!
> 

And anyway: the whole thing is a treat!
Nobody is forced to use PMX.
I admit that at times I also enjoy to work on the 'low level' called
MusiXTeX itself. For instance when I want to include some more or less
short piece of music, some example of music
in a TeXt file, I like to code it on my own. The code is shorter and
makes me remember MusiXTeX and appreciate its features.
For a whole piece of music to be used for playing
prefer to use PMX or M-Tx, because it saves time.
One of the most genious features of PMX is that it
allows you to use your MusiXTeXnical knowledge and insert it as 
inline TeX.  Of course the whole thing is not very easy (I remember 
I hesitated to use inline TeX when I started to use PMX),
but this is also the challenge of the whole game.
And I enjoy this game very much!
There is no doubt that MusiXTeX is more 'complicated' 
(this is ablolutely no complaint, Daniel et al! I love MusiXTeX, I 
admire it.), this is a reason to like it and at the same time
it can be a reason to use PMX.
The music I am going to use in a concert next weekend
I would never have typed in MusiXteX, just becuase of lack of time.
Maybe I would have started to do one piece of it, because
it is a challenge.
but for quick use PMX is great. I think this is
undenialbe for anybody who has reached the level of MusixTeX
and has worked a little bit with PMX.

Truely there may still be some surprise working with,
like the one I had yesterday.
But I can proudly say: I found the reason.
So here is my question: 
Or a request?
  
  PMX has (like any program) limits.
  E.g. it has limited the number of forced line breaks ('L..')
  to 40.
  For a collection of exercises on figured bass I would be gald
  to increase this number to, ehm, this is going to be embarrassing,
  because it is almost greedy....,
  well, because of the special character of this 'music' which consists
  of many examples,  I would be gald to increase this number to say,
  120.
  How can I do this? Impossible? Possible?
 
  Also I found out, that the grace note command ('G..') does not 
  accept the '+/-' - signs for octave specification.
  so 'Ga+' would not yield the expected result.
  (a simple ad-hoc solution of course is the absolute specification,
    such as 'Ga5')


 Happ new Year with a lot of PMX, MusiXTeX, M-Tx, TeX, LaTeX, PlainTeX!
 I love this tower!

yours Eckart


From mutex-owner@mail2.gmd.de Mon Jan 11 18:43:14 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, begemann@math.uni-hamburg.de
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> Date: Mon, 11 Jan 1999 17:15:35 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

>   PMX has (like any program) limits. 
>   E.g. it has limited the number of forced line breaks ('L..')
>   to 40. [...]

Some of PMX's limits can circumvented by breaking the PMX-source into
multiple pieces. These pieces can be combined then in different
ways. One way is to write an plain TeX-driver for multiple PMX
outputs; something like:

...
\startmuflex\def\startmuflex{}
\let\endmuflexsav\endmuflex
\def\endmuflex{\endinput}
...
\input pmx1
\input pmx2
...
\input pmxn
\endmuflex
\bye

Explanation: a PMX-output ends with
  \Endpiece
  \vfill\eject\endmuflex
  \bye

Re-defining \endmuflex as \endinput avoids the last \bye and so terminating
the TeX-run. This way multiple PMX-outputs can be combined into one TeX-source.
Another way is to intercept in a similar way "\Endpiece" of a PMX-output.
Then the single parts do not have to be complete pages.

The execution and redefinition of \startmuflex avoid some warnings.



Christof K. Biebricher and I used another way when editing his organ edition
or my string-quartet/orchestra edition of Bach's Kunst der Fuge. There's a 
programm dviconcat which combines several dvi-files into one dvi-file. So we 
have several PMX-sources which result into several dvi-files which are then 
combined into one dvi-file using dviconcat. You may have a look at it because 
the source of these editions is available at http://www.gmd.de/Misc/Music/scores/


If you look at the source you'll see that I introduced a (draft of a) new
component into PMX: scr2scr. You now can write a PMX-sources which generate 
different variants of the score. In this way Chrisof's organ edition
is available in portrait format and landscape format, similar to the quarto
format organist are used to. In my edition it will be used to generate
a string-quartet/string-orchestra edition and an Urtext-edition, which will
appear soon.

The principle is similar to PMX's scor2prt. Scr2scr - which is currently
only available as SPITBOL programm and DOS32 executable - copies a
PMX source into some other PMX-sources numbered from 1 to n:

 - by omitting all lines beginning with "%%" or "%00"
 - omitting all lines preceeded by a line beginning with "%%" or "%00"
 - copying all lines beginning with "%0!" into all files after removing "%!"
 - copying all lines beginning with "%0<k>" into the k-th file after removing
   "%0<k>" if k is less or equal to the programm's first parameter.
    
The programm is called by:   scr2scr n pmx-source

Comments on the programme are welcome. Don plans to integrate the simple 
programme into PMX.


-- Werner

PS: Some time ago someone asked for PMX or M-Tx examples. The number of
    PMX and M-Tx sources on my server has increased much in the last months.
    Don't forget to thank the uploaders!

From mutex-owner@mail2.gmd.de Mon Jan 11 22:52:00 1999
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From: "SIMONS, DON " <DSIMONS@logicon.com>
To: "\"mutex@gmd.de\" " <mutex@gmd.de>
Subject: re: PMX limits
Date: Mon, 11 Jan 1999 14:52:00 -0800
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Eckart Begemann wrote

>PMX has (like any program) limits.
>E.g. it has limited the number of forced line breaks ('L..') to 40. 
>For a collection of exercises on figured bass I would be gald
>to increase this number to, ehm, this is going to be embarrassing, 
>because it is almost greedy....,
>well, because of the special character of this 'music' which consists 
>of many examples,  I would be gald to increase this number to say, 
>120.
>How can I do this? Impossible? Possible?

This is part of the reason I have made the source code available.  If 
you have access to a FORTRAN compiler (and I guess that's a pretty big 
"if" tthese days!) you can change the dimension and recompile 
yourself.  Also, there might even be some machine-translated 
c-versions out there, although I haven't been keeping track of that.  
But if there are, you could make the same sort of change in the 
c-source and recompile.  I'll put this on the to-do list and 
incorporate it into the next version I release, but that may be quite 
some time from now.

>Also I found out, that the grace note command ('G..') does not accept 
>the '+/-' - signs for octave specification.

It works OK for me (?)  so please send me the pmx source where it 
doesn't work for you.  This might give trouble at the beginning of an 
input block; that's a "feature" that I might be able to fix up 
someday.  But I think it should work OK after the start of an input 
block.

--Don

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Subject: Re: PMX limits
To: DSIMONS@logicon.com (SIMONS, DON)
Date: Tue, 12 Jan 1999 10:09:45 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <199901120406.FAA04123@mail.gmd.de> from "SIMONS, DON" at Jan 11, 99 02:52:00 pm
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SIMONS, DON wrote:
> 
> This is part of the reason I have made the source code available.  If 
> you have access to a FORTRAN compiler (and I guess that's a pretty big 
> "if" tthese days!) you can change the dimension and recompile 
> yourself.  Also, there might even be some machine-translated 
> c-versions out there, although I haven't been keeping track of that.  
> But if there are, you could make the same sort of change in the 
> c-source and recompile.  I'll put this on the to-do list and 
> incorporate it into the next version I release, but that may be quite 
> some time from now.
> 
Well, Don, now that you have invited us hackers in, could you put the 
following items in the to-do list also?

1.  All possible changeable dimensions to be PARAMETER's.  E.g. one
    sees 
      list(4,nbz)
      nib(nm,15)
      ibarflb(0:40)
    and cannot be quite sure as to which of the 4, 15, 40 corresponds
    to a PMX limit and which is dictated by the coding.  

2.  A little glossary as to what these PARAMETER's mean.  Here is line
    one of the glossary:

nm      -  maximum number of music lines

    (it's the only one I have had the courage to change as yet)

Dirk

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Date: Tue, 12 Jan 1999 15:01:40 +0100 (MEZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: re: PMX limits
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On Mon, 11 Jan 1999, SIMONS, DON  wrote:

> yourself.  Also, there might even be some machine-translated 
> c-versions out there, although I haven't been keeping track of that.  
> But if there are, you could make the same sort of change in the 
> c-source and recompile. 

No, unfortunately you can't. I know because I tried to make some of the
constants (I think 'nm' had been asked for at that time) configurable in
the Unix version. 'f2c' translates all uses of constants in the source
code into literal numbers, so there's no way of changing them in the C
source. 

> 
> >Also I found out, that the grace note command ('G..') does not accept 
> >the '+/-' - signs for octave specification.
> 
> It works OK for me (?)  so please send me the pmx source where it 

I haven't tried that, but I've found that beams and slurs on grace notes
don't work properly if there's a large jump from the grace to the main
note (as of pmx-1.43).

Regards,
Stefan.


======================================================================
  `` ... everything of any importance is founded on mathematics. ''
                                  -- from "Starship Troopers"
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)


From mutex-owner@mail2.gmd.de Wed Jan 13 00:31:51 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: Is some M-Tx creator making a To-Do List?
Date: Tue, 12 Jan 1999 19:31:51 -0500
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Dirk:

Here is a suggestion for some upcoming release of M-Tx...

I would like a little meta-command (known only within M-Tx) that would
immediately RESET the octavation settings of the current voice, or all
voices..., that is... force them to assume the Start Up settings.

Why?  Well, one of my most frequent annoyances is to grab something from one
place, and either cut it or copy it into another place, only to find that
the thread of octavation is disrupted.  Then I have to visually scan back to
the previous measures, figure out where I am, and add the appropriate + or -
settings on the current notes to stitch them back together.

It would be faster (for me :-), if I could just force an absolute point of
reference (the start up point) and then place the current measure pitches
right were I want them....

Hum.... at the end of the message it doesn't sound as nice as it did when I
first thought of it... Ah, well, what do some other think?

Regards,
Joel Hunsberger


From mutex-owner@mail2.gmd.de Wed Jan 13 06:43:22 1999
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Message-Id: <199901130643.IAA11579@calvyn.puk.ac.za>
Subject: Re: Is some M-Tx creator making a To-Do List?
To: jhunsberger@i2k.com (Hunsbergers)
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Joel Hunsberger wrote:
> 
> I would like a little meta-command (known only within M-Tx) that would
> immediately RESET the octavation settings of the current voice, or all
> voices..., that is... force them to assume the Start Up settings.
> 
I just LOVE requests for features that are already in -- so much easier
to implement.  You put an equals symbol (=) on the first note that should
resume default octave.  It is documented on page ? of the manual and
has been there since M-Tx 0.??.  (Exercise for the reader: fill in the
question marks.)  Things like   c=+   are legal too.

Dirk

From mutex-owner@mail2.gmd.de Wed Jan 13 06:50:26 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199901130650.IAA11614@calvyn.puk.ac.za>
Subject: Re: PMX limits
To: evertsn@cip.mathematik.uni-stuttgart.de (Stefan Evert)
Date: Wed, 13 Jan 1999 08:50:26 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <Pine.A32.3.93.990112145334.23590A-100000@cip40.mathematik.uni-stuttgart.de> from "Stefan Evert" at Jan 12, 99 03:01:40 pm
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Stefan Evert wrote:
> 
> On Mon, 11 Jan 1999, SIMONS, DON  wrote:
> 
> > yourself.  Also, there might even be some machine-translated 
> > c-versions out there, although I haven't been keeping track of that.  
> > But if there are, you could make the same sort of change in the 
> > c-source and recompile. 
> 
> No, unfortunately you can't. I know because I tried to make some of the
> constants (I think 'nm' had been asked for at that time) configurable in
> the Unix version. 'f2c' translates all uses of constants in the source
> code into literal numbers, so there's no way of changing them in the C
> source. 
> 
The 'fort77' front end to 'f2c' handles the last few PMX releases
with no need for retouching (some previous ones had COMMON block
alignment problems).  

Dirk 

From mutex-owner@mail2.gmd.de Wed Jan 13 08:20:42 1999
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: mutex@gmd.de
Subject: voice-wise music entry for MusiXTeX - new version
Date: Wed, 13 Jan 1999 09:20:42 +0100
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Hello MusiXTeXers,

a new version of musixser (0.2) has been uploaded to
ftp://ftp.gmd.de/music/musixtex/add-ons/, also accessible via the WWW
page http://www.gmd.de/Misc/Music/.

The major enhancement compared to the first version is that it's now
possible to typeset arbitrarily long scores without exceeding TeX's
memory limitations. (The first version was already meant to do that,
but actually it didn't ...)


REMINDER
--------

musixser (MusiXTeX SERial input) is a small TeX macro collection -
meant as an add-on to MusiXTeX - which changes MusiXTeX's coding style
from chord or "column" oriented to voice oriented. Each voice of a
score (which nevertheless is allowed to contain chords) is entered as
a separate "thread" of musical events, thus imposing a polyphonic
flavour on music coding.

musixser is no MusiXTeX preprocessor like PMX or M-Tx. It neither
makes any layout decisions nor saves any typing work; it merely
rearranges the input and passes everything over to MusiXTeX. The main
benefits of using it - apart from the more "intuitive", polyphonic
coding - are:

- repeated music structures (like voice-wise ostinato patterns) can be
  entered in a code-sharing manner (i.e. coded once, called multiple
  times)

- much easier editing: voice-wise copying and pasting, rearranging and
  excluding of single or multiple staves and voices

in order to use musixser, you should get the following files:

musixser.tex = the macro package itself
musixser.doc = some quick-and-dirty documentation
gloria.tex   = a brief example score, taken from a well-known french
	       Christmas song

All kinds of comments are welcome.

Regards,

Rainer


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From: Johan Tufvesson <tuben@lysator.liu.se>
To: wskdpl@pukrs12.puk.ac.za
Cc: mutex-mailinglist <mutex@gmd.de>
Subject: Re: Is some M-Tx creator making a To-Do List?
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On Wed, 13 Jan 1999, Dirk Laurie wrote:

> Joel Hunsberger wrote:
> > 
> > I would like a little meta-command (known only within M-Tx) that would
> > immediately RESET the octavation settings of the current voice, or all
> > voices..., that is... force them to assume the Start Up settings.
> > 
> I just LOVE requests for features that are already in -- so much easier
> to implement.  You put an equals symbol (=) on the first note that should
> resume default octave.  It is documented on page ? of the manual and
> has been there since M-Tx 0.??.  (Exercise for the reader: fill in the
> question marks.)  Things like   c=+   are legal too.
> 
> Dirk

Is it now possible to specify an absolute octave too? That was a problem I
had when I tried M-Tx 0.??. Almost every song that I wanted to print with
M-Tx had for example soprano clef. I wanted to proofread it to the
original in the original clef, but print it in treble clef. So when I
changed clef to print it out, it suddenly was in another octave. I tried
to put in the PMX octave numbers, but it only worked in some cases. Please
tell me that this problem is history.

Please forgive me for not installing a more modern version and
investigate it myself.

/Johan Tufvesson



From mutex-owner@mail2.gmd.de Wed Jan 13 10:55:14 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: ONLY feature in M-Tx deprecated
To: mutex@gmd.de
Date: Wed, 13 Jan 1999 12:55:14 +0200 (SAT)
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To all M-Tx users:

I'm not happy about the "Only" feature in M-Tx, which uses a naive
count on paragraph lines with no regard for extra comment lines,
uptext or not, etc.  It will be omitted from the documentation
in the next release and in the meantime please don't use it.

The intention was to enable you to make subsets of the instruments
in a score (e.g. only the vocal parts), thus generalizing the
scor2prt program of PMX.  But it is far too cumbersome at this
stage.

If anyone has found it useful, please tell me.

Dirk

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Subject: MusiXTeX version T.93

New version T.93 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
=20
Daniel Taupin


--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Jan 13 14:18:33 1999
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Date: Wed, 13 Jan 1999 15:18:33 +0100 (MET)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Star Sprangled Banner for chorus?
To: mutex@gmd.de
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Hi all!

I am rather confident that someone here on the list sent me once
the (PMX? MusixTeX?) score for a version of the US National Anthem, 
arranged a cappella. 

Does anybody have it still?

ciao and sorry for the OT, .mau.


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------- Forwarded Message
To: Maurizio Codogno <mau@beatles.cselt.it>
cc: gnu-music-discuss@gnu.org
Subject: Re: Star Sprangled Banner for chorus? 

> Hi all!
> 
> I am rather confident that someone here on the list sent me once
> the (PMX? MusixTeX?) score for a version of the US National Anthem, 
> arranged a cappella. 

I think you saw it in a discussion on Lilypond contra MUP.
The MUP version of the song can be found at
http://www.Arkkra.com/doc/star.ps
The Lilypond version is included in the distribution but 
has unfortunately been removed from the WWW page
(http://www.cs.ruu.nl/people/hanwen/lilypond/index.html)
which is a pity since the example was meant to show that
Lilypond producec nicer output than MUP.

I could send you a Lilypond generated copy if you wish.

     /Mats B

------- End of Forwarded Message




From mutex-owner@mail2.gmd.de Mon Jan 25 08:34:14 1999
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Date: Mon, 25 Jan 1999 09:34:14 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Syllables in english music lyrics
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Dear Mutex subscribers.

I'm working on modern editions of some songs by the english early 17'th
century composer Thomas Ravenscroft typeset with mtx (see
http://www.gmd.de/Misc/Music/scores/Welcome.html#ravenscroft and 
http://www.pbm.com/~lindahl/ravenscroft/modern). As for the lyrics of
these songs I'm confronted with the problem of the correct way of
dividing the words into syllables. I have asked some english linguists
about the english rules of word division and have realized that they -
strict as they are - may not not be used as guidelines.

On the other hand I imagine that english music typesetters follow some
rules or standards. Do anybody of you know them or do you know where I
may read about them ?

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Mon Jan 25 20:14:39 1999
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: "'MuTeX mailing list'" <mutex@gmd.de>
Subject: RE: Syllables in english music lyrics
Date: Mon, 25 Jan 1999 12:14:39 -0800
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Hi Christian,

I am in the process of publishing a new hymnal for the Danish church in =
Vancouver (http://users.uniserve.com/~mlhansen/hymnal.html), so I too =
have had to figure out how to hyphenate in English.  Here is what I came =
up with:

The general rule is that a hyphen may not change the pronounciation of =
the previous syllabus.  This rule means that a syllabus often begin with =
a vowel - that's unusual in Danish (your address is Danish, are you?)

TeX's hyphenation algorith is pretty good.  Use it interactively as =
follows:
tex
** \relax
*\showhyphens{one or more words in English}
...
\end
If you need to repeat the \showhyphens part many times, you can =
\let\sh\showhyphens and use \sh{one or more words} instead.

A good dictionary indicates hy-phen-a-tion.  (Oxford Advanced Learner's =
Dictionary to name one.)

Regards,
Mogens Lemvig Hansen




From mutex-owner@mail2.gmd.de Tue Jan 26 08:32:53 1999
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Date: Tue, 26 Jan 1999 09:32:53 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: Re: Syllables in english music lyrics
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Mogens Lemvig Hansen wrote:

> Hi Christian,
>
> I am in the process of publishing a new hymnal for the Danish church in Vancouver (http://users.uniserve.com/~mlhansen/hymnal.html), so I too have had to figure out how to hyphenate in English.  Here is what I came up with:
>
> The general rule is that a hyphen may not change the pronounciation of the previous syllabus.  This rule means that a syllabus often begin with a vowel - that's unusual in Danish (your address is Danish, are you?)
>
> TeX's hyphenation algorith is pretty good.  Use it interactively as follows:
> tex
> ** \relax
> *\showhyphens{one or more words in English}
> ...
> \end
> If you need to repeat the \showhyphens part many times, you can \let\sh\showhyphens and use \sh{one or more words} instead.
>
> A good dictionary indicates hy-phen-a-tion.  (Oxford Advanced Learner's Dictionary to name one.)
>

Thank you for your kind reply, which led me to see if you also get hyphenations on a word lookup in the on-line edition of The Webster Dictionary, http://www.m-w.com/cgi-bin/dictionary. You do :-). The TeX hyphenation algorithm
will not always succeed, which was the case as I tried two words - nasty and nappy - used in Thomas Ravenscroft's 'Ale and Tobacco'.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Tue Jan 26 11:26:34 1999
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Date: Tue, 26 Jan 1999 12:26:34 +0100
From: Stanislav Kneifl <standa@hiero.cz>
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To: mutex@gmd.de
Subject: Re: Syllables in english music lyrics
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Hi all,

Christian Mondrup wrote:

> I'm working on modern editions of some songs by the english early 17'th
> century composer Thomas Ravenscroft typeset with mtx (see
> http://www.gmd.de/Misc/Music/scores/Welcome.html#ravenscroft and
> http://www.pbm.com/~lindahl/ravenscroft/modern). As for the lyrics of
> these songs I'm confronted with the problem of the correct way of
> dividing the words into syllables. I have asked some english linguists
> about the english rules of word division and have realized that they -
> strict as they are - may not not be used as guidelines.
> 
> On the other hand I imagine that english music typesetters follow some
> rules or standards. Do anybody of you know them or do you know where I
> may read about them ?

I don't know about any source, but I believe that asking linguists is
not the good approach here. In music the syllables should be divided in
the same way as they are to be sung - usually (but not as a rule) with
vowel before hyphen.

Just imagine how you would sing the word you want to hyphenate and
divide it accordingly - this is probably the best rule. It may look ugly
at a times, but will be much easier to sing.

Stanislav Kneifl

From mutex-owner@mail2.gmd.de Mon Feb  1 20:35:15 1999
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Date: Mon, 1 Feb 1999 21:35:15 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: \invslur produces underfull hbox
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The following MusiXTeX source contains twice the same extract with
the only exception that the 1st occurance contains an additional
\invertslur0. The 1st extract generates an underfull hbox, whilst
the 2nd extract works well.

What may be the reason? How can I get rid of the wrong spacing?

\input musixtex
\startmuflex
\startpiece
\NOtes\ds\islurd0g\invertslur0\cu g\ibu2g0\qb2g\tbu2\qb2g\en\bar
\NOtes\tslur0g\ds\ibu2g0\qb2g\tbu2\qb2g\ds\en
\Endpiece
\startpiece
\NOtes\ds\islurd0g\cu g\ibu2g0\qb2g\tbu2\qb2g\en\bar
\NOtes\tslur0g\ds\ibu2g0\qb2g\tbu2\qb2g\ds\en
\Endpiece
\endmuflex\bye

-- Werner

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902040928.KAA10781@sunick.gmd.de>
To: mutex@gmd.de
Subject: Re:  \invslur produces underfull hbox
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As usual, "our musixflx specialist" found the bug :-)

He asked me to forward the mail to the list. Many thanks, Joel!

------------   cut and post   ------------------------------
Werner, and all:

Greetings!
There is evidently a bug in the MusixTex source code which can cause the 
underfull hbox when \invertslur is used, as shown in your example code:

The bug appears in the definition of the macro \t@slur...
Here is the context of the offending code... (within \t@slur)

% test for \invertslur
  \if D\@sense \s@s{u}%
      \let\@invert\@ne
  \fi
  \if U\@sense \s@s{d}   <--- NOTE that the % is missing here.
      \let\@invert\@ne
  \fi

I am not sure what line this is in the latest version, but in
Musixtex T.83, 30 November 1997, it is LINE 1165.

By adding a % at the end of the noted line, the underfull \hbox no
longer appears.

This was a tricky little bug to find... I first inserted the line

  \tracingall\tracingonline=0%

into your example, (just after \startmuflex ) and ran both passes, keeping
the (large) log files.

After analyzing several things, such as the contents of the underfull box,
and the expansion of all the macros when the \invertslur macro was executed
(all to no avail), I was only able to note that the hbox written for the
first line was significantly smaller than was written for the second line.

Strangely (luckily) enough, when I was looking for all the times
when \y@v is adjusted, I noticed that some conditions of \invertslur
are tested during \t@slur execution.  This led to a browse down all the
macro expansions for \t@slur and ... there it was, the notorious

{ blank space )

entry in the log file.  This allowed me to isolate the exact place
where the blank space was inserted.  Too much LUCK, Not Enough Smarts :-)

Lesson Learned:  It would have been a lot quicker if I had just searched
the full log file for "blank space" in the first place!  (By the way,
blank space only hurts when it is not embedded within a "text box" of
some kind... For example, there was another occurrence of "blank space"
in my logs, related to a \shortauthor expansion that comes from my
output routine.  That can be ignored, since it does not occur during the
extract.)

This is probably something important to the next update of MusixTex!

Joel Hunsberger
jhunsberger@i2k.com

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Date: Thu, 04 Feb 1999 18:34:10 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Legranzi's alto Cantata
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I am a beginner MusiXTeX user. Here is my first MTX code for Giovanni
Legrenzi's Alto Cantata "Ad altro amante in seno". I need some help for
following questions.
1) I want to increase the distance between "Singer" and "LH" staves and
decrease distance from "LH" and "RH".
2) I want to increase distance beetween systems
3) General Bass is made by me (and errors too!). Is there a way for to
reduce note size or the whole staff "RH"?

Thanks

Luigi Cataldi

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
Title: Ad altro amante in seno
%% \font\names = cmr10
Composer: \llap{\names Giovanni Legrenzi (1626-1690)}
Indent: 0.12
Meter: C
Piano: Voices RH1,RH2 LH; Continuo; Clefs G F
Style: Singer Piano
Systems: 16
Pages: 4
Size: 16
%% \font\mio=\fontid r9 scaled \magstep 0
%% \mio
Name: Contralto Continuo

{Contralto}
Ad al-tro a-man-te in se-no
ir, not-tur-na e fur-ti-va
scor-se A-lin-da Fi-le-no;
s'im-pal-li-d\`\i, ge-l\`o tra' suoi mar-ti-ri.
Que-sti-po-scia e-sa-l\`o me-sti so-spi-ri.
``Ahi, ahi che veg-gio, ahi che mi-ro? E pur \`e ve-ro
che sen vo-la il mio fo-co ad al-tra sfe-ra,
che la mia ca-la-mi-ta
d'al-tro po-lo \`e ra-pi-ta, al-tro e-mi-sfe-ro
il mio so-le rac-chiu-de ed io ri-man-go
ra-di-ce svel-ta dal-ter-re-no a-mi-co,
li-nea es-clu-sa dal cen-tro,
li-do per-cos-so e in-fran-to
dal-l'on-da che-po-c'an-zi,
ef-fi-ge del con-ten-to
a-mi-ca, mi por-gea ba-ci d'ar-gen-to''.

%1-3

%%h
%%Recitativo
r2 a8 f f f | cs4 c8 d d4 d | r d8 d bf b b a |
L: {Contralto}
d0+ za zf | cs2+ za ze \itenu0k\itenu1h\itenl2f\ d+ za zf |
\tten0\tten1\tten2\ d+ za zf  d+ zbf zg |
rb0 | rb0 | rb0 |
(t d0 | d )t(t | d )t(t |

%4-6
a a f+ f1 f f4 f8 e | e4 e r cs8 c1 e | a-4 r8 e+ a fs fd8 g1 |
d+0 za zf | \itenu0j\itenu1h\itenl2e\ cs+ za ze | \tten0\tten1\tten2\ c+2
za ze d+ za zfs |
rb0 | rb0 | rb0 |
d )t | (t a+ | a2 )t a- |

%7-9
g8 g r4 e8 e e1 e e e | f2 ef4 cs8 d | d d r4 r2 ||
d+ zg- e+ za- ze | d+ za zf \itenu0k\ d+ zbf zg | \tten0\ d+4 cs d2 za zf ||
rb | rb | a2l ze rb2 ||
b cs | d g- | a d ||

%10-12
3/2 b0d | e0 (~ e8 f g4 )~ | f0 e2 |
3/2 b0d | e0d | d0 (t e2 |
C: gse ce- af ce-
3/2 r0db | r0db | r0db |
3/2 e0d | gn0d | a0 g2 |

%13-15
(t a0 a4 )t f | b-2 b0 || m4406 r4 a8 cs e c c e1 e |
e2 )t d0 | e0d || m4406 \itenu0l\itenu1h\itenl2e\ e0 za- ze |
a0d zf | gs0d || m4406 rb0  |
f0d | e0d || m4406 (t cs0 |

%16-18
[ a1 gs a b a b cs b a8 ] a gn g | g g1 g a8 e fs4 f | r8 d1 e fs8 f1 g a8
a a a |
\tten0\tten1\tten2\itenu0l\itenu1h\itenl2e\ e0+ za- ze |
\tten0\tten1\tten2\ e2+ za- ze \itenu0k\itenu1h\itenl2f\ d+ za zfs |
\tten0\tten1\tten2\itenu0k\itenu1h\itenl2f\ d0+ za zf  |
rb0 | rb0 | rb0 |
c0 )t(t | c2 )t (t d | d0 )t |

%19-21
a a a b g4 g | r d1 d d d fn8 f f f | f4 f8 e c c r4 |
\tten0\tten1\tten2\ d+2 za zfs \itenu0k\itenu1i\itenl2g\ d+ zb zg |
\tten0\tten1\tten2\itenu0k\itenu1i\itenl2g\ d+0 zb zg  |
\tten0\tten1\tten2\ d+2 zb zg \itenu0j\itenu1g\itenl2e\ c zg ze |
rb0 | rb0 | rb0 |
c2 (t b | b0 )t(t | b2 )t (t c |

%22-25
r8 e e e e4 d | r8 d d d d d d d | d4 d8 e c4 c | bf b8 b b4 b8 c |
\tten0\tten1\tten2\ c+ zg ze \itenu0k\itenu1h\itenl2d\ d+ za zd- |
\tten0\tten1\tten2\itenu0k\itenu1h\itenl2d\ d+0 za zd- |
\tten0\tten1\tten2\ d+2 za zd- c+ zg ze | d+0 zbf zf |
rb0 | rb0 | rb0 | rb0 |
c )t (t f | f0 )t(t | f2 )t e | d0 |

%26-28
a4 a r e+8 e1 e | a8 a r a1 a d-8 d r d | g- g a b c c r c |
\itenu0l\itenu1h\itenl2e\ e+ za- ze | \tten0\tten1\tten2\ e+2 za- ze
\itenu0k\itenu1i\itenl2g\ d+ zbf zg | \tten0\tten1\tten2\ d+ zb zg
\itenu0f\itenu1c\itenl2a\ f+ zc za |
rb0 | rb0 | rb0 |
(t c | c2 )t (t bf | b )t (t a |

%29-31
c c c d bf b r g+ | e e e e c4 f8 g1 a | f8 f r4 r2 ||
L:
\tten0\tten1\tten2\ f+ zc za g+ zd zbf | e zbf zg \itenu0m\ f+ za- |
\tten0\ f+4  e f2 zc za ||
rb0 | rb0 | c+2 zg rb ||
a )t (t g | g )t f | c f ||

% Aria 1-4

%%h
%%Aria
%1-4
%%L9P3Mi.01
m3434 r4 a- d | cs2 d4 | r e g | f e2 |
L: Re-sto_un' om-bra, re-sto_un nien-te,
L: Non ho vi-ta, non ho spe-ne,
m3434 d2d za zf | c+s2 za ze d+4 za | e+2 zb ze- e+4 zb zg | d+2 cs4 |
m3434 rb2d | rb2d | rb2d | f4 e2 |
m3434 K+0-1 d+d2 | e4 f2 | gd2 | a2 g4 |

%5-9
r4 d4 b | a a r | r f+ e | d2 (t c4 | c )t bd d8 |
L: re-sto_un nien-te s'il mio sol mi s'in-vo-
L: non ho spe-ne o-gni be-ne mi la-
d2 za  b4 zg | a2d ze | a4 zf zd f+ zd za e+ zb zg | d+2 za zf c+4 za ze |
\itenu0k\ d+4 zf- \tten0\ d+2 ze- |
(t d2d | d4r )t cs2 | rb2d | rb2d | a+e gs4 |
f2 g4 | ad4 g8 a4 | d- d- e | f g a | d e2 |

%10-13
m4444 c4 a8d b1 c8d d1 e8d f1 | m3434 e4 c4d c8 | c4 f4d f8 | f4 b-n8 d gs-
a |
L: l\`o, la mia vi-ta sen fug-g\`\i, il mio d\`\i, il mio d{\`\i}
s'o-scu-r\`o su
L: sci\`o, o-gni gio-ia si per-d\`e, l'al-trui fe', l'al-trui fe'
tra-boc-c\`o su
m4444 c+4 za ze d+ za zd- c+ za ze \itenu0k\ d+ zbn zf | m3434 \tten0\ d+
zg-s ze c+2 za ze | a2d zf zc | b+n4 zf zd d+ zb zf d+ zg-s ze |
m4444 rb0 | m3434 rb2d | rb2d | rb2d |
m4444 a4 f e d | m3434 e2d | f2d | d2 e4 |

%14-18
b c b2 | a r4 | r bf+ a | g2 (t f4 | f )t e4d g8 |
L: l'O-ri-en-te; s'il mio sol mi s'in-vo-
L: l'Oc-ci-den-te; o-gni be-ne mi la-
c+ za ze b+n zf zd gs ze zbn | a+ ze zc a+2 zf zc | b+f4 b a | d c b | a2d
ze zcs |
rb2d | rb2d | g2 zd a+4 ze | g2d zd | rb2d |
c d e | a f e | d d+ c | b a g | a2d |

%19-22
m4444 f4 d8d e1 f8d g1 a8d b1 | m3434 a4 f4d f8 | f4 b4d b8 | b4 e-8 g cs- d |
L: l\`o, la mia vi-ta sen fug-g\`\i, il mio d\`\i, il mio d{\`\i}
s'o-scu-r\`o su
L: sci\`o, o-gni gio-ia si per-d\`e, l'al-trui fe', l'al-trui fe'
tra-boc-c\`o su
m4444 a+4 zf zd b+ zg zd d+ za zf e+ zb zg | m3434 cs zar zg d+2 za zf |
d+2d zb zf | e+2 zb zg cs4 za ze |
m4444 rb0 | m3434 rb2d | rb2d | rb2d |
m4444 d-4 b a g | m3434 a2d | b2d | g2 a4 |

%23-27
e8 f e2 | d2d | r4 a d | cs2 d4 | r e g |
L: l'O-ri-en-te. Re-sto_un' om-bra, re-sto_un
L: l'Oc-ci-den-te. Re-sto_un' om-bra, re-sto_un
d+ za zf e+ zb ze- c+s za ze | d+2d za zf | e+4 za- ze d+2 za zf | c+s za
ze d+4 za | e+2 zb ze- e+4 zb zg |
rb2d | rb2d | rb2d | rb2d | rb2d |
f g a | r a d | cs d2 | e4 d2 | g2d |

%28-32
f4 e2 | r4 d b | a a r | rp | rp |
L: nien-te, re-sto_un nien-te.
L: nien-te, re-sto_un nien-te.
d+2 cs4 | d2 za b4 zg | a2d ze | f4r [ f8 g e f ] | b4 [ b8 c a b ] |
f4 e2 | (t d2d | d4r )t cs2 | a+2d zd- | g2d zd |
a2 g4 | f2 g4 | a4d g8 a4 | d- d c | b g+ f |

%33-37
rp | rp | rp | rp | rp :|
b4 e2 zb | e4 [ cs8 d e c ] | d2 za zf \itenu0l\itenu1j\itenl2e\ e+4 zb ze-
| \tten0\tten1\tten2\ e+ zb ze- c+s2r ze-r | d+2d zf- :|
g4 ze [ g8 a f g ] | a2d ze | rb2d | rb4 a g | rb2d :|
e e d | cs a g | f2 (t g4 | g )t a2 | d2d :|




From mutex-owner@mail2.gmd.de Fri Feb  5 10:07:48 1999
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Date: Fri, 05 Feb 1999 11:07:48 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: Luigi Cataldi <luicatal@tin.it>, mutex <mutex@gmd.de>
Subject: Re: Legranzi's alto Cantata
References: <3.0.1.32.19990204183410.007a27f0@box1.tin.it>
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Luigi Cataldi wrote:

> I am a beginner MusiXTeX user. Here is my first MTX code for Giovanni
> Legrenzi's Alto Cantata "Ad altro amante in seno". I need some help for
> following questions.
> 1) I want to increase the distance between "Singer" and "LH" staves and
> decrease distance from "LH" and "RH".

As long as you insist to keep the piano as one musixtex instrument you may
manipulate distance between its staves by altering the value of \interstaff, see
musixtex doc 2.20.3, e.g.

%% \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{12}\

> 2) I want to increase distance beetween systems

In principle you should be able to do that using the preamble command 'space'. I
have inserted it into my proposals for your score (see below) but strangely enough
it seems to be in effect only from  the second paragraph. I don't understand why -
I almost always use it in my own scores, see my entries in the GMD scores web
page. Maybe it will adjust when all paragraphs are activated. I've commented out
most of your's because your linebreaks have been corrupted either by your or my
mail programmes.

> 3) General Bass is made by me (and errors too!)

Without knowledge of your score beyond bar 6 - as explained above - I'm surprised
by the a major six-four chord in bar 6. I would rather expect a f# minor sixth
chord there.

> . Is there a way for to reduce note size or the whole staff "RH"?

According to the musixtec docs it is not possible to have different sizes within
an instrument. But if you replace your single piano with a two different
instruments as I've done in my proposal you are able to use \setsize

I propose another, more m-tx like way of implementing your piano right hand chords
using the m-tx C: chord line facility. Like it's pmx counterpart z<note name> no
ties are allowed and therefore I - like yourself - have to insert musixtex tying
commands.

Title: Ad altro amante in seno
Composer: \llap{\names Giovanni Legrenzi (1626-1690)}
Indent: 0.12
Meter: C
%Piano: Voices RH1,RH2 LH; Continuo; Clefs G F
PianoRH: Voices RH1,RH2; Clefs G
Continuo: Voices BC; Clefs F
Style: Singer PianoRH PianoLH
Bars/Line: 4
Space: 6 0 2
Size: 16
Name: Contralto ~ Continuo

{Contralto}
Ad al-tro a-man-te in se-no
ir, not-tur-na e fur-ti-va
scor-se A-lin-da Fi-le-no;
s'im-pal-li-d\`\i, ge-l\`o tra' suoi mar-ti-ri.

%1-3

%%h
%%Recitativo
%% \\setsize2\smallvalue\
@+6 r2 a8 f f f | cs4 c8 d d4 d | r d8 d bf b b a |
L: {Contralto}
d0+ | cs2 ( \itieu1{3}\itied2{0}\ d | \ttie1\ttie2\ d ) d |
C: af ae af af btg
rb0 | rb0 | rb0 |
(t d0 | d )t(t | d )t(t |

%4-6
a a f+ f1 f f4 f8 e | e4 e r cs8 c1 e | a-4 r8 e+ a fs fd8 g1 |
d0 za zf | ( \itieu1{3}\itied2{-1}\ cs | \ttie1\ttie2\ c2 ) d |
C: af ae ae afs
rb0 | rb0 | rb0 |
d )t | (t a+ | a2 )t a- |


Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199902051117.NAA01877@calvyn.puk.ac.za>
Subject: Re: Vertical Spacing (was: Legranzi's alto Cantata)
To: luicatal@tin.it (Luigi Cataldi)
Date: Fri, 5 Feb 1999 13:17:50 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <3.0.1.32.19990204183410.007a27f0@box1.tin.it> from "Luigi Cataldi" at Feb 4, 99 06:34:10 pm
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Luigi Cataldi wrote:
> 
> I am a beginner MusiXTeX user. Here is my first MTX code for Giovanni
> Legrenzi's Alto Cantata "Ad altro amante in seno". I need some help for
> following questions.
> 1) I want to increase the distance between "Singer" and "LH" staves and
> decrease distance from "LH" and "RH".
> 2) I want to increase distance beetween systems

I can do this for you on the first page: put
%% \interstaff{10}\
Space: 5
at the start of the first music paragraph.

But the interstaff setting gets lost at the end of the first page, and
I don't know how to reset it.  Just putting  \global\interstaff{10}\ 
in the first bar of each page fixes the later systems on that page, but 
the first system curiously has notes at the wrong pitch.  I would be
tempted to call this a MusiXTeX bug but I'm not enough of an expert to
be sure it is not just my misunderstanding of a subtle feature.

> 3) General Bass is made by me (and errors too!). Is there a way for to
> reduce note size or the whole staff "RH"?
>
Only if you are prepared to treat the two hands as different instruments.
(The previous question is then also easier, i.e.  Space: 2 -4 2.)

Dirk 

From mutex-owner@mail2.gmd.de Fri Feb  5 13:37:13 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199902051337.PAA02390@calvyn.puk.ac.za>
Subject: Ties in chords
To: mutex@gmd.de (List for MusicTeX etc)
Date: Fri, 5 Feb 1999 15:37:13 +0200 (SAT)
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Recent postings by Luigi Cataldi and Christian Mondrup use inline
TeX in M-Tx scores for ties on chordal notes.  This is one of the 
areas where a recent PMX enhancement helps, i.e. where Luigi writes

\itenu0k\itenu1h\itenl2f\ d+ za zf | \tten0\tten1\tten2\ d+ za zf 

the same effect could have been obtained by

d+ s0t za s1t zf s2lt | d+ s0t za s1t zf s2t

-- Dirk Laurie

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Date: Sat, 6 Feb 1999 15:39:50 +0100
From: Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>
To: mutex@gmd.de
Subject: chord bars
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I was looking out for a FAQ on the www.gmd.de/Misc/Music page but didn't
find any so bear with me when asking a FAQ question:

I want to generate some sheets that contain only the chords (changes)
of a certain tune (Jazz, Real Book, for example), like

              Just Friends

||: Fmaj7   |   ./.   | F- 7      | Bb 7     |

|   Cmaj7   |   ./.   | Eb0       | ./.      |

|   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 

|   D7      |   ./.   | D- 7      | G7 Gb7   |

--

|   Fmaj7   |   ./.   | F- 7      | Bb 7     |

|   Cmaj7   |   ./.   | Eb0       | ./.      |

|   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 

|   D7      | D- 7 G7 | C6        | G-7 C7 :||

All the program ought to do is write the bars and notation (not the
notes, just the changes as above, only in a more 'standardized' fashion.


-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
"The Hammond Tonewheel Organ - Gods harmonica" - (c)1999, C. Kukulies
http://blues.physik.rwth-aachen.de/hammond.html

From mutex-owner@mail2.gmd.de Sun Feb  7 11:06:05 1999
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Date: Sun, 07 Feb 1999 12:06:05 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: Vertical Spacing (was: Legranzi's alto Cantata)
In-Reply-To: <36BB2E19.9FDE19B3@biobase.dk>
References: <199902051117.NAA01877@calvyn.puk.ac.za>
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Dear Christian, Dirk & Werner,
thanks for your polite suggestions. I have some answer and some ather
questions for you.

VERTICAL SPACING and CURVED BRACE
In Christian's revision of Legrenzi Cantata vertical justification is ok.
Now there are 3 instruments (Singer PianoRH BassoCnt). There is a way to
put a curved brace, to the left of every system, for PianoRH and BassoCnt?
If this is impossible (for MusiXTeX limitation?) I think is better to use
the same size for all the staves and to use "interstaff" command as Dirk
suggested to me. And you?

LEGRENZI CANTATA
My transcription, for the moment, is only an exercise of typesetting and
general bass solution. I will check more carefully the source and, if I
don't annoy this miling list, I will re-send the cantata.
For the moment here is some information on it.
"Ad altro amante in seno" is part of Legnenzi's printed volume "Cantate e
canzonette a voce sola, Opera duodecima" Bologna, Giacomo Monti 1676, pp.
94-99. This volume is in Venezia, Cini-foundation. Text's autor is
anonymous. The book is printed in movable types, but is clear enough.
Figured bass is present only in Recitativo at bar 13: "7 6" (this isn't my
only omission, I think :-( ).

Thenks

P.S. My english is orrible, I know. Sorry.

Luigi Cataldi, via Tibullo 10, 34127 Trieste (Italy)
Tel: 040/573980


From mutex-owner@mail2.gmd.de Mon Feb  8 17:22:32 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902081722.SAA11432@sunick.gmd.de>
To: luicatal@tin.it, wskdpl@pukrs12.puk.ac.za
Subject: Re: Vertical Spacing (was: Legranzi's alto Cantata)
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Fri, 5 Feb 1999 13:17:50 +0200 (SAT)

> Luigi Cataldi wrote:

> > 2) I want to increase distance beetween systems
> 
> I can do this for you on the first page: put
> %% \interstaff{10}\
> Space: 5
> at the start of the first music paragraph.
> 
> But the interstaff setting gets lost at the end of the first page, and
> I don't know how to reset it.  Just putting  \global\interstaff{10}\ 
> in the first bar of each page fixes the later systems on that page, but 
> the first system curiously has notes at the wrong pitch.  I would be
> tempted to call this a MusiXTeX bug but I'm not enough of an expert to
> be sure it is not just my misunderstanding of a subtle feature.

It's not a [MusiXTeX-]bug, but a [PMX-]feature. PMX "owns" \interstaff. It
uses it to fill each page as good as possible.

If you want fool PMX you must not use "\\interstaff{10}\" but

 \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{10}\

If you want to use \interstaff afterwards, you have to use \interstaffsav.
This may interfere with PMXs calculation to fill the pages best.

-- Werner

From mutex-owner@mail2.gmd.de Mon Feb  8 19:44:11 1999
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To: Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>
Cc: mutex@gmd.de, gnu-music-discuss@gnu.org
Subject: Re: chord bars 
Reply-To: janneke@gnu.org
In-Reply-To: Your message of "Sat, 06 Feb 1999 15:39:50 +0100."
             <19990206153950.A7474@gil.physik.rwth-aachen.de> 
Date: Mon, 08 Feb 1999 20:44:11 +0100
From: Jan Nieuwenhuizen <jantien@xs4all.nl>
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On Saturday, 6 February 1999, Christoph Kukulies writes:
[My response bounced off mutex@gmd.de, resent without .ps file]
[and this bounced again, because Jan used a different e-mail address
 for posting and for subscribing. So: approved by mutex owner :-]
> I was looking out for a FAQ on the www.gmd.de/Misc/Music page but didn't
> find any so bear with me when asking a FAQ question:
> 
> I want to generate some sheets that contain only the chords (changes)
> of a certain tune (Jazz, Real Book, for example), like
> 
>               Just Friends
> 
> ||: Fmaj7   |   ./.   | F- 7      | Bb 7     |
> 
> |   Cmaj7   |   ./.   | Eb0       | ./.      |
> 
> |   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 
> 
> |   D7      |   ./.   | D- 7      | G7 Gb7   |
> 
> --
> 
> |   Fmaj7   |   ./.   | F- 7      | Bb 7     |
> 
> |   Cmaj7   |   ./.   | Eb0       | ./.      |
> 
> |   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 
> 
> |   D7      | D- 7 G7 | C6        | G-7 C7 :||
> 
> All the program ought to do is write the bars and notation (not the
> notes, just the changes as above, only in a more 'standardized' fashion.

Maybe LilyPond can help.  Support for chord names has only recently 
been added, and what you want needed some additions that will be in
the next release (pl28).

Although it may seem overkill to use a music typesetter for displaying
chord names only, it may be a grand advantage, e.g. if you need to
transpose the tune; or typeset a version with the melody too.

I've made a first attempt at getting what you may want.  As you'll 
see, Lily doesn't support the ./. symbol yet.

Anyway, what you would enter.

just-friends.ly:
%BOF
\header {
  filename =    "just-friends.ly";
  title =       "Just Friends";
  description = "Jazz chords example with bar lines";
  opus =        "";
  source =      "mutex@gmd.de";
  composer =    "";
  enteredby =   "jcn";
  copyright =   "Public Domain";
}

%{
In response to

Message-Id: <19990206153950.A7474@gil.physik.rwth-aachen.de>
Date: Sat, 6 Feb 1999 15:39:50 +0100
From: Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>
Subject: chord bars

I was looking out for a FAQ on the www.gmd.de/Misc/Music page but didn't
find any so bear with me when asking a FAQ question:

I want to generate some sheets that contain only the chords (changes)
of a certain tune (Jazz, Real Book, for example), like

              Just Friends

[...]

%}

\score{
	\type ChordNames \chords{
		\property Score.chordInversion = 1
		\property Score.barAtLineStart = 1
		\repeat 2 {
			f1-maj f-maj f-7 bes-7
			c-maj c-maj es es
			d-7 g-7 b2-7/fis e-7 a1-7\break
			d-7 d-7 d-7 g2-7 ges-7

			f1-maj f1-maj f-7 bes-7
			c-maj c-maj es es
			d-7 g-7 b2-7/fis e-7 a1-7\break
			d-7 d2-7 g-7 c1-6 g2-7 c-7
		}
	}
	\paper{
		indent = 0.0\mm;
		linewidth = 100.0\mm;
		\translator{
			\ChordNameContext
			barAuto = "1";
			\consists Bar_engraver;
			\consists "Repeat_engraver";
		}
	}
}
%EOF


I'll put the resulting .ps file up at:

    http://www.xs4all.nl/~jantien/lilypond/just-friends.ps


Jan Nieuwenhuizen <janneke@gnu.org> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien/      | http://www.lilypond.org/

-- 
Approved by mutex owner

From mutex-owner@mail2.gmd.de Mon Feb  8 23:29:14 1999
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Date: Tue, 9 Feb 1999 00:29:14 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902082329.AAA11532@sunick.gmd.de>
To: mutex@gmd.de, luicatal@tin.it
Subject: Re: Vertical Spacing (was: Legranzi's alto Cantata)
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> Date: Sun, 07 Feb 1999 12:06:05 +0100
> From: Luigi Cataldi <luicatal@tin.it>

[...]
> Now there are 3 instruments (Singer PianoRH BassoCnt). There is a way to
> put a curved brace, to the left of every system, for PianoRH and BassoCnt?
> If this is impossible (for MusiXTeX limitation?) I think is better to use
> the same size for all the staves and to use "interstaff" command as Dirk
> suggested to me. And you?

But you can get a Chorklammer/Akkolade/Bracket to the left of the system.
Look for \groupbottom and \grouptop.


[...]
> P.S. My english is orrible, I know. Sorry.

Yes! An "h" is missing. Your English is much better than my Italian.

-- Werner

From mutex-owner@mail2.gmd.de Tue Feb  9 17:16:59 1999
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From: "avr" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: musixlyr and small notes: syncproblem
Date: Tue, 9 Feb 1999 18:16:59 +0100
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Dear all

I have a problem with musixlyr by mixing small notes and other ones.
The lyrics are not always placed under the notes.
I have the feeling it is better the more '\en\NOtes' are used (see example).

What am i doing wrong?

%--------
\input musixlyr
\hsize 150mm
\def\t{\smallnotesize}\def\tc#1#2{{\t\zcl #1}\cu #2}
\setlyrics{str}{this one does not sync. This one does
syncs}\assignlyrics1{str}
\instrumentnumber 1
\bigaccid\startmuflex\startpiece%
\NOtes{\t\ql c}\qu i{\t\ql c}\qu{cc}\en\bar
\NOtes{\t\ql c}\en\NOtes\qu i{\t\ql c}\qu c\en\bar% this one is better
\linegoal1\Stoppiece\eject\bye
%--------

A. Van Ryckeghem

(who has discovered musixlyr and will use also pmx as soon as
he knows to use it with Winedt and Miktex)



From mutex-owner@mail2.gmd.de Tue Feb  9 17:14:14 1999
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        gnu-music-discuss@gnu.org
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower>
From: JVromans@squirrel.nl (Johan Vromans)
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On Saturday, 6 February 1999, Christoph Kukulies writes:
> I want to generate some sheets that contain only the chords (changes)
> of a certain tune (Jazz, Real Book, for example), like
> 
>               Just Friends
> 
> ||: Fmaj7   |   ./.   | F- 7      | Bb 7     |
> 
> |   Cmaj7   |   ./.   | Eb0       | ./.      |
> 
> |   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 
> 
> |   D7      |   ./.   | D- 7      | G7 Gb7   |
> 
> --
> 
> |   Fmaj7   |   ./.   | F- 7      | Bb 7     |
> 
> |   Cmaj7   |   ./.   | Eb0       | ./.      |
> 
> |   D- 7    |   G7    | B-7/b5 E7 | A- 7     | 
> 
> |   D7      | D- 7 G7 | C6        | G-7 C7 :||
> 
> All the program ought to do is write the bars and notation (not the
> notes, just the changes as above, only in a more 'standardized' fashion.

I have exactly that.
It is a Perl script that takes simplified ASCII input and produces a
PostScript file, that can be printed directly.

An example of input:

  !t Prelude to a Kiss
  !s Duke
  !w +10

  Ballad

  = A1
  | d7 g+7 | c7 fmaj7 | b7b9 e7 | a7b9 d-7 |
  | d7 g+7 | a-7 d7#11 | d-7 g+7 | cmaj7 a+7|

  = A2
  | d7 g+7 | c7 fmaj7 | b7b9 e7 | a7b9 d-7 |
  | d7 g+7 | a-7 d7#11 |d-7 g+7 | c b7 |

  = B
  | emaj7 cis-7 | fis-7b5 b7 | gis-7 g0 | fis-7 f7 |
  | emaj7 cis-7 | fis-7b5 b7 | emaj7 a7b9 | d-7 es-7 e-7 es7 |

  = A3
  | d7 g+7 | c7 fmaj7 | b7b9 e7 | a7b9 d-7 |
  | d7 g+7 | a-7 d7#11 | d-7 g+7 | c . |

The output is appended.

Let me know if you are interested.

-- Johan

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MW*`5/G;/(>.Q6?*G3^^W-],M8S76<IM?<7X_MC7XQ'H^MM:QG.]D-5#R,<WB
M]\8(=R<:CYDUUU;(IGO+6A7DN9TSY?>[5SK28@?=AQHF+V7G7:^3;]-=>IT,
M\3WG=?)MNOWKW/:]4\^G?2?/\@*<LYQY)ZDJIR'FZ=+@_UE$J\;:)Y"4OJN&
MM5HI-;P]5MPRZ(JEA`D;^NDE@2>5HUEX?E#CFZB$S[:X-)/N![!4T<VSP*CE
MER_OSE8((4$7BWQXR8KS#OZ\J'O3E6XVK<EE@[J$#FK[.3SRY_&ZG:!,FN&,
M$;^^>T]79%;V5-N-%&\Q*,UX9&/K-/)V@';T4SGK?!+9:D_-POK0\/F>,WY\
M_>UG.MGN''(K1OO\]D_K2IY.(0);#'J+DQ+P9MVU-!Y7`O*^_O94.LH8]N#M
M0KJN'GA+69VFV(R`&Y``0U<W`.45I3+;PS*\D*`4>N=G;W=Z#XQ8KS63V>*H
MH$1JNSH?,Q^W^FNP9-^/ON36IFO1[\O!;W<M^ATZMD"]-T;/PM>[8_32WI#+
M>5:@-\H57[=*K:7C'V_A99'ZMQ_>_/V\_+]__A?\Q3\>OOSER]>W/[YY]^W7
MXCG]^NGUMS^`<@\_?/CXYP__\=O7?_KUZQ\>OKQ=/__/=]^YO_^_KS^_?_@?
M^B\&>O?A[7<?/WQ]^/3Q4WF$C][P(\[U\/W;KP_]^Z^_^5U\^,/;[]]]^(_?
M+/_YW<?/K]^_?\`*W-_]W?SAS8(OXW\-?/[;MU]_^H0_?OWZT]O/OWWW[V__
MYT/?VM>V1]_CT_JA=E]?_X&+MY%=J!YR53W\^/"[Y>&;7W]^^_ZG-V\?OGY\
M>/WPO]]]^>)^\?#ECQ__S&_!\,.W?HMO33_]\';_H*W*@P$+?/UF]PC@JSSJ
MZ_)IMW[ZA]>?7=>6/[Z9?O'P^>/'KP_?I%\\O'[SYL.#J_WIX?\J#S^]_^G+
M_ANIW8U5I[Q^?WPT6%.?'B[EX1OFD>!)R+M!`-K7[PWG@WS3Z7^`)7QU^M;\
M:"K?-KL!H9O6K_8W!LSQG!`_OOMPV&S;Q#WA0,6XIV*\1<7X)!7C@8KQL-[S
ME8B65^;[IJ[UO[X4PL8#8>/-'8JJ-Y<JTL8#:>/AA9=W*G(>-W$VDJAY&HF<
M6ITXM=EQ:K6G<76+QM63-*X.-*YN<6IUE5.K`T&KNSBUNL6IU8&<U5V<6CW-
MJ=6.4Z'A-BK:'U>H6![>H.(V%JE8OG^+4Z_-=\:IV[@D[-F/+G'J[:62M-N0
M)&WY_OK"1<CRV:/W)Q)N/P=[AGIESV'C3OMPI6M]>,N%9T34^C#SES^^_OSI
MT99$V_I`V_K`A/:S/[YY]Z.1M;ZR=!&S/A"S/E#J\OPBZ?&+G$ITK`]TO+2L
M1Z/E1U\\(VZ]X\\V[^AH?URB8WGR-!VW\4C'\K,K="Q/+]-Q&XATO+PR$JX\
MN75LVV8W&NE8?G.5Q7,\G_"[]Z\O'_:S[SWZ2KP\U/:-4,7=ZL#N0&JK-/8;
MO]NGZWMJ;LB1\O"&'-G&TCMJ;DCC\O""--X&T?MI[I'&Y5N7I?$VH%Y1<X\T
M/B/$Q1?4[+C=[]&7OX6^_)/HRQ_0ES_BG$O2^-I\9]+8'P"9OXV,2-7;2R5I
M_0&2^2-0%)6V;PCE@^D^`3,#.O_N\^MW[]]^+B#Z"U`TH?6O%O?_`2[4441N
#M```
`
end

From mutex-owner@mail2.gmd.de Tue Feb  9 18:40:04 1999
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From: Christian Mondrup <scancm@biobase.dk>
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Werner Icking wrote:

> > Date: Sun, 07 Feb 1999 12:06:05 +0100
> > From: Luigi Cataldi <luicatal@tin.it>
>
> [...]
> > Now there are 3 instruments (Singer PianoRH BassoCnt). There is a way to
> > put a curved brace, to the left of every system, for PianoRH and BassoCnt?
> > If this is impossible (for MusiXTeX limitation?) I think is better to use
> > the same size for all the staves and to use "interstaff" command as Dirk
> > suggested to me. And you?
>
> But you can get a Chorklammer/Akkolade/Bracket to the left of the system.
> Look for \groupbottom and \grouptop.

How do we tell musixtex to put a brace and not a bracket to the left of the
group ?

The musixtex docs seem to make a distinction between instruments and voices and
to indicate that the style of the group bracket depends on this distinction.

Another problem arises when \setsize2\smallvalue is defined for the right hand
piano staff. Then the bracket stops at the fourth - not the fifth - noteline.
See the mtx source (the recitativo from the Legrenzi cantat) at the bottom of
this posting.

> > P.S. My english is orrible, I know. Sorry.

> Yes! An "h" is missing. Your English is much better than my Italian.

My italian is not better :-)

Title: Ad altro amante in seno
Composer: \llap{\names Giovanni Legrenzi (1626-1690)}
Indent: 0.12
Meter: C
PianoRH: Voices RH1,RH2; Clefs G
BassoCnt: Voices Bc; Clefs F
Style: Singer PianoRH BassoCnt
Systems: 3
Pages: 1
Space: 4 0 2
Size: 16
Name: Contralto ~ \raise13mm\hbox{Continuo}
%% \font\names = cmr10

{Contralto}
Ad al-tro a-man-te in se-no
ir, not-tur-na e fur-ti-va
scor-se A-lin-da Fi-le-no;
s'im-pal-li-d\`\i, ge-l\`o tra' suoi mar-ti-ri.
Que-sti-po-scia e-sa-l\`o me-sti so-spi-ri.

%%h
%%Recitativo
%% h275m
%% \\grouptop12\
%% \\groupbottom11\
%% \\setsize2\smallvalue\
@+3 r2 a8 f f f | cs4 c8 d d4 d | r d8 d bf b b a |
L: {Contralto}
d0+ | cs2 d s0t za s1t zf s2lt | d+ s0t za s1t zf s2t d+ |
C: af ae ~ ~ btg
rb0 | rb0 | rb0 |
(t d0 | d )t(t | d )t(t |

%4-6
a a f+ f1 f f4 f8 e | e4 e r cs8 c1 e | a-4 r8 e+ a fs fd8 g1 |
d0 za zf | cs s0t za s1t ze s2lt | c2+ s0t za s1t ze s2t d+ |
C: af ~ ~ afs
rb0 | rb0 | rb0 |
d )t | (lt a+ | a2 )t a- |

%7-9
g8 g r4 e8 e e1 e e e | f2 ef4 cs8 d | d d r4 r2 ||
d e | d za zf (t d | d4 )t cs d2 ||
C: g- a-e af btg ~ ~ af
rb | rb | a2l rb2 ||
C: e
b cs | d g- | a d ||

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Thu Feb 11 09:48:55 1999
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Subject: pmx_caesura
To: mutex@gmd.de (gmd.de/Misc/Music)
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Hi everybody,

I have a problem that is probably long solved and has
just slipped my memory. If a \caesura\ is introduced
at the end of a bar in pmx, it is moved onto the bar
line itself or even at the beginning of the next bar.
To put an X.8 or something between the \caesura\ and
the | does not help. What mistake did I make?

Christof

From mutex-owner@mail2.gmd.de Thu Feb 11 13:45:56 1999
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Date: Thu, 11 Feb 1999 14:45:56 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, cbiebri@gwdg.de
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> From: cbiebri@gwdg.de
> Date: Thu, 11 Feb 1999 10:48:55 +0100 (MET)

> I have a problem that is probably long solved and has
> just slipped my memory. If a \caesura\ is introduced
> at the end of a bar in pmx, it is moved onto the bar
> line itself or even at the beginning of the next bar.
> To put an X.8 or something between the \caesura\ and
> the | does not help. What mistake did I make?

In-line TeX commands in PMX always belong to the _next_ main note or
rest. There are only few PMX commands which are sensitive to the optional 
bar indicator "|" ( X, Rx ).

Instead of \caesura\ behind the note it belongs to, you may use 
\sk\caesura\bsk\ just before the note it belongs to.

In rare case you have to use in addition for fine-tuning

  either \sk\loffset{?.??}{\caesura}\bsk\
  or     \sk\roffset{?.??}{\caesura}\bsk\

The "\sk...\bsk\" trick used with the last note in a bar is useful
whenever you want to position something at the end of the current
bar (and not in the next line of music if there is a line break)
e.g. \sk\lcharnote{-5}{Da capo al segno}\bsk. 

-- Werner

From mutex-owner@mail2.gmd.de Thu Feb 11 14:25:48 1999
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Subject: PMX_caesura
To: mutex@gmd.de (gmd.de/Misc/Music)
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Hi everybody,

> In rare case you have to use in addition for fine-tuning

>   either \sk\loffset{?.??}{\caesura}\bsk\
>   or     \sk\roffset{?.??}{\caesura}\bsk\
Thank you. It solves the problem. Fine-tuning IS necessary
because the location of the caesura is context-dependent.

Christof

From mutex-owner@mail2.gmd.de Fri Feb 12 19:20:49 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'JVromans@squirrel.nl'" <JVromans@squirrel.nl>,
        Christoph Kukulies
	 <kuku@gilberto.physik.RWTH-Aachen.DE>,
        mutex@gmd.de, gnu-music-discuss@gnu.org
Subject: RE: chord bars
Date: Fri, 12 Feb 1999 11:20:49 -0800
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Johan wrote

>On Saturday, 6 February 1999, Christoph Kukulies writes:

>> I want to generate some sheets that contain only the chords (changes)
>> of a certain tune (Jazz, Real Book, for example), like>>>

>I have exactly that.
>It is a Perl script that takes simplified ASCII input and produces a
>PostScript file, that can be printed directly.
>
>An example of input

I have viewed the attached Postscript output.  Numbers appear as subscripts.
In conventional jazz notation, they should be superscripts.

--Don Simons

From mutex-owner@mail2.gmd.de Fri Feb 12 19:51:22 1999
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To: JVromans@squirrel.nl (Johan Vromans)
Cc: Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>, mutex@gmd.de,
        gnu-music-discuss@gnu.org
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower> <m2ww1r33fd.fsf@phoenix.squirrel.nl>
From: JVromans@squirrel.nl (Johan Vromans)
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Date: 12 Feb 1999 20:51:22 +0100
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JVromans@squirrel.nl (Johan Vromans) writes:

> I have exactly that.
> It is a Perl script that takes simplified ASCII input and produces a
> PostScript file, that can be printed directly.

I have made a 'snapshot' kit available.
URL: http://www.squirrel.nl/people/jvromans/sw_playtab.html

Have fun and let me know what you think of it.
I would especially welcome suggestions for a good name :-)

-- Johan

From mutex-owner@mail2.gmd.de Sat Feb 13 10:10:10 1999
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To: "Simons, Don" <DSimons@logicon.com>
Cc: "'JVromans@squirrel.nl'" <JVromans@squirrel.nl>,
        Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>, mutex@gmd.de,
        gnu-music-discuss@gnu.org
Subject: Re: chord bars
References: <C156CDD8944DD211A71F00805FBBE42821D3B1@xcgca043.sp.logicon.com>
From: JVromans@squirrel.nl (Johan Vromans)
X-Organisation: Squirrel Consultancy, Haarlem, The Netherlands
Date: 13 Feb 1999 11:10:10 +0100
In-Reply-To: "Simons, Don"'s message of "Fri, 12 Feb 1999 11:20:49 -0800"
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"Simons, Don" <DSimons@logicon.com> writes:

> I have viewed the attached Postscript output.  Numbers appear as subscripts.
> In conventional jazz notation, they should be superscripts.

As far as I know, there are several conventions for chord notations.
I adopted this one. I have no problem in changing it, or adopting
another convention as well, if there is good reason to do so.

Most important, there must be concensus about how it should look :-)

-- Johan

From mutex-owner@mail2.gmd.de Mon Feb 15 07:57:33 1999
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Date: Mon, 15 Feb 1999 08:57:33 +0100
From: Frank Stefani <frank@ead-systeme.de>
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To: Johan Vromans <JVromans@squirrel.nl>
Cc: mutex@gmd.de
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower> <m2ww1r33fd.fsf@phoenix.squirrel.nl> <m2btizv1s5.fsf@phoenix.squirrel.nl>
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Thanks for your effort Johan!

A little note: I found that one MUST avoid whitespace before
a "!T" or a "!W", because otherwise the PostScript gets corrupted.

And an offtopic question: Does anybody know of a nice reference or
overview of Jazz chords? I wonder eg. what that

    ____
   / ___|
  | |  _
  | |_| |  /\
   \____| /  \
         /____\

a "G" with a greek upcase delta is. Any pointers to the net
would be appreciated. TIA,

Frank.


Johan Vromans wrote:
> 
> JVromans@squirrel.nl (Johan Vromans) writes:
> 
> > I have exactly that.
> > It is a Perl script that takes simplified ASCII input and produces a
> > PostScript file, that can be printed directly.
> 
> I have made a 'snapshot' kit available.
> URL: http://www.squirrel.nl/people/jvromans/sw_playtab.html
> 
> Have fun and let me know what you think of it.
> I would especially welcome suggestions for a good name :-)
> 
> -- Johan
-- 
---------------------------------------------------------------
     _/_/_/_/     _/_/     _/_/_/    EAD-Systeme GmbH
    _/          _/  _/    _/    _/   Nachfeldstr. 4
   _/_/_/     _/    _/   _/     _/   D-82490 Farchant, Germany
  _/        _/_/_/_/_/  _/     _/    Phone: +49 8821 9623-0
 _/_/_/_/ _/        _/ _/_/_/_/      Fax: +49 8821 9623-20
---------------------------------------------------------------
Email: Frank.Stefani@ead-systeme.de
---------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Feb 15 09:23:23 1999
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'andre.vanryckeghem@kh.khbo.be'" <andre.vanryckeghem@kh.khbo.be>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: musixlyr and small notes: syncproblem
Date: Mon, 15 Feb 1999 10:23:23 +0100
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Hello Andre,

(sorry for the delay - I've been on holiday!) - the problem is caused by the
fact that you've enclosed the \t\ql... sequences in braces. This keeps
changes to MusiXTeX's horizontal position counter local to your {\t...}
environment and messes up subsequent lyrics positioning.

I'd suggest that you replace those brace constructions by explicit switching
forth and back between the notes sizes, as the following modified example
reveals:

\input musixlyr
\hsize 150mm
\def\t#1{\smallnotesize#1\normalnotesize}
\def\tc#1#2{{\t\zcl #1}\cu #2}
\setlyrics{str}{this one does not sync. This one does sync}
\assignlyrics1{str}
\instrumentnumber 1

\bigaccid\startmuflex\startpiece
 \NOtes\t{\ql c}\qu i\t{\ql c}\qu{cc}\en\bar
 \NOtes\t{\ql c}\en
 \NOtes\qu i\t{\ql c}\qu c\en\bar
\linegoal1\Stoppiece\eject\bye

Regards,

Rainer


> ----------
> Von: 	avr[SMTP:andre.vanryckeghem@kh.khbo.be]
> Gesendet: 	Dienstag, 9. Februar 1999 18:16
> An: 	mutex@gmd.de
> Betreff: 	musixlyr and small notes: syncproblem
> 
> Dear all
> 
> I have a problem with musixlyr by mixing small notes and other ones.
> The lyrics are not always placed under the notes.
> I have the feeling it is better the more '\en\NOtes' are used (see
> example).
> 
> What am i doing wrong?
> 
> %--------
> \input musixlyr
> \hsize 150mm
> \def\t{\smallnotesize}\def\tc#1#2{{\t\zcl #1}\cu #2}
> \setlyrics{str}{this one does not sync. This one does
> syncs}\assignlyrics1{str}
> \instrumentnumber 1
> \bigaccid\startmuflex\startpiece%
> \NOtes{\t\ql c}\qu i{\t\ql c}\qu{cc}\en\bar
> \NOtes{\t\ql c}\en\NOtes\qu i{\t\ql c}\qu c\en\bar% this one is better
> \linegoal1\Stoppiece\eject\bye
> %--------
> 
> A. Van Ryckeghem
> 
> (who has discovered musixlyr and will use also pmx as soon as
> he knows to use it with Winedt and Miktex)
> 
> 

From mutex-owner@mail2.gmd.de Mon Feb 15 09:59:30 1999
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Date: Mon, 15 Feb 1999 10:59:30 +0100
From: Christoph Kukulies <kuku@gilberto.physik.RWTH-Aachen.DE>
To: Frank Stefani <frank@ead-systeme.de>, Johan Vromans <JVromans@squirrel.nl>
Cc: mutex@gmd.de
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower> <m2ww1r33fd.fsf@phoenix.squirrel.nl> <m2btizv1s5.fsf@phoenix.squirrel.nl> <36C7D36D.39C4FEA2@ead-systeme.de>
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On Mon, Feb 15, 1999 at 08:57:33AM +0100, Frank Stefani wrote:
> Thanks for your effort Johan!
> 
> A little note: I found that one MUST avoid whitespace before
> a "!T" or a "!W", because otherwise the PostScript gets corrupted.
> 
> And an offtopic question: Does anybody know of a nice reference or
> overview of Jazz chords? I wonder eg. what that
> 
>     ____
>    / ___|
>   | |  _
>   | |_| |  /\
>    \____| /  \
>          /____\

It was new to me also until I played with a guitarist 20 years younger
than me recently. I was told it's Gmaj7 (in your example) :-)


> 
> a "G" with a greek upcase delta is. Any pointers to the net
> would be appreciated. TIA,
> 
> Frank.
> 
[snip]

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
"The Hammond Tonewheel Organ - Gods harmonica" - (c)1999, C. Kukulies
http://blues.physik.rwth-aachen.de/hammond.html

From mutex-owner@mail2.gmd.de Mon Feb 15 10:58:25 1999
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From: "Angelo Pagan" <a.pagan@cnos-fap.it>
To: <mutex@gmd.de>
Subject: Transitus irregularis
Date: Mon, 15 Feb 1999 11:58:25 +0100
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Dear sirs,

I started to experiment with M-Tx a few days ago and I think it is very
usefull.

I play the organ in the church in front of my home and I think it is much
more simple to play using a soprano+figured bass score then soprano+chords.

I converted a fev of my handwritten hymns/songs to this form and the result
is very nice.

I'm not able to find how to write a "transitus irregularis" that is the a
simbol like a circle, or \cup, or trill (^^^^) or a slash instead of figures
to say that with the current bass note should be sound the harmonization of
the following note.

Can someone help me? Thank you very much for your help,

Angelo Pagan





Angelo Pagan
CFP CNOS-FAP San Marco
Via dei Salesiani, 15 - 30174 Venezia-Mestre VE



From mutex-owner@mail2.gmd.de Mon Feb 15 11:09:19 1999
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Date: Mon, 15 Feb 1999 12:09:19 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: Frank Stefani <frank@ead-systeme.de>, mutex <mutex@gmd.de>
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower> <m2ww1r33fd.fsf@phoenix.squirrel.nl> <m2btizv1s5.fsf@phoenix.squirrel.nl> <36C7D36D.39C4FEA2@ead-systeme.de>
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Frank Stefani wrote:
> 
> Thanks for your effort Johan!
> 
> A little note: I found that one MUST avoid whitespace before
> a "!T" or a "!W", because otherwise the PostScript gets corrupted.
> 
> And an offtopic question: Does anybody know of a nice reference or
> overview of Jazz chords? I wonder eg. what that
> 
>     ____
>    / ___|
>   | |  _
>   | |_| |  /\
>    \____| /  \
>          /____\
> 
> a "G" with a greek upcase delta is. 

Upcase delta is an abbreviation for for maj7

> Any pointers to the net would be appreciated. TIA,
> 

One place to look for things like that is Yahoo:
http://dir.yahoo.com/Entertainment/Music/Theory/

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Mon Feb 15 11:19:35 1999
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From: Frank Stefani <frank@ead-systeme.de>
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Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower> <m2ww1r33fd.fsf@phoenix.squirrel.nl> <m2btizv1s5.fsf@phoenix.squirrel.nl> <36C7D36D.39C4FEA2@ead-systeme.de> <36C8005F.D9A16A4@biobase.dk>
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Thanks to all who guided me to the right direction!

Frank.

Christian Mondrup wrote:
> 
> Frank Stefani wrote:
> >
> > Thanks for your effort Johan!
> >
> > A little note: I found that one MUST avoid whitespace before
> > a "!T" or a "!W", because otherwise the PostScript gets corrupted.
> >
> > And an offtopic question: Does anybody know of a nice reference or
> > overview of Jazz chords? I wonder eg. what that
> >
> >     ____
> >    / ___|
> >   | |  _
> >   | |_| |  /\
> >    \____| /  \
> >          /____\
> >
> > a "G" with a greek upcase delta is.
> 
> Upcase delta is an abbreviation for for maj7
> 
> > Any pointers to the net would be appreciated. TIA,
> >
> 
> One place to look for things like that is Yahoo:
> http://dir.yahoo.com/Entertainment/Music/Theory/
> 
> Regards
-- 
---------------------------------------------------------------
     _/_/_/_/     _/_/     _/_/_/    EAD-Systeme GmbH
    _/          _/  _/    _/    _/   Nachfeldstr. 4
   _/_/_/     _/    _/   _/     _/   D-82490 Farchant, Germany
  _/        _/_/_/_/_/  _/     _/    Phone: +49 8821 9623-0
 _/_/_/_/ _/        _/ _/_/_/_/      Fax: +49 8821 9623-20
---------------------------------------------------------------
Email: Frank.Stefani@ead-systeme.de
---------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Feb 15 16:37:19 1999
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To: Angelo Pagan <a.pagan@cnos-fap.it>, mutex <mutex@gmd.de>
Subject: Re: Transitus irregularis
References: <001901be58d2$1d0e3780$4401a8c0@buxtehude.issm.locale>
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Angelo Pagan wrote:

> Dear sirs,
>
> I started to experiment with M-Tx a few days ago and I think it is very
> usefull.
>
> I play the organ in the church in front of my home and I think it is much
> more simple to play using a soprano+figured bass score then soprano+chords.
>
> I converted a fev of my handwritten hymns/songs to this form and the result
> is very nice.
>
> I'm not able to find how to write a "transitus irregularis" that is the a
> simbol like a circle, or \cup, or trill (^^^^) or a slash instead of figures
> to say that with the current bass note should be sound the harmonization of
> the following note.

I'm not aquainted with the term "transitus irregularis" and hasn't been able to
look it up in my music dictionarys (The Harvard D. & Hugo Riemann's
Musiklexicon). As far as I understand your question you want to significate
anticipation of a chord belonging to a note in the bass part _after_ the current
note. None of the articles concerning thorough bass/generalbass in the above
mentioned dictionaries seem to mention this phenomenon. If this is what you
intend I'm not able to help you. If you, however, want to indicate e.g. a series
of transposed sixths chords initiated by a leading '6' followed by forward
slashes  (cf. Harv. Dict, article on th. b.) the m-tx uptext - used as downtex -
could do the trick.

Meter: C/
Style: piano
Bars/Line: 4

g4 g a b | c d c b | c0
U: @v ~ ~ ~ ~ ~ / / /
c4 e f d 6 | e 6 f e d | c0

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Mon Feb 15 19:51:55 1999
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To: Frank Stefani <frank@ead-systeme.de>
Cc: Johan Vromans <JVromans@squirrel.nl>, mutex@gmd.de
Subject: Re: chord bars
References: <199902081944.UAA10931@appel.flower>
	<m2ww1r33fd.fsf@phoenix.squirrel.nl>
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[Quoting Frank Stefani, on February 15 1999, 08:57, in "Re: chord bars"]
> A little note: I found that one MUST avoid whitespace before
> a "!T" or a "!W", because otherwise the PostScript gets corrupted.

Yes, I know. I'll fix that one of these days.
The code is very much result oriented -- it gets thie job done but it
is not yet robust.

-- Johan

From mutex-owner@mail2.gmd.de Mon Feb 15 20:16:40 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: Transitus irregularis
Date: Mon, 15 Feb 1999 12:16:40 -0800
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I've been playing figured bass on harpsichord for 15 years and have never
encountered term "transitus irregularis."  In PMX there is a "continuation
figure" indicated by numeral 0 followed by another numeral giving the extent
of a horizontal line in \noreskips; this signifies a continuation of the
prior harmony over a new bass note.   Seems like the opposite of what you
describe.  If you wanted a new harmony over a held bass note, why not just
enter a new figure describing the new harmony relative to the old bass note?
In fact, without a new set of numbers, I don't see how any special symbol
could convey the new harmony.  Without any new numbers you would need to
look at the parts to see what the new harmony should be, but with proper
figures you should never need to look at voices other than the bass to
determine the harmony.  

-----Original Message-----
From: Angelo Pagan
To: mutex@gmd.de
Sent: 2/15/99 2:58 AM
Subject: Transitus irregularis

Dear sirs,

I started to experiment with M-Tx a few days ago and I think it is very
usefull.

I play the organ in the church in front of my home and I think it is
much
more simple to play using a soprano+figured bass score then
soprano+chords.

I converted a fev of my handwritten hymns/songs to this form and the
result
is very nice.

I'm not able to find how to write a "transitus irregularis" that is the
a
simbol like a circle, or \cup, or trill (^^^^) or a slash instead of
figures
to say that with the current bass note should be sound the harmonization
of
the following note.

Can someone help me? Thank you very much for your help,

Angelo Pagan





Angelo Pagan
CFP CNOS-FAP San Marco
Via dei Salesiani, 15 - 30174 Venezia-Mestre VE


From mutex-owner@mail2.gmd.de Tue Feb 16 01:53:30 1999
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Date: Tue, 16 Feb 1999 01:53:30 +0000 (GMT)
From: Howard Gilbert <hg21@onyxnet.co.uk>
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To: mutex@gmd.de
Subject: PMX - Novices Problem
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Hi, 

I guess I'll feel really stupid when someone sees something blindingly 
obvious but Ive looked at it for hours and can't see it.

I downloaded pmx yesterday and got it running on a stand alone PC using
Linux.  It works on the example files Barsant.pmx and rtsg.pmx.

I then tried coding a piece myself doing 4 bars at a time and then pmx-ing
and tex-ing to see the result as I went along.  The first 8 bars gave no
problem, but when I went further, pmxa did not appear to recognise
anything after bar 8. 

The .tex file (produced after pmxa, pmxb, tex.., musixflx.. and tex..)
contained \Endpiece after bar 8 but I can't see what, in the .pmx file,
makes this happen.

I have tried this with other values for npages and nsyst, since I'm not
really sure how these work, but all without success.

Any suggestions would be very welcome,
Thanks and best wishes,
Howard Gilbert

+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++

%nv,noinst,mtrnuml,mtrdenl,mtrnmp,mtrdenp,xmtrnum0,isig
4     4      4       4       0        6        1     0
%
%npages,nsyst,musicsize,fracindent
0         4     20        0.05
Horn  IV
Horn III
Horn  II
Horn   I
tttt
./
h
Fast
%bar 0-4
( [ c85 b ] | c ) r ( c- b c ) r ( g+ f | e4 ) X2B  ( g8 c ) r ( e d c | 
d ) r r (u gsl- a b c d ) | ( b gn f g o^ ) r ( g a b ) /
( [ c85 b ] | c ) r ( c- b c ) r ( g+ f | e4 ) ( g8 c ) r ( e d c | 
d ) r r (u gsl- a b c d ) | ( b gn f g o^ ) r ( g a b ) /
( [ c85 b ] | c ) r ( c- b c ) r ( g+ f | e4 ) ( g8 c ) r ( e d c | 
d ) r r (u gsl- a b c d ) | ( b gn f g o^ ) r ( g a b ) /
( [ c85 b ] | c ) r ( c- b c ) r ( g+ f | e4 ) ( g8 c ) r ( e d c | 
d ) r r (u gsl- a b c d ) | ( b gn f g o^ ) r ( g a b ) /
%bar 5-8
( c85 o> b a ) ( g o> a g ) ( f o> e | f ) ( e o> d c ) ( d o> c b ) ( a |
g c b d c e d f | e c bf c o^ ) r2 /
( c85 o> b a ) ( g o> a g ) ( f o> e | f ) ( e o> d c ) ( d o> c b ) ( a |
g c b d c e d f | e c bf c o^ ) r2 /
( c85 o> b a ) ( g o> a g ) ( f o> e | f ) ( e o> d c ) ( d o> c b ) ( a |
g c b d c e d f | e c bf c o^ ) r2 /
( c85 o> b a ) ( g o> a g ) ( f o> e | f ) ( e o> d c ) ( d o> c b ) ( a |
g c b d c e d f | e c bf c o^ ) r ( ds e g ) /
%bar 9-12
 rp | r8 ( c84 b c b c d e | fs ) r r4 r r8 ( f | fn e ef d o^ ) r2 /
r2 r4 ( e84 ds | e0 | dn8 ) r r4 ( a84 gs a4 ) | ( gn8 af g f o^ ) r2 /
r4 r8  g84 fs  g g4 | g0 | a84 ( c b c c2 ) |
 ( b8 bf a gs o^ ) r ( gn a bn /
c85 o^ b c2d | c r8 ( e85 d c | d0 o^ ) | ( d84 cs d b o^ ) r2 /
++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++



From mutex-owner@mail2.gmd.de Tue Feb 16 05:25:13 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'Howard Gilbert '" <hg21@onyxnet.co.uk>,
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	 <mutex@gmd.de>
Subject: RE: PMX - Novices Problem
Date: Mon, 15 Feb 1999 21:25:13 -0800
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Howard Gilbert wrote

>I then tried coding a piece myself doing 4 bars at a time and then
>pmx-ing
>and tex-ing to see the result as I went along.  The first 8 bars gave no
>problem, but when I went further, pmxa did not appear to recognise
>anything after bar 8. 

The good news is that the PMX source that you included worked fine on my
system, version 1.43 running in a DOS window.  It produced a pickup plus 12
bars in 4 systems on 2 pages.   Bad news is the problem must be somewhere
besides in your .pmx .

UNIX guys, any ideas?

--Don Simons




From mutex-owner@mail2.gmd.de Tue Feb 16 10:08:33 1999
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Subject: Re: PMX - Novices Problem
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 > I downloaded pmx yesterday and got it running on a stand alone PC
 > using Linux.  It works on the example files Barsant.pmx and
 > rtsg.pmx.

 > I then tried coding a piece myself doing 4 bars at a time and then
 > pmx-ing and tex-ing to see the result as I went along.  The first 8
 > bars gave no problem, but when I went further, pmxa did not appear
 > to recognise anything after bar 8.

I recall I had a similar problem with pmx on Linux quite some time
ago, which went away when I upgraded to a later pmx version (1.38 if I
recall correctly).  You don't tell us which version you downloaded, so
if it's not the very latest one (1.43 I think), consider upgrading.

Alex

-- 
Alexander Jolk * jolk@ap-pc513b.physik.uni-karlsruhe.de * +49-721-608-3572

From mutex-owner@mail2.gmd.de Tue Feb 16 10:19:44 1999
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From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: Re: PMX - Novices Problem
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> The good news is that the PMX source that you included worked fine on my
> system, version 1.43 running in a DOS window.

More good news: It also worked for me without problems
(musixtex-T93, pmx-1.43, tetex-0.9, Linux).


-- 
Andreas Kurth    Mannheim, Germany

From mutex-owner@mail2.gmd.de Tue Feb 16 11:36:43 1999
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From: "Angelo Pagan" <a.pagan@cnos-fap.it>
To: <mutex@gmd.de>
Subject: R: Transitus irregularis
Date: Tue, 16 Feb 1999 12:36:43 +0100
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The "transitus irregularis" is described, for example, in the method fo
figured bass said to be written by W. A. Mozart (which I suppose to have an
english translation). Well, that book names it "transitus irregularem" but
this is not a correct Latin...

It is also cited, with a few examples, in an Italian book about figured
bass. I'm very sorry but I don't know the english language literature on the
subject.

The transitus irregularis is used in ancient Italian literature (not very
often: you know that the Italian figured bass uses very few symbols) and in
German one (I'm not at home so I can not cite any author... tomorrow if you
are interested).

The meaning is very simple: suppose you have a "d" with transitus
irregularis followed by "c" numbered "2". You should execute on the first
"d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
the harmony of the following "c". Just the opposite of the continuation of
the prior harmony over a new bass note.

It has more than one possible symbol (written under the note at the height
of the numbers):
    1 - nothing (alas: this is an Italian use...)
    2 - a circle
    3 - an ancient trill sign (^^^^)
    4 - a \cup sign
    5 - a slash

So, my problem is to have the effect of the continuation "0", but instead of
a line to see a circle, or a trill sign, or a \cup or a slash.

I hope this description is sufficientely clear, but English is not my mother
tongue...

Thank you very much,
Angelo Pagan





Angelo Pagan
CFP CNOS-FAP San Marco
Via dei Salesiani, 15 - 30174 Venezia-Mestre VE


From mutex-owner@mail2.gmd.de Tue Feb 16 16:34:16 1999
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From: Christian Mondrup <scancm@biobase.dk>
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Angelo Pagan wrote:

> The "transitus irregularis" is described, for example, in the method fo
> figured bass said to be written by W. A. Mozart (which I suppose to have an
> english translation). Well, that book names it "transitus irregularem" but
> this is not a correct Latin...
>
> It is also cited, with a few examples, in an Italian book about figured
> bass. I'm very sorry but I don't know the english language literature on the
> subject.
>
> The transitus irregularis is used in ancient Italian literature (not very
> often: you know that the Italian figured bass uses very few symbols) and in
> German one (I'm not at home so I can not cite any author... tomorrow if you
> are interested).
>
> The meaning is very simple: suppose you have a "d" with transitus
> irregularis followed by "c" numbered "2". You should execute on the first
> "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> the harmony of the following "c". Just the opposite of the continuation of
> the prior harmony over a new bass note.
>
> It has more than one possible symbol (written under the note at the height
> of the numbers):
>     1 - nothing (alas: this is an Italian use...)
>     2 - a circle
>     3 - an ancient trill sign (^^^^)
>     4 - a \cup sign
>     5 - a slash
>
> So, my problem is to have the effect of the continuation "0", but instead of
> a line to see a circle, or a trill sign, or a \cup or a slash.
>

Then I would suggest using musixtex's \Shake. The negative number parameter
points to position on the notesystem (under the first noteline) regardless of
the current cleff.

Meter: C/
Flats: 1
Style: piano
Bars/Line: 4

f4 g a b | f g g4d f8 | f0
d4 c f d 6 | d 5 \Shake{-4}\ d8 c b4 c | f0-

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



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From: Christian Mondrup <scancm@biobase.dk>
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To: Angelo Pagan <a.pagan@cnos-fap.it>, mutex <mutex@gmd.de>
Subject: Re: R: Transitus irregularis
References: <002001be59a0$a24f54a0$4401a8c0@buxtehude.issm.locale> <36C99E07.195A6C48@biobase.dk>
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Christian Mondrup wrote:

> Angelo Pagan wrote:
>
> > The meaning is very simple: suppose you have a "d" with transitus
> > irregularis followed by "c" numbered "2". You should execute on the first
> > "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> > the harmony of the following "c". Just the opposite of the continuation of
> > the prior harmony over a new bass note.
> >
>
> Then I would suggest using musixtex's \Shake. The negative number parameter
> points to position on the notesystem (under the first noteline) regardless of
> the current cleff.
>
> Meter: C/
> Flats: 1
> Style: piano
> Bars/Line: 4
>
> f4 g a b | f g g4d f8 | f0
> d4 c f d 6 | d 5 \Shake{-4}\ d8 c b4 c | f0-

Or musically a bit less clumsy:

Meter: C/
Flats: 1
Style: piano
Bars/Line: 4

f4 g a c | f- g g4d f8 | f0
d4 c f e 6 | d 5 \Shake{-4}\ d8 c b4 65 c | f0-

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Tue Feb 16 17:06:44 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Transitus irregularis
Date: Tue, 16 Feb 1999 09:06:44 -0800
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Thanks to Angelo for the description of this rare life form.  Now as to his
original question:

In PMX, you can place any text you want as a figure by using the PMX macro
\Figu#1#2 .  You would insert it into the .pmx file with in-line TeX.  The
first argument is the depth from the "figure's baseline".  It would be
0,4,8,... for the highest, next highest, next highest ...  The second
argument is the text.  Example:

=====================
1 1 4 4 4 4 0 0
1 1 20 0

b
c:\pctex\texinput\
\Figu0{XXX}\ d23 c 2 / 
======================

This puts "XXX" under the first note where a figure would normally go.
Caveat:  if the note for the manually inserted figure is below the staff and
is the lowest of all notes with figures in the system, then the height will
not be right...PMX itself computes the height of the top of all figures in a
system based on the lowest note with a figure, but PMX only knows about
figures entered normally.   

I'll have to leave it up to you to work out the character you want.  \cup is
a dotted up-stemmed eighth note, and even though you mentioned it before I
don't think that's what you want, and it wouldn't work anyhow for TeX-nical
reasons I don't completely understand (but they have something to do with
the fact that \cup is a macro, not a token for a text string).

--Don Simons

> -----Original Message-----
> From:	Angelo Pagan [SMTP:a.pagan@cnos-fap.it]
> Sent:	Tuesday, February 16, 1999 3:37 AM
> To:	mutex@gmd.de
> Subject:	R: Transitus irregularis
> 
> The "transitus irregularis" is described, for example, in the method fo
> figured bass said to be written by W. A. Mozart (which I suppose to have
> an
> english translation). Well, that book names it "transitus irregularem" but
> this is not a correct Latin...
> 
> It is also cited, with a few examples, in an Italian book about figured
> bass. I'm very sorry but I don't know the english language literature on
> the
> subject.
> 
> The transitus irregularis is used in ancient Italian literature (not very
> often: you know that the Italian figured bass uses very few symbols) and
> in
> German one (I'm not at home so I can not cite any author... tomorrow if
> you
> are interested).
> 
> The meaning is very simple: suppose you have a "d" with transitus
> irregularis followed by "c" numbered "2". You should execute on the first
> "d" the harmonization of the "c" numberd "2", that is you anticipate on
> "d"
> the harmony of the following "c". Just the opposite of the continuation of
> the prior harmony over a new bass note.
> 
> It has more than one possible symbol (written under the note at the height
> of the numbers):
>     1 - nothing (alas: this is an Italian use...)
>     2 - a circle
>     3 - an ancient trill sign (^^^^)
>     4 - a \cup sign
>     5 - a slash
> 
> So, my problem is to have the effect of the continuation "0", but instead
> of
> a line to see a circle, or a trill sign, or a \cup or a slash.
> 
> I hope this description is sufficientely clear, but English is not my
> mother
> tongue...
> 
> Thank you very much,
> Angelo Pagan
> 
> 
> 
> 
> 
> Angelo Pagan
> CFP CNOS-FAP San Marco
> Via dei Salesiani, 15 - 30174 Venezia-Mestre VE

From mutex-owner@mail2.gmd.de Tue Feb 16 17:15:22 1999
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Subject: Re: R: Transitus irregularis
To: a.pagan@cnos-fap.it (Angelo Pagan)
Date: Tue, 16 Feb 1999 18:15:22 +0100 (MET)
Cc: mutex@gmd.de
In-Reply-To: <002001be59a0$a24f54a0$4401a8c0@buxtehude.issm.locale> from "Angelo Pagan" at Feb 16, 99 12:36:43 pm
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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> 
> The "transitus irregularis" is described, for example, in the method fo
> figured bass said to be written by W. A. Mozart (which I suppose to have an
> english translation). Well, that book names it "transitus irregularem" but
> this is not a correct Latin...

quite!    :-)   s/us/um/ !


I bought this booklet 10 days ago in German!


> It is also cited, with a few examples, in an Italian book about figured
> bass. I'm very sorry but I don't know the english language literature on the
> subject.



> The transitus irregularis is used in ancient Italian literature (not very
> often: you know that the Italian figured bass uses very few symbols) and in
> German one (I'm not at home so I can not cite any author... tomorrow if you
> are interested).


There are in fact quite a number authors.
Carl Philipp Emanuel Bach mentions it, also 
J.D. Heinichen, ...
It will be in Mattheson's essay too, I guess, 
and in Tuerk's.


As far as I know even earlier authors like Christoph Bernhard have it.
In German there are different names for this "Durchgangsnote":
"harter" or "schwerer" Durchgang.

The "usual" Transitus would happen on an off-beat (a 'light beat' if you
say so), passing a note which does not belong to the harmony.

The "transitus irregularis"  passes a note which does not belong to
the harmony *on the strong* beat (positio instead of levatio),
so the following not is the one which actually belongs to the harmony.

A typical case is the one of the figure 5/2 on the beat: Usually 
the bass line would move one step down, resolving in the
six-chord.

JSB (and others) as far as my experience reaches do figure these
"transitus irregulares"  on the beat, using figures like:
   5/2 ,    7/5/2,    7/4/2,   even 6/4/2 (signifying the root chord,
being reached from downwards, cf John's Passion (Matthew's?), Choral
"Ach grosser Koenig".)
or even 5/3/2, and 5/4/2, and others.

But in some rare cases I met that slash "/" which Angelo was talking of.
If you want to print it within PMX, Angelo, you have to use 
inline-TeX, one of PMX's great features, once you have discovered it!

PMX accepts only the ciphers 0,1,...,9 as figures.
10,11,...,14 (Caccini) cannot *directly* posted to the TeX-file.
But if you use the \Figu{}{}-Macro, anything should be possible.



> The meaning is very simple: suppose you have a "d" with transitus
> irregularis followed by "c" numbered "2". You should execute on the first
> "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> the harmony of the following "c". Just the opposite of the continuation of
> the prior harmony over a new bass note.



> It has more than one possible symbol (written under the note at the height
> of the numbers):
>     1 - nothing (alas: this is an Italian use...)
>     2 - a circle
>     3 - an ancient trill sign (^^^^)

ah, I think I remember Carl Philipp mentioning this sign, in his printing 
it looks like a "Gothic" 'm',  (\mathfrak{m}). He also mentions the 
circle, right, and the slash.
But in 'actual music' I have not come across these signs, only the slash,
which has CPE's preference, if my memory tells me right.


>     4 - a \cup sign
>     5 - a slash


> So, my problem is to have the effect of the continuation "0", but instead of
> a line to see a circle, or a trill sign, or a \cup or a slash.

See above: Does this give you some help?

You would have to code *before* the transitu irregulare 
(Ablativus locativus, if I am not mistaken ... :-)
"\Figu{4}{/}\   "
  or
"\Figu{4}{$\circ$}  "

(Leave out the quotation marks '"', of course.)
there first argument ('4') being the height the figure should be appear at.
Just try different numbers instead of 4, and see the difference.

If you try to use $\cup$ you will run into difficulties, because
this control sequence has been redefined by MusiXTeX, 
printing a dotted eighth with stemp up, which might surprise you
as a figure  ....
But why not introduce a new symbol for the Tr.irr.???? :-)


> 
> I hope this description is sufficientely clear, but English is not my mother
> tongue...

neanche la mia ... 

Spero che ti possa aiutare con questi 'hints'.



Ciao, 
  Eckart Begemann

     Saluti a La Serenissima! :-)


-- 
   Quality Control                       |   Eckart Begemann
   ---------------                       |   begemann@math.uni-hamburg.de
A Professor of Skills Scientific         |
Said, Don't confuse  GOOD with PROLIFIC  |
  Put quality second:                    |
  What's usually reckoned                +------------------------------------
Is how much, and not how terrific.        Michael M. Stewart, MD, Elmhurst, NY

From mutex-owner@mail2.gmd.de Tue Feb 16 18:36:42 1999
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Subject: an obsolete command "\csluru"?
To: mutex@gmd.de
Date: Tue, 16 Feb 1999 19:36:42 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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Does anybody know the command \csluru?
I found it in some old MusiXTeX-source-file
written by M-Tx (I think).
My present installation does not know this
control sequence.




-- 
   Quality Control                       |   Eckart Begemann
   ---------------                       |   begemann@math.uni-hamburg.de
A Professor of Skills Scientific         |
Said, Don't confuse  GOOD with PROLIFIC  |
  Put quality second:                    |
  What's usually reckoned                +------------------------------------
Is how much, and not how terrific.        Michael M. Stewart, MD, Elmhurst, NY

From mutex-owner@mail2.gmd.de Tue Feb 16 18:41:10 1999
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Subject: Re: R: Transitus irregularis
To: mutex@gmd.de
Date: Tue, 16 Feb 1999 19:41:10 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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Forwarded message:
> From ms4a004 Tue Feb 16 18:15:21 1999
> Subject: Re: R: Transitus irregularis
> To: a.pagan@cnos-fap.it (Angelo Pagan)
> Date: Tue, 16 Feb 1999 18:15:21 +0100 (MET)
> Cc: mutex@gmd.de
> In-Reply-To: <002001be59a0$a24f54a0$4401a8c0@buxtehude.issm.locale> from "Angelo Pagan" at Feb 16, 99 12:36:43 pm
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> Reply-To: begemann@math.uni-hamburg.de
> X-Mailer: ELM [version 2.4 PL24]
> MIME-Version: 1.0
> Content-Type: text/plain; charset=US-ASCII
> Content-Transfer-Encoding: 7bit
> Content-Length: 4640      
> 
> > 
> > The "transitus irregularis" is described, for example, in the method fo
> > figured bass said to be written by W. A. Mozart (which I suppose to have an
> > english translation). Well, that book names it "transitus irregularem" but
> > this is not a correct Latin...
> 
> quite!    :-)   s/us/um/ !
> 
> 
> I bought this booklet 10 days ago in German!
> 
> 
> > It is also cited, with a few examples, in an Italian book about figured
> > bass. I'm very sorry but I don't know the english language literature on the
> > subject.
> 
> 
> 
> > The transitus irregularis is used in ancient Italian literature (not very
> > often: you know that the Italian figured bass uses very few symbols) and in
> > German one (I'm not at home so I can not cite any author... tomorrow if you
> > are interested).
> 
> 
> There are in fact quite a number authors.
> Carl Philipp Emanuel Bach mentions it, also 
> J.D. Heinichen, ...
> It will be in Mattheson's essay too, I guess, 
> and in Tuerk's.
> 
> 
> As far as I know even earlier authors like Christoph Bernhard have it.
> In German there are different names for this "Durchgangsnote":
> "harter" or "schwerer" Durchgang.
> 
> The "usual" Transitus would happen on an off-beat (a 'light beat' if you
> say so), passing a note which does not belong to the harmony.
> 
> The "transitus irregularis"  passes a note which does not belong to
> the harmony *on the strong* beat (positio instead of levatio),
> so the following not is the one which actually belongs to the harmony.
> 
> A typical case is the one of the figure 5/2 on the beat: Usually 
> the bass line would move one step down, resolving in the
> six-chord.
> 
> JSB (and others) as far as my experience reaches do figure these
> "transitus irregulares"  on the beat, using figures like:
>    5/2 ,    7/5/2,    7/4/2,   even 6/4/2 (signifying the root chord,
> being reached from downwards, cf John's Passion (Matthew's?), Choral
> "Ach grosser Koenig".)
> or even 5/3/2, and 5/4/2, and others.
> 
> But in some rare cases I met that slash "/" which Angelo was talking of.
> If you want to print it within PMX, Angelo, you have to use 
> inline-TeX, one of PMX's great features, once you have discovered it!
> 
> PMX accepts only the ciphers 0,1,...,9 as figures.
> 10,11,...,14 (Caccini) cannot *directly* posted to the TeX-file.
> But if you use the \Figu{}{}-Macro, anything should be possible.
> 
> 
> 
> > The meaning is very simple: suppose you have a "d" with transitus
> > irregularis followed by "c" numbered "2". You should execute on the first
> > "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> > the harmony of the following "c". Just the opposite of the continuation of
> > the prior harmony over a new bass note.
> 
> 
> 
> > It has more than one possible symbol (written under the note at the height
> > of the numbers):
> >     1 - nothing (alas: this is an Italian use...)
> >     2 - a circle
> >     3 - an ancient trill sign (^^^^)
> 
> ah, I think I remember Carl Philipp mentioning this sign, in his printing 
> it looks like a "Gothic" 'm',  (\mathfrak{m}). He also mentions the 
> circle, right, and the slash.
> But in 'actual music' I have not come across these signs, only the slash,
> which has CPE's preference, if my memory tells me right.
> 
> 
> >     4 - a \cup sign
> >     5 - a slash
> 
> 
> > So, my problem is to have the effect of the continuation "0", but instead of
> > a line to see a circle, or a trill sign, or a \cup or a slash.
> 
> See above: Does this give you some help?
> 
> You would have to code *before* the transitu irregulare 
> (Ablativus locativus, if I am not mistaken ... :-)
> "\Figu{4}{/}\   "
>   or
> "\Figu{4}{$\circ$}  "
> 
> (Leave out the quotation marks '"', of course.)
> there first argument ('4') being the height the figure should be appear at.
> Just try different numbers instead of 4, and see the difference.
> 
> If you try to use $\cup$ you will run into difficulties, because
> this control sequence has been redefined by MusiXTeX, 
> printing a dotted eighth with stemp up, which might surprise you
> as a figure  ....
> But why not introduce a new symbol for the Tr.irr.???? :-)
> 
> 
> > 
> > I hope this description is sufficientely clear, but English is not my mother
> > tongue...
> 
> neanche la mia ... 
> 
> Spero che ti possa aiutare con questi 'hints'.
> 
> 
> 
> Ciao, 
>   Eckart Begemann
> 
>      Saluti a La Serenissima! :-)
> 
> 
> -- 
>    Quality Control                       |   Eckart Begemann
>    ---------------                       |   begemann@math.uni-hamburg.de
> A Professor of Skills Scientific         |
> Said, Don't confuse  GOOD with PROLIFIC  |
>   Put quality second:                    |
>   What's usually reckoned                +------------------------------------
> Is how much, and not how terrific.        Michael M. Stewart, MD, Elmhurst, NY
> 


-- 
   Quality Control                       |   Eckart Begemann
   ---------------                       |   begemann@math.uni-hamburg.de
A Professor of Skills Scientific         |
Said, Don't confuse  GOOD with PROLIFIC  |
  Put quality second:                    |
  What's usually reckoned                +------------------------------------
Is how much, and not how terrific.        Michael M. Stewart, MD, Elmhurst, NY

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Date: Tue, 16 Feb 1999 19:58:20 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: Angelo Pagan <a.pagan@cnos-fap.it>, mutex <mutex@gmd.de>
Subject: Re: R: Transitus irregularis
References: <002001be59a0$a24f54a0$4401a8c0@buxtehude.issm.locale> <36C99E07.195A6C48@biobase.dk> <36C9A2FE.EBC278C0@biobase.dk>
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Christian Mondrup wrote:

> Christian Mondrup wrote:
>
> > Angelo Pagan wrote:
> >
> > > The meaning is very simple: suppose you have a "d" with transitus
> > > irregularis followed by "c" numbered "2". You should execute on the first
> > > "d" the harmonization of the "c" numberd "2", that is you anticipate on "d"
> > > the harmony of the following "c". Just the opposite of the continuation of
> > > the prior harmony over a new bass note.
> > >
> >
> > Then I would suggest using musixtex's \Shake. The negative number parameter
> > points to position on the notesystem (under the first noteline) regardless of
> > the current cleff.
> >
> > Meter: C/
> > Flats: 1
> > Style: piano
> > Bars/Line: 4
> >
> > f4 g a b | f g g4d f8 | f0
> > d4 c f d 6 | d 5 \Shake{-4}\ d8 c b4 c | f0-
>
> Or musically a bit less clumsy:
>
> Meter: C/
> Flats: 1
> Style: piano
> Bars/Line: 4
>
> f4 g a c | f- g g4d f8 | f0
> d4 c f e 6 | d 5 \Shake{-4}\ d8 c b4 65 c | f0-

Werner Icking has just drawn my attention to the pmx variable \figdrop determining
- would I suppose - the current position of thorough bass figures. Thus a score
using "transitus irregularis" should rather be coded like this:

Meter: C/
Flats: 1
Style: piano
Bars/Line: 4

f4 g a c | f- g g4d f8 | f0
d4 c f e 6 | d 5 \Shake{-\figdrop}\ d8 c b4 65 c | f0-

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Tue Feb 16 20:06:47 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, begemann@math.uni-hamburg.de
Subject: Re: an obsolete command "\csluru"?
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> Date: Tue, 16 Feb 1999 19:36:42 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

> Does anybody know the command \csluru?
> I found it in some old MusiXTeX-source-file
> written by M-Tx (I think).

It's an PMX-oldie  \tslur...\islur with the same reference number at the
same pitch:

 %
 %  Stop-start slur macro
 %
 \def\csluru#1#2#3{\off{-2pt}\tslur#1{#2}\off{4pt}\isluru#1{#3}\off{-2pt}}%
 \def\cslurd#1#2#3{\off{-2pt}\tslur#1{#2}\off{4pt}\islurd#1{#3}\off{-2pt}}%

-- Werner


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: an obsolete command "\csluru"?
Date: Tue, 16 Feb 1999 12:25:37 -0800
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Eckart Begemann wrote:

>Does anybody know the command \csluru?
>I found it in some old MusiXTeX-source-file
>written by M-Tx (I think).
>My present installation does not know this
>control sequence.

I confess.  It's a now-retired PMX construction for when one slur ends and
another starts on the same note.  Before retirement, it was defined in
pmx.tex.  If you still have the PMX source, and re-run it with an up-to-date
version of PMX. It ought to come out OK.  Let me know if it doesn't...I've
strived to maintain as much backward compatibility as I could.

--Don Simons



From mutex-owner@mail2.gmd.de Tue Feb 16 20:19:50 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: R: Transitus irregularis
Date: Tue, 16 Feb 1999 12:19:50 -0800
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In a message that must have crossed my last posting in "transitus", Eckart
Begemann wrote

>You would have to code *before* the transitu irregulare 
>(Ablativus locativus, if I am not mistaken ... :-)
>"\Figu{4}{/}\   "
>  > or
>"\Figu{4}{$\circ$}  "
>
>(Leave out the quotation marks '"', of course.)
>there first argument ('4') being the height the figure should be appear at.

It's satisfying to see that Eckart has gotten this far into the "guts" of
PMX.  But a slight correction:  As I mentioned in the crossed posting,
Figu's first argument is the depth (in \internote) of the figure below the
PMX "figure baseline."  That baseline is defined by scanning the system for
the lowest of (a) the bottom staff line (b) beams or stems below notes with
figures, and (c) up-stemmed noteheads with figures.  Once the baseline is
computed, PMX uses 0, 4, and 8 as vertical offsets from there.  The
computation of this baseline was one of the early advanced features I put
into PMX.  It has really saved me (and I hope others) a lot of time getting
figures aligned vertically.

--Don Simons

From mutex-owner@mail2.gmd.de Tue Feb 16 21:42:55 1999
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From: Stefan Svensson <stefan@kristnet.org>
To: mutex@gmd.de
Subject: Chords
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Hi!

I guess this is a rather common question, but I could not find any
good answer in the archives.

I have tried MusixTeX and found it very nice and useful. It is
complicated, but very powerful and suits me perfectly when I write
more complex scores.

However, I'm also a jazz musician and would like to be able to simply
write just a single line of a theme and some (jazz) chords.

I understand that LilyPond can do this for me, but I'm used to TeX and 
can't see why I should need to learn something else (especially when
LilyPond ends up in a tex file). Besides, LilyPond never worked for me 
when I tried to use it.

I can use the MusixTeX \Uptext macro to write chords, but in order to
get a nice chord notation i need to write superscript characters and
use the special "b", "#", "maj7", "dim" and "halfdim" symbols. Do they 
exist in the MusixTeX fonts, and can I easily access them?

Is there a similar package like the guitar-chord-and-tabular-package
available, that allow me to write chord names?

Stefan


From mutex-owner@mail2.gmd.de Wed Feb 17 01:44:16 1999
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From: Howard Gilbert <hg21@onyxnet.co.uk>
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Subject: Re: PMX - Novices Problem
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Hi,

Thanks to all who responded to my problem.

I did use pmx-1.43.  

I wonder if the problem may be that my system has tetex 0.4 whereas
Andreas Kurth used tetex 0.9.  Is tetex used at the pmxa stage?

Unless or until someone comes up with a better suggestion I'll upgrade
tetex and try again.

Thanks again,
Best wishes,
Howard Gilbert.



From mutex-owner@mail2.gmd.de Wed Feb 17 05:03:16 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: PMX - Novices Problem
Date: Tue, 16 Feb 1999 21:03:16 -0800
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In answer to your question, no, TeX in not used at all by any part of PMX.
  
I can't remember exactly what you said your symptoms were, and I can't find
my copy of your original post.  Do we know yet whether your problem is in
PMX or TeX?  For some reason I was assuming that your copy of PMX had
produced a bad TeX file, but I'm not sure why I thought that.  Did you say
the \Endpiece was in the wrong place in the TeX file?  If so, the problem
cannot be in your TeX setup; it has to be in your particular copy of PMX.

--Don Simons

-----Original Message-----
From: Howard Gilbert
To: mutex@gmd.de
Sent: 2/16/99 5:44 PM
Subject: Re: PMX - Novices Problem


Hi,

Thanks to all who responded to my problem.

I did use pmx-1.43.  

I wonder if the problem may be that my system has tetex 0.4 whereas
Andreas Kurth used tetex 0.9.  Is tetex used at the pmxa stage?

Unless or until someone comes up with a better suggestion I'll upgrade
tetex and try again.

Thanks again,
Best wishes,
Howard Gilbert.


From mutex-owner@mail2.gmd.de Wed Feb 17 05:17:52 1999
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From: Huw Davies <dhdavies@erols.com>
To: mutex@gmd.de
Subject: Transitus irregularis
Date: Wed, 17 Feb 1999 00:17:52 -0500
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Angelo Pagan asked for some figured bass symbols for 
``transitus irregularis''

Don Simons replied: 

I've been playing figured bass on harpsichord for 15 years and have never
encountered term ``transitus irregularis''

and later:

Thanks to Angelo for the description of this rare life form.

Maybe it's time to (re-)read your figured bass books :-)

The ``transitus irregularis'' is an ``accented passing note'' and 
is really quite a common beast. Chapter XIX of Arnold's 
``Art of Accompaniment from a Thorough-Bass'' discusses them, 
and has examples of all the signs that Angelo mentioned.

Huw Davies

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Subject: Re: PMX - Novices Problem
To: hg21@onyxnet.co.uk (Howard Gilbert)
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Cc: mutex@gmd.de
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Howard Gilbert wrote:
> 
> I did use pmx-1.43.  
> 
> I wonder if the problem may be that my system has tetex 0.4 whereas
> Andreas Kurth used tetex 0.9.  Is tetex used at the pmxa stage?
> 
If your .tex file contains \Endpiece after bar 8, it will not matter
which tetex you use: the piece will end there.

You said you built up your file just a few bars at a time.  Um...er...uh...
there is no possibility, I suppose, that somehow one of the earlier
versions gets put through pmx by mistake?  You know, copy v2.pmx to v3.pmx
and, since it is after midnight, do lots of editing on v2.pmx, also cutting
and pasting directly from the editor to the email message,  but ask
pmx to work on v3?  That sort of thing?  Sorry I ask, but the legitimate
causes seem to be exhausted.

Dirk

From mutex-owner@mail2.gmd.de Wed Feb 17 07:41:38 1999
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From: "Angelo Pagan" <a.pagan@cnos-fap.it>
To: <mutex@gmd.de>
Subject: Re: Transitus irregularis
Date: Wed, 17 Feb 1999 08:41:38 +0100
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Thank you very much to every one for your invaluable help. This evening at
home I'll do a few experiments....

Bye,
Angelo Pagan



From mutex-owner@mail2.gmd.de Wed Feb 17 11:35:58 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: hg21@onyxnet.co.uk
Subject: Re: PMX - Novices Problem
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Wed, 17 Feb 1999 08:58:51 +0200 (SAT)

> You said you built up your file just a few bars at a time.  Um...er...uh...
> there is no possibility, I suppose, that somehow one of the earlier
> versions gets put through pmx by mistake?  You know, copy v2.pmx to v3.pmx
> and, since it is after midnight, do lots of editing on v2.pmx, also cutting
> and pasting directly from the editor to the email message,  but ask
> pmx to work on v3?  That sort of thing?  Sorry I ask, but the legitimate
> causes seem to be exhausted.

Remembers me at similar cases I didn't notice.

Sometimes PMXB fails to generate new code. Then the old <pmx>.tex is re-processed
and re-processed.

-- Werner

From mutex-owner@mail2.gmd.de Wed Feb 17 16:55:33 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX - Novices Problem
Date: Wed, 17 Feb 1999 08:55:33 -0800
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Werner Icking wrote--

>Sometimes PMXB fails to generate new code. Then the old <pmx>.tex is
re-processed
>and re-processed.

Yes, that can happen if you have set up a batch file to run both pmxa and
pmxb, and then pmxa exits abnormally, due to some *unanticipated* error.  If
pmxa exits due to an anticipated error, a non-zero exit code is issued which
the batch file should be written to intercept.

--Don Simons

P.S. Lately my postings to this list seem to be taking a long time to get
distributed.  I thought I posted one last night around 10:30 (on this same
subject), but this morning at 9:00 I still haven't gotten it back from the
list.



From mutex-owner@mail2.gmd.de Wed Feb 17 18:44:24 1999
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Date: Wed, 17 Feb 1999 19:44:24 +0100 (CET)
From: Stefan Svensson <stefan@kristnet.org>
To: mutex@gmd.de
Subject: Apology
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I know this is off-topic, but since some people has been hurt by what I
wrote (probably more people than did send me angry emails) I'd like to
apologize and explain myself.

I apologize for the unfortunate way I expressed myself concerning
LilyPond. I had no intention to complain, since Lily probably is an
excellent piece of software, and I haven't really tested it. Lily just
wasn't what I was looking for at that particular moment, and since my
first half-hearted trial to make it work failed, I just put that program
aside for the moment, and, unfortunately, mentioned it in my email to the
mutex list.

I'm sorry.

Stefan



From mutex-owner@mail2.gmd.de Wed Feb 17 20:32:32 1999
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Date: Wed, 17 Feb 1999 17:32:32 -0300
From: Henrique <hdante@ibm.net>
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Hello

 I'm using many \startextract's to write small scores
and up to three or four of them could fit in one line.
How can I make the extracts not to start new lines ?

 hdante@ibm.net

From mutex-owner@mail2.gmd.de Thu Feb 18 06:20:34 1999
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Subject: Re: \startextract
To: hdante@ibm.net (Henrique)
Date: Thu, 18 Feb 1999 08:20:34 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <36CB2760.8D1DB448@ibm.net> from "Henrique" at Feb 17, 99 05:32:32 pm
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Henrique wrote:
> 
>  I'm using many \startextract's to write small scores
> and up to three or four of them could fit in one line.
> How can I make the extracts not to start new lines ?
> 
If you use musixtex.sty inside LaTeX you can do the following:

\begin{minipage}{20mm}
\begin{music}%
%% your musixtex code goes here
\end{music}
\end{minipage} 

If you put two or more of these together with no blank lines in between,
LaTeX will put them on one line as far as possible.  Basically each
minipage looks like one letter of text from the outside.

Dirk 

From mutex-owner@mail2.gmd.de Thu Feb 18 10:54:41 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, hdante@ibm.net
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> Date: Wed, 17 Feb 1999 17:32:32 -0300
> From: Henrique <hdante@ibm.net>

>  I'm using many \startextract's to write small scores
> and up to three or four of them could fit in one line.
> How can I make the extracts not to start new lines ?

There are a lot of possibilities.

\startextract...\endextract  ends up in  \extractline which is defined
as \centerline. You may re-define it e.g. as {\setbox ...} and then
do with these boxes whatever you want.

This way my example concerning rests has been done. You find it at

  http://www.gmd.de/Misc/Music/   look for MusiXTeX, Add-ons, rests.

-- Werner

From mutex-owner@mail2.gmd.de Thu Feb 18 08:22:54 1999
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: "'Henrique'" <hdante@ibm.net>
Cc: mutex@gmd.de
Subject: RE: \startextract
Date: Thu, 18 Feb 1999 09:22:54 +0100
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Hello Henrique,

enclose the extracts in \vboxes - like this:

\leavevmode
\vbox{\hsize5cm
      \startextract
       \NOtes\qa{cdefg}\en
      \endextract}
\hfill
\vbox{\hsize5cm
      \startextract
       \NOtes\qa{cdefg}\en
      \endextract}
\hfill
\vbox{\hsize5cm
      \startextract
       \NOtes\qa{cdefg}\en
      \endextract}
\bye

Regards,

Rainer


> -----Original Message-----
> From: Henrique [mailto:hdante@ibm.net]
> Sent: Mittwoch, 17. Februar 1999 21:33
> To: mutex@gmd.de
> Subject: \startextract
> 
> 
> Hello
> 
>  I'm using many \startextract's to write small scores
> and up to three or four of them could fit in one line.
> How can I make the extracts not to start new lines ?
> 
>  hdante@ibm.net
>
-- 
Approved by mutex-owner

From mutex-owner@mail2.gmd.de Thu Feb 18 14:00:12 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Wed, 17 Feb 1999 08:55:33 -0800

[...]
> P.S. Lately my postings to this list seem to be taking a long time to get
> distributed.  I thought I posted one last night around 10:30 (on this same
> subject), but this morning at 9:00 I still haven't gotten it back from the
> list.

List mails are processed here with low priority. But that explains only
the delay here at gmd. There may be other delays.

The mail in question has the following partial headers:

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That means the mail reached GMD for mutex@gmd.de         at 06:04:06 +0100 *
                    and left it for Werner.Icking@gmd.de at 07:08:30 +0100 **

-- Werner

From mutex-owner@mail2.gmd.de Thu Feb 18 17:09:29 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902181709.SAA13656@sunick.gmd.de>
To: mutex@gmd.de
Subject: Wave line
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Dear list members,

Together with Christian Mondrup I constructed a wave line to be used with 
MusiXTeX. Other people may need that too. So I append it at the end.

But I have some questions concerning this solution: is there a better solution?
Is it possible to replace the fixed numbers (1.45pt, -1.4pt, 3.85pt) by dimension
derived from the characters itself? Somehow is e.g 1.45pt the amount which is
neccessary to move the character below the baseline. So how can it be expressed
in more logical terms?

-- Werner



%
% Waves e.g. \zcharnote{..}{\wave{2\noteskip}
%
\def\wave#1{\hbox to #1{\leaders\hbox{%
   \lower 1.45pt\hbox{$\frown$}\kern-1.4pt%
   \lower 3.85pt\hbox{$\smile$}\kern-1.4pt}\hfill}}

\par 080 abc\wave{ 80pt} ABC
\par 081 abc\wave{ 81pt} ABC
\par 082 abc\wave{ 82pt} ABC
\par 083 abc\wave{ 83pt} ABC
\par 084 abc\wave{ 84pt} ABC
\par 085 abc\wave{ 85pt} ABC
\par 086 abc\wave{ 86pt} ABC
\par 087 abc\wave{ 87pt} ABC
\par 088 abc\wave{ 88pt} ABC
\par 089 abc\wave{ 89pt} ABC
\par 090 abc\wave{ 90pt} ABC
\par 100 abc\wave{110pt} ABC
\par 120 abc\wave{120pt} ABC
\par 130 abc\wave{130pt} ABC
\par 140 abc\wave{140pt} ABC

\normalmusicsize\startextract
\Notes\roff{\zcharnote c{\wave{3\noteskip}}}\qa c\sk\sk\qa c\en
\message{\the\internote}%
\Notes\roff{\zcharnote f{\wave{4\noteskip}}}\qa f\sk\sk\sk\qa f\en
\Notes\roff{\zcharnote g{\wave{5\noteskip}}}\qa g\sk\sk\sk\sk\qa g\en
\endextract

\smallmusicsize\startextract
\Notes\roff{\zcharnote c{\wave{3\noteskip}}}\qa c\sk\sk\qa c\en
\message{\the\internote}%
\Notes\roff{\zcharnote f{\wave{4\noteskip}}}\qa f\sk\sk\sk\qa f\en
\Notes\roff{\zcharnote g{\wave{5\noteskip}}}\qa g\sk\sk\sk\sk\qa g\en
\endextract

\largemusicsize\startextract
\Notes\roff{\zcharnote c{\wave{3\noteskip}}}\qa c\sk\sk\qa c\en
\message{\the\internote}%
\Notes\roff{\zcharnote f{\wave{4\noteskip}}}\qa f\sk\sk\sk\qa f\en
\Notes\roff{\zcharnote g{\wave{5\noteskip}}}\qa g\sk\sk\sk\sk\qa g\en
\endextract

\Largemusicsize\startextract
\Notes\roff{\zcharnote c{\wave{3\noteskip}}}\qa c\sk\sk\qa c\en
\message{\the\internote}%
\Notes\roff{\zcharnote f{\wave{4\noteskip}}}\qa f\sk\sk\sk\qa f\en
\Notes\roff{\zcharnote g{\wave{5\noteskip}}}\qa g\sk\sk\sk\sk\qa g\en
\endextract

\bye


From mutex-owner@mail2.gmd.de Thu Feb 18 18:19:14 1999
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From: Howard Gilbert <hg21@onyxnet.co.uk>
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Hi,

This mail seeks to answer several of your comments (for which I thank
you) on my problems and to give details of my further efforts, which have
left me even more puzzled although they have possibly led to a way
forward. I appologise that it is somewhat lengthy.

On Wed, 17 Feb 1999, Dirk Laurie wrote:

> Howard Gilbert wrote:
> > 
> > I did use pmx-1.43.  
> > 
> > I wonder if the problem may be that my system has tetex 0.4 whereas
> > Andreas Kurth used tetex 0.9.  Is tetex used at the pmxa stage?
> > 
> If your .tex file contains \Endpiece after bar 8, it will not matter
> which tetex you use: the piece will end there.

Well that's what I thought really, but I was clutching at straws and I
also remembered that during the installation of pmx I got a comment like
'Hmmm looks like an old version of TeTeX' so I thought TeTeX might be used 
by pmxa in some way. 
 
> You said you built up your file just a few bars at a time.  Um...er...uh...
> there is no possibility, I suppose, that somehow one of the earlier
> versions gets put through pmx by mistake?  You know, copy v2.pmx to v3.pmx
> and, since it is after midnight, do lots of editing on v2.pmx, also cutting
> and pasting directly from the editor to the email message,  but ask
> pmx to work on v3?  That sort of thing?  Sorry I ask, but the legitimate
> causes seem to be exhausted.

To be absolutely sure about this I moved my file to a new directory did
'less <.pmx file>' to check that it contained all 12 bars  and then ran
pmxa from that directory. the transcript was:-

 This is pmxa, Version 1.43, 15 November 98

 Please type a basename (<9 characters, no dots): 
frip2

  Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8
 Done with first pass.  Now run pmxb.
 
ie it didn't deal with bars 9-12

Don simons wrote:-

>I can't remember exactly what you said your symptoms were, and I can't
>find
>my copy of your original post.  Do we know yet whether your problem is in
>PMX or TeX?  For some reason I was assuming that your copy of PMX had
>produced a bad TeX file, but I'm not sure why I thought that.  Did you
>say
>the \Endpiece was in the wrong place in the TeX file?  If so, the problem
>cannot be in your TeX setup; it has to be in your particular copy of PMX.

Yes the problem is in processing the .pmx file it gives \Endpiece in the
.tex file after bar eight for no apparent reason.

Further work I've done on this:-

1. Since the supplied example file barsant.pmx works fine on my system, I
copied it to a new file name and the cut it down to the first 8 bars. It
did as expected. I then added the next 4 bars and did it again - again it
worked fine. (I remind you that my own file, built up in stages, worked
fine up to 8 bars but then when I added a further 4 bars insisted on
putting \Endpiece after bar 8).  I appreciate that this is a
somewhat different case (barsant 2 staffs compared with my 4). 

2. If, in my .pmx file, I make a deliberate mistake in bar 9,10,11 or 12
pmxa reports an error but, when I correct the error, it again puts
\Endpiece after bar 8  Thus it would seem to be parsing bars 9-12 but not 
putting them in the .tex file??!**!?

3. It occurred to me that if I added another block to the .pmx file then
pmxa might deal with bars 8-12.  So I put in:

%bar 13
rp /rp /rp /rp /

and lo it worked -  pmxa/pmxb  now produced a .tex file with \Endpiece
after bar 12.  So I now have a possible way of working where I make the
final line of my .pmx file as above and it will be ignored _but_ make the
rest of the code work!

This still leaves the puzzle, why do I need this with my code and not with
the example files barsant.pmx and rtsg.pmx?  The only thing I can think
of ,at the moment, is that there is some incompatibility problem between 
the editor (emacs) I used to write the .pmx file and PMX.  Surely this
can't be the answer - does anyone else use emacs?  I can't really
believe this 'cos I also used emacs to cut down barsant.pmx (see above)
without problem.  

I also wonder if the files which pmxa writes whilst working might contain
some clue, if someone knows what they mean.  The first 3 are from the
"correct" .pmx file and the second 3 from the .pmx file with an error in
bar 9.


Best wishes,
Howard Gilbert.  
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
frip2
 5
   1.00000   6.00000   7.60000   6.00000    .40000    .40000    .20000
.50000
    .25000   16   16    0
 1  524.  740. 3
 3  2.3962388  11.8467426
    1
 1.22712E+01
    3   3.483E+01   1.620E+00   0.000E+00   1.000E+00   0.000E+00      640
    4
 9.89804E+00
    3   4.800E+01   9.000E-01   0.000E+00   1.000E+00   0.000E+00      128
    7
 9.80980E+00
    3   4.800E+01   1.125E+00   0.000E+00   1.000E+00   0.000E+00      128
pmxtex.dat (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
    0
pmxtex.fig (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
     0
pmxaerr.dat (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
frip2
 5
   1.00000   6.00000   7.60000   6.00000    .40000    .40000    .20000
.50000
    .25000   16   16    0
 2  524.  740. 4
 2  5.44985342  18.3875847
 2  5.7556262  19.0425529
    1
 1.22712E+01
    3   3.483E+01   1.620E+00   0.000E+00   1.000E+00   0.000E+00      640
    4
 1.48588E+01
    2   3.200E+01   9.000E-01   0.000E+00   1.000E+00   0.000E+00      128
    6
 1.48588E+01
    2   3.200E+01   9.000E-01   0.000E+00   1.000E+00   0.000E+00      128
    8
 1.47265E+01
    2   3.200E+01   1.125E+00   0.000E+00   1.000E+00   0.000E+00      128
pmxtex.dat (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
    0
pmxtex.fig (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
    33
pmxaerr.dat (END)
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++






From mutex-owner@mail2.gmd.de Sun Feb 21 09:39:11 1999
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Date: Sun, 21 Feb 1999 10:39:11 +0100 (MET)
From: Maurizio Codogno <mau@beatles.cselt.it>
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Subject says nearly all. I am not interested in having the schema for the
chord, just having its name above the melody staff (and the lyrics below
it) is ok. 

I am rather sure it can be done easily, but I don't know how ... :-)

ciao, .mau.

From mutex-owner@mail2.gmd.de Sun Feb 21 20:34:24 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
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After RTFM, I found that Uptext is more or less what I need...
sorry for having bothered you.

ciao, .mau.

From mutex-owner@mail2.gmd.de Mon Feb 22 08:37:49 1999
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Date: Mon, 22 Feb 1999 09:37:49 +0100
From: Martin Sander <martin.sander@ri.dasa.de>
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Subject: Chord with different time values
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Hi, mutexer!

My 'musical english' is rather poor, unfortunately, so I dare to ask in
german.

Ich moechte in einer Violinstimme (am Schlusz des Stuecks) einen
Akkord setzen aus vier uebereinanderliegenden Toenen, von denen die
unteren zwei nur als Viertel notiert sind, die beiden oberen als
Halbe.  In m-tx habe ich das so probiert:

g4 zd+ zb2+ zg+  (oder so aehnlich. Ist aus dem Kopf jetzt.)

Den Akkord habe ich auch hingebracht, aber nur mit Halbe-Koepfen 
ueberall.

1. Wie kann ich innerhalb des Akkords den Notenwert aendern?

2. Wie mache ich's dann mit dem Rest des Taktes (nur Pausen)? Ich
   nehme an, dasz der ganze Akkord so zaehlt wie die Note ohne
   fuehrendes z?

Vielen Dank fuer Geduld (weil deutsch) und (hoffentlich) Antworten!

Best regards

-- 
Martin Sander   e-mail: martin.sander@ri.dasa.de

 DASA - Abt. RIA 54  /  Postfach 801168  /  81663 Muenchen
        Tel. 089 - 607-25971 / Fax 089 - 607-21118

From mutex-owner@mail2.gmd.de Mon Feb 22 10:11:19 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, mau@beatles.cselt.it
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> Date: Sun, 21 Feb 1999 10:39:11 +0100 (MET)
> From: Maurizio Codogno <mau@beatles.cselt.it>

> Subject says nearly all. I am not interested in having the schema for the
> chord, just having its name above the melody staff (and the lyrics below
> it) is ok. 
> 
> I am rather sure it can be done easily, but I don't know how ... :-)

If you know how to name the chords with TeX, you may use \zcharnote, \uptext,
\Uptext with MusiXTeX or PMX. Esp. with lyrics you should use M-Tx which
allows to deal with lyrics and other texts under, between or over the staffs.

-- Werner

From mutex-owner@mail2.gmd.de Mon Feb 22 10:32:33 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
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> Date: Mon, 22 Feb 1999 09:37:49 +0100
> From: Martin Sander <martin.sander@ri.dasa.de>

> My 'musical english' is rather poor, unfortunately, so I dare to ask in
> german.

The question is to typeset with M-Tx a chord g/d/b/g with the two lower
notes as quarter notes an the to upper notes as half notes:

MusiXTeX   \NOTes\zq{`g'd}\zh{'b}\hu{'g}\hpause\en
PMX        g43u zd+ r4b r2b //
           b24 zg+ r2+0 /
M-TX       similar :-)



> g4 zd+ zb2+ zg+  (oder so aehnlich. Ist aus dem Kopf jetzt.)
> 
> Den Akkord habe ich auch hingebracht, aber nur mit Halbe-Koepfen 
> ueberall.

Als Geiger kann ich dazu nur sagen: na und? warum unten zwei Viertel
und nicht zwei Achtel oder zwei 1/16-tel. Die Notation ist doch
seit Jahrhunderten so in Ordnung? Aber egal.

> 1. Wie kann ich innerhalb des Akkords den Notenwert aendern?

Mit nacktem MusiXTeX ist das ganz einfach.

In PMX geht das so gerade, weil man mit PMX zwei Stimmen in einem
System setzen kann fu:r den besagten Takt sieht das dann so aus; ich
nehme mal an 4/4-Takt

% Unterstimme aus Vierteln; Hals nach oben; Rest Pause:
g43u zd+ r4b r2b //
% Oberstimme aus Halben; Hals automatisch nach oben:
b24 zg+ r2+0 /

In M-Tx mu:sste das so a:hnlich gehen.

> 2. Wie mache ich's dann mit dem Rest des Taktes (nur Pausen)? Ich
>    nehme an, dasz der ganze Akkord so zaehlt wie die Note ohne
>    fuehrendes z?

Stimmt. Rest s.o.

-- Werner

From mutex-owner@mail2.gmd.de Mon Feb 22 12:42:58 1999
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Martin Sander wrote:
> 
> Hi, mutexer!
> 
> My 'musical english' is rather poor, unfortunately, so I dare to ask in
> german.
> 
> Ich moechte in einer Violinstimme (am Schlusz des Stuecks) einen
> Akkord setzen aus vier uebereinanderliegenden Toenen, von denen die
> unteren zwei nur als Viertel notiert sind, die beiden oberen als
> Halbe.  In m-tx habe ich das so probiert:
> 
> g4 zd+ zb2+ zg+  (oder so aehnlich. Ist aus dem Kopf jetzt.)
> 
> Den Akkord habe ich auch hingebracht, aber nur mit Halbe-Koepfen
> ueberall.
> 
> 1. Wie kann ich innerhalb des Akkords den Notenwert aendern?
> 
> 2. Wie mache ich's dann mit dem Rest des Taktes (nur Pausen)? Ich
>    nehme an, dasz der ganze Akkord so zaehlt wie die Note ohne
>    fuehrendes z?
> 
> Vielen Dank fuer Geduld (weil deutsch) und (hoffentlich) Antworten!
> 
> Best regards
> 
> --
> Martin Sander   e-mail: martin.sander@ri.dasa.de

An m-tx'ish way to do that is by splitting the violin part into two
separate voices and supplying chord notes for each of the voices in a
chord line. This allowes you to have different note values in each of
the voices und thus build up a chord consisting of both quarter- and
half notes. Whether you want to have the mandatory dotted half note rest
in the lower voice hidden - as in the m-tx code below - is a question of
notational style. This also applies to the choice between one common
stem in the chord - forced by 'u' as in this example - or separate
stems. 

MySolo: Voices V1,V2; Clefs G
Style: MySolo
Bars/Line: 4
Meter: C
Options: b

g2++ r2 |
C: b-
d4u+ r2db |
C: g-

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Mon Feb 22 13:14:54 1999
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Subject: M-Tx:_Akkorde
To: mutex@gmd.de (gmd.de/Misc/Music)
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Lieber Herr Sander,

> Ich moechte in einer Violinstimme (am Schlusz des Stuecks) einen
> Akkord setzen aus vier uebereinanderliegenden Toenen, von denen die
> unteren zwei nur als Viertel notiert sind, die beiden oberen als
> Halbe.  In m-tx habe ich das so probiert:

> g4 zd+ zb2+ zg+  (oder so aehnlich. Ist aus dem Kopf jetzt.)

> Den Akkord habe ich auch hingebracht, aber nur mit Halbe-Koepfen
> ueberall.
In "ahnlichen F"allen habe ich mich so beholfen, dass ich die gleichen
Notenwerte zu einer Stimme zusammengefasst habe und in Ihrem Fall die
Viertelwerte in eine zweite Stimme (mit // abgetrennt, geht taktweise
auch in M-Tx;
also
g4 zd+ r r2 //
b2 zg+ r2 /
Nat"urlich sind dann die Notenh"alse nicht durchgehend, sondern die
unteren Stimmen nach unten, die oberen nach oben gestielt. Lesen kann
man es aber gut.

Christof

From mutex-owner@mail2.gmd.de Mon Feb 22 16:24:50 1999
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Subject: capacity problems ...
To: mutex@gmd.de
Date: Mon, 22 Feb 1999 17:24:50 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
Reply-To: begemann@math.uni-hamburg.de
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I encountered a serious problem ... :-(
A simple LaTeX-code not that long (some 13 pages I think)
makes LaTeX go out of capacity, when 
musixlyr is trying to allocate a newdimen
(\setlyrics{}{}).
I cannot quite imagine this, I used to have much bigger source files,
with a lot more musics.  Does MusixLyr swallow a lot of memory?
Even hugelatex (MiKTeX) crashes at the same spot.

Any similar experiences?

-- 
   Quality Control                       |   Eckart Begemann
   ---------------                       |   begemann@math.uni-hamburg.de
A Professor of Skills Scientific         |
Said, Don't confuse  GOOD with PROLIFIC  |
  Put quality second:                    |
  What's usually reckoned                +------------------------------------
Is how much, and not how terrific.        Michael M. Stewart, MD, Elmhurst, NY

From mutex-owner@mail2.gmd.de Mon Feb 22 16:06:09 1999
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Subject: Defense of Mozart, trasitus irregularis, etc. :-)
To: mutex@gmd.de
Date: Mon, 22 Feb 1999 17:06:09 +0100 (NFT)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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> Angelo Pagan asked for some figured bass symbols for=20
> ``transitus irregularis''
>=20
> The ``transitus irregularis'' is an ``accented passing note'' and=20
> is really quite a common beast. Chapter XIX of Arnold's=20
> ``Art of Accompaniment from a Thorough-Bass'' discusses them,=20
> and has examples of all the signs that Angelo mentioned.


Before leaving home I quickly checked three books on the tr.irr.

First of all, I feel I should defend Mozart's knowledge of Latin:
In his book "Kurzgefasste Generalbass-Schule" he says on page 38:
  "Ein gerader Strich nach den Ziffern beduetet, dass der Accord,
   aber nicht allezeit der ganze, in der rechten Hand liegen bleiben
   muss, so lange, bis eine andere Bezifferung folgt,
   oder bis die bestrichelten Noten ein End haben. (Don's 0-figure,
   the Macro \Cont) =20
-->  Ein schreger Strich von der linken zur rechte hinauf / bedeutet,
     dass der Bass eine Wechselnote (oder transitum irregularem) habe,
     und dass ueber solche bezeichnetet Noten der ganze Accord der folgen=
den
     Note muesse gespielet werden. Zum Beispiel:"

    [four examples following]

   So, according to my education we note Mozart using the accusative of
   the "transitus irregularis" because he is actually using it as the=20
   (direct) object in the sentence. German authors of earlier times
   did that of course, *nowadays* they would *not* do, because they
   probably they lack the knowledge ... :-)

   So all the honours back to Mozart ..., ;-)

   Angelo, I hope I could make your doubts towards Mozarts abilities=20
   dissappear ... :-)=20

Mattheson quotes the tr.irr. on page 413 in his "Grosse Generalbassschule=
",
in his 19th exercise.
Carl Philipp quotes it several times:
  II.39.=A71  ("Von den Wechselnoten")
  II.12.=A75
  II.10.=A77
  and II.1.=A775-77:  Here actually you find the four symbols Angelo was
                    referring to:  the "o", "/", "\smile" and "\mathfrak{=
m}",
                    the last one looking like a trill symbol, but not qui=
te
                    as wavy, but a little bit more shaky ... ;-)
                   =20
                    C.Ph.Em. says: "Das Zeichen mit dem schraegen Strich
                         bei Numer (2) ist das beste."
                         So he prefers the slash.

From my experience of playing bc --  which is  of course "finite",=20
so quite limited --
 I would say that the slash is not very common
but it is in fact the most common symbol for the tr.irr.=20
JSB prefers (as I pointed out) the figures 7/4/2, 5/4/2 etc.

To me the problem seems similar to the case of the "Telemannischer Bogen"=
:=20
In pedagogical treatments most authors would
it and assert how useful it is. But in praxi it is
almost never used.  C.Ph.Em., too, invents a number of symbols for the
convenience of the player, to differentiate between different cases of th=
e
same figure (e.g. the 6/5 without the 3 but doubled bass note),
but outside the pedagogical treatments you will hardly meet them.


That was it,=20
 forgive me, if I bored you,=20
  just use the skip-button ...

   Eckart=20

From mutex-owner@mail2.gmd.de Mon Feb 22 19:29:34 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Defense of Mozart, trasitus irregularis, etc. :-)
Date: Mon, 22 Feb 1999 11:29:34 -0800
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Begemann wrote

>From my experience of playing bc --  which is  of course "finite", 
>so quite limited --
>I would say that the slash is not very common
>but it is in fact the most common symbol for the tr.irr. 
>JSB prefers (as I pointed out) the figures 7/4/2, 5/4/2 etc.

I'm amazed that the tr.-irreg. has escaped my attention up to now.  I
consider my ability and experience at figure realization to be at a
professional level.  I have never read any of the treatises that have been
mentioned, but I don't feel disadvantaged because of that.  My training has
been almost entirely "on the job" with a strong background in harmony and
from instruction at workshops.  I've seen countless cases where figures were
missing, but can't remember ever finding a symbol I couldn't interpret, and
until this recent thread I would not have know what to make of a circle,
smile, or wiggle.  

Who are the composers who actually used this construction?  Right off hand,
facsimiles and manuscripts I can recall reading include more French
composers than any other: F. Couperin, Boismortier, De La Barre, Hotteterre,
Marais, Forqueray, Rebel.  Italians include Pasquini, Locatelli, Castrucci,
Vivaldi, Barsanti.  Others include Handel, Dieupart, Roman, Telemann.
Admittedly not many Germans.  (Of course I've played Bach, but always modern
editions).

Is it possible that modern editors have in some or many cases eliminated the
tr.-irreg. in favor of more conventional figuring?

--Don Simons

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To: begemann@math.uni-hamburg.de
Cc: mutex@gmd.de
Subject: Re: capacity problems ... 
In-Reply-To: Your message of "Mon, 22 Feb 1999 17:24:50 +0100."
             <199902221624.RAA17056@AMRISC01.math.uni-hamburg.de> 
Date: Mon, 22 Feb 1999 21:19:14 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Eckart Begemann wrote:

> I encountered a serious problem ... :-(
> A simple LaTeX-code not that long (some 13 pages I think)
> makes LaTeX go out of capacity, when 
> musixlyr is trying to allocate a newdimen
> (\setlyrics{}{}).

do you actually _need_ to be running musix* over latex?  plain tex
uses noticeably fewer registers of most sorts.

> I cannot quite imagine this, I used to have much bigger source files,
> with a lot more musics.  Does MusixLyr swallow a lot of memory?
> Even hugelatex (MiKTeX) crashes at the same spot.

all (knuthian) tex implementations will fall over in the same place:
there's a fixed limit to the number of dimens and the like, much
harder coded than the limit on the size of pool and so on.

fwiw, both omega and e-tex offer some help in this area.  not really
much of a help to you in your present predicament...

> Any similar experiences?

encountered it once when typesetting a paper for tugboat.  the paper
used pictex, and then macros on top of that.  i solved the problem by
overlaying some of pictex's `scratch' registers on latex's ones.

a similar technique may be possible in this case. ... if no-one comes
up with an alternative solution, i'll take a look tomorrow when i'm
near ctan.

robin fairbairns

From mutex-owner@mail2.gmd.de Mon Feb 22 22:06:49 1999
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From: barry.gold@platinum.com (Barry Gold)
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To: mutex@gmd.de
Subject: horizontal shift - more than one bar
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Even now, after using M-Tx for nearly a year, I keep running into
situations that need the advice of more experienced M-Txnicians.

I'm setting a song that has a different ending on the last verse.
I wanted to indicate this with a volta, "last".  I started out by
naively coding "Vlast ..." and found that the volta label bumped into
my Uptext guitar chord notations.  So I tried different things and
ended up moving the first note of the bar over 4 noteheads, the next
3, and so on.

But even with that, the last note (a8) is too close to the bar line -
it looks ugly.

One other problem I noted:  I tried using Vx to get an open end on
the volta, and I still got a box end.  It doesn't matter in this song,
but I would like to be able to control them in some other songs.

Here's my input:



Meter: 4/4
Sharps: 1
Style: SINGER
Space: 8
% Bars/Line: 6
Pages: 1
Systems: 6

%% h9.8i
%% w7i
%% Ar
%% \\input bdgmusic\ 
%% \\pageno=6\ 
%% \\headline{\twelverm XenoFilkia \#xx\hfill page XX}\ 
%% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FIFTY YEARS AGO\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by Mordewis ap Llys\hfill}\ 
U:   G              | D  | Am
@+6  b8  c  d4    e | d0 | r4 c8 b  a4 g  |
L:   Fif-ty years a-go,       I was in my

U: D              | G                   | D    | Am
   b a8 ( a8 a2 ) | r4 b8   c   d4 e    | d0   | r8 c8   c  b   a4     g  |
L: u-ni-form           Look-ing in your   eyes      they ne-ver seemed so

U: D             | G    | C    | Em                  |   D
   b    a    g.f | ( g0 | g0 ) | r4 r8 e8+ e4    b   | ( d0 | d0 ) |
L: beau-ti-ful be-fore.                so  large and      warm...

U:     |       Em             | D       | Am
    r0 | r4 r8 e8   e4   f    | d0      | r8 b8 [ c8 b ] a4   g |
L:             Your face your   form...      I   didn't  know I

U: D               | G   D      G C  G
   b4  a   g  a    | b   c      b.a  | ( g0 | g0 ) | r0 |
L: wan-ted so much   fif-ty years a-go.

%%L6
U:           G       D     G  C    G   
   Vlast X4S b4  X3S c X2S bd a8r | g0  |
L:           fif-ty years a-go.
%  X4S b4  X3S c X2S bd ar | g0  |

U: D                          | G
   r4 d8  d8 [ b+ a ] [ b f ] | ( g0 | g0 )
L:    Fif-ty   years        a-go.

From mutex-owner@mail2.gmd.de Tue Feb 23 03:27:00 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <begemann@math.uni-hamburg.de>, <mutex@gmd.de>
Subject: Re: capacity problems ...
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Eckart Begemann <begemann@math.uni-hamburg.de>
wrote:

>I encountered a serious problem ... :-(
>A simple LaTeX-code not that long (some 13 pages I think)
>makes LaTeX go out of capacity, when
>musixlyr is trying to allocate a newdimen
>(\setlyrics{}{}).
>I cannot quite imagine this, I used to have much bigger source files,
>with a lot more musics.  Does MusixLyr swallow a lot of memory?
>Even hugelatex (MiKTeX) crashes at the same spot.
>
>Any similar experiences?
>


Eckart:

I am not sure what your problem is.  However,  TeX can report "cpapcity
exceeded" when there are simple mistakes and typographical errors in some of
the code one enters.  One "likely suspect" is an argument that has a missing
end brace }.   (TeX tries to absorb all the intervening text to the end of
the file, and treat it as one argument of a macro, for example.)

You can easily find what is accepted as it normally should be, versus what
may appear to be wrong, by checking the log file (sometimes), or by adding a
simple line or two to your input file....

\tracingmacros=1%    Add this line anywhere, and all macros after it will be
shown, including the arguments they are accepting.   (The log file will be
quite large!)

\tracingall\tracingonline=0%  The \tracingall turns on all the available
tracing capabilities, including, the \tracingmacros capability, and it is
recommended to follow it immediately by \tracingonline=0 so you  don't have
to watch it all on the screen.  However, the log file will be immense.
Again, you might get a clue as to what is going wrong.

Good luck.

Joel Hunsberger
jhunsberger@i2k.com


From mutex-owner@mail2.gmd.de Tue Feb 23 07:39:59 1999
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Subject: Re: capacity problems ...
To: begemann@math.uni-hamburg.de
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Cc: mutex@gmd.de
In-Reply-To: <199902221624.RAA17056@AMRISC01.math.uni-hamburg.de> from "Eckart Begemann" at Feb 22, 99 05:24:50 pm
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Eckart Begemann wrote:
> 
> I encountered a serious problem ... :-(
> A simple LaTeX-code not that long (some 13 pages I think)
> makes LaTeX go out of capacity, when 
> musixlyr is trying to allocate a newdimen
> (\setlyrics{}{}).
> I cannot quite imagine this, I used to have much bigger source files,
> with a lot more musics.  Does MusixLyr swallow a lot of memory?
> Even hugelatex (MiKTeX) crashes at the same spot.
> 
> Any similar experiences?
> 
I've had a similar experience.  A very diligent M-Tx user invented a
new name (sop1,sop2,sop3,...) each time he used \setlyrics, and had 
only one line of lyrics in each such \setlyrics.  TeX capacity was 
exceeded in quite a short song.  

The solution was to re-use the names.  When the lyrics in \setlyrics{sop1}
are exhausted, there is no need to say \setlyrics{sop2} for the next 
batch, just use \setlyrics{sop1} again.

Hope this helps.

Dirk 

 

From mutex-owner@mail2.gmd.de Tue Feb 23 10:05:19 1999
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Hi, TeX-musicians!

Werner Icking wrote:
> 
> 
> The question is to typeset with M-Tx a chord g/d/b/g with the two lower
> notes as quarter notes an the to upper notes as half notes:
> 
> MusiXTeX   \NOTes\zq{`g'd}\zh{'b}\hu{'g}\hpause\en
> PMX        g43u zd+ r4b r2b //
>            b24 zg+ r2+0 /
> M-TX       similar :-)
> 

Many thanks for the solution! It works!


> > g4 zd+ zb2+ zg+  (oder so aehnlich. Ist aus dem Kopf jetzt.)
> >
> > Den Akkord habe ich auch hingebracht, aber nur mit Halbe-Koepfen
> > ueberall.
> 
> Als Geiger kann ich dazu nur sagen: na und? warum unten zwei Viertel
> und nicht zwei Achtel oder zwei 1/16-tel. Die Notation ist doch
> seit Jahrhunderten so in Ordnung? Aber egal.
> 

1. I just wanted it to do like the example I had in front of me. 
2. I suppose that the upper two notes are to be held for the full
   (half note) length while the lower ones are to be touched (?)
   only shortly.

Regards

-- 
Martin Sander   e-mail: martin.sander@ri.dasa.de

 DASA - Abt. RIA 54  /  Postfach 801168  /  81663 Muenchen
        Tel. 089 - 607-25971 / Fax 089 - 607-21118

From mutex-owner@mail2.gmd.de Tue Feb 23 07:42:07 1999
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From: Rainer Dunker <rainer.dunker@munich.ixos.de>
To: begemann@math.uni-hamburg.de
Cc: mutex@gmd.de
Subject: RE: capacity problems ...
Date: Tue, 23 Feb 1999 08:42:07 +0100
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Hi Eckart,

musixlyr consumes four dimen registers plus one dimen register per \setvoice
definition. Taking big or huge TeX implementations won't help since the
number of those registers is always restricted to 256. Both LaTeX and
MusiXTeX, however, allocate many more such registers than plain TeX. In
order to solve the problem: Perhaps you've loaded lots of LaTeX packages but
don't really need all of them? - If your document contains several small
music excerpts, you may save registers by re-using lyrics names, i.e.
"\setvoice{a}{...}...<music>...\setvoice{b}...<music>" allocates two dimen
registers whereas "\setvoice{a}{...}...<music>...\setvoice{a}...<music>"
serves the same purpose but takes only one register.

If those hints fail, please send me your source and let me have a look.

Regards,

Rainer

> -----Original Message-----
> From: begemann@math.uni-hamburg.de 
> [mailto:begemann@math.uni-hamburg.de]
> Sent: Montag, 22. Februar 1999 17:25
> To: mutex@gmd.de
> Subject: capacity problems ...
> 
> 
> I encountered a serious problem ... :-(
> A simple LaTeX-code not that long (some 13 pages I think)
> makes LaTeX go out of capacity, when 
> musixlyr is trying to allocate a newdimen
> (\setlyrics{}{}).
> I cannot quite imagine this, I used to have much bigger source files,
> with a lot more musics.  Does MusixLyr swallow a lot of memory?
> Even hugelatex (MiKTeX) crashes at the same spot.
> 
> Any similar experiences?
> 
> -- 
>    Quality Control                       |   Eckart Begemann
>    ---------------                       |   
> begemann@math.uni-hamburg.de
> A Professor of Skills Scientific         |
> Said, Don't confuse  GOOD with PROLIFIC  |
>   Put quality second:                    |
>   What's usually reckoned                
> +------------------------------------
> Is how much, and not how terrific.        Michael M. Stewart, 
> MD, Elmhurst, NY
> 
-- 
Non-member submission approved by mutex-owner

From mutex-owner@mail2.gmd.de Wed Feb 24 09:13:06 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: [Q] normal and grace notes in a song?
To: mutex@gmd.de
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Dear all,

I am converting some score I wrote in 1995 from raw MusixTeX to 
 am converting some score I wrote in 1995 from raw MusixTeX to 
M-Tx, since I deleted the old fonts and some symbol is out of place.

Unfortunately, I like to use both normal and small notes to indicate
either an obbligato for the keyboard or an adlib upper voice.
An example of what I mean can be seen at 
http://beatles.cselt.it/~mau/spartiti/santo.ps.gz .

Which is the simplest way to code it in M-Tx? I think that I could 
have two systems on the same staff, but then there are two problems:
(a) How can I leave blank either system, when I don't need it?
(b) How can I specify that a system uses smaller notes?

The alternative solution, that is to consider them as chords, seems 
too cumbersome. Am I right ?

ciao, .mau.


From mutex-owner@mail2.gmd.de Wed Feb 24 11:47:51 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902241147.MAA14679@sunick.gmd.de>
To: mutex@gmd.de, mau@beatles.cselt.it
Subject: Re: [Q] normal and grace notes in a song?
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> Date: Wed, 24 Feb 1999 10:13:06 +0100 (MET)
> From: Maurizio Codogno <mau@beatles.cselt.it>

[...]
> Which is the simplest way to code it in M-Tx? I think that I could 
> have two systems on the same staff, but then there are two problems:
> (a) How can I leave blank either system, when I don't need it?

You may have two voices in one staff as you need it. In pmx it's written:

... lower voice ... //
... upper voice ... /

You may leave a voice blank by not specifying it. If this is within a
bar then you may use blank rests e.g. r4b. At such places you have
to correct the stem direction manually if it does not conform to
the stem direction required for a single voice in one system.
You may specify e.g. c4u to get an up-stem.

Maybe PMX could learn that the user may request the "single"-voice
stem for *such cases* so that the user must not explicitly ask for
"u"-pstem or "d"-ownstem. This would make such pieces easier transposable.
A syntax could be "cv" (cs, c1, ca do have already a specific meaning).

> (b) How can I specify that a system uses smaller notes?

For "Stichworte" (small notes in parts which tells what another voice is
playing) I use as shortcut \snz\ defined as \def\snz{\smallnotesize}. In
single voice parts with PMX, you must put \snz\ just before any note with
a new duration. In a score you must put \snz\ just before any note where 
the duration in one of the voices changes.

[Because you know MusiXTeX you can imagine why this is true. For the voice
 in question \snz\ must be inserted whenever a new \notes...\en is used.
 This is done, when a new duration in any of the voices occurs.]

You can see my usage of my slightly modified \snz\ in my SQ-edition of Bachs
Kunst der Fuge. The source is available on http://www.gmd.de/Misc/Music/scores/
-- look for Bach, Kunst der Fuge, Urtext. There you may take e.g. kfsqi.pmx,
extract the voices with scor2prt, and process one of the voices with pmx.

PMX does not know about the smaller notes. So it's possible that it automatically
inserts some additional space between two notes, which would be neccessary for
normal size notes, but which isn't neccessary for smallsize notes.
 
-- Werner

From mutex-owner@mail2.gmd.de Wed Feb 24 16:54:42 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Re: [Q] normal and grace notes in a song?
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Werner:


:> (a) How can I leave blank either system, when I don't need it?
:
:You may have two voices in one staff as you need it. [..].
:You may leave a voice blank by not specifying it. If this is within a
:bar then you may use blank rests e.g. r4b. At such places you have
:to correct the stem direction manually if it does not conform to
:the stem direction required for a single voice in one system.
:You may specify e.g. c4u to get an up-stem.

Ok, that's more or less what I thought it was possible, apart from
the existence of blank rests. 

Am I correct in inferring that all stems point in the same direction
even in the bars where there is not the second voice, or does it
happen only on the bars with blank rests?



:> (b) How can I specify that a system uses smaller notes?
:
:For "Stichworte" (small notes in parts which tells what another voice is
:playing) I use as shortcut \snz\ defined as \def\snz{\smallnotesize}. 

certainly better than my own solution at the time, a command
\Small{#1} which changed size to \smallnotesize and then again to
\normalnotesize :-)

:[Because you know MusiXTeX you can imagine why this is true. For the voice
: in question \snz\ must be inserted whenever a new \notes...\en is used.
: This is done, when a new duration in any of the voices occurs.]

I hope that fine tuning of notes' position is achieved through ad hoc 
skips, then :-)

thank you very much, .mau.


From mutex-owner@mail2.gmd.de Wed Feb 24 18:31:26 1999
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Subject: capacity problems managed ...
To: mutex@gmd.de
Date: Wed, 24 Feb 1999 19:31:26 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Thanks a lot for your hints conerning my capacity problem ...

Especially the hint to use the same label for the lyrics will 
be of great help.

BTW: I could not save space by not using LaTeX, because it was
     actually a LaTeX-Document with music examples.
     But as I said: Using the same label is the magic solution.


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: [Q] normal and grace notes in a song?
Date: Wed, 24 Feb 1999 11:54:53 -0800
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> Maurizio Codogno wrote
> 
>Am I correct in inferring that all stems point in the same direction
>even in the bars where there is not the second voice, or does it
>happen only on the bars with blank rests?

In PMX, the presence or absence of blank rests has no direct effect on stem
directions; it is the number of lines of music (1 or 2) on the staff that
matters.  (One of those lines could of course contain only blank rests).  If
there are two lines of music in a staff, the FIRST one (before "//") gets
downstems and the SECOND one upstems.  If there is only one line of music in
a staff (no "//") then stem directions depend on note position relative to
the middle line of the staff.  Notes on the middle line are given downstems
unless it is bass clef.  If you want bass-clef middle-line notes to have
downstems too, use the command B (really a toggle).  Of course, any of the
defaults directions just described can be overridden with "u" and "l", both
for single notes and beams.

--Don Simons 



> :> (b) How can I specify that a system uses smaller notes?
> :
> :For "Stichworte" (small notes in parts which tells what another voice is
> :playing) I use as shortcut \snz\ defined as \def\snz{\smallnotesize}. 
> 
> certainly better than my own solution at the time, a command
> \Small{#1} which changed size to \smallnotesize and then again to
> \normalnotesize :-)
> 
> :[Because you know MusiXTeX you can imagine why this is true. For the
> voice
> : in question \snz\ must be inserted whenever a new \notes...\en is used.
> : This is done, when a new duration in any of the voices occurs.]
> 
> I hope that fine tuning of notes' position is achieved through ad hoc 
> skips, then :-)
> 
> thank you very much, .mau.

From mutex-owner@mail2.gmd.de Thu Feb 25 09:38:43 1999
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From: Martin Sander <martin.sander@ri.dasa.de>
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Hello, mutexer!

How may I code, within a one-voice part, an (in fact two half) bar
as an alternative to the 'normal' one? I think of an additional
staff with smaller size on top of the normal, the bar lines aligned.

I should not like coding the whole thing with two voices and the second
voice empty (blank?) all the time.

Or is it possible to code the second voice (= staff line) for one
or two bars only?

Greetings

-- 
Martin Sander   e-mail: martin.sander@ri.dasa.de

 DASA - Abt. RIA 54  /  Postfach 801168  /  81663 Muenchen
        Tel. 089 - 607-25971 / Fax 089 - 607-21118

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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199902251549.QAA15118@sunick.gmd.de>
To: mutex@gmd.de, martin.sander@ri.dasa.de
Subject: Re: alternative bar?
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> Date: Thu, 25 Feb 1999 10:38:43 +0100
> From: Martin Sander <martin.sander@ri.dasa.de>

> How may I code, within a one-voice part, an (in fact two half) bar
> as an alternative to the 'normal' one? I think of an additional
> staff with smaller size on top of the normal, the bar lines aligned.

Without automatic alignment you can typeset this alternative with
\startextract ... \endextract into a TeX-box before beginning
the quite normal piece with \startpiece.

In the last days, it has been discussed in this list how to do this
by replacing the definition of \extractline by e.g. \setbox ...

At the place where you need this extract you may typeset it
using \zcharnote{...}{\unhox ...}.

You find an example in my edition of bwv1003 on page 10 and the source
is there, too: http://www.gmd.de/Misc/Music/scores/
There it's not typeset with \zcharnotes but with my solution for
typesetting fingering and bowing.

[...]
> Or is it possible to code the second voice (= staff line) for one
> or two bars only?

AFAIK a staff line is alway \hsize long.

That doesn't mean that it's impossible ... Nothing is impossible with TeX.

-- Werner

From mutex-owner@mail2.gmd.de Mon Mar  1 14:44:59 1999
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From: "=?iso-8859-1?Q?Van_Ryckeghem_Andr=E9?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: upload to ftp.gmd.de: Invention VI
Date: Mon, 1 Mar 1999 15:44:59 +0100
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Dear Werner,

This is an mpx upload.
If jou keep it, perhaps jou may hold following information:

Herman Roelstraete (1925-1985)  Invention VI - with pmx-source and a
TeX-inputfile (avrsong.tex)

and now a (newbe) question:
- how can i keep a pmx logfile on harddisk?

pmx is indeed more efficient than musixtex

greatings

A. Van Ryckeghem

(if you are a perfectionist, perhaps you can add an "e" at
Sentimental ->Sentimentale
(Schuberts valse))





From mutex-owner@mail2.gmd.de Mon Mar  1 18:46:26 1999
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=?iso-8859-1?Q?Van_Ryckeghem_Andr=E9?= wrote:
> 
> and now a (newbe) question:
> - how can i keep a pmx logfile on harddisk?
> 

In DOS and in Unix the command lines are:
   echo BASENAME | pmxa > pmxa_log
   pmxb > pmxb_log

Dirk

From mutex-owner@mail2.gmd.de Mon Mar  1 19:58:48 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: Future PMX (was RE: newbie question)
Date: Mon, 1 Mar 1999 11:58:48 -0800 
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> Dirk Laurie [SMTP:dirk@calvyn.puk.ac.za] wrote
>Van_Ryckeghem_Andr=E9?= wrote:
>> 
>> and now a (newbe) question:
>> - how can i keep a pmx logfile on harddisk?
>In DOS and in Unix the command lines are:
>   echo BASENAME | pmxa > pmxa_log
>   pmxb > pmxb_log

Werner has been bugged me several times about creating a log file by
default, and the next release shall have one.  When that will come is not
clear.  I've lately been looking at iterative methods for optimizing
linebreaks.  To ease the iteration (pmxa,pmxb,pmxa,pmxb,...) I've combined
(at long last) pmxa and pmxb into a single file.  It runs and gives some
interesting results, but crashes on bigger problems when the Windows swap
space (i.e., virtual memory) gets filled up.  The combined code seems to eat
up about a Mb on every iteration.  Currently scratching my head about how to
stop this from happening.  Any thoughts what could be causing it?

While I'm on the subject of future releases, if I do keep pmxa and pmxb
combined (as I would prefer), I will not be able to use the trusty old
compiler that's been making those nice compact binaries...the combined code
is just too big for the old compiler/linker to swallow.  This leaves me only
with MS Powerstation, which creates binaries that will run in a DOS sindow,
but require Windows 95 or better to be present.  Let me ask once again to
hear from people for whom this would create a problem.  I.e., is anyone
running a DOS version of PMX on a machine that doesn't have Windows 95.  I
cannot see any way around this problem at the moment and I fear that DOS
users with older systems may either have to upgrade their hardware or be
content with older versions of PMX.  (Is this the ultimate price I'm paying
for programming in FORTRAN?).

--Don Simons



From mutex-owner@mail2.gmd.de Tue Mar  2 08:27:39 1999
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From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
Message-Id: <199903020827.JAA19823@sg10.chem.tue.nl>
Subject: MusiXTeX: \hsize of extracts
To: mutex@gmd.de (MusiXTeX mailing list)
Date: Tue, 2 Mar 1999 09:27:39 +0100 (MET)
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Hi all,

In MusiXTeX, I would like to put some staffs next to each other. In
order to do so, I put some extracts (\startextract ... \endextract) in
boxes, and glue the boxes together in the way that I want them. Some
example code will follow below. 

The problem is that I cannot seem to manage the horizontal width of the
extracts. Setting different \hsize for different extracts does not work.
Setting \hsize on a piece (\startpiece ... \endpiece) works fine, but I
cannot use more than one piece in a document. Perhaps I'm not correct
about all this, and perhaps I'm doing things wrong. Am I?

Thanks for any help you can provide,
Ronald Gelten

Sample code:
\input musixtex

\setbox0=\hbox{Chorus~2:\quad}
\setbox1=\hbox to \hsize{}
%
\nopagenumbers
\instrumentnumber 1
\setlines 1 5
\setsign 1 0
\parindent=0pt
\nobarnumbers
\nostartrule
\setbox2%
  \vbox{\hsize=0.6\wd1
  \startextract
  \Notes\uptext{G}\qu d\qu e\qu f\qu g\qu a\qu b\qu c\qu d\en
  \endextract  
}
\setbox3%
  \vbox{\hsize=0.2\wd1
  \startextract
  \Notes\uptext{D7}\qu d\qu e\qu f\qu g\qu a\qu b\qu c\qu d\en
  \endextract  
}
\hbox{\noindent
  \vbox to\ht2{\vfil%
    \hbox to\wd0{\hfil{\bf Picking}\hfil}%
    \hbox to\wd0{\hfil{\bf verses:}\hfil}%
  \vfil}%
  \box2
  \vbox to\ht3{\vfil%
    \hbox to\wd0{\hfil{\bf Picking}\hfil}%
    \hbox to\wd0{\hfil{\bf chorus:}\hfil}%
    \hbox to\wd0{\hfil{\bf (incl. D7)}\hfil}%
  \vfil}%
  \box3
}
%
\bye



-- 
Eindhoven University of Technology | tel: +31 40 2475032
e-mail: tgakrg@chem.tue.nl         | fax: +31 40 2455054
http://www.tak.chem.tue.nl/personal/rgelten/
"Trust me, I'm a doctor!" - S.P. Bates, Ph.D.

From mutex-owner@mail2.gmd.de Tue Mar  2 12:23:52 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199903021223.NAA15751@sunick.gmd.de>
To: mutex@gmd.de, tgakrg@sg10.chem.tue.nl
Subject: Re: MusiXTeX: \hsize of extracts
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> From: Ronald Gelten <tgakrg@sg10.chem.tue.nl>
> Date: Tue, 2 Mar 1999 09:27:39 +0100 (MET)

> In MusiXTeX, I would like to put some staffs next to each other. In
> order to do so, I put some extracts (\startextract ... \endextract) in
> boxes, and glue the boxes together in the way that I want them. 

Here is the error. \startextract...\endextract cannot be put into boxes
like you expect it. \startextract...\endextract runs without "flexing"
the result and generates something which is output as centerline. It is
independent of \hsize. If the extract fits into the line it will be 
centered; if not, the overhanging parts are spilled off to both sides of
the line.

[...]
> The problem is that I cannot seem to manage the horizontal width of the
> extracts. Setting different \hsize for different extracts does not work.
> Setting \hsize on a piece (\startpiece ... \endpiece) works fine, but I

That *is* the difference between "...extract" and "...piece".

> cannot use more than one piece in a document. Perhaps I'm not correct
> about all this, and perhaps I'm doing things wrong. Am I?

Yes. Use \startpiece and \endpiece in your example and it might work
as you expect it. Nevertheless I had problems to get it to work.
Imho the reason is, that box3 is too small for musixtex. If I change
"0.6\wd1" and "0.2\wd1" into "0.5\wd1" and "0.3\wd1" and use \startpiece
...\endpiece then I get a result which isn't ok but nearer to that
what you want.

I didn't invest more time into this problem, because I hope, that you
are now nearer to the solution you want.

-- Werner

From mutex-owner@mail2.gmd.de Tue Mar  2 13:02:29 1999
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From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: Future PMX (was RE: newbie question)
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On Mon, 1 Mar 1999, Simons, Don wrote:

> While I'm on the subject of future releases, if I do keep pmxa and pmxb
> combined (as I would prefer), I will not be able to use the trusty old
> compiler that's been making those nice compact binaries...the combined code
> is just too big for the old compiler/linker to swallow.  This leaves me only
> with MS Powerstation, which creates binaries that will run in a DOS sindow,
> but require Windows 95 or better to be present.  Let me ask once again to
> hear from people for whom this would create a problem.  I.e., is anyone
> running a DOS version of PMX on a machine that doesn't have Windows 95.  I
> cannot see any way around this problem at the moment and I fear that DOS
> users with older systems may either have to upgrade their hardware or be
> content with older versions of PMX.  (Is this the ultimate price I'm paying
> for programming in FORTRAN?).
> 

I should think there are hardly any DOS-only users left nowadays. However,
if there's really need for an MS-DOS version, we may be able to compile
the Unix/C version on DJGPP. That'll still require an i386, but I can't
see how you can survive with tex on anything older than that.

cu
Stef	\:')


======================================================================
  `` ... everything of any importance is founded on mathematics. ''
                                  -- from "Starship Troopers"
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)


From mutex-owner@mail2.gmd.de Tue Mar  2 14:11:36 1999
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From: "=?iso-8859-1?Q?Van_Ryckeghem_Andr=E9?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: newbie pmx
Date: Tue, 2 Mar 1999 15:11:36 +0100
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Dear all,

Thanks for responding my question. 
Now i dare to ask if the following commandfile is ok.

I plan to use following .bat file in winedt:

-----
echo %1 | pmxa
echo %1 | pmxa >%1_pmxa.log
if errorlevel 1 goto end
pmxb >%1_pmxb.log
if exist %1.mx1 del %1.mx1
if exist %1.mx2 del %1.mx2
C:\TEXMF\MIKTEX\BIN\VIRTEX.EXE &musixtex %1.tex %2 %3 %4 %5 %6 %7 %8 %9
if errorlevel 2 goto end
C:\musixtex\musixflx %1.tex
if errorlevel 1 goto end
C:\TEXMF\MIKTEX\BIN\VIRTEX.EXE &musixtex %1.tex %2 %3 %4 %5 %6 %7 %8 %9
C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -e0 -t letter %1 %2 %3 %4 %5 %6 %7 %8 %9
C:\gstools\gsview\gsview32.exe %1.ps
:end
------

this one produces: 

BASENAME_pmxa.log
BASENAME_pmxb.log
BASENAME.log                       (from TeX)

thanks
A. Van Ryckeghem


From mutex-owner@mail2.gmd.de Wed Mar  3 08:09:00 1999
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Subject: Re: newbie pmx
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Van Ryckeghem Andr=E9 wrote:

> Dear all,
>
> Thanks for responding my question.
> Now i dare to ask if the following commandfile is ok.
>
> I plan to use following .bat file in winedt:
>
> -----
> echo %1 | pmxa
> echo %1 | pmxa >%1_pmxa.log
> if errorlevel 1 goto end
> pmxb >%1_pmxb.log
> if exist %1.mx1 del %1.mx1
> if exist %1.mx2 del %1.mx2
> C:\TEXMF\MIKTEX\BIN\VIRTEX.EXE &musixtex %1.tex %2 %3 %4 %5 %6 %7 %8 %9
> if errorlevel 2 goto end
> C:\musixtex\musixflx %1.tex
> if errorlevel 1 goto end
> C:\TEXMF\MIKTEX\BIN\VIRTEX.EXE &musixtex %1.tex %2 %3 %4 %5 %6 %7 %8 %9

> C:\TEXMF\MIKTEX\BIN\DVIPS.EXE -e0 -t letter %1 %2 %3 %4 %5 %6 %7 %8 %9
> C:\gstools\gsview\gsview32.exe %1.ps

Why don't you just use the exellent MiKTeX previewer yap ? If you keep th=
e
yap window open the current dvi file will be refreshed each time it is
generated anew.

> :end
> ------
>
> this one produces:
>
> BASENAME_pmxa.log
> BASENAME_pmxb.log
> BASENAME.log                       (from TeX)
>
> thanks
> A. Van Ryckeghem




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Mar  3 09:44:36 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: andre.vanryckeghem@kh.khbo.be, mutex@gmd.de, scancm@biobase.dk
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> Date: Wed, 03 Mar 1999 09:09:00 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> Van Ryckeghem Andre' wrote:

> > echo %1 | pmxa
> > echo %1 | pmxa >%1_pmxa.log

The first line should be removed.
The second line can be improved for most un*xes or if you have e.g. 4DOS:

echo %1 | pmxa | tee %1_pmxa.log

Now the terminal output of pmxa goes to the screen _and_ to the log-file.
Same for pmxb.

> > C:\musixtex\musixflx %1.tex

If you are interested in as many log-files as possible (:-), you may
request a musixflx log-file <jobname>.mxl by appending " f" at the command
line. The disadvantage is that the extended output goes to the screen, too
and that it is required to acknowlege it.

> > C:\gstools\gsview\gsview32.exe %1.ps
> 
> Why don't you just use the exellent MiKTeX previewer yap ? If you keep the
> yap window open the current dvi file will be refreshed each time it is
> generated anew.

The same is true for newer versions of gsview as well as for the stone-old
versions of dviwin and dviwin2


My procedures for PMX and MusiXTeX are seperate definitions and PMX calls
MusiXTeX. The same is true for my M-Tx procedure which calls the seperate
PMX (which calls MusiXTeX).

My MusiXTeX procedure has a parameter n which allows to call only the
3rd phase without deleting .mx2. For small changes which do not influence
the music layout this is faster. I use it too, for most of my bigger
publications, to be aware, if a small source change results in a big layout
change - which often needs some additional manual optimization e.g. to
insert some space in front of accidentals (which is automagically done
by PMX).



From mutex-owner@mail2.gmd.de Mon Mar  8 18:42:11 1999
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Subject: footnotes?
To: mutex@gmd.de
Date: Mon, 8 Mar 1999 19:42:11 +0100 (MET)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Can anybody tell me how to put footnotes in a musixtex-file?
I tried the tex-command \footnote{}{} within a \zchar{}{}
but it did not work properly. (The actual footnotetext got lost.)



From mutex-owner@mail2.gmd.de Tue Mar  9 09:29:26 1999
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Date: Tue, 09 Mar 1999 10:29:26 +0100
From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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Hi

I'm new to PMX and yesterday set my first score. So I have some
questions:

- How can I supress the barnumbering
- Are there specialcharacters for typesetting f,p,ff,pp,...
- Is it possible to set a volta longer than a line (in my case there are
two of them   displayed instead)
- How can i controll the size of the title,instrument or other text

I know that this are many questions for a beginner, but I hope s.o. can
help me (even if only some of them)

Thanks in advance
Thorsten

-- 
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2166
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Tue Mar  9 11:39:08 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, begemann@math.uni-hamburg.de
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> Date: Mon, 8 Mar 1999 19:42:11 +0100 (MET)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

> Can anybody tell me how to put footnotes in a musixtex-file?
> I tried the tex-command \footnote{}{} within a \zchar{}{}
> but it did not work properly. (The actual footnotetext got lost.)

Ok, if no-one else answers I'll try it, although I know, that my answer
isn't good TeX - but it works.

\notes...\en is TeX-grouping and I believe that's the reason that
the footnote-text gets lost, when leaving the group. So I use e.g.
\footnote{}{$^1$ ....} outside \notes...\en and position the index
inside \notes...\en with \zcharnote (from memory, not tested; a
PMX example can be found in kfsqi.pmx or kfsqxix.pmx which are in 
kfur.zip, the source of the Urtext- and strings-edition of Bach's Kunst 
der Fuge on http://www.gmd.de/Misc/Music/scores/ )

-- Werner

From mutex-owner@mail2.gmd.de Tue Mar  9 11:31:36 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, Thorsten.Ehm@informatik.uni-augsburg.de
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> Date: Tue, 09 Mar 1999 10:29:26 +0100
> From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>

> I'm new to PMX and yesterday set my first score. So I have some
> questions:

For features up to now not implemented in PMX you may use the various
types of in-line TeX supported by PMX:

> - How can I supress the barnumbering

\\nobarnumbers\

> - Are there specialcharacters for typesetting f,p,ff,pp,...

\zcharnote{-5}{\pp}\

or

\\def\Forte#1{\dyn{#1}{\f}\
\\def\dyn#1#2{\zcharnote{-#1}{#2}\
...
... \Forte5\ a24 ...

> - Is it possible to set a volta longer than a line (in my case there are
> two of them   displayed instead)

Don't know. I don't know whether this is supported by MusiXTeX like e.g.
octlines.

> - How can i controll the size of the title,instrument or other text

e.g.

\\def\mytitle{\smalltype ... ganz viel blabla ...}\
Tt
{\mytitle}

...
\\\def\mytext{\BIGType Allegro}\
h
{\mytext}

Both are untested. If they work they may be in conflict with PMX's computations
of vertical space consumption.



 
> I know that this are many questions for a beginner, but I hope s.o. can
> help me (even if only some of them)

Maybe these questions have already been asked and answered earlier in
this mailing list. I know that searching the mailing list isn't supported
well and that it is more difficult than neccessary because posters don't
use well formulated subjects (:-(). But you may fetch the complete archive 
from http://www.gmd.de/Misc/Music/ and then search it e.g. with your favorite
programmable editor.

Also there were various attempts for a FAQ which all terminated in the very
beginning.

Additional help can be found reading the source of the many music editions
on http://www.gmd.de/Misc/Music/scores/

-- Werner

From mutex-owner@mail2.gmd.de Tue Mar  9 17:02:20 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'music'" <mutex@gmd.de>
Subject: RE: PMX 
Date: Tue, 9 Mar 1999 09:02:20 -0800 
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Thorsten Ehm wrote

>I'm new to PMX and yesterday set my first score. So I have some
>questions:

> - How can I supress the barnumbering
> - Are there specialcharacters for typesetting f,p,ff,pp,...
> - Is it possible to set a volta longer than a line (in my case there are
> two of them   displayed instead)
> - How can i controll the size of the title,instrument or other text
> 
Thorsten, these are good questions.  I know they're good because none of the
situations you are asking about can be handled with PMX commands.  However,
you can mix TeX commands with PMX by using the in-line TeX facility.  I'm
certain all except possibly the 3rd can be handled this way.  I won't take
the time right now to look up the exact TeX syntax (you can look in the
MusiXTeX manual), but I believe for the first two the TeX commands
are\nobarnumers and \f , \ff , etc. And remember to follow in-line TeX
commands with "\"

For the title, instrument, or composer you can define whatever font you want
(with in-line TeX or use a pre-defined one), and then on the line in the PMX
file where you input the text string, just put

\myfont Sonata for Piccolo and Kazoo 

Some version of dynamics will probably appear in the next release of PMX,
but please don't hold your breath.  

--Don Simons

From mutex-owner@mail2.gmd.de Wed Mar 10 07:44:57 1999
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Date: Wed, 10 Mar 1999 08:44:57 +0100 (CET)
From: Stefan Svensson <stefan@kristnet.org>
To: mutex@gmd.de
Subject: The PMX/MusixTeX love song
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Hi!

I found MusixTeX a couple of weeks ago, and after a while also PMX. Today
I use it regularly. The result is very good, and the time needed for a
simple sketch in PMX is about the same as writing by hand. But there's a
big difference: Scores written with PMX can be converted to PDF and sent
by electronic mail to my band members (I have a little jazz
quartet/quintet). This is wonderful!

However, since I'm a jazz musician, I have some special needs that PMX
does not yet support:

First, there's the possibility to write chord names. This can easily be
done with inline TeX, and I have, with help from Don Simmons, created a
macro package that does all this for me. However, lots of complicated
chords (that is, lots of inline TeX) clutters the PMX source file and
makes it difficult to read. Incorporating this into PMX is on my
whishlist. Writing, for example, "&Bb9#11" is much easier than my macro
"\uc{B\flat\up{9\shp11}\".

Second, when I write chords, I sometimes need to specify the chord rythms.
I want to do this with either small notes above the note system (without
help lines) or the special percussion notes. I have not been able to solve
this with PMX yet. Anyone has any ideas?

Third, there's a bug in PMX. When I create a volta with a whole rest in
the first voice (i e the lowest voice), the volta and it's number is
misplaced, several points too low, interferring with the note system. This
might, however, have some correlation with \raisevolta that I also use.

Thanks for PMX and MusixTeX, friends!

Stefan - composer, jazz musician and UNIX freak



From mutex-owner@mail2.gmd.de Wed Mar 10 08:03:55 1999
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Date: Wed, 10 Mar 1999 09:03:55 +0100
From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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To: music <mutex@gmd.de>
Subject: Re: Multiline Volta (Was: PMX)
References: <C156CDD8944DD211A71F00805FBBE42821D3F2@xcgca043.sp.logicon.com>
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Thanks Werner and Don!

I've found most of the solutions by testing.
The multiline volta doesn't work, but I've found this workaround:

Set Volta 1 till lineend.              |----------------------------
                                       | 1. 
At the next line set a volta |-----------------|---------------
with V.. and V2              | ...             | 2.

Doesn't look so bad :-)

Thorsten

-- 
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2166
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Wed Mar 10 10:41:27 1999
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Date: Wed, 10 Mar 1999 11:41:27 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199903101041.LAA17668@sunick.gmd.de>
To: mutex@gmd.de, stefan@kristnet.org
Subject: Notes without ledger lines (was: The PMX/MusixTeX love song)
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> Date: Wed, 10 Mar 1999 08:44:57 +0100 (CET)
> From: Stefan Svensson <stefan@kristnet.org>

> [...]  Incorporating this into PMX is on my
> whishlist. Writing, for example, "&Bb9#11" is much easier than my macro
> "\uc{B\flat\up{9\shp11}\".
> 
> Second, when I write chords, I sometimes need to specify the chord rythms.
> I want to do this with either small notes above the note system (without
> help lines) or the special percussion notes. I have not been able to solve
> this with PMX yet. Anyone has any ideas?

The above example shows that you are used to absolute pitches. So the following
macro may inspire you to solve your problem with in-line TeX:

% non-ledger line tiny \zcu 
\def\nltzcu#1{\raise #1\internote\hbox{{\tinynotesize\zcu 0}}}

It behaves like \zcu with absolute pitches. The double parentheses keep
\tinynotesize local.


Incorporating such things into PMX I would like a more general solution like
two PMX-commands which behave similar to the o-command in such a way that
the "ornament" is shifted such a way that it is either above or below the
corresponding note. May be the commands could be called D (;-) or U and
have A,...,Z as first parameter. Then the user is responsible to define
TeX-Macros \pmxA,...,\pmxZ which contain the wanted TeX- or MusiXTeX-code.

E.g.

\\def\pmxF{\zcharnote{-1}{\f}\

... c24 DF ...

would result in a "forte"-sign below the half-note C.

It could be useful, to allow one or more parameters in "{}":

\\def\pmxC#1{\zcharnote0{\cresc{#1\elemskip}}\

... c24 DC{4} ...

would generate a cresendo with length of 4 \elemskip below the half-note C.

Further PMX-parameters should allow to move the user's TeX up or down and
right or left in the quite normal way.

Following small example shows how PMX's oT - which behaves similar - can be
misused that way:

1 1 4 4 4 4 0 0
1 3 20 0

t
./

\\let\Trillesav\Trille\
\\def\TT{\global\let\Trille\Trillesav}\
\\def\pmxC#1{\zcharnote1{\crescendo{#1\elemskip}}}\
\\def\pmxD#1{\zcharnote1{\decrescendo{#1\elemskip}}}\
\\def\TC{\gdef\Trille##1##2{\TT\zcharnote{##1}{\pmxC{##2}}}}\
\\def\TD{\gdef\Trille##1##2{\TT\zcharnote{##1}{\pmxD{##2}}}}\

\TC\ c24 oT3.7 \TD\ c oT3.7 /
L2
\TC\ c25 oT3.7   \TD\ c oT3.7 /
\TC\ c26 oT3.7+2 \TD\ e oT3.7 /
\TC\ g25 oT3.7   \TD\ c- oT3.7+2 /
L3
c24 oT2 c2 /

Hope this hilft -- Werner

From mutex-owner@mail2.gmd.de Wed Mar 10 11:32:22 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, Thorsten.Ehm@informatik.uni-augsburg.de
Subject: Re: Multiline Volta (Was: PMX)
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> Date: Wed, 10 Mar 1999 09:03:55 +0100
> From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>

> I've found most of the solutions by testing.

Fine.

> The multiline volta doesn't work, but I've found this workaround:
> 
> Set Volta 1 till lineend.              |----------------------------
>                                        | 1. 
> At the next line set a volta |-----------------|---------------
> with V.. and V2              | ...             | 2.
> 
> Doesn't look so bad :-)

If you want to get rid of "..." you may modify MusiXTeX's \def\voltadot{.}
temporarily by \def\voltadot{} and possibly using V~ instead of V..

To get rid of the volta beginning isn't such easy, but should be
possible by temporarily redefining \gen@volta so that it set
\ov@sv to @ne istead of \empty ????

Ok, here it is as MusiXTeX:

\startmuflex\nobarnumbers\nostartrule
\def\N{\Notes\qu{cccc}\en}
\startpiece\addspace\afterruleskip\N
\Setvolta1\bar\N\bar\N\bar\N\endvoltabox
\Setvolta2\bar\N\bar\N\endvolta
\makeatletter
\let\gen@setvoltasav\gen@setvolta
\def\gen@setvolta#1{\let\gen@setvolta\gen@setvoltasav\gen@setvolta{#1}\let\ov@sw\@ne}%
\makeatother
\Setvolta~\alaligne\def\voltadot{}\N\bar\N\endvoltabox
\bar\N\bar\N\bar\N\bar\N\endpiece
\endmuflex\end

Does not work with automatic line breaking, only with explicit line breaking.
An automatic solution should be possible with a modified version of "\octline".


-- Werner

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Date: Wed, 10 Mar 1999 12:51:12 +0100 (MET)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: Stefan Svensson <stefan@kristnet.org>
Cc: mutex-mailinglist <mutex@gmd.de>, Don Simons <dsimons@logicon.com>
Subject: Re: The PMX/MusixTeX love song
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On Wed, 10 Mar 1999, Stefan Svensson wrote:

> Third, there's a bug in PMX. When I create a volta with a whole rest in
> the first voice (i e the lowest voice), the volta and it's number is
> misplaced, several points too low, interferring with the note system. This
> might, however, have some correlation with \raisevolta that I also use.

This is not related to your use of \raisevolta, since I have noticed it
too. For me it has nothing to do with the first voice either, it happens
every time I have a "rp" under a volta. I have not investigated which
version of PMX this error was introduced (I use 1.43), but I know it used
to work.

See the supplied (very unfinished) piece for examples of two symptoms of
this error. Congratulations go to the one who identifies the piece :-)

Don, sorry for not reporting this bug earlier. I have had it in my queue
for some time now...

/ Johan Tufvesson, tuben@lysator.liu.se


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From mutex-owner@mail2.gmd.de Wed Mar 10 15:59:34 1999
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Date: Wed, 10 Mar 1999 16:59:34 +0100
From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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Hi 

I'm wondering if there is a possibility to typeset chords with pmx in a
simply way.
Does anyone have a solution? 

By the way, I tested some sources from 
  http://www.gmd.de/Misc/Music/scores/
and found, that my pmx (C-Version 1.43 running on Linux) doesn't compile
some of them! 

The Harpsichord Sonata 4 for example ends up with:

----------------------------------------------------------
=== RUNNING PMXA (1st pass) ===

 This is pmxa, Version 1.43, 15 November 98

 Please type a basename (<9 characters, no dots): 


 ERROR in line 4, bar 0: There should be a blank here
   v
                                                                           
   ^
STOP 1 statement executed
-----------------------------------------------------------

Does anyone have the same problem?

Thanks in advance
Thorsten

-- 
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2166
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Wed Mar 10 19:08:54 1999
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Date: Wed, 10 Mar 1999 20:08:54 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, Thorsten.Ehm@informatik.uni-augsburg.de
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> Date: Wed, 10 Mar 1999 16:59:34 +0100
> From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>

> I'm wondering if there is a possibility to typeset chords with pmx in a
> simply way.
> Does anyone have a solution? 

c44 ze zg zbf f za zc zef ...

Simple enough?


> By the way, I tested some sources from 
>   http://www.gmd.de/Misc/Music/scores/
> and found, that my pmx (C-Version 1.43 running on Linux) doesn't compile
> some of them! 
> 
> The Harpsichord Sonata 4 for example ends up with:

Do you mean the sonata by J.H.Roman typeset by Johan Tufvesson?

I can process it with PMX version 1.43 without problems.

Did you unzip it with the -a option? This is neccessary for poor Un*x users :-)
(ZIP-files come from the DOS-world. So it's good practice to pack text files
 with DOS line termination (CR+LF), which may confuse some Un*x programmes
 which are used to single CR (or LF?). "-a" with unzip makes the right
 conversions.)

-- Werner

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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Volta bug, jazz add-ons. 
Date: Wed, 10 Mar 1999 11:10:52 -0800
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Johan Tufvesson wrote

>On Wed, 10 Mar 1999, Stefan Svensson wrote:

>> Third, there's a bug in PMX. When I create a volta with a whole rest
>>in
>> the first voice (i e the lowest voice), the volta and it's number is
>> misplaced, several points too low, interferring with the note system.
>>This
>> might, however, have some correlation with \raisevolta that I also
>>use.

>This is not related to your use of \raisevolta, since I have noticed it
>too. For me it has nothing to do with the first voice either, it happens
>every time I have a "rp" under a volta. I have not investigated which
>version of PMX this error was introduced (I use 1.43), but I know it
>used
>to work.
>
>Don, sorry for not reporting this bug earlier. I have had it in my queue
>for some time now...

No problem, Johan.  Good to see you're still around.  I'm not in the office
now and don't have a laptop, but I think I have already solved this bug in
my working, unreleased version of PMX.  I'll try to remember to check when I
get home, and I suppose I should get a new release out sometime soon.  The
reason I haven't is that I have been experimenting with an iterative
optimization scheme for line-breaking.  So far I've got a single binary
combining pmxa/b and the optimization works if there are no forced line
breaks.  I've been hoping to allow forced line breaks but the coding is
horribly complex...it would require repetitively restarting both pmxa and
pmxb (now subroutines) at some intermediate point of the input file, but
getting either one properly initialized is going to be a big project.

Also, Stefan Svensson asked about incorporating some jazz features.  I've
played some jazz myself so I could get interested in this.  It would help if
Stefan could send his macro package and some examples.  But it may take a
little while; on top of the optimization coding dilemma, for the next 1.5
weeks I'll be tied up with organizing, practicing for, and presenting my 8th
annual Bach Birthday Bash, a baroque chamber concert in my house with 3
friends (2 from out of town, one from out of the country).

Stefan also mentioned making PDF's of MusiXTeX scores.  I have looked into
this as well, and quickly came up against Acrobat's recognized inability to
make a decent screen image using bitmapped fonts (hard-copies come out
fine).  I briefly tried to mobilize the TeX gurus to create some scalable
(Postscript) versions of the MusiXTeX fonts, but this effort ground to a
halt owing partly to disinterest on the part of MusiXTeX's esteemed creator
(The TeX gurus were distressed by the large number of fonts involved, so
before they would proceed, they wanted assurances that their efforts would
in fact be incorporated into MusiXTeX).  Perhaps Stefan has thought about
this problem or maybe even solved it.

Meanwhile, happy PMX'ing :-)

--Don Simons

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Date: Thu, 11 Mar 1999 08:33:24 +0100
From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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Subject: Re: chords and pmx
References: <199903101908.UAA18042@sunick.gmd.de>
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Werner Icking wrote:
> 
> c44 ze zg zbf f za zc zef ...
> 
> Simple enough?
> 
> Do you mean the sonata by J.H.Roman typeset by Johan Tufvesson?
> 
> I can process it with PMX version 1.43 without problems.
> 
> Did you unzip it with the -a option? This is neccessary for poor Un*x users :-)
> (ZIP-files come from the DOS-world. So it's good practice to pack text files
>  with DOS line termination (CR+LF), which may confuse some Un*x programmes
>  which are used to single CR (or LF?). "-a" with unzip makes the right
>  conversions.)
> 
> -- Werner

I apologize for all those silly questions! -> RTFM exactly
I simply don't have so much time, but have to typeset a score till
friday! My first
efforts where ending in an "restart and loose all" on a windows machine
with some popular musicprograms. So I desided to use MusiXTeX cause I'm
used to LaTeX.

Nevertheless thank you for answering to my problems.
In some mailinglists I would have be killed for such questions. 

Thorsten
-- 
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2166
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Fri Mar 12 14:24:45 1999
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To: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
Cc: music <mutex@gmd.de>
Subject: Re: chords and pmx
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On Wed, 10 Mar 1999, Thorsten Ehm wrote:

> By the way, I tested some sources from 
>   http://www.gmd.de/Misc/Music/scores/
> and found, that my pmx (C-Version 1.43 running on Linux) doesn't compile
> some of them! 

Some of my old editions were not compatible with modern PMX. I have now
updated Agrell: Harpsichord sonata / Six Sonatas or Duets, Brant: Sinfonia
and Roman: Harpsichord sonatas. They are all available from
http://www.lysator.liu.se/runeberg/tema/music.html. The pointers to the
originals at Werners page also point out the places for the updated
versions until Werner puts the updated versions at gmd.

The reasons for these problems were that I released them before there were
movement breaks in PMX. My own inline TeX solution was incompatible with
the new PMX.

I have not checked the Drottningholm suite, since I'm waiting for a bigger
update there (and have been for the last two years or so :-)

/ Johan Tufvesson


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From: Han The Thanh <thanh@informatics.muni.cz>
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Subject: mtx source examples request
To: mutex@gmd.de (MuTeX)
Date: Mon, 15 Mar 1999 09:11:53 +0100 (MET)
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Hi all,

I am interested in M-Tx and would like to get some mtx source examples. Can
anyone advice me where to find them? Many thanks in advance.

Cheers,
Thanh

From mutex-owner@mail2.gmd.de Mon Mar 15 10:20:21 1999
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From: "=?iso-8859-1?Q?Van_Ryckeghem_Andr=E9?=" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: newbie pmx questions (a lot of)
Date: Mon, 15 Mar 1999 11:20:21 +0100
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Dear all,

I have some questions about working with pmx.


1. How to shift a fermata 1/2 \noteskip to the left, i.e. in : X1 eed2 of /

2. How the I command works? only numbers < 1 seems to have an affect
as i can see in the produced tex-file, example (i want an interstaff of 18}:

AI0.5 produces: \stafftopmarg0pt\staffbotmarg0pt\interstaff{9.6}\relax
AI18 produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
AI2  produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax

3. Putting a \caesura after the last note of a mesure.

It appears in the next mesure or it vanish (last of a group):

i.e. f f f f \caesura\ /

4. Shift a sharp to the left, is this the right way ?

\loff{\sh K}\ d //
es /

5. Is it possible when lowering the stemlength that also the hight of the
beam-stems
are adapted?

6. (a weird one) In compiling multiple songs, i have to remove \endmuflex
from
the produced tex-files. I tried:

\let\byebye\bye\let\bye\relax
\let\endmuflex\relax
\input choral1
\let\endmuflex\relax
\input choral2
\byebye

but the error: cannot raise... in the second pass stays.
I must remove the \endmuflex by hand.

7. Is it possible to have inputfiles in a pmx-file?
for instants 2 songs with same notes and differents lyrics.

Thank you for reading my questions.

A. Van Ryckeghem.

Een wegwijzer toont de weg, maar zelf staat hij stil
(a signpost shows the way, but itself does not move)



From mutex-owner@mail2.gmd.de Mon Mar 15 10:49:44 1999
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Date: Mon, 15 Mar 1999 11:49:44 +0100
From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
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Subject: some MusiXTeX questions
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Hello,
I have run into some problems when typesetting 2 pieces from Bach's
St.Matthews's Passion. I'm coding them directly in MusiXTeX, using
version T.90
The first is concerned with trills. I would like a tr to appear above
the note, but *without* the wavy line behind it. I tried
\zcharnote n{\Trille {0\noteskip}}
to get that above a g'', but that still leaves a small black box behind
the trill tr. I can't figure out another way of getting the sign the way
I want from what I found in the manual.
The second problem as a bit more general: there are some lines which
have a bold black bar at their end. That usually seems to appear when
there are some smaller mistakes in the line, right? My problem is, that
I don't find real mistakes (compilation gets through without breaks) and
in general, the lines look acceptable. Is there any possibility to get
rid of these bars?
The third question is a minor one: at the page bottom I always have an
empty bracket pair (). I don't know where it comes from and how it can
be removed or at least filled with something useful.

Any help or explanations are really appreciated,
thank you
Thomas

PS: Please mail me if you need/want the whole piece to reproduce the
problems.
-- 
Thomas Ruedas
Institute of Meteorology and Geophysics, 
J.W. Goethe University Frankfurt/Main
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/

From mutex-owner@mail2.gmd.de Mon Mar 15 11:29:59 1999
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Date: Mon, 15 Mar 1999 12:29:59 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, thanh@informatics.muni.cz
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> From: Han The Thanh <thanh@informatics.muni.cz>
> Date: Mon, 15 Mar 1999 09:11:53 +0100 (MET)

> I am interested in M-Tx and would like to get some mtx source examples. Can
> anyone advice me where to find them? Many thanks in advance.

As far as I know, the package contains already a lot of small samples.

In addition there is some sheet music inclusive mtx-source on

  http://www.gmd.de/Misc/Music/scores/

-- Werner

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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de, barry.gold@platinum.com
Subject: Re: horizontal shift - more than one bar
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> Date: Mon, 22 Feb 1999 14:06:49 -0800
> From: barry.gold@platinum.com (Barry Gold)

> Even now, after using M-Tx for nearly a year, I keep running into
> situations that need the advice of more experienced M-Txnicians.

What's one year?

> I'm setting a song that has a different ending on the last verse.
> I wanted to indicate this with a volta, "last".  I started out by
> naively coding "Vlast ..." and found that the volta label bumped into
> my Uptext guitar chord notations.  So I tried different things and
> ended up moving the first note of the bar over 4 noteheads, the next
> 3, and so on.

I removed this and added instead inline-TeX "\\def\raisevolta{...}\" at the
very beginning. If there are more voltas you may use a local definition
at the beginning of a paragraph "\\\..."

> But even with that, the last note (a8) is too close to the bar line -
> it looks ugly.

You used a8r and moved it near the barline. But you may use PMX's "X.." 
just in front of the optional bar line "|".
 
> One other problem I noted:  I tried using Vx to get an open end on
> the volta, and I still got a box end.  It doesn't matter in this song,
> but I would like to be able to control them in some other songs.

As far as I can see "Vx" doesn't work at the end of a piece. I tried
this with the PMX source and it didn't work. But with a bit of MusiXTeX
knowledge you may replace the next PMX-generated \endvoltabox by \endvolta. 
Maybe we should ask Don Simons whether it is a well-know error or a case
of RTFM. 

I added a re-definition of \shiftbarno which resolves the conflict
between the bar numbers and the chord names.

I commented out "\input ...", because I didn't have that file, and
\twolines which is undefined (as a consequence?).

I append the modified source.

-- Werner

PS: instead of "Ar" I recommend "Arb" because I don't like a mixture of
    big an small accidentals.


Meter: 4/4
Sharps: 1
Style: SINGER
Space: 8
% Bars/Line: 6
Pages: 1
Systems: 6

%% h9.8i
%% w7i
%% Ar
%%%\\input bdgmusic\ 
%% \\pageno=6\ 
%% \\headline{\twelverm XenoFilkia \#xx\hfill page XX}\ 
%%%\\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm FIFTY YEARS AGO\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1997 by Mordewis ap Llys\hfill}\ 
%% 
%% \\def\raisevolta{8\internote}\ 
%% \\def\shiftbarno{0pt}\
%% \\let\endvoltaboxsav\endvoltabox\
%% \\def\endvoltaforendfvoltabox{\gdef\endvoltabox{\global\let\endvoltabox\endvoltaboxsav\endvolta}}\
U:   G              | D  | Am
@+6  b8  c  d4    e | d0 | r4 c8 b  a4 g  |
L:   Fif-ty years a-go,       I was in my

U: D              | G                   | D    | Am
   b a8 ( a8 a2 ) | r4 b8   c   d4 e    | d0   | r8 c8   c  b   a4     g  |
L: u-ni-form           Look-ing in your   eyes      they ne-ver seemed so

U: D             | G    | C    | Em                  |   D
   b    a    g.f | ( g0 | g0 ) | r4 r8 e8+ e4    b   | ( d0 | d0 ) |
L: beau-ti-ful be-fore.                so  large and      warm...

U:     |       Em             | D       | Am
    r0 | r4 r8 e8   e4   f    | d0      | r8 b8 [ c8 b ] a4   g |
L:             Your face your   form...      I   didn't  know I

U: D               | G   D      G C     G
   b4  a   g  a    | b   c      b.a | ( g0 | g0 ) | r0 |
L: wan-ted so much   fif-ty years a-go.

%%L6
U:       G   D G  C        G   
   Vlast b4  c bd a8r X.5 | g0  |
L:           fif-ty years a-go.
%  X4S b4  X3S c X2S bd ar | g0  |

U: D                          | G
   r4 d8  d8 [ b+ a ] [ b f ] | ( g0 | \endvoltaforendfvoltabox\ g0 )
L:    Fif-ty   years        a-go.



From mutex-owner@mail2.gmd.de Tue Mar 16 06:14:01 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Voltas at end of piece [was Re: horizontal shift...] 
Date: Mon, 15 Mar 1999 22:14:01 -0800
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{Barry Gold} 
>> One other problem I noted:  I tried using Vx to get an open end on
>> the volta, and I still got a box end.  It doesn't matter in this song,
>> but I would like to be able to control them in some other songs.

[Werner Icking]
>As far as I can see "Vx" doesn't work at the end of a piece. I tried
>this with the PMX source and it didn't work. But with a bit of MusiXTeX
>knowledge you may replace the next PMX-generated \endvoltabox by
>\endvolta. 
>Maybe we should ask Don Simons whether it is a well-know error or a case
>of RTFM. 

In a way, it's neither.  It's 100% intentional, but a relic of simpler times
when PMX only allowed Voltas at the *beginning* of an input block.  You
couldn't put in a command at the very end of a piece, so I just assumed if a
volta was still "open" at the end of a piece that it should be closed with a
box.  I suppose I could let that behavior be overridden by a command at the
end.  I'll put it one the list, but in the meanwhile use Werner's TeX
suggestion.  (I'm surprised that anyone would want an open-ended volta to
end a piece).

Actually, I just thought of a PMX-only solution: put a dummy blank (with one
bar of music) after a Vx and a forced page break at the end of the last real
page.

--Don


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Subject: Re: mtx source examples request
To: mutex@gmd.de (MuTeX)
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Hi all,

thank you for all your answers, it helped a lot.

Cheers,
Thanh

From mutex-owner@mail2.gmd.de Tue Mar 16 08:30:40 1999
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To: mutex@gmd.de
From: Marten Hedman <Marten.Hedman@btk.utu.fi>
Subject: PMX compresses notes on each bar
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Hi

I'm using MikTeX and MusiXTeX under WinNT and recently installed PMX 1.43
and MTX. After installing PMX I tried to run it on some of the enclosed
examples, ie barsant.pmx and most.pmx, but the output looks weird. The
notes are packed to the left, as if \mulooseness was given a a big negative
value. 

I have written som music using Musixtex and Musixlyr, and the output looks
fine, so I don't think the fault is in my MikTex-installation, but I'm not
sure. I'm no a TeXpert enough to analyse the TeX-code produced by PMX for
the examples above.

Have I made a configuration error, or should I forget PMX and continue to
write music directly in TeX, even though it's a slow and tedious process.

Yours

Marten Hedman
Turku, Finland


From mutex-owner@mail2.gmd.de Tue Mar 16 10:23:02 1999
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From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
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Thank you very much for your reply, your answers were the exact
solutions for the problems.

>Are you using musixflx?  You are possibly leaving
>blanks at the end of lines.  Use % at the end of every line.
That seemed to be the reason, although astonishingly the bold bars did
not appear at the end of *every* line, in spite of the % missing in most
of the bars.
Best regards,
-- 
Thomas Ruedas
Institute of Meteorology and Geophysics, 
J.W. Goethe University Frankfurt/Main
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/

From mutex-owner@mail2.gmd.de Tue Mar 16 10:44:37 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199903161044.LAA18912@sunick.gmd.de>
To: mutex@gmd.de, Marten.Hedman@btk.utu.fi
Subject: Re: PMX compresses notes on each bar
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> Date: Tue, 16 Mar 1999 10:30:40 +0200
> From: Marten Hedman <Marten.Hedman@btk.utu.fi>

[...]
> examples, ie barsant.pmx and most.pmx, but the output looks weird. The
> notes are packed to the left, as if \mulooseness was given a a big negative
> value.

Seems like you forgot to run musixflx and the 2nd MusiXTeX phase.

Look into the archive of the mailing list for a mail by Andre' van
Ryckeghem with the subject "newbie pmx". This mail and its replies
discuss a procedure for running M-Tx, pmx and MusiXTeX.

[...]
> Have I made a configuration error, or should I forget PMX and continue to
> write music directly in TeX, even though it's a slow and tedious process.

Why forget PMX if it has as lot of pleased users?

-- Werner

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From: Marten Hedman <Marten.Hedman@btk.utu.fi>
Subject: Re: PMX compresses notes on each bar
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At 11:44 16.3.1999 +0100, you wrote:
>> Date: Tue, 16 Mar 1999 10:30:40 +0200
>> From: Marten Hedman <Marten.Hedman@btk.utu.fi>
>
>[...]
>> examples, ie barsant.pmx and most.pmx, but the output looks weird. The
>> notes are packed to the left, as if \mulooseness was given a a big=
 negative
>> value.
>
>Seems like you forgot to run musixflx and the 2nd MusiXTeX phase.
>

I stand corrected, I obviously didn=B4t read the PMX documentation well=
 enough.

>[...]
>
>Why forget PMX if it has as lot of pleased users?

I believed I either had made some configuration error, or, as it turned
out, made some other mistake. I will definitely not forget PMX.

Thank's a lot

Marten Hedman
Turku, Finland

From mutex-owner@mail2.gmd.de Tue Mar 16 16:16:39 1999
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From: barry.gold@platinum.com (Barry Gold)
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Subject: Re: Voltas at end of piece [was Re: horizontal shift...]
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   Actually, I just thought of a PMX-only solution: put a dummy blank (with one
   bar of music) after a Vx and a forced page break at the end of the last real
   page.


Ah.  A solution that is simultaneously kludgy and elegant.  (Kludgy in
that it achieves the desired result in a roundabout fashion, elegant
in that it is easy to use *and* has no undesirable side effects other
than using a single extra sheet of paper).  I don't even need to use
the  PMX-only part of it--in M-Tx I can just add a %%P2Ln and a whole
rest.

From mutex-owner@mail2.gmd.de Tue Mar 16 18:33:00 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199903161833.TAA19279@sunick.gmd.de>
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
Subject: Re: newbie pmx questions (a lot of)
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> From: "=?iso-8859-1?Q?Van_Ryckeghem_Andr=E9?=" <andre.vanryckeghem@kh.khbo.be>
> Date: Mon, 15 Mar 1999 11:20:21 +0100

> 1. How to shift a fermata 1/2 \noteskip to the left, i.e. in : X1 eed2 of /

\off{-.5\noteskip}\fermataup{9}\off{.5\noteskip}\ X1 eed2 /
 
> 2. How the I command works? only numbers < 1 seems to have an affect
> as i can see in the produced tex-file, example (i want an interstaff of 18}:
> 
> AI0.5 produces: \stafftopmarg0pt\staffbotmarg0pt\interstaff{9.6}\relax
> AI18 produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
> AI2  produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax

I never use the I-part of the A-command.

Because I don't like non-integer interstaffs, a lot of my pmx-source
contain something like

\\let\interstaffsav\interstaff\
\\def\interstaff#1{}\
\\interstaffsav{11}\

...
\\\interstaffsav{10}\
Ln
...
\\\interstaffsav{12}\
L<n+1>
...

> 3. Putting a \caesura after the last note of a mesure.
> 
> It appears in the next mesure or it vanish (last of a group):
> 
> i.e. f f f f \caesura\ /

In-line Tex belongs to the _next_ note or rest in PMX. Maybe

f f f \caesure\ f      or    f f f \roffset2{\caesura}\ f

produces what you want.
 
> 4. Shift a sharp to the left, is this the right way ?
> 
> \loff{\sh K}\ d //
> es /

ds<.85 //
es /
 
> 5. Is it possible when lowering the stemlength that also the hight of the
> beam-stems are adapted?

It's not provided by MusiXTeX that way. The height of the beam-stems are
defined using the right pitch in \ibl or \ibu.
 
> 6. (a weird one) In compiling multiple songs, i have to remove \endmuflex
> from the produced tex-files. I tried:
> 
> \let\byebye\bye\let\bye\relax
> \let\endmuflex\relax
> \input choral1
> \let\endmuflex\relax
> \input choral2
> \byebye
> 
> but the error: cannot raise... in the second pass stays.
> I must remove the \endmuflex by hand.

For me a similar procedure works. I use:

\startmuflex\let\startmuflex\empty
\let\endmuflexsav\endmuflex\let\endmuflex\endinput
\input pmxtex1
\input pmxtex2
...
\input pmxtexn
\endmuflexsav
\bye

(from memory :-)

Please send the complete example if this does not help.


> 7. Is it possible to have inputfiles in a pmx-file?
> for instants 2 songs with same notes and differents lyrics.

I don't understand this question. Maybe your problem can be solved with
PMX's macro feature:

\\\input lyrics1
% song1
MR1 ... M /
MR2 ... M /
...
MR9 ... M /

\\\input lyrics2
MP1 /
MP2 /
...
MP9 /
 
> Thank you for reading my questions.

Hope this hilft -- Werner

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Hi,

this tiny m-tx excerpt shows a situation where 2 adjacent "chords"
should be slured.     (m-tx V0.52)
There _is_ a nice slur for the bottom notes, but the top slur comes out
far too short...

Did I miss something "basic" or is there a special trick to code this
properly?

%-----------------------------------------------------------------
Title: OneBar-Slur-Problem
Sharps: 3
Style: Piano
Meter: 4/4
Bars/Line: 2

[+4 d1 za+ a- r (1 cn (2u za+ ] [+4 c- )1 za+ )2u a- cs zg+ a- ] r2 |
r0
%-----------------------------------------------------------------

Thanks in advance!
Best wishes
Mathias Bartsch
--
Mathias Bartsch | Gerhard-Mercator-Universit=E4t (GH) | Lab.f.Festkoerperphysik
Lotharstr. 1 | 47057 Duisburg | Tel. +49-203 379-3476  | Fax: +49-203 379-2709

From mutex-owner@mail2.gmd.de Wed Mar 17 09:11:08 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199903170911.LAA21555@calvyn.puk.ac.za>
Subject: Any volunteers for FAQ maintainer?
To: mutex@gmd.de (List for MusicTeX etc)
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I think that the MusiXTeX/PMX/M-Tx music typesetting has reached the
stage where there are some rather clearly identifiable Frequently
Asked Questions (e.g. "The notes are all squashed together on the
left...").  It would be nice if someone, not one of the developers
or the archive maintainer, would be willing to compile and maintain
a neat FAQ for us.  The list archive itself is just a little too 
daunting to search, because the headings are not predictable enough.
This person would have the job of knowing what is in the FAQ, adding
a good reply off the list to it, and compiling a structured contents
table.  

Any volunteers?

Dirk

From mutex-owner@mail2.gmd.de Wed Mar 17 14:01:26 1999
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To: m.bartsch@uni-duisburg.de, mutex <mutex@gmd.de>
Subject: Re: m-tx: slured chords?
References: <m10NBNi-0009xtC@fkpme246a.uni-duisburg.de>
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m.bartsch@uni-duisburg.de wrote:
> 
> Hi,
> 
> this tiny m-tx excerpt shows a situation where 2 adjacent "chords"
> should be slured.     (m-tx V0.52)
> There _is_ a nice slur for the bottom notes, but the top slur comes out
> far too short...
> 
> Did I miss something "basic" or is there a special trick to code this
> properly?
> 
> %-----------------------------------------------------------------
> Title: OneBar-Slur-Problem
> Sharps: 3
> Style: Piano
> Meter: 4/4
> Bars/Line: 2
> 
> [+4 d1 za+ a- r (1 cn (2u za+ ] [+4 c- )1 za+ )2u a- cs zg+ a- ] r2 |
> r0
> %-----------------------------------------------------------------
> 
> Thanks in advance!
> Best wishes
> Mathias Bartsch
> --
> Mathias Bartsch | Gerhard-Mercator-Universit=E4t (GH) | Lab.f.Festkoerperphysik
> Lotharstr. 1 | 47057 Duisburg | Tel. +49-203 379-3476  | Fax: +49-203 379-2709

A solution including the mtx chord line feature:

Title: OneBar-Slur-Problem
Sharps: 3
Style: Piano
Meter: 4/4
Bars/Line: 2

[+4 a1 a- r (1d-5 (2u a+ ] [+4 a )2 )1-5 a- g+ a- ] r2 |
C: d- ~ cn- c- ~ cs-
r0

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Wed Mar 17 15:47:45 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199903171547.RAA22957@calvyn.puk.ac.za>
Subject: Re: m-tx: slured chords?
To: m.bartsch@uni-duisburg.de
Date: Wed, 17 Mar 1999 17:47:45 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <m10NBNi-0009xtC@fkpme246a.uni-duisburg.de> from "m.bartsch@uni-duisburg.de" at Mar 17, 99 09:08:50 am
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m.bartsch@uni-duisburg.de wrote:
> 
> Hi,
> 
> this tiny m-tx excerpt shows a situation where 2 adjacent "chords"
> should be slured.     (m-tx V0.52)
> There _is_ a nice slur for the bottom notes, but the top slur comes out
> far too short...
> 
> Did I miss something "basic" or is there a special trick to code this
> properly?
> 
> %-----------------------------------------------------------------
> Title: OneBar-Slur-Problem
> Sharps: 3
> Style: Piano
> Meter: 4/4
> Bars/Line: 2
> 
> [+4 d1 za+ a- r (1 cn (2u za+ ] [+4 c- )1 za+ )2u a- cs zg+ a- ] r2 |
> r0
> %-----------------------------------------------------------------

The M-Tx code that translates ( and ) to PMX slurs is older than the
PMX labelled slur feature, and does not take into account that slurs
may be put on chordal notes.   

There are two ways to solve your problem:

    1.  Select the "s" option, i.e.
Options: s
    in the preamble.  This tells M-Tx to leave slurs as they are,
    instead of translating them to "s" and/or "t".

    2.  Code PMX "s" and "t" slurs direcly.  Since you don't have lyrics, 
    it does not matter that M-Tx can't see the slurs. 

In either case you should use the "t" option on the slurs, because 
for a tie that looks nicer.  So your code becomes

1. ("s" option selected)
[+4 d1 za+ a- r (t cn (2ut za+ ] [+4 c- )t za+ )2ut a- cs zg+ a- ] r2 |

2. (PMX slurs coded directly)
[+4 d1 za+ a- r cn st za+ s2ut ] [+4 c- st za+ s2ut a- cs zg+ a- ] r2 |

Note that only one of the slurs needs a label.

Dirk

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Date: Wed, 17 Mar 1999 10:04:55 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Dirk Laurie <dirk@calvyn.puk.ac.za>
Cc: List for MusicTeX etc <mutex@gmd.de>
Subject: Re: Any volunteers for FAQ maintainer?
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On Wed, 17 Mar 1999, Dirk Laurie wrote:

> Any volunteers?

Some time ago I started just such a project. I have placed a PDF file (quite
outdated now) of the last version on the web at

	<http://www.aem.umn.edu/people/students/epeterse/
		MusiXTeX_Tools/musixtex_faq.PDF>

if anyone would like to take a look. The original is a LaTeX file; I
envision distributing the LaTeX files eventually, but for now ...
Note that I haven't added this document to my MusiXTeX Tools web pages; for 
now you have to type in the full URL above. (Sorry I had to split it.)

So I guess I'm sort of volunteering.

	Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Mar 17 16:43:21 1999
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Date: Wed, 17 Mar 1999 18:43:21 +0200
To: mutex@gmd.de
From: Marten Hedman <Marten.Hedman@btk.utu.fi>
Subject: PMX newbie question: Placing triplet in right octave
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Hi

How do I write the PMX code for placing a triplet in the octave I want. In
the following example the triplet is placed one octave below the preceding
notes, even though the starting note is the same.

   [ d8d d1 ] d44x3 d e b4 [ e8d ds1 ]

I'm using PMX 1.43 and I've tried to read the section about xtuplets
carefully, but anything I try either generates an error or doesn't change
the output.

Any help is appreciated

Yours

Marten Hedman
Turku, Finland


From mutex-owner@mail2.gmd.de Wed Mar 17 16:44:58 1999
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Date: Wed, 17 Mar 1999 10:44:58 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: MuTeX <mutex@gmd.de>
Subject: Re: Any volunteers for FAQ maintainer?
In-Reply-To: <199903170911.LAA21555@calvyn.puk.ac.za>
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It appears the www.aem.umn.edu is down for the moment. I can upload the FAQ
to gmd if Werner thinks that would be a good idea, or we can wait for my
website to come back online. Any thoughts?
	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Mar 17 21:39:08 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: "AI" command in PMX (was newbie questions)
Date: Wed, 17 Mar 1999 13:39:08 -0800
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Van Ryckeghem Andr=E9 wrote

>2. How the I command works? only numbers < 1 seems to have an affect
>as i can see in the produced tex-file, example (i want an interstaff =
of
18}:
>
>AI0.5 produces: \stafftopmarg0pt\staffbotmarg0pt\interstaff{9.6}\relax
>AI18
produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
>AI2
produces:\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax

The number following "AI" is a factor that will be applied to the
\interstaff that PMX initially computes.  It is not a value of =
\interstaff
itself.  AI1 will therefore have no effect.

I've reviewed PMX's handling of \interstaff .  Unfortunately its quite
complicated and some of the logic is partially buried in the sands of =
time.
But it appears that PMX will never permit \interstaff bigger than 20; =
if it
computes one bigger than 20 it assumes the page was just way too =
"loose"
vertically and sets it back to 10.  That is entirely consistent with =
the
behavior.=20

It would be neither backward-compatible nor straightforward to change =
this
r4estriction, so Werner's suggestions about redefining \interstaff are =
still
the best way around this if you want it >20.  But you said you only =
wanted
18, and that should be possible.  In your example if AI0.5 give 9.6, =
then
presumably the default (AI1) is 19.2 . (Is that so?)  If so, then AI.94
should give 18 .  If you try that and it doesn't work, then please send =
your
whole source file, because I'd like to know why it doesn't work as it
should.

--Don Simons


From mutex-owner@mail2.gmd.de Thu Mar 18 14:41:08 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Message-Id: <199903181441.PAA19997@sunick.gmd.de>
To: mutex@gmd.de, Marten.Hedman@btk.utu.fi
Subject: Re: PMX newbie question: Placing triplet in right octave
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> Date: Wed, 17 Mar 1999 18:43:21 +0200
> From: Marten Hedman <Marten.Hedman@btk.utu.fi>

Hello Marten,

> How do I write the PMX code for placing a triplet in the octave I want. In
> the following example the triplet is placed one octave below the preceding
> notes, even though the starting note is the same.
> 
>    [ d8d d1 ] d44x3 d e b4 [ e8d ds1 ]

Nobody can reproduce your error report, because the starting pitch is not 
know. Your excerpt starts with a relative pitch "d8". The reason for the 
"error" may be that with the triplet you switch to a new absolute pitch 
"d44". What happens if you only write "d4x3"?

-- Werner

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Date: Thu, 18 Mar 1999 15:55:50 +0000
From: Miguel Filgueiras <mig@ncc.up.pt>
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I have just updated the WWW pages about SceX, a system I
have been (slowly) developing. The system is not yet publicly
available, but as I think it will be helpful at least as an
aid in preparing MusicTeX/MusiXTeX files I will try to distribute
a version to run on Linux machines in the months to come.

Meanwhile, comments will be most welcome. The pages include now
an extensive bibliography and a links list; additions or corrections
to them will also be welcome.

The address is: http://www.ncc.up.pt/~mig/SceX.html

Regards,
Miguel Filgueiras



From mutex-owner@mail2.gmd.de Thu Mar 18 17:12:16 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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To: mutex@gmd.de
Subject: Search engine for MuTeX archive
Cc: Jelske.Kloppenburg@gmd.de
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Wed, 17 Mar 1999 11:11:08 +0200 (SAT)
> Subject: Any volunteers for FAQ maintainer?

> [...]  The list archive itself is just a little too 
> daunting to search, because the headings are not predictable enough.

Maybe the contents of the mails is predictable enough.

So I asked my colleague Jelske Kloppenburg, who is responsible for the
search engine for GMD's WWW, for a partial search engine only working
on the MuTeX-archive. He installed a test version which is available
via

    http://www.gmd.de/Mail/mutex-archive/

Hope this hilft -- Werner

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Date: Thu, 18 Mar 1999 15:47:04 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de, Jelske.Kloppenburg@gmd.de
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On Thu, 18 Mar 1999, Werner Icking wrote:

> Maybe the contents of the mails is predictable enough.
> Hope this hilft -- Werner

Unfortunately the search also hits the next/previous links, so it finds
spurious messages. But if you know this its easy to spot in the search
results page.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Fri Mar 19 07:45:30 1999
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To: Werner Icking <Werner.Icking@gmd.de>
From: Marten Hedman <Marten.Hedman@btk.utu.fi>
Subject: Ooops, I'm Sorry (Was Re: PMX question: triplets)
Cc: mutex@gmd.de
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I'm sorry to have bothered you with a problem, that is purely due to a
mistake of my own.

First of all, I'm using Mtx, not Pmx directly as I wrote in my last email.
Thats why I don't set the octave at the beginning of the bar.

I had misunderstood the documentation for xtuplets on page 7 in the PMX
manual, and got the (mis)impression that the first digit following the
first note of the xtuplet is the time value for the note, and that the
second digit is the time value for the whole xtuplet.=20

When I read the paragraph on xtuplets again this morning after receiving
your email, it seemed very clear, and I don't understand how I could have
understood it as I did earlier. When I removed the octave indicators from
my code the result was just what I wanted.

I'm sorry to have bothered you all. Thank you for your help and patience.

Marten




At 15:41 18.3.1999 +0100, Werner Icking:
>> Date: Wed, 17 Mar 1999 18:43:21 +0200
>> From: Marten Hedman <Marten.Hedman@btk.utu.fi>
>
>Hello Marten,
>
>> How do I write the PMX code for placing a triplet in the octave I want.=
 In
>> the following example the triplet is placed one octave below the=
 preceding
>> notes, even though the starting note is the same.
>>=20
>>    [ d8d d1 ] d44x3 d e b4 [ e8d ds1 ]
>
>Nobody can reproduce your error report, because the starting pitch is not=
=20
>know. Your excerpt starts with a relative pitch "d8". The reason for the=20
>"error" may be that with the triplet you switch to a new absolute pitch=20
>"d44". What happens if you only write "d4x3"?
>
>-- Werner
>
>
------------------------------------------------------------------------
M=E5rten Hedman                      phone: +358-(0)2-333 8037
Senior Software Engineer           fax:   +358-(0)2-333 8000
Turku Centre for Biotechnology     Marten.Hedman@btk.utu.fi
Turku, Finland                     http://www.btk.utu.fi/~marten



From mutex-owner@mail2.gmd.de Thu Mar 25 23:02:04 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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Hello,
how can I change the default paper size from A4 to letter?
I am sorry if this question has appeared before. 
Thank you,
Pantelis


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To: mutex@gmd.de
Subject: score
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Hello.
I have one question.

On left side of score,

/
|~~~~
|~~~~
|~~~~
|~~~~
\~~~~

There is line like this.
I don't know the name in English, so I can't find it on manual.
How can I write it through MusiXTeX ?
Please teach me.

Masashi Idogawa
E-Mail: idogawa@sapmed.ac.jp, gbb03276@nifty.ne.jp

From mutex-owner@mail2.gmd.de Fri Mar 26 08:18:13 1999
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Pantelis Andreou wrote:

> Hello,
> how can I change the default paper size from A4 to letter?
> I am sorry if this question has appeared before.
> Thank you,
> Pantelis

Letter = width 8.5'', length 11''

In pmx put

h11i
w8.5i

at the start of the first input block. In mtx put the above commands
preceded with %% at the start of the first paragraph.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Fri Mar 26 08:39:16 1999
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idogawa@sapmed.ac.jp wrote:

> Hello.
> I have one question.
>
> On left side of score,
>
> /
> |~~~~
> |~~~~
> |~~~~
> |~~~~
> \~~~~
>
> There is line like this.
> I don't know the name in English, so I can't find it on manual.

It's often called bracket. In the musixtex manual it's called a brace.
The way of using it is described in section 2.2.4.1.

Unless your score contains very specialized things or has more than 7
parts I'll recommend that you use the front end tool mtx which enables
you to set up your score with curly or square brackets as you like.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Sat Mar 27 01:08:16 1999
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To: mutex@gmd.de
Subject: Thank you
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I got many answer mails.

\songtop
\songbottom

is what I need.

I apporogize inapproprite explanation in English.

Thank you very much for all.

Masashi Idogawa
1st Department of Internal Medicine, Sapporo Medical University 
E-Mail: idogawa@sapmed.ac.jp, gbb03276@nifty.ne.jp

From mutex-owner@mail2.gmd.de Mon Mar 29 11:04:34 1999
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Date: Mon, 29 Mar 1999 13:04:34 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: score (was: Thank you)
To: mutex@gmd.de, idogawa@sapmed.ac.jp
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> From: idogawa@sapmed.ac.jp
> Date: Sat, 27 Mar 1999 10:08:16 +0900

The original mail had the subject "score"

> \songtop
> \songbottom
> 
> is what I need.

\songbottom, \songtop may be used to indicate a group of instruments
in a score. So the newer construct is \groupbottom, \grouptop (1,...,3)
and \songbottom is equivalent to \groupbottom1. Bottom enumerates the
lowest instrument belonging to the group and top the highest instrument.
Default for the bottoms is \maxdimen and for the tops 0.

Such brackets are called "Akkoladen" or "Chorklammer" (choirbracket).

-- Werner


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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Letter size ps
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> Date: Thu, 25 Mar 1999 19:02:04 -0400 (AST)
> From: Pantelis Andreou <pan@mscs.dal.ca>

> how can I change the default paper size from A4 to letter?

TeX's default is something like letter size paper and 1 inch margins
on all sides.

Music normally requires a lot of space. So there would be not too
much music on one page. So I propose to minimize the margins to
10 mm, which is enough for most printers to ensure that all pixels
can be printed.

To have a universal format for both letter and a4 size paper one
may use the (smaller) width of a4 (210mm) and the (smaller) heigth 
of letter (279mm).

In TeX with 10mm margins on all sides (1inch = 25.4mm):

\hoffset=-15.4mm\voffset=-15.4mm\hsize=190mm\vsize=259mm

If you want a footline you may have to reduce \vsize e.g.

\advance\vsize-12pt  or  \advance\vsize-24pt

If you use instruments with multiple voices MusiXTeX adds a "piano
bracket" left of the staffs. This can be compensated by

\advance\hoffset 3mm\advance\hsize-3mm


If you use PMX you may do the same by

\\hoffset=-15.4mm\voffset=-15.4mm\
w190m
h259m

With footline  

h251m

With pianobrackets

\\hoffset=-12.4mm
w187m

For M-Tx this looks similar.

Hope this hilft  -- Werner


From mutex-owner@mail2.gmd.de Tue Mar 30 13:59:37 1999
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This bug is likely to be corrected in T.95, presently available only at

ftp://ftp.lps.u-psud.fr/pub/musixtex/musixtex.tex


PLEASE: take this new version and test the "volta" features and tell me w=
hether it is correct or
not. By "correct" I also mean that things which worked before should work=
 the same, and the bug
when \endvolta occurs at a line end should be removes.

Thank you all!

When I get a sufficient number of satisfactory reples, then I post it nor=
mally.

Don Simons wrote:
>=20
> Daniel--
>=20
> The combination \Setvolta...\endvolta does not work properly in the
> following example.  An extra volta is generated in the second system.
> I would appreciate very much if you could fix this in the next
> MusiXTeX release.  Otherwise, if my preprocessor PMX is to generate

-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Mar 30 16:05:35 1999
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From: "avr" <andre.vanryckeghem@kh.khbo.be>
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Subject: Re: Letter size ps
Date: Tue, 30 Mar 1999 18:05:35 +0200
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Dear all,

I am trying to understand the mechanism for the pagelayout when making
scores. I suppose it is not possible to have a layout that is
suitable for all resolutions of fonts, PS, DVI, pageformats...

My aim is to put the score in the center of the page, but when changing the
hight of the page, dvips does no more center the layout.

I Do not know if it is possible to have a general method for the pagelayout.
With the information in mr. Ickings answer in the letter size ps,
i tried to make a checklist on how to install the pagelayout.

I will be happy if anyone would comment it (and grateful if
anyone could complete it).

----

0. Put the score in the center of the page

0.1. Printer dependencys, how to manage?

0.2. Postscript features (based on dvips en gsview)
     - the reference point is lower left on the page
     - if not default use the option:
          DVIPS.EXE -e0 -t letter %1
     or  DVIPS.EXE -e0 -t A4 %1

1. maximum pagelayout with 10mm margin on the 4 sides

1.0. preferences

1.0.1 adding a footline: \advance\vsize-12pt  or  \advance\vsize-24pt
         to be changed for different fonts?

1.0.2 adding a "piano bracket": \advance\hoffset 3mm\advance\hsize-3mm
         to be changed for different musicsizes?


1.1. \hoffset=-15.4mm\voffset=-15.4mm

1.1.1. A4 : \hsize=210mm\vsize=297mm
1.1.2. Letter : \hsize=8.5in\vsize=11in
1.1.3. A4 and letter : \hsize=190mm\vsize=259mm

1.2. \advance\hsize-20mm\advance\vsize-20mm

2. Nice pagelayout
If a score does not fill the whole page, one could use larger margins,
i.e. the default margins of Latex (or Tex?)

A. Van Ryckeghem


From mutex-owner@mail2.gmd.de Wed Mar 31 12:40:04 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Letter size ps
To: mutex@gmd.de
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> From: "avr" <andre.vanryckeghem@kh.khbo.be>
> Date: Tue, 30 Mar 1999 18:05:35 +0200

> I am trying to understand the mechanism for the pagelayout when making
> scores. I suppose it is not possible to have a layout that is
> suitable for all resolutions of fonts, PS, DVI, pageformats...

Not for all, but I just mailed some proposals for a common page layout
which may be used with A4 *and* letter, which supplies 10 mm margins
on all sides.

> My aim is to put the score in the center of the page, but when changing the
> hight of the page, dvips does no more center the layout.

The pages are centered horizontally when using A4 and vertically when
using letter :-(

But this may be corrected by the user. If he uses A4 with a dvi-driver
or dvips he may cut 1.8 cm from the bottom or the top respectively.
If he uses letter he may cut 6 mm from the right side :-)

Maybe that this does not work with double side printing :-(


> 0.2. Postscript features (based on dvips en gsview)
>      - the reference point is lower left on the page
>      - if not default use the option:
>           DVIPS.EXE -e0 -t letter %1
>      or  DVIPS.EXE -e0 -t A4 %1

-e0 has nothing to do with the page layout, but with some rounding(?)

[...]
> 1.1.1. A4 : \hsize=210mm\vsize=297mm

No, that's 20mm too much, because of the margins. So

         A4:  \hsize 190mm\vsize 277mm
         
> 1.1.2. Letter : \hsize=8.5in\vsize=11in

dto.     Letter:  \hsize 8.5in\advance\hsize-20mm\vsize 11in\advance\vsize-20mm
         
> 1.1.3. A4 and letter : \hsize=190mm\vsize=259mm
 
> 1.2. \advance\hsize-20mm\advance\vsize-20mm

O yes, here it is: but if you use this in general you must use:

         A4 and letter:  \hsize 210mm\vsize 11in


> If a score does not fill the whole page, one could use larger margins,
> i.e. the default margins of Latex (or Tex?)

It's the default margin of 1 in introduced at the very beginning of TeX.
(I hope I'm right)

-- Werner


From mutex-owner@mail2.gmd.de Wed Mar 31 13:42:50 1999
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Date: Wed, 31 Mar 1999 15:42:50 +0200
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To: mutex <mutex@gmd.de>, Werner Icking <Werner.Icking@gmd.de>
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Dear mutex subscribers.

Today my recorder quartet '3 or 5 of 10 for 4' composed 1970 has been
published on the GMD music sheet archive. Besides making the score
publically available my aim has been to demonstrate that contemporary
music making use of unconventional notation styles may be typeset with
MusiXTeX and it's preprocessors.

The quartet consisting of 6 sections has been coded as 6 separate mtx
source files the resulting musixtex files of which have afterwards been
linked together into the final score. Notational elements like wave
lines or feather styled beams are not as such supported by pmx or mtx
and therefore have been supplied - not at least thanks to the efforts of
Werner Icking - as MusiXTeX macros in a common macro file referred to in
each of the mtx source files.

As I have published all the source files along with the final postscript
result I hereby encourage you to download and study my material. Maybe
then some of you could add enhancements and new features to my
collection of macros opening for new contemporary music typesetting
facilities.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Wed Mar 31 14:41:18 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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hello everyone,
I finally, with a little help from my friends (that is you people)
got mtx, pmx and miktex to work together in my operating system which is
Windows NT.  The problem I have is that process of getting a postscript
file is quite complex. 
First mtx will run only if you are in the mtx directory, but at least your
file can be at any other directory.
Second pmx will run only if you are in the pmx directory and unless the  
pmx file is in the pmx directory the pmxb command will not work. Then,
unless I move the file to where I keep musixflx.exe
musixflx will not work. Of course I can move musixflx.exe into the pmx
directory but that is a temporary solution.  
It would be prefered if one could run the whole process from any
directory. Does anyone have a solution?
I did see in the FAQ's of mtx that there a mtx.bat but will that work in
WinNT?
Thank you,
Pantelis


From mutex-owner@mail2.gmd.de Wed Mar 31 16:42:20 1999
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Date: Wed, 31 Mar 1999 18:42:20 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Combining batches together
To: mutex@gmd.de, pan@mscs.dal.ca
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> Date: Wed, 31 Mar 1999 10:41:18 -0400 (AST)
> From: Pantelis Andreou <pan@mscs.dal.ca>


> The problem I have is that process of getting a postscript
> file is quite complex.=20

For me it's running  dvips  and telling it the name of dvi-file
maybe adding some options like  -e0 or -tletter


> First mtx will run only if you are in the mtx directory, but at least you=
r
> file can be at any other directory.
> Second pmx will run only if you are in the pmx directory and unless the =
=20
> pmx file is in the pmx directory the pmxb command will not work. Then,
> unless I move the file to where I keep musixflx.exe
> musixflx will not work. Of course I can move musixflx.exe into the pmx
> directory but that is a temporary solution.=20

Either put those directories which contain binaries like musixflx.exe,
pmxa.exe, pmxb.exe, mtx.exe into the path or copy these files to
a common directory for binaries like c:\sys, d:\bin, e:\tools, ...

In the same way it is advisable to put pmx.tex, musixlyr.tex, ...=20
either into the directory which contains all MusiXTeX specific
TeX-sources or to tell your TeX-system which directories should be
looked up for (additional) TeX-sources.

Having done this it should be easy to adapt a procedure which
does what you want like it has be published in this list not
long ago in a thread started by Andr=E9 van Ryckgehem under the
misleading subject "newbie pmx". Find this thread in the
archive[*] using the new search engine (:-) and follow it.
=20
> It would be prefered if one could run the whole process from any
> directory. Does anyone have a solution?

That's the common way this problem is solved for most applications:
tell them where it can find it's documents, binaries, fonts, ...


> I did see in the FAQ's of mtx that there a mtx.bat but will that work in
> WinNT?

Maybe you find the key to all this in the introductory literature of
WinNT or maybe DOS (under WinNT)?

-- Werner

[*] The archiv of the mailing list is pointed at by
       http://www.gmd.de/Misc/Music/


From mutex-owner@mail2.gmd.de Wed Mar 31 17:31:20 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>, "'taupin'" <taupin@lps.u-psud.fr>
Subject: RE: MusiXTeX \Setvolta bug
Date: Wed, 31 Mar 1999 09:31:20 -0800
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D. Taupin wrote

"This bug is likely to be corrected in T.95, presently available only at

> ftp://ftp.lps.u-psud.fr/pub/musixtex/musixtex.tex
> 
> 
> PLEASE: take this new version and test the "volta" features and tell me
> whether it is correct or
> not. By "correct" I also mean that things which worked before should work
> the same, and the bug
> when \endvolta occurs at a line end should be removes.
> 
> Thank you all!
> 
> When I get a sufficient number of satisfactory reples, then I post it
> normally."
> 
I believe the following TeX code does not produce the expected result when
using the new musixtex.tex:

% Bar count 1
\NOTES\wh g\en%
% Bar count 2
\Setvolta1%
\xbar
\NOTES\wh g\en%
% Bar count 3
\endvoltabox
\Setvolta2%
%\xbar
\alaligne
\NOTES\wh g\en%
% Bar count 4
\endvolta
\xbar
\NOTES\wh g\en%

On the second line there should be a "second ending" over the first bar, but
instead there is a "first ending" over the second bar. If "\alaligne" is
replaced by "\xbar" it works OK, producing a single line with 1st and 2nd
endings on the 2nd and 3rd bars respectively.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Mar 31 18:18:21 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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Hello everyone,
here is what Werner Icking suggested and it works for my operating system
which is WinNT.
First move the *.tex files to your tex input directory.
I run miktex so I created the subdirectory musixtex in the directory
d:\miktex\tex\generic, that is d:\miktex\tex\generic\musixtex.
Then in the directory where I create my  *.mtx files, f:\pan\musixtex for
me, I copied the files
prepmx.exe, pmxa.exe, pmxb.exe, and musixflx.exe.
Now I can edit my *.mtx files in f:\pan\musixtex and run the prepmx, pmxa,
pmxb, tex, musixflx, tex, dvips commands without leaving the path.
Thank you all,
Pantelis


From mutex-owner@mail2.gmd.de Thu Apr  1 23:46:32 1999
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Date: Fri, 02 Apr 1999 01:46:32 +0200
From: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>
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Subject: A few questions
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Dear MusixTeXers.

I have been on this mailing list for a long time. But, I wasn't reading
last mailings, and I was not typesetting for a few months. I will try to
find whether my problem is already solved by reading mailings which I
have
not read.

Personally I like Taupin's MusixTeX very much, and as far as I am
concerned,
I would use it without preprocessors. But, inconsistency with notes and
their names makes some trouble for me. I like the way that trouble is
solved in Don's PMX.

Still I have questions to ask:

1)

Pmxa.exe and pmxb.exe, versions I downloaded work very well on my
computer.
But, I have a trouble. They do not get (namely pmxa) inline parameters
as
filenames to be precompiled. I need to make a batch file which can
precompile (pmxa, then pmxb) and compile (texing with musixtex format,
musixltx, then texing again). I can not do that since pmxa asks me for
filename to be pmxed. Can you compile pmxa.exe so that it loads inline
argument? I would have done that but I have erased my fortran compiler
long
time ago.

2)

I have read musixdoc about transposition. My friend needs some exercises
to be transposed. I've seen a \relativeaccid command, but I still don't
understand how it works. My problem is in double sharpened (or double
flattened) notes, and sharpened notes which need to be flattened or
reversely.
Something like that is mentioned in musixdoc, but I still don't
understand.
Could someone who solved simple problem or Mr Taupin himself explain
this?

3)

I am LaTeX fan and I like typesetting in LaTeX. All my mathematic papers
and
a few books are typeset in LaTeX. Now LaTeX, using psnfss, can use more
fonts, not only (a little bit boring) CM fonts. I had some troubles
using
psnfss together with musixtex.sty, but there are not many papers that
have
to use both mathematical formulas and notes at the same moment. I am
still
fond of speed in typesetting mathematical text in LaTeX. There are
compatibility, the beauty of text and many more reasons to use LaTeX in
mathematics.

I have typeset only one page of notes in MusixTeX and the same in PMX
and I
like the output very much. Are there any more programs that can do the
same? Why are you using MusixTeX and it's preprocessors instead of Final
Code for example?

Still, I like your project very much and I think it is a very remarkable
system.

Zoran Ovcin


From mutex-owner@mail2.gmd.de Fri Apr  2 07:44:57 1999
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From: "avr" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Fw: A few questions
Date: Fri, 2 Apr 1999 09:44:57 +0200
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>1)
>Can you compile pmxa.exe so that it loads inline argument?

echo %1 | pmxa
rem if errorlevel gt 0 quit
pmxb


>2)
>
>I have read musixdoc about transposition. My friend needs some exercises
>to be transposed. I've seen a \relativeaccid command, but I still don't


pay attention to the formatfile,
if you use \relativeaccid  then you may not use \musixcpt
if you make the formatfile with musixtex.ins (distributed by MR. Taupin)
then you must outcomment the lines:

\input musixtex
%\input musixcpt
%\input musixsty
>\tracingstats=2\relax
\dump

on the other hand, if you use musixcpt, you must use  \relativeaccidental
(the full name!)


>3)

>I had some troubles
>using
>psnfss together with musixtex.sty, but there are not many papers that


I like to share solutions in using postscript fonts in using musixtex with
Tex and Latex

my (amateuristic) method can be seen in the scores of Andre Van Ryckeghem
at                     http://www.gmd.de/Misc/Music/scores/

>
>I have typeset only one page of notes in MusixTeX and the same in PMX
>>and I
>like the output very much. Are there any more programs that can do the
>same? Why are you using MusixTeX and it's preprocessors instead of Final
>Code for example?
>
>Still, I like your project very much and I think it is a very remarkable
>system.


I have no objectif reasons to use musixtex, but i am fascinated by it:

- The produced code is the most beautiful i have seen
- You can manage all exotic and special things in the scores
- You can adapt the layout i.e. to get the music on one page, or in
landscape...
  i am a great fan of this: in choirmusic one has to control the turning of
the pages



Hope this is right  -- Andre

>>
>


From mutex-owner@mail2.gmd.de Fri Apr  2 07:56:48 1999
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From: "avr" <andre.vanryckeghem@kh.khbo.be>
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Subject: Re Letter size ps (last time)
Date: Fri, 2 Apr 1999 09:56:48 +0200
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With the answers of Mr. Icking (tank you) i tried to do some homework

------
0. Put the score in the center of the page

0.1. Printer dependencys, how to manage?
My printer (lj4M) needs margins of minimum 6mm.
Installing 10mm margin will do it.

0.2. Postscript features (based on dvips en gsview)
     - the reference point is lower left on the page
     - if not default use the option:
         DVIPS.EXE -e0 -t letter %1
     or  DVIPS.EXE -e0 -t A4 %1

1. Maximum pagelayout with 10mm margin on the 4 sides

1.0. Preferences

1.0.1 adding a footline: \advance\vsize-12pt  or  \advance\vsize-24pt
      to be changed for different fonts?

1.0.2 adding a "piano bracket": \advance\hoffset 3mm\advance\hsize-3mm
      to be changed for different musicsizes?


1.1. lower the 1 inch default margings to 10mm:
     \hoffset=-15.4mm\voffset=-15.4mm

- A4 : \hsize=210mm\vsize=297mm
- Letter : \hsize=8.5in\vsize=11in or \hsize=216mm\vsize=279mm
- A4 and letter : \hsize=210mm\vsize=11in

1.2. \advance\hsize-20mm\advance\vsize-20mm

1.3. Printing on A4 paper - adding more corrections

- A4 layout ( DVIPS.EXE -e0 -t A4 %1 ): no corrections
- Letter layout ( DVIPS.EXE -t letter %1 ):
      \advance\hoffset=-3mm\advance\voffset=9mm
      (210-216)/2=-3  and  (297-279)/2=9
- A4 and letter ( DVIPS.EXE -t letter %1 ): \advance\voffset=9mm

1.4. Printing on letter paper - adding more corrections

- A4 layout: ?
- Letter layout: no corrections
- A4 and letter (DVIPS.EXE -t letter %1): \advance\voffset=9mm


2. Nice pagelayout

If a score does not fill the whole page, one could use larger margins,
i.e. the default margins of Latex (or Tex?)

propably this will do it (resetting the margings of musixtex):

     \hoffset=0mm\voffset=0mm

----

Hope this is right  -- Andre



From mutex-owner@mail2.gmd.de Fri Apr  2 17:05:48 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: A few questions
Date: Fri, 2 Apr 1999 09:05:48 -0800 
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> Zoran Ovcin [SMTP:ftn_ovcin@uns.ns.ac.yu] wrote
> 
>Pmxa.exe and pmxb.exe, versions I downloaded work very well on my
>computer.
>...They do not get (namely pmxa) inline parameters as
>filenames to be precompiled. I need to make a batch file which can
>precompile (pmxa, then pmxb) and compile (texing with musixtex format,
>...

Yes, it has been discussed recently.  But briefly, in DOS, in most cases the
following syntax works

echo [jobname] | pmxa .

The next release will probably have command line arguments.  I say
"probably" because the subroutine names for this are
compiler-specific...that's why I've not implemented them up to now.  I must
rely on others to deal with the non-DOS versions.  To translate this part of
the code to C or MAC or whatever, I'm afraid they will have to do more than
just push a button.  

> Why are you using MusixTeX 

That's a good question.  I use it because it's the perfect typesetting
engine for my pre-processor: it's robust, it's adaptable, it produces
high-quality output, it's free, and the source code is open for all to see.

--Don Simons

From mutex-owner@mail2.gmd.de Fri Apr  2 19:55:20 1999
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Date: Fri, 02 Apr 1999 21:55:20 +0200
From: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>
Reply-To: ftn_ovcin@uns.ns.ac.yu
Organization: FTN Novi Sad
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Dear friends.

I am very surprised with your quick answers.

I use emtex, 4alltex distribution from 1995, which is very complete. I
also
use a little bit modern (TDS, long file names and so on) MiKTeX. On the
university computer I have Linux with TeTeX, where I still haven't
installed MusixTeX.

Thanks to Andre, I can use pmx in a macro, assigned to a key in my
editor
(tse2). I like the trick 'echo %1 | pmxa' very much.

But I still don't get how \relativeaccid works. Daniel mentioned
\relativeaccids, I guess he was thinking of \relativeaccid. I also do
not
have \sh, \fl, \Sh, \Fl commands that Daniel mentioned. I think that
\relativeaccidentals mentioned by Andre also do not work.

Here I include code which uses \transpose, but I do not get satisfactory
results, which can be seen in the produced PostScript file following the
log file. Usually I use precompiled musixtex.fmt, but I wanted to be
sure
that makefmt makes no problem.

I downloaded T.95 musixtex.tex, but I'll wait for new version of the
remaining files.

Why doesn't it work? musixdoc says nothing more that can help me with
\relativeaccid, maybe the way I use it is wrong. Maybe the trouble is in
fonts?

Zoran

ps Why do I get parentheses in the \title?

vtr.tex
-------------------------------------------------------
\input musixtex
\input musixcpt
\input musixsty
\fulltitle{Transposition}
\author{Dr.\ Zoran}
\title{I get some parentheses here. Why?}
\maketitle
\instrumentnumber{1}
\generalsignature{0}
\nobarnumbers
\startmuflex
\startpiece
\Notes\sk\pause\ibu0{g}{0}\qh0{fhf}\tbu0\qh0{^f}\en\bar
\Notes\ibu0{g}{0}\qb0{gig}\tbu0\qb0{^g}\ibu0{h}{0}\qb0{h^jh}\tbu0\qb0{^h}\en\bar
\Notes\wh{i}\en
\Endpiece
\transpose=-1
\generalsignature{-2}
\relativeaccid
\startpiece
\Notes\sk\pause\ibu0{g}{0}\qh0{fhf}\tbu0\qh0{^f}\en\bar
\Notes\ibu0{g}{0}\qb0{gig}\tbu0\qb0{^g}\ibu0{h}{0}\qb0{h^jh}\tbu0\qb0{^h}\en\bar
\Notes\wh{i}\en
\Endpiece
\endmuflex
\bye
-------------------------------------------------------


vtr.log
-------------------------------------------------------
This is emTeX (tex386), Version 3.14159 [4a] (preloaded format=plain
97.11.11)  2 APR 1999 21:47
**vtr
(vtr.tex (c:/emtex/texinput/musixtex/musixtex.tex
MusiXTeX(c) T.92 <29 November 1998>

------- here I cut not interesting stuff ---------

) (c:/emtex/texinput/musixtex/musixcpt.tex
MusiXComPaTible T.67 <7 January 1997>
\linesinpage=\count104
\barsinline@ori=\count105
\maxbarsinline=\count106
\maxlinesinpage=\count107
\zglueskip=\skip86
\tempsskip=\skip87
\nullthick=\skip88
\Interportee=\dimen114
) (c:/emtex/texinput/musixtex/musixsty.tex
MusiXtextSTYle T.90 <31 August 1998>
\footmarkcount=\count108
) (vtr.mx2) < 1> bar 1 bar 2 bar 3 < 2> bar 1 bar 2 bar 3 [1] )
Output written on vtr.dvi (1 page, 1596 bytes).

-------------------------------------------------------


vtr.ps
-------------------------------------------------------
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-------------------------------------------------------


From mutex-owner@mail2.gmd.de Fri Apr  2 22:24:58 1999
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Message-Id: <C156CDD8944DD211A71F00805FBBE42821D45E@XCGCA043>
From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: transposition
Date: Fri, 2 Apr 1999 14:24:58 -0800 
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> Zoran Ovcin [SMTP:ftn_ovcin@uns.ns.ac.yu] wrote
> 
>I still don't get how \relativeaccid works. 

"\relativeaccid" changes the meaning of \sh, \fl, and \na .  For example for
\sh, with absolute accidentals, it means "put in a sharp symbol"  With
relative accidentals, it means "put in whatever symbol is needed to raise
the pitch of this note 1/2 step from what it would be if I had not done
anything."  Obviously the second way is more general and could lead to
either a sharp or a natural symbol depending on the note and the key
signature.

>I also do not have \sh, \fl, \Sh, \Fl commands that Daniel mentioned. 

???  I just looked at their definitions in my copy of musixtex.tex (0.95).
Are you sure you have up-to-date files?  Are you sure your TeX setup is
accessing the most up-to-date musixtex.tex?  

There is another reason I think your files may not be up to date:  Your
treble (G) clefs appear too low when I process your tex file.  At some point
in history the font files and MusiXTeX code were revised to use different
reference levels, and the fact that yours are coming out too low on my
screen has to be related to that.

Other points:

There is no reason I can think of for you to use musixcpt.tex . AFAIK, this
is only useful if you are trying to use sources that you developed under
MusicTeX, the predecessor to MusiXTeX.  Maybe this has something to do with
the wrong levels for the clefs.  

There is usually no reason to send  postscript files (or dvi's either) to
the mailing list.  Usually the .tex, .mtx, or .pmx is enough.  Everyone who
can answer any of your questions has working versions of the software handy
and can quickly generate a .dvi himself.

--Don Simons

From mutex-owner@mail2.gmd.de Sat Apr  3 10:34:53 1999
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From: taupin <taupin@lps.u-psud.fr>
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To: "Simons, Don" <DSimons@logicon.com>, mutex list <mutex@gmd.de>
Subject: Re: transposition
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Simons, Don wrote:
>=20

> Other points:
>=20
> There is no reason I can think of for you to use musixcpt.tex . AFAIK, =
this
> is only useful if you are trying to use sources that you developed unde=
r
> MusicTeX, the predecessor to MusiXTeX.  Maybe this has something to do =
with
> the wrong levels for the clefs.

Nope! Wrong levels are definitely due to incoherent release leves of
fonts vs. musixtex.
Nothing to see with musiCtex.
>=20


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sat Apr  3 07:35:07 1999
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	Sat, 3 Apr 1999 01:35:07 -0600 (CST)
Date: Sat, 3 Apr 1999 01:35:07 -0600 (CST)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
Subject: Re: Combining batches together
To: mutex@gmd.de
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On Wed, 31 Mar 1999, Pantelis Andreou wrote:

> hello everyone,
> I finally, with a little help from my friends (that is you people)
> got mtx, pmx and miktex to work together in my operating system which is
> Windows NT.  The problem I have is that process of getting a postscript
> file is quite complex. 
> First mtx will run only if you are in the mtx directory, but at least your
> file can be at any other directory.
> Second pmx will run only if you are in the pmx directory and unless the  
> pmx file is in the pmx directory the pmxb command will not work. Then,
> unless I move the file to where I keep musixflx.exe
> musixflx will not work. Of course I can move musixflx.exe into the pmx
> directory but that is a temporary solution.  
> It would be prefered if one could run the whole process from any
> directory. Does anyone have a solution?

With MiKTeX you can just put pmxa.exe, pmxb.exe, and prepmx.exe into 
<drive where you installed MiKTeX>:\texmf\miktex\bin and it should work. 

Alternatively, if you have a local TeXMF tree, you can put those .exe's 
into <local TexMF tree root>\texmf\miktex\bin, and that's preferable from 
the point of view of keeping addons like PMX and M-Tx separate from the 
MiKTeX distribution, but then you have to make sure to add <local TeXMF 
tree root>\texmf\miktex\bin; to the SET PATH= statement in autoexec.bat.

I keep a batch file, Mtx.bat,

prepmx %1
echo %1 | pmxa
pmxb
call musixtex %1

along with the supplied musixtex.bat in the same directory as those three 
.exe's. Then I can just type mtx <file> to run the whole process.

Jerome S. and Jeannette E. H. Colburn
jscolbur@prairienet.org



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Date: Sat, 03 Apr 1999 16:35:23 +0200
From: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>
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Organization: FTN Novi Sad
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Transposition does not turn beams, stems, ties and slurs down when notes
are too high, or reversely. I am not a MusixTeXpert, maybe I do not use
the best way of coding notes. Is there an automatic coding of beams,
that decides where to turn beams? 

I also thought of coding those lines in PMX, it also has transposition
capabilities, but unfortunately, only the whole score, not just few
lines in few different keys.

Namely, I need to code one line with six different transposition values.
What do you suggest?

Zoran


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Thank you all very much.

I erased all pk fonts, put \relativeaccidentals instead of
\relativeaccid
and it worked. I also installed MusixTeX in texmf structure of my MiKTeX
installation and I got the same. I had some doubts whether it is well
coded, but it seems ok.

Still I have parenthesis after \title text in the bottom of the page,
both
in emTeX and MiKTeX, does anybody know why? Andre said he hadn't had
them,
but I have them both in MiKTeX and emTeX. Maybe something from early
installations of MusixTeX and MusicTeX has left which caused the
trouble.

I will not send .ps files any more to the mailing list.

Have a nice MusixTeXing.

Zoran



From mutex-owner@mail2.gmd.de Sat Apr  3 22:12:01 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <mutex@gmd.de>
Subject: Re: Transposition works (How to Override \outmorceau)
Date: Sat, 3 Apr 1999 17:12:01 -0500
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Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu> wrote:

>Still I have parenthesis after \title text in the bottom of the page,
>both
>in emTeX and MiKTeX, does anybody know why? Andre said he hadn't had
>them,
>but I have them both in MiKTeX and emTeX. Maybe something from early
>installations of MusixTeX and MusicTeX has left which caused the
>trouble.
>


Greetings!

The empty parentheses at the bottom the typset page are caused by the
particular
output routine that comes in the distribution package of MusixTex.

Fortunately it is easy to get rid of them (an other extra stuff at the
bottom) by
simply overriding the predefined output routine at run time.  (This could
also be
done by just changing the definition of "\outmorceau" in the distribution
package, but
that is up to you... )

I create a separate file called "outnorm.tex" which I keep in my "TEXINPUTS"
directory (I am using EmTex)...

%-------- start outnorm.tex ----------------
%
\def\footnoterule{}%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
% Alternate output routine
\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}}%
 \global\advance\count0 by 1\relax
 \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
\output{\outmorceau}%
%
% ---------- end outnorm.tex -------------

If you compare the above routine with the definition of "\outmorceau" that
comes in the distribution, you can see that the extra () and rules at the
bottom
of the page come from the \shortauthor() things, that I have removed (among
other things...)

Now, in various input code, such as MTx, all one has to do is ...
------- start excerpt.....
Title: Austrian Hymn
Composer: Haydn
Meter: 4/4
Flats: 3
Bars/Line: 4
BCSolo: Voices S; Clefs F;
Style: BCSolo

%%\\input outnorm\      <---- Here is where the insertion takes place (for
example)
%%\\relativeaccid\
%%\\advance\hoffset25pt\
S: e4d f8 g4 f | a g f8 d e4 | c+ b a g | f g8 e b2+ |

S: e4d- f8 g4 f | a g f8 d e4 | c+ b a g | f g8 e b2+ |

S: f4 g f8 d b4 | a4+ g4 f8 d b4 |

S: b4+ a g4d g8 | as4d a8 b2 |

S: e4d d8 c4 b4 | c4d b8 b8 a g4 |

S: f4 g8 a b c a f | e4 g8 f e2 ||

---------- end excerpt....

Naturally, in straight MusixTex... all you need to say is

\input outnorm  % <-- near the beginning, after "\input musixtex"

This has always worked well for me.

Joel Hunsberger
jhunsberger@i2k.com


From mutex-owner@mail2.gmd.de Sun Apr  4 10:22:58 1999
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Subject: Re: Transposition works (How to Override \outmorceau)
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Hunsbergers wrote:
>=20
> Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu> wrote:
>=20
> >Still I have parenthesis after \title text in the bottom of the page,
> >both
> >in emTeX and MiKTeX, does anybody know why? Andre said he hadn't had
> >them,
> >but I have them both in MiKTeX and emTeX. Maybe something from early
> >installations of MusixTeX and MusicTeX has left which caused the
> >trouble.
> >
>=20
> Greetings!
>=20
> The empty parentheses at the bottom the typset page are caused by the
> particular
> output routine that comes in the distribution package of MusixTex.
>=20
> Fortunately it is easy to get rid of them (an other extra stuff at the
> bottom) by
> simply overriding the predefined output routine at run time.  (This cou=
ld
> also be
> done by just changing the definition of "\outmorceau" in the distributi=
on
> package, but
> that is up to you... )

All these things do not come from musixtex.tex, but from musixsty.tex
>=20


------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sun Apr  4 12:58:57 1999
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parenthesis in title

When I use \input outnorm with the outnorm file that Joel has sent, I
get no title and page number in the bottom at all.

Maybe, we don't need to hurry, Daniel will solve this trouble in the
next version of musixtex system, he already has musixtex.tex version
T.95.

Still I think that there should be some way of coding notes slurs and
ties in MusixTeX that should decide where to turn them automatically.

In fact, a precompiler is the one who decides where to turn them, and
PMX does that very well. My problem of excersises in transposition
should be solved by PMX. But then it should have capability of
transposing a piece of a score, not the whole score. Then, in
transposition PMX does not make \relativeaccidentals and \transpose
commands that resolve sharp+flat=normal and similar occurances.

MusixTeX is a very good engine, maybe it has too many commands that do
the same thing, but if we get rid of them, we'll have troubles with
already written scores. Could some very old commands be eliminated, and
can we have a list of mostly used commands that will be in future left
in MusixTeX? Will in the future be released a new version of MusixTeX
that is going to have many changes?


Zoran


From mutex-owner@mail2.gmd.de Sun Apr  4 15:47:27 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: musixsty.tex question (was RE: Transposition works (How to Overri
	de \outmorceau))
Date: Sun, 4 Apr 1999 08:47:27 -0700 
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Please pardon my ignorance, but...

With PMX, I've produced hundreds of pages of printed music without
(knowingly) using musixsty.tex or even knowing what it does.  Am I missing
out on something wonderful?  Can someone educate me? 

--Don Simons

-----Original Message-----
From: Hunsbergers
To: mutex@gmd.de
Sent: 4/3/99 2:12 PM
Subject: Re: Transposition works (How to Override \outmorceau)


Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu> wrote:

>Still I have parenthesis after \title text in the bottom of the page,
>both
>in emTeX and MiKTeX, does anybody know why? Andre said he hadn't had
>them,
>but I have them both in MiKTeX and emTeX. Maybe something from early
>installations of MusixTeX and MusicTeX has left which caused the
>trouble.
>


Greetings!

The empty parentheses at the bottom the typset page are caused by the
particular
output routine that comes in the distribution package of MusixTex.

Fortunately it is easy to get rid of them (an other extra stuff at the
bottom) by
simply overriding the predefined output routine at run time.  (This
could
also be
done by just changing the definition of "\outmorceau" in the
distribution
package, but
that is up to you... )

I create a separate file called "outnorm.tex" which I keep in my
"TEXINPUTS"
directory (I am using EmTex)...

%-------- start outnorm.tex ----------------
%
\def\footnoterule{}%
\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
% Alternate output routine
\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}}%
 \global\advance\count0 by 1\relax
 \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
\output{\outmorceau}%
%
% ---------- end outnorm.tex -------------

If you compare the above routine with the definition of "\outmorceau"
that
comes in the distribution, you can see that the extra () and rules at
the
bottom
of the page come from the \shortauthor() things, that I have removed
(among
other things...)

Now, in various input code, such as MTx, all one has to do is ...
------- start excerpt.....
Title: Austrian Hymn
Composer: Haydn
Meter: 4/4
Flats: 3
Bars/Line: 4
BCSolo: Voices S; Clefs F;
Style: BCSolo

%%\\input outnorm\      <---- Here is where the insertion takes place
(for
example)
%%\\relativeaccid\
%%\\advance\hoffset25pt\
S: e4d f8 g4 f | a g f8 d e4 | c+ b a g | f g8 e b2+ |

S: e4d- f8 g4 f | a g f8 d e4 | c+ b a g | f g8 e b2+ |

S: f4 g f8 d b4 | a4+ g4 f8 d b4 |

S: b4+ a g4d g8 | as4d a8 b2 |

S: e4d d8 c4 b4 | c4d b8 b8 a g4 |

S: f4 g8 a b c a f | e4 g8 f e2 ||

---------- end excerpt....

Naturally, in straight MusixTex... all you need to say is

\input outnorm  % <-- near the beginning, after "\input musixtex"

This has always worked well for me.

Joel Hunsberger
jhunsberger@i2k.com

From mutex-owner@mail2.gmd.de Sun Apr  4 20:11:45 1999
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From: "Simons, Don" <DSimons@logicon.com>
Reply-To: ftn_ovcin@uns.ns.ac.yu
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: transposition in PMX (was RE: parenthesis in \title)
Date: Sun, 4 Apr 1999 13:11:45 -0700 
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Zoran Ovcin wrote
>...My problem of excersises in transposition
>should be solved by PMX. But then it should have capability of
>transposing a piece of a score, not the whole score. 

This is a valid request.  Unfortunately, it is not a feature that I can ever
imagine using myself.  As others know well, the priority of request for a
new feature depends heavily on how useful the PMX developer (i.e., me) finds
it.  I'll put it on the To-do list, and with luck I will get to it sometime
before 2010.

>...in
>transposition PMX does not make \relativeaccidentals and \transpose
>commands that resolve sharp+flat=normal and similar occurances.

I think you are wrong about that.

There have been many times in the past when people have questioned the
handling of transposition and relative-vs-absolute accidentals both in
MusiXTeX and (by direct extension) in PMX.  The current implementations have
been thoroughly scrubbed, have passed all the tests of time, and are
unlikely to change.  Most apparent "problems" are due to misunderstanding
the use of relative accidentals.

A user must decide at the very beginning, once and for all, whether he wants
to use relative or absolute accidentals in a particular score.  If he ever
wants to transpose, he MUST use relative accidentals.  In PMX, the command
is Ar .  After entering that command, he must use relative accidental coding
even if he doesn't want to transpose.   That means, for example, if he's in
the key of F major, with one flat in the key signature, then every time he
wants a b-natural he must enter b-sharp ("bs" in PMX).  If he wants to
"re-flat" a previously "naturaled" b, he must enter b-natural ("bn" in PMX).

--Don Simons


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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <ftn_ovcin@uns.ns.ac.yu>, <mutex@gmd.de>
Subject: Re: parenthesis in \title (Help for modifying \outmorceau)
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Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu> wrote:


>parenthesis in title
>
>When I use \input outnorm with the outnorm file that Joel has sent, I
>get no title and page number in the bottom at all.
>


Zoran:

Please excuse my hurried response yesterday.  Yes, the "outnorm.tex" file I
posted DOES remove almost everything at the bottom whem it ships the page.
However, you can start again from the original source, which is found in
"musixsty.tex" (Thank you, Daniel!), and modify it for your own preferences.
For those on the list who are not familiar with the TeX language (and don't
have the TeX Book, by Donald Knuth), here are some "equally hurried" hints
about this modification process...  (Please forgive any omissions in
advance...)

Consider the following segment of code, some of which is based on what
currently appears in the musixsty.tex file, and suppose you want to modify
it to make a different output routine...

I have numbered the lines to simply the discussion that follows.

1: \def\footnoterule{}%
2: \edef\catcodeat{\the\catcode`\@}\catcode`\@=11
3: \def\outmorceau{\shipout\vbox{%
4: \vbox to \vsize{\vss\pagecontents\vss}\line{%
5: \ifodd\pageno\sl \titremorceau\ (\s@hortauthor)
6: \ifcopyright\rm$\copyright$\fi\hss \number\pageno
7: \else\rm\number\pageno\hss\sl \titremorceau\ (\s@hortauthor)
8: \ifcopyright\rm$\copyright$\fi\fi}}%
9:  \global\advance\count0 by 1\relax
10: \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
11: \output{\outmorceau}%
12: \catcode`\@=\catcodeat
%


Line 1, as shown above is NOT from the code in musixsty.tex.  It causes the
footnoterule to be defined as "nothing."  This means that when the macro
"\footnoterule" is "expanded" (in TeX terminology) it yields NOTHING....
Now, if you want it to yield something, you just provide a replacement text
inside the {} brackets.  However, let's move on...

Line 2 is a step that allows the following code to use the @ character as
one of the normal text characters (Characters with catcode 11).  The first p
art captures the current catcode of the @ character by defining \catcodeat
to be "The current value of (\the) \catecode`\@".  Then the catcode of the @
character is set directly to "catcode 11"... that of normal text characters.

Notice that the @ appears later, such as in line 5 in the appearance of
\s@hortauthor.... This is a convention used in typical TeX Macro Design so
users don't stumble too easily into the definitions of previously existing
macros when they design their own.  Since it is set up so that @ is NOT
treated as a normal text character, then, for example, a user cannot
unknowlingly write a definition of \s@hortauthor and overwrite the old one.

The step taken to set the catcode of the @ character to normal text can be
seen in most of the macro packages for TeX.  This brings up an interesting
omission in my "outnorm.tex" code sent in the last package... Notice that
the catcode of @ is never set back to what it was before... This is an
oversight, with the only consequence that all my coding thereafter COULD use
the @ character in a definition, if I should happen to do so.

The way to turn the protection back on is just to state:

  \catcode`\@=\catcodeat

at the last line of your adjusted definitions, as I have shown in line 12
above.

The definition of \outmorceau begins in line 3 and ends at the last } of
line 10.

It is easier to understand this macro if we take it out of the compressed
context above and make it look more like traditional programming code.
(Bear in mind that this is not always advisable since you need the % at the
end of various lines to remove the unwanted affects of line endings in
unexpected places.  Sometimes the line ending makes white space you don't
want.)

\def\outmorceau{%  Start the definition...
 \shipout\vbox{%  Shipout a Vertical BOX (say) "A"... containing...
 % It turns out that vertical BOX "A" contains TWO vertical boxes...
 % The FIRST is a vbox that contains our typset page (\pagecontents), and
 % a special vbox limited to a single line, where \line is a predefined
 % way to say just that...
   \vbox to \vsize{\vss\pagecontents\vss}%  Our music!!
   \line{%  This vbox is the stuff at the bottom of the page...
     % Check the page number for ODD or EVEN (what else?..)
     \ifodd\pageno% If the page number is ODD, then do this
           \sl \titremorceau\ (\s@hortauthor)
           \ifcopyright\rm$\copyright$\fi\hss \number\pageno
     \else%  If the page number is EVEN (what else could it be?)
         % then do this... (reverses the position of page number and
         % author information...
           \rm\number\pageno\hss\sl \titremorceau\ (\s@hortauthor)
           \ifcopyright\rm$\copyright$\fi
     \fi}% The END of the block testing page number
 }% The END of Vertical BOX "A"
 % VBOX "A" has been shipped out, so this is house cleaning...
 \global\advance\count0 by 1\relax % I would bet this is the Page Number...
 % The following is a part of TeX I am no expert on,
 % but, it has to do with forcing a New Page, but NOT if the accumulated
 % \outputpenalty is greater than -2000... My guess is that we get a new
 % page almost all the time... :-)  Another day, another project...
 \ifnum\outputpenalty>-20000 \else\dosupereject\fi%
}%  End the definition of \outmorceau

Well, by now you should at least spot where the extra parentheses are coming
from...  If one does not define \s@hortauthor to be anything, or leaves it
nothing... then the text (\s@hortauthor) expands simply to ().

One way to get rid of the () is simply to remove them from both instances in
the above definition (see musixsty.tex).

But first, notice line 11 in the lines above...

  \output{\outmorceau}

This causes the current definition of \outmorceau to be used as the output
routine.  You could either change the first definition of \outmorceau (as it
appears in musixsty.tex and rebuild using initex if needed), OR 2) you could
redefine \outmorceau to do what you want (and the second definition be the
only one available when \output is called), or 3) you could write some macro
with an entirely different name and assign that as the \output routine...

  \output{\mynewroutine}

I selected Option 2 because I did not like the idea of changing the
distribtuion files, and also because I could copy and alter more easily than
I could think up my own routine. :-)  The problem is that my preference (in
the code I submitted in the last mail) is to cut out everything at the
bottom, just as you observed.

However, you can probably adapt \outmorceau to do exactly what you want!

I hope this helps you break the "TeX Barrier" a little bit... Don't give up!

Joel Hunsberger
jhunsberger@i2k.com



From mutex-owner@mail2.gmd.de Mon Apr  5 12:21:23 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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To: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>
Cc: mutex@gmd.de
Subject: Re: A few questions
In-Reply-To: <37040558.1E@uns.ns.ac.yu>
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the musix.bat file I created from mtx faq's works well in WinNT operating
system. It starts with the *.mtx file and gives out the *.ps file.
Regards,
Pantelis


@echo off
rem File musix.bat

prepmx %1 %2 %3 %4 %5 %6 %7 %8 %9
if errorlevel 1 then goto exit
echo %1 | pmxa
if errorlevel 1 then goto exit
pmxb
del %1.mx?
tex %1
if errorlevel 1 then goto exit
musixflx %1
tex %1
dvips -e0 -tletter %1
:exit 


From mutex-owner@mail2.gmd.de Tue Apr  6 10:42:03 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <ftn_ovcin@uns.ns.ac.yu>
Cc: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: MusiXTex in perspective.  (Was parenthesis in \title )
Date: Tue, 6 Apr 1999 06:42:03 -0400
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Greetings, Zoran.

On Monday (in private e-mail), you wrote:

>... Still I think that macros are in a sense
>incompatibility with the language. And I like my source to be readable,
>so I try to avoid macros and sometimes use long and complicating
>sentences. Early versions of SciWord could not accept LaTeX macros. It
>would be very nice if there were some precompilers that could make pure
>LaTeX source from source with macros.
>


The TeX language falls (roughly) into a category of langauages called
"extensible."  This means that they are designed to be "extended," by
constructing "higher level" structures by utilizing the more primitive
"building blocks."  (Examples of other extensible languages include Lisp and
Forth, etc.)

This means that the language tends to be very primitive if you use it at the
most primitive level.  As it is, Donald Knuth designed TeX to support just
what you see today... the development of many different and varied "macro
packages" atop the basic language.  (He was also very adamant about
preserving the characteristics of the foundational TeX language... We can
thank him for holding the line against some efforts to revise TeX itself.)
The desired process is much like the way that we build words from
characters, or speech from phonemes.  The overall result is an optimization
of the expression process, although we come to that point gradually... (E.g.
Most of us do not think of the individual letters when we write a word, or
the separate set of phonemes when we utter a spoken sentence, although a
very young child must pass through that stage.)

Not long after the first TeX came out, Leslie Lamport (et. al.) developed
the "LaTeX" macro package.in order to specify simpler formats for many of
the common activities required for Document Typesetting.  The fact that
LaTeX has been enormously successful, to the point that many do not
recognize that it is simply a Macro Package atop TeX, is a testament to the
relative soundness of the design concept realized by Knuth.  (LaTeX even got
it's own published book! :-)

As it is, MusixTex (and the associated MusicTex... another story...) are
Macro Packages, much like Latex, but achieving a different purpose.  These
packages are based on concepts introduced in an early macro package called
MuTex, which is so very much more difficult to use to typeset music, because
it is so much closer to the foundational "TeX" language.  (You can still
find MuTeX in the archives, if you really want to write music at a level
very close to TeX. :-)

The fact that one can load LaTeX, and then also load and run MusixTex, is a
fortunate (but sometimes limited) outcome of the fact that these two
packages achieve different design goals, and hence, tend to say out of each
other's way.  (The limitiations come from the number of internal registers
demanded by each package.)  If you do not need the document style properties
offered by LaTeX, it is usually best to just run MusixTex alone atop TeX, at
least it is (today) a few milliseconds more efficient.

So, :-)... Be careful what you dream for...  Typesetting music in the
"purest ?" form, using TeX would be neither simpler nor readable.
Nonetheless, learning something about the TeX language can be beneficial,
but only 1) to appreciate the immense amount of work done by those who have
given us these packages, and 2) to better manipulate the higher level
language when we (sometimes) don't achieve what we thought we would.

Consider this... Given that you have expressed a simple song using MTeX
symbols...

Mtx is processed to PMX code....
   which is processed in TWO steps to MusixTex code....
        which is processed in Three Steps (involving internal expansion to
raw Tex) to...
            Device Independent code (the .DVI file)....
                which is processed either to raw printer commands, or
PostScript (or other...),
                    so that we can, via the printed page, communicate a
musical thought to someone.

(By the way, when I send this message, it will be translated into a long
sequence of sound patterns (a langauge) recognized by my modem, and all the
modems along the way.  I (for one) am glad that I don't have to write my
message in that language!!)

If you want to see what the raw TeX code looks like (when you process your
file...), put the command

  \tracingall

into your file where you want to see it.  Then look at the Log file when it
completes.  That will give you an idea what it would be like to typeset
music without using Macros.

I hope this has been informative.

Joel Hunsberger
jhunsberger@i2k.com


From mutex-owner@mail2.gmd.de Wed Apr  7 09:01:12 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199904070901.LAA30922@calvyn.puk.ac.za>
Subject: Re: musixsty.tex question 
To: DSimons@logicon.com (Simons, Don)
Date: Wed, 7 Apr 1999 11:01:12 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <C156CDD8944DD211A71F00805FBBE42821D464@XCGCA043> from "Simons, Don" at Apr 4, 99 08:47:27 am
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Simons, Don wrote:
> 
> Please pardon my ignorance, but...
> 
> With PMX, I've produced hundreds of pages of printed music without
> (knowingly) using musixsty.tex or even knowing what it does.  Am I missing
> out on something wonderful?  Can someone educate me? 
> 
musixsty.tex is the macro package that supports the MusiXTeX manual.
It contains features like putting snippets of music in between text,
making an index, and book-like layout.  

Dirk

From mutex-owner@mail2.gmd.de Wed Apr  7 09:15:32 1999
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Subject: Re: psnfss fonts (was: A few questions)
To: ftn_ovcin@uns.ns.ac.yu
Date: Wed, 7 Apr 1999 11:15:32 +0200 (SAT)
Cc: mutex@gmd.de, zoran@imft.ftn.ac.yu
In-Reply-To: <37040558.1E@uns.ns.ac.yu> from "Zoran Ovcin" at Apr 2, 99 01:46:32 am
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Zoran Ovcin wrote:
> 
> 3)
> 
> I am LaTeX fan and I like typesetting in LaTeX. All my mathematic papers
> and
> a few books are typeset in LaTeX. Now LaTeX, using psnfss, can use more
> fonts, not only (a little bit boring) CM fonts. I had some troubles
> using
> psnfss together with musixtex.sty, but there are not many papers that
> have
> to use both mathematical formulas and notes at the same moment. I am
> still
> fond of speed in typesetting mathematical text in LaTeX. There are
> compatibility, the beauty of text and many more reasons to use LaTeX in
> mathematics.
>
I had the same problems -- basically, psnfss on top of musixtex.sty on
top of LaTeX is too big.  I solved them by picking out only the bits of
musixtex.sty that I use -- see the file "mtxdoc.sty" in the M-Tx package.
Then e.g. \usepackage{palatino} can be used.  

Dirk 

From mutex-owner@mail2.gmd.de Wed Apr 14 14:54:10 1999
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Date: Wed, 14 Apr 1999 16:54:10 +0200
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: PMX. Instrument number change.
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Dear musixtex's users,

here is a fragment of MTX code for Vivaldi's cantatas 'Cessate, omai
cessate', RV648 for Alto and strings (violin 1 and 2, viola, bass), that I
want to upload in Werner Icking's archive. I need your help for the
following questions.

1) The score request 5 staves, but in the second movement (Larghetto)
violin 1 and 2 plays on unison and are on only one staff.

Is there a way to reduce voices number (that is, staves for system) from 5
to 4 in the second movement and to come back to 5 in third movement? I've
try to use this PMX command:

%%L4P2Mi.1r+n41245batt

But dosen't work. Where is my error?

2) The violin part has only one voice, bat in 'Larghetto' (here in the
fragment) at bar 3 and 4 there is a second voice (see PMX file, bars 3 and
4, violin 2). I've add this voice in PMX file for the moment.
Is there a way to put the two bar of this second voice in MTX file without
to use another voice from the beginning to the end of piece?

Thanks.

Those are the code. The frist is MTX code With 4 staves for system in
second movement that dosen't works; the second is PMX code (with 5 staves
for system in second movement too, that works well)

%%%%%%%%%%%%%%%%% MTX code (that dosen't work)

Title: Cessate, omai cessate
Composer: Antonio Vivaldi (1678--1741)
%% \font\names = cmr10
Style: Singer Quartet
Singer: Voices A; Vocal; Clefs G
Quartet: Voices V1 V2 Va B; Group; Clefs G G C F
Size: 16
Flats: 3
Meter: C
Space: 2
%Bars/Line: 4
Pages: 3
Systems: 9
Indent: 0.1
%% \font\testo=\fontid r9
%% \testo
Name: {\it{Contralto}} {\it{Violino~I}} {\it{Violino~II}} {\it{Viola}}
{\it{Basso}}

%% \def\writebarno{\ifnum\barno>1\lrlap{\tenrm\the\barno\barnoadd}\fi}%
% \def\raisebarno{2\internote}%
%% \def\shiftbarno{4\Interligne}

{recA}
Ces-sa-te, o-mai ces-sa-te,
ri-mem-bran-ze cru-de-li
d'un af-fet-to ti-ran-no;
gi\`a

{AriaAA}
mar, ah, sem-pre pi\`u spie-ta-ta,
ah, sem-pre pi\`u spie-mar

{AriaAB}
Per me non v'\`e, no,
non v'\`e ri-sto-ro,
per me non v'\`e, no,
non v'\`e pi\`u spe-ne.
E_il fier mar-to-ro
e le mie pe-ne,
e_il fier mar-to-ro
e le mie pe-ne,

%%h-2
%%Largo e sciolto
%%h270m
%Recitativo I 1-3
rp | rp | rp | 
b8.b a.a g4 r8 r3 b c d | e8d e1 df8d d1 c4 r8 r3 c d oen e oen | f8.f e.e
d4 r |
g8.g f.f e4 r | b+8.b b.b a4 r | c8.c c.c b4 r | 
b8.b d.d b4 r | g+8.g g.g e4 r | an8.a a.a f4 r | 
e8 r b 7 r e-4 r | e+8 r e- -7 r a4 r | f+8 n3 r f- 75 r b4 r | 

%4-6
@2 rp | rp | r2 r4d r1 b | 
L: {recA}
U: @v p ~ ~ @-2 f
a+2 g | f g1 o.: g e e o: b b g g | e1.e+ e.g- f8d oT0 e1 e1.e+ e.g- f8d
oT0 e1 | 
U: @v p ~ ~ @-3 f
f+2 e | d e1 o.: e b b o: g g e e | b1.b+ b.e- d8d oT0 e1 e1.b+ b.e- d8d
oT0 e1 | 
U: @v p ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ @-2 f
b-8 b b b b b b b | b b b b b+1 o.: b g g o: e e b b | g8 g b b g g b b | 
U: @v ~ ~ @-4 f
rp | r2 e1 e e e e e e e | e8 e b b e- e b+ b | 

%7-8
g8 g r1 g a b e-8 e r4 | b+8 b b a1 b c8 c r4 |
U: ~ ~ f
e4 r b+ r | r2 c4 r |
U: ~ ~ f
e4 r g r | r2 a4 r |
U: ~ ~ f
g4 r e+ r | r2 e4 r |
U: ~ ~ f
e4 r e r | r2 a-4 r |

%9
c8 b a a1 g f8 f r e |
r2 d4 e |
r2 f+4 g |
r2 b+4 b |
r2 b4 e- |

%Aria I 1-2
%%h-2
%%Larghetto
%%L4P2Mi.1r+n41245batt
m4406 rp | rp |
m4406 \zcharnote s{\it Violino I e II unisoni. Tutti pizzicati, uno con
l'arco}\ g-1 g+ b g g- g+ b g- f f+ a f f- f+ a f- | e e+ g c- e- c+ g+ e-
d fs a c fs a f c |
%m4406 g-1 g+ b g g- g+ b g- f f+ a f f- f+ a f- | e e+ g c- e- c+ g+ e- d
fs a c fs a f c |
m4406 \zcharnote j{\it Pizzicate}\ b-8 b b b a a a a | g g g g a a a d |
m4406 K+0-2 \zcharnote d{\it Violoncello con arco. Violone pizzicato}\ g+8
g g g f f f f | e e e e d # d d d |

%22
g4 r bn8 b1 b b8 b |
L: {AriaAA}
g-4 r \zcharnote r{\it ~~Con l'arco}\ [u b+n1.b b.b ] [u b.b b.b ] |
%g-4 r \zcharnote r{\it ~~Con l'arco}\ [u b+n1.b b.b ] [u b.b b.b ] |
g-4 r \zcharnote j{\it ~~Con l'arco}\ d+8 d d d |
g-4 r \zcharnote d{\it ~~Con l'arco}\ f+8 6n4 f f f |

%23
[ c1 b3n c ] c-8 r4 c+s8 c1 c c8 c |
c8 c- r4 [u c+s1.c c.c ] [u c.c c.c ] |
%c8 c- r4 [u c+s1.c c.c ] [u c.c c.c ] |
g-8 g r4 e+n8 e e e |
e8 c r4 g+8 6#4 g g g |

%26
g4 r r2 |
\zcharnote r{\it Tutti pizzicati. Uno con l'arco}\ [l+14-10 g-1 g++ b g ]
[l+11-7 b-- g++ b g ] [l+11-7 c-- g++ b g ] [l+10-7 d- f+s a f ] |
%[l+14-10 g-1 g++ b g ] [l+11-7 b-- g++ b g ] [l+11-7 c-- g++ b g ] [l+10-7
d- f+s a f ] |
\zcharnote j{\it ~~~Pizzicate}\ g-8 g b b c c d d |
\zcharnote d{\it ~~~Vc con arco. Violone pizz.}\ g-8 g b b c c d d |

%27
rp |
[l+13-8 g--1 g++ b g ] [l+11-7 b-- g++ b g ] [l+11-7 c-- g++ b g ] [l+10-7
d- f+s a f ] |
%[l+13-8 g--1 g++ b g ] [l+11-7 b-- g++ b g ] [l+11-7 c-- g++ b g ] [l+10-7
d- f+s a f ] |
g-8 g b b c c d d |
g-8 g b b c c d d |

%28
mo400 r4 of ||
L:
mo400 g4 of ||
%mo400 g4 of ||
mo400 g-4 of ||
mo400 g-4 of ||

%29-36
%%h-2
%%Andante molto
%%L7P3Mi.1cr+
m3803 g8 g af | g c r | f- f g | [ e1 d ] c8 r | g+ g af | g c r | f- f g |
[ e1 d ] c8 r |
L: {AriaAB}
U: @v p
m3803 g-8 g af | g c r | f- f g | e c r | g+ g af | g c r | f- f g | e c r |
U: @v p 
m3803 e-8 e f | e e r | d d bn | g g r | e+ e f | e e r | d d bn | g g r |
U: @v @-2 p 
m3803 c8 c c | c c r | c bn g | c- c r | c+8 c c | c c r | c bn g | c- c r |
m3803 rp | rp | rp | r8 c+ c- | rp | rp | rp | r8 c+ c- |

%37-40
g+8 g g | [ c1 af ] Gsg f4 oT0 | f8 f f | [ b1 g ] Gsf e4 oT0 |
g++8 g g | af a a | a oef a a | g g g |
e++8 e e | e e e | d d d | d d d |
c++8 c e- | f f f | b b d- | e e e |
rp | rp | rp | rp |

%41-44
e8 e e | [ af1 f ] Gse d4 oT0 | d8 d d | [ g1 e ] Gsd c4 oT0 |
g g g | f f f | f f f | e e e |
c c c | c c c | bn b b | c c c |
af a c- | d d d | g g b-n | c c c |
rp | rp | rp | rp |


%%%%%%%%%%%%% PMX code (with 5 staves in Larghetto)

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
 \font\names = cmr10
 \font\testo=\fontid r9
 \testo
 \def\writebarno{\ifnum\barno>1\lrlap{\tenrm\the\barno\barnoadd}\fi}%
 \def\shiftbarno{4\Interligne}
\input musixlyr\:\enableauxlyrics
% Paragraph 3 line 23 bar 1
\setlyrics{recA}{%
Ces-sa-te, o-mai ces-sa-te, %
ri-mem-bran-ze cru-de-li %
d'un af-fet-to ti-ran-no; %
gi\`a }
% Paragraph 4 line 29 bar 1
\setlyrics{AriaAA}{%
mar, ah, sem-pre pi\`u spie-ta-ta, %
ah, sem-pre pi\`u spie-mar}
% Paragraph 5 line 33 bar 1
\setlyrics{AriaAB}{%
Per me non v'\`e, no, %
non v'\`e ri-sto-ro, %
per me non v'\`e, no, %
non v'\`e pi\`u spe-ne. %
E\lyrlink il fier mar-to-ro %
e le mie pe-ne, %
e\lyrlink il fier mar-to-ro %
e le mie pe-ne,}
---
5 5 4 4 0 6  0.00000 -3 3 9 16 0.1
{\twelvebf{{\it{Basso}}}}
{\twelvebf{{\it{Viola}}}}
{\twelvebf{{\it{Violino~II}}}}
{\twelvebf{{\it{Violino~I}}}}
{\twelvebf{{\it{Contralto}}}}
63000
./
\\setinterinstrument4{2\Interligne}\
\\grouptop14\groupbottom11\
\\setsize5{\normalvalue}\
Tt
Cessate, omai cessate
Tc
Antonio Vivaldi (1678--1741)
% Paragraph 6 line 43 bar 1
h-2
Largo e sciolto
h270m
e83 r8 b8 7 r8 e4- r4 | /
b83d b1 d8d d1 b4 r4 | /
g84d g1 f8d f1 e4 r4 | /
b84d b1 a8d a1 g4 r8 r3 b3 c3 d3 | /
rp | /

%Bar 2
e8+ r8 e8- -7 r8 a4 r4 | /
g8d+ g1 g8d g1 e4 r4 | /
b8d+ b1 b8d b1 a4 r4 | /
e8d e1 d8fd d1 c4 r8 r3 c3 d3 oen e3 oen | /
rp | /

%Bar 3
f8+ n3 r8 f8- 75 r8 b4 r4 | /
a8dn a1 a8d a1 f4 r4 | /
c8d c1 c8d c1 b4 r4 | /
f8d f1 e8d e1 d4 r4 | /
rp | /

% Paragraph 7 line 53 bar 4
\\\assignlyrics5{recA}\
rp | /
\zchar{-4}{\ppff{p}}\ b8- b8 b8 b8 b8 b8 b8 b8 | /
\zchar{-4}{\ppff{p}}\ f2+ e2 | /
\zchar{-4}{\ppff{p}}\ a2+ g2 | /
\\\setsongraise5{2\internote}\ rp | /

%Bar 5
r2 \zchar{-8}{\ppff{f}}\ e1 e1 e1 e1 e1 e1 e1 e1 | /
b8 b8 b8 b8 \zchar{-6}{\ppff{f}}\ b1+ o.: b1 g1 g1 o: e1 e1 b1 b1 | /
d2 \zchar{-7}{\ppff{f}}\ e1 o.: e1 b1 b1 o: g1 g1 e1 e1 | /
f2 \zchar{-6}{\ppff{f}}\ g1 o.: g1 e1 e1 o: b1 b1 g1 g1 | /
rp | /

%Bar 6
e8 e8 b8 b8 e8- e8 b8+ b8 | /
g8 g8 b8 b8 g8 g8 b8 b8 | /
b1d b3+ b1d e3- d8d oT0 e1 e1d b3+ b1d e3- d8d oT0 e1 | /
e1d e3+ e1d g3- f8d oT0 e1 e1d e3+ e1d g3- f8d oT0 e1 | /
r2 r4d r1 ba14 | /

% Paragraph 8 line 65 bar 7
e4 r4 \zchar{-8}{\ppff{f}}\ e4 r4 | /
g4 r4 \zchar{-6}{\ppff{f}}\ e4+ r4 | /
e4 r4 \zchar{-7}{\ppff{f}}\ g4 r4 | /
e4 r4 \zchar{-6}{\ppff{f}}\ b4+ r4 | /
ga8 ga8 r1 ga1 aa1 ba1 ea8- ea8 r4 | /

%Bar 8
r2 a4- r4 | /
r2 e4 r4 | /
r2 a4 r4 | /
r2 c4 r4 | /
ba8+ ba8 ba8 aa1 ba1 ca8 ca8 r4 | /

% Paragraph 9 line 76 bar 9
r2 b4 e4- | /
r2 b4+ b4 | /
r2 f4+ g4 | /
r2 d4 e4 | /
ca8 ba8 aa8 aa1 ga1 fa8 fa8 r8 ea8 | /

% Paragraph 10 line 83 bar 10
h-2
Larghetto
L4P2Mi.1r+
m4/4/0/6
K+0-2 \zcharnote d{\it Violoncello con arco. Violone pizzicato}\ g8+ g8 g8
g8 f8 f8 f8 f8 | /
\zcharnote j{\it Pizzicate}\ b8- b8 b8 b8 a8 a8 a8 a8 | /
g1- g1+ b1 g1 g1- g1+ b1 g1- f1 f1+ a1 f1 f1- f1+ a1 f1- | /
\zcharnote s{\it Violino I e II unisoni. Tutti pizzicati, uno con l'arco}\
g1- g1+ b1 g1 g1- g1+ b1 g1- f1 f1+ a1 f1 f1- f1+ a1
 f1- | /
rp | /

%Bar 11
e8 e8 e8 e8 d8 # d8 d8 d8 | /
g8 g8 g8 g8 a8 a8 a8 d8 | /
e1 e1+ g1 c1- e1- c1+ g1+ e1- d1 f1s a1 c1 f1s a1 f1 c1 | /
e1 e1+ g1 c1- e1- c1+ g1+ e1- d1 f1s a1 c1 f1s a1 f1 c1 | /
rp | /

% Paragraph 11 line 93 bar 12
\\\assignlyrics5{AriaAA}\
g4- r4 \zcharnote d{\it ~~Con l'arco}\ f8+ 6n4 f8 f8 f8 | /
g4- r4 \zcharnote j{\it ~~Con l'arco}\ d8+ d8 d8 d8 | /
rb2 [-4 f-8 zg- f+ zg- f+ zg- f+ zg- ] //    #batt. 22
g4- r4 [u \zcharnote r{\it ~~Con l'arco}\ b1d+n b3 b1d b3 ] [u b1d b3 b1d
b3 ] | /
g4- r4 [u b1d+n b3 b1d b3 ] [u b1d b3 b1d b3 ] | /
g4 r4 ba8n ba1 ba1 ba8 ba8 | /

% Paragraph 12 line 101 bar 13
e8 c8 r4 g8+ 6#4 g8 g8 g8 | /
g8- g8 r4 e8+n e8 e8 e8 | /
rb2 [-4 g+8 za- g+ za- g+ za- g+ za- ] //    #batt. 23
c8 c8- r4 [u c1d+s c3 c1d c3 ] [u c1d c3 c1d c3 ] | /
c8 c8- r4 [u c1d+s c3 c1d c3 ] [u c1d c3 c1d c3 ] | /
[ \beginmel\ ca1 ba3n \endmel\ ca3 ] ca8- r4 ca8+s ca1 ca1 ca8 ca8 | /

% Paragraph 13 line 108 bar 14
\zcharnote d{\it ~~~Vc con arco. Violone pizz.}\ g8- g8 b8 b8 c8 c8 d8 d8 | /
\zcharnote j{\it ~~~Pizzicate}\ g8- g8 b8 b8 c8 c8 d8 d8 | /
[l+14-10 g1 g1++ b1 g1 ] [l+11-7 b1-- g1++ b1 g1 ] [l+11-7 c1-- g1++ b1 g1
] [l+10-7 d1- f1+s a1 f1 ] | /
[l+14-10 \zcharnote r{\it Tutti pizzicati. Uno con l'arco}\ g1- g1++ b1 g1
] [l+11-7 b1-- g1++ b1 g1 ] [l+11-7 c1-- g1++ b1
 g1 ] [l+10-7 d1- f1+s a1 f1 ] | /
g4 r4 r2 | /

% Paragraph 14 line 115 bar 15
g8- g8 b8 b8 c8 c8 d8 d8 | /
g8- g8 b8 b8 c8 c8 d8 d8 | /
[l+13-8 g1-- g1++ b1 g1 ] [l+11-7 b1-- g1++ b1 g1 ] [l+11-7 c1-- g1++ b1 g1
] [l+10-7 d1- f1+s a1 f1 ] | /
[l+13-8 g1-- g1++ b1 g1 ] [l+11-7 b1-- g1++ b1 g1 ] [l+11-7 c1-- g1++ b1 g1
] [l+10-7 d1- f1+s a1 f1 ] | /
rp | /

% Paragraph 15 line 122 bar 16
m1/4/0/0
g4- of /
g4- of /
g4 of /
g4 of /
r4 of /

 Rd
% Paragraph 16 line 130 bar 17
h-2
Andante molto
L7P3Mi.1cr+
\\\assignlyrics5{AriaAB}\
m3/8/0/3
rp | /
\zchar{-6}{\ppff{p}}\ c8 c8 c8 | /
\zchar{-4}{\ppff{p}}\ e8- e8 f8 | /
\zchar{-4}{\ppff{p}}\ g8- g8 a8f | /
ga8 ga8 aa8f | /

%Bar 18
rp | /
c8 c8 r8 | /
e8 e8 r8 | /
g8 c8 r8 | /
ga8 ca8 r8 | /

%Bar 19
rp | /
c8 b8n g8 | /
d8 d8 b8n | /
f8- f8 g8 | /
fa8- fa8 ga8 | /

%Bar 20
r8 c8+ c8- | /
c8- c8 r8 | /
g8 g8 r8 | /
e8 c8 r8 | /
[ \beginmel\ ea1 \endmel\ da1 ] ca8 r8 | /

%Bar 21
rp | /
c8+ c8 c8 | /
e8+ e8 f8 | /
g8+ g8 a8f | /
ga8+ ga8 aa8f | /

%Bar 22
rp | /
c8 c8 r8 | /
e8 e8 r8 | /
g8 c8 r8 | /
ga8 ca8 r8 | /

%Bar 23
rp | /
c8 b8n g8 | /
d8 d8 b8n | /
f8- f8 g8 | /
fa8- fa8 ga8 | /

%Bar 24
r8 c8+ c8- | /
c8- c8 r8 | /
g8 g8 r8 | /
e8 c8 r8 | /
[ \beginmel\ ea1 \endmel\ da1 ] ca8 r8 | /

% Paragraph 17 line 144 bar 25
rp | /
c8++ c8 e8- | /
e8++ e8 e8 | /
g8++ g8 g8 | /
ga8+ ga8 ga8 | /

%Bar 26
rp | /
f8 f8 f8 | /
e8 e8 e8 | /
a8f a8 a8 | /
[ \beginmel\ ca1 \endmel\ aa1f ] Gsg f4 oT0 | /

%Bar 27
rp | /
b8 b8 d8- | /
d8 d8 d8 | /
a8 oef a8 a8 | /
fa8 fa8 fa8 | /

%Bar 28
rp | /
e8 e8 e8 | /
d8 d8 d8 | /
g8 g8 g8 | /
[ \beginmel\ ba1 \endmel\ ga1 ] Gsf e4 oT0 | /

% Paragraph 18 line 151 bar 29
rp | /
a8f a8 c8- | /
c8 c8 c8 | /
g8 g8 g8 | /
ea8 ea8 ea8 | /

%Bar 30
rp | /
d8 d8 d8 | /
c8 c8 c8 | /
f8 f8 f8 | /
[ \beginmel\ aa1f \endmel\ fa1 ] Gse d4 oT0 | /

%Bar 31
rp | /
g8 g8 b8-n | /
b8n b8 b8 | /
f8 f8 f8 | /
da8 da8 da8 | /

%Bar 32
rp | Rb
 /
c8 c8 c8 | /
c8 c8 c8 | /
e8 e8 e8 | /
[ \beginmel\ ga1 \endmel\ ea1 ] Gsd c4 oT0 | /

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

--------------------------------
Luigi Cataldi,
via Tibullo 10
34127 TRIESTE (Italia)
luicatal@tin.it
--------------------------------


From mutex-owner@mail2.gmd.de Wed Apr 14 19:18:15 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: PMX. Instrument number change.
Date: Wed, 14 Apr 1999 12:18:15 -0700
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I wrote

>Luigi wrote

>>2) The violin part has only one voice, bat in 'Larghetto' (here in the
> >>fragment) at bar 3 and 4 there is a second voice (see PMX file, bars 3
> and
>>4, violin 2). I've add this voice in PMX file for the moment.
> >>Is there a way to put the two bar of this second voice in MTX file
> without
> >>to use another voice from the beginning to the end of piece?
> 
>PMX requires a score to begin with all the instruments 
>that will ever be needed.  A kluge I have used is to 
>begin the score with a dummy page, then reduce instruments 
>on the second score page (the first real page), etc.

and I now see I didn't fully answer the question.  But sorry, the rest of
the answer is that the number of instruments can only change at a movement
break, and a movement break implies a least a new line.  So there is no way
to change the number of instruments in mid-line.  But if I'm not mistaken,
in MusiXTeX itself it is very difficult if not impossible to change the
number of instruments in midline.

--Don Simons 

From mutex-owner@mail2.gmd.de Wed Apr 14 19:10:07 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX. Instrument number change.
Date: Wed, 14 Apr 1999 12:10:07 -0700
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> Luigi Cataldi [SMTP:luicatal@tin.it] wrote
>Is there a way to reduce voices number (that is, staves for system) from 5
>to 4 in the second movement and to come back to 5 in third movement? I've
>try to use this PMX command:
>
>%%L4P2Mi.1r+n41245batt
>
>But dosen't work. Where is my error?

You didn't say whether the failure was in M-Tx or PMX.  But I think this may
be a PMX feature that isn't being recognized properly by M-Tx.  I edited
your PMX file directly (inserting the above line, commenting out extra
lines) and there was no problem.

>2) The violin part has only one voice, bat in 'Larghetto' (here in the
>fragment) at bar 3 and 4 there is a second voice (see PMX file, bars 3 and
>4, violin 2). I've add this voice in PMX file for the moment.
>Is there a way to put the two bar of this second voice in MTX file without
>to use another voice from the beginning to the end of piece?

PMX requires a score to begin with all the instruments that will ever be
needed.  A kluge I have used is to begin the score with a dummy page, then
reduce instruments on the second score page (the first real page), etc.

--Don Simons

P.S. I had a problem untangling Luigi's included M-Tx file, because line
wraps got introduced somewhere in the email process.  In this case I gave up
trying to figure out where to "unwrap" the lines.  This is not as much a
problem with pmx files since pmx is generally (but not always)  more
tolerant of line wraps. Does anyone know if it is even possible to recover
the original unwrapped text from the Microsoft Outlook email text?  Things I
tried that did not work were (1) saving as text from within Outlook, (2)
copying to the clipboard, then pasting into notepad with word wrap turned
off, then saving as text.

From mutex-owner@mail2.gmd.de Thu Apr 15 09:16:23 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: RE: PMX. Instrument number change. 
To: mutex@gmd.de
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Simons, Don wrote:
>
> > Luigi Cataldi [SMTP:luicatal@tin.it] wrote
> >Is there a way to reduce voices number (that is, staves for system) from 5
> >to 4 in the second movement and to come back to 5 in third movement? I've
> >try to use this PMX command:
> >
> >%%L4P2Mi.1r+n41245batt
> >
> >But dosen't work. Where is my error?
> 
> You didn't say whether the failure was in M-Tx or PMX.  But I think this may
> be a PMX feature that isn't being recognized properly by M-Tx.  

To be more precise: it is not recognized at all by M-Tx.  Anything following
the %% is passed uninspected to PMX.  I have very ambitious plans for M-Tx
to check all such things, so that PMX scores produced by M-Tx are guaranteed
not to fail at the PMX stage - but these plans are of the "maybe before the
year 2020" kind.  Anyway such scores may fail at the TeX stage because of
inline TeX.

I have less ambitious plans for putting something in M-Tx that will
translate to PMX movement breaks: these are only of the "maybe before
the end of this year" kind.

Dirk Laurie

From mutex-owner@mail2.gmd.de Thu Apr 15 11:40:47 1999
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From mutex-owner@mail2.gmd.de Thu Apr 15 11:41:43 1999
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Hi, MusixTeXers and other music typesetters.

This question is about how to represent a song in Western Notation
(standard sheet music) rather than about how to code it.

I've been given a song that has the following structure:

    Intro (chords only, 4 bars)
    4 line verse
    refrain
    8 line verse
    refrain
    bridge
    repeat Intro
    8 line verse
    refrain

The 8 line verses start with the same 4 melody line as the 4 line
verse, then go on to a different melody line for lines 5-8.

Now obviously I could represent it as one long, linear piece with no
repeated portions.  But I'd like to

    1. fit it all on two pages if I can, and
    2. minimize the amount of coding

I don't particularly mind showing the Intro chord sequence twice, but
I'd like to avoid repeating the first 4 lines of the verse melody when
I get to the second verse (the first one with 8 lines).

From mutex-owner@mail2.gmd.de Sat Apr 17 22:47:02 1999
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Date: Sat, 17 Apr 1999 16:47:02 -0600
To: mutex@gmd.de
From: David Price <pricd@sk.sympatico.ca>
Subject: writing for classical guitar
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Hi all.

I've just begun using pmx/musiXTeX (for the Mac) and am stuck on my first
piece because it requires three voices per staff (a common enough feature
in classical guitar).

Is there another (Mac) preprocessor that can handle three or more voices?

The instructions for MusiXTex are mind-boggling but the program seems to be
able to handle multiple voices. Is it a case of using pmx to do two voices,
then adjusting the MusiXTeX coding for a third voice?

Also, is there a macro to handle classical guitar necessities like
notations for fingering, positions, and strings?

I looked at the archives and found similar questions, but no answers.

Cheers


David Price
--------------------------------------------------------
                   email:  pricd@sk.sympatico.ca
                homepage:  www.quantumlynx.com/dcp
            businesspage:  www.quantumlynx.com/townml



From mutex-owner@mail2.gmd.de Sun Apr 18 09:37:12 1999
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David Price wrote:

> Hi all.
>
> I've just begun using pmx/musiXTeX (for the Mac) and am stuck on my first
> piece because it requires three voices per staff (a common enough feature
> in classical guitar).

With mtx and it's chord line feature - which translates into the pmx chord note

'z<some note>' - you should be able to achieve much of what you want. Let the
the following little excerpt from a composition by Carulli be an example:

Meter: 6/8
Sharps: 2
Guitar: Voices GH,GL; Clefs G
Style: Guitar
Pages: 1
Systems: 2
Title: Larghetto espressivo
Composer: F. Carulli

a8+ | a8d b1 a8 a4 a8 | a4 g8 g4 f8 |
C: ~ f ~ ~ e e d- ~ d c
r8 | d4d+ c4 c8 | b4d b4 a8 |

e8d ds1 e8 g f e | f4d e4 a8 |
C: b ~ ~ ~ ~ ~ d c ~
g4 r8 e f g | a4 gs8 a4 r8 |

a8d b1 a8 a4 a8 | g4 g8 f4 d8 |
C: f ~ ~ e e d d c a
d4d- c4 c8 | b4 b8 a4 f8 |

e f g d4 c8 | e4d d4
C: bg ~ ~ f- e- cg af
g f e a4 a8 | d4d d4


>
> Is there another (Mac) preprocessor that can handle three or more voices?
>
> The instructions for MusiXTex are mind-boggling but the program seems to be
> able to handle multiple voices. Is it a case of using pmx to do two voices,
> then adjusting the MusiXTeX coding for a third voice?
>
> Also, is there a macro to handle classical guitar necessities like
> notations for fingering, positions, and strings?

Almost everything may be achieved using in-line musixtex macros, but I don't
know any ready-made guitar fingering macros.

> I looked at the archives and found similar questions, but no answers.
>
> Cheers

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Mon Apr 19 02:29:11 1999
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Date: Sun, 18 Apr 1999 21:29:11 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: New MusiXFlx for Mac option
In-Reply-To: <v03130300b33ebd6b76fc@[142.165.90.34]>
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FYI--

> Several CMacTeX users asked me to create a version of musixflx which
> would run as a MacOS application and not require MPW or ToolServer.
> I have created such a program and it is scriptable. Since musixflx does
> no file searching, my musixflx program, though a part of CMacTeX, can be
> easily run independently of a CMacTeX installation. If you are interested
> in examining it you can download it either from CTAN
> (/tex-archive/systems/mac/cmactex/musixtex.hqx) or from the "Additional
> Tools" section of the CMacTeX Web Page at
> <http://www.kiffe.com/cmactex.html>.
> 
> Sincerely,
> 
> Tom Kiffe <tom@kiffe.com>

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Apr 19 10:50:26 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: writing for classical guitar
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> Date: Sat, 17 Apr 1999 16:47:02 -0600
> From: David Price <pricd@sk.sympatico.ca>

> I've just begun using pmx/musiXTeX (for the Mac) and am stuck on my first
> piece because it requires three voices per staff (a common enough feature
> in classical guitar).
>=20
> Is there another (Mac) preprocessor that can handle three or more voices?

Your definition of voice does not meet PMX's definition of voice. PMX offer=
s
two voices per staff that means that the lower voice  has down-stems and th=
e
upper voice has up-stems. Each of the two voices may have chords with as ma=
ny
noteheads of same duration as you want.
=20
> The instructions for MusiXTex are mind-boggling but the program seems to =
be
> able to handle multiple voices.

Typesetting music can be mind-boggling. And yes, MusiXTeX is able :-)

> Is it a case of using pmx to do two voices,
> then adjusting the MusiXTeX coding for a third voice?

If such "adjustment" is really neccessary then adjusting PMX's output is
the least choice. Before doing that one should try to use PMX's in-line
TeX features. In the very beginning this requires looking at PMX's output
to add TeX-code which does not confuse PMX's coding but adds what is needed=

From mutex-owner@mail2.gmd.de Tue Apr 20 09:46:26 1999
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Date: Tue, 20 Apr 1999 11:46:26 +0200
From: Matthias Skobowsky <skymac@cs.tu-berlin.de>
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Hi,
I'm trying a few days typing music with M-Tx and interested in an
automatical hyphenation of lyrics, means to set the hyphen in lyrics
automatical.
The TeX command \showhyphen{} works fine with MiKTeX, but I can just see
it in the Log-File.
Is there any way to integrate the hyphens in my M-Tx-Input-File?
Thanks, Matthias
-- 
***********************************************************************
Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
***********************************************************************


From mutex-owner@mail2.gmd.de Tue Apr 20 09:46:26 1999
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Hi,
I'm trying a few days typing music with M-Tx and interested in an
automatical hyphenation of lyrics, means to set the hyphen in lyrics
automatical.
The TeX command \showhyphen{} works fine with MiKTeX, but I can just see
it in the Log-File.
Is there any way to integrate the hyphens in my M-Tx-Input-File?
Thanks, Matthias
-- 
***********************************************************************
Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
***********************************************************************


From mutex-owner@mail2.gmd.de Thu Apr 29 00:36:12 1999
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From: Howard Gilbert <hg21@onyxnet.co.uk>
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Subject: pmx: Partial bar starting a movement.
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Hi,

I'm fairly new to pmx-MusixTeX but like it a lot.  I have a couple of
questions which a more seasoned user may be able to respond to.

1. Is there a way in pmx to have an incomplete bar 0 as is possible at the
start of a score?   That is, after doing "L<line number>M" how can one,
for example, start the new movement with a bar containing only one
crotchet ( quarter note ) when the movement is in 3/4?

2. How do experts put in dynamics?  It seems to me that the sensible way
is probably to do this at the intermediate MusixTeX stage.

I have looked long in the manual but not come up with answers.

Best wishes,
Howard.




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Date: Thu, 29 Apr 1999 10:08:35 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Howard Gilbert <hg21@onyxnet.co.uk>, mutex <mutex@gmd.de>
Subject: Re: pmx: Partial bar starting a movement.
References: <Pine.LNX.4.04.9904281958520.6003-100000@horn.redroofs>
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Howard Gilbert wrote:

> Hi,
>
> I'm fairly new to pmx-MusixTeX but like it a lot.  I have a couple of
> questions which a more seasoned user may be able to respond to.
>
> 1. Is there a way in pmx to have an incomplete bar 0 as is possible at the
> start of a score?   That is, after doing "L<line number>M" how can one,
> for example, start the new movement with a bar containing only one
> crotchet ( quarter note ) when the movement is in 3/4?

You may fake a short bar by changing the meter without actually displaying the
meter change, e.g. m1/4/0/0, and then in the following measure changing back
to the current meter, e.g. m/4/4/0/0.

> 2. How do experts put in dynamics?  It seems to me that the sensible way
> is probably to do this at the intermediate MusixTeX stage.

In case of a crescendo put the musixtex expression generating it into the pmx
source file before the note where it should start, e.g. \zcharnote{<position
on staff>}{\crescendo{<length>}\, see the musixtex doc, section 2.17.7.

Mtx, the pmx preprocessor has more convenient methods to integrate dynamics
into the score.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Thu Apr 29 09:08:47 1999
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Date: Thu, 29 Apr 1999 11:08:47 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx: Partial bar starting a movement.
To: mutex@gmd.de, hg21@onyxnet.co.uk
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> Date: Thu, 29 Apr 1999 01:36:12 +0100 (GMT)
> From: Howard Gilbert <hg21@onyxnet.co.uk>


> 1. Is there a way in pmx to have an incomplete bar 0 as is possible at the
> start of a score?   That is, after doing "L<line number>M" how can one,
> for example, start the new movement with a bar containing only one
> crotchet ( quarter note ) when the movement is in 3/4?

Use blind meter change:

LxM
m1/4/3/4 f44 /

m3400 ...

That may confuse bar numbering. So you may use in addition:

\\\advance\barno -1\ m1/4/3/4 f44 /

> 2. How do experts put in dynamics?  It seems to me that the sensible way
> is probably to do this at the intermediate MusixTeX stage.

Ask Don :-)

PMX has already some features like figures to put some symbols at the same height
below a staff, or ornaments which are above or under the staff as needed, so
it shouldn't be to difficult to add e.g.   "Df" for "f" below a note :-)

Up to now I use something like a lot of definition:

\\def\mit{\medtype\it}\
\\def\mbf{\medtype\bf}\
\\def\Forte#1{\text{-#1}{\f}}\
\\def\Ff#1{\text{-#1}{\ff}}\
\\def\cre#1{\text{-#1}{\mit cresc.}}\
\\def\Conmoltosentimento{\Text{#1}{\mbf con molto sentimento}}\

\def\cresc#1#2{\text{-#1}{\crescendo{#2\elemskip}}\

where \text or \Text is something like \zcharnote more or less below or
above the staff. Then one may write " \Forte3\ c44 ...\cre2\ d ... \Ff3\ e ... "

If possible it's better to do anything in the PMX-stage. Then you may 
re-compile in case of small errors without re-doing the post-edit.

> I have looked long in the manual but not come up with answers.

Look at the many PMX-sources available at http://www.gmd.de/Misc/Music/scores/

In the source of the Urtext edition of Bach's Kunst der Fuge you find how 
the above is put into a seperate TeX-file (kfsqpmx.tex) and how e.g. \text 
and \Text are defined (mymusix.tex). I append a similar collection used in 
other editions; you need mymusix.tex in addition which is in kfur.zip.
Warning: reading this my not be good for your TeX-health :-)

Hope this hilft -- Werner


\input mypmx 
%
\hoffset=-15.4mm\voffset=-15.4mm
%
\def\irfootline{
\let\snailaddr\mailaddr
\def\mailaddr{Heinz Irsen}
\let\crtextensav\crtexten
\let\crtexten\crtextde
\let\crtextde\crtextensav}
\let\myfootlinesav\myfootline
\let\draftfootlinesav\draftfootline
\def\myfootline#1{\myfootlinesav{#1}\irfootline}
\def\draftfootline#1{\draftfootlinesav{#1}\irfootline}
\let\writebarno\mywritebarno
\def\mycomposer#1{\mbf Heinz Irsen, #1}
%
\ifx\undefined\sevenit
\iflongDCfontnames     \font\sevenit=\fontid ti0700
\else\iflongECfontnames\font\sevenit=\fontid ti0700
\else                  \font\sevenit=\fontid ti7\fi\fi\fi
\def\xnum#1#2#3{\off{#1\elemskip}%
\ifx\musixfont\musicsixteen\zcharnote{#2}{\sevenit #3}%
\else\zcharnote{#2}{\eightit #3}\fi\off{-#1\elemskip}}
%
\def\z{}
\def\pitch#1{\zcharnote{#1}{~}}
\def\tnz{\tinynotesize}
\def\nnz{\normalnotesize}
%
\def\mit{\medtype\it}
\def\mbf{\medtype\bf}
\def\mrm{\medtype\rm}
\def\Sit{\Smalltype\it}
%
\def\Forte#1{\text{#1}{\forte}}
\def\Ff#1{\hloff{\text{#1}{\ff}}}
\def\Fp#1{\hloff{\text{#1}{\fp}}}
\def\Pf#1{\hloff{\text{#1}{\piano\forte}}}
\def\Sf#1{\hloff{\text{#1}{\sF}}}
\def\Piano#1{\text{#1}{\piano}}
\def\PIano#1{\Text{#1}{\piano}}
\def\Pp#1{\hloff{\text{#1}{\pp}}}
\def\PP#1{\hloff{\Text{#1}{\pp}}}
\def\Mp#1{\hloff{\text{#1}{\mp}}}
\def\MP#1{\hloff{\Text{#1}{\mp}}}
\def\Mf#1{\hloff{\text{#1}{\mf}}}
\def\MF#1{\hloff{\Text{#1}{\mf}}}
\def\rH{\Sit\kern1.3pt r}
\def\lH{\Sit\kern1.3pt l}
\def\ped#1{\def\raiseped{-#1}\sPED}
\def\dep#1{\def\raiseped{-#1}\sDEP}
%
\def\arco#1{\text{#1}{\lrlap{\mrm arco}}}
\def\arcokl#1{\text{#1}{\lrlap{\mrm (arco)}}}
\def\Arco#1{\Text{#1}{\lrlap{\mrm arco}}}
\def\Arcokl#1{\Text{#1}{\lrlap{\mrm (arco)}}}
\def\Atempo#1{\Text{#1}{\mrm a tempo}}
\def\dim#1{\text{#1}{\mit dim.}}
\def\Fine#1{\sk\Text{#1}{\llap{\mit Fine.}}\bsk}
\def\Rit#1{\Text{#1}{\lrlap{\mrm rit.}}}
\def\pizz#1{\text{#1}{\lrlap{\mrm pizz.}}}
\def\pizzkl#1{\text{#1}{\lrlap{\mrm (pizz.)}}}
\def\Pizz#1{\Text{#1}{\lrlap{\mrm pizz.}}}
\def\Sul#1#2{\Text{#1}{\mrm sul #2 \mxsps\char 23~\char 23~\char 23~}}
\def\SuL#1{\roffset{1.5}{\Text{#1}{\llap{\mxsps\char 23~\char 23~\char 23~\char 
24}}}}
%
\def\Strich#1#2{\off{#1\elemskip}\zcharnote{#2}{\bf ,}\off{-#1\elemskip}}
\def\strich#1#2{\off{-#1\elemskip}\zcharnote{#2}{\bf ,}\off{#1\elemskip}}
%
\def\cre#1{\text{#1}{\mit cresc.}}
\def\cresc#1#2{\text{#1}{\crescendo{#2\elemskip}}}
\def\crescs#1#2{\ifnum\nbinstruments>1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\crescp#1#2{\ifnum\nbinstruments=1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\Cresc#1#2{\Text{#1}{\crescendo{#2\elemskip}}}
\def\decre#1#2{\text{#1}{\decrescendo{#2\elemskip}}}
\def\decres#1#2{\ifnum\nbinstruments>1\text{#1}{\decrescendo{#2\elemskip}}\fi}
\def\decrep#1#2{\ifnum\nbinstruments=1\text{#1}{\decrescendo{#2\elemskip}}\fi}
%
\def\Lsh#1{\z{\loff{\sh{#1}}}}
\def\Lfl#1{\z{\loff{\fl{#1}}}}
\def\Lna#1{\z{\loff{\na{#1}}}}
\def\Llsh#1{\z{\loff{\lsh{#1}}}}
\def\Llfl#1{\z{\loff{\lfl{#1}}}}
\def\Llna#1{\z{\loff{\lna{#1}}}}
\def\llfl#1{\z{\loffset{.3}{\fl{#1}}}}
\def\lllfl#1{\z{\loffset{.6}{\fl{#1}}}}
\def\llna#1{\z{\loffset{.3}{\na{#1}}}}
\def\rcna#1#2{\raise #1\internote\hbox{{\roffset{1.3}{\cna{#2}}}}}
%
\def\bhsk{\off{-.5\noteskip}}
%
\def\doubleslash{\char47\kern-.3em\char47}
\def\qlqq{,\kern-.08em,\kern.03em}
%
\let\alalignesav\alaligne
\let\arpeggiosav\arpeggio
\let\bigshsav\bigsh
\let\cclsav\ccl
\let\ccusav\ccu
\let\clsav\cl
\let\cusav\cu
\let\Endpiecesav\Endpiece
\let\grcusav\grcu
\let\ibbusav\ibbu
\let\ibblsav\ibbl
\let\iblsav\ibl
\let\ibusav\ibu
\let\islurdsav\islurd
\let\islurusav\isluru
\let\lpzsav\lpz
\let\normalnotesizesav\normalnotesize
\let\pmxclefsav\pmxclef
\let\qbsav\qb
\let\qlpsav\qlp
\let\qlsav\ql
\let\qssav\qs
\let\qupsav\qup
\let\qusav\qu
\let\raisearpsav\raisearp
\let\segnosav\segno
\let\shlftsav\shlft
\let\shsav\sh
\let\tblsav\tbl
\let\tbusav\tbu
\let\tslursav\tslur
\let\unbktsav\unbkt
\let\upzsav\upz
\let\whsav\wh
\let\xbarsav\xbar
%
\makeatletter
\newcount\nick@ii
\newcount\slurno
\def\beamnofortbl{\def\tbl##1{\let\tbl\tblsav\global\nick@i##1}}
\def\bskibuskasibu{\def\ibu##1##2##3{\let\ibu\ibusav\bsk\ibu{##1}{##2}{##3}\sk}}
\def\ccqu#1{{\advance\transpose-3\hloff{\ibbu0{#1}9}\hroff{\tbu0}}\qu#1}
\def\ccquasqu{\def\qu##1{\let\qu\qusav\ccqu{##1}}}
\def\ccql#1{{\advance\transpose+2\hloff{\ibbl0{#1}9}\hroff{\tbl0}}\ql#1}
\def\ccqlasql{\def\ql##1{\let\ql\qlsav\ccql{##1}}}
\def\cccwh#1{{\advance\transpose-4\loff{\ibbbu0{#1}9}\roffset{.25}{\tbu0}}\wh#1}
\def\cccwhaswh{\def\wh##1{\let\wh\whsav\cccwh{##1}}}
\def\clasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\cl{##2}}}
\def\clastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\cl{##2}}}
\def\clastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\cl{##2}}}
\def\cuasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\cu{##2}}}
\def\cuastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\cu{##2}}}
\def\cuastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\cu{##2}}}
\def\dsasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\nick@i=##3\pitch{##2}}\def\qb##1##2{
\let\qb\qbsav\pitch{##2}\ds}}
\def\dsasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\nick@i=##3\pitch{##2}}\def\qb##1##2{
\let\qb\qbsav\pitch{##2}\ds}}
\def\dsastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\ds}
}
\def\falsebarno{%
  \def\xbar{\let\xbar\xbarsav\let\alaligne\alalignesav\xbar}%
  
\def\alaligne{\let\xbar\xbarsav\let\alaligne\alalignesav\stoppiece\barnofalse\contpie
ce}}
\def\getslurno{\def\isluru##1##2{\let\islurd\islurdsav\let\isluru\islurusav\global\sl
urno##1\isluru{##1}{##2}}\def\islurd##1##2{\let\islurd\islurdsav\let\isluru\islurusav
\global\slurno##1\islurd{##1}{##2}}}
\def\grcuupz#1{\def\grcu##1{\let\grcu\grcusav{\upz{#1}}\grcu{##1}}}
\def\huasqu{\def\qu##1{\hu{##1}\let\qu\qusav}}
\def\ibblqbbfastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav{\ibbl{##
1}{##2}{-2}}\qb{##1}{##2}\Ek1\tbl{##1}\qb{##1}{_b}}}
\def\ibbltbblqbasccl#1#2#3{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{#2}{#3}}\roff{\tbbl{
#1}}\qb{#1}{##1}}}
\def\ibblqbasccl#1#2#3{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{#2}{#3}}\qb{#1}{##1}}}
\def\ibblqbtblasccl#1{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{##1}0\qb{#1}{##1}\tbl{#1}
}}}
\def\ibblroffsettblasibbl#1{\def\ibbl##1##2##3{\let\ibbl\ibblsav\ibbl{##1}{##2}{##3}\
roffset{#1}{\tbl{##1}}}}
\def\ibbuqbaastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav{\ibbu{##1
}{##2}{-2}}\qb{##1}{##2}\EK3\tbu{##1}\qb{##1}a}}
\def\ibbuzero#1{\def\ibbu##1##2##3{\let\ibbu\ibbusav\global\nick@ii#1\ibbu{#1}{##2}0}
\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\iblEk#1{\def\ibl##1##2##3{\let\ibl\iblsav\Ek{#1}\ibl{##1}{##2}{##3}}}
\def\iblqbascl#1{\def\cl##1{{\let\cl\clsav\ibl{#1}{##1}0}{\qb{#1}{##1}}}}
\def\Iblqbascl#1#2#3{\def\cl##1{\let\cl\clsav{\ibl{#1}{#2}{#3}}\qb{#1}{##1}}}
\def\iblqbasqb{\def\qb##1##2{\let\qb\qbsav{\ibl##1{##2}{\the\nick@i}}\qb##1{##2}}}
\def\Iblqbasqb#1{\def\qb##1##2{\let\qb\qbsav{\ibl##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibutbu{\def\tbu##1{\let\tbu\tbusav\ibu{##1}6{-9}\tbu{##1}}}
\def\ibuqbascu#1{\def\cu##1{{\let\cu\cusav\ibu{#1}{##1}0}{\qb{#1}{##1}}}}
\def\ibuqbasibuqb#1#2{\def\ibu##1##2##3{\let\ibu\ibusav{\ibu#1{#2}5}\pitch{##2}}\def\
qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\ibuqbasqb{\def\qb##1##2{\let\qb\qbsav{\ibu##1{##2}{\the\nick@i}}\qb##1{##2}}}
\def\Ibuqbasqb#1{\def\qb##1##2{\let\qb\qbsav{\ibu##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibuqbasqbi#1{\def\qb##1##2{\let\qb\qbsav{\ibu##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibuqbastbuqb#1{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav{\ibu{#1}{
##2}0}\qb{#1}{##2}}}
\def\ibuqblofftbuascu#1{\def\cu##1{\let\cu\cusav\ibu{#1}{##1}0\qb{#1}{##1}\loff{\tbu{
#1}}}}
\def\ibuqbsklofftbubskascu#1{\def\cu##1{\let\cu\cusav\ibu{#1}{##1}0\qb{#1}{##1}\sk\lo
ff{\tbu{#1}\bsk}}}
\def\Larpeggio#1{\def\arpeggio##1##2{\let\arpeggio\arpeggiosav\loffset{#1}{\arpeggio{
##1}{##2}}}}
\def\loffsetibbltblasttbl#1#2#3{\def\tbl##1{\let\tbl\tblsav\loffset{#1}{{\ibbl{##1}{#
2}{#3}}}\tbl{##1}}}
\def\loffsettwoibblasibbl{\def\ibbl##1##2##3{\let\ibbl\ibblsav\loffset2{\ibbl{##1}{##
2}{##3}}}}
\def\loffsettwoibutbuqbascu#1{\def\cu##1{\let\cu\cusav\loffset2{\ibu{#1}{##1}0}\tbu{#
1}\qb{#1}{##1}}}
\def\lpmxclef#1{\def\pmxclef##1##2{\global\let\pmxclef\pmxclefsav\loffset{#1}{\pmxcle
f{##1}{##2}}}}
\def\lpzstaslpz{\def\lpz##1{\lpzst{##1}\let\lpz\lpzsav}}
\def\Lraisearp#1{\def\raisearp##1##2{\let\raisearp\raisearpsav\loffset{#1}{\raisearp{
##1}{##2}}}}
\def\noibl{\def\ibl##1##2##3{\pitch{##2}\let\ibl\iblsav}}
\def\nosh{\def\sh##1{\pitch{##1}\let\bigsh\bigshsav\let\sh\shsav}\def\bigsh##1{\pitch
{##1}\let\bigsh\bigshsav\let\sh\shsav}}
\def\notbl{\def\tbl##1{\let\tbl\tblsav}}
\def\pitchqbasibblqb#1{\def\ibbl##1##2##3{\let\ibbl\ibblsav\pitch{##2}}\def\qb##1##2{
\let\qb\qbsav\qb{#1}{##2}}}
\def\pitchqbasiblqb#1{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let
\qb\qbsav\qb{#1}{##2}}}
\def\qbascl#1{\def\cl##1{\let\cl\clsav\qb{#1}{##1}}}
\def\qbasqb#1{\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\qbtbuasqb{\def\qb##1##2{\let\qb\qbsav\qb{##1}{##2}\tbu{##1}}}
\def\qbtblasqbtbl#1{\def\tbl##1{\let\tbl\tblsav\tbl{#1}}\def\qb##1##2{\let\qb\qbsav\q
b{#1}{##2}}}
\def\qlasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\ql{##2}}}
\def\qlasqb{\def\qb##1##2{\let\qb\qbsav\ql{##2}}}
\def\qlppasqlp{\def\qlp##1{\let\qlp\qlpsav\qlpp{##1}}}
\def\qpasds{\def\qs{\qp\let\qs\qssav}}
\def\qpasqb{\def\qb##1##2{\let\qb\qbsav\qp\pitch{##2}}}
\def\quasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\qu{##2}}}
\def\quasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\qu{##2}}}
\def\quasql{\def\ql##1{\let\ql\qlsav\qu{##1}}}
\def\quppasqup{\def\qup##1{\let\qup\qupsav\qupp{##1}}}
\def\shlftmore#1{\def\shlft##1##2{\let\shlft\shlftsav\off{-#1\elemskip}\shlft{##1}{##
2}\off{#1\elemskip}}}
\def\skasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\pitch{##2}\sk}}
\def\skasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbs
av\pitch{##2}\sk}}
\def\skasqb{\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\skastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}
}
\def\skastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}
}
\def\sklofftbubskastbu{\def\tbu##1{\let\tbu\tbusav\sk\loff{\tbu{##1}}\bsk}}
\def\smallnormal{\def\normalnotesize{\let\normalnotesize\normalnotesizesav\smallnotes
ize}}
\def\tbbuastbu{\def\tbu##1{\let\tbu\tbusav\tbbu{\the\nick@ii}}\def\qb##1##2{\let\qb\q
bsav\qb{\the\nick@ii}{##2}}}
\def\tbbuqbasccu#1{\let\ccu\ccusav\def\ccu##1{\lower2\interbeam\hbox{\tbbu{#1}}\tbu{#
1}\qb{#1}{##1}}}
\def\tblqbascl#1{\def\cl##1{\tbl{#1}\let\cl\clsav\qb{#1}{##1}}}
\def\tblqbascu{\def\cu##1{\let\cusav\cu\tbl{\the\nick@i}\qb{\the\nick@i}{##1}}}
\def\tblqbasqb{\def\qb##1##2{\tbl{##1}\let\qb\qbsav\qb{##1}{##2}}}
\def\tblqbastblqb#1{\def\tbl##1{\let\tbl\tblsav\tbl{#1}}\def\qb##1##2{\let\qb\qbsav\q
b{#1}{##2}}}
\def\tbuqbascl{\def\cl##1{\let\cl\clsav\message{\the\nick@ii}\tbu{\the\nick@ii}\qb{\t
he\nick@ii}{##1}}}
\def\tbuqbascu#1{\def\cu##1{\tbu{#1}\let\cu\cusav\qb{#1}{##1}}}
\def\tbuqbasibuqb#1{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\q
b\qbsav\tbu{#1}\qb{#1}{##2}}}
\def\tslurfastslur{\def\tslur##1##2{\let\tslur\tslursav\tslur##1{!f}\pitch{##2}}}
\def\unbktz{\def\unbkt##1##2##3{\let\unbkt\unbktsav\unbkt{##1}{##2}0}}
\def\upzstasupz{\def\upz##1{\let\upz\upzsav\upzst{##1}}}
\def\zastbu{\def\tbu##1{\let\tbu\tbusav}}
\def\zasibu{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}}
\makeatother






From mutex-owner@mail2.gmd.de Sat May  1 20:05:27 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX Version 2.0
Date: Sat, 1 May 1999 13:05:27 -0700 
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Version 2.0 of PMX is now available for downloading from
www.gmd.de/Misc/Music/

PMX is a preprocessor for MusiXTeX that produces nearly professional-looking
scores and parts with far less effort than would be required using MusiXTeX
alone.

All files necessary for running the DOS version in a WIN95 DOS window are
contained in pmx200.zip.  The full instruction manual is in pmx200.tex
(use LaTeX 2.09).  There is also a postscript image in case you have
problems TeX'ing it.

ref200.tex is a summary of all the legal PMX "symbols" (commands).  You
should still read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other versions
may appear on ftp.gmd.de.

What's new since Version 1.43?

NOTICE:  There have been some changes to the linebreaking and
crash-avoidance algorithms which may prompt some editing of old sources.

There are not many new features, but the biggest news is that (finally) the
main program has been combined into a single file. This, and several other
new features come at a price: the distributed DOS binary will only run in a
DOS window under WIN95 or higher.  The DOS binary also has a "feature" that
if the last line of the input .pmx file does not end with CR-LF, it will be
ignored.  If you encounter this problem, please revise your input file so
that it does end with CR-LF.

OTHER NEW FEATURES:

Option to print instrument name or other text at top center of every
  page except first.  Last option in P command:
    P[n]c         default printed text will be instrument name.
    P[n]cstuff    text is stuff (up to 1st blank)
    P[n]c"stuff with spaces"   text is stuff with spaces

May override musicsize with option in S command.  Useful if you want
  parts in musicsize 16.
    S[n]m[musicsize]

May input jobname on command line in both pmxab and scor2prt

Creates log file [jobname].pml

Numerous bug fixes as usual.

--Don Simons

From mutex-owner@mail2.gmd.de Wed Apr 21 06:42:41 1999
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <199905030648.IAA12454@calvyn.puk.ac.za>
Subject: Re: hyphenation
To: skymac@cs.tu-berlin.de (Matthias Skobowsky)
Date: Wed, 21 Apr 1999 08:42:41 +0200 (SAT)
Cc: mutex@gmd.de
In-Reply-To: <371C4CF2.9F23987B@cs.tu-berlin.de> from "Matthias Skobowsky" at Apr 20, 99 11:46:26 am
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Matthias Skobowsky wrote:
> 
> I'm trying a few days typing music with M-Tx and interested in an
> automatical hyphenation of lyrics, means to set the hyphen in lyrics
> automatical.
> The TeX command \showhyphen{} works fine with MiKTeX, but I can just see
> it in the Log-File.
> Is there any way to integrate the hyphens in my M-Tx-Input-File?

No, and it will not be worth the effort even if you succeed in doing it.

\showhyphens is one of Knuth's cunning commands.  It works by generating
TeX code which takes no visible space in the output but causes a spurious
warning message that displays the hyphenated text in the log file.
The code that actually forms the hyphenated text is hidden deep in the Web
code for TeX itself and is not accessible using TeX commands directly.
So trying to access TeX's hyphenation will involve tricks like a Perl
program to extract stuff from the log file.

TeX's hyphenation method is clever but not infallible, and is strongly
language dependent.  For example, the first line of Psalm 42 in Latin
is hyphenated by Plain TeX (U.S. English) as follows:

\showhyphens{Sicut cervus desiderat ad fontes aquarum}

Si-cut cervus desiderat ad fontes aquarum

The correct hyphenation is:

Sic-ut cer-vus de-si-de-rat ad fon-tes a-qua-rum

At least TeX got the hyphenation for 'ad' right :-)

If despite this reply you still want to try to make hyphenation
automatic, read Appendix H in the TeXbook and then go out and
have a beer instead. 

Dirk
 


From mutex-owner@mail2.gmd.de Mon May  3 10:36:08 1999
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Wed, 28 Apr 1999 22:50:48 +0200
Date: Wed, 28 Apr 1999 22:50:47 +0200 (MET DST)
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Matthias Skobowsky <skymac@cs.tu-berlin.de>
Cc: mutex <mutex@gmd.de>
Subject: Re: hyphenation
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On Tue, 20 Apr 1999, Matthias Skobowsky wrote:

> Hi,
> I'm trying a few days typing music with M-Tx and interested in an
> automatical hyphenation of lyrics, means to set the hyphen in lyrics
> automatical.
> The TeX command \showhyphen{} works fine with MiKTeX, but I can just see
> it in the Log-File.
> Is there any way to integrate the hyphens in my M-Tx-Input-File?
> Thanks, Matthias
> -- 
> ***********************************************************************
> Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
> ***********************************************************************

Hi Matthias,

I'm afraid that this won't work - for several reasons. The first one is 
that TeX performs hyphenation only after it has translated the stream of 
input tokens (= the characters you've typed in your source) into a 
composition of boxes, kerns, glues and other items somehow forming an 
abstract representation of the resulting document layout. musixlyr (the 
lyrics typesetter underlying M-Tx), however, needs the hyphens already at 
the stage of processing input tokens, i.e. when TeX has had no thought 
about hyphens at all. \showhyphens does not help here since it's merely a 
tricky tool to fool TeX into showing its hyphenation as part of a warning 
message.

Second: Even if you would succeed in transforming words into hyphenated 
words while they are still treated by TeX as input tokens, you would have 
to somehow extend the lyrics parsing mechanism of musixlyr. This would 
certainly require changes to the current M-Tx/musixlyr combination.

And finally - even if all the obstacles mentioned above would have been 
overcome, it's likely that you wouldn't be too happy with the solution 
because grammatically correct hyphenation does not always match the 
division of words into syllables in a phonetic sense. Many "audible 
syllables" are written as just one letter (consider ra-di-o), but you 
wouldn't write them as separate syllables. Chances would be small that 
automatic hyphenation hits what you intend musically.

Regards,

Rainer
--
Approved by mutex-owner


From mutex-owner@mail2.gmd.de Mon May  3 10:59:44 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Re: hyphenation
To: mutex@gmd.de
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" From: Dirk Laurie <dirk@calvyn.puk.ac.za>

" TeX's hyphenation method is clever but not infallible, and is strongly
" language dependent.  For example, the first line of Psalm 42 in Latin
" is hyphenated by Plain TeX (U.S. English) as follows:
" 
" \showhyphens{Sicut cervus desiderat ad fontes aquarum}
" 
" Si-cut cervus desiderat ad fontes aquarum
" 
" The correct hyphenation is:
" 
" Sic-ut cer-vus de-si-de-rat ad fon-tes a-qua-rum
" 
" At least TeX got the hyphenation for 'ad' right :-)
" 
" If despite this reply you still want to try to make hyphenation
" automatic, read Appendix H in the TeXbook and then go out and
" have a beer instead. 

Actually, adding a hyphenation system for Latin (and Italian) is not
that difficult, since the rules are much simpler than for English.
In the given example, "sicut" is the only word which should be counted
as an exception.

But I agree that it would be better to have a beer, rather than trying
to devise an automatic hyphenation system.

.mau.

(darn... now I am whistling the bass part of Palestrina's mottetto. Help!)


From mutex-owner@mail2.gmd.de Mon May  3 12:01:52 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Re: PMX Version 2.0 + question
Date: Mon, 3 May 1999 14:01:52 +0200
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Dear all,


I downloaded pmx200, unzipped it, renamed pmxa to pmxab,
removed pmxb from my bat-file and had running the new version
in 15 seconds (i am exaggerating a little)

I thank mr Don Simons (and the other authors and
problemsolvers on the net) for the pleasure that they gives me
and i am sure, the other people who typeset music with musixtex.

And now i have 2 questions:

1
How can i move an arpeggio to the left in pmx
(ie for making room for a natural)?

example:
g4 ?  zf+ zbs<1 ? /

(i like to interchange the arpeggio and the sharp)

2.
In putting crescendo and pedal figures beneath or between the
staffs, i have troubles to specify the position or the crescendolength.
(i do it with the musixtex commands)

example:

in

\zmidstaff{\crescendo{#1\noteskip}

i can not predict the amount of \noteskip,
because i think other staffs have an effect on it.

or in

\zchar{-#1}{\Ped}

i can not predict the vertical position.
If i reset the position by " ! " , then the
pmx vertical position of the next notes are changed.


Those problems i have solved practically by
using a "next voice" ( / . . . // ) with
only phantom rests and musixtexcommands, as in:

\zmidstaff{\decrescendo{2\noteskip}\zchar{-8}{\Ped}\
rb4 rb8 \zchar{-8}{\Dep}\ rb8 rb4 //

This seems to work out (up to now)

but in SATB music the nextvoices are used up and i have to find something
else.

So my question is: are there rules for putting figures between the notes?

Thanks in advance,

Andre Van Ryckeghem


From mutex-owner@mail2.gmd.de Mon May  3 13:55:02 1999
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Date: Mon, 3 May 1999 15:55:02 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX Version 2.0 + question
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
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> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
> Date: Mon, 3 May 1999 14:01:52 +0200

I'll try a partial reply on those topics I proposed in other mails.

 
> 2.
> In putting crescendo and pedal figures beneath or between the
> staffs, i have troubles to specify the position or the crescendolength.
> (i do it with the musixtex commands)
> 
> example:
> 
> in
> 
> \zmidstaff{\crescendo{#1\noteskip}
> 
> i can not predict the amount of \noteskip,
> because i think other staffs have an effect on it.

Yes. When typesetting a score the length of \noteskip is determined by
the shortest note in any voice at that "moment". When typesetting a part 
then the length of \noteskip is determined by just the note it belongs
to.

So I use this construct with \elemskip instead of \noteskip, because \elemskip
is more "stable". Nevertheless you need some trial and error to find a pleasent 
value for #1.

Sometimes it's neccessary to use different values for the score or for
the parts e.g.

%%
  ... \zmidstaff{\crescendo{8.5\elemskip} ...
%3... \zmidstaff{\crescendo{3.5\elemskip} ...

[...]
> \zchar{-#1}{\Ped}
> 
> i can not predict the vertical position.
> If i reset the position by " ! " , then the
> pmx vertical position of the next notes are changed.

If you use any relative pitch which changes the transpose register, you have
to embed the construct in "{}" e.g.

... \relax{\zchar{!`e}{\Ped}}\ ...

For things like \Ped you better use absolute positions (with the same value
within one line) e.g. \zchar{-6}{\Ped}


> Those problems i have solved practically by
> using a "next voice" ( / . . . // ) with
> only phantom rests and musixtexcommands, as in:
> 
> \zmidstaff{\decrescendo{2\noteskip}\zchar{-8}{\Ped}\
> rb4 rb8 \zchar{-8}{\Dep}\ rb8 rb4 //
> 
> This seems to work out (up to now)

But it  isn't neccessary if you us only absolute pitches.


-- Werner


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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Re: hyphenation
Date: Mon, 3 May 1999 16:54:26 +0200
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>Actually, adding a hyphenation system for Latin (and Italian) is not
>that difficult, since the rules are much simpler than for English.
>In the given example, "sicut" is the only word which should be counted
>as an exception.


How do you split

Sanctus or Benedictus ?

andre


From mutex-owner@mail2.gmd.de Mon May  3 19:04:11 1999
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Andre Van Ryckeghem wrote:
> 
> 
> >Actually, adding a hyphenation system for Latin (and Italian) is not
> >that difficult, since the rules are much simpler than for English.
> >In the given example, "sicut" is the only word which should be counted
> >as an exception.
> 
> 
> How do you split
> 
> Sanctus or Benedictus ?
> 
> andre
> 
Many scores say Sa-nctus and Be-ne-di-ctus because that is how
choirmasters want you to sing it.

Dirk

From mutex-owner@mail2.gmd.de Mon May  3 19:42:39 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX Version 2.0 + question
Date: Mon, 3 May 1999 12:42:39 -0700 
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Andre wrote

>I downloaded pmx200, unzipped it, renamed pmxa to pmxab, ...

???  I don't understand why you would have to rename any files.  And there
should not be any files named pmxa.* in pmx200.zip.

>How can i move an arpeggio to the left in pmx
>(ie for making room for a natural)?
>
>example:
>g4 ?  zf+ zbs<1 ? /

How about redefining the arpeggio macro: 

\let\rap\raisearp\def\raisearp#1#2{\loffset{.8}{\rap{#1}{#2}}\let\raisearp\r
ap}\
g44 ?  zf+ zbs ? g g /

(NOTE: the mail system might have folded the line above with the TeX stuff,
but it must all appear on one line in the .pmx file.)

One of these days I'll teach pmx to do this automagically.  Maybe 2003.

--Don
 

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From: Maurizio Codogno <mau@beatles.cselt.it>
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" From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>

" >Actually, adding a hyphenation system for Latin (and Italian) is not
" >that difficult, since the rules are much simpler than for English.
" >In the given example, "sicut" is the only word which should be counted
" >as an exception.
" 
" 
" How do you split
" 
" Sanctus or Benedictus ?

San-ctus and Be-ne-di-ctus (ok, the latter is an exception as long as
grammar is concerned, but this is no problem. TeX is happy to be instructed
to keep together "ct").

ciao, .mau.


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Dirk Laurie wrote:
> 
> Andre Van Ryckeghem wrote:
> >
> >
> > How do you split
> >
> > Sanctus or Benedictus ?
> >
> > andre
> >
> Many scores say Sa-nctus and Be-ne-di-ctus because that is how
> choirmasters want you to sing it.
> 

Igitt:  I should say:   Sanc-tus  and Be-ne-dic-tus


greetings

-- 
Martin Sander   e-mail: martin.sander@ri.dasa.de

From mutex-owner@mail2.gmd.de Tue May  4 13:06:31 1999
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Subject: Hyphenation
To: mutex@gmd.de (gmd.de/Misc/Music)
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When writing a score in Latin, I would strongly suggest to
indicate with the hyphenation how it should be sung.
Therefore, logical hyphenation mistakes like si-cut in Latin or
hi-nein in German are to be preferred to avoid insertion
of a guttural sound in front of the vowel. I hyphenate 
sanc-tus and benedi-ctus,
because in the first example the -ng- belongs to the first
syllable, even though the -ct , being muta,  belong to the 
next syllable.

Christof

From mutex-owner@mail2.gmd.de Wed May  5 01:47:36 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: Continuo realizations in MusiXTeX
Date: Tue, 4 May 1999 18:47:36 -0700 
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When typesetting a continuo realization (a right-hand part for a keyboard
player based on the figured bass) it is traditional to use a smaller staff
and smaller print, to indicate that these notes were not written by the
composer.  However it is still desirable to group the bass line and the
realization together as a 2-staff instrument, set off with a curly bracket
to the left.  I have not been able to figure out a way to do this.
\setsize n  only works on an entire instrument; I can't make it work on one
staff of a 2-staff instrument.  So unless there is a trick I'm missing, I
would like to request that this capability be added to MusiXTeX.  

In the meanwhile, why can't I get by with making the realization a separate
one-line instrument?  

1.  I cannot figure out how to get a curly bracket around 2 separate 1-line
instruments.

2.  If I settle for the straight bracket with \songtop...\songbottom, the
top of the bracket does not align correctly when the upper staff is reduced
in size.  It appears that the bottom of bracket is OK but the top is too
low.

3.  Another probably related problem is that the \interstaff above the
smaller-sized staff is also scaled down.  It appears to be scaled down in
proportion to the difference in staff size.  I tried to adjust this with 
\setinterinstrument1{-.2\interstaff}\setinterinstrument2{.25\interstaff}
but it appears that only hard-wired dimensions are accepted here, and that
would be very cumbersome in scores where \interstaff varies from page to
page.

Any ideas, anyone?

--Don Simons

From mutex-owner@mail2.gmd.de Wed May  5 07:22:44 1999
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Subject: hyphenation
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Renate wrote:
> Funny (digressing a bit), When I have been taught plain chant (gregorian
> chant), my teachers (one was taught by benedictine nuns in Germany, the
> other two at Solesmes) have expressively taught that the c is _not_ mute,
> i.e. it is pronounced with the following syllable, like this:

> sa - ngktus
Of course the c is pronounced. It is sung: sang-ktus, but the ng
belongs to the first syllable. If you write san-ctus, the singer
realizes too late that he should sing an -ng-, not a -n-. I often
indicate the moment where -m- -n- -ng- has to be sung with a
finger closure, especially at ends of movements.


Christof

From mutex-owner@mail2.gmd.de Wed May  5 10:05:16 1999
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Date: Wed, 5 May 1999 12:05:16 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Continuo realizations in MusiXTeX
To: mutex@gmd.de
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Tue, 4 May 1999 18:47:36 -0700 

[...]
> 2.  If I settle for the straight bracket with \songtop...\songbottom, the
> top of the bracket does not align correctly when the upper staff is reduced
> in size.  It appears that the bottom of bracket is OK but the top is too
> low.

I append a small test source which demonstrates that this error depends
on the fact that there is an instrument above the top of \songtop with
different size as the \songtop instrument. The bottom is always ok.

-- Werner

\input musixtex

% Akkolade is ok
\instrumentnumber3
\setsize3\smallvalue
\songbottom2\songtop3
\startpiece
\Notes\qa{cccc}&\qa{cccc}&\qa{cccc}\en
\endpiece

% Akkolade is too short if the instrument above the top has a bigger staffsize
% as the songtop instrument
\instrumentnumber4
\startpiece
\Notes\qa{cccc}&\qa{cccc}&\qa{cccc}&\qa{cccc}\en
\endpiece

% Akkolade is again ok if the songtop instrument and the instrument above the
% top of the Akkolade do have the same size.
\setsize4\smallvalue
\startpiece
\Notes\qa{cccc}&\qa{cccc}&\qa{cccc}&\qa{cccc}\en
\endpiece

% Akkolade is too long if the instrument above the top has a smaller staffsize
% as the songtop instrument
\setsize2\smallvalue
\setsize3\normalvalue
\startpiece
\Notes\qa{cccc}&\qa{cccc}&\qa{cccc}&\qa{cccc}\en
\endpiece

\bye


From mutex-owner@mail2.gmd.de Thu May  6 13:19:37 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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hello,
I just got the MikTex 1.20.
I created a localtexmf directory but I don't know how to build a musixtex
format. The installation directions in the musixtex manual do not seem to
work. Has anyone done this. My operating system is Windows NT.
Regards,
Pantelis


From mutex-owner@mail2.gmd.de Sun May  9 11:02:56 1999
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From: Keresztfalvi Gabor <kg230@hszk.bme.hu>
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Subject: [PMX] Strange '}' between dotted note an it's dot
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Hi all!
I've just started working with M-Tx->PMX->MusiXTex line, and it is a really
good (and efficient) toolkit.
But :)
First of all I'm using M-Tx 0.50a with PMX 2.0 or 1.38 with MusiXTeX 0.93 on a
Debian GNU/Linux 2.1. M-Tx 0.50a, PMX 1.38 and MusiXTeX 0.93 came from debian
packages. PMX 2.0 came from own compilation with g77.
I searched the archive for the $SUBJECT problem, and I found this:
-------
From: "SIMONS, DON " <DSIMONS@logicon.com>               
Subject: PMX-Bug?                                        
Date: Sat, 12 Dec 1998 17:50:00 -0800

Frank Steffani wrote                                     
                                                         
>There is a problem, though, with some dotted half notes. Please
>look at bar 21 and bar 23 which are both in the very last printed
>staff of the piece (and on the page). It looks like a ")" between
>the half note and it's dot.                             
                                                         
Using M-Tx 0.52 <29 October 1998>, and PMX version 1.43, I could not
reproduce the error.  Sorry I can't help with that one, but meanwhile
I see that the the 1st and 2nd ending boxes in bars 8-9 came out a
different levels.  Haven't figured out what's wrong there yet.
                                                         
--Don
------- End of quote
I have the same problem as Frank if I use PMX 2.00, but I have no problem if
I use PMX 1.3.8. The problem occures at me when I use an M-Tx SATB4 style, and
there is a dotted note in the _Bass_ voice (if the dotted note is in the
other three voice, then there's no problem).
I diffed the two versions' output tex file, and I found that PMX 2.00 sais
\qum if there is a dotted quarter note with stem up, \qlm with stem down.
For half notes it's \hum and \hlm. For example a PMX d2d will be translated
to: \hlm{'D}D			<- There is also an additional 'D'
				after '}' ! Really!
This is quite strange, because the MusiXTeX manual doesn't mention anything
like this. There's only \qup, \qlp, \hup, \hlm, etc...
If I change it to \hlp{'D} then everything is good.
I also tried with 1/8s, 1/16s and 1/32s but in this case I could not traced
when the problem occures (sometimes occures, sometimes not; I suppose it
depends somehow on beaming).
Unfortunately I'm not familiar with Fortran, so I can't produce a patch for
it. But in the meanwhile here is a little workaround for M-Tx files (and only
for halves and quarters):
%%\def\qlm#1#2{\qlp{#1}}\
%%\def\qum#1#2{\qup{#1}}\
%%\def\hlm#1#2{\hlp{#1}}\
%%\def\hum#1#2{\hup{#1}}\
Put them right after the M-Tx preamble.
(Maybe a perl script would be better? ;)
That's all for now.

Greets,
Keresztg

P.s.: Oh yes. My TeX system is from tetex-0.9.981113 debian package.
tex sais: This is TeX, Version 3.14159 (Web2C 7.2)

+ Keresztfalvi Gabor
+ Student of the Technical University of Budapest
+ mailto: keresztg@podolin.piar.hu  keresztg@usa.net  kg230@hszk.bme.hu
+ http://www.piar.hu/~keresztg/   There is my pubkey on this page.


From mutex-owner@mail2.gmd.de Sat Apr 24 00:27:27 1999
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From: Henrique <hdante@ibm.net>
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Hello,

 I want to buy a new printer for general use but focused on
printing MusiXTeX.
 I would like information on your ( or on what is recommended )
MusiXTeX <-> printed scores interface and if they work well -
printers, papers, printer drivers, format converters, postscript
interpreters, printing programs, price, ...

 I have a working MusiXTeX system running on Intel x86, Linux 2.0.29,
teTeX 0.4, MusiXTeX T.90, but I'm also able to make configurations
under OS/2, DOS and Win95.

 Thank you
 hdante@ibm.net

From mutex-owner@mail2.gmd.de Sat Apr 24 00:39:28 1999
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Date: Fri, 23 Apr 1999 21:39:28 -0300
From: Henrique <hdante@ibm.net>
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Hello

 Does it take as much time to learn PMX as it takes
to learn MusiXTeX ? Would I get advantages ?

 hdante@ibm.net

From mutex-owner@mail2.gmd.de Sun May  9 00:28:19 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: PMX
Date: Sat, 8 May 1999 17:28:19 -0700 
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Henrique wrote
> Does it take as much time to learn PMX as it takes
>to learn MusiXTeX ? 

No.

>Would I get advantages ?

It takes less time to learn :-)
The fact that it is easier to learn is because (a) the input language is
more straightforward (b) information is entered in a more voicewise way, (c)
for the most part you only need to enter musical, not layout information. 

The disadvantage is that PMX only has a subset of the MusiXTeX commands.
Eventually you are likely to want to do something that MusiXTeX has but PMX
doesn't.  You can enter MusiXTeX commands into the pmx source file.  
Obviously, you must know something about MusiXTeX even if all you want to do
is use it this way. 

--Don Simons

From mutex-owner@mail2.gmd.de Mon May 10 07:21:46 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: "Henrique" <hdante@ibm.net>
Cc: <mutex@gmd.de>
Subject: Re: Printers
Date: Mon, 10 May 1999 09:21:46 +0200
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I use 600 dot laserprinters (hp4mp, hp5mp) with postscript

I am dreaming of a A3 1200dot laserprinter and a fast computer with a lot of
harddiskspace

greatings

-----Oorspronkelijk bericht-----
Van: Henrique <hdante@ibm.net>
Aan: mutex@gmd.de <mutex@gmd.de>
Datum: dimanche 9 mai 1999 22:22
Onderwerp: Printers


>Hello,
>
> I want to buy a new printer for general use but focused on
>printing MusiXTeX.
> I would like information on your ( or on what is recommended )
>MusiXTeX <-> printed scores interface and if they work well -
>printers, papers, printer drivers, format converters, postscript
>interpreters, printing programs, price, ...
>
> I have a working MusiXTeX system running on Intel x86, Linux 2.0.29,
>teTeX 0.4, MusiXTeX T.90, but I'm also able to make configurations
>under OS/2, DOS and Win95.
>
> Thank you
> hdante@ibm.net
>


From mutex-owner@mail2.gmd.de Mon May 10 09:22:28 1999
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From: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>
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"Simons, Don" wrote:
> 
> Henrique wrote
> > Does it take as much time to learn PMX as it takes
> >to learn MusiXTeX ?
> 
> No.
> 
> >Would I get advantages ?
> 
> It takes less time to learn :-)   ...


But still you need to learn some MusixTeX coding.

From mutex-owner@mail2.gmd.de Mon May 10 10:11:17 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: PMX
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Sat, 8 May 1999 17:28:19 -0700 

> The disadvantage is that PMX only has a subset of the MusiXTeX commands.
> Eventually you are likely to want to do something that MusiXTeX has but PMX
> doesn't.  You can enter MusiXTeX commands into the pmx source file.  
> Obviously, you must know something about MusiXTeX even if all you want to do
> is use it this way. 

But there PMX helps, too. You may generate your first MusiXTeX sources
by PMX and then read(!) the MusiXTeX source. Imho PMX's MusiXTeX style
is excellent and by reading it you can learn a lot, how to deal with
MusiXTeX.

The main difference between a hand-made MusiXTeX source and a PMX source
is that PMX already makes the line breaking. Therefore it uses \xbar,
\alaligne, \stoppiece...\contpiece instead of \bar and \elemskip1pt etc.
to supresss some error messages in the first MusiXTeX-phase.

So if you ignore the later and read \bar instead of \xbar etc. you can
learn a lot about using MusiXTeX.

-- Werner


From mutex-owner@mail2.gmd.de Mon May 10 10:49:10 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX
To: mutex@gmd.de, ftn_ovcin@uns.ns.ac.yu
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> Date: Mon, 10 May 1999 09:22:28 +0000
> From: Zoran Ovcin <ftn_ovcin@uns.ns.ac.yu>

[... using PMX instead of plain MusiXTeX ...]

> But still you need to learn some MusixTeX coding.

No. You install TeX and add MusiXTeX. You install PMX and use it
e.g. with barsant.pmx. Then you get a TeX source, which may be
processed with plain TeX, musixflx and again with plain TeX.

You don't need to know any TeX-macro introduced by MusiXTeX.

With PMX you can write rather complex compositions without
knowing any MusiXTeX macro. PMX has that knowledge for you.

-- Werner




From mutex-owner@mail2.gmd.de Mon May 10 13:07:08 1999
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From: Keresztfalvi Gabor <kg230@hszk.bme.hu>
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To: MuTeX mailing list <mutex@gmd.de>
Subject: [MTX] {somename}={othername} generates bad MusiXTeX code
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Hi all!
I checked the problem on M-Tx 0.50a and 0.52 and both version give the
$subject.
So what's that:
The M-Tx code:
|
| {somename}
| This-is the lyrics of the somename verse.
|
generates something like
| \\setlyrics{somename}{%
|  This-is the lyrics of the somename verse. }
PMX (MusiXTeX) code (maybe I'm missing some spec chars, but I'm writing this
letter from the University, and can't check the real code...)
This is quite OK.
But:
|
| {somename}={othername}
|
generates
| \\setlyrics{somename}{%
| \\copylyrics{somename}{othername}
code. Which is bad for two reasons:
1. If we use copylyrics, we don't need setlyrics.
2. The code is incomplete of '}'.
If I remove the setlyrics line everything is fine.
I've seen only the C code (converted form pascal), and the problem is in
lyrics.c/lyricsParagraph. The code assumes, that there is always a \\setlyrics
line, and checks for the {xxx}={yyy} case at the very end of the function,
where the \\setlyrics is already written out.
I would suggest to check for a '=' sign in the incoming string before writing
out the setlyrics line, but I don't know whether it is realizable in the
current code.

Greets,
Keresztg

+ Keresztfalvi Gabor
+ Student of the Technical University of Budapest
+ mailto: keresztg@podolin.piar.hu  keresztg@usa.net  kg230@hszk.bme.hu
+ http://www.piar.hu/~keresztg/   There is my pubkey on this page.


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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Re: PMX
Date: Mon, 10 May 1999 18:16:30 +0200
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This is my opinion about pmx:

You can not without it.

Its true you have to know the musixtexcommands (but you only have to read
the manual when the problems arise).
The pmx-manual supposes that you know musixtex.
I think most of the novel users will have problems when starting with pmx.
When the musiccode is not the same as in the examples its likely to make
errors and then read subtile errormessages such as 'inputconversion error,
unit -5 ....'

They should post a detailled description of music they want (or the start of
the musixtexcode) en then ask a guru to translate in pmx.
Once made the first code it becomes all (very) simple.

People ask me why i use musixtex or pmx and not a wysiwyg programm.
The answer is:
I have no reason, but its fascinating. And i have not seen a more perfect
output as with musixtex.

greatings




From mutex-owner@mail2.gmd.de Mon May 10 19:08:37 1999
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   They should post a detailled description of music they want (or the start of
   the musixtexcode) en then ask a guru to translate in pmx.
   Once made the first code it becomes all (very) simple.

Yes, that's been my experience too, first with MusiXTeX, then with
M-Tx.  It's hard to learn how to do new things in these languages, but
once you learn the tricks it's easy.  I suspect the real problem is
not enough *isolated* examples.  There are several sample pieces
given, but it's hard to figure out the exact details from the language
specification and examples alone.

Luckily for us novices, the language developers and several more
experienced users are available on this mailing list.

   People ask me why i use musixtex or pmx and not a wysiwyg programm.
   The answer is:
   I have no reason, but its fascinating. And i have not seen a more perfect
   output as with musixtex.

I tried using a wysiwyg program once.  It was slow.  Maybe there are
better wysiwyg's out there now than the first one I tried
(Somethingorother Composer Deluxe, on a Macintosh).  But it just
didn't have much support for lyrics -- I had to position them by hand.

My belief is that it's easier to learn a wysiwyg program -- at least
for simple things -- but much harder to do really complex things.  And
you can *always* type faster than you can mouse.  That's the real
disadvantage of every wysiwyg program I've ever used (except word
processors, some of which can be quite nice).  If you have much work
to do, you can do it much faster with a keyboard than with a mouse.

When I work with Visual C++, I do simple tasks (and debugging) with
the built-in editor provided by Microsoft.  But if I'm at the
beginning of writing a program, or making extensive changes, I switch
over to a good text editor (like vi or emacs).  It's just a lot easier
and faster that way.

If anybody ever figures out a nice way to represent drawings (nice
rectangular drawings like flowcharts and entity-relationship diagrams)
in text, I may abandon the mouse altogether.

In terms of typesetting music, MusiXTeX and its preprocessors (PMX and
M-Tx) are a thing of beauty and a joy forever.





From mutex-owner@mail2.gmd.de Tue May 11 01:03:34 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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hello,
I just got the MikTex 1.20 but I don't know how to build a musixtex
format file. The installation directions in the musixtex manual do not
seem to work. Has anyone done this? My operating system is Windows NT.
Regards,
Pantelis


From mutex-owner@mail2.gmd.de Tue May 11 10:43:07 1999
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From: Keresztfalvi Gabor <kg230@hszk.bme.hu>
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Subject: Re: [PMX] Strange '}' between dotted note an it's dot [solution]
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Hi all!
As it turned out in a separate discussion with Don and Christian the problem
is not in PMX (my apologies, Don!). The bug is possible in the g77 compiler
which was from an egcs package. Christian suggested to try f2c, and it really
worked also for me, the silly '}'s gone from the result.

Greets,
Keresztg

+ Keresztfalvi Gabor
+ Student of the Technical University of Budapest
+ mailto: keresztg@podolin.piar.hu  keresztg@usa.net  kg230@hszk.bme.hu
+ http://www.piar.hu/~keresztg/   There is my pubkey on this page.



From mutex-owner@mail2.gmd.de Tue May 11 13:57:46 1999
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Date: Tue, 11 May 1999 15:57:46 +0200
From: taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.94
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Subject: MusiXTeX version T.94

New version T.94 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

Changes:
 Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600=
.zip)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new xslhu.=
mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.
=20
Daniel Taupin


--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue May 11 14:37:20 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: "Pantelis Andreou" <pan@mscs.dal.ca>
Cc: <mutex@gmd.de>
Subject: Re: Building format file for miktex
Date: Tue, 11 May 1999 16:37:20 +0200
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I have made a musix.bat file:

@ECHO OFF
C:\TEXMF\MIKTEX\BIN\INITEX.EXE &plain musixtex.ins
copy musixtex.fmt C:\texmf\miktex\fmt
del musixtex.fmt
pause

i created a command in winedt to run it (propably not necessary)

(rename musixtex.fmt according to preference)

This one works in windows9? and my colleague assures me it will work in NT.

greatings
Andre

-----Oorspronkelijk bericht-----
Van: Pantelis Andreou <pan@mscs.dal.ca>
Aan: mutex@gmd.de <mutex@gmd.de>
Datum: mardi 11 mai 1999 5:04
Onderwerp: Building format file for miktex


>hello,
>I just got the MikTex 1.20 but I don't know how to build a musixtex
>format file. The installation directions in the musixtex manual do not
>seem to work. Has anyone done this? My operating system is Windows NT.
>Regards,
>Pantelis
>


From mutex-owner@mail2.gmd.de Wed May 12 08:03:33 1999
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Date: Wed, 12 May 1999 10:03:33 +0200
From: Daniel Barna <barnad@rmki.kfki.hu>
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Hi All,                                  _
Is it possible in pmx to put the signs  | |  and  V  
above notes when writing scores for a string orchestra?
I haven't found them in the description.
Thanks
Daniel


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Date: Wed, 12 May 1999 12:19:15 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Downbow and upbow with PMX
To: mutex@gmd.de, barnad@rmki.kfki.hu
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> Date: Wed, 12 May 1999 10:03:33 +0200
> From: Daniel Barna <barnad@rmki.kfki.hu>

> Is it possible in pmx to put the signs  | |  and  V  
> above notes when writing scores for a string orchestra?
> I haven't found them in the description.

Not supported directly by PMX, but indirectly using in-line TeX.

I append an example whose first line shows the simple solution
and whose 2nd line shows a more general solution using my fingering
macros described some days ago in this list. The file mymusix.tex
is available with the TeX or PMX sources of (some of) my editions
on http://www.gmd.de/Misc/Music/scores/ (e.g. Bach's Sonatas and
Partitas).

-- Werner

1 1 2 4 2 4 0 0
1 2 20 0.09
Violine
t
./

\\input mymusix\

\\def\Down#1{{\zcharnote{#1}{\downbow}}}\
\\def\Up#1{{\zcharnote{#1}{\upbow}}}\

\Down{!'f}\ c44 \Up{!'f}\ c \Down{!''b}\ g45 \Up{!''b}\ g /
\Down8\ c44 \Up8\ c \Down{11}\ g45 \Up{11}\ g /

\FU\Ab\ c44 \FU\Auf\ c \Fu\Ab{!'g}\ g45 \Fu\Auf{!'g}\ g /
\FU{1\Ab}\ c44 \FU{4\Auf}\ c \Fu{1\Ab}{!'g}\ g45 \Fu{4\Auf}{!'g}\ g /


From mutex-owner@mail2.gmd.de Wed May 12 17:11:05 1999
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From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: PMX-2.0.0 Unix/C
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The Unix/C version of PMX-2.0.0 is now available from the GMD music
archives (archive file name should be 'pmx-unix-2.00.tar.gz').

This should do away with the g77 trouble :-)

I've made a small experiment in this release: before translating the
fortran source to C, I set the 'nm' parameter to nm=15 (it is now 12 by
default, but at least some people seemed to want 15). I can't imagine any
problems that might arise from this modification. However, if pmxab shows
any strange behaviour, be sure to let me know so I can cross-check against
the unmodified version.

cu all
Stefan.

======================================================================
  `` ... life, viewed rationally and without illusion, appears to 
     be a nonsense tale told by an idiot mathematician. ''
                                                 -- Martin Gardner
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)


From mutex-owner@mail2.gmd.de Sun May 16 09:47:47 1999
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From: Howard Gilbert <hg21@onyxnet.co.uk>
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To: MusixTex mailing list <mutex@gmd.de>
Subject: pmx: key signatures
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Hi,

I am writing a piano accopaniment for a piece for piano and horn in F.  As
is customary, I want the piano part to contain a smallsize version of the
horn part (this is no problem) with a key signature one key sharper than
the piano. There are several key changes through the piece.

I can easily achive this by intervening at the .tex file lex=vel in the
process. By replacing the \generalsignature by eg:-

\setsign1{-3}%
\setsign2{-2}%

(Piano starts in Eb horn starts in Bb)

at subsequent key change I can do eg:-

\xbar\addspace{-\afterruleskip}\setsign1{1}%
\xbar\addspace{-\afterruleskip}\setsign2{2}%
 
and so on for each key change.


BUT in pmx:

If I attempt to do 

K+0+1
<....2 staves of piano ...>
K+0+2
<...1 stave of horn ...>

I get the error message only one key change per block.

If I put:-
\\setsign1{-3}\
\\setsign2{-2}\
 
at the begining it will override isig and start the piece as intended but
subsequent attempts to change key by :-

\addspace{-\afterruleskip}\setsign1{1}\
\addspace{-\afterruleskip\setsign2{2}\ 

at the start of a block make no change to the key signature.

It does, however, put 

\addspace{-\afterruleskip}\setsign1{1}

into the .tex file (which is ignored in the .dvi output ?!)
but does not put any referece to setsign2{2} in the .tex file.

I have tried several variations of these embedded musixtex commands in the
.pmx file but have got nowhere.

How do others manage different key signatures for different instruments in
pmx?  The above was done with v1.43 but I've now downloaded v2.00 (unix
version).

I have a feeling I must be missing something obvious and will feel very
silly when I get the answer.

Best wishes,
Howard



From mutex-owner@mail2.gmd.de Sun May 16 16:21:36 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'MusixTex mailing list '" <mutex@gmd.de>
Subject: RE: key signatures
Date: Sun, 16 May 1999 09:21:36 -0700
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Howard Gilbert asked about transposing one line in a score.

Down below I'll append an example of how I would do this.  There are some
caveats:
1. Some special handling would be needed if you wanted to use scor2prt to
make separate parts.
2.  The horizontal spacing could get messed up if the manually inserted key
signature takes up more space than the one PMX knows about.

But the main idea here is that by "re-defining" \generalsignature, we ensure
that the altered key signature get inserted right along with the one that
PMX inserts using \generalsignature.

You might also consider doing the score in concert key, but making a
separate part that is transposed, by using commands in the score something
like %2K+2+2

--Don Simons

Example file:

2 2 4 4 4 4 0 1
0 5 20 0
I
II
bt
./
%
% Must explicitly set altered signature at beginning
%
\\setsign20\
%
% Define a macro to set later altered signatures
%
\\def\transp#1#2{\let\gst\generalsignature\
\\def\generalsignature##1{\gst{##1}\
\\setsign{#1}{#2}\let\generalsignature\gst}}\
g03 /
g04 /
\\\transp2{-1}\
K+0+4
e03 /
e04 /
\\\transp20\
K+0-4
f03 /
f04 /




 

 

From mutex-owner@mail2.gmd.de Mon May 17 10:09:35 1999
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Date: Mon, 17 May 1999 12:09:35 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: key signatures
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> From: "Simons, Don" <DSimons@logicon.com>
> To: "'MusixTex mailing list '" <mutex@gmd.de>

> You might also consider doing the score in concert key, but making a
> separate part that is transposed, by using commands in the score something
> like %2K+2+2

As far as I know this is the correct solution esp. because most
players are confused when they have to read their own voice and
a transposed notation. And it works great with PMX and SCOR2PRT:

3 2 4 4 4 4 0 -2
1 1 20 0.09
Piano
Horn
btt
.\

Tt
Bar for piano and horn

%%
\\setsize2\smallvalue\
%2K+3-3
b42 d g b /
b43 d g b /
b43 d g b /

-- Werner


From mutex-owner@mail2.gmd.de Mon May 17 20:10:03 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX-2.0.0 Unix/C
To: mutex@gmd.de, evertsn@cip.mathematik.uni-stuttgart.de
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> Date: Wed, 12 May 1999 19:11:05 +0200 (MSZ)
> From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>

> I've made a small experiment in this release: before translating the
> fortran source to C, I set the 'nm' parameter to nm=15 (it is now 12 by
> default, but at least some people seemed to want 15). I can't imagine any
> problems that might arise from this modification. However, if pmxab shows
> any strange behaviour, be sure to let me know so I can cross-check against
> the unmodified version.

One of the problems is, that MusiXTeX supports only 12 instruments.
Your PMX-Version has to check, whether not more than twelve instruments
are involved, although there can be more than 12 voices. If this is 
checked you have to check too, that there are not more than 12 parallel
open slurs, beams, ... 

MusiXTeX can have up to 12 instruments each with up to 4 lines of music
but only 12 parallel open slurs, beams, ... 

So your PMX-variant may result in nasty error-situations that
PMX generates a MusiXTeX-source which cannot be processed by
MusiXTeX. I hate such situations because such problems need
much MusiXTeX and TeX knowledge which makes it hard to recommend
PMX to "simple-minded" users.

If "nm" is used globally then this is problem. You have to introduce
seperate maximums for slurs, beams, (and maybe more), instruments,
voices per instrument, ...

For your PMX-variant at least an additional file like musixadd.tex
or musixmad.tex is neccessary. I don't know whether there are
enough (e.g.) dimensions in TeX to introduce three more instruments.

-- Werner


From mutex-owner@mail2.gmd.de Tue May 18 07:27:48 1999
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Subject: Re: PMX-2.0.0 Unix/C
To: Werner.Icking@gmd.de
Date: Tue, 18 May 1999 09:27:48 +0200 (SAST)
Cc: mutex@gmd.de, evertsn@cip.mathematik.uni-stuttgart.de
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Werner Icking wrote, on the topic of a PMX variant that allows 15 voices:
> 
> So your PMX-variant may result in nasty error-situations that
> PMX generates a MusiXTeX-source which cannot be processed by
> MusiXTeX. I hate such situations because such problems need
> much MusiXTeX and TeX knowledge which makes it hard to recommend
> PMX to "simple-minded" users.
> 

But: (a) it is anyway impossible to check that a given PMX score 
  generates clean MusiXTeX because of the inline TeX feature;
     (b) by definition, a user who writes scores with more than 
  twelve instruments cannot possibly be simple-minded.

> For your PMX-variant at least an additional file like musixadd.tex
> or musixmad.tex is neccessary. I don't know whether there are
> enough (e.g.) dimensions in TeX to introduce three more instruments.

PMX always generates "\input musixmad" even if your score has one
instrument, one music line and one note.

So I vote in favour of the big PMX.  

Dirk

From mutex-owner@mail2.gmd.de Tue May 18 10:37:36 1999
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Subject: LargePMX
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Werner Icking wrote, on the topic of a PMX variant that allows 15 voices:
> 
> So your PMX-variant may result in nasty error-situations that
>
Dirk Laurie wrote:
> So I vote in favour of the big PMX.

I agree with both, Werner and Dirk. I have done it, although only 
with 11 voices.
PMX does produce errors in giving the ASCII symbols just above
X39. Furthermore, it leaves possible numbers of beams empty.
Slurs behave differently, giving stars for numbers >10. Several 
other variables are also affected,
e.g. the number of full bar rests is limited in PMX.
Manual editing of the TeX source is thus unavoidable.
BUT: the time saving is then still 85% instead of 95% in comparison
to set it in MusiXTeX. Furthermore, the score is much easier
to overlook. Error-correcting still remains easier to do
in PMX, importing the pertaining bars into the edited MusiXTeX file...
The tool is not perfect, but better to work with a lousy tool than
with bare hands. Working with postprocessing editor macros further
cuts down the manual labor, but cannot remove all errors.

So my vote is definitely IN FAVOR for the large version if an appropriate
caveat is clearly stated in the manual.

Christof

From mutex-owner@mail2.gmd.de Tue May 18 16:36:53 1999
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Musixtex'" <Mutex@gmd.de>
Subject: RE: Continuo realizations in MusiXTeX
Date: Tue, 18 May 1999 14:36:53 +-200
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----------
From: 	Werner Icking[SMTP:Werner.Icking@gmd.de]
Sent: 	Wednesday, May 05, 1999 14:05
To: 	mutex@gmd.de
Subject: 	Re: Continuo realizations in MusiXTeX

> From: "Simons, Don" <DSimons@logicon.com>
> Date: Tue, 4 May 1999 18:47:36 -0700 

[...]
> 2.  If I settle for the straight bracket with \songtop...\songbottom, the
> top of the bracket does not align correctly when the upper staff is reduced
> in size.  It appears that the bottom of bracket is OK but the top is too
> low.

I append a small test source which demonstrates that this error depends
on the fact that there is an instrument above the top of \songtop with
different size as the \songtop instrument. The bottom is always ok.

-- Werner


Here's a simple fix to the above error:

The following macros are from MusiXTeX (I have marked the changes with %++MK):

\def\writ@staffs{%
  \y@\staffbotmarg \global\altplancher\staffbotmarg
  \rlap{\n@loop\w@st\repeat
% beginning vertical rule
  \systemheight\y@
  \advance\systemheight-\altplancher
  \C@Inter \global\advance\systemheight-\stem@skip
  \ifx\empty\b@rule
    \raise\altplancher\rlap{%
      \vrule\@depth\hlthick\@height\systemheight\@width\lthick}%
  \fi
% 'Akkoladenklammer' don't know the english word
  \g@loop
    \ifnum\uppersonginstrum<\lowersonginstrum
    \else
%++MK
%     \global\advance\g@h-\stem@skip % remove this here line
%++MK
      \global\advance\g@h-\g@b
      \global\advance\g@h\Interligne \global\advance\g@b-\Internote
      \raise\g@b\llap{\uplap{\offinterlineskip
        \hbox{\musixfont\fourt@@n}\hbox{\vrule\@height\g@h
          \@width\internote}\hbox{\musixfont\fiv@t@@n}}\kern\internote}%
    \fi
  \repeat
% systembarnumbers
  \ifx\lin@bar\@ne
    \y@\altplancher \advance\y@\systemheight \advance\y@\raisebarno
    \raise\y@\rlap{\kern\shiftbarno\writebarno}%
  \fi
% strut
  \advance\stafftopmarg\staffbotmarg
  \raise\stafftopmarg\hbox{\vrule\@height\systemheight\@width\z@}}}

\def\w@st{%
  \global\noport@@\z@ \global\altitude\y@
  \global\instrum@in@group=\z@
  \edef\p@b{\csname p@b\romannumeral\noinstrum@nt\endcsname}%
  {\g@loop
     \ifnum\noinstrum@nt=\lowersonginstrum
       \global\g@b\altitude
     \fi
     \ifnum\uppersonginstrum>\lowersonginstrum\relax
       \ifnum\noinstrum@nt<\lowersonginstrum\relax
       \else
         \ifnum\noinstrum@nt>\uppersonginstrum\relax
         \else
%           \message{\the\noinstrum@nt\space in-group!}%
           \global\instrum@in@group=2\internote
         \fi
       \fi
     \fi
   \repeat}%
% nullportee
  \ifnum\st@ffs=\z@
    \advance\y@\f@ur\Interligne
  \else
% multportee
    \ifnum\st@ffs>\@ne
      \Comp@High\n@v\y@v \sp@pt\tw@
      \advance\n@v\@cxxviii \divide\y@v\tw@
%==== the parenthesis should be shifted to the left if within akkoladen
      \advance\y@v\y@
      \raise\y@v\hbox{\kern -\instrum@in@group\mxsps\char\n@v\kern\instrum@in@group}%
    \fi
% normal staff
    {\loop \staff@lines\ifnum\noport@@<\st@ffs \repeat}%
  \fi % fin du \else pour 0 portees=chant
  {\g@loop
     \ifnum\noinstrum@nt=\uppersonginstrum
       \global\g@h\y@
%++MK
       \C@Inter % added this here line
       \global\advance\g@h-\stem@skip % added this here line
%++MK
     \fi
   \repeat}%
  \ifnum\noinstrum@nt<\nbinstruments
    \advance\y@\csname interinstrument\romannumeral\noinstrum@nt\endcsname
  \fi}


From mutex-owner@mail2.gmd.de Wed May 19 00:18:32 1999
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Cc: "'MusixTex mailing list '" <mutex@gmd.de>
Subject: RE: key signatures
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062DB6@xcgca040.sp.logicon.com>
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Hello Don,

On Sun, 16 May 1999, Simons, Don wrote:

> Howard Gilbert asked about transposing one line in a score.
> 
> Down below I'll append an example of how I would do this.

Many thanks, your instructive example works beautifully.

> You might also consider doing the score in concert key, but making a
> separate part that is transposed, by using commands in the score something
> like %2K+2+2
> 
This is the way I would normally do it for say a wind quintet ( flute,
oboe & bassoon in, eg, in key C, then horn(in F) in key G and clarinet(in
Bb) in key D but, since I started my current project in the way that is
customary for accompaniments, I was determined to find how to do it.

Many thanks,
Best wishes,
Howard.  





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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Simons, Don'" <DSimons@logicon.com>, "'Musixtex'" <Mutex@gmd.de>
Subject: RE: Continuo realizations in MusiXTeX
Date: Wed, 19 May 1999 14:45:40 +-200
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----------
From: 	Simons, Don[SMTP:DSimons@logicon.com]
Sent: 	Wednesday, May 05, 1999 03:47
To: 	mutex@gmd.de
Subject: 	Continuo realizations in MusiXTeX

When typesetting a continuo realization (a right-hand part for a keyboard
player based on the figured bass) it is traditional to use a smaller staff
and smaller print, to indicate that these notes were not written by the
composer.  However it is still desirable to group the bass line and the
realization together as a 2-staff instrument, set off with a curly bracket
to the left.  I have not been able to figure out a way to do this.
\setsize n  only works on an entire instrument; I can't make it work on one
staff of a 2-staff instrument.  So unless there is a trick I'm missing, I
would like to request that this capability be added to MusiXTeX.  

In the meanwhile, why can't I get by with making the realization a separate
one-line instrument?  

1.  I cannot figure out how to get a curly bracket around 2 separate 1-line
instruments.

Here's a possible solution:

% Code for multiple left curly brackets:
%
% usage:
%        \curlybrackets{<instrument1lower><instrument1upper>
%                       <instrument2lower><instrument2upper>
%                       ...
%                       <instrument_n_lower><instrument_n_upper>}
%

\makeatletter

\let\origin@lwrit@staffs\writ@staffs
\def\writ@staffs{%
  \origin@lwrit@staffs
  \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi}

\let\br@cks\empty
\def\curlybrackets#1{\def\br@cks{#1}}

\def\@bracks#1#2#3\ende{%
    \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
    \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
    \advance\b@zii-\b@zi
    \advance\b@zii-\Interligne
    \C@Inter
    \advance\b@zii\stem@skip
    \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii
    \divide\b@zii\tw@
    \advance\b@zi\b@zii
    \raise\b@zi\rlap{\kern -\instrum@in@group\mxsps\char\n@v\kern\instrum@in@group}%
    \ifx\empty#3\else\@bracks#3\ende\fi}

\makeatother


From mutex-owner@mail2.gmd.de Thu May 20 11:17:39 1999
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'scancm@biobase.dk'" <scancm@biobase.dk>
Cc: "'Musixtex'" <Mutex@gmd.de>
Subject: RE: Curly braces & scor2prt
Date: Thu, 20 May 1999 09:17:39 +-200
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----------
From: 	Christian Mondrup[SMTP:scancm@biobase.dk]
Sent: 	Wednesday, May 19, 1999 19:39
To: 	Mthimkhulu Molekwa
Subject: 	Curly braces & scor2prt

Dear Mthimkhulu Molekwa

After I sent my previous mail I came to think what would happen with the
bass part extracted from the score with scor2prt. With the
\songtop\songbottom statements you may suppres the brackets in the
single parts by issuing these statement with the part numbers in
opposite order as I've done in the attached mtx source. But that doesn't
seem to be the case with \curlybrackets. In the start of each staff of
the bass part I get a rather long crescendo symbol.

Could you do something to handle this problem too ?

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

Dear Christian Mondrup

This should do the trick...

% Code for multiple left curly brackets:
%
% usage:
%        \curlybrackets{<instrument1lower><instrument1upper>
%                       <instrument2lower><instrument2upper>
%                       ...
%                       <instrument_n_lower><instrument_n_upper>}
%

\makeatletter

\let\origin@lwrit@staffs\writ@staffs
\def\writ@staffs{%
  \origin@lwrit@staffs
  \ifx\br@cks\empty\else\expandafter\@bracks\br@cks\ende\fi}

\let\br@cks\empty
\def\curlybrackets#1{\def\br@cks{#1}}

\def\@bracks#1#2#3\ende{%
    \ifnum #1<#2 %========================= inserted
      \noinstrum@nt=#1\s@l@ctinstr\b@zi\altitude
      \noinstrum@nt=#2\s@l@ctinstr\b@zii\altitude
      \advance\b@zii-\b@zi
      \advance\b@zii-\Interligne
      \C@Inter
      \advance\b@zii\stem@skip
      \n@v\b@zii \sp@pt\tw@ \advance\n@v\@cxxviii
      \divide\b@zii\tw@
      \advance\b@zi\b@zii
      \raise\b@zi\rlap{\kern -\instrum@in@group\mxsps\char\n@v\kern\instrum@in@group}%
    \fi %================================= inserted
    \ifx\empty#3\else\@bracks#3\ende\fi}

\makeatother


Regards,
MK





From mutex-owner@mail2.gmd.de Thu May 20 21:53:13 1999
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Date: Thu, 20 May 1999 16:53:13 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: PMX 2.0.0 for MacOS
In-Reply-To: <199905171009.MAA14086@sunick.gmd.de>
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Greetings,
	PMX 2.0.0 for MacOS has been uploaded to /incoming/music. I have not
yet updated my website so please get it from ftp.gmd.de until I do so (in
the next day or two).
	As usual, there may be some rough edges, please let me know.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Fri May 21 12:27:57 1999
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Date: Fri, 21 May 1999 14:27:57 +0200 (MSZ)
From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
Subject: Re: LargePMX
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Hi!

Thanks for your opinions on `LargePMX'. 
So that's two votes in favour of the modified version, and one against. 
I find Dirk's argument convinving that a newbie user is hardly likely to
use such a large number of voices or slurs. For this reason, I won't
make any changes to the released archive now; that gives me some time to
think about possible solutions. 

It might be possible to make the nm parameter modifiable in the C code
after all. The basic idea is to find out where the nm value has been
substituted in the C code generated by f2c and write a script to alter
those numbers in <pmxab.c>.  The easiest way to do this would certainly be
to write a Perl script. Does everybody interested in a higher nm value
have a Perl interpreter available? Otherwise I think I can work out a
short C program. 

Warmest Regards,
Stefan.

> 
> Werner Icking wrote, on the topic of a PMX variant that allows 15 voices:
> > 
> > So your PMX-variant may result in nasty error-situations that
> >
> Dirk Laurie wrote:
> > So I vote in favour of the big PMX.
> 
> So my vote is definitely IN FAVOR for the large version if an appropriate
> caveat is clearly stated in the manual.



======================================================================
  `` ... life, viewed rationally and without illusion, appears to 
     be a nonsense tale told by an idiot mathematician. ''
                                                 -- Martin Gardner
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)


From mutex-owner@mail2.gmd.de Wed May 26 16:01:59 1999
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Date: Wed, 26 May 1999 11:01:59 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: PMX for MacOS 2.0.0 (again)
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Hello,
	PMX for MacOS 2.0.0 is now available from 

		<http://www.gmd.de/Misc/Music/>

I have also finally gotten my website up to date, so it is also available
from

	<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

There is also a harmless bug in PMX for MacOS: It will incorrectly report
that the preferences file is corrupt the first time it is run.  It will
replace it with a fresh copy and all will be fine.

	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Wed Jun  2 08:52:37 1999
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Date: Wed, 02 Jun 1999 10:52:37 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Transposing on mtx source level
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Dear mutex subscribers.

Some of you may have noticed that I have recently published two new
versions of a triosonata by the swedish baroque composer J. H. Roman
typeset and published by Don Simons some years ago.

The difference between Don's and my version of the origininal work in g
minor for two oboes and b.c. is mainly that I have transfered Don's pmx
code to separate mtx sources for each movement and that I have added an
extra staff with my own realization of the figured bass.

The c minor version, however, is an arrangement for two treble recorders
and b.c. transposed a fourth upwards to c minor. I didn't need to do any
further changes to have the solo parts fit within the range of modestly
skilled player's treble recorders, while quite a few sections of the
basso part needed octave changes caused by the unusual wide range of the
part in the original work from C to f' - with the F cleff: between the
second lower ledger and above the second higher ledger.

In order to do the necessary editing of the transposed bass part and a
realization from scratch of the figured bass I needed to transpose the
mtx source files from the original to the new key. For that purpose I
have created a perl script utility trmtx.pl that identifies all mtx note
words and calculates their new transposed value. This utility has been
published in the GMD mtx software section
(http://www.gmd.de/Misc/Music/musixtex/software/mtx/trmtx.zip).

As stated in the accompanying readme file a proper functioning of the
transposing utility depends on the mtx coding using solely relative
octaves (+ -) and accidentals (Ar).

I encourage interested mtx hackers to download the utility, use it and
report any problems to me.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Thu Jun  3 22:39:41 1999
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Date: Fri, 04 Jun 1999 00:39:41 +0200
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Organization: BERA Softwaretechnik GmbH
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I am a new pmx user.

Can anybody explain how the AI option works?

I have the impression it doesn't work at all.

Rainer adS

-- 
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I have the impression that brevis chords don't work in pmx - some notes in the chord
appear as whole notes.

Rainer adS

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From mutex-owner@mail2.gmd.de Sun Jun  6 20:02:30 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: FW: brevis cords in pmx
Date: Sun, 6 Jun 1999 13:02:30 -0700 
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> Rainer.adS.BERA_GmbH@t-online.de [SMTP:Rainer.adS.BERA_GmbH@t-online.de]
> wrote
> 
> >I have the impression that brevis chords don't work in pmx - some notes
> in the chord
> >appear as whole notes.
> 
> Yup, you have found a bug.  I'll fix it in the next release.  Meanwhile,
> you'll need to use in-line TeX to place any additional breves.  
> 
> --Don Simons
> 

From mutex-owner@mail2.gmd.de Sun Jun  6 20:06:34 1999
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Dear MusiXTeXer,

some time ago Ronald Gelten remarked that not including musixsty.tex in the fmt file
solved his page number problem.

It also solved my terrible problems with pmx - ridiculous page breaks, vertical spacing
problems,...

Could the gurus pls. enlighten me. 

Rainer adS

-- 
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From mutex-owner@mail2.gmd.de Sun Jun  6 20:31:48 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'MTX'" <mutex@gmd.de>
Subject: RE: PMX newbie
Date: Sun, 6 Jun 1999 13:31:48 -0700 
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> Rainer aus dem Spring  wrote
> 
> >Can anybody explain how the AI option works?
> 
> Vertical spacing of multi-staff scores on a page is one of PMX's weaker
> areas.  There is a complicated algorithm that computes a value for
> \interstaff, the space from the top of one staff to the top of the next
> staff in the same system.  The number of systems on a page will have been
> set independently in one of a number of different ways.  Then because the
> page ends with \eject but with no \vfill, the remaining vertical space is
> evenly distributed between the systems.  The problem is that the algorithm
> for computing \interstaff doesn't always give the appearance you would
> like.  
> 
> Until I or someone else comes up with a better way of doing things, I
> implemented a kluge.  "AI[x]", placed at the very beginning of a score,
> will multiply PMX's computed \interstaff for EVERY page by x. So for
> example if you want more space between systems on every page (compared to
> what PMX computed), then set x to something less than 1, thereby reducing
> the space between staves within each system and increasing the available
> vertical space for use between systems. And conversely.   If you only want
> to make the adjustment on one page, use "Ai[x]" sometime BEFORE or right
> at the start of the new page. 
> 
> If there is only one staff per system, neither AI, Ai, nor \interstaff
> will have any effect, because \interstaff only applies between staves
> within a system.  The way to control vertical spacing in this case is
> simply by changing the number of systems on the page, either in the setup
> data or with forced page breaks.
> 
> Of course there are other ways of setting \interstaff and other vertical
> spacing parameters directly using in-line TeX; some of these have been
> discussed in the recent past on the list.
> 
> --Don Simons

From mutex-owner@mail2.gmd.de Sun Jun  6 20:36:10 1999
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From: Rainer Dunker <rainer.dunker@ebe-online.de>
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Subject: Voice-wise music entry for MusiXTeX: new musixser version available
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Hello MusiXTeXers,

a new version of musixser (1.1a) has been uploaded to
ftp://ftp.gmd.de/music/musixtex/add-ons/, also accessible via the WWW
page http://www.gmd.de/Misc/Music/.

Having begun as nothing more than an experiment, the functionality of
the package has now reached a degree of completeness that - to my eyes
- justifies giving it major version number one. Nevertheless, the
current state is not the final one with regard to what is possible at
all even without a MusiXTeX preprocessor; currently being developed
are enhanced pattern expansion and "for each note" loops - more
flexible, easier to use, and fitting more tightly in the syntax scheme
of \setvoice arguments than the current pattern expansion feature.


REMINDER
--------
musixser (MusiXTeX SERial input) is a small TeX macro collection -
meant as an add-on to MusiXTeX - which changes MusiXTeX's coding style
from chord or "column" oriented to voice oriented. Each voice of a
score (which nevertheless is allowed to contain chords) is entered as
a separate "thread" of musical events, thus imposing a polyphonic
flavour on music coding.

musixser is no MusiXTeX preprocessor like PMX or M-Tx. It does not
make any layout decisions; it merely rearranges the input and passes
everything over to MusiXTeX. The underlying idea is the desire to
combine the following two properties:

1. Provide an easier, more intuitive, polyphonic way of entering and
   editing MusiXTeX code.
2. Retain the full expressive power of the MusiXTeX language and its
   typesetting capabilities in direct user access.

musixser is meant as an option for MusiXTeX users who - for whatever
reason - can't or don't want to use any available preprocessor. Before
you begin using it you should be familiar with "plain" MusiXTeX.

Main features are:

- no inherent limitations concerning the number of voices total or per
  staff
- easy rearrangement of scores including (to some extent) part extraction
- support for arbitrarily long scores


Main new features of this version
---------------------------------

- "pattern" expansion (similar to TeX macro expansion) for recurring
  musical structures
- automatic beam and slur number management
- simplified specification of barline-related items (voltas,
  meter/signature changes, repeats, ...)
- easier tracing of rhythmical mistakes
- complete documentation in LaTeX/DVI format


All kinds of comments, including suggestions and problem reports, are
welcome. Please send them to:

rainer.dunker@ebe-online.de

Have fun!


Regards,

Rainer

From mutex-owner@mail2.gmd.de Mon Jun  7 14:22:42 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: musixsty.tex
To: mutex@gmd.de, Rainer.adS.BERA_GmbH@t-online.de
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> Date: Sun, 06 Jun 1999 22:06:34 +0200
> From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
> 
> Dear MusiXTeXer,
> 
> some time ago Ronald Gelten remarked that not including musixsty.tex in
> the fmt file solved his page number problem.
> 
> It also solved my terrible problems with pmx - ridiculous page breaks, 
> vertical spacing
> problems,...
> 
> Could the gurus pls. enlighten me. 

Thou shalt not include MusiXXXX.tex or MusiXXXX.sty if you don't know what it 
is good (or bad) for.

If you include musixcpt.tex, you get what you've included.
If you include musixsty.tex, you get what you've included.
If you include musixtex.sty, you get what you've included.
...

So include only what you really need. That's the way I do it and it works
wonderful - most of the time.

-- Werner


From mutex-owner@mail2.gmd.de Sun Jun  6 23:54:35 1999
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To: "Simons, Don" <DSimons@logicon.com>
Cc: "'MTX'" <mutex@gmd.de>
Subject: Re: PMX newbie
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Don,

the problem has disappeared - see my posting concerning the .sty file.

Rainer

"Simons, Don" wrote:
> 
> > Rainer aus dem Spring  wrote
> >
> > >Can anybody explain how the AI option works?
> >
> > Vertical spacing of multi-staff scores on a page is one of PMX's weaker
> > areas.  There is a complicated algorithm that computes a value for
> > \interstaff, the space from the top of one staff to the top of the next
> > staff in the same system.  The number of systems on a page will have been
> > set independently in one of a number of different ways.  Then because the
> > page ends with \eject but with no \vfill, the remaining vertical space is
> > evenly distributed between the systems.  The problem is that the algorithm
> > for computing \interstaff doesn't always give the appearance you would
> > like.
> >
> > Until I or someone else comes up with a better way of doing things, I
> > implemented a kluge.  "AI[x]", placed at the very beginning of a score,
> > will multiply PMX's computed \interstaff for EVERY page by x. So for
> > example if you want more space between systems on every page (compared to
> > what PMX computed), then set x to something less than 1, thereby reducing
> > the space between staves within each system and increasing the available
> > vertical space for use between systems. And conversely.   If you only want
> > to make the adjustment on one page, use "Ai[x]" sometime BEFORE or right
> > at the start of the new page.
> >
> > If there is only one staff per system, neither AI, Ai, nor \interstaff
> > will have any effect, because \interstaff only applies between staves
> > within a system.  The way to control vertical spacing in this case is
> > simply by changing the number of systems on the page, either in the setup
> > data or with forced page breaks.
> >
> > Of course there are other ways of setting \interstaff and other vertical
> > spacing parameters directly using in-line TeX; some of these have been
> > discussed in the recent past on the list.
> >
> > --Don Simons


From mutex-owner@mail2.gmd.de Tue Jun  8 07:57:26 1999
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Werner Icking gave us the following new command:

>! Thou shalt not include MusiXXXX.tex or MusiXXXX.sty if you don't know what it
>! is good (or bad) for.
A recommendation to help obeying this command: Do not use a musix.fmt
file, plain.fmt suffices; then \input the macros normally. With the modern
computers you will not see a difference in performance.

Christof

From mutex-owner@mail2.gmd.de Tue Jun  8 11:24:20 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
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I am not a guru, i will not enlighten you, but:

A newbie will download musixtex and install it with musixtex.ins,
So he will got all the musixxxxx installed. He will be happy to see the
examples of Mr. Taupin,
many of them ask for xxxxcpt.tex. But he must be aware that some of the
examples don't
tolerate the musictex compatible includefiles.

I think many of the problems will be solved by using two installfiles (look
for c or x):

1. musixtex.ins  with:

\input musixtex
%\input musixcpt
%\input musixsty
\tracingstats=2\relax
\dump

 2. musictex.ins with:

\input musixtex
\input musixcpt
\input musixsty
\tracingstats=2\relax
\dump

Andre Van Ryckeghem

-----Oorspronkelijk bericht-----
Van: Werner Icking <Werner.Icking@gmd.de>
Aan: mutex@gmd.de <mutex@gmd.de>; Rainer.adS.BERA_GmbH@t-online.de
<Rainer.adS.BERA_GmbH@t-online.de>
Datum: lundi 7 juin 1999 19:32
Onderwerp: Re: musixsty.tex


>> Date: Sun, 06 Jun 1999 22:06:34 +0200
>> From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
>>
>> Dear MusiXTeXer,
>>
>> some time ago Ronald Gelten remarked that not including musixsty.tex in
>> the fmt file solved his page number problem.
>>
>> It also solved my terrible problems with pmx - ridiculous page breaks,
>> vertical spacing
>> problems,...
>>
>> Could the gurus pls. enlighten me.
>
>Thou shalt not include MusiXXXX.tex or MusiXXXX.sty if you don't know what
it
>is good (or bad) for.
>
>If you include musixcpt.tex, you get what you've included.
>If you include musixsty.tex, you get what you've included.
>If you include musixtex.sty, you get what you've included.
>...
>
>So include only what you really need. That's the way I do it and it works
>wonderful - most of the time.
>
>-- Werner
>


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Subject: MusiXTeX T.96
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Subject: MusiXTeX version T.96

New version T.96 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.96  \setvolta, \endvolta handly completely rewritten due to many
bugs
 - T.95  (working version, unpublished)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and
\liftpausep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new
xslhu.mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83

=20
Daniel Taupin


--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jun 14 10:17:25 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Volta incompatibility with MusiXTeX T.96/PMX/M-Tx
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There is a small incompatibility with the new MusiXTeX version, which is documented
by Daniel Taupin. Nevertheless I mention it, because it may be produced by PMX or
M-Tx. Following TeX-source down-stripped from a PMX-output is rejected by MusiXTeX:

\input musixtex
\startmuflex\startpiece
\NOTEs\hu a\en\Setvolta1\xbar
\NOTEs\hu a\en\Setvolta2\xbar
\NOTEs\hu a\en\endvoltabox\Endpiece\endmuflex
\bye

The error message disappears if you add e.g. \endvoltabox just before \Setvolta2.

The corresponding PMX-code is:

1 1 2 4 2 4 0 0 1 1 20 0

t
./

a23 /
V1 a /
V2 a /

The error may be repaired using "V2x" or "V2b" instead of "V2".

Hope this hilft -- Werner


From mutex-owner@mail2.gmd.de Mon Jun 14 10:22:22 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: 1. beams and slurs on 2 staffs in pmx - 2. adding text
Date: Mon, 14 Jun 1999 12:22:22 +0200
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I am trying to put beams and slurs on two staffs in pmx.
Again, i humbly ask for help for a few oddities (most likely caused by wrong
coding) in my music code.

This is an extract of Schumans Traumerei:

-----------
    2    1    4         4       0       6      0      -1
    1      2       20       .07

bt
./
ArbdI.8
\\hsize=90mm\
\\interstaff{13}\relax\
%\\stemlength{4}\
%14
rb8 \roff{{\isluru0{!'''B}}}\ g83 s1-4+.5 a2 st
\invertslur0\curve{2}44{{\tslur0{!''''A}}}\ a8 st c //
r8+0 d84 [-1 cs e ] \bsk\hsk\qsk\ibu6h5\zqb6h\ a2lr s2 /
f45 e2 X1 e4 //
[-2 f85 b ] b2 \bsk\tbl6\qb6{^j}\ [-2 a8 sA+4 g ] /
%15
d4d s1-5 g8- zcs s1u a4d zd s1 b8 //
a4d s2 rb8 rb2 /
d4d b8 s-7 [ a d s-9
\hloff{{\islurd0{!a}}}\
f- g ] //
f8 a d- e f4d e8 /
%16
a2 st a8 st b s [ br s+0+1 c- ] //
rb4 [jl d44x2 e zcs ] d4 c8n r+4 /
[u-14-5 f a ]j
\hloff{\invertslur0\curve{-3}66{\tslur0{!I}}}\off{-0.6\elemskip}\
rb8 g8r X.6 f4 e4 //
d4d a8 s sA+3 a4 s+0+.3 g s+5 /
-----------

1.
In mesure 15
 - the notes are shifted to the right
 - The barno is shifted up without a reason (i removed the raisebarno in the
tex code and the output
 looks nice
In mesure 16
 - the g8r is shifted to far to the right, a construction as

     \off{-0.6\elemskip}\ rb8 g8r X.6

is needed to get it right

2. I have an other question:
Is it possible to add text after the music on a 1 page musicsheet in pmx
(without having o edit the tex file)?
(readmod i.e. puts the exte before the music).

3. and i found something myself (a silly one) with musilyr

dont say

\Uptext{\metron{\qu}{80}}

but

\Uptext{\metron{\nolyr\qu}{80}}


thanks for everything

Andre


From mutex-owner@mail2.gmd.de Mon Jun 14 17:27:06 1999
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Date: Mon, 14 Jun 1999 19:27:06 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: mutex <mutex@gmd.de>
Subject: Re: 1. beams and slurs on 2 staffs in pmx - 2. adding text
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Andre Van Ryckeghem wrote:

> 2. I have an other question:
> Is it possible to add text after the music on a 1 page musicsheet in pmx
> (without having o edit the tex file)?
> (readmod i.e. puts the exte before the music).

Have a look at some of my compositions and my modern editions of music by Thomas
Ravenscroft. Most of these scores have text appended after the music based on
the idea of redefining \endpiece to first executing itself and then issuing an
\input statement.

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Mon Jun 14 17:18:02 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: 1. beams and slurs on 2 staffs in pmx - 2. adding text
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
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> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
> Date: Mon, 14 Jun 1999 12:22:22 +0200
>=20
> I am trying to put beams and slurs on two staffs in pmx.

[...]
> 1.
> In mesure 15

I assume you mean bar 2 of your extract, the first bar in the 2nd line.

>  - the notes are shifted to the right

Not for me with standard musixtex and standard pmx. All notes look well
positioned.

>  - The barno is shifted up without a reason (i removed the raisebarno in =
the
> tex code and the output looks nice

PMX shifts the barno to avoid a collision between the slur and the barno.
You may overfool PMX by ending the last line of bar 14 with e.g.=20
"... g ] )A+5+3.9" and continuing that voice in bar 15 with "(A+6-2 f8 ..."

Don Simons has provided something to keep \raisebarno accessible to the
user although PMX uses \raisebarno itsself. But up to now I didn't understa=
nd
how this works (maybe because I use my own routine for writing the barnumbe=
rs).
So I use in such cases \gdef\atnextline{\def\raisbarno{3.5\internote}}\ jus=
t
in front of the "g", the last note in bar 14.


> In mesure 16
>  - the g8r is shifted to far to the right, a construction as

not for me (s.a.) - and I have no idea why you get it.
>=20
>      \off{-0.6\elemskip}\ rb8 g8r X.6
>=20
> is needed to get it right=20

I have to remove your addition to get the "gr" at the right position. And
the all notes in the example look well positioned.


If you add e.g "\off{-0.6\elemskip}\" at some place within a PMX-source
you normally have to provide "\off{+0.6\elemskip}\" at some other place
very near to the first place.


> 2. I have an other question:
> Is it possible to add text after the music on a 1 page musicsheet in pmx
> (without having o edit the tex file)?
> (readmod i.e. puts the exte before the music).

Have a look how the music ends. With PMX it often ends with \Endpiece.
So you may re-define \Endpiece within your PMX source so that it=20
makes what you want e.g. at the top of a PMX-source:

\\let\Endpiecesav\Endpiece\
\\def\Endpiece{\let\Endpiece\Endpiecesav\Endpiece\...do-what-you-want...}

...do-what-you-want can be e.g. \input myremark and myremark.tex may contai=
n:

\vfill\eject This music has been typeset with the wonderful MusiXTeX and=20
the wonderful PMX by ...


Such constructs have been used by some PMX-sources on=20
http://www.gmd.de/Misc/Music/scores/ e.g. the latest delivery: a one
volume edition of Christian Mondrup's song on texts by Jeppe Aakj=E6r.




From mutex-owner@mail2.gmd.de Mon Jun 14 17:35:18 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: 1. beams and slurs on 2 staffs in pmx - 2. adding text
Date: Mon, 14 Jun 1999 10:35:18 -0700
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Wow, someone who uses PMX but not MtX!

I have some answers but not all of them.

1.  The upward shift of the bar number is intentional, to avoid the slur
that is continued across the line break.  

2.  Some of the horizontal wierdness may be due to your use of \off , which
puts in unaccounted hroizontal space.  However the usual result is something
like [][][][][]... as TeX is running, and that didn't happen here.  More on
this as it develops.

3.  To get text at the end, try this:

First, anywhere in the pmx file, put this

\\def\endtext{\let\ejt\eject\def\eject{Here is some ending text \ejt}}\

If your text is long, you can extend this definition over several lines,
each one starting with \\ and ending with \.  Then sometime after the
beginning of the last page you could put

\\\endtext\

If there is more than one staff per system, and if you don't do anything
else special, the text will probably spill over to the next page (In my test
I had to do it ever for a single line, but the page was pretty full
vertically to start out).  To fix that use for example Ai.95 (somewhere
before the last page starts) to reduce the interstaff spacing on the last
page, so that enough vertical space is left over for your text.   

--Don Simons

> -----Original Message-----
> From:	Andre Van Ryckeghem [SMTP:andre.vanryckeghem@kh.khbo.be]
> Sent:	Monday, June 14, 1999 3:22 AM
> To:	mutex@gmd.de
> Subject:	1. beams and slurs on 2 staffs in pmx - 2. adding text
> 
> I am trying to put beams and slurs on two staffs in pmx.
> Again, i humbly ask for help for a few oddities (most likely caused by
> wrong
> coding) in my music code.
> 
> This is an extract of Schumans Traumerei:
> 
> -----------
>     2    1    4         4       0       6      0      -1
>     1      2       20       .07
> 
> bt
> ./
> ArbdI.8
> \\hsize=90mm\
> \\interstaff{13}\relax\
> %\\stemlength{4}\
> %14
> rb8 \roff{{\isluru0{!'''B}}}\ g83 s1-4+.5 a2 st
> \invertslur0\curve{2}44{{\tslur0{!''''A}}}\ a8 st c //
> r8+0 d84 [-1 cs e ] \bsk\hsk\qsk\ibu6h5\zqb6h\ a2lr s2 /
> f45 e2 X1 e4 //
> [-2 f85 b ] b2 \bsk\tbl6\qb6{^j}\ [-2 a8 sA+4 g ] /
> %15
> d4d s1-5 g8- zcs s1u a4d zd s1 b8 //
> a4d s2 rb8 rb2 /
> d4d b8 s-7 [ a d s-9
> \hloff{{\islurd0{!a}}}\
> f- g ] //
> f8 a d- e f4d e8 /
> %16
> a2 st a8 st b s [ br s+0+1 c- ] //
> rb4 [jl d44x2 e zcs ] d4 c8n r+4 /
> [u-14-5 f a ]j
> \hloff{\invertslur0\curve{-3}66{\tslur0{!I}}}\off{-0.6\elemskip}\
> rb8 g8r X.6 f4 e4 //
> d4d a8 s sA+3 a4 s+0+.3 g s+5 /
> -----------
> 
> 1.
> In mesure 15
>  - the notes are shifted to the right
>  - The barno is shifted up without a reason (i removed the raisebarno in
> the
> tex code and the output
>  looks nice
> In mesure 16
>  - the g8r is shifted to far to the right, a construction as
> 
>      \off{-0.6\elemskip}\ rb8 g8r X.6
> 
> is needed to get it right
> 
> 2. I have an other question:
> Is it possible to add text after the music on a 1 page musicsheet in pmx
> (without having o edit the tex file)?
> (readmod i.e. puts the exte before the music).
> 
> 3. and i found something myself (a silly one) with musilyr
> 
> dont say
> 
> \Uptext{\metron{\qu}{80}}
> 
> but
> 
> \Uptext{\metron{\nolyr\qu}{80}}
> 
> 
> thanks for everything
> 
> Andre

From mutex-owner@mail2.gmd.de Mon Jun 14 19:50:11 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: 1. beams and slurs on 2 staffs in pmx - 2. adding text
Date: Mon, 14 Jun 1999 12:50:11 -0700
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> Andre Van Ryckeghem [SMTP:andre.vanryckeghem@kh.khbo.be] observed
> 
>1.
>In mesure 15
> - the notes are shifted to the right

I don't see that.  Which notes are shifted?

>In mesure 16
> - the g8r is shifted to far to the right, 

I removed the last two in-line tex sequences and the right-shift is now
exactly what it is intended to be: 1 notehead width.  If you want some other
value for the shift, you could use something like 

... X.8S g8 ...

>a construction as
>
>     \off{-0.6\elemskip}\ rb8 g8r X.6
>
>is needed to get it right

Using \off{...} is dangerous because it inserts unaccounted space.  Were you
trying to compensate with X.6?  If so, there are several reasons why that
wouldn't work, among them that the argument of X is in notehead widths, not
\elemskips.  If you really need to use \off{x} you should immediately follow
the shifted material with \off{-x}, and you probably shouldn't have any pmx
commands between the two \off's.  The MusiXTeX commands \roff, \roffset,
\hroff will do a shift expressed in notehead widths, and that is how X.8S
works.  But you should also realize that you cannot nest these MusiXTeX
commands, because they define an internal variable that holds the amount of
the shift until after it is finished. 

--Don Simons


From mutex-owner@mail2.gmd.de Mon Jun 14 20:25:20 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: \centerpause
Date: Mon, 14 Jun 1999 13:25:20 -0700
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For a long time now I've had a problem trying to get whole-bar rests
properly centered.  Using the construction 

\def\atnextbar{\znotes\centerbar{\pause}\en}%

always seems to put them somewhat right of center.  In my tests I have fixed
the problem by temporarily redefining \pause as 

\def\pause{\hbox{\raise6\internote\hbox{\musixchar61}}}

but I still don't understand everything that's going on here.

I think the following lines are from musixtex.tex are relevant:

%\def\centerpause{\let\adv@box\hbox \centerbar\pause}
%\def\centerhpause{\let\adv@box\hbox \centerbar\hpause}
\def\centerpause{\centerbar\pause}
\def\centerhpause{\centerbar\hpause}
...
\def\pause{\adv@box{\raise\si@\internote\hbox{\musixchar61}}}
...
\def\adv@box#1{\hbox\@to\noteskip{#1\hss}\advance\locx@skip\noteskip}

It looks like \adv@box puts the text at the *left* edge of a \noteskip-wide
box (and then does some other accounting).  So if centerbar really centers
its argument (in this case, the box) between the barlines, why isn't the
character offset to the left of center?  

The next question is why the alternate definitions in musixtex.tex are
commented out.  They seem to do about what I did in my re-definition of
\pause, and that does put the rest where I want it to be.

--Don Simons 




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Subject: Re: 1. beams and slurs on 2 staffs in pmx - 2. adding text
To: DSimons@logicon.com (Simons Don)
Date: Tue, 15 Jun 1999 09:57:32 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062DE8@xcgca040.sp.logicon.com> from "Simons, Don" at Jun 14, 99 10:35:18 am
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Simons, Don wrote:
> 
> Wow, someone who uses PMX but not MtX!
> 
M-Tx could not have happened, and cannot continue to
be, without PMX.  The professional look of the final
score, and 80% of the input convenience, of any M-Tx
score comes straight from PMX.  (19 of the remaining
20% comes from musixlyr.)  I'm only standing on the
shoulders of giants.

Of course, the whole edifice depends on the fact that
MusiXTeX itself is continually being maintained. And
below that lies TeX and MetaFont.

So, three cheers for Don Simons, Rainer Dunker, Daniel
Taupin and Don Knuth!

Dirk

From mutex-owner@mail2.gmd.de Tue Jun 15 07:55:39 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: slurinvertion
Date: Tue, 15 Jun 1999 09:55:39 +0200
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Thank you all very much for aswering, i will try out all the possibilities
for adding text after pmx code, it will take some time.


For my 1st question and following the advices, i did the following (i still
have version 92 of musixtex):

i changed the last musixtexinsertion of the last mesure in the test example
to (last - 3th line):

\hloff\curve{-3}66{\tslur0{!I}}}\

now all the notes are in position, but i do not have an inverted slur.

Then i changed the line to:

\hloff{\invertslur0\curve{-3}66{\tslur0{!I}}}\

then:
- all the notes of the second mesure (the 1st on the 2nd line) are shifted
to the right
- the g8r on the 3th mesure is shifted to the right
but
- the inverted slur looks ok

perhaps my installing of musixtex is not ok, perhaps my doing for getting
inverted slurs is bad
i would appreciate it very much if someone would look again at this problem

A. Van Ryckeghem


From mutex-owner@mail2.gmd.de Tue Jun 15 09:27:08 1999
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Subject: MusiXTeX T.96 and voltas
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Hello,

I think I detected a small problem with the treatment of endings
(voltas) in the new version of MusiXTeX (T.96): when there is
more than one line of music under a volta that starts with some
text, say "1.", MusiXTeX starts each line with this text. From
what I see in printed scores (for instance, in the Henle Verlag
Urtext editions) this text should appear only when the volta
starts, so that in subsequent lines the only thing that appears
concerning the volta is a straight horizontal line. This is in
contrast with what happens with octave transpositions, in which
the "8" appears in every new line.

Before asking Daniel to change this behaviour I would appreciate
receiving confirmation on my observations above.

Thanks!
Miguel Filgueiras



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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Fw: 1. beams and slurs on 2 staffs in pmx - 2. adding text
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-----Oorspronkelijk bericht-----
Van: dirk@calvyn.puk.ac.za <dirk@calvyn.puk.ac.za>
Aan: Simons Don <DSimons@logicon.com>
CC: mutex@gmd.de <mutex@gmd.de>
Datum: mardi 15 juin 1999 13:48
Onderwerp: Re: 1. beams and slurs on 2 staffs in pmx - 2. adding text


>Simons, Don wrote:
>>
>> Wow, someone who uses PMX but not MtX!


I take this for a compliment. Or is it a suggestion to change to mtx ?

I have used pure musixtex for several years.
Then i found musixlyr very usable.
Then after several suggestions from Werner Icking i started to use pmx.
I am very happy with it. I want first to know it all before tryiing mtx.
In fact i am (in this matter) very conservatif, Mr. Icking needed 6 months
to get me on pmx.

Perhaps it is because i learned things in that order, i feel well with pmx
and musixlyr.
By holding all the lyrics together with musixlyr one can go very fast. It is
also easy to shoot trouble (troubleshoot?),
i have only to look for questionmarks in the lyrics.
It is also easy to put options, i.e. different languages in the lyrics, by
using texcommands.

I suppose in the modern times (21th century or in 2011, waiting for Mr. Don
Simons) , i will use mtx and pdf-musicsheets  ! ?
In the mean time, i am reading manuals, yes Mr. Taupin.

and:

>So, three cheers for Don Simons, Rainer Dunker, Daniel
>Taupin and Don Knuth!
>and
>Dirk Laurie
>

Andre



From mutex-owner@mail2.gmd.de Tue Jun 15 14:08:16 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: "Werner Icking" <Werner.Icking@gmd.de>
Cc: <mutex@gmd.de>
Subject: Re: slurinvertion
Date: Tue, 15 Jun 1999 16:08:16 +0200
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Dear Werner,

I tried to make a new musixtexformat for sending the logfile to you.
In the same time i installed musixtex version 96 (after 92).

and now: everything looks ok.

Again i should have done this first before bother you and the other people
at the list.
I promise (again)  to do better the next time.

Thanks again for helping me


>> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
>> Date: Tue, 15 Jun 1999 09:55:39 +0200
>
>[...]
>> \hloff\curve{-3}66{\tslur0{!I}}}\
>
>Please send me the complete example; then I will again look at it.
>Please send the  TeX-log-file, too.
>
>-- Werner
>
>PS: If you use a musixtex-format please send the log of format generation
or
>    the ini-file which has been used to create the format.
>


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To: Miguel Filgueiras <mig@ncc.up.pt>
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Subject: Re: MusiXTeX T.96 and voltas
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Miguel Filgueiras wrote:
> 
> Hello,
> 
> I think I detected a small problem with the treatment of endings
> (voltas) in the new version of MusiXTeX (T.96): when there is
> more than one line of music under a volta that starts with some
> text, say "1.", MusiXTeX starts each line with this text.

I have the same trouble with T.95, but I thought that it will be gone
with T.96.

Zoran


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Date: Wed, 16 Jun 1999 00:34:19 +0200
From: taupin <taupin@lps.u-psud.fr>
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To: ftn_ovcin@uns.ns.ac.yu, mutex list <mutex@gmd.de>
Subject: Re: MusiXTeX T.96 and voltas
References: <m10tpUq-000c1GC@khavo.ncc.up.pt> <3766A879.138C@uns.ns.ac.yu>
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Zoran Ovcin wrote:
>=20
> Miguel Filgueiras wrote:
> >
> > Hello,
> >
> > I think I detected a small problem with the treatment of endings
> > (voltas) in the new version of MusiXTeX (T.96): when there is
> > more than one line of music under a volta that starts with some
> > text, say "1.", MusiXTeX starts each line with this text.
>=20
> I have the same trouble with T.95, but I thought that it will be gone
> with T.96.

Exact: it was in T.94, and before. I just kept it because I thought it
was  purposely designed to be so. But I many people tell me this is
wrong, it will be easy to correct what is an old bug.
>=20
> Zoran

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Wed Jun 16 20:56:08 1999
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Date: Wed, 16 Jun 1999 22:56:08 +0200
From: Matthias Skobowsky <skymac@cs.tu-berlin.de>
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Hallo,
I got the mtx052.zip and searched for more documentation as there is in
the mtxdoc.dvi and in the FAQ. Is there some more detailed information
about MTX?
For now I like to know how to make a rest for example over 78 bars.
Thanks Matthias
-- 
***********************************************************************
Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
***********************************************************************


From mutex-owner@mail2.gmd.de Thu Jun 17 08:55:47 1999
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Date: Thu, 17 Jun 1999 10:55:47 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Documentation for MTX, rp over 78 bars
To: mutex@gmd.de
Cc: skymac@cs.tu-berlin.de
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> Date: Wed, 16 Jun 1999 22:56:08 +0200
> From: Matthias Skobowsky <skymac@cs.tu-berlin.de>

[...]
> I got the mtx052.zip and searched for more documentation as there is in
> the mtxdoc.dvi and in the FAQ. Is there some more detailed information
> about MTX?

M-Tx is based upon PMX, so read PMX's documentation and the reference chart.

PMX is based upon MusiXTeX, so have MusiXTeX documentation at hand.

To understand MusiXTeX it often helps to read the source of the documentation
musixdoc.tex.

MusiXTeX is based upon TeX, ...
Tex is based upon ...

RTFM :-)

> For now I like to know how to make a rest for example over 78 bars.

For single voice/single line music you may use "rm78", multiple rests.
Otherwise you may use "rp rp rp rp rp ... rp", full pause rest, but only 
in chunks up to 15 bars. PMX's macro feature allows short-writing:
MR1 rp rp rp ... rp M /
MP1 /
MP1 /
...

I don't know whether M-Tx supports multiple rests and PMX-Macros.

-- Werner


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Werner Icking wrote:

> I don't know whether M-Tx supports multiple rests

It does - when they are entered in their own paragraph:

Meter: C
Style: Solo

g4 g g g

rm50

g4 g g g

> and PMX-Macros.

It doesn't

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07



From mutex-owner@mail2.gmd.de Thu Jun 17 17:57:57 1999
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Thanks to all,
the rest command rm78 works fine.
Chau, Matthias
-- 
***********************************************************************
Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
***********************************************************************


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Subject: Re: MusiXTeX T.96 and voltas 
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After receiving a private email saying that there are editions
that do repeat the text of the volta in the subsequent lines, I
would suggest that the volta macros of MusiXTeX should be changed
to accomodate both behaviours, the choice between the two being
made by the user that \def-ines, say, \voltarepeat to EMPTY if
he does not want the text to be repeated. An alternative would be
to have the "no-repeat" behaviour as the default.

Miguel Filgueiras



From mutex-owner@mail2.gmd.de Mon Jun 21 11:23:16 1999
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To: Miguel Filgueiras <mig@ncc.up.pt>
Cc: ftn_ovcin@uns.ns.ac.yu, mutex list <mutex@gmd.de>
Subject: Re: MusiXTeX T.96 and voltas
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Yes, that is my idea, unless somebody swars that the 1. should never be r=
epeated at new lines.

Second question: if no repeat of the 1., should there still be a vertical=
 bar to delimitate the
suspended box, or just the horizontal upperline?

Miguel Filgueiras wrote:
>=20
> After receiving a private email saying that there are editions
> that do repeat the text of the volta in the subsequent lines, I
> would suggest that the volta macros of MusiXTeX should be changed
> to accomodate both behaviours, the choice between the two being
> made by the user that \def-ines, say, \voltarepeat to EMPTY if
> he does not want the text to be repeated. An alternative would be
> to have the "no-repeat" behaviour as the default.
>=20
> Miguel Filgueiras

--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Jun 21 12:06:49 1999
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taupin@lps.u-psud.fr said:
> Second question: if no repeat of the 1., should there still be a
> vertical bar to delimitate the suspended box, or just the horizontal
> upperline? 

In the scores I saw there is just the horizontal line, never the
vertical line.

Miguel Filgueiras



From mutex-owner@mail2.gmd.de Tue Jun 22 20:42:57 1999
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Date: Tue, 22 Jun 1999 22:42:57 +0200 (MET DST)
From: Johan Tufvesson <tuben@lysator.liu.se>
To: mutex-mailinglist <mutex@gmd.de>
Subject: Scordatura
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Hi,

I am planning to make an edition of some pieces written for continuo and
two violins in "scordatura". For those who is unfamiliar with scordatura,
it is a technique where some or all of the strings on the violin is tuned
to some other tone than the original G-D-A-E. It is then notated in some
sort of transposed way, with different transpositions for every string
depending on how it is tuned.

This notation is much easier for a violinist to read, but it can lead to
quite interesting accidentals. So my question is: Is it possible (yes of
course everything is possible in MusiXTeX...) to have something like this
on the two violin staffs: (N=natural, #=sharp)

     #
 --#-----------
 
 --------------
   #
 --------------
 
G----N---------
   #
 --------------

I know that Werner Icking has used scordatura in Suite V in Bach's cello
suites, but that particular mistuning didn't require any modifications
like this.

Since the basso is written in standard notation I would only like to
change the two violins. Any suggestions?

(For the curious this particular piece is tuned C-G-C-F.
Poor violin :-)

/Johan Tufvesson


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Date: Wed, 23 Jun 1999 10:33:14 +0200
From: Christian Mondrup <scancm@biobase.dk>
Organization: Scandiatransplant
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To: Johan Tufvesson <tuben@lysator.liu.se>
Cc: mutex-mailinglist <mutex@gmd.de>
Subject: Re: Scordatura
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Johan Tufvesson wrote:
> 
> Hi,
> 
> I am planning to make an edition of some pieces written for continuo and
> two violins in "scordatura". For those who is unfamiliar with scordatura,
> it is a technique where some or all of the strings on the violin is tuned
> to some other tone than the original G-D-A-E. It is then notated in some
> sort of transposed way, with different transpositions for every string
> depending on how it is tuned.
> 
> This notation is much easier for a violinist to read, but it can lead to
> quite interesting accidentals. So my question is: Is it possible (yes of
> course everything is possible in MusiXTeX...) to have something like this
> on the two violin staffs: (N=natural, #=sharp)
> 
>      #
>  --#-----------
> 
>  --------------
>    #
>  --------------
> 
> G----N---------
>    #
>  --------------
> 

I think it can be done by using \everystaff. The MusiXTeX manual section
2.17.10 has an example on how to add the digit 8 below treble clefs
using \everystaff. And - after some help from Werner Icking - I have
been able to use \everystaff to add short part titles to systems # >1 in
my solstice songs found in the GMD archive.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01, Telefax: +45 89 49 60 07

From mutex-owner@mail2.gmd.de Wed Jun 23 09:22:58 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Scordatura
To: mutex@gmd.de, tuben@lysator.liu.se
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> Date: Tue, 22 Jun 1999 22:42:57 +0200 (MET DST)
> From: Johan Tufvesson <tuben@lysator.liu.se>

> [...] So my question is: Is it possible (yes of
> course everything is possible in MusiXTeX...) to have something like this
> on the two violin staffs: (N=natural, #=sharp)
> 
>      #
>  --#-----------
>  
>  --------------
>    #
>  --------------
>  
> G----N---------
>    #
>  --------------
> 
> I know that Werner Icking has used scordatura in Suite V in Bach's cello
> suites, but that particular mistuning didn't require any modifications
> like this.

mistuning, ahem :-)  It's great fun to play the cello suite V on a re-tuned
instrument.

The trick you are looking for has been used in my edition of Bach's Sonatas
and Partitas for Violon solo. E.g. in the 3rd Partita in E-major which has
four sharps. But Bach wrote it with six sharps by doubling those sharps which
can be set twice within the staff. MusiXTeX supplies \everystaff for such
tricks:

\def\everystaff{\znotes\off{0.2\Internote}\roff{\bigna f}%
		       \off{4.0\Internote}\roff{\bigna g}\off{-4.2\Internote}\en}

It's "old" code. I see it from mis-using "\Internote" as horizontal dimension
and \off instead of roffset. The coding is based upon \relativeaccid.

Nowadays I would use something like:

\relativeaccid
\generalsignature4
\def\everystaff{\znotes\roffset{1.08}{\bigna f}\roffset{2.75}{\bigna g}\en}
\startextract\Notes\qa{cccc}\en\endextract\bye\relativeaccid\generalsignature4
\def\everystaff{\znotes\roffset{1.08}{\bigna f}\roffset{2.75}{\bigna g}\en}
\startextract\Notes\qa{eg'be}\en\endextract
\generalsignature3
\def\everystaff{\znotes\roffset{1.08}{\bigna f}\roffset{2.75}{\bigfl g}\en}
\startextract\Notes\qa{ace'a}\en\endextract\bye

without knowing how to find a more logical solution than "1.08" and "2.75"
which have been found by trial and error. The 2nd example could be the solution
for your problem.

For your case you should know, that the accidentals added by \everystaff
are not recognised by \relativeaccid.

If I remember right one of the PMX-sources on my music server works with this
trick, too. But I forgot whom I told that trick.

> (For the curious this particular piece is tuned C-G-C-F.
> Poor violin :-)

Maybe the strings have to be exchanged like for one of Biber's "Rosenkranz Sonaten".
No G-string. D-string in place of G-string tuned to C; A-string in place of D-string
tuned to G; another A-string tuned to C; E-string tuned to F.

I've been said that pure gut strings as used in former times can be re-tuned
easier than modern strings which are a compromise in volume and durability esp.
for the A-string.

-- Werner



From mutex-owner@mail2.gmd.de Mon Jun 28 20:24:12 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Imposition
Date: Mon, 28 Jun 1999 13:24:12 -0700
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No, I don't mean "upsetting your daily routine."  This term also refers to
the process of re-ordering pages for the the purpose of producing a book.
Specifically,  I'm trying to figure out how to produce a music book using
2-sided, 11x17-inch sheets.  I would like to start with an ordinary
PMX-generated multipage score.  For example suppose there are 8 pages.  I
would like to wind up with a postscript file containing 11x17 pages, which I
can then print to 11x17 sheets and duplicate double sided.  In the example,
there would be 4 11x17-in pages with left-right pairs of original pages
(8+1), (2+7), (6+3), and (4+5).

I can think of lots of ways to do this, but can't get any of them to work.  

1.  Buy some very expensive sofware that professional printers use to do
this sort of thing.  I confess I haven't tried this one.  

2.  A. Make the whole score into a PDF. (maybe not necessary)  
    B. Print each page out to a separate file.
    C. Convert each page to .eps (using Ghostview?).
    D. Create a separate TeX document of 11x17 pages, each page with
side-by-side \hboxes, each \hbox containing an eps image using \input epsf.


This one worked for some simple images with a manually-converted eps.  But
with eps's from a music document all I got were blanks.  Maybe there's
something in the Postscript from dvips that prevents Ghostview from
converting it to a proper eps?

3.  Make a PDF of the whole project.  Re-order pages using Acrobat Exchange.
Use a windows printer driver to print 8.5x11 pages 2-up on 11x17 sheets in
landscape format.  I almost got this one to work, but each 8.5x11 image came
out reduced and surrounded by a visible box.  

4.  Write a program to manipulate the postscript file of the original
document.  (look for showpages, etc.)  You need a Postscript expert to do
this, and up until last Friday we had one in my office.  As a parting
gesture he wrote some FORTRAN for me that did this, but when I tried it the
output file was no good.  Besides, this would depend on lots of details in
the Postscript always being the same, which is no sure bet.

5.  Do it at the TeX level:  Somehow put each original 8.5x11 page of music
into a box, then put the two boxes side-by-side on the 11-by-17 page.  I
couldn't get a music page into a box, but this may be the most promising
approach.  

I'd appreciate any suggestions, discussion, or examples.

--Don Simons

From mutex-owner@mail2.gmd.de Mon Jun 28 21:47:52 1999
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Date: Mon, 28 Jun 1999 23:47:52 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Imposition
To: mutex@gmd.de, DSimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Mon, 28 Jun 1999 13:24:12 -0700
> 
> No, I don't mean "upsetting your daily routine."  This term also refers to
> the process of re-ordering pages for the the purpose of producing a book.
> Specifically,  I'm trying to figure out how to produce a music book using
> 2-sided, 11x17-inch sheets.  [...]

That's what I do since long with A4-pages on A3-sheets. So in the following
examples replace 21cm by 6.5", 297mm by 8.5", 14.85cm by 4.25", a3 by ledger, ...

I use one of three methods, which sometimes work well and sometimes not.

The first is using the programme dvibook, which you can find e.g. on CTAN.

The DOS-procedure I use is the following:

==============================================================================
echo ACHTUNG: generiert schwarze Streifen
echo ACHTUNG: generiert schwarze Streifen
echo ACHTUNG: generiert schwarze Streifen

setlocal
set del=del
if "%3%" != "" set del=%3%
set file=%@name[%2%]

dvibook -s %1% %file%.dvi y0.dvi
dvidvi 2:0,1(21cm,0) y0.dvi y1.dvi

rem dvihp   @1a3_a4 /ob+ /do /fd0 y1.dvi
rem dvihp   @1a3_a4 /ob+ /de /fd0 y1.dvi
    dviview @1a3_a4 /fd0 /tr0 /w=297mm /h=210mm y1.dvi

call dvips -t a3 -t landscape -o %file%.ps y1.dvi 

%del% y[0-1].dvi

endlocal
==============================================================================

The three echo-commands at the very beginning tell the problem with dvibook:

   ATTENTION: produces black stripes
   
Sometimes you find thick black boxes on some pages.

So I made special procedures for a specific number of pages using the programmes
dviselec, dvidvi, dviconca, ... which are available on CTAN, too. Here is a
procedure for 8 pages:

==============================================================================



From mutex-owner@mail2.gmd.de Mon Jun 28 22:28:19 1999
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Date: Tue, 29 Jun 1999 00:28:19 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Imposition
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Mon, 28 Jun 1999 13:24:12 -0700

Sorry the last mail escaped before I was ready. So I continue:

Procedure for 8 pages using dviselec, dviconca, dvidvi, ...
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D
setlocal
set del=3Ddel
if "%2%" !=3D "" set del=3D%2%
set file=3D%@name[%1%]

dviselec   1   %file%.dvi x4.dvi
dviselec   2 7 %file%.dvi x2.dvi
dviselec     8 %file%.dvi x3.dvi
dviconca  -o x1.dvi x3.dvi x4.dvi
dvidvi    2:0,1(21cm,0) x1 y1
dvidvi    2:0,1(21cm,0) x2 y2

dviselec   3   %file%.dvi x4.dvi
dviselec   4 5 %file%.dvi x2.dvi
dviselec     6 %file%.dvi x3.dvi
dviconca  -o x1.dvi x3.dvi x4.dvi
dvidvi    2:0,1(21cm,0) x1 y3
dvidvi    2:0,1(21cm,0) x2 y4

dviconca -o %tmp%\%file%.dvi y1.dvi y2.dvi y3.dvi y4.dvi
%del% y[0-9a-f].dvi x[1-4].dvi
rem dvihp   @1a3_a4 /ob+ /do=09=09=09/fd0 %tmp%\%file%.dvi
rem dvihp   @1a3_a4 /ob+ /de=09=09=09/fd0 %tmp%\%file%.dvi
    dviview @1a3_a4 /tr0 /w=3D297mm /h=3D210mm=09/fd0 %tmp%\%file%.dvi
call dvips -t a3 -t landscape -o %tmp%\%file%.ps %tmp%\%file%.dvi=20
call touchas %file%.dvi %tmp\%file%.ps
endlocal
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D

As with the previous procedure "dviview" is used to view the result; the
two calls of dvihp can be used to print the result with emtex's dvi-driver
reduced to A4-paper in two passed on a single-side printer.


Similar to dvibook works pstops. But there are a lot of versions floating
around which have a slightly different syntax and which tell another syntax
when called with "-h" as parameter as they really accept.

Nevertheless here is the procedure, but in this case for packing 4 a4 pages
zoomed to A5 with factor 0.7 on one a4 sheet: p2pbook.bat
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D
pstops1 4:-3L@.7(21cm,0)+0L@.7(21cm,14.85cm),-2R@.7(0,14.85cm)+1R@.7(0,29.7=
cm) %1 %2
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D

The first parameter is the input file, the 2nd the output file; e.g.:

p2pbook letter.ps ledger.ps

To understand the paramters one should know that the coordinates of a PS-pa=
ge
have the origin at the lower left corner. Hold the page (virtually) at this
point when manipulating the pages. Pages are processed in hooks of n and ar=
e=20
numbered from 0 to n-1; negative numbers tell to take the pages from the en=
d=20
of the source. So one can read the above parameters:

4: take pages in hooks of four (append as many empty pages to the input so =
that
    the number of pages may be divided by four)
-3 take the last page from the end of the input
L  rotate it to the left by 90 degrees
@.7 zoom it with factor .7
(21cm,0) put it to the output page at position (21cm,0). That means: move t=
he
   original lower left corner of the current input page, which is now the
   lower right corner after the left turn, to the lower right corner of the
   output page.
+  put another input page to the same output page
0  take the first page
L  rotate it to the left
@.7 ...
(21cm,14.85cm) move the original lower left corner of the current input pag=
e,=20
   which is now the lower right corner after the left turn, to the lower ri=
ght
   corner of the output page and then half the output page upward.
,  put another input page from the current hook to the next output page

...
For your case, Don, the parameters are (could be :-):

pstops1 4:-3L@1.0(11",0)+0L@1.0(11",8.5"),-2R@1.0(0,8.5")+1R@1.0(0,17") %1 =
%2


Again: there are different versions of pstops esp. for DOS floating around.
I use a version I calles pstops1. Whoever is interested in those versions I=
=20
use may fetch them for some days from ftp://ftp.gmd.de/outgoing/icking/book=
.zip

Sorry again that the first mail escaped before I could proof-read it.

Hope this hilft -- Werner



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Message-Id: <199906290747.JAA31597@calvyn.puk.ac.za>
Subject: Re: Imposition
To: DSimons@logicon.com (Simons, Don)
Date: Tue, 29 Jun 1999 09:47:11 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062E06@xcgca040.sp.logicon.com> from "Simons, Don" at Jun 28, 99 01:24:12 pm
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Simons, Don wrote:
> 
> No, I don't mean "upsetting your daily routine."  This term also refers to
> the process of re-ordering pages for the the purpose of producing a book.
> Specifically,  I'm trying to figure out how to produce a music book using
> 2-sided, 11x17-inch sheets.  I would like to start with an ordinary
> PMX-generated multipage score.  For example suppose there are 8 pages.  I
> would like to wind up with a postscript file containing 11x17 pages, which I
> can then print to 11x17 sheets and duplicate double sided.  In the example,
> there would be 4 11x17-in pages with left-right pairs of original pages
> (8+1), (2+7), (6+3), and (4+5).
> 
> I can think of lots of ways to do this, but can't get any of them to work.  
> 
It's easy under EMTeX, which is one of the main reasons why I still
keep a plain old DOS partition on my machine.  Here is an excerpt from
the contents page of the EMTeX documentation:

3.4        Side layout options
3.4.1        Specifying the paper size
3.4.2        Transformation (orientation)
3.4.3        Moving the output on the sheet
3.5        Producing booklets and books, n-up printing
3.5.1        Defining the locations of the pages on a sheet
3.5.2        Arranging the pages
3.5.3        Special effects
3.5.4        Examples

You can find EMTeX on CTAN in systems/msdos/emtex/

You must have one of the supported printers, though.  Most printers
likely to be affordable to poor folk are supported (e.g. mine is an
HP Laserjet 4L) but most upmarket printers are not.  In particular,
last time I looked, EMTeX did not have its own PS driver: one had to
use dvips, which does not (AFAIK) have book options.

Dirk

From mutex-owner@mail2.gmd.de Tue Jun 29 10:02:57 1999
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From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
To: "mutex@gmd.de" <mutex@gmd.de>
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Hello,


you didn't say on what OS-platform you are working. 

But you got already the dvibook tip.
Since I hab sometimes trouble using dvi-tools I just want to say, that one
can also work completely on ps files.

What I do is converting the dvifile to ps (dvips) and rearranging the pages
in the psfile after that with:
psbooks -s XX infile.ps outfile.ps

and pstops for repositioning and turning of the pages.
I use this for printing "books" which consist of usually for sheets, 4
portrait pages each. For that I have to reduce and turn all pages by 90
degrees. 

What you want is not as complicated, so it should be quite easy to work it
out with the pstops maual-pages.

K.-H.


----------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Date: 29-Jun-99      Time: 11:51:34
----------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Jun 29 17:35:23 1999
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Date: Tue, 29 Jun 1999 19:35:23 +0200
From: Matthias Skobowsky <skymac@cs.tu-berlin.de>
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To: Musixtex <mutex@gmd.de>
Subject: Re: Imposition
References: <C3C53CB16C05D311B0CA00805FBBE428062E06@xcgca040.sp.logicon.com>
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I'm using at a DOS platform dvips.exe, psbook.exe and pstops.exe from
CTAN and a few batches. If anybody is interested in I could send it.
Chau Matthias
-- 
***********************************************************************
Matthias Skobowsky                         Mail: skymac@cs.tu-berlin.de
***********************************************************************


From mutex-owner@mail2.gmd.de Wed Jun 30 14:58:02 1999
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To: mutex@gmd.de, "Simons, Don" <DSimons@logicon.com>
Subject: Re: Imposition 
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> Specifically,  I'm trying to figure out how to produce a music book using
> 2-sided, 11x17-inch sheets.  I would like to start with an ordinary
> PMX-generated multipage score.  For example suppose there are 8 pages.  I
> would like to wind up with a postscript file containing 11x17 pages, which I
> can then print to 11x17 sheets and duplicate double sided.  In the example,
> there would be 4 11x17-in pages with left-right pairs of original pages
> (8+1), (2+7), (6+3), and (4+5).

I do something equivalent, producing a book with pages in A5 format (with 4 
pages on an A4 sheet).

I produce a .dvi file (with abc2mtex, musixtex and tex) and then :


dvips -h reli.ps -f < book.dvi | psbook | psnup -2 -q -d -b10 >$TMPDIR/book.ps

psbook and psnup are parts of the package psutils

reli.ps is this :

% reli.ps
%
% Use with dvips -h reli.ps
%
% Positionne le cote de la reliure comme etant le PETIT cote.
% 13/11/95 E. Picheral
%
statusdict begin statusdict/settumble known {true settumble} if end            





From mutex-owner@mail2.gmd.de Wed Jun 30 16:35:27 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Imposition
Date: Wed, 30 Jun 1999 09:35:27 -0700
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Thanks to everyone who posted guidance on book-making.  I have gotten the
last one of Werner's methods (using dviselec, dviconca, dvidvi) to work.  I
tried out most of the other suggestions too, but couldn't get any of them to
go from start to finish.  I'm using DOS under WINDOWS95.  I suspect the
downloadable DOS binaries of the various programs are not as up-to-date as
the unix packages, and that may be part of the reason.  

--Don Simons

From mutex-owner@mail2.gmd.de Thu Jul  1 18:11:15 1999
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To: mutex@gmd.de
In-Reply-To: <199906301457.QAA01179@mailimailo.univ-rennes1.fr>
Subject: Re: Imposition
From: stk@snafu.de (Stefan Haller)
Date: Thu, 1 Jul 1999 20:11:15 +0200
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<Roger.Negaret@univ-rennes1.fr> wrote:

> I do something equivalent, producing a book with pages in A5 format (with 4
> pages on an A4 sheet).
> 
> I produce a .dvi file (with abc2mtex, musixtex and tex) and then :
> 
> dvips -h reli.ps -f < book.dvi | psbook | psnup -2 -q -d -b10 >$TMPDIR/book.ps

Nate that this will produce less than perfect results if the document
contains bitmap fonts (as is the case with MusiXTeX stuff).  Dvips
output is usually resolution dependent, so scaling at the PostScript
level (by using psnup or pstops's @ option) will reduce the quality of
the output.

It is usually better to let dvips do the scaling by giving an
appropriate magnification (-x707 for scaling A4 to A5), and then use
pstops without the @ option.

The following works for me:

    dvips -x707 dvifile -o x.ps

    pstops 4:-3L(29.7cm,0)+0L(29.7cm,14.85cm) x.ps x1.ps
    pstops 4:1L(29.7cm,0)+-2L(29.7cm,14.85cm) x.ps x2.ps

Then print x1.ps for the front sides and x2.ps for the reverse sides.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Thu Jul  8 21:40:31 1999
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Date: Thu, 08 Jul 1999 23:40:31 +0200
From: taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX T.97
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Subject: MusiXTeX version T.97

New version T.97 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in
ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many
bugs
 - T.95  (working version, unpublished)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and
\liftpausep
 - T.89  musixcho.tex corrected to produce even lyrics line spacing
 - T.88  correction to \centerbar and "vertical mode diags"
 - T.87  added \breve, \longa, \maxima, \wq (with spacing)
 - T.86  bug corrected in xlshu* half slur fonts (new pk's and new
xslhu.mf)
 - T.85  invalid character errors with extreme slope braces bypassed
 - T.84  choir square braces allowed around a unique staff
 - T.83  musixflx revised by Joel Hunsberger; slur inversion enhanced.

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83

=20
Daniel Taupin


--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Sun Jul 25 21:59:19 1999
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Sorry,

I have the impression that the list is dead

Rainer adS



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[ Also sent to Rainer via mail ]

Rainer aus dem Spring wrote:
> I have the impression that the list is dead

Why? There's very low traffic on the list, but I wouldn't call it dead.
Perhaps there are not many people using MusixTeX. From the few people
interested in typesetting music, many may prefer easy-to-use graphical
editors (at the cost of quality).

BTW: is there any other hybrid (freeware) tool other than rosegarden
that offers a graphical editor but uses MusixTeX as backend? I did not
try rosegarden for some time, but I remeber the results didn't satisfy
me.

Bye,
	Kili

From mutex-owner@mail2.gmd.de Mon Jul 26 12:09:08 1999
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Date: Mon, 26 Jul 1999 14:09:08 +0200 (MET DST)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Since there is still someone...
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I was wondering if it is possible in M-Tx to switch system.

Let me explain: there is a piece with three different sections.
The first section is for soprano solo (thus, one staff and one voice); 
then there is a section for soprano and alto (still one staff, but 
two voices); eventually we have two verses for 4-voices choir 
(two staves).

I have no problem in coding the first two sections, but I am at a loss
about how to switch from one staff to two staves.

ciao, .mau.


From mutex-owner@mail2.gmd.de Mon Jul 26 13:19:07 1999
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Date: Mon, 26 Jul 1999 15:19:07 +0200 (CEST)
From: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: Matthias Kilian <kili@bredex.de>
Cc: MusiXTeX mailing list <mutex@gmd.de>
Subject: Re: Test
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On Mon, 26 Jul 1999, Matthias Kilian wrote:
> BTW: is there any other hybrid (freeware) tool other than rosegarden
> that offers a graphical editor but uses MusixTeX as backend? I did not
> try rosegarden for some time, but I remeber the results didn't satisfy
> me.
Some weeks ago I wrote to de.comp.text.tex, that I'd begun to write such a
programm. But until today I wrote only a demo of my idea. You can download
it from my homepage (see below). You can add notes in many notelines an
give it to MusiXTeX to see it as DVI.

I would be happy if I found some people who are interested in such a
project - even you are tester or writer of any futher part.

Im using the graphic library Qt. Some days ago I update the most parts of
my code to Qt 2.0 - bit not the whole. So you see some warings while
running. But the main features will no be affected.

Cheers,
Lukas

PS: Requirements: autoconf, MusiXTeX, Qt 2.x

-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
-----------------------------------------------------------------
I like Techno - unplugged.


From mutex-owner@mail2.gmd.de Mon Jul 26 13:59:52 1999
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Date: Mon, 26 Jul 1999 15:59:52 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Changing number of voices within M-Tx/PMX (was: Since there is still someone...)
To: mutex@gmd.de, mau@beatles.cselt.it
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> Date: Mon, 26 Jul 1999 14:09:08 +0200 (MET DST)
> From: Maurizio Codogno <mau@beatles.cselt.it>

[...]
> I was wondering if it is possible in M-Tx to switch system.

As far as I know M-Tx does not support that.

> Let me explain: there is a piece with three different sections.
> The first section is for soprano solo (thus, one staff and one voice); 
> then there is a section for soprano and alto (still one staff, but 
> two voices); eventually we have two verses for 4-voices choir 
> (two staves).

PMX support such switches, but not as you require it. With PMX you 
always have to start with the maximum number of staves.

> I have no problem in coding the first two sections, but I am at a loss
> about how to switch from one staff to two staves.

If the last change is at a page break then you may use oneof the tricks
which have been documented here already. Make two sources  a.mtx, b.mtx
which generate the requested output. Then concatenate the outputs using
the programme dviconca[t] which should be avaiable on CTAN.

Or generate the two tex-sources a.tex and b.tex and combine them into one:

\input musixtex
\input pmx
\startmuflex\let\startmuflex\empty
\let\endmuflexsav\endmuflex\let\endmuflex\endinput
\input a
\input b
\endmuflexsav
\end

PMX-sources end with  \endmuflex\bye. This tricks avoides the execution of \bye
in a.tex and b.tex by executing \endinput instead of \endmuflex.

If the change isn't at a page break, you may fool the PMX-output in similar way.
Or combine both parts with a line-editor of your choice.

-- Werner


From mutex-owner@mail2.gmd.de Mon Jul 26 14:16:49 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Re: Changing number of voices within M-Tx/PMX 
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" From: Werner Icking <Werner.Icking@gmd.de>

" PMX support such switches, but not as you require it. With PMX you 
" always have to start with the maximum number of staves.
" 
" > I have no problem in coding the first two sections, but I am at a loss
" > about how to switch from one staff to two staves.
" 
" If the last change is at a page break then you may use oneof the tricks
" which have been documented here already. Make two sources  a.mtx, b.mtx
" which generate the requested output. Then concatenate the outputs using
" the programme dviconca[t] which should be avaiable on CTAN.
" 
" Or generate the two tex-sources a.tex and b.tex and combine them into one:

I think I eventually will end up doing something like this.
Unfortunately the piece is very short - the hand manuscript has four
lines of music :-)

I'll try it - if it works, I'll send the score to the ftp site!

ciao, .mau.


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Hi, 
the last message I got was from the 8th of july.
Chau Matthias


From mutex-owner@mail2.gmd.de Mon Jul 26 17:44:07 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Changing number of voices within M-Tx/PMX (was: Since there i
	s still someone...)
Date: Mon, 26 Jul 1999 10:44:07 -0700
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Werner wrote

>Maurizio Codogno <mau@beatles.cselt.it> wrote
>> I was wondering if it is possible in M-Tx to switch system.

>As far as I know M-Tx does not support that.

>> Let me explain: there is a piece with three different sections.
>> The first section is for soprano solo (thus, one staff and one voice); 
>> then there is a section for soprano and alto (still one staff, but 
>> two voices); eventually we have two verses for 4-voices choir 
>> (two staves).

>PMX support such switches, but not as you require it. With PMX you 
>always have to start with the maximum number of staves.

I'm just back from vacation so I hope this isn't a dead issue by now.

One trick I've used in the past is to set up a "sacrificial" movement on the
first page with the maximum number of voices.  Then make the second movement
the first real one.  One detail: as I recall, for some unknown reason I had
to put 2 systems on the secrificial page to make this work.  But each system
may have only one bar in it with only rests.

--Don Simons

From mutex-owner@mail2.gmd.de Mon Jul 26 06:40:00 1999
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Date: Mon, 26 Jul 1999 03:40:00 -0300
From: Denis Alessandro =?iso-8859-1?Q?Alto=E9?= Falqueto <falqueto@dpi.ufv.br>
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Subject: Re: Changing number of voices within M-Tx/PMX
References: <199907261416.QAA29896@beatles.cselt.it>
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Maurizio Codogno wrote:

> " From: Werner Icking <Werner.Icking@gmd.de>
>
> " PMX support such switches, but not as you require it. With PMX you
> " always have to start with the maximum number of staves.
> "
> " > I have no problem in coding the first two sections, but I am at a loss
> " > about how to switch from one staff to two staves.
> "
> " If the last change is at a page break then you may use oneof the tricks
> " which have been documented here already. Make two sources  a.mtx, b.mtx
> " which generate the requested output. Then concatenate the outputs using
> " the programme dviconca[t] which should be avaiable on CTAN.
> "
> " Or generate the two tex-sources a.tex and b.tex and combine them into one:
>
> I think I eventually will end up doing something like this.
> Unfortunately the piece is very short - the hand manuscript has four
> lines of music :-)
>
> I'll try it - if it works, I'll send the score to the ftp site!
>
> ciao, .mau.

Hi, all!

It's the first time I post to this list and I'm just beginning to learn
MusiXTeX, so the tip I have maybe is not a big thing. I saw sach a switch in the
file Aveverum.ps, wich comes from aveverum.tex in the musixexa.zip. Give a look
there. I unfortunately do not have time to look now, so this is all I can do for
now. I hope it helps!

--

= = = = = = = = = = = = = = = = = = = = = = = =
=                                             =
=             Denis Alessandro Altoe Falchetto =
=                         falqueto@dpi.ufv.br =
=                                             =
= = = = = = = = = = = = = = = = = = = = = = = =



From mutex-owner@mail2.gmd.de Tue Jul 27 09:29:23 1999
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From: Stanislav Kneifl <standa@hiero.cz>
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Hi there,

Lukas Gruetzmacher wrote:
> 
> On Mon, 26 Jul 1999, Matthias Kilian wrote:
> > BTW: is there any other hybrid (freeware) tool other than rosegarden
> > that offers a graphical editor but uses MusixTeX as backend? I did not
> > try rosegarden for some time, but I remeber the results didn't satisfy
> > me.
> Some weeks ago I wrote to de.comp.text.tex, that I'd begun to write such a
> programm. But until today I wrote only a demo of my idea. You can download
> it from my homepage (see below). You can add notes in many notelines an
> give it to MusiXTeX to see it as DVI.
> I would be happy if I found some people who are interested in such a
> project - even you are tester or writer of any futher part.
> Im using the graphic library Qt. Some days ago I update the most parts of
> my code to Qt 2.0 - bit not the whole. So you see some warings while
> running. But the main features will no be affected.

Last two years I have been working on OpusOne - WYSIWIG OpusTeX editor.
Currently it has about 1 MB of C source, supports up to 256 tracks (<=
16 instruments,
<= 4 staffs, <= 4 voices), MIDI file I/O, MIDI keyboard input and
playback, automatic but adjustable chords, accidentals, beams, slurs,
and ties; mixing (channel, bank, patch, mute, solo, controller grouping,
5 user-selectable controllers, smart metronome) and many many more.

Target program should be comparable to latest Encore, but much more
intelligent and faster to use. 

It is written for the Amiga, but using an WinUAE emulator it is fairly
usable on PC or Linux too. First public beta release will come out
probably in September.

Happy (Opus)TeXing,

Stanislav Kneifl.

From mutex-owner@mail2.gmd.de Wed Jul 28 18:03:11 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: WORKSHOP IN LONDON "Music Information Retrieval"
To: mutex@gmd.de
Cc: carola@music.gla.ac.uk
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Carola Boehm <carola@music.gla.ac.uk> entitled me to forward her mail:


Dear All,

As you probably know, the DRH99 (Digital Resources for the Humanities) holds its
annual conference at King's College, London 12-15 September 1999. 

http://www.kcl.ac.uk/humanities/cch/drh/

On September 16th a workshop titled "Music Description, Representation
and Information Retrieval" organised by Tim Crawford and myself (KCL and
MuTaTeD!-Glasgow) will take place and we would like to encourage anybody interested
in music information retrieval to participate in this workshop. There will be a round
table of experts, coming from the different areas of this rather wide field of
research.

The prelimenary outline of this workshop can be found under:
http://www.kcl.ac.uk/humanities/cch/drhahc/drh/ws02.htm

There will be an emphasis on four major issues, which will be presented with examples
and overviews about current projects of the experts or possibly the wider audience.
The issues discussed are as follows:

a) Standards 
b) Storage, Search and retrieval
c) Music representation
d) User-interfaces

Tim Crawford and I will provide introductions to each of the areas and will chair the
following discussion. 

Please reply back to me (C.Boehm@music.gla.ac.uk) and Tim Crawford
(tim.crawford@kcl.ac.uk) as soon as possible if you are able to come and please do
not forget to register at the DRH99 website for workshop and accomodation if needed.
Register - http://www.kcl.ac.uk/humanities/cch/drhahc/regis/howtoreg.htm
Accomodation - http://www.kcl.ac.uk/humanities/cch/drhahc/regis/accom.htm

We hope to see you there,
Sincerely

Carola Boehm
------------------------------------------------------------------
       "Is this just a clockwork of fabulous design,
      or does it actually tell time"(Virgil Thomson)
------------------------------------------------------------------	
Carola Boehm                  http://www.pads.ahds.ac.uk/carola
Department of Music           Tel: +44 (0) 141 330 4903
University of Glasgow         Fax: +44 (0) 141 330 3518
14 University Gardens
Glasgow G128QH                email: carola@music.gla.ac.uk


From mutex-owner@mail2.gmd.de Thu Jul 29 18:56:24 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Vacation from August 6th to September 4th
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Dear subscribers of the MuTeX mailing list,
 
from August 6th to September 4th this list will run unattended. From 
my experience up to now this should be possible without any problems.
 
Nevertheless some actions require my approval e.g. unsubscribe from
an address different to the subscribe address, or subscribe request
sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails to
the list from non-members of thelist or mails which look like 
administrative request (don't start Subject: with majordomo commands 
like "help", "who", "[un]subscribe", ...)

These approvals will be delayed.
 
If there seem to be major problems with the list, please inform
listmaster@gmd.de or postmaster@gmd.de

Regards, Werner Icking <mutex-owner@gmd.de>
 
PS: In the same way the music archive http://www.gmd.de/Misc/Music/
    runs unattended. That means that new versions of e.g. MusiXTeX
    or PMX will not automatically be distributed as far as they are 
    mirrored from ftp.gmd.de. Files uploaded to /incoming/music/ may
    get lost.


From mutex-owner@mail2.gmd.de Wed Aug  4 17:32:25 1999
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To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: processing several TeX files at once
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Hi all,
this is my problem.
A cantata is made of following several .TEX files:

CS01.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
bottom)
CS02.TEX (4 staves system with lyrics on top staff, i.e. the fourth from
bottom)
CS03.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
bottom)
CS04.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
bottom)
CS05.TEX (a text file, with only one musical excerpt for vocal extension: 1
staff)
and so on.

Werner suggested to me to build the following CS00.TEX file:

\startmuflex
\let\startmuflex\empty
\let\endmuflexsav\endmuflex
\let\endmuflex\endinput
\input cs01
\input cs02
\input cs03
\input cs04
\input cs05
\input cs06
\input cs07
\endmuflexsav
\bye

The resulting CS00.DVI file unfortunately has those errors:

1) when CS03 starts, lyrics are not only on fifth staff of the system, but
olso on fourth (filled of question mark, of course);

2) the musical excerpt on CS05, instead of the right only one staff, is
placed on a 5 staves system, with unexpected braket and instrument's names;

3) page layout is wrong for the presence of vertical additional sapace of
the wrong lyric lines.

Has anyone some suggestions?

Regards.

Luigi.


From mutex-owner@mail2.gmd.de Wed Aug  4 20:38:07 1999
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Date: Wed, 04 Aug 1999 22:38:07 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: Luigi Cataldi <luicatal@tin.it>
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Subject: Re: processing several TeX files at once
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Luigi Cataldi wrote:

> Hi all,
> this is my problem.
> A cantata is made of following several .TEX files:
>
> CS01.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
> bottom)
> CS02.TEX (4 staves system with lyrics on top staff, i.e. the fourth from
> bottom)
> CS03.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
> bottom)
> CS04.TEX (5 staves system with lyrics on top staff, i.e. the fifth from
> bottom)
> CS05.TEX (a text file, with only one musical excerpt for vocal extension: 1
> staff)
> and so on.
>
> Werner suggested to me to build the following CS00.TEX file:
>
> \startmuflex
> \let\startmuflex\empty
> \let\endmuflexsav\endmuflex
> \let\endmuflex\endinput
> \input cs01
> \input cs02
> \input cs03
> \input cs04
> \input cs05
> \input cs06
> \input cs07
> \endmuflexsav
> \bye
>
> The resulting CS00.DVI file unfortunately has those errors:
>
> 1) when CS03 starts, lyrics are not only on fifth staff of the system, but
> olso on fourth (filled of question mark, of course);
>
> 2) the musical excerpt on CS05, instead of the right only one staff, is
> placed on a 5 staves system, with unexpected braket and instrument's names;
>
> 3) page layout is wrong for the presence of vertical additional sapace of
> the wrong lyric lines.
>
> Has anyone some suggestions?

I had similar problems with my one of my own scores having varying number of
staves per system. The solution - also invented by Werner - was to redefine
\interstaff before each new \input statement:

\let\interstaffSAV\interstaff
\def\restoreALL{
  \let\interstaff\interstaffSAV
  \grouptop10\groupbottom1\maxdimen
  \grouptop20\groupbottom2\maxdimen
}
% Julesang
\restoreALL\input lars
%
% Aaret
\restoreALL\input sar
%
% Ivente Julenat
\restoreALL\input jaeg
%
% Miraklet
\restoreALL\input mon
%
% Vinterens tunnel
\restoreALL\input sor
%
\endmuflexsav
\bye

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Thu Aug  5 09:11:36 1999
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Date: Thu, 5 Aug 1999 11:11:36 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: processing several TeX files at once
To: mutex@gmd.de, luicatal@tin.it
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> Date: Wed, 04 Aug 1999 22:38:07 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> I had similar problems with my one of my own scores [...]

... written with M-Tx and PMX.

> \let\interstaffSAV\interstaff

here's the place to save all those items, which may be modified 
by one of the PMX-generated MusiXTeX-sources included by later
\input <pmx-generated MusiXTeX>

> \def\restoreALL{
>   \let\interstaff\interstaffSAV
>   \grouptop10\groupbottom1\maxdimen
>   \grouptop20\groupbottom2\maxdimen

Here's the place to restore further items.

> }
> \restoreALL\input lars
> \restoreALL\input sar
> ...

and that's the principle:

 restore, what's to be restored; input next ...

Looking especially at the very beginning of a PMX-generated source
may help to find, what has to be restored before including the
next PMX-generated source.

In Christian Mondrup's case it was \interstaff - dynamically modified
by PMX - and \grouptopN and \groupbottomN - modified by Christian's
own inline-TeX in the PMX-source.

-- Werner 


From mutex-owner@mail2.gmd.de Thu Aug  5 10:10:54 1999
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Date: Thu, 5 Aug 1999 12:10:54 +0200
From: Zdenek Pytela <letty@phil.muni.cz>
To: mutex@gmd.de
Subject: rpm packages for musixtex
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	Hello,
I turned musixtex into rpm packages. If you are using any packaged
distributions of Linux or so (RedHat, Debian), you can try them. As for now,
they can be found at
ftp://ftp.phil.muni.cz/pub/local/
These are just a first attempt, I will work at this and contribute them and
probably more add-ons to the standard RedHat Contrib subdistribution (if
people like it) later on. Note that as a user you need both the .i386.rpm
packages with wource files and musixflx binary (although the source files
are architecture independent), as an administrator the .src.rpm package is
sufficient.
Problems, suggestions etc. can be sent to the address below.
Have fun,

-- 

--Zdenek <pytela@phil.muni.cz>


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From: Van Ryckeghem Andre <andre.vanryckeghem@kh.khbo.be>
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I use a file: initmusix.tex
that reset all(?) definitions:
----
\resetlayout
\normalmusicsize
\setsize1{\normalvalue}\setsize2{\normalvalue}\setsize3{\normalvalue}\setsiz
e4{\normalvalue}
\generalsignature{0}\generalmeter{}
\instrumentnumber1
%\interinstrument=0\Interligne% dont use this, define all
\setinterinstrument?{?\Interligne} :
\setinterinstrument1{0\Interligne}\setinterinstrument2{0\Interligne}
\setinterinstrument3{0\Interligne}\setinterinstrument4{0\Interligne}
\setinterinstrument5{0\Interligne}\setinterinstrument6{0\Interligne}
\setclef1{0}\setclef2{0}\setclef3{0}
\setname1{}\setname2{}\setname3{}\setname4{}\setname5{}
\setstaffs1{1}\setstaffs2{1}\setstaffs3{1}\setstaffs4{1}
%\staffbotmarg=3\Interligne\stafftopmarg=3\Interligne% not needed ?
\songtop1\songbottom2% no songs
\setsongraise1{0\Interligne}\setsongraise2{0\Interligne}
\setsongraise3{0\Interligne}\setsongraise4{0\Interligne}
\stdbarrules
\nostemcut\stemlength{4.66}% hope works for all musicsizes
%\braceheight4\Interligne\relax% not needed ?
\absoluteaccid
\nobarnumbers% to void the number in the first bar if systemnumbers
\scale{1}
\arithmeticskipscale
\afterruleskip8pt\beforeruleskip0pt
\parindent0pt\voffset-10mm\hoffset-15.4mm\hsize 190mm\vsize 260mm% nominal
pagelayout
\assignlyrics1{}\assignlyrics2{}\assignlyrics3{}\assignlyrics4{}\assignlyric
s5{}
\transpose=0
-----
The all-file could look like this:
>
>\startmuflex
>\let\startmuflex\empty
>\let\endmuflexsav\endmuflex
>\let\endmuflex\endinput
>\input cs01/input initmusix
>\input cs02/input initmusix
>\input cs03/input initmusix
>\input cs04/input initmusix
>\input cs05/input initmusix
>\input cs06/input initmusix
>\input cs07
>\endmuflexsav
>\bye
---
of course i am afraid the initmusix.tex file needs editing for your
application,
following the advice of Mr. Taupin: redefine all parameters.
(but \interinstrument is an example that can not be reset, so you can not
use it anymore)

A. Van Ryckeghem



From mutex-owner@mail2.gmd.de Thu Aug  5 13:53:22 1999
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Date: Thu, 5 Aug 1999 16:53:22 +0300
From: Antti-Juhani Kaijanaho <gaia@gaia.pp.sci.fi>
To: Zdenek Pytela <letty@phil.muni.cz>
Cc: mutex@gmd.de
Subject: Re: rpm packages for musixtex
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On Thu, Aug 05, 1999 at 12:10:54PM +0200, Zdenek Pytela wrote:
> I turned musixtex into rpm packages. If you are using any packaged
> distributions of Linux or so (RedHat, Debian), you can try them.

Debian already has musixtex packages, and with Debian, rpm packages are
not a good idea anyway.

-- 
%%% Antti-Juhani Kaijanaho % gaia@iki.fi % http://www.iki.fi/gaia/ %%%

   "... memory leaks are quite acceptable in many applications ..."
    (Bjarne Stroustrup, The Design and Evolution of C++, page 220)

From mutex-owner@mail2.gmd.de Sat Aug  7 09:21:46 1999
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To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Page numbering in PMX200
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Dear all,
thanks for your help!

I have some other questions about PMX200 page numbering.

1)
If I use P command in PMX code (e.g. P2) and I process it with PMX200, when
I start TEX (I use MiKTeX 1.11b) it shows an undefined control sequence
error message for the PMX200 translation of P command

\def\atnextline{\toppageno20{}}%

If I use PMX 1.43, that translate P command in the following way

\headline={\ifodd\pageno\rhead\else\lhead\fi}%
\def\rhead{\tempo\hfil\folio}\def\lhead{\tempo\folio\hfil}%
\pageno2%

all is OK. What is my mistake?

2)
Using PMX, is there a way for to avoid to print a definite page number
inside a piece? For instance, can I print page number 1 and 2, avoid page
number 3 and than print page number 4?

Thanks

Luigi


From mutex-owner@mail2.gmd.de Sat Aug  7 14:53:40 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Page numbering in PMX200
Date: Sat, 7 Aug 1999 07:53:40 -0700 
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Luigi Cataldi wrote
>1)If I use P command in PMX code (e.g. P2) and I process it 
>with PMX200, when I start TEX (I use MiKTeX 1.11b) it shows an 
>undefined control sequence error message for the PMX200 translation 
>of P command
>
>\def\atnextline{\toppageno20{}}%
>
>...What is my mistake?

\toppageno is defined in pmx.tex .  I imagine you neglected to replace the
older version of pmx.tex with the new one that came with PMX version 2.00

>Using PMX, is there a way for to avoid to print a definite page number
>inside a piece? For instance, can I print page number 1 and 2, avoid
>page number 3 and than print page number 4?

You can disable the entire header with the TeX command \headline{\empty}.
The phasing is a little tricky, though.  Here's an example that gives page
numbers 1 and 3 but not 2:

1 1 4 4 4 4 0 0
3 6 20 0

t
c:\pctex\texinput\
% Begin page 1
P1
c04 /
c04 /
c04 /
c04 /
% End page 2, begin page 3
\\\headline{\empty}\
P3
c04 /
c04 /

--Don Simons


From mutex-owner@mail2.gmd.de Tue Aug 24 07:26:58 1999
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Date: Tue, 24 Aug 1999 09:26:58 +0200 (MET DST)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: \metron with M-Tx
To: mutex@gmd.de
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I eventually managed to compose a choral (you can find it at
http://beatles.cselt.it/~mau/musica/spartiti/ilaria.mtx , there is
also .ps and .pdf), but I noticed I cannot add a \metron (or \Metron)
indication at the beginning of the piece. Indeed, if I use U:, some
of the lyrics are raised :-(

I glanced at the TeX output and I saw that the title is written 
after \startmuflex, so I cannot play the dirty trick to redefine it.

I could try a dirtier trick, that is redefine \titles adding a new 
parameter, but before doing it I'd like to hear from you if I 
forgot something obvious!

ciao, .mau.


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Date: Tue, 24 Aug 1999 10:11:33 +0200 (MET DST)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Solved: \metron with M-Tx
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Dear all,
I eventually end up with the ugly but working line 

U: @+4 \ppff{Tranquillo}~\twelverm(\zqu{1}~~~=~96)

ciao, .mau.


From mutex-owner@mail2.gmd.de Tue Aug 24 08:11:33 1999
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Date: Tue, 24 Aug 1999 10:11:33 +0200 (MET DST)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Solved: \metron with M-Tx
To: mutex@gmd.de
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Dear all,
I eventually end up with the ugly but working line 

U: @+4 \ppff{Tranquillo}~\twelverm(\zqu{1}~~~=~96)

ciao, .mau.


From mutex-owner@mail2.gmd.de Tue Aug 24 14:19:48 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
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Subject: Re: Solved: \metron with M-Tx
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Perhaps this one will do it (if you are using musixlyr):

dont say

\Uptext{\metron{\qu}{80}}

but

\Uptext{\metron{\nolyr\qu}{80}}


-----Oorspronkelijk bericht-----
Van: Maurizio Codogno <mau@beatles.cselt.it>
Aan: mutex@gmd.de <mutex@gmd.de>
Datum: mardi 24 ao=FBt 1999 16:11
Onderwerp: Solved: \metron with M-Tx


>Dear all,
>I eventually end up with the ugly but working line
>
>U: @+4 \ppff{Tranquillo}~\twelverm(\zqu{1}~~~=3D~96)
>
>ciao, .mau.
>


From mutex-owner@mail2.gmd.de Tue Aug 24 14:18:26 1999
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Date: Tue, 24 Aug 1999 16:18:26 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Organization: Scandiatransplant
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To: Maurizio Codogno <mau@beatles.cselt.it>
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Subject: Re: Solved: \metron with M-Tx
References: <199908240811.KAA11131@beatles.cselt.it>
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Maurizio Codogno wrote:

> Dear all,
> I eventually end up with the ugly but working line
>
> U: @+4 \ppff{Tranquillo}~\twelverm(\zqu{1}~~~=~96)

Another solution is using the \metron macro. You'll have to disable
lyrics within the macro:

...
%%
\def\mymetron#1#2{\lyricsoff\hbox{\smallnotesize\metron{#1}{#2}}\lyricson}

%%\twelveit Per il battesimo di Ilaria
%%\font\elevensf=cmss10 scaled \magstep1\elevensf
U: @+4 \ppff{Tranquillo}~(\mymetron{\qu}{96})
\llyr\lyroffset{-1}\ d4     | g    f    a    c    | b2        b4   a
| d    d    d8 b  g4 |
L: 1. La tua  pa-ro-la_\`e     lu-ce          che    gui-da   o-gni mio
L: 2. Si-gno-re,   dam-mi      vi-ta          se-con-do       la tua pa-

d4     | d    d    e    g    | ( g  f )  g    f    | g    f    b8- b c4
|
f4     | g    a    c    c    | ( d  ds ) e    dn   | d    d    d8 g- g4
|
d4     | b    a   a+8 g e4   | ( g  b  ) e-    c   | b    b+   g8 g  e4
|
 ...

NB Notice the MusiXLyr trick to separate stanza numbers from the lyrics.

BTW
-You should right shift - in stead of left shift shift - the third note
of the alto part in measure 14.
-You should seriously consider whether you actually want to use parallel
fifths in your choral setting. Although there is no death penalty :-)
for parallel fifths they are usually avoided in a context like this.
This also applies to 'hidden' parallels like the one between tenor and
basso in measure 8, 2-3 note.
-You should avoid intervals > octave between other parts than tenor and
basso.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Tue Aug 24 18:27:34 1999
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From: Ronald en Yvonne <gelten@wish.net>
To: "'MusiXTeX mailing list'" <mutex@gmd.de>
Subject: Do MusiXTeX and pdftex work together?
Date: Tue, 24 Aug 1999 20:27:34 +0200
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Hello,

I'm no TeXpert, so I simply tried the following without really knowing =
whether I was doing the right thing. First I made a postscript file from =
a musixtex document without problems. With ps2pdf I could make a =
pdf-file, but it was huge (22 MB compared to 600 kB postscript file). I =
think that is because the fonts are represented by bitmaps in the =
pdf-file, but I could be talking nonsense here. I hoped to get a nice =
and small pdf-file by using pdftex (under Linux) on my document. =
However, this produced the following error:

(...)
) (A.tex bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar =
1
[1
! Error: pdftex:
Font musixspx not found in map files
Exit 255

Can anyone tell me wether there is an easy way to get pdftex working =
with MusiXTeX? Or am I doing something wrong?

Thanks in advance,
Ronald Gelten



From mutex-owner@mail2.gmd.de Tue Aug 24 22:12:10 1999
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Subject: Re: Do MusiXTeX and pdftex work together? 
In-Reply-To: Your message of "Tue, 24 Aug 1999 20:27:34 +0200."
             <01BEEE73.95BB91A0@p3635.nl.wish.net> 
Date: Tue, 24 Aug 1999 23:12:10 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I hoped to get a nice =
> and small pdf-file by using pdftex (under Linux) on my document. =
> However, this produced the following error:
> 
> (...)
> ) (A.tex bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar =
> 1
> [1
> ! Error: pdftex:
> Font musixspx not found in map files
> Exit 255

you don't say which version of pdftex you're using.  the latest ones
will generate themselves pk fonts on the fly, like dvi drivers do, and
then load them into the pdf in the same way as distiller would.

however, while this may be a better pdf file than you would get from
ps2pdf, it's still not up to much, since none of the acrobat tools
takes bitmap fonts seriously.

to get decent pdf from musi?tex, we need someone to persuade someone
to type1-ify the musi* fonts.  anyone intimate with taco hoekwater (or
got some sort of hold over him ;-)?

robin


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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: FW: Do MusiXTeX and pdftex work together?
Date: Tue, 24 Aug 1999 15:53:42 -0700
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> No.
> 
> I looked into this some time ago (check the archives).  My recollection,
> somewhat fuzzy, is that pdftex requires Postscript Type 2 fonts.  There
> are no such versions of the MusiXTeX fonts.  There was an aborted effort
> to create a general Metafont-to-Postscript font converter (mf2ps?) but it
> died before becoming useful.  There are other ways to do it, but no one is
> stepping forward to do it for MusiXTeX.  This is software that might be
> able to do it, but it's expensive.  I identified someone who might have
> been convinced to do it, but he was put off both by the large number of
> MusiXTeX fonts, and by the lack of interest in the project on the part of
> the MusiXTeX developer.
> 
> As I understand it, the real stumbling block here is making the postscript
> fonts.  Whether to use pdftex or TeX=>dvi=>ps=>pdf, the last step via
> Acrobat distiller, is a secondary issue.  Getting the postscript fonts
> seems to be a necessary condition for making a pdf that looks decent on
> screen, regardless of how you make the pdf.  pdf's with bitmapped fonts do
> print out just fine.  I don't know the program ps2pdf, but Acrobat
> distiller make very compact files, way smaller than the postscript, even
> with bitmapped fonts.  The ONLY problem with them is that they look AWFUL
> on screen.
> 
> --Don Simons
> 
> -----Original Message-----
> From:	Ronald en Yvonne [SMTP:gelten@wish.net]
> Sent:	Tuesday, August 24, 1999 11:28 AM
> To:	'MusiXTeX mailing list'
> Subject:	Do MusiXTeX and pdftex work together?
> 
> Hello,
> 
> I'm no TeXpert, so I simply tried the following without really knowing
> whether I was doing the right thing. First I made a postscript file from a
> musixtex document without problems. With ps2pdf I could make a pdf-file,
> but it was huge (22 MB compared to 600 kB postscript file). I think that
> is because the fonts are represented by bitmaps in the pdf-file, but I
> could be talking nonsense here. I hoped to get a nice and small pdf-file
> by using pdftex (under Linux) on my document. However, this produced the
> following error:
> 
> (...)
> ) (A.tex bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1
> [1
> ! Error: pdftex:
> Font musixspx not found in map files
> Exit 255
> 
> Can anyone tell me wether there is an easy way to get pdftex working with
> MusiXTeX? Or am I doing something wrong?
> 
> Thanks in advance,
> Ronald Gelten
> 

From mutex-owner@mail2.gmd.de Wed Aug 25 11:27:13 1999
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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: Do MusiXTeX and pdftex work together?
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Ronald en Yvonne wrote:
> 
> Hello,
> 
> I'm no TeXpert, so I simply tried the following without really knowing whether I was doing the right thing. First I made a postscript file from a musixtex document without problems. With ps2pdf I could make a pdf-file, but it was huge (22 MB compared to 600 kB postscript file). I think that is because the fonts are represented by bitmaps in the pdf-file, but I could be talking nonsense here. I hoped to get a nice and small pdf-file by using pdftex (under Linux) on my document. However, this produced the following error:
> 
> (...)
> ) (A.tex bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1 bar 1
> [1
> ! Error: pdftex:
> Font musixspx not found in map files
> Exit 255
> 
> Can anyone tell me wether there is an easy way to get pdftex working with MusiXTeX? Or am I doing something wrong?
> 
> Thanks in advance,
> Ronald Gelten

I've had not too bad results with the dvipdfm utility. The printing
result of these pdf files seem to be as good as that from the postscript
files and even the screen display is acceptable if you use the latest
release 4 of the acrobat reader. You won't however, get files smaller
than the postscript files. Have a look at my entries in the Ravenscroft
section of the 'Choral Public Domain Library'
(http://www.cpdl.org/composers/ravenscr.htm).

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01

From mutex-owner@mail2.gmd.de Wed Sep  8 07:11:13 1999
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Date: Wed, 08 Sep 1999 09:11:13 +0200
From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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Subject: Bug in PMX
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Hi

After a pause in using PMX, yesterday I coded a score and compiled it
PMX was quite successful, but in the first pass of running MusiXTeX
there
occured the following error:

! Missing number, treated as zero.
<to be read again> 
                   ?
\xgetn@i ... \fi \ifnum \n@viii <\maxdimen \n@i #1
                                                  \fi \else \if ^\t@ruc
\let...

\xgetn@i ...et \@TI \fl \C@GET \fi \fi \alt@suite 
                                                  \fi 
\xgetn@i ...et \@TI \fl \C@GET \fi \fi \alt@suite 
                                                  \fi 
\g@q #1->\getn@i #1\relax 
                          \let \n@fon \g@q \let \n@sym \q@u \y@v
\qn@width \...
l.902 \NOtes\cu{``?}
                    \ast{.52}\ds\cu ?\ast{.52}\ds\en%
? 

Is this an error in PMX 2.00 (because I think my coding was quite right)
or in
MusiXTeX and is there a workaround ? 

Thanks
Thorsten

--
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2166
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Wed Sep  8 11:48:43 1999
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Date: Wed, 8 Sep 1999 12:48:43 +0100
From: Daniel Barna <barnad@rmki.kfki.hu>
To: mutex@gmd.de
Subject: Movement titles
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Hi,
is it possible (yes, it is) to give titles to movements in musixtex? (say
centered above the first line of the movement, or left/right adjusted)
I looked at many examples, but I didn't find such a solution. 
Thanks
Daniel


From mutex-owner@mail2.gmd.de Wed Sep  8 12:42:01 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Movement titles
To: mutex@gmd.de, barnad@rmki.kfki.hu
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> Date: Wed, 8 Sep 1999 12:48:43 +0100
> From: Daniel Barna <barnad@rmki.kfki.hu>

> is it possible (yes, it is) to give titles to movements in musixtex? (say
> centered above the first line of the movement, or left/right adjusted)
> I looked at many examples, but I didn't find such a solution. 

MusiXTeX is based on TeX. So use:

\centerline{1st Movement}
\startpiece
\Notes...
\Endpiece
\centerline{2nd Movement}
\startpiece
\Notes...
\Endpiece
...

Easier with PMX - if I'm not in error - using repeatedly "Tt".
If not, one may use with PMX some-inline TeX like (untested):

c45 \loffset{???}{\zcharnote{??}{\hbox to \hsize{\hss n-th Movement\hss}}}\ ...

Szivesen -- Werner


From mutex-owner@mail2.gmd.de Thu Sep  9 15:25:22 1999
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Date: Thu, 09 Sep 1999 17:25:22 +0200
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Hi all,
I have 2 question about continuo realization with MTX\PMX\MUSIXTEX.

I use Mthimkhulu Molekwacurly's curved brace (see mailing list discussion
of 18-20 may 1999) and a smaller size of right hand harpsicord part.

1) If I put a bracket on the instrumental voices (e.g in violin 1, violin
2, viola parts), then the curly brace in harpsicord part isn't alligned
with bracket but comes on the left of the bracket. Is there a way to avoid
this?

2) If a piece without continuo's staff starts after another with continuo's
staff, I need to deactivate curly brace in that point. How can I do that?

Thanks

Luigi Cataldi


From mutex-owner@mail2.gmd.de Thu Sep  9 18:25:23 1999
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Date: Thu, 9 Sep 1999 20:25:23 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Bug in PMX
To: mutex@gmd.de
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> Date: Wed, 08 Sep 1999 09:11:13 +0200
> From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>

> After a pause in using PMX, yesterday I coded a score and compiled it
> PMX was quite successful, but in the first pass of running MusiXTeX
> there occured the following error:
> 
> ! Missing number, treated as zero.
[...]
> l.902 \NOtes\cu{``?}
>                     \ast{.52}\ds\cu ?\ast{.52}\ds\en%

In a private discussion we could trace down the error. The cause for
the error was that the notes went down and down with many many ledger
lines until PMX generated some non-sense.

Although PMX makes a lot of input-checking to avoid bad TeX-input this
has not been detected. On the other hand the input was really non-sense
so that it isn't a real PMX-error.

Thorsten knows now, that it isn't advisable to code some hundred bars
before giving them to PMX. I prefer the method to code a piece of
music in logical parts which I process with PMX whenever I have
added some 5-50 bars esp. to see whether I left an octave in the
wrong direction. Afterwards I collect the logical parts either
in one PMX-file for the whole piece or maybe in one PMX-file
per movement which I then combine with different methods already
described in this list. This can be one TeX-file calling multiple
PMX-output/TeX-input files; or concatenating many dvi-file into
one; or ...

-- Werner


From mutex-owner@mail2.gmd.de Mon Sep 13 17:13:20 1999
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From: Alexander Jolk <jolk@ap-pc513b.physik.uni-karlsruhe.de>
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Subject: First score finished: could I have done better?
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Hi, everybody

When our conductor asked whether someone could transpose the bass line
of that one piece we're going to perform in three week's time, I
thought, wasn't there something about automatic transposition in
M-Tx?, and agreed to do it.  Stupid me.  It turned out to be only 2 or
3 hours of work, which I finished successfully, but I've hit a few
glitches that I wanted to ask your opinion about...  I'm including my
.mtx so you can see what I did.

1. How do I get a \caesura right at the end of a bar?  Kludging around
with `\atnextbar' works, but isn't beautiful.  (As in
a9- | \atnextbar{\caesura}\ d0.d ...)

2. In a 4/2 measure, a whole bar rest should be using \PAuse, or
shouldn't it?  How could I have substituted this?  Is this a PMX bug?
(I resorted to ... | \PAuse\ rpb | ...)


2b. ...and how could I have centered it?  (\centerPAuse didn't turn
out to work.)

3. The editorial accidental `oen' doesn't get changed to a flat when
transposing, even with relative accidentals in effect.  This isn't
hard to substitue by hand, it would just be great if it were done
automatically.


For the record, I'm using M-Tx 0.50a, pmx 1.3.6, and MusiXTeX T.88, on
a Linux (Debian 2.1) system.

Thanks,
	Alex

-- 
Alexander Jolk * jolk@ap-pc513b.physik.uni-karlsruhe.de * +49-721-608-3572


---8<---cut here---score.mtx--->8---
Title: X. Psalmus 147: Lauda, Jerusalem, Dominum
Composer: Claudio Monteverdi
Part: Bass
Bass: Voices B; Clefs F
Style: Bass
Sharps: 0
Meter: m/4/2/0/4
Bars/Line: 4
PMX: B Ar

% S121
r0 c2+ c- | \PAuse\ rpb | r0 r2 g+ |

f f4 d2 a4+ a2 | g c- r0 | c2+ c- r0 | \PAuse\ rpb |

% S122
r2 c+ c4 c2 c4 | c f- c4.d e0 | a- \caesura\ a2+ f |

d4 g c- c2 d4 a2+ | f c a+ e4 f | c4 f2 d4 e4.f g2 |

c- a4+ e f2 c4 ( c | c ) c f8 c f2 e4 ( f2 | f4 ) a a8 e a2 gs4 a2 |

f d a+ c4 ( a | a ) e f f2 g4 e f | d2 c f e4 ( a |

% S124
a ) e f c d c a2 | e+ a \caesura\ f d4 d+ | b2f a4 d c2 f- |

g4 a d2- a4+ b2f f4 | g d a2+ d- a+ | bf f2.e d |

c a4+ bf g2 f | a4 bf f2 b2.d t | d4 t cs d d- d+ c oen b2f |

f bf g4 c f2- | c4+ c d2 c a4 f | e2 d f4 a b2f |

% S126
d ( bf b4 ) a b2 | f a d- e | f4 d c2 f c |

f c g+ c- | g+ c- f c |

a+ f4 e f2.c | f.a- a a | a0 e2+ ( a2- |

a4 ) a+ d2- g e4 c | f2 c f d |

% S128
a4+ e g2 c- f | c4 f2 c4 f2 c | 

f c4.d e8 a- a4+ e2 | a2.f f a |

c4 c- c2 e g4 e | e2 g4 e2 c4 c2 |

c2 c4+ a a2 c4 f- | f2 a4 f f2 a4 a- |

% S130 
a2 a a a4+ f | f d d2 a a | c.d e0 |

a9- | \atnextbar{\caesura}\ d0.d f b2f-.c | d0 c | 

c f | f2.g a0 | c- f |

f2+.f f0 | f2 d a4 b c d | e0 a- | \atnextbar{\caesura}\ f2.f f0 |

% S132
f2 g d0 | a+ d-  | \atnextbar{\caesura}\ a+ a |

a.f | d e | g c- |

\atnextbar{\caesura}\ c+ c | c2.a c0 | b a  |

\atnextbar{\caesura}\ f f | f.f | c2.d e0 |

% S134
a- \caesura\ f4+.g a2 | d- a+ d- a+ | b4-.c d2 b4.c d2 |

e4.f g2 e4.f g2 | c4-.d e2 a- c4 d | e9 | a9- of

From mutex-owner@mail2.gmd.de Mon Sep 13 23:59:13 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: First score finished: could I have done better?
Date: Mon, 13 Sep 1999 16:59:13 -0700
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> Alexander Jolk [SMTP:jolk@ap-pc513b.physik.uni-karlsruhe.de] wrote
> 
>Hi, everybody

Hi yourself.

>1. How do I get a \caesura right at the end of a bar?  Kludging around
>with `\atnextbar' works, but isn't beautiful.  (As in
>a9- | \atnextbar{\caesura}\ d0.d ...)

If it ain't broke...

>2. In a 4/2 measure, a whole bar rest should be using \PAuse, or
>shouldn't it?  

Not according to Werner's table of rests, accessible under musixtex/add-ons
on the GMD web page. But I must say I don't quite understand why a simple
whole rest works for a full bar of 4/2 but NOT for 2/1 ??

>How could I have substituted this?  

If you still want to change it to some other character, and have it centered
at the same time, you could use for example

\\\def\pausc{\musixchar58}\
rp /

BUT (a) this may not work in PMX 1.3.6, you may need to update to 2.0 , and
(b) if you want to restore normal function of "rp" for later on, you would
need to add to this something like

\\\let\pausect\pausec\def\pausc{\musixchar58\let\pausec\pausect}\
rp /
UNTESTED! and you may have to "globalize" the \def and \let

>Is this a PMX bug?  

If you believe Werner's rest table, no, but I can't take credit for that...I
blindly made ALL full-bar rests with a whole rest symbol. 

>3. The editorial accidental `oen' doesn't get changed to a flat when
>transposing, even with relative accidentals in effect.  This isn't
>hard to substitue by hand, it would just be great if it were done
>automatically.

Yea, I know.  I'll put it on the list but no guarantees when I'll get to it.
Implementing relative accidentals was fairly easy for in-staff notes since
all it took was one TeX command near the top of the file.  But I think
editorial accidentals are set using the character rather than the TeX
accidental macros, so I'd either have to switch to using those macros (and
offsetting the accidental to get it centered properly), or work out some
rather messy logic.

>For the record, I'm using M-Tx 0.50a, pmx 1.3.6, and MusiXTeX T.88, on
>a Linux (Debian 2.1) system.

Updating may be a little tedious, but I think Linux-compatible versions are
available on the GMD web site.

--Don Simons



From mutex-owner@mail2.gmd.de Tue Sep 14 08:24:31 1999
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Subject: Re: First score finished: could I have done better?
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Alexander Jolk wrote:
> 
> Hi, everybody
> 
> When our conductor asked whether someone could transpose the bass line
> of that one piece we're going to perform in three week's time, I
> thought, wasn't there something about automatic transposition in
> M-Tx?, and agreed to do it.  Stupid me.  It turned out to be only 2 or
> 3 hours of work, which I finished successfully, but I've hit a few
> glitches that I wanted to ask your opinion about...  I'm including my
> .mtx so you can see what I did.
> 
> 1. How do I get a \caesura right at the end of a bar?  Kludging around
> with `\atnextbar' works, but isn't beautiful.  (As in
> a9- | \atnextbar{\caesura}\ d0.d ...)
>

With mtx 0.52, pmx 2.0 and MUsiXTeX T.97 it doesn't work. The caesura
appears closely to the left of the bass clef !

A 'dirty' solution is to temporarily increment the meter to 9/4, append
a blind 1/4 rest and prepend a \caesura to that:

m9/4/0/0 a9- \caesura\ r4b | m4/2/0/0 d0.d f b2f-.c | d0 c | 

> 2. In a 4/2 measure, a whole bar rest should be using \PAuse, or
> shouldn't it?  How could I have substituted this?  Is this a PMX bug?
> (I resorted to ... | \PAuse\ rpb | ...)
> 

One way would be to temporarily redefine the MusiXTeX macro producing
the centered pause (rp). A quick-and-dirty solution is doing as you do
and offsetting the pause with the pmx single space offset command
changing the argument of X until it looks right:

r0 c2+ c- | X7S \PAuse\ rpb | r0 r2 g+ |

> 2b. ...and how could I have centered it?  (\centerPAuse didn't turn
> out to work.)
> 
> 3. The editorial accidental `oen' doesn't get changed to a flat when
> transposing, even with relative accidentals in effect.  This isn't
> hard to substitue by hand, it would just be great if it were done
> automatically.
> 
> For the record, I'm using M-Tx 0.50a, pmx 1.3.6, and MusiXTeX T.88, on
> a Linux (Debian 2.1) system.
> 
> Thanks,
>         Alex
> 

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01

From mutex-owner@mail2.gmd.de Tue Sep 14 08:54:18 1999
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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: RE: First score finished: could I have done better?
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Mon, 13 Sep 1999 16:59:13 -0700
> 
> > Alexander Jolk [SMTP:jolk@ap-pc513b.physik.uni-karlsruhe.de] wrote

> >1. How do I get a \caesura right at the end of a bar?  Kludging around
> >with `\atnextbar' works, but isn't beautiful.  (As in
> >a9- | \atnextbar{\caesura}\ d0.d ...)

I don't know, why it isn't "right". But in most cases there is a way
in MusiXTeX to move anything wherever you want to. For this purpose
you may use e.g. pitches, pitches with \zcharnote, \roffset, loffset,
\raise or \lower hboxes, ... That's a great advantage of MusiXTeX
being based upon TeX.

> >2. In a 4/2 measure, a whole bar rest should be using \PAuse, or
> >shouldn't it?  
> 
> Not according to Werner's table of rests, accessible under musixtex/add-ons
> on the GMD web page. But I must say I don't quite understand why a simple
> whole rest works for a full bar of 4/2 but NOT for 2/1 ??

As far as I know and according to Chlapik a full bar rest is always the same, 
independent of the meter: a centered whole pause. The "table of rests" can
be found on http://www.gmd.de/Misc/Music/ under MusiXTeX, Add-ons.

-- Werner


From mutex-owner@mail2.gmd.de Tue Sep 14 15:13:00 1999
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Subject: 4/2-pause
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> > >2. In a 4/2 measure, a whole bar rest should be using \PAuse, or
> > >shouldn't it?
> >
> > Not according to Werner's table of rests, accessible under musixtex/add-ons
> > on the GMD web page. But I must say I don't quite understand why a simple
> > whole rest works for a full bar of 4/2 but NOT for 2/1 ??

> As far as I know and according to Chlapik a full bar rest is always the same,
> independent of the meter: a centered whole pause. The "table of rests" can
> be found on http://www.gmd.de/Misc/Music/ under MusiXTeX, Add-ons.

I have never seen that in a 4/2 beat. It is misleading since the whole rest 
has then two
meanings, depending on the position: half a bar or a whole bar. When there is
a lingle voice, it is completely confusing. It should
be possible to redefine rp to produce \def\atnextbar{\znotes\centerbar{\PAuse}},
since there is only one voice. In a large partitura, it is more difficult.

Christof

From mutex-owner@mail2.gmd.de Tue Sep 14 17:19:33 1999
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cbiebri@gwdg.de writes:
 >> As far as I know and according to Chlapik a full bar rest is
 >> always the same, independent of the meter: a centered whole pause.

 > I have never seen that in a 4/2 beat. It is misleading since the
 > whole rest has then two meanings, depending on the position: half a
 > bar or a whole bar.

That's what I thought as well.  If there were an easy way to change
this behaviour, I'd be very grateful...

Alex

-- 
Alexander Jolk * jolk@ap-pc513b.physik.uni-karlsruhe.de * +49-721-608-3572

From mutex-owner@mail2.gmd.de Tue Sep 14 18:33:44 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: 4/2-pause
Date: Tue, 14 Sep 1999 11:33:44 -0700
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> Alexander Jolk [SMTP:jolk@ap-pc513b.physik.uni-karlsruhe.de] wrote
> 
>> I have never seen that in a 4/2 beat. It is misleading since the
>> whole rest has then two meanings, depending on the position: half a
>> bar or a whole bar.

Do people object to using a whole rest symbol as a full-bar rest in 2/4 or
3/8 time?  Or is that OK since you would never have a 4-beat rest, so no
ambiguity could arise.  What about a full-bar rest in 6/4 or 3/2?  

>That's what I thought as well.  If there were an easy way to change
>this behaviour, I'd be very grateful...

In PMX, in 4/2 meter, "r9" will give a centered \PAuse, and "r0 r0" will
give two (not-so-well-centered) whole rests (which could be moved
horizontally using X[...]S or X[...]: ... X: )

Sorry I didn't think of this earlier.

--Don

From mutex-owner@mail2.gmd.de Tue Sep 14 19:40:38 1999
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Alexander Jolk wrote:

> cbiebri@gwdg.de writes:
>  >> As far as I know and according to Chlapik a full bar rest is
>  >> always the same, independent of the meter: a centered whole pause.
>
>  > I have never seen that in a 4/2 beat. It is misleading since the
>  > whole rest has then two meanings, depending on the position: half a
>  > bar or a whole bar.
>
> That's what I thought as well.  If there were an easy way to change
> this behaviour, I'd be very grateful...

Since your score keeps meter 4/2 a way of doing what you want could be:

Meter: 4/2
Style: Singer
Bars/Line: 4

%%\let\pause\pauseSAV
%%\let\pause\PAuse

g2 g g g | rp | g2 g g g


--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: 4/2-pause
Date: Tue, 14 Sep 1999 15:13:15 -0700
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> Christian Mondrup [SMTP:scancm@biobase.dk] wrote
>Since your score keeps meter 4/2 a way of doing what you want could be:
>
>Meter: 4/2
>Style: Singer
>Bars/Line: 4
>
>%%\let\pause\pauseSAV
>%%\let\pause\PAuse
>
>g2 g g g | rp | g2 g g g

This is going to be a little round-about, but please stay with me.

In one of my recent posts in this thread I referred to the macro \pausc .
Apparently no one tried using it, because if they did they would have
discovered it was undefined.  I just realized that it's in my working
version of pmx.tex but not in 2.00.  It is defined as 

\def\pausc{\raise6\internote\hbox{\musixchar61}}

and used as follows by my working version of PMX to generate a centered
pause symbol:

\def\atnextbar{\znotes\centerbar{\pausc}\en}

The reasons for this are explained in my posting of 14 June 1999 which I
will reproduce at the bottom of this post.  Basically, it's to get the rest
properly centered, which MusiXTeX on it's own can't seem to get quite right.

So to return to the main thread, Christian's proposal will work OK with the
current PMX and MusiXTeX, giving a slightly off-center \PAuse symbol.  If
Daniel has still not addressed the centering problem by the time I make my
next release of PMX, I will include my alternate scheme for centered pauses.
Then re-defining \pause within PMX will no longer have any effect on
centered pause symbols generated by "rp".

--Don Simons

=========================
Post from Jan 14:

"For a long time now I've had a problem trying to get whole-bar rests
properly centered. Using the construction 

\def\atnextbar{\znotes\centerbar{\pause}\en}%

always seems to put them somewhat right of center. In my tests I have fixed
the problem by temporarily redefining \pause as 

\def\pause{\hbox{\raise6\internote\hbox{\musixchar61}}}

but I still don't understand everything that's going on here.

I think the following lines are from musixtex.tex are relevant:

%\def\centerpause{\let\adv@box\hbox \centerbar\pause}
%\def\centerhpause{\let\adv@box\hbox \centerbar\hpause}
\def\centerpause{\centerbar\pause}
\def\centerhpause{\centerbar\hpause}
...
\def\pause{\adv@box{\raise\si@\internote\hbox{\musixchar61}}}
...
\def\adv@box#1{\hbox\@to\noteskip{#1\hss}\advance\locx@skip\noteskip}

It looks like \adv@box puts the text at the *left* edge of a \noteskip-wide
box (and then does some other accounting). So if centerbar really centers
its argument (in this case, the box) between the barlines, why isn't the
character offset to the left of center? 

The next question is why the alternate definitions in musixtex.tex are
commented out. They seem to do about what I did in my re-definition of
\pause, and that does put the rest where I want it to be."


From mutex-owner@mail2.gmd.de Wed Sep 15 06:25:06 1999
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From: Maurizio Codogno <mau@beatles.cselt.it>
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Subject: RE: 4/2-pause
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" >> I have never seen that in a 4/2 beat. It is misleading since the
" >> whole rest has then two meanings, depending on the position: half a
" >> bar or a whole bar.
" 
" Do people object to using a whole rest symbol as a in 2/4 or
" 3/8 time?  Or is that OK since you would never have a 4-beat rest, so no
" ambiguity could arise.  What about a full-bar rest in 6/4 or 3/2?  

My personal thought is that whenever a time is less than 4/4 it is 
strongly preferred to use a whole rest symbol as a full-bar rest .

I am also fairly sure than in 4/2, since you have a breve rest to
put a full-bar rest, the meaning of a whole is just 2/2.

I am not really sure about 6/4 and especially 3/2, but if I wanted to
have a full-bar rest, I would probably code a dotted whole.

ciao, .mau.


From mutex-owner@mail2.gmd.de Wed Sep 15 07:59:10 1999
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Subject: whole-bar-rests
To: mutex@gmd.de (gmd.de/Misc/Music)
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Don:
you wrote:
> Do people object to using a whole rest symbol as a full-bar rest in 2/4 or
> 3/8 time?  Or is that OK since you would never have a 4-beat rest, so no
> ambiguity could arise.  What about a full-bar rest in 6/4 or 3/2?
I do not have the authority of a musicologist; I am just a practising
musician. Anything confusing in reading a score should be avoided 
so people tend to stick with what they are used to no matter what the rules
say. 
I admit to have seen occasionally a whole bar rest in a
3/4 time although quite infrequently, most the time r2d. in 6/4 a rest
of 4 beats is usually written as r2d r4 and the whole rest is entirely
avoided. In 3/2 the whole rest is used, but never for the whole bar.
Everything that is more than one bar, however, is written as \PAuse, etc.
overwritten with the number of rests regardless of the beats as scor2prt
does nicely. My personal style is thus to avoid rp and write the explicit
durance of the whole bar rest.


Christof

From mutex-owner@mail2.gmd.de Wed Sep 15 08:17:56 1999
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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: 4/2-pause
References: <199909141513.AA07737@gwdu20.gwdg.de> <14302.33335.64039.844647@ap-pc509a.physik.uni-karlsruhe.de> <37DEA4B5.76D54722@biobase.dk>
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Christian Mondrup wrote:
> 
> Alexander Jolk wrote:
> 
> > cbiebri@gwdg.de writes:
> >  >> As far as I know and according to Chlapik a full bar rest is
> >  >> always the same, independent of the meter: a centered whole pause.
> >
> >  > I have never seen that in a 4/2 beat. It is misleading since the
> >  > whole rest has then two meanings, depending on the position: half a
> >  > bar or a whole bar.
> >
> > That's what I thought as well.  If there were an easy way to change
> > this behaviour, I'd be very grateful...
> 
> Since your score keeps meter 4/2 a way of doing what you want could be:
> 
> Meter: 4/2
> Style: Singer
> Bars/Line: 4
> 
> %%\let\pause\pauseSAV

This is of course nonsense ! Please substitute with

%%\let\pauseSAV\pause

> %%\let\pause\PAuse
> 
> g2 g g g | rp | g2 g g g
> 
> --
> Christian Mondrup, Computer Programmer
> Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
> Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
> Phone: +45 89 49 53 01

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01

From mutex-owner@mail2.gmd.de Wed Sep 15 09:09:53 1999
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Date: Wed, 15 Sep 1999 11:09:53 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: 4/2-pause
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> Date: Tue, 14 Sep 1999 21:40:38 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> %%\let\pause\pauseSAV

Imho you mean  %%\let\pauseSAV\pause  which enables you to revoke the
redefinition of \pause if neccessary at a later point.

> %%\let\pause\PAuse

When I try to use PMX's code to generate what I want, I use instead:

%%\def\PAuseforpause{\gdef\pause{\PAuse\global\let\pause\pauseSAV}}

This allows to use "\PAuseforpause\ rp" to generate \PAuse without
loosing the ability to use "r0", to. So we now have:

Meter: 4/2
Style: Singer
Bars/Line: 4

%%\let\pauseSAV\pause
%%\def\PAuseforpause{\gdef\pause{\PAuse\global\let\pause\pauseSAV}}

rm2 g2 g g g | \PAuseforpause\ rp | g2 g r0 | r0 g2 g

But as Don told already, "r9" will do the same.


Concerning Christof Biebricher's statement that "rp" has to be coded
as \PAuse with 4/2 meter I like to ask, how "rm2" has to be coded
then. Normally it's coded as \PAuse, too. Is the "2" above sufficient
to avoid confusion?

Up to now I'm not convinced that "rp" has to be coded as \PAuse with
4/2 meter. Imho it's sufficient that \pause for rp is centered whilst
\pause for r0 may not be centered. Has anybody seen a real case?

If I as a typesetter would fear confusion I wouldn't code a full bar
rest with 4/2 meter, but use "r0 r0". Another possibility would be
to typeset \pause with a "1" over it - another reason to introduce
"rm1" into PMX as I proposed Don privately some time ago.

Concerning 3/2 or 6/4 meter I would use a centered \pause as fullbar
rest. Dotted rests are always hard to read especially if the dot is
applied to a half or whole rest.

-- Werner


From mutex-owner@mail2.gmd.de Wed Sep 15 11:27:38 1999
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Subject: RE: 4/2-pause
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Hi,

There seem to be diverging opinions as to whether a whole bar rest in
a meter exceeding 4/4 should be realized using \pause or not.  While
the only written source cited so far, Werner Icking's table taken from
Chlapik, does indeed propose a \pause, I'm sure many among us have
seen this done differently.

(While I'm at it, thank you to all who proposed a way to better center
the \PAuse symbol in the bar.  I have already turned in the score to
my conductor who was very content with it as it stood, but I'll be
sure to profit from the hints later on.)

I would like to see, in a possible later version of PMX, a possibility
to redefine the symbol used for rp (`a whole bar rest'), as opposed to
r0 (`a whole rest which means 4/4 or 2/2 or 1/1 in a longer bar').  --
Don, I'm not sure whether your new macros are doing exactly this.  If
they do, I'd be very glad, and even more so if a possible redefinition
yielding a centered \PAuse was cited in PMX's manual.

Thanks again for all your helpful suggestions,
	Alex

-- 
Alexander Jolk * jolk@ap-pc513b.physik.uni-karlsruhe.de * +49-721-608-3572

From mutex-owner@mail2.gmd.de Thu Sep 16 04:49:01 1999
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From: Huw Davies <dhdavies@erols.com>
To: mutex@gmd.de
Subject: RE: 4/2-pause
Date: Thu, 16 Sep 1999 00:49:01 -0400
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On Wed, 15 Sep 1999, Alexander Jolk wrote:
>Hi,
>
>There seem to be diverging opinions as to whether a whole bar rest in
>a meter exceeding 4/4 should be realized using \pause or not.  While
>the only written source cited so far, Werner Icking's table taken from
>Chlapik, does indeed propose a \pause, I'm sure many among us have
>seen this done differently.
>
Most of the scores that I have within arms reach use \PAuse for a whole 
bars rest in 4/2 metre. (For the record they are some Lawes from 
Musica Britannica and Faber, and a couple of volumes of 16 century
instrumental music from Garland.)  I'm pretty sure that the same happens 
in Brahms's Deutsches Requiem, but it's been a couple of years since 
I last played it and my recollection could be wrong. 

For the contrary practice, all I could find were ``Kiss on Wood'' by 
James MacMillan, pub. by Boosey and Hawkes, which uses \pause 
for a whole bars rest in 4/2 (and \hpause \hpause for a half bar), and 
``Stille Musik'' by Schnittke (Edition Sikorski) which uses \pause for a 
whole bars  rest in n/4 (n=5,6,7,8). 

So it looks like both versions are acceptable in current music publishing 
practice.  I think I prefer the \PAuse convention, at least if the music is 
in a fixed metre.

--
Huw Davies dhdavies@erols.com

From mutex-owner@mail2.gmd.de Thu Sep 16 13:41:50 1999
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Date: Thu, 16 Sep 1999 15:41:50 +0200
From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
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Hello all,

I am using MusixTex T97 under Linux to write a score with 2 instruments.
Everything went well so far, but I have now a problem, and I hope that
some of the MusixTex gurus around here will provide me some help.

The problem is the following : I have 2 instruments but the meter for
the first one should be 2/4, and the meter for the 2nd one should be
3/4. (there will also be a third playing 6/8...). Please don't tell me
to write another thing... Mozart is responsible for everything :-) (Don
Giovanni end of Act I) 
I have no idea about how to write the bars independently on each line of
my score (using \bar just puts a bar in every line...)

Any help is welcome. Thanks in advance.

Nicolas

From mutex-owner@mail2.gmd.de Thu Sep 16 15:34:40 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Score with different meter
To: mutex@gmd.de, Nicolas.Aspert@epfl.ch
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> Date: Thu, 16 Sep 1999 15:41:50 +0200
> From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>


> The problem is the following : I have 2 instruments but the meter for
> the first one should be 2/4, and the meter for the 2nd one should be
> 3/4. (there will also be a third playing 6/8...). [...]

> I have no idea about how to write the bars independently on each line of
> my score (using \bar just puts a bar in every line...)

I'm not sure what the problem is. Typesetting the meter should be easy.
So I assume the problem is the spacing of the notes. Don Simons has
investigated a lot to find the correct spacing for x-tuplets with
different number of notes in different voices. So I know the "manual"
solution isn't easy. If the bars are simple, e.g. two quarters in
one voice and three in the second the solution can be easy:

 \NOtes\qa{cc}&\multnoteskip{.667}\qa{ccc}\en
 
If the rhythm is more complicated the solution is more complex :-(

But the pattern

  \notes...&\multnoteskip{.667}...\en  (with notes, Notes, NOtes, ...)
  
can be a quite useable approach to the correct spacing.

Here is a sample
 
\instrumentnumber{2}\setmeter1{{\meterfrac24}}\setmeter2{{\meterfrac34}}
\startextract\NOtes\qa{cc}&\multnoteskip{.667}\qa{ccc}\en\endextract
\bye

-- Werner


From mutex-owner@mail2.gmd.de Thu Sep 16 16:02:43 1999
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From: "Simons, Don" <DSimons@logicon.com>
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> Huw Davies [SMTP:dhdavies@erols.com] wrote
>
>...
>So it looks like both versions are acceptable in current music publishing 
>practice.  I think I prefer the \PAuse convention, at least if the music is

>in a fixed metre.

Thanks for the interesting summary.  Fortunately, PMX users can have it
either way: use "rp" for a \pause, and "r9" for \PAuse .

--Don Simons

From mutex-owner@mail2.gmd.de Thu Sep 16 18:10:08 1999
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Subject: 1) lyrics 2) *.mx2 3) PMX's grace notes 4) PMX figures
To: mutex@gmd.de
Date: Thu, 16 Sep 1999 20:10:08 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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Hello, everybody!

Although I have been using MusiXTex, PMX and M-Tx during the last months,
I have been silent: Which means I am still very glad to use the tools
which some idealistic people on the globe invented and put all their 
skill on ...   (I'm sure this sounds funny in English but you will understand
nonetheless.)

First I admit I am still using PMX1.52 (or 1.53?, anyway the last PMX-version
before the "unification" pmxa+pmxb=pmx200).
That's simply due to quite a large batch file package which I developed 
during the last 2 or 3 years, offering me a more or less 
comfortable menu-guided work with PMX and M-Tx.
I was too lazy to incorporate PMX200 so far.


now, I have got some questions:


1) lyr

   I incorporated several M-Tx-generated tex-fils in a 
   LaTeX-document (of course after stripping off what is necessary and
   using the music-environment).

   The pieces of music coming after one piece with lyrics all
   try to put some lyrics, in spite of the fact that they are not
   supposed to.
   \resetlyrics did not help.
   
   It seems, as if musixlyr's memory works too good:
   It  does not forget its configuration outside the
   \begin{music} .... \end{music} environment. 

   Instead it tries to endow all the "2nd instruments" of 
   the following music-environments, once it has been 
   told to do so in a previous one.

   So it would eat up all the (possibly empty) lyrics
   that exist (or do not exist), put a heap of '???' etc.

   The problem looks very similar to the one 
   which recently an Italian member of the list reported.

   The difference seems to be: 
        He was using tex (not LaTeX), so he had not the advantage of
          using an environment, (which obviously does not work anyway).
      
        I did not change the command \interstaff.
          nor anything. 
          Does pmxtex.tex to that? Does musixlyr.tex change it?


        If so, there should be a command switching everything
          back, a command which does what somebody else coded in 
          a file called 'initmusix.tex' (or similar).



2) *.mx2

      I used the same M-Tx-generated tex-file twice:
      once just for tex-ing,
      and next also including it in a LaTeX document
      which has (of course) a narrower \hsize (=\textwidth).

      muflex then has to be run for each document,
      obviously because the \hsize is varying.

      Just a curious question: Am I right in thinking that
      this cannot be changed? At first sight one would think
      that the information in *.mx2 could be purely a 
      proportional one, 
      but it is influenced by some hardspaces, so it *has to be
      recalculated*?
      
      I would be glad if I were wrong... :-)

 
3) PMX Grace notes

      I still have the impression, that PMX (1.52...!) grace note 
       coding   (Gf)  does not accept an octave specification in 
       all cases (Gf+     or     Gf- ). Has this been corrected to
      PMX200?



4) PMX figures

     Once again I insist on bugging you, dear Don, whether you could 
      invent a way to put figures like 10, 11, 12, 13, 14.
      In early baroque times, figures up to 18 have been used,
      in Caccini (1602, Nuove Musiche) you would find '14'.
      And it is a loss of information if you just switch this
      figure to '7'. 

     
5) documentation of musixtex.tex?i

      Does there exist a documented code of musixtex.tex,
      similar to, say, the '*.dtx'-files in the LaTeX-bundle?



From mutex-owner@mail2.gmd.de Thu Sep 16 18:20:31 1999
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Subject: dotted slurs in PMX?
To: mutex@gmd.de
Date: Thu, 16 Sep 1999 20:20:31 +0200 (MET DST)
From: begemann@math.uni-hamburg.de (Eckart Begemann)
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ah, one further question:


How do I get dotted slurs in PMX?

And is there a possibility to influence the 'curviness' of slurs
in PMX (besides shifting the starting and ending points of slurs)?

Eckart


From mutex-owner@mail2.gmd.de Thu Sep 16 20:02:23 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: 1) lyrics 2) *.mx2 3) PMX's grace notes 4) PMX figures
To: mutex@gmd.de, begemann@math.uni-hamburg.de
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> Date: Thu, 16 Sep 1999 20:10:08 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)

> Hello, everybody!

Hello Eckart, hello list-members,

for the users of the list-archive it's easier if one problem corresponds
to one mail with one subject.

> 1) lyr

[...]
>         I did not change the command \interstaff.
>           nor anything. 
>           Does pmxtex.tex to that? Does musixlyr.tex change it?

pmxtex.tex?

A PMX-output may contain a lot of calls of \interstaff. If you
do not like the way PMX uses \interstaff to fill the page with
music you may intercept it by

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{nn}\

if nn is the value you want. But then you are responsible for
underfull vbox etc. If you want to include such PMX-output
into a bigger TeX-context you should restore the value of \interstaff
at the end of the piece e.g. by

\\def\interstaffrest{\global\let\interstaff\interstaffsav}\

and calling \interstaffrest\ just before the last note of the piece.


AFAIK musixlyr.tex has nothing to do with \interstaff

>         If so, there should be a command switching everything
>           back, a command which does what somebody else coded in 
>           a file called 'initmusix.tex' (or similar).

\mxinit would be great. IMHO only Daniel Taupin would be able to
write it. It's already partially preset by \normalmusicsize\resetlayout
But this does not reset e.g. \grouptop, \groupbottom, \interstaff, ...

[...]
> 2) *.mx2
[...]
>       muflex then has to be run for each document,
>       obviously because the \hsize is varying.

Yes. One of the first things in a section of .mx1 is the current \hsize

>       Just a curious question: Am I right in thinking that
>       this cannot be changed? At first sight one would think
>       that the information in *.mx2 could be purely a 
>       proportional one, 
>       but it is influenced by some hardspaces, so it *has to be
>       recalculated*?
>
>       I would be glad if I were wrong... :-)

If it could be changed, would you be so glad and making the changes?

The mx2-file contains some fixed values e.g. \elemskip for any line
of music so that the music just fills that line. So if you use
the same source with different \hsize you should be happy that
musixflx is the fastest part of the complete process.

I for myself keep the mx2-files and re-use them but only to notice
when there are changes which maybe I didn't want or expect.

-- Werner


From mutex-owner@mail2.gmd.de Thu Sep 16 20:53:19 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: 1) lyrics 2) *.mx2 3) PMX's grace notes 4) PMX figures
Date: Thu, 16 Sep 1999 13:53:19 -0700
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Begemann wrote

>3) PMX Grace notes
>
>      I still have the impression, that PMX (1.52...!) grace note 
>       coding   (Gf)  does not accept an octave specification in 
>       all cases (Gf+     or     Gf- ). Has this been corrected to
>      PMX200?

Yes.

>4) PMX figures
>     Once again I insist on bugging you, dear Don, whether you could 
>      invent a way to put figures like 10, 11, 12, 13, 14.
>      In early baroque times, figures up to 18 have been used,
>      in Caccini (1602, Nuove Musiche) you would find '14'.
>      And it is a loss of information if you just switch this
>      figure to '7'. 

It's already invented: \Figu0{10}\  :-) .

Seriously, this happens so rarely that activating it in PMX has almost a
vanishing priority on the to-do list.  And I even have used such
constructions in my own editions.

--Don

From mutex-owner@mail2.gmd.de Thu Sep 16 20:48:23 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: dotted slurs in PMX?
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> Date: Thu, 16 Sep 1999 20:20:31 +0200 (MET DST)
> From: begemann@math.uni-hamburg.de (Eckart Begemann)
> 
> ah, one further question:

Oh, there's a fine PMX-manual.

> How do I get dotted slurs in PMX?

Yes ;-)

> And is there a possibility to influence the 'curviness' of slurs
> in PMX (besides shifting the starting and ending points of slurs)?

Not with PMX, but with MusiXTeX-commands within PMX

 (b c c c \curve123\ c ) (b c c c \midslur{-5}\ c ) /
 
 
Maybe we can try to convince Don to add some numbers to the closing
call of a slur, because the above works only if only one slur
is closed at one note.

The syntax of ")" could be extended by  "i:jk" where i is a signed
integer to raise or lower the "midle" of the slur like the
first parameter of \curve or the only parameter of \midslur.
If only i is present \midslur is generated; otherwise j and k
must follow as unsigned integers between 1 and 7 and are
used as 2nd and 3rd paramter of \curve.

)+1+.5+5:37 lift the end of the slur by one note, shift it to
the right by .5 notehead; the middle of the slur should be
5 notes above the start of the slur and the lenght of left
part of the slur and the lenght of the right part of the
slur should behave(?) like 3:7.

-- Werner


From mutex-owner@mail2.gmd.de Thu Sep 16 22:03:29 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PCH Publishing web site.
Date: Thu, 16 Sep 1999 15:03:29 -0700
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I've just set up a very small web site for my very small publishing company:

http://www.geocities.com/Vienna/Strasse/7784/

I will not give a prize to the first person who guesses what program I used
to do the typesetting.

--Don Simons

From mutex-owner@mail2.gmd.de Thu Sep 16 21:58:44 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: dotted slurs in PMX?
Date: Thu, 16 Sep 1999 14:58:44 -0700
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Eckart Begemann wrote

> How do I get dotted slurs in PMX?
> 
"sb" to start the slur, just "s" to end it ("b" is for "broken")

>And is there a possibility to influence the 'curviness' of slurs
>in PMX (besides shifting the starting and ending points of slurs)?

Only with in-line tex.  A long time ago I played around with the slur-curve
commands and was very dissatisfied with the resulting appearance.  So I lost
all motivation to include this as a PMX feature.  But it didn't bother me
too much, because personally I can't remember a single time I needed it.

--Don

From mutex-owner@mail2.gmd.de Fri Sep 17 06:40:11 1999
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Date: Fri, 17 Sep 1999 08:40:11 +0200
From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
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To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: Score with different meter
References: <199909161534.RAA02056@sunick.gmd.de>
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Werner Icking wrote:
> 

> I'm not sure what the problem is. Typesetting the meter should be easy.
> So I assume the problem is the spacing of the notes. Don Simons has
> investigated a lot to find the correct spacing for x-tuplets with
> different number of notes in different voices. So I know the "manual"
> solution isn't easy. If the bars are simple, e.g. two quarters in
> one voice and three in the second the solution can be easy:
> 
>  \NOtes\qa{cc}&\multnoteskip{.667}\qa{ccc}\en
> 
> If the rhythm is more complicated the solution is more complex :-(
> 
> But the pattern
> 
>   \notes...&\multnoteskip{.667}...\en  (with notes, Notes, NOtes, ...)
> 
> can be a quite useable approach to the correct spacing.
> 
> Here is a sample
> 
> \instrumentnumber{2}\setmeter1{{\meterfrac24}}\setmeter2{{\meterfrac34}}
> \startextract\NOtes\qa{cc}&\multnoteskip{.667}\qa{ccc}\en\endextract
> \bye
> 
Thanks for the answer

This looks like a good solution, but of course I have more complicated
rythms (not too complicated though)...

Do you have any idea about a way to keep bars aligned (I think that each
group of 3 2/4 bars and each group of 2 3/4 bars should be aligned...)


Nicolas

From mutex-owner@mail2.gmd.de Fri Sep 17 12:34:03 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <begemann@math.uni-hamburg.de>
Cc: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: Re: 1) lyrics 2) *.mx2 3) PMX's grace notes 4) PMX figures
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 Eckart Begemann <begemann@math.uni-hamburg.de> wrote:


>First I admit I am still using PMX1.52 (or 1.53?, anyway the last
PMX-version
>before the "unification" pmxa+pmxb=pmx200).
>That's simply due to quite a large batch file package which I developed
>during the last 2 or 3 years, offering me a more or less
>comfortable menu-guided work with PMX and M-Tx.
>I was too lazy to incorporate PMX200 so far.
>


Here is a crazy (lazy :-)) idea...

Why not create a null program (one that exists but does nothing!! no input,
no output), and replace your pmxb.exe with the null program?  Then install
the new pmxab.exe but RENAME it to pmxa.exe.
This way you could run PMX200 without changing any batch files.

Just a thought.

Joel Hunsberger


From mutex-owner@mail2.gmd.de Fri Sep 17 19:54:35 1999
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From: Ronald en Yvonne <gelten@wish.net>
To: "'mutex'" <mutex@gmd.de>
Subject: Re: MusiXTeX and pdftex
Date: Fri, 17 Sep 1999 21:54:35 +0200
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Hi all,

Thanks everyone for the help you gave me with MusiXTeX and pdftex. The =
easiest way to create nice and small pdf files was with "dvipdf", a =
program I was unaware of. It works like a charm and produces very small =
pdf files.

Thanks again,
Ronald

From mutex-owner@mail2.gmd.de Sat Sep 18 00:16:45 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: dvipdfm
Date: Fri, 17 Sep 1999 17:16:45 -0700
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2 different people have suggested that dvipdfm might make pdf's of MusiXTeX
output that look better on screen than those generated in the usual way with
Acrobat Distiller.  An example given by Christian Mondrup looks very
convincing.  So I decided to try it.

My OS is Win95.  I downloaded dvipdfm.zip (can't remember where I found it).
Unpacked it and ran dvipdfm.  Got an error message saying that gnu.dll was
missing.  Searched for gnu.dll in CTAN and windows95.com with no luck.  Alta
Vista search for "gnu.dll" gave me a MikTeX update file list somewhere in
italy.  So it's part of update III of MikTeX.  Downloaded update.exe.  On
running it I find out it's a self-installing thing so there's apparently no
way to just get gnu.dll out of it.  So I go back and look for the complete
distribution of MikTeX and find out it's 17 MB, way more than I have the
patience deal with at this point when all I seem to need is one stupid dll.
I know, I know, there may be others I need too which Wonderful Windows will
only tell me about one at a time.

I can't believe I have to install all of MikTeX just to get dvipdfm.  Where
have I gone astray?

And while we're at it, I boggles my mind that some independent freeware
writer could do what mighty Adobe couldn't, viz., make pdf's that nicely
display bitmapped fonts.

--Don Simons

From mutex-owner@mail2.gmd.de Sun Sep 19 09:18:15 1999
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"Simons, Don" wrote:

> 2 different people have suggested that dvipdfm might make pdf's of MusiXTeX
> output that look better on screen than those generated in the usual way with
> Acrobat Distiller.  An example given by Christian Mondrup looks very
> convincing.  So I decided to try it.
>
> My OS is Win95.  I downloaded dvipdfm.zip (can't remember where I found it).
> Unpacked it and ran dvipdfm.  Got an error message saying that gnu.dll was
> missing.  Searched for gnu.dll in CTAN and windows95.com with no luck.  Alta
> Vista search for "gnu.dll" gave me a MikTeX update file list somewhere in
> italy.  So it's part of update III of MikTeX.  Downloaded update.exe.  On
> running it I find out it's a self-installing thing so there's apparently no
> way to just get gnu.dll out of it.  So I go back and look for the complete
> distribution of MikTeX and find out it's 17 MB, way more than I have the
> patience deal with at this point when all I seem to need is one stupid dll.
> I know, I know, there may be others I need too which Wonderful Windows will
> only tell me about one at a time.
>
> I can't believe I have to install all of MikTeX just to get dvipdfm.  Where
> have I gone astray?

I'm not sure you are. I didnt find a win9x binary elsewhere and the MiKTeX
distribution comes as described by you in rather big 'lumps' You may as an
alternative download the dvidpdfm sources from a CTAN mirror and in order to
compile it will want the cygwin win32 GNU environment. I once tried to compile
dvipdfm on a linux box but wasn't able to execute it successfully afterwards due
to TeX path conflicts. I'm willing to post the gnu.dll library to who might want
it but won't be able to say if the MiXTeX dvipdfm binary distribution will
eventually be functioning within a non MiKTeX environment.

That being said I would like to emphasize the quality of the MiXTeX TeX
implementation.

>
> And while we're at it, I boggles my mind that some independent freeware
> writer could do what mighty Adobe couldn't, viz., make pdf's that nicely
> display bitmapped fonts.
>
> --Don Simons




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Mon Sep 20 11:03:33 1999
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Subject: Re: dvipdfm
To: DSimons@logicon.com (Simons, Don)
Date: Mon, 20 Sep 1999 13:03:33 +0200 (SAST)
Cc: mutex@gmd.de ('mutex@gmd.de')
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062EC9@xcgca040.sp.logicon.com> from "Simons, Don" at Sep 17, 1999 05:16:45 PM
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Simons, Don skryf:
> 
> 2 different people have suggested that dvipdfm might make pdf's of MusiXTeX
> output that look better on screen than those generated in the usual way with
> Acrobat Distiller.  An example given by Christian Mondrup looks very
> convincing.  So I decided to try it.
> 
> My OS is Win95.  I downloaded dvipdfm.zip (can't remember where I found it).
> Unpacked it and ran dvipdfm.  Got an error message saying that gnu.dll was
> missing.  Searched for gnu.dll in CTAN and windows95.com with no luck.  Alta
> Vista search for "gnu.dll" gave me a MikTeX update file list somewhere in
> italy.  So it's part of update III of MikTeX.  Downloaded update.exe.  On
> running it I find out it's a self-installing thing so there's apparently no
> way to just get gnu.dll out of it.  So I go back and look for the complete
> distribution of MikTeX and find out it's 17 MB, way more than I have the
> patience deal with at this point when all I seem to need is one stupid dll.
> I know, I know, there may be others I need too which Wonderful Windows will
> only tell me about one at a time.
> 
> I can't believe I have to install all of MikTeX just to get dvipdfm.  Where
> have I gone astray?
> 
> And while we're at it, I boggles my mind that some independent freeware
> writer could do what mighty Adobe couldn't, viz., make pdf's that nicely
> display bitmapped fonts.
> 
Mind-boggling but true.  I downloaded dvipdfm-0.11.tar.gz from CTAN,
typed ./configure, make and ./install on my Linux box, and tried it
on musixdoc.dvi itself.  It couldn't find the tfm's.  I symbolically
linked the tfm files in the cm, musixtex and mflogo directories to
the current directory, and it worked.  It generates 600dpi pdf's 
although my TeX is set up for 300 dpi, but the result looks just
marvellous using ghostview as pdf viewer.  Even at 4x magnification
it is still not grainy on the display.

Pity about the tfm path bug.  Hope the author fixes it.

Dirk

From mutex-owner@mail2.gmd.de Mon Sep 20 13:06:38 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: dotted slurs in PMX?
To: mutex@gmd.de, DSimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Thu, 16 Sep 1999 14:58:44 -0700

[... \curve, \midslur with PMX...]

> Only with in-line tex.

... and only if no other slur ends at the same note.

>                        A long time ago I played around with the slur-curve
> commands and was very dissatisfied with the resulting appearance.  So I lost
> all motivation to include this as a PMX feature.  But it didn't bother me
> too much, because personally I can't remember a single time I needed it.

In 245 of my PMX-sources I use \midslur 79 times, and \curve 20 times.
\midslur is used in 21 sources and \curve in 10 sources. 

And there are examples where these work excellent. E.g.
ftp://ftp.gmd.de/music/scores/irsen/bflkl.ps page 6 bar 104/105 and
other occurances in this composition.

-- Werner


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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Score with different meter
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> Date: Fri, 17 Sep 1999 08:40:11 +0200
> From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>

[...]
> Do you have any idea about a way to keep bars aligned (I think that each
> group of 3 2/4 bars and each group of 2 3/4 bars should be aligned...)

Again, I do not understand what you mean with "bars aligned". Normally
a barline is typeset for all voices of a score. Do you want to have
seperate bar lines in seperate voices at different places? e.g.

voice 1   o o   o | o   o o |
voice 2   o o | o   o | o o |



From mutex-owner@mail2.gmd.de Tue Sep 21 07:32:00 1999
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To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: Score with different meter
References: <199909201313.PAA06214@sunick.gmd.de>
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Werner Icking wrote:

> Again, I do not understand what you mean with "bars aligned". Normally
> a barline is typeset for all voices of a score. Do you want to have
> seperate bar lines in seperate voices at different places? e.g.
> 
> voice 1   o o   o | o   o o |
> voice 2   o o | o   o | o o |

Hello

This is exactly what I want to do. Sorry for not being clear. I guess I
am not used to explain these things at least in english.

I will soon have a 3rd voice at 3/8 , so the score should look like :

voice 1 o    o    o  | o    o    o  |
voice 2 o    o  | o    o  | o    o  |
voice 3 o. | o. | o. | o. | o. | o. |

Do you have any idea about how to do this ?

Thanks in advance

Nicolas.

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Score with different meter
To: Nicolas.Aspert@epfl.ch
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> Date: Tue, 21 Sep 1999 09:32:00 +0200
> From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>

> Werner Icking wrote:
>=20
> > Again, I do not understand what you mean with "bars aligned". Normally
> > a barline is typeset for all voices of a score. Do you want to have
> > seperate bar lines in seperate voices at different places? e.g.
> >=20
> > voice 1   o o   o | o   o o |
> > voice 2   o o | o   o | o o |

> This is exactly what I want to do. Sorry for not being clear. I guess I
> am not used to explain these things at least in english.

But English is easier for me than "Schwizer D=FCtsch" (sp? :-)

> > I will soon have a 3rd voice at 3/8 , so the score should look like :
>=20
> voice 1 o    o    o  | o    o    o  |
> voice 2 o    o  | o    o  | o    o  |
> voice 3 o. | o. | o. | o. | o. | o. |
>=20
> Do you have any idea about how to do this ?

Without knowing how to solve it I have some questions again.

In your ASCII picture the third voice behaves different from the first two.
In the first two voices a quarter occupies the space of a quarter. In the t=
hird
voice a dotted quarter occupies the space a normal quarter occupies in the
first two voices. Or do you mean:

voice 1: o o o|o o o|
voice 2: o o|o o|o o|
voice 3: o.|o.|o.|o.|

And a technical question: how should the bars be numbered?

AFAIK in earlier times _your_ version would have been coded as 2/4 and 6/8 =
with
"o>" as accented quarter to indicate the rhythmic change in the first voice=

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To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de
Subject: Re: Score with different meter
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Werner Icking wrote:
>=20
> > Date: Tue, 21 Sep 1999 09:32:00 +0200
> > From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
>=20

> > This is exactly what I want to do. Sorry for not being clear. I guess=
 I
> > am not used to explain these things at least in english.
>=20
> But English is easier for me than "Schwizer D=FCtsch" (sp? :-)
>=20
Yes, but I don't speak Schwyzerdu:tsch (sorry for the umlaut...I have a
US keyboard)... But people say that it is easy. Just forget about the
german grammar and you speak Schwyzerdutsch :-)

> > > I will soon have a 3rd voice at 3/8 , so the score should look like=
 :
> >
> > voice 1 o    o    o  | o    o    o  |
> > voice 2 o    o  | o    o  | o    o  |
> > voice 3 o. | o. | o. | o. | o. | o. |
> >
> > Do you have any idea about how to do this ?
>=20
> Without knowing how to solve it I have some questions again.
>=20
> In your ASCII picture the third voice behaves different from the first =
two.
> In the first two voices a quarter occupies the space of a quarter. In t=
he third
> voice a dotted quarter occupies the space a normal quarter occupies in =
the
> first two voices. Or do you mean:
>=20
> voice 1: o o o|o o o|
> voice 2: o o|o o|o o|
> voice 3: o.|o.|o.|o.|
>=20
Nope. The meter for voice 3 is 3/8 so a quarter in voice 1 and 2 equals
a dotted quarter in voice 3.=20

> And a technical question: how should the bars be numbered?
>=20

The bars are numbered according to voice 1 (that's the way it's done in
the full score), but this should not cause any trouble since you can
force the bar numbers easily in MusixTex

> AFAIK in earlier times _your_ version would have been coded as 2/4 and =
6/8 with
> "o>" as accented quarter to indicate the rhythmic change in the first v=
oice.
>=20
> voice 1 2/4: o> o | o  o> | o  o |
> voice 2 2/4: o  o | o  o  | o  o |
> voice 3 6/8: o. o.| o. o. | o. o.|
>=20
> The second version would be typeset as:
>=20
> voice 1 3/4: o o o |o o o |
> voice 2 3/4: o>o o>|o o>o |
> voice 3 6/8: o. o. |o. o. |
>=20
> Both versions are simple to code with MusiXTeX or PMX and inline-TeX :-=
)
>=20
> In cases Mozart wrote such music, in the first example three notes of t=
he first
> voice were slurred and in the second example two notes of the 2nd voice=
 were
> slurred.
>=20

The problem is that Mozart wrote the way I showed you in my ASCII
example (well at least, this is how it is written in my full score...)
If you heard "Don Giovanni", the end of Act I, this is when Leporello is
dancing with Masetto (-> 3/8 part) while the others are dancing a Menuet
(3/4 part)...
There are in fact 3 small orchestras on the stage to play each part.

Nicolas.
--=20
Nicolas Aspert      Signal Processing Laboratory (LTS)=20
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab) =20
Fax:     +41 - 21 - 693 76 00

From mutex-owner@mail2.gmd.de Tue Sep 21 11:15:06 1999
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From: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@uni-konstanz.de>
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Hello,

this weekend I had a problem. For my father's birthday me, my 
brother, sister, fiancee and so on, wanted to play some music.

So I used musixTeX  so set the song for clarinet (B), saxophon (flat E) and
flute (C). Now I had the problem with \generalsignature.

For the flute there were 2 flat (B-flat), for the saxophon 1 sharp
(G-major) and for the clarinet C-major. 

But I could not find a command to set this in musixTeX (I couldn't find it). 

I woudl like something like 
  \signature{-2,1,0}

 or \signature1{-2} \signature2{1} \signature3{0}

Any ideas?

Thanks,
Michael
 
--
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Michael K"onig                       Tel: ++49-7531/74173
                                     Fax: ++49-7531/74173

From mutex-owner@mail2.gmd.de Mon Sep 20 12:09:16 1999
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To: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
Cc: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: Score with different meter
References: <199909201313.PAA06214@sunick.gmd.de> <37E73470.E09BE795@epfl.ch>
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Nicolas ASPERT wrote:
>=20
> Werner Icking wrote:
>=20
> > Again, I do not understand what you mean with "bars aligned". Normall=
y
> > a barline is typeset for all voices of a score. Do you want to have
> > seperate bar lines in seperate voices at different places? e.g.
> >
> > voice 1   o o   o | o   o o |
> > voice 2   o o | o   o | o o |
>=20
> Hello
>=20
> This is exactly what I want to do. Sorry for not being clear. I guess I
> am not used to explain these things at least in english.

This definitely NOT supported by MusiXTeX.
>=20
> I will soon have a 3rd voice at 3/8 , so the score should look like :
>=20
> voice 1 o    o    o  | o    o    o  |
> voice 2 o    o  | o    o  | o    o  |
> voice 3 o. | o. | o. | o. | o. | o. |
>=20
> Do you have any idea about how to do this ?
>=20
> Thanks in advance
>=20
> Nicolas.

--=20

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail=3D mailto:taupin@lps.u-psud.fr
  T=E9l: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Sep 21 12:27:44 1999
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Subject: Re: Score with different meter
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taupin wrote:
 

> > > voice 1   o o   o | o   o o |
> > > voice 2   o o | o   o | o o |
> >
> 
> This definitely NOT supported by MusiXTeX.

That's what it seemed to me... The MusixTex doc did not mentioned such
things. But do you think there is any hope for me to do this by any
mean, even redefining some of the MusixTex macros, or using another
"language" to write my score... 
If you have any idea about the subject, please let me know.

Best regards.

Nicolas.
-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab)  
Fax:     +41 - 21 - 693 76 00

From mutex-owner@mail2.gmd.de Tue Sep 21 12:53:04 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Score with different meter
To: Nicolas.Aspert@epfl.ch
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> Date: Tue, 21 Sep 1999 14:27:44 +0200
> From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>

> taupin wrote:
>
> > > > voice 1   o o   o | o   o o |
> > > > voice 2   o o | o   o | o o |
> > >
> > 
> > This definitely NOT supported by MusiXTeX.
> 
> That's what it seemed to me... The MusixTex doc did not mentioned such
> things. But do you think there is any hope for me to do this by any
> mean, even redefining some of the MusixTex macros, or using another
> "language" to write my score... 

Sorry, Daniel! You are right that it isn't supported by MusiXTeX, but I
learned from *your* documentation, that it is a great advantage of
Music/XTeX that you can "put(ting) anything anywhere" :-)

\makeatletter
%
% The next two definitions should be improved to MusiXTeX standards
%
\def\mybarrule{\zcharnote0{\Comp@High\vrule depth \hlthick height \y@v width \lthick}}
\def\mywritebarno{\zcharnote{10}{\it\the\barno}}
\makeatother
%
\instrumentnumber3\sepbarrules
\setmeter1{{\meterfrac38}}\setmeter2{{\meterfrac24}}\setmeter3{{\meterfrac34}}
\startextract
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule&\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\advance\barno1\znotes\mybarrule&&\mybarrule\mywritebarno\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule&\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\bar
\NOtes\multnoteskip{.667}\ca{ccc}&\qa c&\ca{cc}\en
\addspace\beforeruleskip\znotes\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule&\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\advance\barno1\znotes\mybarrule&&\mybarrule\mywritebarno\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule&\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\addspace\beforeruleskip\znotes\mybarrule\en\addspace\afterruleskip
\NOTes\pt c\qa c&\qa c&\qa c\en
\endextract
\bye

-- Werner




From mutex-owner@mail2.gmd.de Tue Sep 21 13:36:30 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \generalsignature
To: mutex@gmd.de, Michael.Koenig@uni-konstanz.de
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> Date: Tue, 21 Sep 1999 13:15:06 +0200
> To: mutex@gmd.de

> I woudl like something like 
[...]
>  or \signature1{-2} \signature2{1} \signature3{0}

If you would like that, then only \let\signature\setsign is missing.

But you may use \setsign immediately, too :-) RTFM

-- Werner

PS: Concerning such questions one should always consider, whether
    the object is a standard feature in western music. If it is
    a standard feature then one can be sure, that it is supported
    by MusiXTeX.
    
    And somehow it is supported by PMX, too. You can write the
    score in "C-based" notation and extract parts which are transposed.
    
2 2 4 4 4 4 0 0
1 1 20 0.1
Foobar in D
Clarinet in B
bt
./

%1K-1-2
%2K+1+2

c43 d e f g a b c /
c44 d e f g a b c /


From mutex-owner@mail2.gmd.de Tue Sep 21 14:01:50 1999
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To: dirk@calvyn.puk.ac.za
Cc: "Simons, Don" <DSimons@logicon.com>, "'mutex@gmd.de'" <mutex@gmd.de>
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References: <199909201103.NAA11783@calvyn.puk.ac.za>
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dirk@calvyn.puk.ac.za wrote:

> Simons, Don skryf:
> >
> > 2 different people have suggested that dvipdfm might make pdf's of MusiXTeX
> > output that look better on screen than those generated in the usual way with
> > Acrobat Distiller.  An example given by Christian Mondrup looks very
> > convincing.  So I decided to try it.
> >
> > My OS is Win95.  I downloaded dvipdfm.zip (can't remember where I found it).
> > Unpacked it and ran dvipdfm.  Got an error message saying that gnu.dll was
> > missing.  Searched for gnu.dll in CTAN and windows95.com with no luck.  Alta
> > Vista search for "gnu.dll" gave me a MikTeX update file list somewhere in
> > italy.  So it's part of update III of MikTeX.  Downloaded update.exe.  On
> > running it I find out it's a self-installing thing so there's apparently no
> > way to just get gnu.dll out of it.  So I go back and look for the complete
> > distribution of MikTeX and find out it's 17 MB, way more than I have the
> > patience deal with at this point when all I seem to need is one stupid dll.
> > I know, I know, there may be others I need too which Wonderful Windows will
> > only tell me about one at a time.
> >
> > I can't believe I have to install all of MikTeX just to get dvipdfm.  Where
> > have I gone astray?
> >
> > And while we're at it, I boggles my mind that some independent freeware
> > writer could do what mighty Adobe couldn't, viz., make pdf's that nicely
> > display bitmapped fonts.
> >
> Mind-boggling but true.  I downloaded dvipdfm-0.11.tar.gz from CTAN,
> typed ./configure, make and ./install on my Linux box, and tried it
> on musixdoc.dvi itself.  It couldn't find the tfm's.  I symbolically
> linked the tfm files in the cm, musixtex and mflogo directories to
> the current directory, and it worked.  It generates 600dpi pdf's
> although my TeX is set up for 300 dpi, but the result looks just
> marvellous using ghostview as pdf viewer.  Even at 4x magnification
> it is still not grainy on the display.
>
> Pity about the tfm path bug.  Hope the author fixes it.
>

Until then redhat linux users may download a rpm package from the dvipdfm home
page http://odo.kettering.edu/dvipdfm/

I have had no difficulties with that distribution.

>
> Dirk




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Tue Sep 21 14:52:17 1999
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Organization: LTS
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Subject: Re: Score with different meter
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Hello

Thanks a lot for all your solutions. I will try this tonight on my PC !

Best regards.
Nicolas.
-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab)  
Fax:     +41 - 21 - 693 76 00

From mutex-owner@mail2.gmd.de Tue Sep 21 18:47:43 1999
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	 <Werner.Icking@gmd.de>
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: Score with different meter
Date: Tue, 21 Sep 1999 16:47:43 +-200
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Hello,

Here's a possible solution to your problem. It uses macros that =
selectively hide/display barlines of individual instruments. It is based =
on macros provided by someone on the list a while ago, but I couldn't =
find the thread... I have also added a macro to do the same thing to =
multistaff instruments (not tested).

=3D=3D=3D=3D=3D snip here =3D=3D=3D=3D=3D

%%%%%%%%%% Hiding/printing bar lines individually =
%%%%%%%%%%%%%%%%%%%%%%%%%%%

% Here comes a bunch of rather general macros which enable printing or=20
% hiding barlines for each staff and inter-staff space individually:

\makeatletter

\newdimen\barline@depth
 =20
\def\rul@indiv#1{%
  \n@loop
    \Comp@High
    \expandafter\ifx\csname s@bl\number\noinstrum@nt\endcsname\relax
      \multiply\barline@depth -1\relax
      \advance\barline@depth\altitude
    \else
      \barline@depth=3D0pt\relax
    \fi
    {\expandafter\ifx\csname h@bl\number\noinstrum@nt\endcsname 1%
       \y@v=3D0pt\relax
     \fi
     =
\raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height\y@v}}%
    \barline@depth\altitude
    \advance\barline@depth\y@v
  \repeat
  \addspace#1}

\def\rul@indiv@#1{\n@loop{\prul@indiv@#1}\repeat\addspace#1}

\def\prul@indiv@#1{%
      \y@v\interportee \C@Inter\advance\y@v-\stem@skip
      \expandafter\ifx\csname s@bl\number\noinstrum@nt\endcsname\relax
        \multiply\barline@depth -1\relax
        \advance\barline@depth\altitude
      \else
        \barline@depth=3D0pt\relax
      \fi
      {\expandafter\ifx\csname h@bl\number\noinstrum@nt\endcsname 1%
         \y@v=3D0pt\relax
       \fi
      \p@loop
        \raise\altportee\rlap{%
          \vrule\@depth\barline@depth\@width#1\@height\y@v}%
        \count@portee
      \repeat}%
      \barline@depth\altitude
      \advance\barline@depth\y@v}

%=3D=3D Required to use the following macros
\def\indivbarrules{%
  \let\writ@rule\rul@indiv
  \sepbarrule 1}

\def\Indivbarrules{%
  \let\writ@rule\rul@indiv@
  \sepbarrule 1}

%=3D=3D separates bar line of specified instrument from one of previous =
instrument
\def\sepbarrule#1{\expandafter\let\csname s@bl#1\endcsname 1}

%=3D=3D connects bar line of specified instrument to one of previous =
instrument
\def\conbarrule#1{%
  \if 1#1\else\expandafter\let\csname s@bl#1\endcsname\relax\fi}
 =20
%=3D=3D hides bar line for specified instrument
\def\hidebarrule#1{\expandafter\let\csname h@bl#1\endcsname 1}
 =20
%=3D=3D shows bar line for specified instrument
\def\showbarrule#1{\expandafter\let\csname h@bl#1\endcsname\relax}

%=3D=3D separates barlines in multistaff instruments
\def\rul@sep@#1{\n@loop{\prul@sep#1}\repeat\addspace#1}

\def\prul@sep#1{%
      \y@v\interportee \C@Inter\advance\y@v-\stem@skip
      \p@loop
        \hbox{\raise\altportee\rlap{%
          \vrule\@depth\hlthick\@width#1\@height\y@v}}%
        \count@portee\repeat}

\def\Sepbarrules{\let\writ@rule\rul@sep@ }

\makeatother

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

% Here comes an example of how to use these macros

%%%%% Pre-amble
\instrumentnumber3
\setmeter3{{\meterfrac{3}{4}}}
\setmeter2{{\meterfrac{2}{4}}}
\setmeter1{{\meterfrac{3}{8}}}
\nobarnumbers
\indivbarrules
\sepbarrule2
\sepbarrule3

%%%%% Spacing
\beforeruleskip=3D0.5\afterruleskip
\interinstrument=3D4\Interligne

%%%%% Macros
\let\ni\nextinstrument

%%%%% Music
\startpiece\addspace\afterruleskip
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\showbarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\showbarrule3\stoppiece
\bye

=3D=3D=3D=3D=3D snip here =3D=3D=3D=3D=3D

----------
From: 	Nicolas ASPERT[SMTP:Nicolas.Aspert@epfl.ch]
Sent: 	Tuesday, September 21, 1999 11:22
To: 	Werner Icking
Cc: 	mutex@gmd.de
Subject: 	Re: Score with different meter

Werner Icking wrote:
>=20
> > Date: Tue, 21 Sep 1999 09:32:00 +0200
> > From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
>=20

> > This is exactly what I want to do. Sorry for not being clear. I =
guess I
> > am not used to explain these things at least in english.
>=20
> But English is easier for me than "Schwizer D=FCtsch" (sp? :-)
>=20
Yes, but I don't speak Schwyzerdu:tsch (sorry for the umlaut...I have a
US keyboard)... But people say that it is easy. Just forget about the
german grammar and you speak Schwyzerdutsch :-)

> > > I will soon have a 3rd voice at 3/8 , so the score should look =
like :
> >
> > voice 1 o    o    o  | o    o    o  |
> > voice 2 o    o  | o    o  | o    o  |
> > voice 3 o. | o. | o. | o. | o. | o. |
> >
> > Do you have any idea about how to do this ?
>=20
> Without knowing how to solve it I have some questions again.
>=20
> In your ASCII picture the third voice behaves different from the first =
two.
> In the first two voices a quarter occupies the space of a quarter. In =
the third
> voice a dotted quarter occupies the space a normal quarter occupies in =
the
> first two voices. Or do you mean:
>=20
> voice 1: o o o|o o o|
> voice 2: o o|o o|o o|
> voice 3: o.|o.|o.|o.|
>=20
Nope. The meter for voice 3 is 3/8 so a quarter in voice 1 and 2 equals
a dotted quarter in voice 3.=20

> And a technical question: how should the bars be numbered?
>=20

The bars are numbered according to voice 1 (that's the way it's done in
the full score), but this should not cause any trouble since you can
force the bar numbers easily in MusixTex

> AFAIK in earlier times _your_ version would have been coded as 2/4 and =
6/8 with
> "o>" as accented quarter to indicate the rhythmic change in the first =
voice.
>=20
> voice 1 2/4: o> o | o  o> | o  o |
> voice 2 2/4: o  o | o  o  | o  o |
> voice 3 6/8: o. o.| o. o. | o. o.|
>=20
> The second version would be typeset as:
>=20
> voice 1 3/4: o o o |o o o |
> voice 2 3/4: o>o o>|o o>o |
> voice 3 6/8: o. o. |o. o. |
>=20
> Both versions are simple to code with MusiXTeX or PMX and inline-TeX =
:-)
>=20
> In cases Mozart wrote such music, in the first example three notes of =
the first
> voice were slurred and in the second example two notes of the 2nd =
voice were
> slurred.
>=20

The problem is that Mozart wrote the way I showed you in my ASCII
example (well at least, this is how it is written in my full score...)
If you heard "Don Giovanni", the end of Act I, this is when Leporello is
dancing with Masetto (-> 3/8 part) while the others are dancing a Menuet
(3/4 part)...
There are in fact 3 small orchestras on the stage to play each part.

Nicolas.
--=20
Nicolas Aspert      Signal Processing Laboratory (LTS)=20
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab) =20
Fax:     +41 - 21 - 693 76 00



From mutex-owner@mail2.gmd.de Tue Sep 21 19:21:02 1999
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To: taupin <taupin@lps.u-psud.fr>
Cc: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>,
        Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: Score with different meter 
In-Reply-To: Your message of "Mon, 20 Sep 1999 14:09:16 +0200."
             <37E623EC.82BD8555@lps.u-psud.fr> 
Date: Tue, 21 Sep 1999 21:21:02 +0200
From: Jan Nieuwenhuizen <janneke@gnu.org>
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On Monday, 20 September 1999, taupin writes:
> 
> 
> Nicolas ASPERT wrote:
> > 
> > Werner Icking wrote:
> > 
> > > Again, I do not understand what you mean with "bars aligned". Normally
> > > a barline is typeset for all voices of a score. Do you want to have
> > > seperate bar lines in seperate voices at different places? e.g.
> > >
> > > voice 1   o o   o | o   o o |
> > > voice 2   o o | o   o | o o |
> > 
> > Hello
> > 
> > This is exactly what I want to do. Sorry for not being clear. I guess I
> > am not used to explain these things at least in english.
> 
> This definitely NOT supported by MusiXTeX.

In that case, have a look at LilyPond.  Is this what you want?

:r different-time-signatures.ly
\score{
    <
    	\context Staff=a \notes{
	    \time 3/4;
	    c4 c c | c c c |
	}
    	\context Staff=b \notes{
	    \time 2/4;
	    c4 c | c c | c c
	}
    >

    \paper{
    	linelength = -1.0\cm;
	\translator{
	    \ScoreContext
	    \remove Timing_engraver;
	}
	\translator{
	    \StaffContext
	    \consists Timing_engraver;
	}
    }
}

The output is at:

    http://www.xs4all.nl/~jantien/lilypond/different-time-signatures.ps.gz

Greetings,

Jan.

--
Jan Nieuwenhuizen <janneke@gnu.org> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien/      | http://www.lilypond.org/

From mutex-owner@mail2.gmd.de Thu Sep 23 12:54:43 1999
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Date: Thu, 23 Sep 1999 14:54:43 +0200
From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
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Cc: "mutex@gmd.de" <mutex@gmd.de>
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Hello all.

I took a quick look at your solutions, and it looks like both are
working. However, I find that the one proposed by Mthimkhulu Molekwa (no
spelling mistakes ? :-) is easier to use than the one proposed by
Werner, except for the fact that hidden bars are not protected against
the line breaks... Maybe it can be done automatically, but I don't know
enough about LaTex to do it...

Again, thank you for your help

Best regards.
Nicolas.
-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab)  
Fax:     +41 - 21 - 693 76 00

From mutex-owner@mail2.gmd.de Thu Sep 23 17:14:19 1999
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Nicolas ASPERT'" <Nicolas.Aspert@epfl.ch>,
        Werner Icking
	 <Werner.Icking@gmd.de>
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: Score with different meter
Date: Thu, 23 Sep 1999 15:14:19 +-200
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Hi,

Just use \xbar in place of \bar where you don't want line breaks.

Cheers,
MK

----------
From: 	Nicolas ASPERT[SMTP:Nicolas.Aspert@epfl.ch]
Sent: 	Thursday, September 23, 1999 14:54
To: 	Mthimkhulu Molekwa; Werner Icking
Cc: 	mutex@gmd.de
Subject: 	Re: Score with different meter

Hello all.

I took a quick look at your solutions, and it looks like both are
working. However, I find that the one proposed by Mthimkhulu Molekwa (no
spelling mistakes ? :-) is easier to use than the one proposed by
Werner, except for the fact that hidden bars are not protected against
the line breaks... Maybe it can be done automatically, but I don't know
enough about LaTex to do it...

Again, thank you for your help

Best regards.
Nicolas.
-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab)  
Fax:     +41 - 21 - 693 76 00



From mutex-owner@mail2.gmd.de Thu Sep 23 13:19:14 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Score with different meter
To: MMolekwa@rrs.co.za, Nicolas.Aspert@epfl.ch
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> Date: Thu, 23 Sep 1999 14:54:43 +0200
> From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>

> I took a quick look at your solutions, and it looks like both are
> working. However, I find that the one proposed by Mthimkhulu Molekwa (no
> spelling mistakes ? :-) is easier to use than the one proposed by
> Werner, 

My "solution" is based upon "putting anything anywhere", Mthimkhulu Molekwa's
solution is integrated into MusiXTeX. Therefore I asked him whether
I may post his solution on http://www.gmd.de/Misc/Music/ under
MusiXTeX add-ons. He gave me the permission and I'll do it as soon as
I have time.

> except for the fact that hidden bars are not protected against
> the line breaks... Maybe it can be done automatically, but I don't know
> enough about LaTex to do it...

LaTeX? \xbar produces a bar line, which will not be used as line break
[in the same way as \zbar can be used to generate a possible break point 
 without generating a bar line].

That's basic MusiXTeX and as far as I can see hidden bar lines
work completely independent of the type of the bar line.

-- Werner


From mutex-owner@mail2.gmd.de Thu Sep 23 15:58:18 1999
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From: Pantelis Andreou <pan@mscs.dal.ca>
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Hello everyone,
I am sorry that my question does not have to do with mutex.
Does anyone know if the Swedish composer Dag Wiren is still alive?
We are preparing programme notes and we need to know this infromation.
Sorry again for the irrelevance of the question to mutex.
Regards,
Pantelis


From mutex-owner@mail2.gmd.de Fri Sep 24 05:00:53 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Beam slopes in PMX
Date: Thu, 23 Sep 1999 22:00:53 -0700
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While alpha-testing a new version of PMX, Werner discovered some erratic
beam slopes that turn out to be caused by some bad logic in the slope
calculation algorithm.  Resolving this will depend on personal preferences
as much as logic, so I would like to solicit opinions from the list. 

First I'd like to explain the troublesome part of the algorithm, which is
really the core of PMX's slope calculation.  Please understand that this has
been in PMX for a long time, so I'm not about to make any major changes, but
there is a detail that needs to be fixed.  The basic method is best
explained by example.  Suppose there are 4 notes in the beam, one horizontal
unit apart, at levels 2, 4, 3, 1.  First compute all possible slopes between
pairs of notes:

(4-2)/1 = 2
(3-2)/2 = .5
(1-2)/3 = -.333
(3-4)/1 = -1
(1-4)/2 = -1.5
(1-3)/1 = -2

Arrange them in increasing order:

-2,-1.5,-1,-.333,+.5,+2

Now choose the median.  Since there is an even number of items, we have two
values to choose from, -1 and -.333 ,  Choose the one with the smaller
absolute value: -.333.  The final slope is just half that value. (There are
other factors that could change this, but in this case and the next one they
don't.)

The problem that Werner uncovered occurs when there are an even number of
slopes in the list AND the middle two are equal magnitude but opposite in
sign.  The particular case (a14 f+ e d) had levels 3,8,7,6. The ordered list
of slopes is -1,-1,-1,1,2,5 .  Both the old and new versions have the same
simple test:

slope = slope1
if (abs(slope2) .lt. abs(slope1)) slope=slope2

Because (a) it's floating point arithmetic and (b) I made some changes in
other parts of the code that affected the numbers representing the
horizontal positions in the 6th decimal place or so, this test flipped one
way in PMX 2.00, and flopped the other way in the new version.  Now
obviously I shouldn't have made this depend on the 6th decimal place, but
I'm not perfect.  Maybe the ambiguity hasn't surfaced until now because the
two central numbers are usually small enough that when halved, scaled, and
rounded off, the actual printed slope will come out to 0.  

I see three possibilities for resolving the ambiguous cases:
1. Always take the positive slope.
2. Always take the negative slope.
3. Use the average, which is zero.

I can imagine others, such as for example
4. Use the sign of the AVERAGE of all the slopes, in this case positive, so
choose 1

but what if the average is zero?

Cast your votes.

90% of programming seems to be dealing with special cases.

--Don

From mutex-owner@mail2.gmd.de Fri Sep 24 08:07:18 1999
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Subject: beam-slopes
To: mutex@gmd.de (gmd.de/Misc/Music)
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Don:

this is indeed an intriguing question, because there are
certainly no rules how the slope of beams should be chosen.
In the case you described that led to the ambiguity, I would predict that
90% would chose a small negative slope to emphasize the
descending line, despite the fact that the height of the
last note is substantially higher than the first one.
I am not sure whether this small differences can be formulated
by an algorithm. It is obvious that small corrections must
be always made, because the computer can not be taught to understand
music. Nevertheless, I have the impression that the 1-note differences
should have a larger weight: since three of them are negative and only
one of them positive (regardless of its large value 5), 
in ambiguous cases the trend of the majority should decide to tip
the balance, in this case towards the negative value.

Christof

From mutex-owner@mail2.gmd.de Fri Sep 24 11:39:32 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Simons, Don" <DSimons@logicon.com>, <mutex@gmd.de>
Subject: Re: Beam slopes in PMX
Date: Fri, 24 Sep 1999 07:39:32 -0400
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Simons, Don <DSimons@logicon.com> wrote:


>90% of programming seems to be dealing with special cases.

Ah... but it is just that ALL the special cases are handled that makes it
truly powerful software!

>
>slope = slope1
>if (abs(slope2) .lt. abs(slope1)) slope=slope2
>
>Because (a) it's floating point arithmetic and (b) I made some changes in
>other parts of the code that affected the numbers representing the
>horizontal positions in the 6th decimal place or so, this test flipped one
>way in PMX 2.00, and flopped the other way in the new version.  Now
>obviously I shouldn't have made this depend on the 6th decimal place, but
>I'm not perfect.

I can't say that this is all that enlightening, but would it help (restore
the once manifest behavior) to change the test so as to control the
precision of the result?  Such as

if (abs(slope2) - abs(slope1) + precision_limit ) .lt. 0 ) slope=slope2

You might set precision_limit to (say) .0001, or tweak it until you restore
the behavior of the earlier versions?

Just a thought.

Joel Hunsberger
jhunsberger@i2k.com
>--Don
>


From mutex-owner@mail2.gmd.de Fri Sep 24 11:52:03 1999
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Date: Fri, 24 Sep 1999 13:52:03 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: beam-slopes
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cbiebri@gwdg.de wrote:

> Don:
>
> this is indeed an intriguing question, because there are
> certainly no rules how the slope of beams should be chosen.
> In the case you described that led to the ambiguity, I would predict that
> 90% would chose a small negative slope to emphasize the
> descending line, despite the fact that the height of the
> last note is substantially higher than the first one.

I don't completely agree. Below is a small four part mtx example with the
same little melody in all parts but with different beam directions and slpoe
resp. The two upper staves contain Don's/Werner's 16'th note figure in the
original octave while it is an octave lower in two lower parts. In parts 2
and 4 I have inverted the slope from that obtained by pmx200's behaviour. In
the case with stems down I definitely prefer the corrected beaming slope but
I'm not quite so sure that I also do in stems up case.

Maybe some 'golden' handed over engraving rules or traditions may throw light
on that matter.

>
> I am not sure whether this small differences can be formulated
> by an algorithm. It is obvious that small corrections must
> be always made, because the computer can not be taught to understand
> music. Nevertheless, I have the impression that the 1-note differences
> should have a larger weight: since three of them are negative and only
> one of them positive (regardless of its large value 5),
> in ambiguous cases the trend of the majority should decide to tip
> the balance, in this case towards the negative value.
>
> Christof

Meter: C
Style: Solo
S4: Voices S1 S2 S3 S4; Clefs G G G G
Style: S4

c4+ c c a1 f+ e d | e4 d c b | c2 b | a0
c4+ c c [-1+4 a1 f+ e d ] | e4 d c b | c2 b | a0
c4 c c a1 f+ e d | e4 d c b | c2 b | a0
c4 c c [-2+4 a1 f+ e d ] | e4 d c b | c2 b | a0



--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Fri Sep 24 12:31:35 1999
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To: mutex@gmd.de (gmd.de/Misc/Music)
Date: Fri, 24 Sep 1999 14:31:35 +0200 (MET DST)
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Christian Mondrup wrote:
> I don't completely agree. Below is a small four part mtx example with the
> same little melody in all parts but with different beam directions and slpoe
> resp. The two upper staves contain Don's/Werner's 16'th note figure in the
> original octave while it is an octave lower in two lower parts. In parts 2
> and 4 I have inverted the slope from that obtained by pmx200's behaviour. In
> the case with stems down I definitely prefer the corrected beaming slope but
> I'm not quite so sure that I also do in stems up case.
You used a somewhat unfair example. Check the result when the movement
continues like (I did not adjust the heights of the following beams):

Meter: C
Style: Solo
S4: Voices S1 S2 S3 S4; Clefs G G G G
Style: S4

c4+ c c a1 f+ e d | [ c b a g ][ f e d c ] e4 g | c2 b | a0
c4+ c c [-1+4 a1 f+ e d ] | c b a g f e d c e4 g | c2 b | a0
c4 c c a1 f+ e d | c d e f g a b c g8 a g b | c2 b | a0
c4 c c [-2+4 a1 f+ e d ] | c d e f g a b c g8 a g b | c2 b | a0


From mutex-owner@mail2.gmd.de Fri Sep 24 15:55:42 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Beam slopes in PMX
Date: Fri, 24 Sep 1999 08:55:42 -0700
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Joel Hunsberger wrote

>would it help (restore
>the once manifest behavior) to change the test so as to control the
>precision of the result?  Such as
>
>if (abs(slope2) - abs(slope1) + precision_limit ) .lt. 0 ) slope=slope2

That will be part of the solution, but not the hard part.  It would
unambiguously single out the cases where the two absolute values are
effectively equal.  But it won't tell you which of the two competing values,
or what other value, to use.

--Don


From mutex-owner@mail2.gmd.de Fri Sep 24 17:07:18 1999
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From: Christian Mondrup <scancm@biobase.dk>
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To: cbiebri@gwdg.de
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Subject: Re: beam-slopes
References: <199909241231.AA14721@gwdu20.gwdg.de>
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cbiebri@gwdg.de wrote:

> Christian Mondrup wrote:
> > I don't completely agree. Below is a small four part mtx example with the
> > same little melody in all parts but with different beam directions and slpoe
> > resp. The two upper staves contain Don's/Werner's 16'th note figure in the
> > original octave while it is an octave lower in two lower parts. In parts 2
> > and 4 I have inverted the slope from that obtained by pmx200's behaviour. In
> > the case with stems down I definitely prefer the corrected beaming slope but
> > I'm not quite so sure that I also do in stems up case.
> You used a somewhat unfair example. Check the result when the movement
> continues like (I did not adjust the heights of the following beams):
>
> Meter: C
> Style: Solo
> S4: Voices S1 S2 S3 S4; Clefs G G G G
> Style: S4
>
> c4+ c c a1 f+ e d | [ c b a g ][ f e d c ] e4 g | c2 b | a0
> c4+ c c [-1+4 a1 f+ e d ] | c b a g f e d c e4 g | c2 b | a0
> c4 c c a1 f+ e d | c d e f g a b c g8 a g b | c2 b | a0
> c4 c c [-2+4 a1 f+ e d ] | c d e f g a b c g8 a g b | c2 b | a0

Your counter-example doesn't change my point of view. I definitely prefer the
beaming in the second part for that in the first part.

I'm inclined to think that we have to do with personal taste. I'm not able to
argue otherwise than to me the second part is aesthetically more satisfactory.
Maybe Don shouldn't invest too much work in special cases like the current if we
take into consideration that pmx/mtx users like humble me would modify any default
beaming behaviour in cases like this one anyway :-)
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Fri Sep 24 20:55:37 1999
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To: mutex@gmd.de
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062EDC@xcgca040.sp.logicon.com>
Subject: Re: Beam slopes in PMX
From: stk@snafu.de (Stefan Haller)
Date: Fri, 24 Sep 1999 22:55:37 +0200
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For an excellent discussion of this issue (and many other problems, such
as automatic calculation of slurs, horizontal spacing of notes etc), see

    Helene Wanske:  Musiknotation
                    Von der Syntax des Notenstichs zum
                    EDV-gesteuerten Notensatz
    Schott, ISBN 3-7957-2886-x

Everyone who is involved in the development of music typesetting
software should have read this book.  (It's in German though, and I
don't suppose any translations are available.)


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/

From mutex-owner@mail2.gmd.de Mon Sep 27 11:58:12 1999
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Subject: Re: dvipdfm
To: scancm@biobase.dk
Date: Mon, 27 Sep 1999 11:58:12 +0000 (/etc/localtime)
Cc: mutex@gmd.de
In-Reply-To: <37E78FCE.E8471723@biobase.dk> from "Christian Mondrup" at Sep 21, 1999 04:01:50 PM
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> > [Don Simons:]
> > > And while we're at it, I boggles my mind that some independent freeware
> > > writer could do what mighty Adobe couldn't, viz., make pdf's that nicely
> > > display bitmapped fonts.
> [Dirk Laurie:] 
> > Mind-boggling but true.  I downloaded dvipdfm-0.11.tar.gz from CTAN,
> > typed ./configure, make and ./install on my Linux box, and tried it
> > on musixdoc.dvi itself.  It couldn't find the tfm's.  I symbolically
> > linked the tfm files in the cm, musixtex and mflogo directories to
> > the current directory, and it worked.  It generates 600dpi pdf's
> > although my TeX is set up for 300 dpi, but the result looks just
> > marvellous using ghostview as pdf viewer.  Even at 4x magnification
> > it is still not grainy on the display.
> >
> > Pity about the tfm path bug.  Hope the author fixes it.
> >
> [Christian Mondrup]
> Until then redhat linux users may download a rpm package from the dvipdfm home
> page http://odo.kettering.edu/dvipdfm/
> 
> I have had no difficulties with that distribution.
> 
Well, it installs; it can make its own distribution if I add
the current directory to the TEXINPUTS; but its output won't
display under gv (as the 0.11 one did) only under xpdf; and
it does not stop when it can't find Type 1 fonts, it hopes
it's OK and produces crappy output.  I can't say I prefer it
to 0.11.

Dirk

From mutex-owner@mail2.gmd.de Mon Sep 27 13:34:57 1999
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dirk@calvyn.puk.ac.za wrote:

> >
> Well, it installs; it can make its own distribution if I add
> the current directory to the TEXINPUTS; but its output won't
> display under gv (as the 0.11 one did) only under xpdf; and
> it does not stop when it can't find Type 1 fonts, it hopes
> it's OK and produces crappy output.  I can't say I prefer it
> to 0.11.

Strange ! In my setup (Redhat 6.0) dvipdfm (0.11.1) reports that it can't find type
1 fonts (because they are until now _not_ available with msuixtex) and continues
producing output which is perfectly displayed also with gv (although I usually use
linux acroread for that).

I don't need to explicitly include cwd into the TEXINPUTS environment. But that may
be because I have this variable defined anyway in order to tell TeX to search files
outside the standard texmf tree.

>
> Dirk




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Sun Sep 26 18:48:31 1999
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From: "Rainer Dunker" <rainer.dunker@ebe-online.de>
To: <begemann@math.uni-hamburg.de>, <mutex@gmd.de>
References: <199909161810.UAA18184@AMSUN16.math.uni-hamburg.de>
Subject: Re: 1) lyrics 2) *.mx2 3) PMX's grace notes 4) PMX figures
Date: Sun, 26 Sep 1999 20:48:31 +0200
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Hi Eckart,

> 1) lyr
>
>    I incorporated several M-Tx-generated tex-fils in a
>    LaTeX-document (of course after stripping off what is necessary and
>    using the music-environment).
>
>    The pieces of music coming after one piece with lyrics all
>    try to put some lyrics, in spite of the fact that they are not
>    supposed to.
>    \resetlyrics did not help.

You're right: \resetlyrics resets the horizontal position tracking, not the
lyrics-to-instrument assignment; the name is thus kind of misleading.

>    It seems, as if musixlyr's memory works too good:
>    It  does not forget its configuration outside the
>    \begin{music} .... \end{music} environment.

Yes - musixlyr makes heavy use of \global settings, and I can't think of a
proper way to avoid this.

>    Instead it tries to endow all the "2nd instruments" of
>    the following music-environments, once it has been
>    told to do so in a previous one.
>
>    So it would eat up all the (possibly empty) lyrics
>    that exist (or do not exist), put a heap of '???' etc.

I.e. a macro for resetting all lyrics settings would admittedly be
desirable, but I have incorporated none. :-( However, it should be fairly
easy to create your own one containing the decisive items:

o \assignlyrics{n}{} for all instrument numbers n.
o Similarly, \auxlyr{\assignlyrics{n}{}} if applicable; mandatory if M-Tx is
used.
o \setsongraise{n}{0pt} and, likewise,
o \auxsetsongraise{n}{0pt}.

Moreover, there are lots of layout parameters that also survive environment
bounds in case they are set by \lyrlayout commands. Resetting them would be
more complicated, but this should not be necessary in most cases (please
complain if it is!).

>         I did not change the command \interstaff.
>           nor anything.
>           Does pmxtex.tex to that? Does musixlyr.tex change it?

musixlyr definitely does not.


Regards,

Rainer



From mutex-owner@mail2.gmd.de Wed Sep 29 09:06:10 1999
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To: mutex <mutex@gmd.de>
Cc: Dirk Laurie <dlaurie@na-net.ornl.gov>,
        "Mark A. Wicks" <mwicks@kettering.edu>
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Upon the recent postings on problems with Redhat Linux ghostscript
displaying pdf files generated with the dvipdfm tool I contacted the
author of dvipdfm Mark A. Wick. Mark discovered a programming error and
has published a new release (0.12.6) available as Redhat rpm package on
the dvipdfm home page (http://odo.kettering.edu/dvipdfm/). During my
testing of that I still encountered problems with ghostview, arising
during the ghostscript processing of the pdf files. Mark didn't
recognize this with his ghostscript (release 5.50) and therefore
suggested that I - and other musixtex hackers - might have problems with
their ghostscript installations.

It turns out that the Redhat distribution ghostscript is v. 5.10 while
on Aladdin's ghostscript homepage the current Redhat release is 5.50
(http://www.cs.wisc.edu/~ghost/aladdin/get550.html). After an upgrade to
ghostscript v. 5.50 I am able to display pdf files with no errors !

Besides the obvious tool for displaying and printing pdf files is
Adobe's free 'Acrobat reader' available for many OS's including Linux
from Adobe's home pages
(http://www.adobe.com/prodindex/acrobat/readstep.html)
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Wed Sep 29 17:16:24 1999
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Date: Wed, 29 Sep 1999 17:16:24 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Hi,

A friend, who has seen the superb parts I can produce, is very
interested in acquiring and using PMX and MusixTeX.  He uses the Windows
OS whereas I am Linux based. Hence I not sure how to advise on what he
needs.

I assume he needs to get musixtex.zip and pmx.zip from
www.gmd.de/Misc/Music; is this correct?  What else does he need?  I
think my system needs TeTeX which (I think) is not a standard part of
the Windows package. I also use dvi and Ghostview to see my output what
do Windows users use?  Is there Windows freeware or shareware to convert
MusixTex output to MIDI for playback?  Any help from will be most
welcome.

Thankyou,
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: MusixTex & PMX for Windows
Date: Wed, 29 Sep 1999 12:11:41 -0700
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HowardGilbert wrote

>A friend, who has seen the superb parts I can produce, is very
>interested in acquiring and using PMX and MusixTeX.  He uses the Windows
>OS whereas I am Linux based. Hence I not sure how to advise on what he
>needs.
>
>I assume he needs to get musixtex.zip and pmx.zip from
>www.gmd.de/Misc/Music; is this correct?  

Yes

>What else does he need?  I
>think my system needs TeTeX which (I think) is not a standard part of
>the Windows package. 

Right, Windows does not come with any version of TeX.

I use a cobbled up system, including

1.  tex386.exe from PCTeX, running in a DOS window.
2.  dviwin, a freeware WINDOWS dvi-viewer.  A great little dvi-viewing
program, but sometimes I find the fixed zoom levels a little frustrating.
3.  dvips in a DOS window
4.  copy the .ps to a postscript printer to make the final output.

There is no particular need for ghostview except in special situations.  It
is not the best thing to use for normal operations, because you have to go
thru the extra step dvi=>ps before you can view the output.  But if you have
embedded graphics, dviwin will not display them, and ghostview will.

I have set up emtex on an old PC and am very impressed with it, as a totally
free, DOS alternative (PCTeX is not free).  Emtex comes with dvips32 and a
bunch of batch file.  Once you get it set up right, (and that can be tricky,
especially setting environment variables and printer configuration files) it
will generate and store any missing bitmapped fonts automagically when you
go to make the .ps .

I have also heard good things about MikTeX as a Windows-based system, but
haven't used it myself.

And keep in mind, there are dvi=>printer drivers for other types of printers
besides postscript.  

If you want totally window-based operation, I just don't know what MikTeX
provides.  But in principle ghostview could serve for printing to any
windows printer.  I must say, though, I haven't had any luck getting it to
do that...it's print menus look and act differently from normal windows
programs.

--Don Simons


From mutex-owner@mail2.gmd.de Wed Sep 29 19:50:04 1999
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HowardGilbert wrote:

> Hi,
>
> A friend, who has seen the superb parts I can produce, is very
> interested in acquiring and using PMX and MusixTeX.  He uses the Windows
> OS whereas I am Linux based. Hence I not sure how to advise on what he
> needs.
>
> I assume he needs to get musixtex.zip and pmx.zip from
> www.gmd.de/Misc/Music; is this correct?

Yes, this is the base music typesetting stuff to be used together with some
flavour of TeX. Your friend should also consider installing the pmx
preprocessor M-tx that a.o. makes adding lyrics straight forward.

>  What else does he need?  I
> think my system needs TeTeX which (I think) is not a standard part of
> the Windows package. I also use dvi and Ghostview to see my output what
> do Windows users use?

For win9x and NT the MiKTeX TeX implementation ( http://www.miktex.de ) is
an obvious choice. The installation is well documented and straight forward
to perform. The MiKTeX yap dvi previewer is fully sufficient for viewing and
printing the MusiXTeX results. MiKTeX like other TeX implementations also
contains the dvips utility to generate postscript files from dvi output. For
handling postscript files he'll need the win32 version of ghostscript and
gsview (http://www.cs.wisc.edu/~ghost/gsview/new27.html).

> Is there Windows freeware or shareware to convert
> MusixTex output to MIDI for playback?

To my best knowledge, no. If midi is a must your friend should consider the
official GNU music typesetting environment LilyPond
(http://www.cs.ruu.nl/people/hanwen/lilypond/) but also be aware that it is
under heavy construction and therefore subject to  frequent changes. There
is a win32 port pointed to from the LilyPond web pages, but it is several
releases - and bugfixes - behind the current release. The quality of
LilyPond typesetting is in my opinion not quitethat of MusiXTeX and friends.

>  Any help from will be most
> welcome.
>
> Thankyou,
> Best wishes,
> Howard.
> (A.H.Gilbert, Thornaby, North Yorkshire)




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Thu Sep 30 09:35:06 1999
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Date: Thu, 30 Sep 1999 11:35:06 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Printing PS-files with Gsview/Ghostscript
To: mutex@gmd.de
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Wed, 29 Sep 1999 12:11:41 -0700
> Subject: RE: MusixTex & PMX for Windows

> [...] But in principle ghostview could serve for printing to any
> windows printer.  I must say, though, I haven't had any luck getting it to
> do that...it's print menus look and act differently from normal windows
> programs.

Although this problem is a little bit off-topic in this list I'll answer
it because e.g. http://www.gmd.de/Misc/Music/scores is mainly based
by scores typeset with MusiXTeX and stored as PS-file.

Yes, the print menu of GSVIEW is different from normal windows print
menus.

First there is the possibility that you do have a PS-printer.
 Then you may cross "Postscript Printer" with the effect that
 ghostscript simply copies the file to the selected printer. It'sl
 the same as if you  "COPY /B FILE.PS LPT1" in a DOS-Box ifgsview/ the
 PS-printer is connected to LPT1.
 
The next possibility is to select a "device"-driver which corresponds
 to the printer you have. Gsview/ghostscript offers a lot of such
 device drivers (e.g. deskjet, epson, laserjet, ljet2p, ljet4, ...).
 These device drivers convert the PS-input into the printer language
 and send the output to the selected printer.
 
The third possibility is to use a special "device"-driver "mswinpr2".
 It something like a virtual MS-Windows-printer. So the device
 driver converts the PS-input into such commans, which are under-
 stood by the Windows printer interface. Next MS-Windows is responsible
 to generate that data which is understood by the specific printer.
 This third possibility works with most printers supported by MS-Windows.

The advantage of the 2nd possibility is that more printer specific
 features can be selected.
 
Gsview's print menu is used too for some very specific device-drivers
 e.g. pdf-write, which may be used to convert a PS-file into PDF-files
 or bmp... which may be used to convert PS-files into bmp-images
 or pswrite which may be used to convert PDF-files displayed by
   gsview(!) into PS-files
   
You find more information about this topic in the file devices.htm which
is part of the ghostscript distribution normally in the directory
named GS5.50. In earlier versions this file was named device.txt
or maybe device.ps.

Hope this hilft -- Werner


From mutex-owner@mail2.gmd.de Mon Oct  4 16:41:45 1999
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I tried to run dvipdfm on a .dvi file generated using musixtex.
I got this error message:

musix20: Can't locate an AFM or VF file

Not sure how to proceed.  For now this is fatal
Maybe in the future, I'll substitute some other font.

Where do I find the necessary .afm or .vf files or a tool to make them
from the .tfm or .mf files?

Regards,
Mogens Lemvig Hansen

From mutex-owner@mail2.gmd.de Mon Oct 11 13:11:09 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: MTx Tie Queston
Date: Mon, 11 Oct 1999 09:11:09 -0400
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Greetings:

Consider the following snippet of M-Tex code.  I am trying to get the ties
right.

I need to have another tie (down tie) joining the chordal e from the second
to third measure in the right hand.

I was able to get a (second) tie on the 'e' from the first measure to the
second, (it is the (d-5 )-5 pair overlaying the top part, but offset down to
the lower note) but several experiments trying to get the second tie have
failed.  The main problem is that I can't seem to start another nested tie
after closing the outer tie }, nor can I make it work in the inner context,
before the }1 completes.  However, this has got to be a standard necessity
(tied chords), so I am sure that I am just overlooking something.

When I try starting another outer slur (e.g. }1{... I get errors, and the
only thing that has worked so far is what I show below  }1(...  <- starting
this kind of slur for the second upper tie.

By the way, this is just a snippet, and in the original context (with
additional choral voices), it is important (due to PMX limitations) that the
PIANO right hand NOT be more than one voice (pity!), so I have resorted to
some of these chordal methods to get the additional notes in the piano right
hand.

Also, I really need to stay in the MTex context for the solution... that is,
it won't work conveniently for me to go fix the PMX or the MusixTex for this
one.

Any suggestions are welcomed!

Thanks,
Joel Hunsberger
jhunsberger@i2k.com

Here is the snippet:
---------------- cut here ------------------
Title:  Tie Question
Meter: 3/4
Bars/Line: 3
Style: PIANO

U: Puzzled
RH:  {1 (d-5 c2d+ | c2d )d-5 }1( | c2d  ) of |
C:         e-       e-          e-
LH: ( c8 g+ c2 ) | (u+5 c8- g+ c4 g- | c2d- )+3 of |



From mutex-owner@mail2.gmd.de Mon Oct 11 23:44:19 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Simons, Don" <DSimons@logicon.com>
Cc: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: Advice for the Newbie [was MTx Tie Queston]...
Date: Mon, 11 Oct 1999 19:44:19 -0400
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Greetings:

Don Simons <DSimons@logicon.com>, wrote (privately)...

  > Jhunsberger@i2k.com wrote...
  >>By the way, this is just a snippet, and in the original context (with
  >>additional choral voices), it is important (due to PMX limitations) that
  >the
  >>PIANO right hand NOT be more than one voice (pity!), so I have resorted
to
  >>some of these chordal methods to get the additional notes in the piano
  >right
  >>hand.
>
>So you needed either >12 lines of music or >2 lines in one staff?
>

WOW!!  A dream came TRUE and I missed it... I was so hasty when I installed
PMX200 that I didn't stop and read the Manual...

Here is a brief on the changes I missed by not reading the manual...

Pmx 1.34 and before  (?)                        PMX 2.0
 7 Voices (Staves)                            12 Voices (Staves)
 7 lines of music                               12 lines of music
14 key changes                                18 key changes


In my question I was laboring under the idea that I was limited to 6 (yes,
6) voices in all!

Time for me to catch up again :-))    THANKS DON!!  This really opens up to
a realization that I can use M-Tex (with good PMX background in there), for
a variety of Choral Scores (SATB + Piano, Plus accompanying instruments.
Let's see, 4 voices for the Piano, 4 for the SATB, and 4 left over for the
Brass Quartet (or whatever else?)

> ....all PMX commands were accessible somehow from
>within M-Tx, similar to the way PMX makes TeX commands available.  Anyhow,
I
>presume from your wording that you recognize that this slurring/tying is a
>trivial matter in PMX.  (It ought to be, after all the time and effort I
put
>in this area.)
>


Similarly, I recognize that successfully using M-Tex requires a thorough
working knowledge of PMX, and a bit more MusixTex thrown in for "good
measures" :-))

Anyway, this posting is really a reminder for the Newbies:  Read the Manuals
every time there is an update, and then read them again...  I seem to be
always a newbie and never able to come to a knowledge of the "Knuth" - (from
the Gospel according to Tex).

I have forgotten more than I ever knew :-))

Joel Hunsberger
jhunsberger@i2k.com


From mutex-owner@mail2.gmd.de Tue Oct 12 01:24:58 1999
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Date: Tue, 12 Oct 1999 11:24:58 +1000 (EST)
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From: Alasdair McAndrew <Alasdair.McAndrew@vu.edu.au>
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Hi there,

I am busily using PMX (ver 2.0.0, with MusixTeX T.97), which I like
very much, to typeset some music for viola da gamba.  I'd like to
recreate the originals as much as possible in modern notation, which
means adding fingerings to some of the notes.  Is this possible?  I
can't find anything about it in the PMX manual.

cheers,
	Alasdair

-- 
Alasdair McAndrew

School of Communications and Informatics     Phone: +61 3 9688 4344
Victoria University of Technology            Fax:   +61 3 9688 4050
P.O. 14428, Melbourne City Mail Centre  Alasdair.McAndrew@vu.edu.au
Melbourne, Vic 8001, Australia         http://cams.vut.edu.au/~amca

From mutex-owner@mail2.gmd.de Tue Oct 12 07:26:26 1999
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Subject: Re: Fingerings in PMX/MusixTeX ?
References: <199910120124.LAA27426@yarra.vu.edu.au>
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Alasdair McAndrew wrote:

> Hi there,
>
> I am busily using PMX (ver 2.0.0, with MusixTeX T.97), which I like
> very much, to typeset some music for viola da gamba.  I'd like to
> recreate the originals as much as possible in modern notation, which
> means adding fingerings to some of the notes.  Is this possible?  I
> can't find anything about it in the PMX manual.

The most obvious answer to that question is: use \zcharnote directives -
stacked in case of chords - as inline MusiXTeX in your pmx source. Below
is a short example (in M-Tx notation). I imagine my fingerings are weird
from a gamba point of view :-)

Meter: C
Style: Solo

%% \def\f#1#2{\zcharnote{#1}{#2}}

\f{-8}{2}\f{-12}{4}\ g4 zd zb g+ g g

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Tue Oct 12 09:08:27 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Fingerings in PMX/MusixTeX ?
To: mutex@gmd.de, Alasdair.McAndrew@vu.edu.au
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> Date: Tue, 12 Oct 1999 11:24:58 +1000 (EST)
> Subject: Fingerings in PMX/MusixTeX ?

> I am busily using PMX (ver 2.0.0, with MusixTeX T.97), which I like
> very much, to typeset some music for viola da gamba.  I'd like to
> recreate the originals as much as possible in modern notation, which
> means adding fingerings to some of the notes.  Is this possible?  I
> can't find anything about it in the PMX manual.

Some time ago there was a similar question in the list with "(no subject)".
You find the answer in the list's archive under the subject "Downbow and
upbow with PMX": http://www.gmd.de/Mail/mutex-archive/2642.html

I don't know whether it's a good solution, but I use it since years
as it can be seen from http://www.gmd.de/Mail/mutex-archive/0319.html
which I found using the list archive's search function with the search 
key "fingering". [It's nice to see from that mail that GMD's music archive
http://www.gmd.de/Misc/Music/ somehow existed at that time and that that
mail can be seen as the very beginning of the invention of it's sheet
music part :-]

If requested I may help extracting the fingering part from my "mymusix.tex".

-- Werner


From mutex-owner@mail2.gmd.de Tue Oct 12 07:02:44 1999
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Subject: Re: MTx Tie Queston
To: jhunsberger@i2k.com (Hunsbergers)
Date: Tue, 12 Oct 1999 09:02:44 +0200 (SAST)
Cc: mutex@gmd.de (MusiXTex Mailing List)
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Hunsbergers skryf:
> 
> Greetings:
> 
> Consider the following snippet of M-Tex code.  I am trying to get the ties
> right.
> 
> I need to have another tie (down tie) joining the chordal e from the second
> to third measure in the right hand.
> 
> ...
>
> Also, I really need to stay in the MTex context for the solution... that is,
> it won't work conveniently for me to go fix the PMX or the MusixTex for this
> one.
> 
> ---------------- cut here ------------------
> Title:  Tie Question
> Meter: 3/4
> Bars/Line: 3
> Style: PIANO
> 
> U: Puzzled
> RH:  {1 (d-5 c2d+ | c2d )d-5 }1( | c2d  ) of |
> C:         e-       e-          e-
> LH: ( c8 g+ c2 ) | (u+5 c8- g+ c4 g- | c2d- )+3 of |
> 
> 
One day there may be an "idiomatic" M-Tx way to handle chords
with ties.  In the meantime, use the PMX-style chordal notes
and labelled slurs, thus:

---------------- cut here ------------------
Title:  Tie Answer
Meter: 3/4
Bars/Line: 3
Style: PIANO

U: Solved
RH:   c2d+ st ze- s1td | c2d+ st st ze- s1t s1td | c2d+ st of ze- s1t |
LH: ( c8 g+ c2 ) | (u+5 c8- g+ c4 g- | c2d- )+3 of |
---------------- cut here ------------------

You still stay in M-Tx, even though the coding itself is PMX-like.
Note the "t" suffix on the "s" slur to move the tie to a position
between the notes instead of the normal slur position above them.

Dirk

From mutex-owner@mail2.gmd.de Mon Oct 18 02:13:20 1999
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Subject: Spacing problems mid-bar
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Hi there,

I'm attempting to typeset a piece (in 4/4 time) with a number of
sections, each one finishing and starting at a half bar.  Using PMX
2.0.0, I can insert double bar lines in the middle of a bar; this
keeps the bar numbers correct.

However, at the end of each section, I need to have:

 notes, segno, double bar

that is; the segno sign comes after the notes, and the double bar
after the segno.  However, my best attempts to insert some spaces (so
that the segno doesn't overprint on the notes or on the double bar
lines) only result in spaces after the double bar, and before the notes
of the next section, which is not what I want.

Without going back to blind metre changes, is there any way I can
force the correct spacing?

Thanks for this.

cheers,
	Alasdair

-- 
Alasdair McAndrew

School of Communications and Informatics     Phone: +61 3 9688 4344
Victoria University of Technology            Fax:   +61 3 9688 4050
P.O. 14428, Melbourne City Mail Centre  Alasdair.McAndrew@vu.edu.au
Melbourne, Vic 8001, Australia         http://cams.vut.edu.au/~amca

From mutex-owner@mail2.gmd.de Mon Oct 18 13:32:26 1999
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Date: Mon, 18 Oct 1999 15:32:26 +0200
From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
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Hello,
I am writing a document which includes the first few bars of Bach's f
minor invention as an example and wonder how to do the "linebreak" in
it, because it is longer than one line.
I'm using LaTeX with musixtex.sty and have coded the example directly in
MusiXTeX; I think, I have followed the instruction in the MusiXTeX doc
so far. See the relevant part of my file below. Can anybody give me
hints about what I am missing?
BTW, is there a conflict between MusiXTeX and certain commands of the
amsmath package?
Thanks in advance,
Thomas

\documentclass[11pt,twoside]{report}
\usepackage{isolatin1,fancyhdr,musixtex,amsfonts}
\usepackage[dvips]{geometry}
\usepackage{babel}
\geometry{paper=a4paper,top=2cm,bottom=1.5cm,hdivide={1.5cm,*,2cm}}
\begin{document}
\begin{music}
\setstaffs1{2}
\setclef1{\bass}
\generalmeter{\meterfrac34}
\generalsignature{-4}
\def\freqbarno{10}
\startextract
% b.1
\notes
\ibu0J3\qb0F\sk\isluru0M\tbu0\qb0M|%
\ibbu1j{-3}\qb1{jih}\tbbu1\tbu1\qb1g%
\en
\notes
\ibbl0M1\tslur0M\qb0{MNa}\tbbl0\tbl0\qb0N|%
\ibu1h{-1}\qb1h\sk\tbu1\qb1f%
\en
\notes
\ibbl0M{-3}\qb0{MLK}\tbbl0\tbl0\qb0J|%
\isluru1k\ql k%
\en
\bar
% b.2
\notes
\ibl0I3\qb0I\sk\isluru0N\tbl0\qb0N|%
\ibbu1j{-3}\tslur1k\qb1{kji}\tbbu1\tbu1\qb1{=h}%
\en
\notes
\ibbl0N1\tslur0N\qb0{Nab}\tbbl0\tbl0\qb0a|%
\ibu1i{-1}\qb1i\sk\tbu1\qb1g%
\en
\notes
\ibbl0N{-3}\qb0{NM=L}\tbbl0\tbl0\qb0{=K}|%
\isluru1l\ql {=l}%
\en
\bar
% b.3
\notes
\ibbl0J3\qb0{J=K=L}\tbbl0\tbl0\qb0M|%
\ibbl1l3\tslur1l\qb1{lmn}\tbbl1\tbl1\qb1o%
\en
\notes
\ibbl0N1\qb0{Nab}\tbbl0\tbl0\qb0N|%
\ibl1p{-4}\qb1p\sk\nbbl1\qb1n\tbbl1\tbl1\qb1{=l}%
\en
\notes
\ibbl0M{-1}\qb0{MLM}\tbbl0\tbl0\qb0L|%
\ibl1k{-1}\qb1k\sk\tbl1\qb1j%
\en
\bar
% b.4
\notes
\ql M|%
\ibbu1i{-1}\qb1{ihg}\tbbu1\tbu1\qb1h%
\en
\notes
\qs\ibbl0J3\qb0{J=K}\tbbl0\tbl0\qb0{=L}|%
\ibbl1i0\qb1{ikj}\tbbl1\tbl1\qb1i%
\en
\notes
\ibbl0M2\qb0{MNa}\tbbl0\tbl0\qb0b|%
\ibbu1h{-2}\qb1{hgf}\tbbu1\tbu1\qb1{=e}%
\en
\endextract
\end{music}
\end{document}
-- 
------------------------------------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, J.W.Goethe University Frankfurt
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Oct 18 15:32:29 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Linebreak of music example?
To: mutex@gmd.de, ruedas@geophysik.uni-frankfurt.de
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> Date: Mon, 18 Oct 1999 15:32:26 +0200
> From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>


> I am writing a document which includes the first few bars of Bach's f
> minor invention as an example and wonder how to do the "linebreak" in
> it, because it is longer than one line.

> [...] Can anybody give me hints about what I am missing?

Fine that you included the source. So it's easy to see, that you used
\startextract...\endextract, which always generates one-line samples.

You have to use \startpiece...\endpiece (together with running musixflx)
to get as many staves as the music requires. If you think there should
be more or less staves you may use \mulooseness=n to increase (pos. n)
or decrease (neg. n) that number of lines musixflx assigns to the work.
Alternatively you may \linegoal=n to request n lines. Any of these
values must be specified (after \startpiece?) and before \endpiece.

You can find examples how this works in musixdoc.tex, the *source*
of MusiXTeX's documentation.


> BTW, is there a conflict between MusiXTeX and certain commands of the
> amsmath package?

Maybe :-(

-- Werner

BTW:

Because of the many dimension etc. MusiXTeX uses, it's advisable to
use pure MusiXTeX for bigger musical works, i.e. no AmsTeX, no LaTeX.

And one more hint: as a beginner you should use PMX as preprocessor,
which makes it much easier to access MusiXTeX. Your four bars look
using PMX like this:

2 1 3 4 3 4 0 -4
1 2 20 0

bt
./

Arb

% 1-2
f82 (t f+ f1 ) g a g f e d c | b8 (t g+ g1 )t a b a g f es ds /
c15 b a g a8 f (t d4+ | d1 )t c b as b8 g (t e4+s /

% 2-3
c1 ds es f g a b g f e f e | f4 r1 c ds es f g a b /
e1 )t f g a b8 g1 es d8 c | b1 a g a b d c b a g f es /


Some people already succeeded to intergrate PMX-generated MusiXTeX
code into LaTeX documents.



From mutex-owner@mail2.gmd.de Mon Oct 18 15:56:56 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Spacing problems mid-bar
Date: Mon, 18 Oct 1999 08:56:56 -0700
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> Alasdair McAndrew [SMTP:Alasdair.McAndrew@vu.edu.au] wrote
> 
>Using PMX
>2.0.0, I can insert double bar lines in the middle of a bar; this
>keeps the bar numbers correct.
>...
> my best attempts to insert some spaces (so
>that the segno doesn't overprint on the notes or on the double bar
>lines) only result in spaces after the double bar, and before the notes
>of the next section, which is not what I want.
>
>Without going back to blind metre changes, is there any way I can
>force the correct spacing?

Short of using in-line TeX, I can't think of any way except with blind meter
changes as you suggested.  I suppose in some milennium I should go back and
make "X" spaces before mid-bar barlines behave the same way as those at
end-of-bar barlines.  But this is the first time this has ever come up.
Meanwhile, consider using blind meter changes and the fact that X-spaces
before end-of-bar barlines do come before the line.

Also, in case you are planning to split your score into separate parts, you
should be aware that scor2prt will not deal properly with "Rd" etc unless it
is at the beginning of an input block.  This is an even stricter requirement
than having it at the beginning of a bar.  (Otherwise I would need to have
taught scor2prt how to count time, so it would know where to put the barline
in other voices than where it was coded).

--Don Simons


From mutex-owner@mail2.gmd.de Tue Oct 19 06:35:23 1999
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Subject: Re: Linebreak of music example?
To: ruedas@geophysik.uni-frankfurt.de (Thomas Ruedas)
Date: Tue, 19 Oct 1999 08:35:23 +0200 (SAST)
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Thomas Ruedas skryf:
> 
> BTW, is there a conflict between MusiXTeX and certain commands of the
> amsmath package?
>
The only way to find out is the hard way.  You're supposed to code
\newcommand or \renewcommand instead of \def (except when the command
name contains an @ sign) so that all conflicts are found at the TeX 
stage.  But MusiXTeX is not in LaTeX, and amsmath.sty uses the pure
LaTeX commands only 30 times and plain \def on user-visible commands 
41 times.

The first 30 commands can be checked by \usepackage{musixtex,amsmath}.
The remaining 41 cases need to be done manually.

Dirk
 

From mutex-owner@mail2.gmd.de Tue Oct 19 09:07:37 1999
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To: Dirk Laurie <dirk@calvyn.puk.ac.za>
Cc: mutex@gmd.de
Subject: Re: Linebreak of music example? 
In-Reply-To: Your message of "Tue, 19 Oct 1999 08:35:23 +0200."
             <199910190635.IAA29023@calvyn.puk.ac.za> 
Date: Tue, 19 Oct 1999 10:07:37 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> Thomas Ruedas skryf:
> > BTW, is there a conflict between MusiXTeX and certain commands of the
> > amsmath package?
>
> The only way to find out is the hard way.  You're supposed to code
> \newcommand or \renewcommand instead of \def (except when the command
> name contains an @ sign) so that all conflicts are found at the TeX 
> stage.

there's nothing in the guidelines that says you needn't use
\newcommand or whatever for internal commands.

> But MusiXTeX is not in LaTeX, and amsmath.sty uses the pure
> LaTeX commands only 30 times and plain \def on user-visible commands 
> 41 times.

there's the rub: amsmath _is_ (in effect) part of latex -- it's
distributed from the required subdirectory, and the principal author
is part of the latex team.

> The first 30 commands can be checked by \usepackage{musixtex,amsmath}.
> The remaining 41 cases need to be done manually.

of course one can't hope that musixtex would care to use the latex
commands, since its use in the context of latex is something of a
minority sport (i've always assumed).  but it might be nice if
musixtex were to check for clashes using a mechanism of its own...

robin
(not speaking for the latex team...)

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Subject: Re: Linebreak of music example?
References: <199910190635.IAA29023@calvyn.puk.ac.za>
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Hello,
>> BTW, is there a conflict between MusiXTeX and certain commands of the
>> amsmath package?
>The only way to find out is the hard way.  You're supposed to code
>[snip]
>LaTeX commands only 30 times and plain \def on user-visible commands 
>41 times.
>The first 30 commands can be checked by \usepackage{musixtex,amsmath}.
>The remaining 41 cases need to be done manually.

<sigh> OK, thanks for the hint, maybe I will have a closer look at that
some time.
Regards,
Thomas
-- 
------------------------------------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, J.W.Goethe University Frankfurt
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Oct 19 10:23:35 1999
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Date: Tue, 19 Oct 1999 12:23:35 +0200
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To: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: Linebreak of music example?
References: <199910181532.RAA03179@sunick.gmd.de>
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Hello,
thanks for your reply, but the problems remain. Back at home yesterday I
tried \startpiece...\endpiece as follows:

\begin{music}
\setstaffs1{2}
\setclef1{\bass}
\generalmeter{\meterfrac34}
\generalsignature{-4}
\def\freqbarno{10}
\startpiece
...
with and without the music environment, but got a series of errors like
these:


! You can't use `\raise' in vertical mode.
\writ@box ->\raise 
                   \altportee \rlap {\box \toks@box }
l.229 \startpiece
                 
? 
! Missing number, treated as zero.
<to be read again> 
                   \hbox 
l.229 \startpiece
                 
? 
! Illegal unit of measure (pt inserted).
<to be read again> 
                   \hbox 
l.229 \startpiece
                 
? 
...
? 
bar 1
Underfull \hbox (badness 10000) in paragraph at lines 229--243
[] [][][][][][][][][][]  

\inline=

I also tried
\begin{center}
\parbox{\textwidth}{%
\setstaffs1{2}
\setclef1{\bass}
\generalmeter{\meterfrac34}
\generalsignature{-4}
\def\freqbarno{10}
\startpiece
...

which gives me similar errors at the \endpiece. What confuses me is that
a \startpiece...\stoppiece (\parboxed in a figure environment) and some
\startextract...\endextract earlier in the file (with some text in
between) worked without problems; using \contpiece instead of
\startpiece here didn't help either.
I also tried \linegoal=2 and ran musixflx with \startextract, but it
shows no effect; I didn't try it with \startpiece because of the
aforementioned problems.
Any further ideas? BTW, I have T.88 of MusiXTeX at home; do you think it
is necessary to upgrade it to solve this problem?

Regards,
Thomas

PS:
>Because of the many dimension etc. MusiXTeX uses, it's advisable to
>use pure MusiXTeX for bigger musical works, i.e. no AmsTeX, no LaTeX.
Yes, of course. But in this case it's really just a four-bar example.
-- 
------------------------------------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, J.W.Goethe University Frankfurt
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Tue Oct 19 12:14:47 1999
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Subject: Re: Linebreak of music example?
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>But I assume that \begin{center} is in conflict
>with MusiXTeX's assumption about TeX-paragraphs
Maybe, but I would find confusing, as both the center env and the parbox
are not inside the \startpiece...\endpiece stuff, but wrapping it. I
also had replaced \textwidth by 17cm in one try, but there was no
difference.
However, on the next occasion I will check the .mx? files as you
suggested. Thanks for your hints.
Regards,
Thomas
-- 
------------------------------------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, J.W.Goethe University Frankfurt
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
------------------------------------------------------------------------

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Date: Tue, 19 Oct 1999 14:00:03 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Linebreak of music example?
To: ruedas@geophysik.uni-frankfurt.de
Cc: mutex@gmd.de
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> Date: Tue, 19 Oct 1999 12:23:35 +0200
> From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>

[...]
> thanks for your reply, but the problems remain. Back at home yesterday I
> tried \startpiece...\endpiece as follows:
> 
> \begin{music}
> \setstaffs1{2}
[...]
> \startpiece
> ...
> with and without the music environment, but got a series of errors like
> these:
> 
> 
> ! You can't use `\raise' in vertical mode.
[...]
> I also tried
> \begin{center}
> \parbox{\textwidth}{%
> \setstaffs1{2}
[...]
> \startpiece
> ...
> 
> which gives me similar errors at the \endpiece.

As I wrote earlier, I do not use MusiXTeX within LaTeX. So I can't
comment on the errors. But I assume that \begin{center} is in conflict
with MusiXTeX's assumption about TeX-paragraphs, and I know that MusiXTeX
does not react on \textwidth, but on \hsize.

[...]
> I also tried \linegoal=2 and ran musixflx with \startextract, but it
> shows no effect; I didn't try it with \startpiece because of the
> aforementioned problems.

As I wrote yesterday, \startextract...\endextract is independent of
musixflx and therefore independent of \linegoal or \mulooseness.
\startextract...\endextract creates always one line which normally is
output as centered line.

I tested that the MusiXTeX input sent yesterday works well outside LaTeX
with \startextract...\endextract replaced by \startpiece...\endpiece.
It generated one line of music with too less space for accidentals. This
can be corrected by adding \linegoal=2.

> Any further ideas? BTW, I have T.88 of MusiXTeX at home; do you think it
> is necessary to upgrade it to solve this problem?

One of the error message (I removed) ended up with \inline=. This normally
indicates that the .mx2-file is too short. This my occur if the .mx1-file
generated during the first TeX-phase is incomplete. Maybe it helps to
inspect the .mx1-file. For any bar within \startpiece...\endpiece there
should be some lines in .mx1. For any section started be \startpiece or
\contpiece and ended by \stoppiece or \endpiece there should be a section
of data in .mx1; a section in .mx1 start with a line "S". Maybe that
the .mx1-file is corrupted because of some grouping in LaTeX.

I don't think that your problem depends on the MusiXTeX version. But why not 
upgrade? You have a high-speed connection to http://www.gmd.de/Misc/Music/


Sorry, no to be of more help -- Werner


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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Linebreak of music example?
To: ruedas@geophysik.uni-frankfurt.de (Thomas Ruedas)
Date: Wed, 20 Oct 1999 09:44:23 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <380C60B7.586@geophysik.uni-frankfurt.de> from "Thomas Ruedas" at Oct 19, 1999 02:14:47 PM
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Thomas Ruedas skryf:
> 
> >But I assume that \begin{center} is in conflict
> >with MusiXTeX's assumption about TeX-paragraphs
> Maybe, but I would find confusing, as both the center env and the parbox
> are not inside the \startpiece...\endpiece stuff, but wrapping it. I
> also had replaced \textwidth by 17cm in one try, but there was no
> difference.
>
This may not be a solution to your problem, but maybe you can use the
ideas.  I often use MusiXTeX inside LaTeX, not only single lines but
sometimes an entire piece, and this is how:

----
% This example shows a two-page compilation of small pieces,
% in which fonts are redefined and bar numbering suppressed
% by LaTeX-like commands, and \oddsidemargin is used to
% position the score. 
\documentclass{article}
\usepackage{musixtex,mtxdoc}
\pagestyle{empty}
\renewcommand{\BIGfont}{\medtype\bf}
\renewcommand{\Bigfont}{\normtype\bf}
\renewcommand{\writebarno}{\rule{0pt}{12pt}}
\oddsidemargin -13mm
\begin{document}
\input{dona.ex} \bigskip
\input{sanctus.ex} \bigskip
\input{vrede.ex} \bigskip
\input{viva.ex} \bigskip
\pagebreak
\input{soek.ex} \bigskip
\input{ovos.ex} \bigskip
\input{lammetji.ex} \bigskip
\end{document}
----
% A typical input file for the above, generated by M-Tx/PMX/tex2ex
% looks like this:
%%%%%%%%%%%%%%%%%
%
% dona.tex
%
%%%%%%%%%%%%%%%%
\normalmusicsize%
\tracingstats=2\relax
\hsize=524pt
\vsize=740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{-1}%
\generalmeter{\meterfrac{3}{4}}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\setsize1{\normalvalue}%
\setsongraise1{0\internote}%
\startpiece\addspace\afterruleskip%            
\setlyrics{11}{Do-na no-bis pa-cem, pa-cem, do-na no-bis pa-cem, }%
\assignlyrics1{11}%
\auxlyr{\assignlyrics1{}}%
\znotes\zcharnote{16}{\titles{2.0}{}{0}%
{Dona Nobis Pacem}{2.0}{}{0}}\en%
% bar  1
\def\NOtes{\vnotes2.00\elemskip}%
\def\NOtesp{\vnotes2.45\elemskip}%
\def\NOTes{\vnotes2.83\elemskip}%
\def\NOTesp{\vnotes3.46\elemskip}%
\def\NOTEs{\vnotes4.00\elemskip}%
\NOtes\beginmel\zchar{10}{\bf{1}}\ibu1e{-5}\qb1f\endmel\tbu1\qb1c\en%
\NOTEs\hu{'a}\en%
% bar  2
\xbar
\NOtes\beginmel\ibu1f{-7}\qb1g\endmel\tbu1\qb1c\en%
\NOTEs\hl{'b}\en%
% bar  3
\xbar
\NOTes\beginmel\islurd8{'a}\qu a\endmel\tslur8{`g}\qu g\qu f\en%
% bar  4
\xbar
\NOTes\qu f\en%
\NOTEs\hu e\en%
% bar  5
\xbar
\NOTes\beginmel\isluru8{'d}\ql d\en%
\NOtes\ibl1{'c}{-2}\qb1c\endmel\tslur8b\tbl1\qb1b\beginmel\ibu1a{-2}%
\qb1a\endmel\tbu1\qb1{`g}\en%
% bar  6
\xbar
\NOTesp\beginmel\isluru8{'c}\qlp c\en%
\NOtes\endmel\tslur8{'b}\cl b\en%
\NOTes\qu{'a}\en%
% bar  7
\xbar
\NOtes\beginmel\ibu1{'a}{-2}\islurd8a\qb1a\tbu1\qb1{`g}\en%
\NOTes\qu f\endmel\tslur8e\qu e\en%
% bar  8
\def\NOTEsp{\vnotes4.90\elemskip}%
\alaligne
\NOTEsp\hup f\en%
\setlyrics{11}{do-na no-bis pa-cem, do-na no-bis pa-cem,}%
% bar  9
\xbar
\NOTEsp\zchar{10}{\bf{2}}\hlp{'c}\en%
% bar 10
\xbar
\NOTEsp\hlp{'c}\en%
% bar 11
\xbar
\NOTes\beginmel\isluru8{'c}\ql c\endmel\tslur8b\ql b\qu a\en%
% bar 12
\xbar
\NOTes\qu{'a}\en%
\NOTEs\hu g\en%
% bar 13
\xbar
\NOTes\ql{'d}\en%
\NOTEs\hl{'d}\en%
% bar 14
\xbar
\NOTes\ql{'c}\en%
\NOTEs\hl{'c}\en%
% bar 15
\xbar
\NOtes\beginmel\ibl1{'c}{-2}\isluru8c\qb1c\tbl1\qb1b\en%
\NOTes\qu{'a}\endmel\tslur8e\qu{`g}\en%
% bar 16
\xbar
\NOTEsp\hup f\en%
\setlyrics{11}{do-na no-bis pa-cem, do-na no-bis pa-cem.}%
% bar 17
\alaligne
\NOTEsp\zchar{10}{\bf{3}}\hup f\en%
% bar 18
\xbar
\NOTEsp\hup e\en%
% bar 19
\xbar
\NOTesp\beginmel\islurd8f\qup f\en%
\NOtes\endmel\tslur8g\cu g\beginmel\ibu1{'a}2\qb1a\endmel\tbu1\qb1b\en%
% bar 20
\xbar
\NOTes\ql{'c}\en%
\NOTEs\hu c\en%
% bar 21
\xbar
\NOTes\ql{'b}\en%
\NOTEs\hl{'b}\en%
% bar 22
\xbar
\NOTes\qu{'a}\en%
\NOTEs\hu{'a}\en%
% bar 23
\xbar
\NOtes\beginmel\ibu1f3\islurd8e\qb1e\tbu1\qb1g\en%
\NOTes\ql{'c}\endmel\tslur8{`c}\qu c\en%
% bar 24
\xbar
\NOTEsp\hup f\en%
\Endpiece
----
% The mtxdoc.sty file is provided in the M-Tx package
% available on ftp.gmd.de and elsewhere
----

For one-line extracts I have found the following environment
(provided in mtxdoc.sty) useful:
\newenvironment{mus}{\begin{minipage}{260mm}\begin{music}%
\let\atnextbar\relax\nobarnumbers}%
{\end{music}\assignlyrics1{}\assignlyrics2{}\end{minipage}}

You can remove the \assignlyrics instructions if you do not
use musixlyr.  They are there to stop musixlyr from trying 
to put lyrics into instrumental excerpts that follow vocal
ones.

HTH

Dirk

From mutex-owner@mail2.gmd.de Wed Oct 20 10:36:57 1999
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From: Thomas Ruedas <ruedas@geophysik.uni-frankfurt.de>
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References: <199910200744.JAA31902@calvyn.puk.ac.za>
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>This may not be a solution to your problem, but maybe you can use the
>ideas.  I often use MusiXTeX inside LaTeX, not only single lines but
>sometimes an entire piece, and this is how:
Very good, I will try this out this evening. Thank you very much.
Regards,
Thomas
-- 
------------------------------------------------------------------------
Thomas Ruedas
Institute of Meteorology and Geophysics, J.W.Goethe University Frankfurt
e-mail: ruedas@geophysik.uni-frankfurt.de
http://www.geophysik.uni-frankfurt.de/~ruedas/
------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Mon Nov  1 10:02:39 1999
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Reply-To: "Michel CAPRACE" <michel.caprace@advalvas.be>
From: "Michel CAPRACE" <michel.caprace@advalvas.be>
To: "Mutex List" <mutex@gmd.de>
Subject: instrument name
Date: Mon, 1 Nov 1999 11:02:39 +0100
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How to write instrument name in italics when running MusixTeX under LaTex?

I tried:
\setname1{\it Myinstrument}
which is working under Tex.

I got an error message like .:
                    \unaccessible 
\endextract

when tex is closing the whole piece (actually it was an extract).

\setname1{Myinstrument} is working well.

Thanks for helping.
Michel Caprace


From mutex-owner@mail2.gmd.de Tue Nov  2 01:28:20 1999
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Date: Mon, 1 Nov 1999 19:28:20 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Michel CAPRACE <michel.caprace@advalvas.be>
Cc: Mutex List <mutex@gmd.de>
Subject: Re: instrument name
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On Mon, 1 Nov 1999, Michel CAPRACE wrote:

> How to write instrument name in italics when running MusixTeX under LaTex?
> 
> I tried:
> \setname1{\it Myinstrument}
> which is working under Tex.
> 
> I got an error message like .:
>                     \unaccessible 
> \endextract
> 
> when tex is closing the whole piece (actually it was an extract).
> 
> \setname1{Myinstrument} is working well.
> 
> Thanks for helping.
> Michel Caprace
> 
\setname1{\tenit Myinstrument}

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Nov  8 08:47:07 1999
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Date: Mon, 08 Nov 1999 09:47:07 +0100
From: Michael Hierweck <michael@hierweck.de>
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Hello everybody,

for typesetting drum scores (I think) I need, some more
notes like the ones provided by musixper.
For example I need a non-spacing "do" note with beam-support.
This is an example:

   ----      ----
  |    |    |    |
 X    X    X    X

           @
          |
          |
 @        |
|     X   |     X
|    |    |    |
 ----      ----

To typeset this either the Ride-Cymbal X (upper)
or the Hi-Hat X (lower) must be non-spacing.

What can I do?
Or do I make a mistake?

Thanks for your help.

Michael Hierweck

From mutex-owner@mail2.gmd.de Sat Nov 20 16:10:17 1999
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From: evita.j@magnet.at
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To: mutex@gmd.de
Subject: Can anyone help a complete novice with MusiXTeX installation?
Date: Sat, 20 Nov 1999 17:10:17 +0100
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Hello out there,

I'd like to install MusiXTeX on a Windows98 system. Unfortunately I've
never worked with anything TeX-related before and haven't succeeded in
tracking down any kind of introduction to the subject online, so I'm
rather at a loss. Is there any kind soul out there who would be
willing to talk me through the process? :)

Thanks in advance for any and all feedback

Eva


From mutex-owner@mail2.gmd.de Sun Nov 21 12:22:34 1999
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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
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evita.j@magnet.at wrote:

> Hello out there,
>
> I'd like to install MusiXTeX on a Windows98 system. Unfortunately I've
> never worked with anything TeX-related before and haven't succeeded in
> tracking down any kind of introduction to the subject online, so I'm
> rather at a loss. Is there any kind soul out there who would be
> willing to talk me through the process? :)
>
> Thanks in advance for any and all feedback
>
> Eva

I suggest that you install the MiKTeX TeX implementation as you base TeX
environment. The installation files may be downloaded from the MiKTeX home
page http://www.miktex.de/ (containing a one file installation set for
first time installers) or your nearest CTAN archive. During the the
installation dialogue you should answer yes to the question on installation
of a local texmf directory tree.

There are thorough installation instructions in the base CTAN archive:
ftp.tex.ac.uk/tex-archive/systems/win32/miktex/1.20/install.html

After you have finished the MiKTeX installation you may download the
MusiXTeX distribution zip archive and install the TeX and font files within
the local texmf tree. If you have defined the localtexmf tree as
c:\localtexmf the .mf files should be copied to
c:\localtexmf\fonts\source\musixtex, the .tfm files to
c:\localtexmf\fonts\tfm\musixtex and the .tex files to
c:\localtexmf\TeX\generic\musixtex. The files in the doc directory should
be copied to c:\localtexmf\musixtex\doc while the executable files
musixflx.exe and the unix/DOS file format conversion utilities utod.exe and
dtou.exe should be copied to a directory within your PATH environment.

As for the MusixTeX preprocessor pmx you should install the file pmx.tex to
c:\localtexmf\TeX\generic\pmx and the executable files pmxab.exe and
scor2prt.exe to a directory within your PATH environment.

If you want to use the pmx preprocessor M-Tx allowing a.o. adding lyrics to
the score you'll need the MusiXLyR utility and you must install the file
musixlyr.tex to c:\localtexmf\TeX\generic\musixlyr and the documentation
(mxlyrdoc.dvi) to c:\localtexmf\musixtex\doc. The M-Tx executable
prepmx.exe should be copied to a directory within your PATH environment.

Finally you should launch the MiXTeX 'Refresh filename database' accessible
from the MiKTeX section of the 'Start' menu.

Personally I almost always use M-Tx and may strongly  recommend the use of
it as it - besides the lyrics feature - handles the parts of multipart
scores in the same order as you write your sheet notes (opposite to pmx and
MusiXTeX). Almost all the wonderfull features of pmx are accessible from
mtx. The mtx documentation lists the few execptions from that.

I hope the above remarks may be useful and wish you good luck with your
music typesetting. The initial installation steps and the typesetting
learning curve may be cumbersome. But I dare promise you a typesetting
quality better than that obtainable from most commercial music typesetting
software.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Tue Nov 23 08:06:38 1999
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Date: Tue, 23 Nov 1999 02:06:38 -0600 (CST)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
To: mutex@gmd.de
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What Christian said, except that

> you must install the file
> musixlyr.tex to c:\localtexmf\TeX\generic\musixlyr 

I put it in \localtexmf\TeX\generic\musictex instead, no problems.

Jerome S. Colburn
jscolbur@prairienet.org



From mutex-owner@mail2.gmd.de Tue Nov 23 14:15:03 1999
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To: mutex@gmd.de
Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
Date: Tue, 23 Nov 1999 15:15:03 +0100
Reply-To: evita.j@magnet.at
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Hello again,

=46irst of all, let me thank everyone who was kind enough to respond to
my query, especially Christian Mondrup who provided a great deal of
help behind the scenes as well as on the list.

Thanks to all your help, I think I've now got everything installed all
right. I'm reading my way through the manual and attempting to put a
few of the basics into practice as I go along, but so far I haven't
had any success at producing the example files in the musixexa.zip
package. (Yes, I've seen the chapter on examples in the manual and
have only tried the "clean MusiXTeX examples" listed there.) Running
TeX on the files produces the .mx1 and .dvi files all right, running
musixflx on .mx1 yields .mx2, but the third pass elicits a stream of
"undefined control sequence l.1 \lineset" messages and no output. What
haven't I understood?

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)

From mutex-owner@mail2.gmd.de Tue Nov 23 16:42:19 1999
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
To: mutex@gmd.de
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> From: evita.j@magnet.at
> Date: Tue, 23 Nov 1999 15:15:03 +0100

> [... exampe files ...] Running
> TeX on the files produces the .mx1 and .dvi files all right, running
> musixflx on .mx1 yields .mx2, but the third pass elicits a stream of
> "undefined control sequence l.1 \lineset" messages and no output. What
> haven't I understood?

By private mail we found the solution. It's not a good idea to process
"foo.mx2" instead of "foo.tex" as 3rd MusiXTeX phase :-)

But it's new idea - after so many attempts to run phase 1 only.

-- Werner


From mutex-owner@mail2.gmd.de Tue Nov 23 16:37:29 1999
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To: evita.j@magnet.at
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Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
References: <3837E40A.7DA2BF91@biobase.dk> <Pine.3.89.9911230233.A24954-0100000@bluestem> <s87l3s05744r0gqmmdgqufprhubqsialk7@4ax.com>
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evita.j@magnet.at wrote:

> Hello again,
>
> First of all, let me thank everyone who was kind enough to respond to
> my query, especially Christian Mondrup who provided a great deal of
> help behind the scenes as well as on the list.
>
> Thanks to all your help, I think I've now got everything installed all
> right. I'm reading my way through the manual and attempting to put a
> few of the basics into practice as I go along, but so far I haven't
> had any success at producing the example files in the musixexa.zip
> package. (Yes, I've seen the chapter on examples in the manual and
> have only tried the "clean MusiXTeX examples" listed there.) Running
> TeX on the files produces the .mx1 and .dvi files all right, running
> musixflx on .mx1 yields .mx2, but the third pass elicits a stream of
> "undefined control sequence l.1 \lineset" messages and no output. What
> haven't I understood?

I feel convinced that you attempt to run the second tex pass on the .mx2
file. When I do that myself I get error messages like those reported by
you. Provided that the base tex sample file will pass at all (not all of
them will) you should get successfully through the processing by launching
the tex- and musixflx commands on the source file names _without_ their
extension part (.tex .mx1 etc). Some of the base tex example sources have
no concluding \bye statement. In that case you should enter \bye at the TeX
promt '*' yourself.

I would advise you to start with the sample accompanying the pmx- and mtx
distributions. If you're curious to see how 'real' musixtex works you might
do a closer study of the .tex files resulting from the processing of the
.pmx files. Sometimes it may be useful or even necessary to compare with
the musixtex.tex and pm.tex macro source files.

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Wed Nov 24 11:03:38 1999
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To: mutex@gmd.de
Subject: Re: Can anyone help a complete novice with MusiXTeX installation?
Date: Wed, 24 Nov 1999 12:03:38 +0100
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On Tue, 23 Nov 1999 17:42:19 +0100 (MET), Werner Icking
<Werner.Icking@gmd.de> wrote:

>By private mail we found the solution. It's not a good idea to process
>"foo.mx2" instead of "foo.tex" as 3rd MusiXTeX phase :-)
>
Oh no, Werner -- now that <sheepish grin> I sent you privately *is* in
a bright red face!

Well, at least you'll be able to spot me in all this snow that's
currently burying the Austrian Alps... :)

>But it's new idea - after so many attempts to run phase 1 only.
<chuckle> Nice to know that my mistakes are at least original...

Anyway, let me try to salvage some shred of credibility here by
reporting that my first attempt at typesetting a score (admittedly a
very simple one) in MusiXTeX has resulted in a .dvi good enough to
print out. All hope may not be lost! :)

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)

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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: AuxLyrics Question - How to add an obligato with SATB
Date: Sat, 27 Nov 1999 09:43:30 -0500
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Greetings:

I am attempting to typeset an obligato Singer part above an SATB setting,
with piano accompaniment, using M-TeX.

Unfortunately, I cannot get the lyrics of the obligato part to typeset.
They come through the M-TeX preprocessor as AuxLyrics, and I understand that
there are some limits on what one can do with AuxLyrics...  In the
documentation for MusiXLyrics 1.1, Rainer Dunker said "Yet to come...
Support for lyrics on multi-staff instruments."   Maybe this applies to me?

However, for any who are interested, I have included a short, silly
contraption that shows what I want, but am not able to get.

Currently I am using:
  Musixlyr.tex - MusiXLyrics 1.1, dated 18 December 1997
   M-Tx 0.52, dated 29 October 1998
    PMX version 2.00, dated 25 April 1999
     MusiXTex T.83, dated 30 November 1997
     EmTex (which is not updated since I started a few years ago :-)
     .... on a Pentium 200, using DOS 7.0, under Widow95 (... :-))

Clip the example below, and run it to see the problem.  (I created QSINGER
to avoid the conflict of S=Singer with S=Soprano, such as if I had said
"SINGER SATB PIANO"...

Thanks for any hints.

Joel Hunsberger
jhunsberger@i2k.com

--------------------- clip here -----------------------
Title: Contrived Example
Meter: 4/4
Bars/Line: 4
QSINGER: Voices Q; Vocal; Clefs G
Style:  QSINGER SATB PIANO

Q: c4 d e f | g a g2 |
LQ: These are ly-rics I don't see.
S: g2 g2 | g2 g2 |
A: e2 e2 | e2 e2 |
L: Stand-ard ly-rics
T: ( c4+ b ) ( a g ) | g2 c2 |
B: c2 c2 | c2 c2 |
RH: c1 c+ b a g f e d c8 e1 g c8- e1 g | c0- |
LH: c2 ze g2- zf+ | c0 zg+ |






From mutex-owner@mail2.gmd.de Sat Nov 27 15:54:33 1999
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From: evita.j@magnet.at
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To: mutex@gmd.de
Subject: Beams
Date: Sat, 27 Nov 1999 16:54:33 +0100
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Hello again,

Would somebody please be kind enough to give me an example of the
syntax of the \Ibu semi-automatic beam macros? Suppose I wanted to
beam together four quavers of pitches 'ab^cd, or a dotted quaver ^'c
and semiquaver 'd, using these macros, what would the command look
like?

Thanks in advance

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)

From mutex-owner@mail2.gmd.de Sun Nov 28 10:09:23 1999
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From: Christian Mondrup <scancm@biobase.dk>
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To: Hunsbergers <jhunsberger@i2k.com>
Cc: MusiXTex Mailing List <mutex@gmd.de>
Subject: Re: AuxLyrics Question - How to add an obligato with SATB
References: <000101bf38e5$e7c3d360$52e04bcf@default>
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Hunsbergers wrote:

> Greetings:
>
> I am attempting to typeset an obligato Singer part above an SATB setting,
> with piano accompaniment, using M-TeX.
>
> Unfortunately, I cannot get the lyrics of the obligato part to typeset.
> They come through the M-TeX preprocessor as AuxLyrics, and I understand that
> there are some limits on what one can do with AuxLyrics...  In the
> documentation for MusiXLyrics 1.1, Rainer Dunker said "Yet to come...
> Support for lyrics on multi-staff instruments."   Maybe this applies to me?
>
> However, for any who are interested, I have included a short, silly
> contraption that shows what I want, but am not able to get.
>
> Currently I am using:
>   Musixlyr.tex - MusiXLyrics 1.1, dated 18 December 1997
>    M-Tx 0.52, dated 29 October 1998
>     PMX version 2.00, dated 25 April 1999
>      MusiXTex T.83, dated 30 November 1997
>      EmTex (which is not updated since I started a few years ago :-)
>      .... on a Pentium 200, using DOS 7.0, under Widow95 (... :-))
>
> Clip the example below, and run it to see the problem.  (I created QSINGER
> to avoid the conflict of S=Singer with S=Soprano, such as if I had said
> "SINGER SATB PIANO"...
>
> Thanks for any hints.
>
> Joel Hunsberger
> jhunsberger@i2k.com
>
> --------------------- clip here -----------------------
> Title: Contrived Example
> Meter: 4/4
> Bars/Line: 4
> QSINGER: Voices Q; Vocal; Clefs G
> Style:  QSINGER SATB PIANO
>
> Q: c4 d e f | g a g2 |
> LQ: These are ly-rics I don't see.
> S: g2 g2 | g2 g2 |
> A: e2 e2 | e2 e2 |
> L: Stand-ard ly-rics
> T: ( c4+ b ) ( a g ) | g2 c2 |
> B: c2 c2 | c2 c2 |
> RH: c1 c+ b a g f e d c8 e1 g c8- e1 g | c0- |
> LH: c2 ze g2- zf+ | c0 zg+ |

Now this is strange. The only differences between our installations are those of
TeX implementation (I use MiKTeX) and MusiXTeX release (I use T97). I DO get all
lyrics diplayed whether I process the mtx paragraph as written above or simply
as:

c4 d e f | g a g2 |
L: These are ly-rics I don't see.
g2 g2 | g2 g2 |
e2 e2 | e2 e2 |
L: Stand-ard ly-rics
( c4+ b ) ( a g ) | g2 c2 |
c2 c2 | c2 c2 |
c1 c+ b a g f e d c8 e1 g c8- e1 g | c0- |
c2 ze g2- zf+ | c0 zg+ |

and I do not get the mtx lyrics translated into \auxlyr statements.
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Sun Nov 28 12:41:19 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: <scancm@biobase.dk>
Cc: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: Re: AuxLyrics Question - How to add an obligato with SATB
Date: Sun, 28 Nov 1999 07:41:19 -0500
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Christian Mondrup <scancm@biobase.dk> wrote:

>Now this is strange. The only differences between our installations are
those of
>TeX implementation (I use MiKTeX) and MusiXTeX release (I use T97). I DO
get all
>lyrics diplayed whether I process the mtx paragraph as written above [ed.
using LQ:] or simply
>as:
>
>c4 d e f | g a g2 |
>L: These are ly-rics I don't see.
>g2 g2 | g2 g2 |
>e2 e2 | e2 e2 |
>L: Stand-ard ly-rics
>( c4+ b ) ( a g ) | g2 c2 |
>c2 c2 | c2 c2 |
>c1 c+ b a g f e d c8 e1 g c8- e1 g | c0- |
>c2 ze g2- zf+ | c0 zg+ |
>
>and I do not get the mtx lyrics translated into \auxlyr statements.
>--


Aha... Yes, when I replace the  LQ: line with L: on my installation, I do
get the lyrics that I did not see in the first example.

On that note (:-), I returned to the larger context where I first had the
problem, and tried the same thing.  It basically works, except for a strange
syllable on a slurred note that seems to be masked out (for reasons yet to
understand.)  However, it appears that I do not fully understand the place
and reason for Named Lyric lines (e.g. LQ:) as opposed to simply "L:"
whenever needed.

I will probably update to T.97 soon and try this out, before pursuing this
more.  It is possible there may be a few bugs fixed on versions after T.83
that could affect this situation (i.e. the place where my lyrics are still
masked out)... (More research needed!)

Very many thanks!!

Joel Hunsberger
jhunsberger@i2k.com


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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: Beams
Date: Sun, 28 Nov 1999 14:15:37 -0800
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Evita wrote

>Would somebody please be kind enough to give me an example of
>the syntax of the \Ibu semi-automatic beam macros? 

I would have to RTFM to answer that, and I don't have it handy.  But now
that you have MusiXTeX up and running, why not use PMX?  Then you would not
need to clutter your brain with such details.

--Don Simons

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Beams
To: mutex@gmd.de, evita.j@magnet.at
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> From: evita.j@magnet.at
> Date: Sat, 27 Nov 1999 16:54:33 +0100

> Would somebody please be kind enough to give me an example of the
> syntax of the \Ibu semi-automatic beam macros? Suppose I wanted to
> beam together four quavers of pitches 'ab^cd, or a dotted quaver ^'c
> and semiquaver 'd, using these macros, what would the command look
> like?

I don't use this "semi-automatic" beams, because some of them seem to
be in conflict with the pitch notation which uses "'" for entering
the next upper octave or "`" for entering the next lower octave or
"!" for resetting the octave. The reason is that some of their parameters
are used more than once during the macro expansion. So a tranposition may
be executed more than once.

I had the same problem with macros I defined e.g. for ending a slur and
a beam:

 \def\ttqh#1#2{\tslur{#1}{#2}\tbu{#1}\qb{#1}{#2}}
     
If I now call e.g. \ttqh0{'c} then "'c" is executed twice as #2

So I redefined the macro using a private variable \nick@i:

 \def\ttqh#1#2{\nick@i\transpose\tslur{#1}{#2}\transpose\nick@i\tbu{#1}\qb{#1}{#2}}

saving the transpose register before the first usage of a pitch and restoring
it afterwards.

Another possibility is grouping; but that does not work if those values set
inside the group are not set globally which are needed outsided. Nevertheless
the example above would work (not tested):

 \def\ttqh#1#2{{\tslur{#1}{#2}}\tbu{#1}\qb{#1}{#2}}
 
Hope this hilft -- Werner


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Date: Tue, 30 Nov 1999 00:29:39 -0600 (CST)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
Subject: Re: Beams
To: mutex@gmd.de
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On Mon, 29 Nov 1999, Werner Icking wrote:

> I don't use this "semi-automatic" beams, because some of them seem to
> be in conflict with the pitch notation which uses "'" for entering
> the next upper octave or "`" for entering the next lower octave or
> "!" for resetting the octave. The reason is that some of their parameters
> are used more than once during the macro expansion. So a tranposition may
> be executed more than once.

Yes, that's one feature I wish worked (or could be set to work) the way the 
original MusicTeX documentation said it did (where notes with the same 
number of 's before them are always in the same octave). That's why I 
write {!'a}, etc.

Jerome Colburn
jscolbur@prairienet.org



From mutex-owner@mail2.gmd.de Tue Nov 30 13:32:29 1999
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To: mutex@gmd.de
From: Salvador =?iso-8859-1?Q?S=E1nchez-Pedre=F1o?=
 =?iso-8859-1?Q?_Guill=E9n?= <pedreno@fcu.um.es>
Subject: OpusTeX
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Hi all,
I have read OpusTeX is branched off MusiXTeX, but what is OpusTeX? Is it=
 free?
In the affirmative answer, where can I get it?

Thank you

Salvador Sanchez-Pedre=F1o Guillen

Department of Mathematics
University of Murcia
Campus de Espinardo
Apdo. 4021  30071 Murcia
Ph.  34 968363536
Fax. 34 968364182

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Hi,

I would like to typeset a Big Band arrangement using PMX. It is a
large score with 14 staves and the PMX-manual says that the number of
staves is limited to 12, but that this is under user control. Moreover 
I have a problem with the number of slurs that are open at the same
time. PMX complains at a certain point that I defined the 10th slur
and then MusixTeX stops with an error. I could not find in the manual
that the number of slurs is limited to 10.

I have two questions:
  1. How can I increase the limit of 12 staves to 14?
  2. Is it possible to increase this limit of 10 slurs?

Thanks,

Bas.



From mutex-owner@mail2.gmd.de Tue Nov 30 14:33:26 1999
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From: Jeroen Nijhof <J.H.B.Nijhof@aston.ac.uk>
To: mutex@gmd.de
Subject: Re: OpusTeX
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[ Apologies if this appears more than once, when I tried to post it I was
still subscribed from an old address, and I had trouble resubscribing
from the right address ]

> I have read OpusTeX is branched off MusiXTeX, but what is OpusTeX?

Basically, Andreas Egler's version of MusiXTeX. He disagreed
(vehemently, I thing) with Daniel Taupin on the development of MusiXTeX.

> Is it free?
> In the affirmative answer, where can I get it?

You can find it in ftp://ftp.tex.ac.uk/incoming/opustex/atwork/opus084.tgz
(or ../opus084.zip).  That version, of February 4, 1998 seems to be the
latest version; it certainly has been in "incoming" for a while!

I have no idea how it compares with the latest version of MusixTeX
(v. T97, as of July 8th this year).
OpusTeX seems to be freely downloadable, but apparently
it is not "DFSG-free", i.e. not free according to
the Debian Free Software Guidelines.


Jeroen Nijhof

From mutex-owner@mail2.gmd.de Tue Nov 30 16:28:15 1999
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Date: Tue, 30 Nov 1999 17:28:15 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Large scores with PMX
To: mutex@gmd.de, Bas.Luttik@cwi.nl
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> From: Bas Luttik <Bas.Luttik@cwi.nl>
> Date: Tue, 30 Nov 1999 14:28:23 +0100

> I would like to typeset a Big Band arrangement using PMX. It is a
> large score with 14 staves and the PMX-manual says that the number of
> staves is limited to 12, but that this is under user control. Moreover 
> I have a problem with the number of slurs that are open at the same
> time. PMX complains at a certain point that I defined the 10th slur
> and then MusixTeX stops with an error. I could not find in the manual
> that the number of slurs is limited to 10.
> 
> I have two questions:
>   1. How can I increase the limit of 12 staves to 14?

By modifying the PMX-source.

>   2. Is it possible to increase this limit of 10 slurs?

Yes. By modifying the PMX-source.

But in addition(!) MusiXTeX is limited to 12 instruments and 12 slurs
which are "open" in parallel.

For 14 staves you have to use a maximum of 12 instruments; but an
instrument can have up to 4 staffs. So you may group some of "your" 
instruments into one MusiXTeX-instrument, which is supported by PMX.

The slur problem can be solved by using simple slurs "\slur", but
that's a MusiXTeX solution, because up to now PMX does not use simple
slurs. You may use simple slurs within PMX as Inline-TeX. That's easy
for short slurs over notes of same length (in all voices :-(). Use
\\def\z#1{{#1}}\ for hiding local modification e.g. of the transpose
register. Then you can replace  "... ( c45 d e ) ..." by 
"... \z{\slur{!'c}eu2}}\ c45 d e ...". "2" means a slur with length
of 2 \noteskips which is the distance from the "c" to the "e".

But there is (nearly) no chance to have more than 12 slurs open
at a line break, because simple slurs cannot go over linebreaks. Nearly 
means, you can modify musixmad.tex or write a new MusiXTeX extension, 
which allows more than 12 slurs/instruments/beams/...

And this is the next problem: beams are limited to 12 beams open in
parallel. Again this may be solved by modifying musixmad.tex.

But then it's possible, that you reach the next limit: the TeX-dimensions
which are limited to 255. I'm too lazy to find out how many dimensions
are needed for a slur or for a beam.

Another possibility could be to use two PMX-sources. But then you have
the problem that you can't get a "correct" score. You may synchronize
(with a limit) the linebreaking of the two sources, but nevertheless the
barlines of both scores will not align.

And if your arrangement has not only many instruments but in addition
many bars or movements the you have to consider to break the whole
thing into bunches of pages (one PMX-source generating some pages),
which then can be concatenated with "dviconcat".

You can find this solution in the edition of Bach's Art of the Fugue.
Just yesterday I uploaded a new version of this piece now including 
Contrapunctus 12 (8 voices). The PMX source and all the(DOS)  procedures 
are on the server: http://www.gmd.de/Misc/Music/scores/  look for "Bach",
"Kunst der Fuge", Urtext.

-- Werner





From mutex-owner@mail2.gmd.de Tue Nov 30 17:55:51 1999
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Subject: Re: OpusTeX 
In-Reply-To: Your message of "Tue, 30 Nov 1999 14:33:26 GMT."
             <E11soLO-0004lS-00@tux.aston.ac.uk> 
Date: Tue, 30 Nov 1999 17:55:51 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Jeroen Nijhof wrote:

> > Is it free?
> > In the affirmative answer, where can I get it?
> 
> You can find it in ftp://ftp.tex.ac.uk/incoming/opustex/atwork/opus084.tgz
> (or ../opus084.zip).  That version, of February 4, 1998 seems to be the
> latest version; it certainly has been in "incoming" for a while!

i created the /incoming/opustex directory at his specific request.
when andreas egler stopped being a student, he couldn't afford access
to an ftp server to distribute his early test releases.  when he was
still working on it, he would upload a new version, and ask me to move
it to the right place and set its protections so that the general
public could get at it.

i explained to him that this was no way to go about distributing
software, but he was adamant that we should continue working that
way.  i'm not sure he entirely trusted me...

> I have no idea how it compares with the latest version of MusixTeX
> (v. T97, as of July 8th this year).

they'll have similar underlying ideas, but the story is likely to stop
there.

> OpusTeX seems to be freely downloadable, but apparently
> it is not "DFSG-free", i.e. not free according to
> the Debian Free Software Guidelines.

it's getting a steady, though slow, trickle of downloads.

robin

From mutex-owner@mail2.gmd.de Wed Dec  1 22:18:21 1999
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
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I have a Musixtex feature request:  I would like to have a Musixtex
equivalent of TeX's \discretionary command.  That is, a line break is
possible at
   \mudiscretionary{<pre-break>}{<post-break>}{<no break>}
If no line break does actually occur, then <no break> is typeset;  if a
line break does occur, then <pre-break> is typeset before the line break
and <post-break> is typeset after.

For example, you could then type
   \mudiscretionary{\rightrepeat}{\leftrepeat}{\leftrightrepeat}
It would also be possible to automatically post a signature change twice
if it happens at a line break.

Any implementation of \mudiscretionary unfortunately requires a
modification of musixflx:  In the first pass, \mudiscretionary must
record the widths of each of its three arguments in the .mx1 file.  Then
musixflx must use this information to decide on line breaks.  In the
second pass, \mudiscretionary must simply do as told by the .mx2 file.

In implementing \mudiscretionary, one would also have to decide what
exactly should be the meaning of "before" and "after" the line break.

Regards,
Mogens Lemvig Hansen
http://users.uniserve.com/~mlhansen


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Greetings:

I had just gotten nicely to sleep (for a long winter's nap :-), and I heard
someone suggesting "changes to MusixFlx...)!!!

If anyone considers doing this, there are are a few serious things to
consider...

First, (as I recall the code), the tricky problem facing Musixflx is to keep
strictly in sync with MusixTex line breaking decisions.  It is MusixTex that
makes the choice as to where the line breaks occur.  Keeping "in sync" is
already a tricky problem for Musixflx, considering the limited information
that mfx (i.e. musixflx) has to work with, and due to certain MusixTex
extensions made after musixflx was first designed.

The last update to mfx addressed a problem where Mtx (i.e. MusixTex) was
placing more or less spacing in a last measure than mfx thought,
specifically when processing \xbars, with embedded key and time signature
changes.  We were fortunate to solve this problem (without changes to
MusixTex) because a hack was developed which attempts (successfully?) to
detect WHEN \xbars occur, which is accomplished by emperically tracking
tell-tale characteristics of the spacing data written to the file by Mtx
from pass 1. (Xbar detection logic was installed.)  Then, if an xbar is "in
process" AND there is a sign, key, meter... change affecting the first
measure of the NEXT bar, spacing for the current line is adjusted to (now,
hopefully) be correct... That is, it more perfectly anticipates what Mtx
will do during Pass 2.

The problem is:  Mfx DOES NOT determine the line breaks.  It simply tracks
where it believes the line breaks will occur, and calculates the correct
spacing for each line.  The nice, exact spacing of tokens occurs because mfx
has told Mtx what internote spacing to use.  Then Mtx, without any other
biases, finds the horizontal box (hbox) full "just right" at the point it
decides to do the line break.  If Mtx makes a different decision in pass 2,
such as opting to break at a different measure, or deciding to put something
more or less in a measure (unknown to mfx), then mfx was wrong about the
spacing, and the notorious "overfull" or "undefull" hboxes occur.

The \xbar + sign change problem was tricky because IF Mtx decided (in pass
2) that it needed to either post or revoke the posting of a discretionary
sign/clef/meter change, but mfx (which did not know everything about xbar
behavior) was not aware that Mtx would switch the amount of spacing during
Pass 2, then the calcuations were wrong both for the current line and the
next line.  It was the discretionary behavior of the sign change posting
that was typically to blame for the difference in space placement during
xbars at the end of lines.

This principle must be observed:  MusixTex Pass 2 behavior should NOT be
allowed to diverge from Pass 1 behavior with respect to where line break
decisions occur, or WHAT is in a given line as a result of every line break
decision.  (It was the peculiar and divergent issue of discretionary sign
change postings during xbars that caused the last headache with mfx.)
Observe that Pass 1 is BOUND to Pass 2.  The only magic between the .MX1
file and the .MX2 file is the spacing computation done by Musixflx (which is
NOT magic at all!!), and Musixflx is not a good place to decide the line
breaking points.

I strongly endorse this design philosophy:  Once Pass 1 completes, MusixTex
should have already made the decision as to where each line break should
occur, and (therefore) what the lines should contain.  It is unfortunate,
unnecessary and undesirable behavior for MusixTex to conclude something
different during Pass 2.

Well, momentarily side-stepping that tricky little monster called
Musixflx...  I observe that there is already a healthy amount of
"discretionary" activity that MtX accomplishes at line breaks, particularly
involving both sign change, clef change, meter change and bar change
postings.  (And, only in a few strange cases does this decision come out
differently during Pass 2, :-(( )  Of course, I don't have extensive
knowledge about the many possible cases one could imagine, but I am curious
as to what type of discrtionary postings you would need, for which the
decision could not be made during Pass 1, (or whether currently defined
behavior would cover a majority of those cases already).

Interested, but seriously wary... Not wanting to wake a sleeping monster
(called Musixflx).

Joel Hunsberger
jhunsberger@i2k.com

-----Original Message-----
From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
To: MuTeX mailing list <mutex@gmd.de>
Date: Wednesday, December 01, 1999 7:34 PM
Subject: mudiscretionary


>I have a Musixtex feature request:  I would like to have a Musixtex
>equivalent of TeX's \discretionary command.  That is, a line break is
>possible at
>   \mudiscretionary{<pre-break>}{<post-break>}{<no break>}
>If no line break does actually occur, then <no break> is typeset;  if a
>line break does occur, then <pre-break> is typeset before the line break
>and <post-break> is typeset after.
>
>For example, you could then type
>   \mudiscretionary{\rightrepeat}{\leftrepeat}{\leftrightrepeat}
>It would also be possible to automatically post a signature change twice
>if it happens at a line break.
>
>Any implementation of \mudiscretionary unfortunately requires a
>modification of musixflx:  In the first pass, \mudiscretionary must
>record the widths of each of its three arguments in the .mx1 file.  Then
>musixflx must use this information to decide on line breaks.  In the
>second pass, \mudiscretionary must simply do as told by the .mx2 file.
>
>In implementing \mudiscretionary, one would also have to decide what
>exactly should be the meaning of "before" and "after" the line break.
>
>Regards,
>Mogens Lemvig Hansen
>http://users.uniserve.com/~mlhansen
>


From mutex-owner@mail2.gmd.de Thu Dec  2 17:52:42 1999
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 In order to include mueixbar.tex I repeat that I'm waiting for the autho=
r of musixbar.tex to
provide me with an EXAMPLE of its usage.

Preferably a ONE LINE example.

Then I shall include it ins musixdoc.tex.

If I get nothing, I shall not. Obviously.

Thanks in advance...
--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

From mutex-owner@mail2.gmd.de Thu Dec  2 22:07:01 1999
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From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
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Hi all,

Thank you for the reply - boy, I hit a nerve there :-)

Thanks for clearing up my misunderstanding about who decides on line
breaks in MusixTeX.  I am also more comfortable that TeX decides the
line breaks.

My current problem is changing metres.  I use
\generalmeter{...}\changecontext
which does what I want if the change happens in the middle of a line. 
However, if the metre change happens at a line break, I would like the
new metre to be posted twice:  at the end of the old line and at the
beginning of the new line.  That is:

\beginpiece
 4/4 music in 4/4 ...
    music in 4/4 ... |3/4
 3/4 music in 3/4 ...
\endpiece

I can achieve the look I want using hard line breaks (\alaligne), but I
would rather that TeX decides the line breaks instead of I.  

I have posted this problem before and then got the answer that it is
impossible.  I then figured that a \mudiscretionary command would be a
generic solution to this type of problem.  Is there another way?  Or a
way of implementing a \mudiscretionary command without causing trouble
for musixflx?

Regards,
Mogens


From mutex-owner@mail2.gmd.de Thu Dec  2 23:19:00 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Mogens Lemvig Hansen" <mlhansen@uniserve.com>,
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Subject: Re: mudiscretionary
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Mogens Lemvig Hansen <mlhansen@uniserve.com> wrote:


>Thank you for the reply - boy, I hit a nerve there :-)
>
>Thanks for clearing up my misunderstanding about who decides on line
>breaks in MusixTeX.  I am also more comfortable that TeX decides the
>line breaks.
>

:-))  Sorry about the appearance of "raw nerves"... more just nervousness...
The last time I touched Musixflx I swore I would never go back again... I
might really screw somthing up. :-)

Anyway, what I wrote in haste on the way out of the house this morning is
not quite the whole story...

My previous response was somewhat oversimplified (and in part, not
correct!), ...
Musixflx really does execise control over where line breaks occur.  For
example, by setting \linegoal one can illustrate the extent that Musixflx
really drives the line breaking decisions.  However, musixflx makes all line
breaking decisions under the ASSUMPTION that it knows exactly what MusixTex
will do with each of a number of contingencies it finds during during Pass
2.  It is supposed to be just a slave to MusixTex.

For example, musixflx assumes that if a sign change occurs in the middle of
a line, there will be no cautionary sign change just before that bar.
However, if it occurs at the end of a line, then it knows that MusixTex will
post a cautionary sign change at the end of the line, just before the next
line.

It was because musixflx did not know how MusixTex was handling sign changes
posted during xbars (when then happened to fall at the end of a line), that
it was once miscalculating the spacing for the two lines involved.

So, given a number of differenct contingencies (special cases) musixfix
currently knows about, the real problem in designing something like
\mudiscretionary is for the designers and maintainers to decide just how
much MORE musixflx will need to be taught in order to do the right
computation when the discretionary material falls in different places.

Taken to the extreme, musixflx would start to become more like a TeX
emulator.  Because this was not the intention when musixflx was first
designed, any movement in that direction, without extensively redesigning
musixflx will simply add to the the "special cases" that already obscure the
situation too much.

This is why I strongly advocate avoiding more situations where musixflx
would need much more knowledge of the consequences associated with music
elements occuring in different contexts... (e.g.) end of line rather than
beginning or middle.

However, this is just my opinion, having tramped around in Musixflx more
than I ever wanted to! :-)

>
>My current problem is changing metres.  I use
>\generalmeter{...}\changecontext
>which does what I want if the change happens in the middle of a line.
>However, if the metre change happens at a line break, I would like the
>new metre to be posted twice:  at the end of the old line and at the
>beginning of the new line.  That is:
>
>\beginpiece
> 4/4 music in 4/4 ...
>    music in 4/4 ... |3/4
> 3/4 music in 3/4 ...
>\endpiece
>
>I can achieve the look I want using hard line breaks (\alaligne), but I
>would rather that TeX decides the line breaks instead of I.
>
>I have posted this problem before and then got the answer that it is
>impossible.  I then figured that a \mudiscretionary command would be a
>generic solution to this type of problem.  Is there another way?  Or a
>way of implementing a \mudiscretionary command without causing trouble
>for musixflx?
>
>Regards,
>Mogens
>

Maybe a MusixTex-Pert could look at into MusixTex to see if the same logic
that applies to sign change posting decisions could also be (or is supposed
to be?) applied to Meter change postings.  If that decision could be
instrumented within MusixTex, then Musixflx might be up for (say) one more
little special case. :-)

Joel Hunsberger
jhunsberger@i2k.com



From mutex-owner@mail2.gmd.de Fri Dec  3 00:22:56 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: MuTeX mailing list <mutex@gmd.de>
Subject: Meter change at line end (was RE: mudiscretionary)
Date: Thu, 2 Dec 1999 16:22:56 -0800 
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> Mogens Lemvig Hansen [SMTP:mlhansen@uniserve.com] wrote
> 
>My current problem is changing metres.  I use
>\generalmeter{...}\changecontext
>which does what I want if the change happens in the middle of a line. 
>However, if the metre change happens at a line break, I would like the
>new metre to be posted twice:  at the end of the old line and at the
>beginning of the new line. ...

I presume you do not use PMX.  However, I'll point out that PMX will
automagically repeat the meter at the end of a line if that's where the
meter change happens to fall.

--Don Simons



From mutex-owner@mail2.gmd.de Fri Dec  3 11:34:17 1999
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From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
Organization: LTS
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taupin wrote:
> 
>  In order to include mueixbar.tex I repeat that I'm waiting for the author of musixbar.tex to
> provide me with an EXAMPLE of its usage.
> 
> Preferably a ONE LINE example.
> 
> Then I shall include it ins musixdoc.tex.
> 
> If I get nothing, I shall not. Obviously.
> 
> Thanks in advance...

Hello

Although I am not the author of musixbar.tex, I can provide an example
(one line or more...) of its use (unfortunately not before monday).
Please let me know if you are interested.

Best regards.

-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
Office:  ELE 237
Phone:   +41 - 21 - 693 36 32 (Office) or 46 21 (LTS lab)  
Fax:     +41 - 21 - 693 76 00
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From mutex-owner@mail2.gmd.de Sat Dec  4 16:16:56 1999
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Subject: New version T.98 of MusiXTeX available
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Subject: MusiXTeX version T.98

New version T.98 of MusiXTeX available at anonymous ftp:
  hprib.lps.u-psud.fr =3D 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://hprib.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.98  \hidebarrules, \showbarrules implemented
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many bu=
gs
 - T.95  (working version, unpublished)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and \liftpaus=
ep

Ready made pk's no more in musixtex.zip (only in musix300, *360 and *600.=
zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the distrib=
)
if your previous version is less than T.83

=20
Daniel Taupin
--=20
-------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  T=E9l: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------

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From: Erwin Achermann <acherman@inf.ethz.ch>
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Robin Fairbairns wrote:
> 
> Jeroen Nijhof wrote:
> 
> > > Is it free?
> > > In the affirmative answer, where can I get it?
> >
> > You can find it in ftp://ftp.tex.ac.uk/incoming/opustex/atwork/opus084.tgz
> > (or ../opus084.zip).  That version, of February 4, 1998 seems to be the
> > latest version; it certainly has been in "incoming" for a while!
> 
> i created the /incoming/opustex directory at his specific request.
> when andreas egler stopped being a student, he couldn't afford access
> to an ftp server to distribute his early test releases.  when he was
> still working on it, he would upload a new version, and ask me to move
> it to the right place and set its protections so that the general
> public could get at it.
> 
> i explained to him that this was no way to go about distributing
> software, but he was adamant that we should continue working that
> way.  i'm not sure he entirely trusted me...
> 
> > I have no idea how it compares with the latest version of MusixTeX
> > (v. T97, as of July 8th this year).

It was our idea to have an "atwork" version where different developments
could start from and Andreas would then merge them together some when to
form a new release. But this never happened. I recently asked him about
current standings. He sent me the history.txt file and some ideas he is
working on (automatic beams and chords). According to that OpusTex is
now at version 0.93 and has changed considerably. But i have no access
to it. Andreas promised that he will release it via Dante in the 'normal
way?, when it will be the time to do so.... 

Maybe it would be a good idea if Robin as a maintainer of
ftp://ftp.tex.ac.uk/incoming/opustex/atwork/opus084.tgz would ask
Andreas directly what to do with it and how to go about with a new
version release.

Cheers
Erwin

-- 
Erwin Achermann                               Tel:      ++41 1 632 74 40
Institut fuer Wissenschaftliches Rechnen      Fax:      ++41 1 632 13 74
ETH Zentrum, RZ F11             mailto:acherman@inf.ethz.ch  ICQ:4625051
CH-8092 Zuerich	               http://www.inf.ethz.ch/personal/acherman/
>The train stops at the train station, the bus stops at the bus station,
>So why am I sitting at a work station?                  ---Ralph Hempel

From mutex-owner@mail2.gmd.de Mon Dec  6 10:38:35 1999
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Date: Mon, 6 Dec 1999 11:38:35 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: mudiscretionary
To: mutex@gmd.de, mlhansen@uniserve.com
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> Date: Thu, 02 Dec 1999 14:07:01 -0800
> From: Mogens Lemvig Hansen <mlhansen@uniserve.com>

> [...] I would like the
> new metre to be posted twice:  at the end of the old line and at the
> beginning of the new line. [...]
[...]
> I can achieve the look I want using hard line breaks (\alaligne), but I
> would rather that TeX decides the line breaks instead of I.  

For such cases I have two solutions. One is very easy: I use PMX.

The other is to develop a masterpiece up to it's very, very end, letting
MusiXTeX/musixflx doing the line breaks. Then I look for places where
I should do some small manual changes, e.g. posting a meter or a signature
change at the end of line; moving left-rightrepeats to the end of the line.

To make this more simple I do not use \mulooseness, but \Linegoal (introduced
to MusiXTeX/flx by Joel Hunsbergers in addition to the glorious debugging
he did, what makes him now nervous :-)

To make the manual modifications a little bit easier I use the following
debugging code, which posts line-numbers at the beginning of every staff.

\makeatletter
\newcount\linenumber
\def\linenumbers{%
\def\lineset##1##2##3##4##5{\ifx\no@l\empty \message{<##1>}\fi
\linenumber##1%
\maxbarsinlin@##2%
\@l@mskip##3%
\elemskip\@l@mskip%
\afterruleskip##4%
\beforeruleskip##5}%
\def\everystaff{\znotes\lcharnote3{\the\linenumber~~~~~}\en}%
}%
\makeatother

-- Werner


From mutex-owner@mail2.gmd.de Mon Dec  6 11:30:21 1999
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Date: Mon, 06 Dec 1999 12:30:21 +0100
To: mutex@gmd.de
From: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@uni-konstanz.de>
Subject: TeX into LaTeX
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Hello,

is there any possibility to include a TeX-file created by pmx in
a LaTeX2e-file?

I wrote a song and now I would like to write so Text (not the voice?) in
the same document. Unfortunalty a simple 

...
\begin{document}
\input xxx
...
\end{document} 

doesn't work.

Any ideas?

Michael
--
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Michael K"onig                       Tel: ++49-7531/74173
                                     Fax: ++49-7531/74173

From mutex-owner@mail2.gmd.de Mon Dec  6 14:47:15 1999
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Date: Mon, 6 Dec 1999 08:47:15 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@uni-konstanz.de>
Cc: mutex@gmd.de
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On Mon, 6 Dec 1999, Michael [iso-8859-1] K=F6nig wrote:

> Hello,
>=20
> is there any possibility to include a TeX-file created by pmx in
> a LaTeX2e-file?
>=20
> I wrote a song and now I would like to write so Text (not the voice?) in
> the same document. Unfortunalty a simple=20
>=20
> ...
> \begin{document}
> \input xxx
> ...
> \end{document}=20
>=20
> doesn't work.
>=20
> Any ideas?
>=20
> Michael

There is a short PMX+LaTeX2e file at GMD.

=09<http://www.gmd.de/Misc/Music/>

It's a bit dated (PMX 1.1) but it should give you a place to start.  If it
doesn't work, let me know and I'll look into updating it.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Mon Dec  6 18:37:00 1999
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Date: Mon, 06 Dec 1999 10:37:00 -0800
From: Mogens Lemvig Hansen <mlhansen@uniserve.com>
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Hi all,

I would like to understand more of the inner workings of musixtex. 
However, I find musixtex.tex very hard to read - in part due to the very
short and cryptic command names and the tri-lingual comments.  

In comparison, LaTeX source files (certainly .dtx file) are smooth
reading - for an exceptionally well documented LaTeX package, see the
shortlst package on CTAN :-)

Does anybody have a TeXnical description of how musixtex works?

Regards,
Mogens


From mutex-owner@mail2.gmd.de Mon Dec  6 20:12:01 1999
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Werner Icking wrote:
> 
> For such cases I have two solutions. One is very easy: I use PMX.
> 
> The other is to <(ed. mlh) do things by hand>

Neither solution is available to me: I have 600+ pages of hymns coded in
musixtex.  

MusixTeX _ought_ to be able to post metre changes both before and after
the linebreak.  I wish I could contribute to the implementation, but I
do not understand the inner workings of musixtex - sigh.

Thank you all very much for you contributions to the thread - and the
musixtex.

Regards,
Mogens

From mutex-owner@mail2.gmd.de Tue Dec  7 08:53:17 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: pmx changing number of staffs
Date: Tue, 7 Dec 1999 09:53:17 +0100
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Hi,

I like to change the number of staffs from 2 to 3 after 2 systems (music
lines)

Is there anyone who is willing to give me the proper commands or if it is
already mentioned in the mailing list,
is willing to point me to the proper Mutex-Archive mail?

%The first part should meet:
%nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    2    2    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    1  4  20  .09

%The second part should meet:
%nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3    3    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    1  4  20  .09

This is what i already tried:
----
nv, noinst
3 3
....
\\instrumentnumber 2\
....
L1Mn212bt
%first bar
...
L3Mn3123btt
%next bar
----

for the first lines of music the best i could manage was a first
system of 1 bar if i omit \\instrumentnumber 2\ then the first
system has 1 bar with 3 staffs, the next systems have 2 staffs

Thanks in advance
Andre


From mutex-owner@mail2.gmd.de Tue Dec  7 09:19:08 1999
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Date: Tue, 7 Dec 1999 10:19:08 +0100
From: Zdenek Pytela <letty@phil.muni.cz>
To: mutex@gmd.de
Subject: rpm packages for MusiXTeX T.98
Message-Id: <19991207101908.B9019@lvt.phil.muni.cz>
References: <38493E78.29360D34@lps.u-psud.fr>
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Organization: Masaryk University, Faculty of Arts
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	People using rpm-based Linux distribution (RedHat and many others)
may use new version of MusiXTeX in rpm packages. Packages musixtex and
musixtex-musixflx as well as the source package can be found at 
ftp://ftp.phil.muni.cz/pub/local/musixtex/
They may help you to keep your musixtexing system consistent, up-to-date and
easy-to-install.

	Thanks to all who replied me last time (August 1999). Support for
helping tools (PMX, M-Tx) is not added yet for I don't use them - but sure
will be later as well as examples and other musixtex-related packages.
Finally one request: may people who know deutsch (or possibly any other
language) translate the info given by rpm -qi to have the package more
internationalized?

	More information:
- package musixtex-musixflx contains just the musixflx binary
- package musixtex contains documentation, tex sources, mf sources,
tfm metrics (not neccessary, but they are not too big and are needed more
often) and the musixtex format built. Fonts (pk) are not included, they are
compiled on the flow.
- source package (.src.rpm) is needed only if you want to do some changes and
make your own packages (or just check what I've done ;-))

	If you like or dislike it, if you find a problem or if you have
a suggestion, feel free to drop me a line.

-- 

--Zdenek <pytela@phil.muni.cz>


From mutex-owner@mail2.gmd.de Tue Dec  7 16:23:33 1999
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Date: Tue, 07 Dec 1999 17:23:33 +0100
To: mutex@gmd.de
From: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@uni-konstanz.de>
Subject: volta
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Hello,

can anybody give me an idea how the volta-syntax in pmx looks like?

Do really do not understand the the paragraph in the pmx-manual, sorry.

I have

Rl ... /
g2 d4 Rr /% <-------- first ending
g2 r4 /% <----------- second ending

Tnanks, Michael

--
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++
Michael K"onig                       Tel: ++49-7531/74173
                                     Fax: ++49-7531/74173

From mutex-owner@mail2.gmd.de Tue Dec  7 18:45:10 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: volta
Date: Tue, 7 Dec 1999 10:45:10 -0800 
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>can anybody give me an idea how the volta-syntax in pmx looks like?

>I have

>Rl ... /
>g2 d4 Rr /% <-------- first ending
>g2 r4 /% <----------- second ending

Rl ... /
V1
  g2 d4 /
Rr Vb2 
  g2 r4 /
Vx ...

"V1" starts the first volta and inserts text "1"
"Vb2" ends the first volta with a box and starts the second one with text
"2".  
"Vx" ends the second volta with no box.  If you want the 2nd ending to be in
a boxed volta, use Vb as the last symbol instead of Vx.

Most important rules:

1. Voltas must be set in voice #1 only.
2. If you ever want to make parts, there can only be one volta command per
input block, and it should be at the start of the block.

--Don Simons

From mutex-owner@mail2.gmd.de Tue Dec  7 18:59:08 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: pmx changing number of staffs
Date: Tue, 7 Dec 1999 10:59:08 -0800 
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I've had to do this myself several times.  The difficulty is that PMX must
know the maximum number of instruments and their names at the very
beginning.  The trick is to start the file with a dummy page that you will
later throw away.  Then start the second page of the score (the first real
page) with a line/page/movement break and change to the reduced number of
instruments.  For this case (details courtesy of Werner):

% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3    3    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    2  7  20  .09
1
2
3
btt
./
Arbd

% some dummy music for the first line/page with 3 instruments
c44 c c c c c c c /
c44 c c c c c c c /
c44 c c c c c c c /

Tt
Here the title goes

L3P2Mr+n212bt
g83 g4 g8 a4d a8 | b8 b b4 b2 /
g84 b4- c8 e4d e8 | g8 g g4 g2 /
%3
g8 g4 g8 g4 g | f4 f2d /
g8 b4- c8 e4 e | c4 b2d /
%5
L6Mr-n3123btt
g8 g4 g8 g4 g | f4 f2d /
b8 b4 b8r c4 c | a4 a2dr /
g8 b4- c8 e4 e | c4 b2d /

Notice that there must be two systems on the dummy page and the first real
page must start with L3.  There is a bug in PMX (scheduled for fixing in
2006) that keeps this from working with just one system on the dummy page.

Also notice the slight flaw in the very last line: no octave information was
given for the new voice, and PMX gets confused.  For safety I always specify
the octave in every line of music at the beginning of every new input block.

--Don Simons

> -----Original Message-----
> From:	Andre Van Ryckeghem [SMTP:andre.vanryckeghem@kh.khbo.be]
> Sent:	Tuesday, December 07, 1999 12:53 AM
> To:	mutex@gmd.de
> Subject:	pmx changing number of staffs
> 
> Hi,
> 
> I like to change the number of staffs from 2 to 3 after 2 systems (music
> lines)
> 
> Is there anyone who is willing to give me the proper commands or if it is
> already mentioned in the mailing list,
> is willing to point me to the proper Mutex-Archive mail?
> 
> %The first part should meet:
> %nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
>     2    2    4    4   0   6   0  -3
> % npages,nsyst,musicsize,fracindent
>     1  4  20  .09
> 
> %The second part should meet:
> %nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
>     3    3    4    4   0   6   0  -3
> % npages,nsyst,musicsize,fracindent
>     1  4  20  .09
> 
> This is what i already tried:
> ----
> nv, noinst
> 3 3
> ....
> \\instrumentnumber 2\
> ....
> L1Mn212bt
> %first bar
> ...
> L3Mn3123btt
> %next bar
> ----
> 
> for the first lines of music the best i could manage was a first
> system of 1 bar if i omit \\instrumentnumber 2\ then the first
> system has 1 bar with 3 staffs, the next systems have 2 staffs
> 
> Thanks in advance
> Andre

From mutex-owner@mail2.gmd.de Tue Dec  7 08:43:14 1999
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Date: Tue, 7 Dec 1999 01:43:14 -0700
From: Anthony Fok <foka@ualberta.ca>
To: Jeroen Nijhof <J.H.B.Nijhof@aston.ac.uk>
Cc: mutex@gmd.de
Subject: Re: OpusTeX
Message-Id: <19991207014314.A17774@lovelife.olvc.ab.ca>
References: <E11soLO-0004lS-00@tux.aston.ac.uk>
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On Tue, Nov 30, 1999 at 02:33:26PM +0000, Jeroen Nijhof wrote:
> I have no idea how it compares with the latest version of MusixTeX
> (v. T97, as of July 8th this year).
> OpusTeX seems to be freely downloadable, but apparently
> it is not "DFSG-free", i.e. not free according to
> the Debian Free Software Guidelines.

Actually, neither is MusiXTeX (it doesn't satisfy the DFSG or the Open
Source Definition (OSD)), so both MusiXTeX and OpusTeX are in Debian's
non-free right now.  (MusiXTeX was in "contrib" briefly, but its
licensed was reviewed later (in Oct. 1997) by the more experienced
Debian developers who noted that the license still fails the DFSG
guideline due to some ambiguity and uncertainty?

(Hint: Daniel, if you are reading this, are you willing to modify or clarify
       the license stated in musixdoc.tex to be Open-Source compliant?)

However, if I recall correctly, OpusTeX is a lot more "non-free" than
MusiXTeX in terms of usage.  I vaguely recalled that OpusTeX's author
forbids any commercial use of the package, i.e. no one is allowed to
sell sheet music generated by OpusTeX.  Note that I cannot find this
restriction anywhere in OpusTeX-0.84, and I forgot if Andreas did
mention this in an e-mail or not, so I don't know if this restriction
exists in reality or just in my mind.  Perhaps Andreas could confirm.

Anthony

-- 
Anthony Fok Tung-Ling                Civil and Environmental Engineering
foka@ualberta.ca, foka@debian.org    University of Alberta, Canada
anthony_fok@catholic.org             Keep smiling!  *^_^*
Come visit Our Lady of Victory Camp -- http://come.to/olvc

From mutex-owner@mail2.gmd.de Wed Dec  8 09:47:14 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Fw: pmx - xtuplet problem
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Sorry to bother you again, but i think i suffer perhaps from a
milleniumproblem

On my computer the next lines do not compile
(in the second pass of pmx there is a SING error (that SING frustates me a
lot)

If i outcomment the lines with //, then everything seems ok (but then i have
a real sing error)

I beg for help

Andre

--------
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3    3    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    1  1  20  .001
3
2
1
btt
./
Arbd
r4+0 e44x3 e e b4 d //
rb4 g44x3 g g f4 g /
r4+0 b44x3 b b b2 //
rb4 e44x3 e e d4 e /
b44 g f r8 g /
------




From mutex-owner@mail2.gmd.de Wed Dec  8 11:49:49 1999
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From: Thorsten Ehm <Thorsten.Ehm@informatik.uni-augsburg.de>
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Subject: Re: pmx - xtuplet problem
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Hi Andre

I tested the lines on my linux box and all went fine. I'm using pmx2.00.

Thorsten

-- 
Thorsten Ehm		   E-mail: Thorsten.Ehm@informatik.uni-augsburg.de
Institut fuer Informatik   Tel.: ++ 49 821 598 2116
Universitaet Augsburg	   Fax: ++ 49 821 598 2274
86135 Augsburg, Germany	   http://www.informatik.uni-augsburg.de/

From mutex-owner@mail2.gmd.de Thu Dec  9 07:54:09 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: pmx - xtuplet problem
Date: Wed, 8 Dec 1999 23:54:09 -0800 
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Andre Van Ryckeghem wrote

>Sorry to bother you again, but i think i suffer perhaps from a
>milleniumproblem
>On my computer the next lines do not compile

...

>% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
>    3    3    4    4   0   6   0  -3
>% npages,nsyst,musicsize,fracindent
>    1  1  20  .001
>3
>2
>1
>btt
>./
>Arbd
>r4+0 e44x3 e e b4 d //
>...

There is no reason to be sorry for reporting a real bug.  This one has been
there at least since 1.43, not quite a full millenium but almost.  It
requires 3 conditions: (1) "Ad" (lower dots in lower line of music if the
note is on a line), (2) any xtuplet, and (3) a compiled version that doesn't
like log(0).  It will be fixed in the next version. Meanwhile if you leave
out "Ad" you will not get the error.

--Don Simons 

From mutex-owner@mail2.gmd.de Fri Dec 10 10:44:31 1999
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Date: Fri, 10 Dec 1999 11:44:31 +0100
From: Friedemann Kemm <iagkemm@iag.uni-stuttgart.de>
To: mutex@gmd.de
Subject: M-Tx fails in processing some of the example files
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Hello!

I recently got MusixTeX, PMX and M-Tx. Now I liked to process the examples
shipped with M-Tx. Some of them work fine, some of them don't. 
For example with kroonhom.mtx I get the following: 

> prepmx kroonhom.mtx 
==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
.mtx extension deleted from basename: WARNING in preamble
Writing to kroonhom.pmx
You have not defined Meter, assuming "C" : WARNING in preamble
Floating exception (core dumped)
> 

I get the same error also on another system (both Unix). Did I miss
something in my installation or is there someone else to get the same
problem? 


Thanks in advance for any hint.

Friedemann

--
___________________________________________________________________________
|                               |                                         |
| Friedemann Kemm               |    Pfaffenwaldring 21, 70550 Stuttgart  |
| Institut fuer Aerodynamik     |    phone: +49 711/685-3454              | 
|   und Gasdynamik (IAG)        |    fax  : +49 711/685-3438              |
| Universitaet Stuttgart        |    email: kemm@iag.uni-stuttgart.de     |
|                               |    url  : www.iag.uni-stuttgart.de/     |
|                               |              people/friedemann.kemm     | 
___________________________________________________________________________


From mutex-owner@mail2.gmd.de Fri Dec 10 15:02:36 1999
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Date: Fri, 10 Dec 1999 09:02:36 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Friedemann Kemm <iagkemm@iag.uni-stuttgart.de>
Cc: mutex@gmd.de
Subject: Re: M-Tx fails in processing some of the example files
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On Fri, 10 Dec 1999, Friedemann Kemm wrote:

> Floating exception (core dumped)

Can you give some details about how you compiled prepmx? (gcc or other,
compiler options, platforms?) I think you might have to recompile with some
debugging options and check the core file to determine exactly what is going
wrong.  People on the list can help you do that if need be.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


From mutex-owner@mail2.gmd.de Sat Dec 11 16:11:10 1999
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From: evita.j@magnet.at
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To: mutex@gmd.de
Subject: Guitar-specific notation
Date: Sat, 11 Dec 1999 17:11:10 +0100
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Hello everybody,

Is it possible to represent a glissando in MusiXTeX in the form of a
straight line going from (just below) one note head to (just below)
another? If so, how?

And what would be the procedure for placing a subscript 8 below every
treble clef? (Not strictly necessary for guitar notation, but nice to
have anyway.)

Thanks in advance for any and all feedback

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)

From mutex-owner@mail2.gmd.de Sun Dec 12 06:35:43 1999
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From: "Jerome S. Colburn" <jscolbur@prairienet.org>
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To: mutex@gmd.de
Subject: Re: Guitar-specific notation
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On Sat, 11 Dec 1999 evita.j@magnet.at wrote:

> And what would be the procedure for placing a subscript 8 below every
> treble clef? (Not strictly necessary for guitar notation, but nice to
> have anyway.)

\settrebleclefsymbol{<number of instrument>}{\treblelowoct}

e.g., \settrebleclefsymbol{1}{\treblelowoct}

Jerome Colburn
jscolbur@prairienet.org



From mutex-owner@mail2.gmd.de Sun Dec 12 06:45:56 1999
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From: Van Ryckeghem Andre <andre.vanryckeghem@kh.khbo.be>
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To: mutex@gmd.de
Subject: Re: Guitar-specific notation
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1. I used this method for producing a line:

\def\straightline#1#2#3{%
\rlap{\varline{#1}{#2\noteskip}{#3}}}%

2.
\def\everystaff{\znotes\nextinstrument%
\zchar{-6}{\normtype \kern -2\Interligne 8}\en}%

(before the start musixtex;
adapt for proper staff}

Andre

Quoting evita.j@magnet.at:

> Hello everybody,
>
> Is it possible to represent a glissando in MusiXTeX in the form of a
> straight line going from (just below) one note head to (just below)
> another? If so, how?
>
> And what would be the procedure for placing a subscript 8 below every
> treble clef? (Not strictly necessary for guitar notation, but nice to
> have anyway.)
>
> Thanks in advance for any and all feedback
>
> Eva
>
> --
> "I don't play the clarinet. I speak music."
>=A0=A0=A0 ---Giora Feidman (clarinetist with Israel Philharmonic)
>=20



From mutex-owner@mail2.gmd.de Sun Dec 12 09:45:25 1999
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evita.j@magnet.at wrote:

> Hello everybody,
>
> Is it possible to represent a glissando in MusiXTeX in the form of a
> straight line going from (just below) one note head to (just below)
> another? If so, how?
>
> And what would be the procedure for placing a subscript 8 below every
> treble clef? (Not strictly necessary for guitar notation, but nice to
> have anyway.)

For the sake of completeness I feel tempted to add to the replies of Jerome
Colburn and Andre Van Ryckeghem that

- mtx has a shortcut 'G8' for \treblelowoct (to be used in style
definitions)

- MusiXTeX also supplies \trebloct for octaved up treble staves,
\basslowoct for octaved down bass staves and \bassoct for octaved up bass
staves

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01



From mutex-owner@mail2.gmd.de Wed Dec  8 19:57:56 1999
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  This message is in MIME format.  The first part should be readable text,
  while the remaining parts are likely unreadable without MIME-aware tools.
  Send mail to mime@docserver.cac.washington.edu for more info.

---1463811816-883608636-944683076=:1183
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On Mon, 6 Dec 1999, Michael K=F6nig wrote:

> Hello,
>=20
> is there any possibility to include a TeX-file created by pmx in
> a LaTeX2e-file?
>=20
> I wrote a song and now I would like to write so Text (not the voice?) in
> the same document. Unfortunalty a simple=20
>=20
> ...
> \begin{document}
> \input xxx
> ...
> \end{document}=20
>=20
> doesn't work.
>=20
> Any ideas?
>=20
> Michael
> --
> +++++++++++++++++++++++++++++++++++++++++++++++++++++++++
> Michael K"onig                       Tel: ++49-7531/74173
>                                      Fax: ++49-7531/74173
>=20

I send you an example, a little birthday song adapted from pmx -- tex --
latex + verse. I hope it helps. I just made a little python script to do
the conversion automatically, tell me if you are interested.

Bye=20

Werner

Werner Arnhold                                Fritz-Karsen-Schule
Feldspatweg  7                                Onkel-Br=E4sig-Str. 76-78
D-12349 Berlin                                D-12359 Berlin
werner@arnhold.snafu.de                       werner@karsen.be.schule.de

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From mutex-owner@mail2.gmd.de Sun Dec 12 20:12:00 1999
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Date: Sun, 12 Dec 1999 21:12:00 +0100 (MET)
From: Johan Wettergren <johan.wettergren@tripnet.se>
X-Sender: parvel@eris.tripnet.se
To: mutex@gmd.de
Subject: scor2prt problem on a Mac
Message-Id: <Pine.LNX.3.96.991212210831.588A-100000@eris.tripnet.se>
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Hello!

Using scor2prt on a Mac I got the error message shown below.
Unfortunately the message does not point out where in the
(fairly large) .pmx file I made the mistake, so it is very
hard to correct it. Has anyone run into the same problem?

Best regards,

Johan Wettergren

--

     PMX for MacOS, Version 2.0.0, 4/18/1999      
          A preprocessor for MusiXTeX             
     Written by Don Simons <dsimons@logicon.com>  
          Ported to MacOS by Eric Petersen        
          <epeterse@aem.umn.edu>, 5/20/1999       

This is scor2prt for PMX Version 2.0, 18 April 99

### Run time error - Out of bounds character substring reference



From mutex-owner@mail2.gmd.de Sun Dec 12 21:34:17 1999
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Date: Sun, 12 Dec 1999 15:34:17 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Johan Wettergren <johan.wettergren@tripnet.se>
Cc: mutex list <mutex@gmd.de>
Subject: Re: scor2prt problem on a Mac
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On Sun, 12 Dec 1999, Johan Wettergren wrote:

> Using scor2prt on a Mac I got the error message shown below.
> Unfortunately the message does not point out where in the
> (fairly large) .pmx file I made the mistake, so it is very
> hard to correct it. Has anyone run into the same problem?

> ### Run time error - Out of bounds character substring reference

It will be easiest to determine what is going wrong if you can send the .pmx
file to me (and not the list).  This looks like an error in the scor2prt
program that needs to be corrected in the source.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+



From mutex-owner@mail2.gmd.de Mon Dec 13 07:38:39 1999
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From: Friedemann Kemm <iagkemm@iag.uni-stuttgart.de>
To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
Cc: mutex@gmd.de
Subject: Re: M-Tx fails in processing some of the example files
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On Fri, 10 Dec 1999, Eric Petersen [Aero] wrote:

> Can you give some details about how you compiled prepmx? (gcc or other,
> compiler options, platforms?) I think you might have to recompile with some
> debugging options and check the core file to determine exactly what is going
> wrong.  People on the list can help you do that if need be.

I once compiled it on a SGI O2 with the MipsPro compiler and once with the
Sun Workshop on a Sun Machine. 

So maybe I try to get gcc and recompile with it. 


Thank You for Your hint


Friedemann

--
___________________________________________________________________________
|                               |                                         |
| Friedemann Kemm               |    Pfaffenwaldring 21, 70550 Stuttgart  |
| Institut fuer Aerodynamik     |    phone: +49 711/685-3454              | 
|   und Gasdynamik (IAG)        |    fax  : +49 711/685-3438              |
| Universitaet Stuttgart        |    email: kemm@iag.uni-stuttgart.de     |
|                               |    url  : www.iag.uni-stuttgart.de/     |
|                               |              people/friedemann.kemm     | 
___________________________________________________________________________


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Date: Mon, 13 Dec 1999 11:15:20 +0100
From: Martin Sander <martin.sander@ri.dasa.de>
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Werner Arnhold wrote:
> 
> 
> I send you an example, a little birthday song adapted from pmx -- tex --
> latex + verse. I hope it helps. I just made a little python script to do
> the conversion automatically, tell me if you are interested.
> 
Oh, yes! I _should_ be interested!!

Regards,

Martin

-- 
Martin Sander   e-mail: martin.sander@ri.dasa.de

 DASA - Abt. RIA 54  /  Postfach 801168  /  81663 Muenchen
        Tel. 089 - 607-25971 / Fax 089 - 607-21118

From mutex-owner@mail2.gmd.de Mon Dec 13 10:59:20 1999
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Date: Mon, 13 Dec 1999 11:59:20 +0100
From: Friedemann Kemm <iagkemm@iag.uni-stuttgart.de>
To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
Cc: mutex@gmd.de
Subject: Re: M-Tx fails in processing some of the example files
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On Fri, 10 Dec 1999, Eric Petersen [Aero] wrote:

> Can you give some details about how you compiled prepmx? (gcc or other,
> compiler options, platforms?) I think you might have to recompile with some
> debugging options and check the core file to determine exactly what is going
> wrong.  People on the list can help you do that if need be.

Now I tried with gcc both on the SUN and on the SGI. On the SUN-machine it
now works. But on the SGI I still get an error:

Trace/BPT trap (core dumped)

So I think there is a general problem with mtx and IRIX. 


Yours

Friedemann

--
___________________________________________________________________________
|                               |                                         |
| Friedemann Kemm               |    Pfaffenwaldring 21, 70550 Stuttgart  |
| Institut fuer Aerodynamik     |    phone: +49 711/685-3454              | 
|   und Gasdynamik (IAG)        |    fax  : +49 711/685-3438              |
| Universitaet Stuttgart        |    email: kemm@iag.uni-stuttgart.de     |
|                               |    url  : www.iag.uni-stuttgart.de/     |
|                               |              people/friedemann.kemm     | 
___________________________________________________________________________


From mutex-owner@mail2.gmd.de Mon Dec 13 10:19:14 1999
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Volta + changing number of staffs
Date: Mon, 13 Dec 1999 11:19:14 +0100
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Dear all,

Thanks to everyone who has helped me for incrementing the number of staffs
in pmx, but:

Now i have to put an open volta on the first mesure of the section with 3
staffs.
I tried everything in pmx (i think) and in musixtex, but i do not get it
done.

So i put the volta on the next mesure and wait for a kind-hearted soul, who
is be willing to shift the volta one mesure back (from number 10 to 9).

Thanks in advance.

Andre

This is my pmx code:

------
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3    3    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    2  6  16  .001



btt
./
ArbdI.8
%Tt
\\setinterinstrument1{3\Interligne}\
\\setinterinstrument2{2\Interligne}\
%
r0 r0 /
r0 r0 /
r0 r0 /
Tt
title
h
author
L3P2Mr+n212bt
e83 e4 e8 e4d e8 | e8 e e4 e2 //
g83 g4 g8 a4d a8 | b8 b b4 b2 /
b83 b4 b8r c4d c8 | e8 e e4 e2 //
g84 b4- c8 e4d e8 | g8 g g4 g2 /
%3
e8 e4 e8 e4 e | b4 b2d //
g8 g4 g8 g4 g | f4 f2d /
b8 b4 b8r c4 c | a4 a2dr //
g8 b4- c8 e4 e | c4 b2d /
%5
e83 e4 e8 e4d e8 | e8 e e4 c2 //
g83 g4 g8 a4d a8 | b8 b b4 c2 /
b83 b4 b8r c4d c8 | e8 e e4 e2 //
g84 b4- c8 e4d e8 | g8 g g4 g2 /
%7
b4d b8 b4 b | V1. e s a- s e+ ofd e //
e4d b8 a4 b | g s a s g g /
g4d e8 d4 d | b s c s b b //
b4d g8 f4 g | e2 e4 of g /
%9
L5Mcr-n3123btt
Rlr
Vb e4 s a- s e2+ s ofd //
g4 s a s g2 s /
b4 s c s b2 s //
e2 e s of /
r2 r4 r8 g84 /
%10
V2. e0 s //
g0 s /
b0 s //
e0 s /
b84 b b d b b g4 /
%11
Vx r4+0 e4x3 e e b4 s e s s //
rb4 g4x3 g g f4 s g s s /
r4+0 b4x3 b b b2 s //
rb4 e4x3 e e d4 s e s s /
b4 g f r8 g /
%12
e2d s rb4 //
g2d s r4+0 /
b2d s rb4 //
e2d s r4+0 /
b8 b b g b b g1 s f e8 s /
%13
V1. e4x3 e e b4 s e2 s s //
g4x3 g g f4 s g2 s s /
b4x3 b b b2d s //
e4x3 e e d4 s e2 s s /
g4 f e r8 g /
%14
Rr Vb2. e4x3 s+0-4 e e b4 s e2 s //
g4x3 s+0-5 g g f4 s g2 s /
b4x3 s+0-4 b b b2d //
e4x3 s+0-5 e e d4 s e2 s /
g4 f e2 /
--------





From mutex-owner@mail2.gmd.de Mon Dec 13 11:42:55 1999
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Date: Mon, 13 Dec 1999 12:42:55 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Guitar-specific notation
To: evita.j@magnet.at, scancm@biobase.dk
Cc: mutex@gmd.de
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> Date: Sun, 12 Dec 1999 10:45:25 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> For the sake of completeness I feel tempted to add to the replies of Jerome
> Colburn and Andre Van Ryckeghem that

[...]
And for the same reason I feel tempted to tell that searching the
archive of this mailing with first "glissando" and afterwards with
"treble clef" would have answered the questions, too - but not
as complete as it can be done with the new answers in future :-)

The archive and it's search engine can be found by either

     http://www.gmd.de/Misc/Music/
or:  http://www.gmd.de/Mail/mutex-archive/

- Werner


From mutex-owner@mail2.gmd.de Mon Dec 13 17:52:26 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Volta + changing number of staffs
Date: Mon, 13 Dec 1999 09:52:26 -0800
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Andre wrote

>Now i have to put an open volta on the first mesure of the section with 3
>staffs.
>I tried everything in pmx (i think) and in musixtex, but i do not get it
>done.

You're in luck: I had to do this myself in a recent score. There is no way
to do it with pmx commands alone. The method I came up with uses some very
tricky in-line TeX.  The modified file is included below.  Note that this
solution introduces some hardspace (non-scalable horizontal space) that pmx
will not know about.  If the system were crowded and needed spacing
adjustments to avoid crashes with accidentals, pmx would therefore fail to
compute them correctly.

--Don Simons

====================

% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3    3    4    4   0   6   0  -3
% npages,nsyst,musicsize,fracindent
    2  6  16  .001



btt
./
ArbdI.8
%Tt
\\setinterinstrument1{3\Interligne}\
\\setinterinstrument2{2\Interligne}\
%
r0 r0 /
r0 r0 /
r0 r0 /
Tt
title
h
author
L3P2Mr+n212bt
e83 e4 e8 e4d e8 | e8 e e4 e2 //
g83 g4 g8 a4d a8 | b8 b b4 b2 /
b83 b4 b8r c4d c8 | e8 e e4 e2 //
g84 b4- c8 e4d e8 | g8 g g4 g2 /
%3
e8 e4 e8 e4 e | b4 b2d //
g8 g4 g8 g4 g | f4 f2d /
b8 b4 b8r c4 c | a4 a2dr //
g8 b4- c8 e4 e | c4 b2d /
%5
e83 e4 e8 e4d e8 | e8 e e4 c2 //
g83 g4 g8 a4d a8 | b8 b b4 c2 /
b83 b4 b8r c4d c8 | e8 e e4 e2 //
g84 b4- c8 e4d e8 | g8 g g4 g2 /
%7
b4d b8 b4 b | V1. e s a- s e+ ofd e //
e4d b8 a4 b | g s a s g g /
g4d e8 d4 d | b s c s b b //
b4d g8 f4 g | e2 e4 of g /
%
% Following stuff makes 2nd ending work after new movement start. Change the
\hardspace's
%   as desired to tweak horizontal position of left repeat and 2nd volta.
%
\\\let\stt\startpiece\def\startpiece{\advance\barno-1\
\\\Contpiece\hardspace{3pt}\zchangecontext\hardspace{-21pt}\let\startpiece\s
tt}\
%9
L5Mcr-n3123btt
Rlr
% Vb e4 s a- s e2+ s ofd //
Vb2 e4 s a- s e2+ s ofd //
g4 s a s g2 s /
b4 s c s b2 s //
e2 e s of /
r2 r4 r8 g84 /
%10
%V2. e0 s //
Vx e0 s //
g0 s /
b0 s //
e0 s /
b84 b b d b b g4 /
%11
%Vx r4+0 e4x3 e e b4 s e s s //
   r4+0 e4x3 e e b4 s e s s //
rb4 g4x3 g g f4 s g s s /
r4+0 b4x3 b b b2 s //
rb4 e4x3 e e d4 s e s s /
b4 g f r8 g /
%12
e2d s rb4 //
g2d s r4+0 /
b2d s rb4 //
e2d s r4+0 /
b8 b b g b b g1 s f e8 s /
%13
V1. e4x3 e e b4 s e2 s s //
g4x3 g g f4 s g2 s s /
b4x3 b b b2d s //
e4x3 e e d4 s e2 s s /
g4 f e r8 g /
%14
Rr Vb2. e4x3 s+0-4 e e b4 s e2 s //
g4x3 s+0-5 g g f4 s g2 s /
b4x3 s+0-4 b b b2d //
e4x3 s+0-5 e e d4 s e2 s /
g4 f e2 /




From mutex-owner@mail2.gmd.de Mon Dec 13 18:54:29 1999
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Date: Mon, 13 Dec 1999 19:54:29 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Volta + changing number of staffs
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
Cc: DSimons@logicon.com
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> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
> Date: Mon, 13 Dec 1999 11:19:14 +0100

[...]
> Now i have to put an open volta on the first mesure of the section
> with 3 staffs. I tried everything in pmx (i think) and in musixtex,=20
> but i do not get it done.
>=20
> So i put the volta on the next mesure and wait for a kind-hearted soul, w=
ho
> is be willing to shift the volta one mesure back (from number 10 to 9).

Whoever wants to try it, remove the "d" from "ArbdI.8". This is a well-
known PMX-error which has already been caught by Dr. Don.

I then moved "V2." and "Vx" to the right locations and got a MusiXTeX error
message concerning "\Setvolta{2.}". This error disappears if I post-edit
the MusiXTeX input generated by PMX such a way, that this "\Setvolta{2.}"
is moved behind the next "\alaligne". Then everything works ok so that
I think it's a PMX-problem.

Andr=E9, it's not neccessary to use a dot for the Volta text because
MusiXTeX supplies a dot unless explicitely cancelled by re-defining
\voltadot.

-- Werner



From mutex-owner@mail2.gmd.de Mon Dec 13 19:25:45 1999
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Date: Mon, 13 Dec 1999 20:25:45 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: Volta + changing number of staffs
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Mon, 13 Dec 1999 09:52:26 -0800
> 
> Andre wrote
> 
> >Now i have to put an open volta on the first mesure of the section with 3
> >staffs. I tried everything in pmx (i think) and in musixtex, but i do 
> >not get it done.
> 
> You're in luck: I had to do this myself in a recent score. There is no way
> to do it with pmx commands alone. The method I came up with uses some very
> tricky in-line TeX. 

Hm. After my analysis posted earlier, I don't need "some very tricky" in-line
TeX as repair. I simply move "\Setvolta" behind "\alaligne" using in-line Tex :-)

Insert next three(!) line before "L5M..." - the changing of the number of staffs:

\\let\Setvoltasav\Setvolta\
\\let\alalignesav\alaligne\
\\\def\Setvolta#1{\def\alaligne{\let\alaligne\alalignesav\alaligne\let\Setvolta\Setvoltasav\Setvolta{#1}}}\

Avoid any line breaks!

-- Werner



From mutex-owner@mail2.gmd.de Mon Dec 13 21:11:14 1999
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Date: Mon, 13 Dec 1999 22:11:14 +0100 (CET)
From: Werner Arnhold <werner@arnhold.snafu.de>
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To: Martin Sander <martin.sander@ri.dasa.de>
Cc: mutex-Liste <mutex@gmd.de>, Christian Mondrup <scancm@biobase.dk>
Subject: Re: TeX into LaTeX
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  This message is in MIME format.  The first part should be readable text,
  while the remaining parts are likely unreadable without MIME-aware tools.
  Send mail to mime@docserver.cac.washington.edu for more info.

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On Mon, 13 Dec 1999, Martin Sander wrote:

> Werner Arnhold wrote:
> >=20
> >=20
> > I send you an example, a little birthday song adapted from pmx -- tex -=
-
> > latex + verse. I hope it helps. I just made a little python script to d=
o
> > the conversion automatically, tell me if you are interested.
> >=20
> Oh, yes! I _should_ be interested!!
>=20
> Regards,
>=20
> Martin

Ok, here the little python script. It isn't in any way a general solution
but only fitting for what comes out from rosegarden. It depends on the fact
that rosegarden gives an output in a special way. If this doesn't fit for
you, send me a file from yours, maybe I can adopt the script.

I have added the "a4blatt.sty" missing with the examples (for Christian).
It just defines a paper with more textwidth and -height.

Hope this helps.=20

Bye=20
Werner

Werner Arnhold                                Fritz-Karsen-Schule
Feldspatweg  7                                Onkel-Br=E4sig-Str. 76-78
D-12349 Berlin                                D-12359 Berlin
werner@arnhold.snafu.de                       werner@karsen.be.schule.de

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From mutex-owner@mail2.gmd.de Tue Dec 14 18:52:24 1999
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On Mon, 13 Dec 1999 12:42:55 +0100 (MET), Werner Icking
<Werner.Icking@gmd.de> wrote:

>The archive and it's search engine can be found by either
>
>     http://www.gmd.de/Misc/Music/
>or:  http://www.gmd.de/Mail/mutex-archive/
Thank you. I must confess I wasn't aware that there was an archive;
now that I am I'll certainly make a point of checking there before
posting questions.

Hope I didn't annoy anyone.

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)

From mutex-owner@mail2.gmd.de Tue Dec 14 20:09:19 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX Version 2.1
Date: Tue, 14 Dec 1999 12:09:19 -0800
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A new version of PMX has just become available at 
http://www.gmd.de/Misc/Music/ .

PMX is a preprocessor for MusiXTeX that produces nearly professional-looking

scores and parts with far less effort than would be required using MusiXTeX 
alone.

All files necessary for running the DOS version in a WIN95 DOS window are 
contained in pmx210.zip.  The full instruction manual is in pmx210.tex 
(use LaTeX 2.09).  There is also a postscript image in case you have 
problems TeX'ing it.

ref210.tex is a summary of all the legal PMX "symbols" (commands).  You 
should still read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other versions
may appear on the web site.
 
What's new since Version 2.00?

There are not many new features, but the biggest news is that the spacing 
algorithms have been overhauled, extensively so for horizontal spacing. 
One result is that there is now virtually no combination of overlapping 
xtuplets in different voices that will stump the code. But some spacing may 
come out slightly different than before; if this poses insurmountable
problems 
with earlier scores then please retain your prior version for use with those

scores.

OTHER NEW FEATURES:

Slur midheight and curvature adjustments using MusiXTeX's \midslur or
\curve.
Staff-jumping beams work for downward jumps with no special tricks required.
Upgrades for scores with 8 to 12 parts:
  12 simultaneous beams and slurs enabled.
  12 parts can be generated by scor2prt.
Numerous bug fixes as usual.

--Don Simons

From mutex-owner@mail2.gmd.de Tue Dec 14 20:09:19 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX Version 2.1
Date: Tue, 14 Dec 1999 12:09:19 -0800
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A new version of PMX has just become available at 
http://www.gmd.de/Misc/Music/ .

PMX is a preprocessor for MusiXTeX that produces nearly professional-looking

scores and parts with far less effort than would be required using MusiXTeX 
alone.

All files necessary for running the DOS version in a WIN95 DOS window are 
contained in pmx210.zip.  The full instruction manual is in pmx210.tex 
(use LaTeX 2.09).  There is also a postscript image in case you have 
problems TeX'ing it.

ref210.tex is a summary of all the legal PMX "symbols" (commands).  You 
should still read the first few sections of the manual to get started.

Non-DOS users:  You will either have to compile the FORTRAN source, or
see the manual for locations of other versions, or wait and other versions
may appear on the web site.
 
What's new since Version 2.00?

There are not many new features, but the biggest news is that the spacing 
algorithms have been overhauled, extensively so for horizontal spacing. 
One result is that there is now virtually no combination of overlapping 
xtuplets in different voices that will stump the code. But some spacing may 
come out slightly different than before; if this poses insurmountable
problems 
with earlier scores then please retain your prior version for use with those

scores.

OTHER NEW FEATURES:

Slur midheight and curvature adjustments using MusiXTeX's \midslur or
\curve.
Staff-jumping beams work for downward jumps with no special tricks required.
Upgrades for scores with 8 to 12 parts:
  12 simultaneous beams and slurs enabled.
  12 parts can be generated by scor2prt.
Numerous bug fixes as usual.

--Don Simons

From mutex-owner@mail2.gmd.de Thu Dec 16 13:24:43 1999
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Date: Thu, 16 Dec 1999 14:24:43 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: [Administrivia]
To: mutex@gmd.de
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Dear List members,

GMD, the sponsor of this list, will change it's mailing facilities
within the next days, maybe in the next hours. We hope that this will
go without any trouble for this list. Nevertheless it's possible that
there will be some problems. I'm sure that we will notice most problems
if there are any. So if there are problems, please don't report them to
the list, because this may multiply the problems. Either ignore them or
report them to me personally Werner.Icking@gmd.de

GMD exchanges it's WWW- and FTP-Server, too. So the archive of this
mailing list may be inaccessible as well (as bad) as the Music Archive
which distributes e.g. MusiXTeX, PMX, M-Tx and the many many scores.
Here it's the same. If there are problems we will detect them. So
don't report them to the list, but only to me - or ignore them.


I wish you all all the best for the coming New Year, Merry Christmas
or whatever seasonal greatings you like.

-- Werner

PS: From December 29th to January 9th the list and the archive will
    run unattended



From icking@sunick.gmd.de  Mon Dec 20 14:18:41 1999
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Date: Fri, 17 Dec 1999 11:11:41 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Re: PMX Version 2.1
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428062FA3@xcgca040.sp.logicon.com>
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Seasons' greetings,

        PMX 2.1 for MacOS has been sent to the GMD Music Archive and should
show up in <http://www.gmd.de/Misc/Music/> eventually.  It is also available
from my website:

        <http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From icking@sunick.gmd.de  Tue Dec 21 12:04:40 1999
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Date: Tue, 21 Dec 1999 09:51:46 +0100
From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX ML <mutex@gmd.de>
Cc: Lugt ML <lug-tuebingen@mail500.uni-tuebingen.de>
Subject: PMX-Upload .. again
Message-ID: <19991221095146.C20707@swamp.fh-reutlingen.de>
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Bcc: 
Hi,

I'm just on my way to upload the stuff to ftp.gmd.de/pub/music/incoming
(or was that pub/incoming/music ? hehe ;)
Now you can really enjoy the stuff!

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas

From icking@sunick.gmd.de  Tue Dec 21 12:09:08 1999
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Date: Mon, 20 Dec 1999 16:19:08 +0100 (MET)
From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX ML <mutex@gmd.de>
Subject: RPM for PMX 2.10
Message-ID: <19991221095125.B20707@swamp.fh-reutlingen.de>
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Reply-To: 
Hi folks!

I've created an RPM file for linux, Halloween IV (should
be similar to Redhat 6.1). Just tell me a place where
I should upload it to.

I had to convert all text files to unix (dos2unix), renamed
all .for files to .f (f2c wanted that), but decided to use
g77 instead of f2c for two reason: The code is more stable
(does not crash when invoking with a filename) and it is
smaller as well. If you don't have a recent redhat system
I recommand to get (as soon at it is uploaded - hint,hint :-)
the .src.rpm file and rebuild it with

rpm --rebuild pmx-2.10.src.rpm

(Currently I only habe a i586 file for Pentium/KDE prozessors
and compatibles, I still have to figure out how to build a plain
i386 file).

Have fun!

Best regards,

Reinhard Katzmann

P.S.
Für die LUGT-Leute:
Weiß jemand, wie man implizit i38-RPM-Dateien erzeugt ? Ich
habe in der manpage keine Hinweise darauf gefunden.

(Does anyone know how to create i386-rpm's?)

-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas

From icking@sunick.gmd.de  Tue Dec 21 12:11:07 1999
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Date: Mon, 20 Dec 1999 16:22:00 +0100 (MET)
From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX ML <mutex@gmd.de>
Subject: rosegarden
Message-ID: <19991221094921.A20707@swamp.fh-reutlingen.de>
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Cc: 
Bcc: 
Hi folks!

I recently started a small piece of music using rosegarden
for typing in the music and doing the rest with pmx, which
worked just fine. I just noted several small bugs in the
program, sometimes it crashes when having pressed the save
button or other buttons from dialogs. Sometimes it has
problems with accidentals or notes are somehow shifting
around (especially in connection with the Undo function).
What I'm missing (except of a general update with better
support for pmx ;) is the possibility to see the bar number,
an improved beaming (did not check autobeam though) which
orientates on the meter, not on the order I typed it in,
better meter support (not just the time like 4/4) and
support for long rests (like rm4 in pmx :).

I also downloaded an unofficial 2.2 version (2.1 beta
from 1997 is official (why Beta ? :-( ). The author is
duwe@lst.de (Torsten Duwe) which had apparently difficulties
in reaching the authors of the original rosegarden for
his patches (he fixed many bugs and included some new
features as well, did not check the program out though).
I visited the homepage of rosegarden as well regarding
the further development and the last change I saw in
CVS was from Januar this year.

The homepage tells that bugfix-releases should still
be published, but as there was no update since over
two years now, I suppose its really difficult to reach
authors, so does anyone know whats happening to
rosegarden ?

Maybe there also is an alternative program, but I did
not find one on the linux sound pages (www.linuxsound.at),
which supports musixtex and/or pmx as well.

Best regards,

Reinhard Katzmann
--
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas

From mutex-owner@mail.gmd.de  Tue Dec 21 15:12:03 1999
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Reinhard Katzmann" <reinhard@suamor.de>, "MuTeX ML" <mutex@gmd.de>
Subject: Re: RPM for PMX 2.10
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Greetings!

Reinhard Katzmann <reinhard@suamor.de>, wrote:

>Hi folks!
>
>I've created an RPM file for linux, Halloween IV (should
>be similar to Redhat 6.1). Just tell me a place where
>I should upload it to.
>
>I had to convert all text files to unix (dos2unix), renamed
>all .for files to .f (f2c wanted that), but decided to use
>g77 instead of f2c for two reason: The code is more stable
>(does not crash when invoking with a filename) and it is
>smaller as well.

I  (just for fun, and to try out lcc-win32 on my PC) recently attempted to
use f2c to translate, then compile PMX under lcc-win32... (PC, Win95).

For what it's worth, I found that the crash on startup when a file name is
on the
command line can be fixed by following the hint Don put in the code...

At lines 125/126 (and also at lines 138/139 is this code:

        call getarg(1,jobname,idum) ! May need to replace this w/ next line
c        call getarg(1,jobname)

Simply changing it to:

c        call getarg(1,jobname,idum) ! May need to replace this w/ next line
        call getarg(1,jobname)

... compiles successfully, and (more importantly) runs successfully, both
with
a file name on the command line, and in original mode!  I suspect that there
are
differences in the libraries for various C compiler implementations for the
number
of arguments allowed for "getarg."  Interesting to me (but common to C) that
such
differences would not be detected better at compile time?

Caution:  Further testing of the translated C version was halted by the need
to
get back to work! :-)

BTW, (PC users) I found that installing the LCC-WIN32 freeware C Compiler
was
straightforward, except for an install glitch when the FORTRAN module (f2c)
is
installed:  (the menu shortcut for starting lcc-win32 is overwritten as a
shortcut to
read the FORTRAN to C manual... easily fixed by creating another shortcut to
the
lcc editor again.)

If you are a PC user and want to have a C compiler (Free), here are my
opinions
on three free C compiler installations that may be interesting to you:

Turbo C v2.01 -
http://community.borland.com/museum/borland/software/TC201.zip
(Think Old DOS machine - 640K limitations, but simple, fun and FREE!)

DJGPP - http://www.delorie.com/djgpp/
(An extensive and comprehensive port of the GNU C/C++/Fortran compiler
family to
the PC... lots of newsgroup support, but setup can be a challenge... I would
recommend
this installation for someone who already has lots of unix experience with
gcc.  I still
fumble around in this environment, but it works GREAT for a flat model
implemention:
i.e. your installed RAM is one big region you can use.)

LCC-Win32 - http://www.cs.virginia.edu/~lcc-win32
(This has a nice Windows GUI.  In my (humble) opinion, this is attempting to
look a
bit like Microsoft Visual Studio tools...  Good work, and easy to install!.
I recommend
this tool for the "need to be free," high-power and quick start up C
compiler.)

And... I have done nothing significant with any of the above :-))  (Just
recreational
computing for the time being. :-))

My two cents worth, and Merry Christmas to all!     (now... back to work!!)

Regards
Joel Hunsberger

From mutex-owner@mail.gmd.de  Tue Dec 21 18:46:47 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: Reinhard Katzmann <reinhard@suamor.de>, MuTeX ML <mutex@gmd.de>
Subject: RE: RPM for PMX 2.10
Date: Tue, 21 Dec 1999 08:47:08 -0800
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Joel Hunsberger wrote

>Reinhard Katzmann <reinhard@suamor.de>, wrote:
>
>For what it's worth, I found that the crash on startup when a file name is
on the
>command line can be fixed by following the hint Don put in the code...
>
>At lines 125/126 (and also at lines 138/139 is this code:
>
>        call getarg(1,jobname,idum) ! May need to replace this w/ next line
>c        call getarg(1,jobname)
>
>Simply changing it to:
>
>c        call getarg(1,jobname,idum) ! May need to replace this w/ next
line
>        call getarg(1,jobname)
>
>... compiles successfully, and (more importantly) runs successfully...

and now you see both (a) why I waited so long to allow command line input,
and (b) why I needn't have worried so much about it, what with self-starters
like Joel (and others) out there, who are willing to dig into the source
when necessary :-)

--Don Simons
www.geocities.com/Vienna/Strasse/7784
From mutex-owner@mail.gmd.de  Tue Dec 21 19:04:04 1999
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From: Stefan Evert <evert@ims.uni-stuttgart.de>
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"Hunsbergers" <jhunsberger@i2k.com> wrote:

   Greetings!

[...]

   I  (just for fun, and to try out lcc-win32 on my PC) recently attempted to
   use f2c to translate, then compile PMX under lcc-win32... (PC, Win95).

   For what it's worth, I found that the crash on startup when a file name is
   on the
   command line can be fixed by following the hint Don put in the code...

   At lines 125/126 (and also at lines 138/139 is this code:

	   call getarg(1,jobname,idum) ! May need to replace this w/ next line
   c        call getarg(1,jobname)

   Simply changing it to:

   c        call getarg(1,jobname,idum) ! May need to replace this w/ next line
	   call getarg(1,jobname)

   ... compiles successfully, and (more importantly) runs successfully, both
   with
   a file name on the command line, and in original mode!  I suspect that there
   are
   differences in the libraries for various C compiler implementations for the
   number
   of arguments allowed for "getarg."  Interesting to me (but common to C) that
   such
   differences would not be detected better at compile time?

The above problem isn't caused by the C getarg() function, but rather
by f2c's fortran libraries which contain C implementations of standard
fortran functions. Apparently, the fortran getarg function isn't fully
standardised, and the f2c implementation isn't compatible with Don's
usage ...

For the PMX-Unix distribution, I fixed the getarg routine in f2c's
fortran library (and several other functions as well). 

Best,
Stefan.
From mutex-owner@mail.gmd.de  Wed Dec 22 18:52:06 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Bug fix for PMX 2.1
Date: Wed, 22 Dec 1999 09:04:20 -0800
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Werner Icking discovered a very well-hidden bug in scor2prt:  If an input
line in the parent file started with n blanks and extended beyond 129-n, it
would not be handled properly when making parts.  I've corrected the files
in the main zip file.  But if you've already installed version 2.1, then to
save bandwidth you may retrieve only the corrected source and binary for
scor2prt from 

  ftp://ftp.gmd.de/music/musixtex/software/pmx/s2p210.zip  or
  http://www.gmd.de/Misc/Music/musixtex/software/pmx/s2p210.zip
  
Happy holidays!

--Don Simons
http://www.geocities.com/Vienna/Strasse/7784
From mutex-owner@mail.gmd.de  Thu Dec 23 20:07:28 1999
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From: Werner Arnhold <werner@arnhold.snafu.de>
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To: Reinhard Katzmann <reinhard@suamor.de>
cc: MuTeX ML <mutex@gmd.de>
Subject: Re: rosegarden
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On Mon, 20 Dec 1999, Reinhard Katzmann wrote:

> Cc: 
> Bcc: 
> Hi folks!
> 
> I recently started a small piece of music using rosegarden
> for typing in the music and doing the rest with pmx, which
> worked just fine. I just noted several small bugs in the
> program, sometimes it crashes when having pressed the save
> button or other buttons from dialogs. Sometimes it has
> problems with accidentals or notes are somehow shifting
> around (especially in connection with the Undo function).
> What I'm missing (except of a general update with better
> support for pmx ;) is the possibility to see the bar number,
> an improved beaming (did not check autobeam though) which
> orientates on the meter, not on the order I typed it in,
> better meter support (not just the time like 4/4) and
> support for long rests (like rm4 in pmx :).
> 
> I also downloaded an unofficial 2.2 version (2.1 beta
> from 1997 is official (why Beta ? :-( ). The author is
> duwe@lst.de (Torsten Duwe) which had apparently difficulties
> in reaching the authors of the original rosegarden for
> his patches (he fixed many bugs and included some new
> features as well, did not check the program out though).
> I visited the homepage of rosegarden as well regarding
> the further development and the last change I saw in
> CVS was from Januar this year.
> 
> The homepage tells that bugfix-releases should still
> be published, but as there was no update since over
> two years now, I suppose its really difficult to reach
> authors, so does anyone know whats happening to
> rosegarden ?
> 
> Maybe there also is an alternative program, but I did
> not find one on the linux sound pages (www.linuxsound.at),
> which supports musixtex and/or pmx as well.
> 
> Best regards,
> 
> Reinhard Katzmann
> --
> E-Mail: reinhard@suamor.de
> 
> Current Projects: Linux-Installation RH6.1 (90% finished)
>                   Java-DB and -Interface for Pincity
>                   Bach & Händel Trio Sonatas
> 
> ------------- End Forwarded Message -------------
>

I´m using rosegarden for some time (maybe 2-3 years) and think your
description is perfectly true. Rosegarden is a very nice program for two
reasons:

1. It runs on Linux
2. There is no better one to be seen (running on Linux).

Some time ago the developpers of Rosegarden announced work on a new
version but there is not very much progress upon that project. So you can
decide: wait or write a better program yourself (that´s the question I put
to myself).

Werner 

Werner Arnhold                                Fritz-Karsen-Schule
Feldspatweg  7                                Onkel-Bräsig-Str. 76-78
D-12349 Berlin                                D-12359 Berlin
werner@arnhold.snafu.de                       werner@karsen.be.schule.de

From mutex-owner@mail.gmd.de  Mon Dec 27 15:26:35 1999
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 =?iso-8859-1?Q?_Guill=E9n?= <pedreno@fcu.um.es>
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Hello
I've got problems in runnig metafont with some fonts of MusiXTeX: with mode
linoone, 1270dpi (distribution of MikTeX) the problems arise with
xslhz20.mf, that actually \input's xslhz.mf.  Metafont report an error:

'' ! This can't happen (m)....
<for (74)...,(90)>

 l.49  endfor'' 
  ....Return code: 1


With mode ljfour and 600dpi everything works fine

Does anyone know this problem? Solutions?

Thank you

Salvador Sanchez-Pedreño Guillen

Department of Mathematics
University of Murcia
Campus de Espinardo
Apdo. 4021  30071 Murcia
Ph.  34 968363536
Fax. 34 968364182
From mutex-owner@mail.gmd.de  Wed Dec 29 22:56:07 1999
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Date: Wed, 29 Dec 1999 22:38:40 +0100
From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX ML <mutex@gmd.de>
Subject: PMX 2.1 - strange behaviour ?
Message-ID: <19991229223840.A8828@suamor.de>
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Reply-To: 
Hi!

I have some troubles with pmx. The new version typesets
whole rests (rp and r0 the same, but not rop or rm*!) like this:

\xbar
\pnotes{5.66}\en%
\def\atnextbar{\znotes\centerbar{\pausc\fermataup7}\en}%

As you can see, there is a \fermataup typset, though there was
no single o* command in the original source.

(and the rop look like this:
\xbar
\pnotes{5.66}\pausc\en%
)

The other problem I had was with the dot commands, with quarter
and half notes, a bd44 as84 or b44.as4 results in this:

\xbar
\pnotes{3.46}\qlm{'b}b\en%
\pnotes{2.00}\bigsh{'a}\cu a\ibl1c0\qb1b\qb1c\qb1b\tbl1\qb1c\en%

(actually the line looks like that: b44.as4 b84 c85 b84 c85 /)

Correct Should have been: \pnotes{3.46}\qlp{'b}b\en%
                                          ^
I did not find any info about the 'm' addition to the note command
but the result looks like this:

o.) 

or 

o).

so as you can see there is an additional paranthesis to the dot,
as when you use the lpar or rpar command.

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
From mutex-owner@mail.gmd.de  Thu Dec 30 02:12:32 1999
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From: "Simons, Don" <DSimons@logicon.com>
To: "'MuTeX ML '" <mutex@gmd.de>
Subject: RE: PMX 2.1 - strange behaviour ?
Date: Wed, 29 Dec 1999 16:45:45 -0800
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Reinhard Katzmann wrote

>I have some troubles with pmx. The new version typesets
>whole rests (rp and r0 the same, but not rop or rm*!) like this:
>
>\xbar
>\pnotes{5.66}\en%
>\def\atnextbar{\znotes\centerbar{\pausc\fermataup7}\en}%
>

Thanks for the bug report.  There was indeed a problem with "rop", which I
believe I have now fixed.  I'll post a Y2K-compliant bug-fix version
sometime after the start of the new millenium.  

I could not find any problem with "rm".  Please include a full pmx source
file that causes the problem.

>The other problem I had was with the dot commands, with quarter
>and half notes, a bd44 as84 or b44.as4 results in this:
>...

Using "bd44 as84 b44.as4" I could not reproduce this problem, I got exactly
what I expected.  Please send a complete pmx source file that causes the
problem.

>I did not find any info about the 'm' addition to the note command
>but the result looks like this:
>
>o.) 

\qlm is defined in pmx.tex, and is used only when "o)" is applied to a
dotted note (in which case the dot must be moved).  If you did not enter
"o)", PMX should not have generated "qlm".

--Don Simons
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To: mutex@gmd.de
Subject: More guitar notation
Date: Thu, 30 Dec 1999 12:41:08 +0100
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Hello everyone,

what I'm after this time is a way to indicate barre chords in guitar
scores. I need a horizontal line that terminates in a very short
descending vertical one. Werner Icking kindly pointed me towards his
solution for *violin* fingering, but his command

     \def\hold#1{\raise \Internote \vbox{\hrule width #1\noteskip}}

just produces the horizontal line without the termination I need. What
needs to be added to this to create what I'm after?

Thanks in advance
Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)
From mutex-owner@mail.gmd.de  Mon Jan  3 17:31:24 2000
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From: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: Werner Arnhold <werner@arnhold.snafu.de>
cc: Reinhard Katzmann <reinhard@suamor.de>, MuTeX ML <mutex@gmd.de>
Subject: Re: rosegarden
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> I´m using rosegarden for some time (maybe 2-3 years) and think your
> description is perfectly true. Rosegarden is a very nice program for two
> reasons:
> 
> 1. It runs on Linux
> 2. There is no better one to be seen (running on Linux).
> 
> Some time ago the developpers of Rosegarden announced work on a new
> version but there is not very much progress upon that project. So you can
> decide: wait or write a better program yourself (that´s the question I put
> to myself).
Last year I started a little program
( http://os.inf.tu-dresden.de/~lg2/download/mux2d-latest.tar.gz )
for public feedback for a new notion program using MusiXTeX as output.
But I get very few feedback and I spend no more time.

May be, I find interesed people...

Cheers,
Lukas
-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
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I like Techno - unplugged.

From mutex-owner@mail.gmd.de  Mon Jan  3 19:13:58 2000
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Reinhard Katzmann wrote

>I have some troubles with pmx. The new version typesets
>whole rests (rp and r0 the same, but not rop or rm*!) like this:
>
>\xbar
>\pnotes{5.66}\en%
>\def\atnextbar{\znotes\centerbar{\pausc\fermataup7}\en}%
>
I observed this bug also and reverted it with an editor macro. 
Additionally, I found that pmxab
now exits with error at multiplets starting with a rest;
I had to return to the old inline-\TeX detour; there it
works.

Otherwise, pmx2.1 is great; I use it mainly with OS LINUX
compilated by g77. However, the above glitches also appear
using the precompiled W32-version.

Happy pmx-ing,
               Christof
From mutex-owner@mail.gmd.de  Tue Jan  4 13:47:43 2000
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From: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
Reply-To: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: pseelig@mail.Uni-Mainz.de
cc: MuTeX ML <mutex@gmd.de>
Subject: Re: mux2d [was: Re: rosegarden]
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> > But I get very few feedback and I spend no more time.
> > 
> That's probably mostly a matter of proper public relations. A search on
> Freshmeat with "http://freshmeat.net/search.php3?query=mux2d" only yields
> "No records have been found matching your query mux2d".
You can't find it because my try of announcing on freshmeat dosn't
succeed... I asked the maintainers where could be the problem. But I get
no helpfull response. So I stoped this way.

The secound try was on the german news group de.comp.text.tex ...
TWO guys write some mails to me...

> > May be, I find interesed people...
> >
> How about making your project public where most look for stuff?  Check out
> how to register at "http://freshmeat.net/lounge/register.php3" and then
> let's see if more interested people turn up.
Ok I'll start a secound try on freshmeat.

Cheers,
Lukas
-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
-----------------------------------------------------------------
I like Techno - unplugged.


From mutex-owner@mail.gmd.de  Wed Jan  5 02:50:39 2000
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Hi there,

I've been using MusixTeX/PMX (under linux) very happily for quite some
time now; it certainly satisfies all my notating needs.  However I
would like the option of saving my files as MIDI, so I can listen to
them.

As far as I know, this option is not possible, nor are there plans to
make it possible.  So I may switch to another package: contenders
include Mup or Lilypond.

I was wondering if anybody would be able to give me advice as to which
linux music notating software is the most "PMX like", and which does
the best job of creating MIDI files.  Or if there's another option of
which I'm not aware...

Thanks for this!

cheers,
	Alasdair

-- 
Alasdair McAndrew

School of Communications and Informatics     Phone: +61 3 9688 4344
Victoria University of Technology            Fax:   +61 3 9688 4050
P.O. 14428, Melbourne City Mail Centre  Alasdair.McAndrew@vu.edu.au
Melbourne, Vic 8001, Australia         http://cams.vut.edu.au/~amca
From mutex-owner@mail.gmd.de  Wed Jan  5 07:31:22 2000
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From: Reinhard Katzmann <reinhard@suamor.de>
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Subject: Re: Saving files as MIDI?
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Hi Alasdair,

On Wed, Jan 05, 2000 at 12:35:57PM +1100, Alasdair McAndrew wrote:
> Hi there,
> 
> I've been using MusixTeX/PMX (under linux) very happily for quite some
> time now; it certainly satisfies all my notating needs.  However I
> would like the option of saving my files as MIDI, so I can listen to
> them.

Afaik there is only one converter: midi2tex, and it does not even support
musixtex, only musictex. And it does only convert to tex.

> As far as I know, this option is not possible, nor are there plans to
> make it possible.  So I may switch to another package: contenders
> include Mup or Lilypond.

Maybe there is a third option: rosegarden, it includes at least export
to pmx and can import Midi as well as export. But the current version
can only export pmx, so you're lost concerning your old compositions.

> I was wondering if anybody would be able to give me advice as to which
> linux music notating software is the most "PMX like", and which does
> the best job of creating MIDI files.  Or if there's another option of
> which I'm not aware...

I'm not aware of any other though I did not closely inspect the linux
sound pages which contain many midi programs (Warning: Try a mirror like
www.linuxsound.at, as the original site seems to be down for the day).

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
From mutex-owner@mail.gmd.de  Thu Jan  6 15:30:47 2000
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Date: Thu, 6 Jan 2000 15:10:13 +0100 (CET)
From: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: mutex list <mutex@gmd.de>
Subject: Re: New version T.98 of MusiXTeX available
In-Reply-To: <38493E78.29360D34@lps.u-psud.fr>
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I'm wondering about the new feature of different meters (documentation
page 47)

The first and second line are correct for me. But in the 3rd has to many
notes. The meter divide by 8 doesn't change the length of a pointed
quarter note. So is IMHO the following version correct:

3 |     |     |     I |     |     |     I
4 e     e     e     I e     e     e     I
                                        I
2 |     |   I |       |   I |     |     I
4 e     e   I e       e   I e     e     I
           _______             _______  I
3 |        |  |  |  I |        |  |  |  I
8 e.       e  e  e  I e.       e  e  e  I

I'm wondering why no other guy comment this before. Sould I'm mistaken?

Cheers,
Lukas
-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
-----------------------------------------------------------------
I like Techno - unplugged.

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Date: Thu, 06 Jan 2000 17:43:21 +0100
From: Nicolas ASPERT <Nicolas.Aspert@epfl.ch>
Organization: LTS
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Lukas Gruetzmacher wrote:
> 
> I'm wondering about the new feature of different meters (documentation
> page 47)
> 
> The first and second line are correct for me. But in the 3rd has to many
> notes. The meter divide by 8 doesn't change the length of a pointed
> quarter note. So is IMHO the following version correct:
> 
> 3 |     |     |     I |     |     |     I
> 4 e     e     e     I e     e     e     I
>                                         I
> 2 |     |   I |       |   I |     |     I
> 4 e     e   I e       e   I e     e     I
>            _______             _______  I
> 3 |        |  |  |  I |        |  |  |  I
> 8 e.       e  e  e  I e.       e  e  e  I
> 
> I'm wondering why no other guy comment this before. Sould I'm mistaken?
> 

Yes, you are mistaken... 3/8 means that you have three eight-notes (or
one pointed quarter-note) per bar... Maybe what you didn't notice is
that in the example, one quarter in 2/4 or 3/4 is equal to one pointed
quarter note in 3/8

Hope this helps.
-- 
Nicolas Aspert      Signal Processing Laboratory (LTS) 
Swiss Federal Institute of Technology (EPFL)
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Date: Thu, 06 Jan 2000 18:26:26 +0100
From: taupin <taupin@lps.u-psud.fr>
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taupin wrote:
> 
> Lukas Gruetzmacher wrote:
> >
> > I'm wondering about the new feature of different meters (documentation
> > page 47)
> >
> > The first and second line are correct for me. But in the 3rd has to many
> > notes. The meter divide by 8 doesn't change the length of a pointed
> > quarter note. So is IMHO the following version correct:
> >
> > 3 |     |     |     I |     |     |     I
> > 4 e     e     e     I e     e     e     I
> >                                         I
> > 2 |     |   I |       |   I |     |     I
> > 4 e     e   I e       e   I e     e     I
> >            _______             _______  I
> > 3 |        |  |  |  I |        |  |  |  I
> > 8 e.       e  e  e  I e.       e  e  e  I
> >
> > I'm wondering why no other guy comment this before. Sould I'm mistaken?
> >
> This is NOT a MusiXTeX mistake, and only a weird musical thing: the
> eighth note in the 3rd line is 1/3 or the upper lines.
> This is frequent in music: many scores have 6/8 meters on one part,
> synchronized with 2/4 above, just to avoid too many triolets.
> 
> ------------------------------------------------------------------------
>   Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
>   E-mail= mailto:taupin@lps.u-psud.fr
>   Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
> (33)1.60.10.26.44
> 
> ------------------------------------------------------------------------

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Thu Jan  6 21:20:17 2000
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Date: Thu, 6 Jan 2000 20:35:59 +0100 (MET)
From: Stefano Taschini <taschini@iqe.phys.ethz.ch>
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>            _______             _______  I
> 3 |        |  |  |  I |        |  |  |  I
> 8 e.       e  e  e  I e.       e  e  e  I
>

Anyway if I'm not mistaken, there are 6/8 in a bar that 
is declared as 3/8


--
Stefano Taschini <taschini@iqe.phys.ethz.ch>
Physical Electronics Laboratory
Swiss Federal Institute of Technology (ETH) Zuerich
ETH Hoenggerberg HPT-H6, CH-8093 Zuerich, Switzerland
Tel ++41-1-6332091  Fax ++41-1-6331054
From mutex-owner@mail.gmd.de  Fri Jan  7 22:33:40 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Calling PMX/UNIX users (was RE: PMX 2.1 - strange behaviour ?)
Date: Fri, 7 Jan 2000 13:01:57 -0800 
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A while back, Reinhard Katzmann wrote

>...
>The other problem I had was with the dot commands, with quarter
>and half notes, a bd44 as84 or b44.as4 results in this:
>
>\xbar
>\pnotes{3.46}\qlm{'b}b\en%
>\pnotes{2.00}\bigsh{'a}\cu a\ibl1c0\qb1b\qb1c\qb1b\tbl1\qb1c\en%
>...

We have been privately in touch but have failed to isolate the problem.  It
does not occur with the DOS/Windows binary in the distribution from GMD,
only in the one Reinhard compiled using g77.  I don't have access to a UNIX
or LINUX system with g77.  I would appreciate any help from others who have
ported PMX 2.1 to UNIX or LINUX systems.  The following simple pmx source
exhibits the problem on Reinhard's system:

1 1 4 4 0 6 0 2
0 5 20 0

t
./
% Bar 1
K+0+2 
bd45 c85 a45 f45 /
b45.c5 a45 f45 /
r0 /
r0 /
r0 /
/

--Don Simons
From mutex-owner@mail.gmd.de  Mon Jan 10 10:26:27 2000
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To: Alasdair.McAndrew@vu.edu.au
cc: mutex@gmd.de
Subject: Re: Saving files as MIDI? 
In-reply-to: Your message of Wed, 05 Jan 2000 12:35:57 +1100.
             <200001050135.MAA01944@yarra.vu.edu.au> 
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Date: Mon, 10 Jan 2000 09:53:56 +0100
From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
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> Hi there,
> 
> I've been using MusixTeX/PMX (under linux) very happily for quite some
> time now; it certainly satisfies all my notating needs.  However I
> would like the option of saving my files as MIDI, so I can listen to
> them.
> 
> As far as I know, this option is not possible, nor are there plans to
> make it possible.  So I may switch to another package: contenders
> include Mup or Lilypond.
> 
> I was wondering if anybody would be able to give me advice as to which
> linux music notating software is the most "PMX like", and which does
> the best job of creating MIDI files.  Or if there's another option of
> which I'm not aware...

I could recommend Lilypond. Just as PMX, it has a textual input
format and supports most commonly used notation features and a
number of specialties. A large effort has been put into producing
a nice-looking output. It can output MIDI, but this is mainly
intended to aid proof-reading as dynamics are not supported, for
example. There's also a small program to convert a MIDI file
to Lilypond input. Lilypond is still evolving quickly and if
you request a specific feature, it will often be implemented
within a few days (or you could do it yourself). Another 
advantage, compared to MUD, is that it's free.
If you want to try it, version 1.2.17 is the latest stable
version. Read more at http://www.cs.ruu.nl/people/hanwen/lilypond/

If you're mainly interested in MIDI output and could stand
a poor graphical layout of the printed music, then Rosegarden 
is a better choice.

     /Mats 


From mutex-owner@mail.gmd.de  Mon Jan 10 16:08:39 2000
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From: Stefan Evert <evertsn@cip.mathematik.uni-stuttgart.de>
To: mutex@gmd.de
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	(DSimons@logicon.com)
Subject: Re: Calling PMX/UNIX users (was RE: PMX 2.1 - strange behaviour ?)
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A big hello & a happy new year to all PMX users!

First of all I must apologise for the delay in providing the Unix port
of PMX 2.1. I've been busy migrating my musixtex environment to my new
workplace, which will make things a lot easier for me (geee, those 
4 gigabytes of RAM really _do_ make a difference :o) -- and I've
upgraded to the latest MusiXTeX and F2C versions in the process. 

I've just put together the 2.1 release of PMX/Unix. Everything works
fine (the examples included in the PMX distribution look more or less
like they always did). 

NB  I've moved to a different FTP server!  You can download the unix
port from

ftp://ftp.ims.uni-stuttgart.de/pub/users/evert/pmx-unix-2.10.tar.gz

Werner: would you put the archive up on your FTP server, please?


>>>>> "don" == Simons, Don <DSimons@logicon.com> writes:

    don> A while back, Reinhard Katzmann wrote
    >> ...  The other problem I had was with the dot commands, with
    >> quarter and half notes, a bd44 as84 or b44.as4 results in this:
    >> 
    >> \xbar \pnotes{3.46}\qlm{'b}b\en% \pnotes{2.00}\bigsh{'a}\cu
    >> a\ibl1c0\qb1b\qb1c\qb1b\tbl1\qb1c\en% ...

    don> We have been privately in touch but have failed to isolate
    don> the problem.  It does not occur with the DOS/Windows binary
    don> in the distribution from GMD, only in the one Reinhard
    don> compiled using g77.  I don't have access to a UNIX or LINUX
    don> system with g77.  I would appreciate any help from others who
    don> have ported PMX 2.1 to UNIX or LINUX systems.  The following
    don> simple pmx source exhibits the problem on Reinhard's system:

    don> 1 1 4 4 0 6 0 2 0 5 20 0

    don> t ./ % Bar 1 K+0+2 bd45 c85 a45 f45 / b45.c5 a45 f45 / r0 /
    don> r0 / r0 / /

What is it supposed to look like? Works fine (at least the output is
what I expected it to be from the source code) with PMX/Unix on the
SUN enterprise I've got here. I haven't got g77, so I can't try that. 

Looks like there's still some need for the F2C port ... 

Yours,
Stefan.



-- 
======================================================================
  `` ... life, viewed rationally and without illusion, appears to 
     be a nonsense tale told by an idiot mathematician. ''
                                                 -- Martin Gardner
======================================================================
HomeBrew Entertainment                       [site under construction]
www:     http://www.mathematik.uni-stuttgart.de/~evert/
email:   schtepf@gmx.de                                 (Stefan Evert)
From mutex-owner@mail.gmd.de  Tue Jan 11 00:01:57 2000
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Date: Mon, 10 Jan 2000 23:22:41 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: [Fwd: New version T.98 of MusiXTeX available]
To: mutex@gmd.de, taschini@iqe.phys.ethz.ch
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> Date: Thu, 6 Jan 2000 20:35:59 +0100 (MET)
> From: Stefano Taschini <taschini@iqe.phys.ethz.ch>

> >            _______             _______  I
> > 3 |        |  |  |  I |        |  |  |  I
> > 8 e.       e  e  e  I e.       e  e  e  I
> >
> 
> Anyway if I'm not mistaken, there are 6/8 in a bar that 
> is declared as 3/8

But only if YOU suppress the bar lines behind the dotted quarters.

The examples prints for me as

          I  _______  I        I  _______  I
 3 |      I  |  |  |  I |      I  |  |  |  I
 8 e.     I  e  e  e  I e.     I  e  e  e  I
 
          ^                    ^  there are bar lines, too.
          
-- Werner

From mutex-owner@mail.gmd.de  Tue Jan 11 14:35:59 2000
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Date: Tue, 11 Jan 2000 13:23:09 +0100 (CET)
From: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: mutex@gmd.de
Subject: Re: [Fwd: New version T.98 of MusiXTeX available]
In-Reply-To: <200001102222.XAA11529@sunick.gmd.de>
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On Mon, 10 Jan 2000, Werner Icking wrote:

> > Date: Thu, 6 Jan 2000 20:35:59 +0100 (MET)
> > From: Stefano Taschini <taschini@iqe.phys.ethz.ch>
> 
> > >            _______             _______  I
> > > 3 |        |  |  |  I |        |  |  |  I
> > > 8 e.       e  e  e  I e.       e  e  e  I
> > >
> > 
> > Anyway if I'm not mistaken, there are 6/8 in a bar that 
> > is declared as 3/8
> 
> But only if YOU suppress the bar lines behind the dotted quarters.
> 
> The examples prints for me as
> 
>           I  _______  I        I  _______  I
>  3 |      I  |  |  |  I |      I  |  |  |  I
>  8 e.     I  e  e  e  I e.     I  e  e  e  I
>  
>           ^                    ^  there are bar lines, too.
Yes, this was what I would write.

Still, I'm confusing through all arguments wrote to me. I see I'm
outnumbered (seams you are right) and keep quiet...

Cheers,
Lukas
-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
-----------------------------------------------------------------
I like Techno - unplugged.

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Dear Subscribers,

since we use the new mail system and the new majordomo version we
detected that in the past a lot of bounce messages didn't reach me as
mutex-owner. So there now is a long list of subscribers which I will
remove after some days because mails to their email addresses
bounce. Please complain if your email address is on the list. But
verify that it isn't an old address and that you aren't subscribed
with a new address, too.

You can get a list of all subscribers by sending an email to
majordomo@gmd.de with the one an only contents line (not subject
line):  who mutex

-- Werner

And here is the list:

a.kruczkowski@ic.ac.uk
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From mutex-owner@mail.gmd.de  Sun Jan 16 16:47:03 2000
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Date: Sat, 15 Jan 2000 22:35:08 +0000
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This is a multi-part message in MIME format.
--------------EF0578078A5D45369A09AC70
Content-Type: text/plain; charset=us-ascii
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Hi,

The PMX Manual (V1.43) says "if mtrnuml is divisible by 2 or 3, beam grouping
will be automatic".

This does not appear to happen for me in 6/8 time.

I attach a snippet from a piece which has failed to beam. I am using PMX 2.0 &
MusixTeX T94 under Linux.


-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)
--------------EF0578078A5D45369A09AC70
Content-Type: text/plain; charset=us-ascii;
 name="test.pmx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="test.pmx"

1 1 6 8 6 8 3 0
1 1 20 0

t
./
Tt
Test
Tc
Test Writer
Ti
Test Horn
%Bar 0-4
r8d a14 o> a84 | a84 r1 a14 a84 a84 r1 a14 a84 | a84 r1 a14 a84 a r1 a14 a84 /
 a84 r1 a14 a84 a r1 a14 a84 | a84 r1 a14 a84 a r1 a14 a84 /

--------------EF0578078A5D45369A09AC70--



From mutex-owner@mail.gmd.de  Sun Jan 16 18:47:18 2000
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From: Christian Mondrup <scancm@biobase.dk>
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HowardGilbert wrote:

> Hi,
>
> The PMX Manual (V1.43) says "if mtrnuml is divisible by 2 or 3, beam grouping
> will be automatic".
>
> This does not appear to happen for me in 6/8 time.

because your 6/8 groups include rests. Automatic grouping will be active if you
replace the rests with dots or else you'll have to explicitly beam the groups.

r8d [ a14 o> a84 ] | a84.a4 a84 a84.a4 a84 | [ a84 r1 a14 a84 ] [ a r1 a14 a84 ] /

 a84 r1 a14 a84 a r1 a14 a84 | a84 r1 a14 a84 a r1 a14 a84 /

The pmx doc says that explicit beaming of groups containing rests is possibly only
when the rests are not at the end of a group. Not the less the pmx syntax checking
happily accepts beaming of groups not adhering to that rule. Try for example to
replace the above quoted pickup bar with:

[ r8d a14 o> a84 ]

and look at the dvi result afterwards !

>
> I attach a snippet from a piece which has failed to beam. I am using PMX 2.0 &
> MusixTeX T94 under Linux.
>
> --
> Best wishes,
> Howard.
> (A.H.Gilbert, Thornaby, North Yorkshire)
>
>   ---------------------------------------------------------------------------
> 1 1 6 8 6 8 3 0
> 1 1 20 0
>
> t
> ./
> Tt
> Test
> Tc
> Test Writer
> Ti
> Test Horn
> %Bar 0-4
> r8d a14 o> a84 | a84 r1 a14 a84 a84 r1 a14 a84 | a84 r1 a14 a84 a r1 a14 a84 /
>  a84 r1 a14 a84 a r1 a14 a84 | a84 r1 a14 a84 a r1 a14 a84 /




--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Mon Jan 17 22:04:20 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: PMX with MIDI out: another suggestion
Date: Mon, 17 Jan 2000 12:41:54 -0800
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Several list members have recently been engaged in a lively private
discussion about MIDI output from PMX.  This all began when I sent this
small group a beta version of PMX with a rudimentary MIDI output capability.
I do not really want to make that version "public" at this time, because it
has some obvious shortcomings, and based both on my attempts to remedy those
problems as well as on these discussions, I'm certain that it will change
significantly in the near future.  But I am taking the liberty of moving the
discussion onto the list.  That will allow other interested parties to
contribute.

Stefan Evert wrote

>Something that occurred to me during the weekend: what if PMX didn't
>immediately produce a MIDI file, but rather some textual
>representation of the notes etc.?

To put this another way, what can Mr. PMX do for Mr. MIDI?  

>This would very effectively modularise our design and allow us
>non-fortran-buffs to help Don by working on the post-processing step
>(which, obviously, doesn't require a knowledge of PMX's internal
>workings). It would even enable us to write the post-processor in
>something other than fortran, although it does probably make more
>sense to stick to fortran, and integrate it into the pmx binary in the
>end.

Not many people know FORTRAN any more, but I don't know any flavor of C.  I
can see a two-track approach wherein PMX could internally produce a minimal
MIDI file, intended only for "proof-listening," while there could also be an
option for more elaborate post-processing along the lines Stefan suggests.
If we take this approach, I would be happy to leave all the coding in the
2nd mode to others, in which case there's no real advantage from FORTRAN.

>This is the design I've got in mind:
>
>(A) PMX parses input file, computes notes (start, pitch, length)
>separately for each voice, and stores notes together with additional
>information (ornaments, slurs, beams?, dynamic marks) in text file.

This is the really critical step.  Key question are
1. In what order should the information be passed?
2. What information should be passed?
3. In what form should the information be passed?

Regarding the order, within PMX there are at least three different global
orderings already:
1. Input file order: N bars of voice 1a, [N bars of voice 1b], N bars of
voice 2, ...
2. First PMX internal order, where all the notes in all the voices in the
N-bar input block are arranged in order of start time;
3. Second PMX internal order, which corresponds to TeX output file order,
where the fundamental unit is a \notes grouping. I won't even try to
summarize this ordering in words :-).

Notice that none of these is ideal for generating a MIDI file, but in some
sense the input file order comes closest, because it keeps the largest
clumps of notes in the same voice together.  There are even problems with
that, for example: 
1.  Because a second line of music in a staff can start and stop, sometimes
with very long intervals and one or more PMX input blocks between one stop
and the next start, these second lines should probably be included with the
main line in the same MIDI instrument (channel? track? not sure of the
terminology, but I'll use "instrument")  
2.  The MIDI file wants all the notes in instrument #1 for a whole movement
before starting instrument #2.

To further complicate matters, PMX does different levels of analysis and
recasting of information at each step as it (a) parses the input file, (b)
sorts into first PMX order, and (c) finally morphs it into the TeX order in
which it writes the output.

Regardless of the order in which information is passed from PMX to the MIDI
code generator, there are special problems with slurs, ties, chords, and
accidentals, about which I could write many paragraphs but will spare you.

I would be more than happy to entertain specific proposals for the form,
content, and phasing of data to be passed from PMX to the MIDI generator.
But to be totally honest, the more I think about it, the more it seems to me
that the best interface may simply be the PMX input file itself.  A new
parser could be written to ignore all superfluous data and process the rest
exactly as needed for MIDI purposes.  What then would PMX have contributed?
Well, mainly a descriptive language and a comprehensive syntax and timing
checker.  The existing code for the latter (after tranlation to C?) could be
used entirely, in part, or not at all in the new MIDI-generator code.  (Not
using it is surely a viable option; the user would just run PMX to do the
input checking, and could get a page image a fringe benefit).

If the approach were to use the pmx input file directly in this way, then I
would also be glad to include provisions in PMX for accepting and (if
desired) checking any special input related to MIDI file generation, but
then otherwise ignoring it.

--Don Simons

>(B) Post-processor reads text file. It's main part is a MIDI event
>scheduler which enables MIDI events to appear in a different order
>than the notes that trigger them, which may be necessary for trills
>and possibly for cresc./decresc. effects. This part of the program
>might also be used to identify ties and insert grace notes (I _think_
>it would be much easier that way than to hack everything in PMX's main
>loop).
>
>Optionally, another step might be inserted between (A) and (B) (i.e. a
>pre-processor for the post-processor :o) that tries to produce a more
>satisfactory rendering of the input. This is the part I'm _really_
>interested in. It should compute note lengths depending on slurs,
>ornaments, etc., and perhaps even add some dynamics. And, it would
>have to be configurable (did I hear anybody mention the word
>'style-sheets'?) for different musical styles and instruments (esp.
>note lengths, speed of trills, trill starts from upper or lower note?,
>etc.)
>
>Does this make any sense to you?
>Stefan.


From mutex-owner@mail.gmd.de  Tue Jan 18 00:03:03 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: PMX with MIDI out
Date: Mon, 17 Jan 2000 14:40:04 -0800
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I wrote

>I would be more than happy to entertain specific proposals for the form,
>content, and phasing of data to be passed from PMX to the MIDI generator.
>But to be totally honest, the more I think about it, the more it seems to
me
>that the best interface may simply be the PMX input file itself.  A new
>parser could be written...

Sorry to waffle here, but this is a very complicated problem.  It might also
work to pass the output after the first internal sorting is done by PMX into
a list that includes all the notes in all voices in order of note starting
times.  This would have the advantages that (a) the MIDI code generator
could then pick these notes off in order and route them to different
"instruments", (b) no new parser would be needed, and (c) durations would
have been converted to numbers by PMX.  It has the disadvantage that the
format and content of the info to be passed must be completely worked out.
However, if the form were a mirror of the internal storage form in PMX, it
should be fairly straightforward to write all that stuff to a file.

Let me also comment about a problem with accidentals when there are two
lines of music on a staff.  The question is, should an accidental in one
line apply to later occurrances of the same note in the other line?  I'd bet
that a vote on this would come up close to even.  So it should probably be
an option.  In any event, if the ones in one line do affect notes in the
other line, then whenever there are two lines on the same staff, some later
sorting/analysis will have to be done differently than for two unrelated
lines.

--Don

From mutex-owner@mail.gmd.de  Fri Jan 21 16:42:54 2000
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Date: Fri, 21 Jan 2000 15:14:06 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: pmx puzzler
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Greetings,

I have a very strange thing happening with a .pmx file.  I have coded a
Gabrieli Canzon for transposition for a trumpet ensemble.  As usual there
were some typos and I processed the file after every block of input to sort
out most of them.  One mistake did not make its presence known until I had
run scor2prt.  At that point one of the parts showed an extraneous small
flat sign near a note head.  I tracked it down and it was being caused by a
dash (-) where there should not have been one.  When I went back to the
full score *.pmx file to eliminate it I got strange behavior in the output.

If I don't have this extra dash then the page layout goes crazy.  I have
npages set to 4 and nsyst set to 12 which should give me three systems per
page.  It does so BUT ONLY IF I HAVE THIS EXTRA DASH.  If I remove it I get
no more than two systems per page and it spreads out over eight pages.
This is reproducable behavior.  I can remove the dash and the layout goes
haywire.  If I then put it back, all is well.

I'm running the *nix 2.0.0 version on a RedHat 6.0 system.

The pmx input file follows.  Look in the input block marked % bar 5-8.
There is a double line of %%%.  In the first line of %%%%%% it says "the
dash below this gap" and there is a gap just under that text between a pair
of > <.  The dash is just below that gap.

What's going on?

Thanks,

David Bobroff

%%%PMX FILE%%%
% Canzon V (1615)
7 7 4 4 4 4 0 0
4 12 16 .1
Trumpet 7
Trumpet 6
Trumpet 5

Trumpet 4
Trumpet 3
Trumpet 2
Trumpet 1
bbttttt
./
% bar 1-4
Tt
CANZON V
(1615)
Tc
Giovanni Gabrieli
%Ar K+3-1
rp rp rp g43 g8 g g2 /
rp rp rp rp
/
rp rp r2 g44 g8 g g2 r2 /
rp rp g44 g8 g g2 r2 g4 g8 g /
c45 c8 c c2 r8 c
b e d c b a g f e d [ cd d1 ed8 f1 ] g4 d e d /
rp r2 g45 g8 g g2 r8 c- b e
d c b a gd a1 b c d b /
r2 g45 g8 g g4 r8 c- b e d c b a g f e4 r8 c+ b e d
c b a g4 /
% bar 5-8
r2 r8 c b e d c b a g f e d [ cd d1 ed8 f1 ] gd4 c8-
g+ c b e d c b a /
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%the dash below this gap%%%%%%
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%>
<%%%%%%%%%%%%%%
c44 c8 c c4 r8 c b e d c b a g f [ e d cd d1 ] ed8 f1 g4 s
-  g8 s c- g+ c b e d c /
g4 g8 g g2 s g s r4 r8 d e f g4 e r g g8 g g4 r
/
g2 r4 r1 g g a b8 g r4 r2 r2 g4 g8 g g2 r4 r1 g g a /
c2  r1 g1+ g a b8 g
r1 g g a b8 c d d- e f g4 e r8 c+ b e d1 g- g a b8 c d g- r4 /
c45 r1 c c d
e8 c r4 r8 g+ g g g2 r8 g g g g4 r8 c- b e d1 g- g a b8 g g4+ s /
r1 c1 c d
e8 c r g+ g g g2 r8 g g g g4 r8 c8- b e d1 g- g a b8 g r4 r1 g g a b8 c /
%
bar 9-13
g8 f e d c4 c+ d2 c8 e e d cd4 b1 a g8 a b g a b c4 r8 g c- d e4 r
r8 c+ f- g /
b a g f e d c4 g2+ c8- c+ c b ad4 g1 f e8 f g e d4 c8 c+ a b
c4 rp /
r4 r1 c- c d e8 f g4 s g s g- c r8 g+ g f ed4 [ d1 c b8 c ] d4 g-
r2 r8 g+ c- d e4 d /
b4 c r1 c- c d e8 f g2 e rp rp r2 r8 c+ c b /
g4 g8 g
g4 r1 g g a b8 c d g- g2 rp r4 r8 c c b a4 s a8 s g1 f e8 fs g e f oen d
/
g4 s g g e [ d8 gd f1 d8 ] e2 rp r2 r8 g g f ed4 d1 c [ b8 c dd g1- ]
/
d4 e2 e8 c s c s b1 a b4 c2 r2 r4 r8 g+ g f ed4 d8 c a c b a4 g r8 g+ /
%
bar 14-18
a2 g rp r8 g c- d [ ed d1 e8 f ] g c- g4+ cd- c8+ a2 r4 d8 d s
/
rp r2 r8 g c- d [ ed d1 ed8 f1 ] gd4 a8 b g g4 c c- f2 r4 d8 d s /
rp r2
r8 g g f ed4 d1 c b4 c8 d s d s c4 b8 c4 c c2 r4 a8 a s /
ad4 g1 f e8 fs g
e d2 d8 d e f g4 a r8 g e a g2 r4 g f2 r4 a8 a s /
c4 cd+ [ b1 a gd8 a1 ]
f8s g4 f8 g4 r r8 g e a g4 r8 d [ e gd f1 d8 ] e4 c+ c2 r4 d8 d s /
c2 r r8
d d c b4 a g r r8 g+ g f e4 d c e f2 r4 a8 a s /
g8 f ed4 d1 c b8 cs d b a4
g r r8 g+ g f ed4 d1 c b8 c d g- g4 g+ a2 r4 f8 f s /
% bar 19-22
d s a e4+
a2- r2 r4 a a bf a r r8 a a bf a a a b /
d s a+ e4 a2 r2 r4 r8 cs c4 oes d
c oes r r8 cs c d c c c d /
a s c e4 e2 r2 r4 r8 e fs4 g e r r8 e fs g e e
f g /
a s a b4 c2s rp rp rp /
d8 s c b4 a r8 a a4 bf a2 r2 r8 a a bf a4 r
r2 /
a8 s a gs4 a r8 e fs4 g e2 r2 r8 cs c d c4 oes r r2 /
f8 s e e4 e r8
cs c4 oes d c2 oes r2 r8 e fs g e4 r r2 /
% bar 23-29
m3434
Rd
[ cd8 b1 a8
c bf g ] [ ad8 g1 f8 a g e ] [ fd e1  d8 f ] e4 d2 r4 [ fd8 e1 d8 f ] e4 d
r r f g a /
ed4 e8 d d [ cd8 b1 a8 c bf g ] [ ad8 g1 f8 a g e ] [ fd8 e1 d8
f ] e4 d r r f g a d- r r /
a4d a8 g g fd4 f8 e e dd4 d8 c4s dd4 d8 b g ad4
a8 e4+ a- b oef a a b oef a /
rp rp [ fd8- g1 a8 f g g ] fd4 d4 c8 oes d2
r4 rp a4+ g e /
rp rp rp [ fd8 g1 a8 f g e ] fd4 f8 g4 a g e g e e /
rp rp
rp rp a45d a8 g g f4d f8 e e dd4 d8 c4s /
rp rp rp a4d a8 g g fd4 d8 e c
oes dd4 d8 c4 oes d r r /
% bar 30-31
m4444
Rd
d8- d d d g2 e8 e e e a2
/
r8 a8+ a d g1- a b c d8 b e b b e a1- b c d e8 c /
a2 r8 d d d e2 e8 e e
e /
fs8 f f f g2 g8 g g g a4 c s /
d8 a+ a a b4 g r8 b8 b b c4 a /
d4 r8 d
dd c1 b4 s [ b8 s g+ gd f1 ] e8 e e e /
r8 [ d dd c1 ] b4d g8+ [ gd f1 e8 e
] e e a4 s /
% bar 32-37
f2 r2 r2 r8 c8 f a g4 c- r r8 g+ g g a c b4 c8 c-
f a g4 c- f s f s a d2- /
f4 c r2 rp r4 r8 c- f a g4 c2- r4 r8 c+ c c d4 e
a- s a s a d8 a a1 g a b /
f2 bf4- r r r8 g g g a c b4 c8 c c c d4 e2 r4 r8
c a a b g c4 c s c s c d2 /
c8 s a a a bfd4 g8 a4 f8 g s g s e f e g4 e r2
r8 c c c d4 e8 e g e g4 g f a2 a4 f /
r8 c c c d4d b8 c4 a8 b s b s c a a
b4 g8 e f e g4 e r r8 g g g a c b4 c a s a s e f d /
a2 f4 r rp r8 g- g g a
c b4 c8 g c e d4 g8- c c c g4+ e f s f8 s e e2 d4 /
a s f8 f f f g4 e8 f4
d8 e c c c d4 e  r2 r8 c c c g4+ e r2 r4 c s c s c a2 /
% bar 38-42
a8+  a
a1 g a b c8 a c1 b c d e d c b ad8 g3 f e2 a r rp rp /
c8 a c1 b c d e d c
b ad8 g3 f e4 a2 g4 oes a2 d4 d8 d cd4 c8 bfd4 b8 ad4 a8 s a1 s g f8 e4
/
c2 r4 a b8 e4 e8 e2 e f4 f8 f ed4 e8 dd4 d8 cd4 d8 s c1 s b a4 g8 /
e0 r4
ed b8 e4 cs2 r4 a+ a8 a gd4 g8 f4 s f8 s f e e s e s d cs4 /
r4 a+ a a gs a
b2 a r rp rp /
e2 r4 e e c e2 e r rp r2 r4 r8 g /
a4 e+ e c r ed d8 b4 cs2
r rp rp /
% bar 43-46
rp r2 r4 r8 d c1 b a g a b c a bf a g f g a b g a4 f
g2 /
d2 r rp r2 r4 r8 g f1 e d c d e f d e d c b c d e c /
a0 rp a4+ a8 a
gd4 d8 fd4 f8 e e e e /
d2 r rp c4+ c8 c bfd4 b8 ad4 a8 g2 /
r4 r8 d c1 b a
g a b c a bf a g f g a b g a4 g a a- d2 rp /
f1 e d c d e f d e d c b c d e
c dd4 d8 [ c ad g1 a b ] cd8 b1 c d e c d4 g- d2+ r /
r2 a4+ a8 a gd4 g8
fd4 f8 e2 r r r4 r8 g /
% bar 47-50
r4 r8 d+ c1 b a g a b c a bf a g f g a
b g a4 f g2 r r r4 d /
d2 a+ r4 r8 d8 c1 b a g a b c a bf a g f g a b g a4
a fs g d2 /
d2 r r r8 c c c bfd4 b8 a4 a+ a g fs8 g4 f8 /
r f f f ed4 e8
dd4 g8- c2 gd4+ d8 a2+ d0- /
a4+ a8 a cd4 c8 bfd4 b8 a2 rp r8 [ a bd c1 ]
d4 d /
r2 r8 a+ a a gd4 g8 fd4 f8 e4 d cs8 d4 c8 [ d dd c1 b8 ] a g a1 d-
d8+ /
f1 e d c d e f d e d c b c d e c d2 r8 a+ a a gd4 g8 f4 e d r8 d s d1
s c b8 a4 /
% bar 51-54
b c g2+ c4- c c8 c c c f4 r1 c c d3 e f4 r1 c c d3
e f4 e f2 /
g r4 g g8 g g g c2 r1 a c d e4 r1 a- c d e4 a1- g a b c d b c a
g f e f g a b /
gd4 c8- [ d1 g- gd8+ f1 d8 ] e4 e e8 e e e c4 r8 c c4 r8 c
cd2 c4 /
r8 [ d ed f1 ] g2 g4 g g8 g g g f4 r8 g f4 r8 g f4 g ad g1 f /
d4
c b8 c4 b8 c4 c c8 c c c c4 r8 c c4 r8 c cd2 a4 /
r4 r8 g s g1 s f e8 d4 c
e e8 e e e f4 r8 e c4 r8 e c1 b c d e4 c2 s /
[ g8 gd+ f1 e8 ] d c d1 g-
g8+ e4 g g8 g g g a4 r1 e e f3 g a4 r1 e e f3 g a4 g2 f4 s /
% bar 55-58
c2
f4 r r2 r8 g fs g s g1 s f oes g8 d4 r2 r8 a+ gs a s a1 s g a8 e4 /
c1 d e
d c b a g f4 r r2 r8 g a b s b1 s a g8 a4 r2 r8 a b c s c1 s b a8 b4 /
c2
c8 c d e fd g1 a4 d8- d d d s d1 s c b8 a4 r2 r8 e+ e e s e1 s d c8 b4 /
e8
c c4+ c r rp rp r2 r8 a g g1 f /
g2 f4 r rp r4 r8 d+ [ cs dd c1 d8 ] a4 r
r2 /
c4 s c a8 a+ a  g f f e4 d r r r8 f [ e fd e1 d8 ] cs4 r r2 /
f4 s e
f8 f f e s e s d4 c8 oes d2 r4 r8 a+ [ a ad g1 f8 ] e4 r r2 /
% bar
59-61
r8 c d d e4 r r8 e f f g4 r rp /
r8 c b b1 a g8 c- d d e4 r r8 e f f
g4 a g2 /
r2 r8 g+ g f g4 r r2 r8 b- c c d e d4 /
e8 g g f g4 r r8 g a a b
c a4 d8- g e e1 fs g2 /
rp r8 e+ d d1 c b8 g a a b4 r8 c b g d4+ /
r8 e d
d1 c b8 c b b1 a g4 r r8 g+ f f1 e d4 c g2+ /
r2 r8 e d d1 c b8 g+ f f1 e
d8 e d d1 c b4 a b8 c4 b8 /
% bar 62-70
m3434
Rd
r4 r c- f a c f2- c4 [ fd8
g1 a8 f g e ] f2 c4 f a c f2- c4 fd2 \fermataup{8}\ cd /
cd2- r4 r c f a c
f2- c4 [ fd8 g1 a8 f g e ] f2 c4 f a c fd2- \fermataup{8}\  cd+ /
ed2 r4 r
e f f e cd d8 e4 f2 e4 a8- b c d e4 cd b1 a g8 c ad4 b8 c d \fermataup{8}\
ed2 /
e2 c4+ c2 c4 a2 r4 c c c ad b8 c4 a2 r4 c c c c8 b a g f4
\fermataup{8}\ gd2 /
c2 e4 f f e cd d8 e4 f2 e4 a8- b c d e4 cd b1 a g8 c
a2 g4 f c2+ \fermataup{8}\ cd /
ed r4 r g a a g f2 g4 a a g f r r [ fd8 g1
a8 f g e ] fd2 \fermataup{10}\ ed /
c2 g4+ a a g f2 g4 a a g f r r [ fd8 g1
a8 f g e ] f2 e4 ad2 \fermataup{12}\ gd /

From mutex-owner@mail.gmd.de  Fri Jan 21 19:13:43 2000
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Message-ID: <38889B70.7F78810B@biobase.dk>
Date: Fri, 21 Jan 2000 18:46:25 +0100
From: Christian Mondrup <scancm@biobase.dk>
Reply-To: scancm@biobase.dk
Organization: Scandiatransplant
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To: David Bobroff <bobroff@centrum.is>
CC: mutex@gmd.de
Subject: Re: pmx puzzler
References: <3.0.6.32.20000121151406.007ab700@centrum.is>
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David Bobroff wrote:

> Greetings,
>
> I have a very strange thing happening with a .pmx file.  I have coded a
> Gabrieli Canzon for transposition for a trumpet ensemble.  As usual there
> were some typos and I processed the file after every block of input to sort
> out most of them.  One mistake did not make its presence known until I had
> run scor2prt.  At that point one of the parts showed an extraneous small
> flat sign near a note head.  I tracked it down and it was being caused by a
> dash (-) where there should not have been one.  When I went back to the
> full score *.pmx file to eliminate it I got strange behavior in the output.
>
> If I don't have this extra dash then the page layout goes crazy.  I have
> npages set to 4 and nsyst set to 12 which should give me three systems per
> page.  It does so BUT ONLY IF I HAVE THIS EXTRA DASH.  If I remove it I get
> no more than two systems per page and it spreads out over eight pages.
> This is reproducable behavior.  I can remove the dash and the layout goes
> haywire.  If I then put it back, all is well.
>
> I'm running the *nix 2.0.0 version on a RedHat 6.0 system.
>
> The pmx input file follows.  Look in the input block marked % bar 5-8.
> There is a double line of %%%.  In the first line of %%%%%% it says "the
> dash below this gap" and there is a gap just under that text between a pair
> of > <.  The dash is just below that gap.
>
> What's going on?

> % bar 1-4
> Tt
> CANZON V
> (1615)
> Tc
> Giovanni Gabrieli
> %Ar K+3-1
> rp rp rp g43 g8 g g2 /
> rp rp rp rp
> /
> rp rp r2 g44 g8 g g2 r2 /
> rp rp g44 g8 g g2 r2 g4 g8 g /
> c45 c8 c c2 r8 c
> b e d c b a g f e d [ cd d1 ed8 f1 ] g4 d e d /
> rp r2 g45 g8 g g2 r8 c- b e
> d c b a gd a1 b c d b /

you have a surplus 16'th note in the last voice !!!!

>
> r2 g45 g8 g g4 r8 c- b e d c b a g f e4 r8 c+ b e d
> c b a g4 /
> % bar 5-8
> r2 r8 c b e d c b a g f e d [ cd d1 ed8 f1 ] gd4 c8-
> g+ c b e d c b a /
> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%the dash below this gap%%%%%%
> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%>
> <%%%%%%%%%%%%%%
> c44 c8 c c4 r8 c b e d c b a g f [ e d cd d1 ] ed8 f1 g4 s
> -  g8 s c- g+ c b e d c /
> g4 g8 g g2 s g s r4 r8 d e f g4 e r g g8 g g4 r
> /
> g2 r4 r1 g g a b8 g r4 r2 r2 g4 g8 g g2 r4 r1 g g a /
> c2  r1 g1+ g a b8 g
> r1 g g a b8 c d d- e f g4 e r8 c+ b e d1 g- g a b8 c d g- r4 /
> c45 r1 c c d
> e8 c r4 r8 g+ g g g2 r8 g g g g4 r8 c- b e d1 g- g a b8 g g4+ s /
> r1 c1 c d
> e8 c r g+ g g g2 r8 g g g g4 r8 c8- b e d1 g- g a b8 g r4 r1 g g a b8 c /
> %

I can't say for sure whether the above mentioned extra note is the cause of
your problem, maybe it is. But if you have more than one measure per input
block I would HIGHLY recommend using barlines ! It is terribly difficult
keeping the survey over the music without them, and you risk - as in this case
- to enter erroneous notes.

If you quote larger portions of code directly in your email you can't be sure
of how the line breaks come out at the receivers. You should compact you code
(e.g. using zip) and attach it instead. Then it's much easier for the receivers
to handle it.

Regards
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Fri Jan 21 21:26:17 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: pmx puzzler
Date: Fri, 21 Jan 2000 12:06:48 -0800
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Christian Mondrup wrote

>David Bobroff wrote:
>>One mistake did not make its presence known until I had
>> run scor2prt.  At that point one of the parts showed an extraneous small
>> flat sign near a note head.  I tracked it down and it was being caused by
a
>> dash (-) where there should not have been one.  When I went back to the
>> full score *.pmx file to eliminate it I got strange behavior in the
output.
>>
>> If I don't have this extra dash then the page layout goes crazy.

Because of the line-folding that did occur in the original posting, I'd
rather not spend time trying to untangle the pmx file at this point. But a
"-" alone in staff #1 will cause a "flat" as a figure below the  staff. And,
if there are any figures at all in the score, PMX uses a different algorithm
for calculating vertical spacing.  So if the extraneous "-" was the only
figure in the score, it is not a surprise that the page layout changes when
it is removed. 

>If you quote larger portions of code directly in your email you can't be
sure
>of how the line breaks come out at the receivers. You should compact you
code
>(e.g. using zip) and attach it instead. Then it's much easier for the
receivers
>to handle it.

I cannot recall the policy on attachments in the mutex list, but some
mailing lists discourage them.  In case Werner tells us not to include
attachments in postings, there are two other possible approaches I would
recommend for transmitting pmx files:

1. (Always best) Try to distill the pmx file down to the absolute minimum
that still exhibits the problem. This could greatly ease the analysis, as I
often have to do that myself to isolate the problem.  It's then OK to
include the reduced file in a posting, but do be very sure there are no
lines longer than about 60 characters.

2. If there's a good reason to include a longer file, put it on an anonymous
FTP site somewhere, or mail it privately.

So if you're still having trouble with this particular file, I'll be glad to
help; please use one of the suggested methods for transmitting it.

--Don Simons
From mutex-owner@mail.gmd.de  Sat Jan 22 12:20:56 2000
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Mr. Bobroff--

The problem you describe has been covered on this list several times; the
phantom figure, in this case, just toggles pmx (as far as I understand)
between different vertical spacing calculations, one of which gives the
'wrong' result.

To keep pmx from calculating 'bad' values for staff spacing on alternate
pages, add the inline tex beginning \\let near the beginning of the file
as

Giovanni Gabrieli
%Ar K+3-1
\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{8}\
rp rp rp g43 g8 g g2 /
rp rp rp rp /

You may want to adjust the parameter to \interstaffsav, or add the special
scor2prt quasi-comment characters to get a result you like.  This gave a
pleasing layout on my machine (A4 paper, PMX 2.0, Linux).

:laird pruiksma

From mutex-owner@mail.gmd.de  Sat Jan 22 19:31:38 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: pmx puzzler
Date: Sat, 22 Jan 2000 10:23:14 -0800
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:laird Pruiksma wrote

>To keep pmx from calculating 'bad' values for staff spacing on alternate
>pages, add the inline tex beginning \\let near the beginning of the file
>as
>
>Giovanni Gabrieli
>%Ar K+3-1
>\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{8}\
>rp rp rp g43 g8 g g2 /
>rp rp rp rp /

This is a possible solution but there's another one which, IMHO, is better
simply because it does not require inline TeX.  Recognizing the weakness of
PMX's vertical spacing algorithms, a while ago I introduced the pmx command
"AI[decimal number]", and that's the way to go here.  Zap the extra "-", put
"AI.95" before the first input block, and there you go.

Details, for those who care: In PMX the critical adjustable parameter for
vertical spacing in \interstaff, which controls the vertical distance from
one staff to the next within a system. (\stafftopmarg and \staffbotmarg are
always set to 0 when there is more than one staff per system, and more than
some minimum number of systems per page). By issuing \eject at the end of
each page, the left-over available vertical space is distributed between the
systems.  There should always be some left-over vertical space, but PMX
sometimes falls down, computing a value of \interstaff that is too big to
leave any.  When that happens, the last system will spill over onto an added
page. Apparently, the extra "-" makes PMX think there are figures in the
score, even though it's not in staff #1 (?!).  Anyhow, what this does is
reserve some extra vertical space for every system, causing \interstaff to
be set to a smaller value than otherwise.  Without the "-", \interstaff is
larger, enough so that the last system on a page rolls over to the next.
The "AI" command lets the use specify a factor to be applied to \interstaff.
By reducing the internally computed \interstaff this way, you can squeeze
things back together so they fit on pages as you want.

--Don Simons
From mutex-owner@mail.gmd.de  Mon Jan 24 20:20:54 2000
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Date: Mon, 24 Jan 2000 20:02:28 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx puzzler
To: mutex@gmd.de, bobroff@centrum.is
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> Date: Fri, 21 Jan 2000 15:14:06 +0000
> From: David Bobroff <bobroff@centrum.is>

[...]
> %%%PMX FILE%%%
> % Canzon V (1615)
> 7 7 4 4 4 4 0 0
> 4 12 16 .1
> Trumpet 7
[...]

The first line of the PMX file is already dangerous, if you want to
use scor2prt with this PMX-file.

If scor2prt detects "%%" at the beginning of a line it eats the next line.

So if you want to feed a PMX-file to scor2prt don't start any line 
with "%%", "%!" or "%i" where i is any integer from 0 to infinite :-)

The exception from this rule is if you do it intentionally!

This brings you to the sure side.

-- Werner


From mutex-owner@mail.gmd.de  Wed Jan 26 16:08:25 2000
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From: Bernd Thums <b.thums@gmx.de>
To: mutex@gmd.de
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Subject: Install abc2mtex
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Hello,

I want to install abc2mtex on my PC (486 SX 25 MHz DOS 6.22/WIN3.1) but
the program abc2mtex doesn't work.
When I start abc2mtex english I get the messige Floating Point Error:
Overflow, Abnormal program termination

What's going wrong?

Thanks

Bernd A. Thums

-- 
Sent through Global Message Exchange - http://www.gmx.net

From mutex-owner@mail.gmd.de  Fri Jan 28 07:25:32 2000
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Date: Fri, 28 Jan 2000 07:13:52 +0100
From: Reinhard Katzmann <reinhard@suamor.de>
To: Don Simons <DSimons@logicon.com>
Cc: MuTeX ML <mutex@gmd.de>, Zdenek Pytela <letty@phil.muni.cz>,
        Andreas Deininger <deining@wiz.uni-kassel.de>
Subject: Re: Re: PMX 2.1 rpm-binary leads to crash
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Hi Don (and others :)

There seems to be a problem with the rpm version of me, first to
let you know, the problem with my version which you was unable
to reproduce disappeared when I compiled it with the following
options: g77 -O2 -Wall pmxab.f -o pmxab

Also Andreas sent a file called EHLERTPC.pmx to someone which
crashes at bar 50 with my version. I then created a version
using f2c which did not crash, but gave me a strange output
though it worked fine:

Bar 48  Bar 49  Bar 50  Bar 51  Bar 52  Bar 53  Bar 54 R? , ? not "d","r",or"b"; rptfq2:D

 Writing ./EHLERTPC.tex

Well the result shows an open slur which never seems to get
closed. I have had similar "mistakes" in my pieces thought they
never lead to a crash of pmx, here is the bar where my version
compiled with the above options crashes (seems to be a g77 related
problem):

%Bar 50
a4 o>-18 b8d o>-17 s-6 c1s d8 s-6 r8b r4b | //
\cchar{26}{\ppff{ff}}\ a2 o> s+6 a8 o_+9 s+7 r8-0 r4-0 | /
\zchar{19}{\ppff{ff}}\ c2s o> s5 d8 s5 r8 r4 | /
e2n o>-18 s1 d8 s1 r8b r4b | //
a2 s2 o>-3 d8- s2 r8-0 r4-0 | /

The "wrong" slur starts on this bar:
%Bar 14
r0 | //
e1 f1 g1 a1 b4 s+6 g4 s+6 r4 | /
g4 a4 b4u s6 r4 | /
e4 f4 e4 s-5 r4 | //
b8 e8 e8 d8s e4 s9+5 r4 | /

To me it seems to be a memory (access) problem, but maybe I'm wrong.
At least this could explain the strange output above as well. It's
perhabs simply luck that the above version does not crash.

On Wed, Jan 26, 2000 at 12:26:31PM +0100, Zdenek Pytela wrote:
> Andreas Deininger pise:
> > Hi all,
> > 
> > I don't want to make any more confusion, I just want to tell my experiences
> > once more for those of you who couldn't read my German mail.
> > 
> > >If there are any problems with the binaries produced by f2c+gcc, the
> > >easiest solution might be to put
> > >the generated C source into the main directory of my Unix/C
> > >package and compile it there using the patched libraries.
> > >(Or put the fortran sources in the pmx-orig/ subdirectory and run
> > >the convert.sh script there)
> > 
> > Yes, there are problems with the rpm-pmx-binaries that were distributed at
> > Werner's site. Obviously the package was produced by Reinhard Katzmann using
> > g77 (http://www.gmd.de/Mail/mutex-archive-tail/1093.html)
> > 
> > I encountered two problems with these binaries:
> > a)Have a look at the problem described at
> > http://www.gmd.de/Mail/mutex-archive-tail/1113.html
> > You can reproduce it with the Katzmann-rpm-binary, but you won't get that
> > strange behaviour with Stefan's "C" -version
> > b) I attach a pmx-file that crashes with "Katzmann-rpm-pmx" but works fine
> > with the "Stefan-C-pmx"
> > 
> > I don't have the debian-rpm-pmx, but maybe one of you can check, whether is
> > works fine or not. Maybe one of the "experts" can even find out what's going
> > wrong when using the "Katzmann-rpm".
> 	I have pmx-2.10-1 rpm package and the enclosed EHLERTPC.PMX
> doesn't compile, it ends with SIGSEGV and core dump,
> Program received signal SIGSEGV, Segmentation fault.
> 0x80751bd in make2bar_ ()
> This is the g77 version of pmxab.
> 
> -- 
> 
> --Zdenek Pytela, <letty@phil.muni.cz>

-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
From mutex-owner@mail.gmd.de  Fri Jan 28 23:47:33 2000
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Date: Fri, 28 Jan 2000 16:27:06 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: "Simons, Don" <DSimons@logicon.com>
cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: PMX with MIDI out: another suggestion
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On Mon, 17 Jan 2000, Simons, Don wrote:

> Several list members have recently been engaged in a lively private
> discussion about MIDI output from PMX.  
>
> [snip]

This thread doesn't seem to have taken off -- let me try to prod it a bit.

> I can see a two-track approach wherein PMX could internally produce a minimal
> MIDI file, intended only for "proof-listening," while there could also be an
> option for more elaborate post-processing along the lines Stefan suggests.
> 
> [snip]

I think, given the number of free and shareware MIDI file editors available,
that PMX should stick to the "minimal MIDI file" approach. As long as all
the notes are right, adjusting the volume, etc., should be left to a
dedicated MIDI file editor.  The sticky parts -- of getting the notes right
-- that I see are musical shorthand such as (1) grace notes, trills,
arpeggios, etc., (2) repeats and voltas, and (3) transposition.

Items (1) are all "local" modifications, and are therefore should be
relatively straightforward to add (says the spectator), while items (2) and
(3) are "global."  I imagine that (2) could get to be very messy. (State the
obvious and run.) Finally (3) has several difficulties: I can imagine that a
composer might want to enter notes at the actual pitch and rely on PMX to
produce the "correct" printed score, while a copyist might rather enter the
notes from a printed score and rely on PMX to produce the correct actual
pitch. These must both be accomodated.

> I would be more than happy to entertain specific proposals for the form,
> content, and phasing of data to be passed from PMX to the MIDI generator.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Sat Jan 29 01:43:36 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: PMX with MIDI out
Date: Fri, 28 Jan 2000 16:23:16 -0800
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Eric Peterson wrote

>[Don wrote]

>> I can see a two-track approach wherein PMX could internally produce a
minimal
>> MIDI file, intended only for "proof-listening," while there could also be
an
>> option for more elaborate post-processing along the lines Stefan
suggests.
> 
>I think, given the number of free and shareware MIDI file editors
available,
>that PMX should stick to the "minimal MIDI file" approach. As long as all
>the notes are right, adjusting the volume, etc., should be left to a
>dedicated MIDI file editor.  The sticky parts -- of getting the notes right
>-- that I see are musical shorthand such as (1) grace notes, trills,
>arpeggios, etc., (2) repeats and voltas, and (3) transposition.

Different people will draw different boundaries for a "minimal MIDI file",
for which kinds of notes have to be right, and for what to leave to "etc".
For example, I have no current intention to include ornaments in the
baseline capability. If someone wants ornaments in the meanwhile, the
options I see are (a) someone else get into the guts of PMX, in FORTRAN; (b)
someone independently creates a more elaborate midi file generator that uses
the pmx input file, (c) I create an output file at some intermediate stage
(as I've already discussed a little), to be used as partially digested and
fully formatted input for someone else's more elaborate mid file generator,
or (d) operate on the ornament-less midi file with an advanced midi file
editor.  

>Items (1) are all "local" modifications, and are therefore should be
>relatively straightforward to add (says the spectator), 

Maybe.  But as I said, I don't plan to do this, at least not for ornaments.
So doing it locally means option (a).  Someone else would have to learn some
things, probably a lot of things, about the internals of both basic PMX and
the built-in MIDI file generator.  I'd love it if anyone wanted to do that,
and I'd be willing to spend some effort myself to help them up to speed, but
I'm not holding my breath that anyone is willing to do that.  Ergo options
(b)-(d).  With respect to option (c) I've identified a likely spot within
PMX and even started a detailed description of how data are organized there,
which I'd be glad to send anyone who's interested.

>while items (2) and
>(3) are "global."  I imagine that (2) could get to be very messy. (State
the
>obvious and run.) 

I'm running right along side.

>Finally (3) has several difficulties: I can imagine that a
>composer might want to enter notes at the actual pitch and rely on PMX to
>produce the "correct" printed score,  while a copyist might rather enter
the
>notes from a printed score and rely on PMX to produce the correct actual
>pitch. These must both be accomodated.

I haven't put much thought into special midi-related transposition issues.
Sure looks like something for the "etc." category.  As to assigning
instrument-specific transpositions in the *printed* score, that might not be
too difficult to program. 

Are you suggesting that a composer might want to use pmx?  Composition is
definitely not among the uses I have in mind for PMX.  It's mainly a
formatter/typesetter.  The internal MIDI file generator is mainly for
proof-listening.  As such it ought to be able to process any otherwise
legitimate PMX file without choking.  My near-term objective is to get it to
that point.  BTW, I'm getting close :-)

--Don Simons

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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: New in PMX: MIDI output
Date: Mon, 31 Jan 2000 16:32:59 -0800
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I have just made available a trial version of PMX (2.17) that can output a
MIDI file.  You can get it at the following URL:
ftp://ftp.gmd.de/music/musixtex/software/pmx/pmxtest.zip
This new capability enables you to listen to any legal pmx file. Please read
the readme file for instructions about how to use it and a short list of
limitations and assumptions.  I'll just mention one: you cannot yet change
the tempo after the piece starts.  But I'm working on that.

If you've read this far, you'll probably want to download and try it
yourself. But just in case you'd like a free sample, I put a couple on my
web page at
http://www.geocities.com/pchpublish .

If anyone gets interested in working much with MIDI files, a useful piece of
freeware is MidiNotate, available at 
http://www.notation.com/ .  
It makes a decent-looking score from the MIDI file, lets you adjust the
tempo if you pause the playback, change instruments without re-running pmx,
and add stereo effects.  I don't think you can edit single notes or
pre-program the tempo changes, but there are probably lots of other programs
out there that will do that.

--Don Simons
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Subject: Re: New in PMX: MIDI output
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"Simons, Don" wrote:

> I have just made available a trial version of PMX (2.17) that can output a
> MIDI file.  You can get it at the following URL:
> ftp://ftp.gmd.de/music/musixtex/software/pmx/pmxtest.zip
> This new capability enables you to listen to any legal pmx file. Please read
> the readme file for instructions about how to use it and a short list of
> limitations and assumptions.  I'll just mention one: you cannot yet change
> the tempo after the piece starts.  But I'm working on that.

I suggest yet another feature:

when a score contains octaved (up or down) staves the MIDI data generation
doesn't yet reflect that. But it would be really nice if it did !

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Wed Feb  2 19:02:50 2000
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Date: Wed, 2 Feb 2000 18:38:41 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: New in PMX: MIDI output
To: mutex@gmd.de
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> Date: Tue, 01 Feb 2000 20:52:55 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> I suggest yet another feature:

The basar is open? :-)

> when a score contains octaved (up or down) staves the MIDI data generation
> doesn't yet reflect that. But it would be really nice if it did !

If you don't tell it to PMX but to MusiXTeX, then PMX can't know it.
So Don has to introduce more clefs like "T" for "t"reble with "8" on top,
"L"(?) for "t"reble with "8" on bottom, ...

-- Werner


PS: Imho there are other features PMX general lacks of. The new midi
    feature is already now very useful for proof-hearing a score.

As greater new feature I would like if the "K"-command could be
extended so that the first parameter, the transposition, could be
changed with in a piece. This could save some coding together with
the macro feature. Maybe a local transpose for only one voice ("k")
could be very usefull, too.

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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Help compiling PMX with g77
Date: Wed, 2 Feb 2000 09:39:11 -0800 
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I've just gotten full access to a server with RedHat Linux and g77.
Succeeded in getting PMX compiled after changing the two lines with getarg,
no other changes needed.  Works OK with a small file but with a bigger one I
get a segmentation fault.  Could one of the Linux gurus out there help a
little?  I uploaded the FORTRAN source and the larger pmx source to 
ftp://ftp.logicon.com/ongoing/dswacwe/pmx/g77test.zip .  Can anyone compile
the source as is, run it on xxx.pmx and get the segmentation fault at Bar
134 on the second pass?  (Note its a developmental version that makes some
extra output files). Second, any ideas what's wrong?  (Naturally I tested
the same sources in my normal DOS/Windows environment and they worked OK).
Sorry I don't have enough patience to wade through the info pages and climb
the debugger learning curve, but before giving up on that I did notice a
disclaimer somewhere that gdb has difficulting extracting values of
variables from FORTRAN programs compiled with g77...not very promising :-(

--Don Simons

------------- End Forwarded Message -------------


From mutex-owner@mail.gmd.de  Wed Feb  2 23:17:19 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Install abc2mtex
To: mutex@gmd.de, b.thums@gmx.de
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> Date: Wed, 26 Jan 2000 15:36:35 +0100 (MET)
> From: Bernd Thums <b.thums@gmx.de>

> I want to install abc2mtex on my PC (486 SX 25 MHz DOS 6.22/WIN3.1) but
> the program abc2mtex doesn't work.
> When I start abc2mtex english I get the messige Floating Point Error:
> Overflow, Abnormal program termination
> 
> What's going wrong?

Seems so that nobody an the list can help you. Seems so that Chris Walshaw 
is not reading the list.

I hope you can find some help on the abc home page which is on

  http://www.gre.ac.uk/~c.walshaw/abc
  
  
Hope this hilft -- Werner

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Date: Thu, 3 Feb 2000 02:05:36 +0100
From: Reinhard Katzmann <reinhard@suamor.de>
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Subject: Re: your mail
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Hi Don!

> I've just gotten full access to a server with RedHat Linux and g77.
> Succeeded in getting PMX compiled after changing the two lines with getarg,
> no other changes needed.  Works OK with a small file but with a bigger one I

Well my output shows a lot of warnings, don't know if that is important.

> get a segmentation fault.  Could one of the Linux gurus out there help a
> little?  I uploaded the FORTRAN source and the larger pmx source to 
> ftp://ftp.logicon.com/ongoing/dswacwe/pmx/g77test.zip .  Can anyone compile

Ok I got them, compiled it with g77 (-O2, -Wall) and stripped it. I get the
same error as you (at the same bar).

> the source as is, run it on xxx.pmx and get the segmentation fault at Bar
> 134 on the second pass?  (Note its a developmental version that makes some
> extra output files). Second, any ideas what's wrong?  (Naturally I tested

Using strace, the last lines before the error look like this:

write(1, "\n", 1
)                       = 1
write(1, "  Bar 134", 9  Bar 134)                = 9
write(4, "\n  Bar 134", 10)             = 10
--- SIGSEGV (Segmentation fault) ---
+++ killed by SIGSEGV +++

ltrace has quite a different output, if you try it the last
lines before the crash look like this:

fputs("  Bar 134", 0x08218bf8)                    = 1
fflush(0x08218bf8)                                = 0
fputs("\xbar\n", 0x08218f38)                      = 1
drem(0x60000000, 0x40480010, 0, 0x40000000, 0)    = 16416
log(0, 0x40200000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40200000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40200000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
drem(0x60000000, 0x40480010, 0, 0x40000000, 0)    = 16416
log(0, 0x40100000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40100000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40200000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
drem(0xc0000000, 0x40300020, 0, 0x40000000, 0)    = 16416
log(0, 0x40100000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40100000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
log(0, 0x40200000, 0xbfffcfd8, 0xbfffcfd9, 0xbfffcfd9) = 288
sprintf("1.41", "%#.*f", 2, ...)                  = 4
log(0, 0x40100000, 0x08073438, 0xbfffc443, 0x080963f8) = 288
drem(0x20000000, 0x40000106, 0, 0x3ff00000, 0x40027fdc) = 16416
log(0, 0x40affe00, 0, 1, 10)                      = 288
log(0, 0x40100000, 2, 0, 2)                       = 288
log(0, 0x40100000, 0x080957e8, 0xbfffc3d4, 0x080963f8) = 288
drem(0x20000000, 0x40000106, 0, 0x3ff00000, 0x40027fdc) = 16416
fputs("\pnotes{1.41}\Figu{0}{4}\qlp{''D"..., 0x08218f38) = 1
fputs("\tbbl3\qb3{'a}\en%\n", 0x08218f38)         = 1
sprintf("2.00", "%#.*f", 2, ...)                  = 4
log(0, 0x40100000, 0x08073438, 0xbfffc443, 0x080963f8) = 288
drem(0x20000000, 0x40000106, 0, 0x3ff00000, 0x40027fdc) = 16416
fputs("B\n", 0x08218b30)                          = 1
--- SIGSEGV (Segmentation fault) ---
+++ killed by SIGSEGV +++

ltrace traces the funktion calls of a program. Closer examination
is only possible using a debugger like gdb. As it is years since
I last used gdb (I have not even installed it on my system), I'm
not a big help concerning debugging. I can only send you a core
file for closer examination if you wish to ;) If you don't get
one you probably you have to set it using ulimit or limit:
limit coredumpsize 100000 or ulimit -c 100000
Of course core dumps are only useful in conjunction with a debugger
like gdb (which has frontends as well).

> the same sources in my normal DOS/Windows environment and they worked OK).
> Sorry I don't have enough patience to wade through the info pages and climb
> the debugger learning curve, but before giving up on that I did notice a
> disclaimer somewhere that gdb has difficulting extracting values of
> variables from FORTRAN programs compiled with g77...not very promising :-(

Oh well, I hope at least my tracing output can help you a bit.
Greets,

Reinhard
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
From mutex-owner@mail.gmd.de  Thu Feb  3 11:48:10 2000
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From: Keresztfalvi Gabor <kg230@hszk.bme.hu>
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To: MuTeX mailing list <mutex@gmd.de>
Subject: about g77
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Hi all!
There's some uncertainity about g77 in the GNU Compiler Collection
Project, as the lead Fortran developer stoped working on g77 beyond
gcc-2.95 in October 1999. Please check
http://www.gnu.org/software/gcc/ for further info.

When I tried to compile the PMX source on my linux with g77 I got
segfaults as well, then somebody suggested f2c and the segfaults have gone
away... The debian package of f2c shows the following info:
"Currently this is more stable than g77, and is the recommended way
 to compile Fortran as black box routines.  However source level
 debugging facilities are not available."
BTW you may want to try the newest gcc package as well (gcc-2.95.2).

Greets,
Keresztg

+ Keresztfalvi Gabor
+ Student of the Budapest University of Technology and Economics 
+ mailto: keresztg@mail.com  kg230@hszk.bme.hu
+ http://www.sch.bme.hu/~keresztg/

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Hello everyone,

this isn't strictly a MusiXTeX-related question except in the sense
that I've been asked by someone to create some notation extracts to
insert into a Word document. Is there any utility available that will
allow one to convert a page of a DVI file to a graphics format that
Word will accept? I suppose I can use screenshots as a last resort,
but I'm not wild about the quality of the result.

Thanks in advance for any help, and please accept my apologies if this
question is considered too far off-topic. :)

Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)
From mutex-owner@mail.gmd.de  Thu Feb  3 17:22:38 2000
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From: Keresztfalvi Gabor <kg230@hszk.bme.hu>
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To: MuTeX mailing list <mutex@gmd.de>
Subject: Re: about g77
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> When I tried to compile the PMX source on my linux with g77 I got
> segfaults as well, then somebody suggested f2c and the segfaults have gone
> away... The debian package of f2c shows the following info:
Christian Mondrup warned me, that he has problems with f2c and PMX beyond
2.10. Indeed, I haven't mentioned, that I tried some time ago only PMX 2.0
with f2c... And I haven't tried the latest release.
Sorry for the inaccuracy.
BTW I've f2c-19971204. Is there any newer?

Greets,
Keresztg

+ Keresztfalvi Gabor
+ Student of the Budapest University of Technology and Economics 
+ mailto: keresztg@mail.com  kg230@hszk.bme.hu
+ http://www.sch.bme.hu/~keresztg/

From mutex-owner@mail.gmd.de  Thu Feb  3 17:36:37 2000
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Date: Thu, 3 Feb 2000 17:11:08 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: DVI to GIF/JPG/other?
To: mutex@gmd.de, evita.j@magnet.at
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> From: evita.j@magnet.at
> Date: Thu, 03 Feb 2000 16:06:36 +0100

> [...] Is there any utility available that will
> allow one to convert a page of a DVI file to a graphics format that
> Word will accept? I suppose I can use screenshots as a last resort,
> but I'm not wild about the quality of the result.

AFAIK emTeX has a DVI-driver to convert single pages of TeX-output
to esp. MS-Windows-format graphics.

But I do it a little bit different, as you may have seen with the
many images of music I offer for pre-viewing on 
http://www.gmd.de/Misc/Music/scores/

Normally I have PS-files e.g. converted with DVIPS. Then I view
the file using Gsview/Ghosctscript, which has a "Copy" function under
"Edit" to copy the image into the clipboard. From there you may
use your favourite graphics programme or paste it into Word.

For better results you should set in "media/display settings ..."
"graphics alpha" and "text alpha" to 4, and maybe "Depth" to a
maximum as allowed by your graphic card. All this enables gsview
to use antialising. Using different "Resolution  xxx  dpi" you may 
influence the size of the image.

Hope this hilft - Werner

From mutex-owner@mail.gmd.de  Thu Feb  3 17:54:51 2000
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Date: Thu, 03 Feb 2000 17:14:10 +0100
From: Frank Stefani <frank.stefani@ead-systeme.de>
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Hi Eva,

dvips should do what you want. You can create PostScript (PS)
or Encapsulated PostScript (EPS) with it - at least under
Linux. The latter is achieved by the option "-E" and this
should be what M$-Word can work with.

HTH,
Frank.


evita.j@magnet.at schrieb:
> 
> Hello everyone,
> 
> this isn't strictly a MusiXTeX-related question except in the sense
> that I've been asked by someone to create some notation extracts to
> insert into a Word document. Is there any utility available that will
> allow one to convert a page of a DVI file to a graphics format that
> Word will accept? I suppose I can use screenshots as a last resort,
> but I'm not wild about the quality of the result.
> 
> Thanks in advance for any help, and please accept my apologies if this
> question is considered too far off-topic. :)
> 
> Eva
> 
> --
> "I don't play the clarinet. I speak music."
>    ---Giora Feidman (clarinetist with Israel Philharmonic)

-- 
    ____   ___    ___    Frank Stefani    | frank.stefani@ead-systeme.de
   /      /  |   /   \   EAD-Systeme GmbH | www.ead-systeme.de
  /---   /---|  /    /   Nachfeldstr. 4   | Phone +49 8821 9623-0
 /____  /    | /____/    D-82490 Farchant | Fax   +49 8821 9623-20
From mutex-owner@mail.gmd.de  Thu Feb  3 18:23:50 2000
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From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
To: evita.j@magnet.at
Subject: RE: DVI to GIF/JPG/other?
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I would go for dvips to get psfiles. If you can't use the ps files
directly, run them through ghostscript.

gs -dNOPAUSE -sDEVICE=tifflzw -sOutputFile=outfile.tif -dBATCH -r300
file.ps

Do this only with one page-ps-files. If you cant use tifflzw try any of
the other formats. If nothing else helps ppm and convert these again to
some windows format. ("convert file.ppm file.bmp" for example).

The -r300 gives a resolution of 300dpi if to large or to grainy adjust
that. As an afterthought convert can probably do it directly ps to bmp. 
(It will call gs to do the work though and you cant specify the
resolution that easy).

Result will be a tif (or wahtever) picture of the whole page. Use any
graphicsprogram to cut the part you want.

Oh.... I'm asuming some Linux (any Unix) System here. If it's windows
get ghostscript for windows and the gs-line applies just the same.
convert for windows will probably not be available (It's part of
ImageMagick). But try any windows program for the conversion. 

gs --help (on windows, dosbox maybe gs -? or gs -h ) gives you a list of
outputformats that version of gs can do.


K.-H.




On 03-Feb-00 evita.j@magnet.at wrote:
> Hello everyone,
> 
> this isn't strictly a MusiXTeX-related question except in the sense
> that I've been asked by someone to create some notation extracts to
> insert into a Word document. Is there any utility available that will
> allow one to convert a page of a DVI file to a graphics format that
> Word will accept? I suppose I can use screenshots as a last resort,
> but I'm not wild about the quality of the result.
> 
> Thanks in advance for any help, and please accept my apologies if this
> question is considered too far off-topic. :)
> 
> Eva
> 
> --
> "I don't play the clarinet. I speak music."
>    ---Giora Feidman (clarinetist with Israel Philharmonic)

----------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Date: 03-Feb-00      Time: 17:43:30
----------------------------------------------------------
From mutex-owner@mail.gmd.de  Thu Feb  3 18:38:41 2000
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From: Christian Mondrup <scancm@biobase.dk>
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evita.j@magnet.at wrote:

> Hello everyone,
>
> this isn't strictly a MusiXTeX-related question except in the sense
> that I've been asked by someone to create some notation extracts to
> insert into a Word document. Is there any utility available that will
> allow one to convert a page of a DVI file to a graphics format that
> Word will accept? I suppose I can use screenshots as a last resort,
> but I'm not wild about the quality of the result.
>
> Thanks in advance for any help, and please accept my apologies if this
> question is considered too far off-topic. :)

For Win9x/NT I recommend the high quality freeware utility xnview
(http://perso.wanadoo.fr/pierre.g/). You may either capture a window (for
example a dvi previewer) and afterwards crop the result or you may paste
the clipboard copy resulting from requesting a copy of the current page of
gsview, or you may import the the clipboard saved as a .bm file from
gsview. With xnview you are able to convert the captured image to manay
picture formats including those read by Word.

For unix users obvious choices are either the GNU image processing utility
Gimp (http://www.gimp.org/) or xv (http://www.trilon.com/xv/). Both
utilities read postscript files and are able to convert them to many other
picture formats.
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Thu Feb  3 18:59:32 2000
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Date: Thu, 3 Feb 2000 18:11:39 +0100
From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: Keresztfalvi Gabor <kg230@hszk.bme.hu>
Cc: mutex@gmd.de
Subject: Re: about g77
Message-ID: <20000203181139.A22368@gil.physik.rwth-aachen.de>
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On Thu, Feb 03, 2000 at 05:00:30PM +0100, Keresztfalvi Gabor wrote:
> > When I tried to compile the PMX source on my linux with g77 I got
> > segfaults as well, then somebody suggested f2c and the segfaults have gone
> > away... The debian package of f2c shows the following info:
> Christian Mondrup warned me, that he has problems with f2c and PMX beyond
> 2.10. Indeed, I haven't mentioned, that I tried some time ago only PMX 2.0
> with f2c... And I haven't tried the latest release.
> Sorry for the inaccuracy.
> BTW I've f2c-19971204. Is there any newer?

Sure there is a newer version. Find the most recent version
on

ftp://netlib.bell-labs.com/netlib/f2c

Besides I'd be curious what the problem is. f2c is so mature
that it is unlikely that there is a 'problem' with f2c.

It's more likely there is a problem with the fortran code
not being 100% f77 standard or something.

> 
> Greets,
> Keresztg
> 
> + Keresztfalvi Gabor
> + Student of the Budapest University of Technology and Economics 
> + mailto: keresztg@mail.com  kg230@hszk.bme.hu
> + http://www.sch.bme.hu/~keresztg/

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
From mutex-owner@mail.gmd.de  Thu Feb  3 19:21:10 2000
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From: MARAY Tamas <maray@fsz.bme.hu>
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Subject: Re: about g77
In-Reply-To: <Pine.GSO.4.21.0002031644110.10537-100000@ural2> from Keresztfalvi Gabor at "Feb 3, 2000 05:00:30 pm"
To: mutex@gmd.de
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> > When I tried to compile the PMX source on my linux with g77 I got
> > segfaults as well, then somebody suggested f2c and the segfaults have gone
> > away... The debian package of f2c shows the following info:
> Christian Mondrup warned me, that he has problems with f2c and PMX beyond
> 2.10. Indeed, I haven't mentioned, that I tried some time ago only PMX 2.0
> with f2c... And I haven't tried the latest release.

I could translate the current PMX test version (with MIDI support) with
f2c on a FreeBSD system without having any problem. It works pretty well.

Sincerely,

Tamas Maray
<maray@fsz.bme.hu>


From mutex-owner@mail.gmd.de  Thu Feb  3 20:21:34 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: about g77
Date: Thu, 3 Feb 2000 11:01:18 -0800 
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Christoph Kukulies wrote

>Besides I'd be curious what the problem is. f2c is so mature
>that it is unlikely that there is a 'problem' with f2c.
>
>It's more likely there is a problem with the fortran code
>not being 100% f77 standard or something.

Thanks to Christoph and others who responded.  When I originally compiled
with Redhat Linux g77 I used no options and got the segmentation error.
Based on Reinhard Katzmann's suggestion, I tried it with -O2 -Wall and now
it ran all the way through!  But by comparing it with a certified .tex, I
see that the resulting TeX file seemed to have some incorrect stuff in it
(haven't tried to TeX it yet for various logistical reasons).   OTOH, I
downloaded Stefan Evert's package for PMX 2.1 to the Linux Box, typed
"make", ran the resulting binary, and got a perfectly fine .tex (Way to go,
Stefan!).  I'm starting to wonder whether I'm "beating my head against a
wall" with g77, especially considering the other problems people have
reported with g77-generated binaries. As long a Stefan stays on the team, is
there any reason why all UNIX users cannot use his packages? 

Still, I can't completely stifle my curiosity about the g77 problems.  Is
there a utility out there that checks FORTRAN code for f77 compliance?

--Don Simons
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From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: "Simons, Don" <DSimons@logicon.com>
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Subject: Re: about g77
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On Thu, Feb 03, 2000 at 11:01:18AM -0800, Simons, Don wrote:
> Christoph Kukulies wrote
> 
> >Besides I'd be curious what the problem is. f2c is so mature
> >that it is unlikely that there is a 'problem' with f2c.
> >
> >It's more likely there is a problem with the fortran code
> >not being 100% f77 standard or something.
> 
> Thanks to Christoph and others who responded.  When I originally compiled
> with Redhat Linux g77 I used no options and got the segmentation error.
> 
...

> Still, I can't completely stifle my curiosity about the g77 problems.  Is
> there a utility out there that checks FORTRAN code for f77 compliance?

The best test is to run it through f2c. f2c *is* nothing else than the
f77 'authority', believe me.

But I believe the problem may be with the C code or C compiler when you
are getting a segfault. (as the different results from using various 
-O flags show).

Can you debug (gdb) the C code and backtrace the problem? 

> 
> --Don Simons

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
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Date: Thu, 3 Feb 2000 18:22:06 +0100
From: Reinhard Katzmann <reinhard@suamor.de>
To: Keresztfalvi Gabor <kg230@hszk.bme.hu>
Cc: MuTeX ML <mutex@gmd.de>
Subject: Re: about g77
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Hi Keresztfalvi,

> Christian Mondrup warned me, that he has problems with f2c and PMX beyond
> 2.10. Indeed, I haven't mentioned, that I tried some time ago only PMX 2.0
> with f2c... And I haven't tried the latest release.
> Sorry for the inaccuracy.
> BTW I've f2c-19971204. Is there any newer?

Of course, I have f2c-19990326, it was included in my redhat distribution.
The only difference so far I noticed was that f2c binaries of pmx210 did
not crash at the place where binaries produced with g77 did crash. I
did not do any excessive testing though.

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
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From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX Mailing List <mutex@gmd.de>
Cc: "Simons, Don" <DSimons@logicon.com>
Subject: Re: about g77
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Hi Don!

I have now tried to compile the code with f2c, and I get several
errors when trying that: f2c -Nn802 -Nx400 pmx218.f

   g1etnote:
Error on line 1088 of pmx218.f: Statement order error: declaration after DATA
Warning on line 2817 of pmx218.f: local variable relacc never used
Warning on line 2817 of pmx218.f: local variable midicrd never used
Warning on line 2817 of pmx218.f: local variable nmidcrd never used
Warning on line 2817 of pmx218.f: local variable numchan never used
Warning on line 2817 of pmx218.f: local variable notmain never used

...

   addmidi:
Error on line 15113 of pmx218.f: Statement order error: declaration after DATA

...

The g77 compiled fine as I told you, but even though I used -O
option it crashes on my system.

Any more information ?

> On Thu, Feb 03, 2000 at 11:01:18AM -0800, Simons, Don wrote:
> > Christoph Kukulies wrote
> > 
> > Still, I can't completely stifle my curiosity about the g77 problems.  Is
> > there a utility out there that checks FORTRAN code for f77 compliance?
> 
> The best test is to run it through f2c. f2c *is* nothing else than the
> f77 'authority', believe me.
> 
> But I believe the problem may be with the C code or C compiler when you
> are getting a segfault. (as the different results from using various 
> -O flags show).

No, this is not logical, the test was made with g77, and g77 does not
produce C code, f2c on the other hand compiles version 210 without
problems and the executable does not crash while g77 verison of both
210 and 218 seem to crash (no difference here whether compiled with
a -O option or not). My f2c version OTOH does not compile pmx 218.

Greets,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas
From mutex-owner@mail.gmd.de  Fri Feb  4 00:37:50 2000
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Subject: Re: about g77
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I have built (15 years ago) a F77 static checker named FTAx. Although
limited to f77 (and not f90 of f9x) it appears to be a powerful test
tool.

It runs presently on DOS and several UNIX systems. I somebody requires
it, I could easily port it to Linux (I use RedHat 6.1).

FTAx analyses all subroutines and functions of a f77 package (thousands
and tens of thouysands of lines OK) and compares the types of common
statements, of arguments, dimensions, etc.

==> If somebody asks for it, I can provide it with a makefile for linux,
eventually an executable for i386 (for miracles, I ask 2 weeks
delay...).

Just ask.

-----------------------------------------------------------------

Christoph Kukulies wrote:
> 
> On Thu, Feb 03, 2000 at 11:01:18AM -0800, Simons, Don wrote:
> > Christoph Kukulies wrote
> >
> > >Besides I'd be curious what the problem is. f2c is so mature
> > >that it is unlikely that there is a 'problem' with f2c.
> > >
> > >It's more likely there is a problem with the fortran code
> > >not being 100% f77 standard or something.
> >
> > Thanks to Christoph and others who responded.  When I originally compiled
> > with Redhat Linux g77 I used no options and got the segmentation error.
> >
> ...
> 
> > Still, I can't completely stifle my curiosity about the g77 problems.  Is
> > there a utility out there that checks FORTRAN code for f77 compliance?
> 
> The best test is to run it through f2c. f2c *is* nothing else than the
> f77 'authority', believe me.
> 
> But I believe the problem may be with the C code or C compiler when you
> are getting a segfault. (as the different results from using various
> -O flags show).
> 
> Can you debug (gdb) the C code and backtrace the problem?
> 
> >
> > --Don Simons
> 
> --
> Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
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From: "Simons, Don" <DSimons@logicon.com>
To: MuTeX Mailing List <mutex@gmd.de>
Cc: "Simons, Don" <DSimons@logicon.com>
Subject: RE: about g77
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The data statement is indeed out of order, but moving it doesn't fix things.
Program compiled OK and ran with -O0 (is -O equivalent to -O1?).  But output
tex file is wrong; lots of fermata's etc that are not in the input.

I don't understand the warnings.  The variables mentioned are in a common
block.  They are not used in the subroutine mentioned, but they are used
elsewhere.

--Don 

> -----Original Message-----
> From:	Reinhard Katzmann [SMTP:reinhard@suamor.de]
> Sent:	Thursday, February 03, 2000 2:53 PM
> To:	MuTeX Mailing List
> Cc:	Simons, Don
> Subject:	Re: about g77
> 
> Hi Don!
> 
> I have now tried to compile the code with f2c, and I get several
> errors when trying that: f2c -Nn802 -Nx400 pmx218.f
> 
>    g1etnote:
> Error on line 1088 of pmx218.f: Statement order error: declaration after
> DATA
> Warning on line 2817 of pmx218.f: local variable relacc never used
> Warning on line 2817 of pmx218.f: local variable midicrd never used
> Warning on line 2817 of pmx218.f: local variable nmidcrd never used
> Warning on line 2817 of pmx218.f: local variable numchan never used
> Warning on line 2817 of pmx218.f: local variable notmain never used
> 
> ...
> 
>    addmidi:
> Error on line 15113 of pmx218.f: Statement order error: declaration after
> DATA
> 
> ...
> 
> The g77 compiled fine as I told you, but even though I used -O
> option it crashes on my system.
> 
> Any more information ?
> 
> > On Thu, Feb 03, 2000 at 11:01:18AM -0800, Simons, Don wrote:
> > > Christoph Kukulies wrote
> > > 
> > > Still, I can't completely stifle my curiosity about the g77 problems.
> Is
> > > there a utility out there that checks FORTRAN code for f77 compliance?
> > 
> > The best test is to run it through f2c. f2c *is* nothing else than the
> > f77 'authority', believe me.
> > 
> > But I believe the problem may be with the C code or C compiler when you
> > are getting a segfault. (as the different results from using various 
> > -O flags show).
> 
> No, this is not logical, the test was made with g77, and g77 does not
> produce C code, f2c on the other hand compiles version 210 without
> problems and the executable does not crash while g77 verison of both
> 210 and 218 seem to crash (no difference here whether compiled with
> a -O option or not). My f2c version OTOH does not compile pmx 218.
> 
> Greets,
> 
> Reinhard Katzmann
> -- 
> E-Mail: reinhard@suamor.de
> 
> Current Projects: Linux-Installation RH6.1 (90% finished)
>                   Java-DB and -Interface for Pincity
>                   Bach & Händel Trio Sonatas
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Date: Fri, 4 Feb 2000 07:56:27 +0100
From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: MuTeX Mailing List <mutex@gmd.de>, "Simons, Don" <DSimons@logicon.com>
Subject: Re: about g77
Message-ID: <20000204075626.A26543@gil.physik.rwth-aachen.de>
References: <C3C53CB16C05D311B0CA00805FBBE42806302C@xcgca040.sp.logicon.com> <20000203223309.A23828@gil.physik.rwth-aachen.de> <20000203235302.A21041@suamor.de>
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On Thu, Feb 03, 2000 at 11:53:02PM +0100, Reinhard Katzmann wrote:
> Hi Don!
> 
> I have now tried to compile the code with f2c, and I get several
> errors when trying that: f2c -Nn802 -Nx400 pmx218.f
> 
>    g1etnote:
> Error on line 1088 of pmx218.f: Statement order error: declaration after DATA

Yes, the program does not obey the standard statement ordering

Declarations
COMMMON
DATA
EQUIVALENCE

There may be a type declaration after a data statement.
Simply put it before the data statement and it will pass.

> Warning on line 2817 of pmx218.f: local variable relacc never used
> Warning on line 2817 of pmx218.f: local variable midicrd never used
> Warning on line 2817 of pmx218.f: local variable nmidcrd never used
> Warning on line 2817 of pmx218.f: local variable numchan never used
> Warning on line 2817 of pmx218.f: local variable notmain never used

Tidy up. This is the same as in C, when you don't use local
variables, but it is harmless.

> 
> ...
> 
>    addmidi:
> Error on line 15113 of pmx218.f: Statement order error: declaration after DATA
> 
> ...
> 
> The g77 compiled fine as I told you, but even though I used -O

g77 is lax WRT to standard fidelity. 

> option it crashes on my system.
> 
> Any more information ?
> 
> > On Thu, Feb 03, 2000 at 11:01:18AM -0800, Simons, Don wrote:
> > > Christoph Kukulies wrote
> > > 
> > > Still, I can't completely stifle my curiosity about the g77 problems.  Is
> > > there a utility out there that checks FORTRAN code for f77 compliance?
> > 
> > The best test is to run it through f2c. f2c *is* nothing else than the
> > f77 'authority', believe me.
> > 
> > But I believe the problem may be with the C code or C compiler when you
> > are getting a segfault. (as the different results from using various 
> > -O flags show).
> 
> No, this is not logical, the test was made with g77, and g77 does not

Yes, I forgot for the moment.

Send me the whole stuff, I will try to compile it under both, g77 and f2c
and will try to pinpoint the problem.


> produce C code, f2c on the other hand compiles version 210 without
> problems and the executable does not crash while g77 verison of both
> 210 and 218 seem to crash (no difference here whether compiled with
> a -O option or not). My f2c version OTOH does not compile pmx 218.
> 
> Greets,
> 
> Reinhard Katzmann
> -- 
> E-Mail: reinhard@suamor.de
> 
> Current Projects: Linux-Installation RH6.1 (90% finished)
>                   Java-DB and -Interface for Pincity
>                   Bach & Händel Trio Sonatas

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
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Date: Fri, 4 Feb 2000 12:19:34 +0100 (MET)
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From: Stefan Evert <evert@ims.uni-stuttgart.de>
To: mutex@gmd.de, DSimons@logicon.com
In-reply-to: <20000204075626.A26543@gil.physik.rwth-aachen.de> (message from
	Christoph Kukulies on Fri, 4 Feb 2000 07:56:27 +0100)
Subject: Re: about g77
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   On Thu, Feb 03, 2000 at 11:53:02PM +0100, Reinhard Katzmann wrote:
   > Hi Don!
   > 
   > I have now tried to compile the code with f2c, and I get several
   > errors when trying that: f2c -Nn802 -Nx400 pmx218.f
   > 
   >    g1etnote:
   > Error on line 1088 of pmx218.f: Statement order error: declaration after DATA
   > ...
   > 
   >    addmidi:
   > Error on line 15113 of pmx218.f: Statement order error: declaration after DATA
   > 

Hmm, strange, I only got the first of the two .. and it was on a
different line!   Oh, I see, I only got pmx-2.17 ... 

   Yes, the program does not obey the standard statement ordering

   Declarations
   COMMMON
   DATA
   EQUIVALENCE

   There may be a type declaration after a data statement.
   Simply put it before the data statement and it will pass.

Exactly.

   > Warning on line 2817 of pmx218.f: local variable relacc never used
   > Warning on line 2817 of pmx218.f: local variable midicrd never used
   > Warning on line 2817 of pmx218.f: local variable nmidcrd never used
   > Warning on line 2817 of pmx218.f: local variable numchan never used
   > Warning on line 2817 of pmx218.f: local variable notmain never used

   Tidy up. This is the same as in C, when you don't use local
   variables, but it is harmless.

No need to. When you move the data statement after the declaration
block, the warnings disappear. Which is actually quite strange
behaviour of f2c, isn't it?

   > > The best test is to run it through f2c. f2c *is* nothing else than the
   > > f77 'authority', believe me.
   > > 
   > > But I believe the problem may be with the C code or C compiler when you
   > > are getting a segfault. (as the different results from using various 
   > > -O flags show).
   > 
   > No, this is not logical, the test was made with g77, and g77 does not

   Yes, I forgot for the moment.

Has g77 been rewritten as a native compiler? Back in '96 when I tried
it, it was just a front-end to gcc (i.e. a fortran-2-C converter). 


Regards,
Stefan.
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Date: Fri, 4 Feb 2000 14:13:32 +0100
From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: Stefan Evert <evert@ims.uni-stuttgart.de>
Cc: mutex@gmd.de, DSimons@logicon.com
Subject: Re: about g77
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On Fri, Feb 04, 2000 at 12:19:34PM +0100, Stefan Evert wrote:
> 
> 
>    > > are getting a segfault. (as the different results from using various 
>    > > -O flags show).
>    > 
>    > No, this is not logical, the test was made with g77, and g77 does not
> 
>    Yes, I forgot for the moment.
> 
> Has g77 been rewritten as a native compiler? Back in '96 when I tried
> it, it was just a front-end to gcc (i.e. a fortran-2-C converter). 

Yeah, I thought so myself in the first place. g77 is the compiler driver.
I think the generated C code is invisible (/tmp). It's never been a native
compiler.

> 
> 
> Regards,
> Stefan.

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
From mutex-owner@mail.gmd.de  Fri Feb  4 15:48:02 2000
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Subject: Re: about g77
To: kuku@gilberto.physik.rwth-aachen.de (Christoph Kukulies)
Date: Fri, 4 Feb 2000 16:31:16 +0200 (SAST)
Cc: evert@ims.uni-stuttgart.de (Stefan Evert), mutex@gmd.de,
        DSimons@logicon.com
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Christoph Kukulies skryf:
> 
> > Has g77 been rewritten as a native compiler? Back in '96 when I tried
> > it, it was just a front-end to gcc (i.e. a fortran-2-C converter). 
> 
> Yeah, I thought so myself in the first place. g77 is the compiler driver.
> I think the generated C code is invisible (/tmp). It's never been a native
> compiler.
> 
There is an alternative f2c front-end to g77.  It's called fort77.
For some reason it is not part of the RedHat distribution, it is
in their "powertools" package.  I have had more success with fort77
than with g77.  Of course, for either you must have f2c available.

Dirk
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Date: Fri, 04 Feb 2000 15:22:18 +0100
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Subject: Checking f77 programs (e.g. pmx)
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 My f77 checker (FTAx) is now available for linux at:

ftp://ftp.lps.u-psud.fr/pub/ftax/linux/ftax-linux.zip

There is also a README.LNX which explains how to install it.

The zip contains an executable and a makefile to rebuild it if the
previous one does not work.
-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
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Date: Fri, 4 Feb 2000 09:42:58 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: "Simons, Don" <DSimons@logicon.com>
cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX and F77 checker (Was RE: about g77)
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>> Still, I can't completely stifle my curiosity about the g77 problems.  Is
>> there a utility out there that checks FORTRAN code for f77 compliance?
>
> The best test is to run it through f2c. f2c *is* nothing else than the
> f77 'authority', believe me.

I _like_ f2c but I would'nt go quite that far. Another tool with better
diagnostic output is

	<http://www.dsm.fordham.edu/~ftnchek/>

Source code (C) and compiled executables for a number of systems are
available.

When I run ftnchek on pmx217.for with no options I get a lot of (mostly)
harmless warning messages, but

  ftnchek -pretty=none -truncation=none -f77=none -f77=mixed-common *.for

gives a few error messages like 

  Warning in module PMXA file pmx217.for:
   Common block COMMAC line 478 has mixed
   character and non-character variables (nonstandard)

The offending source line is

      common /commac/ macnum,mrecord,mplay,macuse,icchold,lnholdq,endmac

with character*128 lnholdq and logical endmac. Since different compilers
store character variables differently, trying to access non-character data
located in common after the character data can lead to memory errors. I
suspect that this is what you are seeing. The solution (best case) would be
to segregate character variables into their own commons, but (next best)
moving the character variables in commons to the end would probably solve
the problem.

HTH,
	Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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Date: Fri, 04 Feb 2000 22:54:43 +0100
From: Guido Milanese <gmilanese@mclink.it>
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Organization: Vivarium
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Subject: MTX: no bars?
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I am using MTX --> PMX --> MusiXTeX to write choral music (very good
system!). Now I would like to transcribe some Mediaeval lyrics, where no
bars are needed (better, they would be wrong). Is it possible to
persuade MTX to work without bars? Or should I use MusiXTeX directly?

Many thanks,
gm
 
---------------------------------------------------------
Guido Milanese            Vocal Ensemble "Ars Antiqua"
gmilanese@mclink.it       http://web.mclink.it/arsantiqua
Salita del Passero 11     I-16126 Genova GE, Italy
* Sed nomini tuo da gloriam *                MMMR 4.70reg
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Can't speak for M-Tx, but PMX does not have any off-the-shelf method to do
barless music. For example, line breaks must come between bars.  Whatever
you do in PMX, there will have to be an underlying pattern of meters and
bars.  You could "fake it out" by setting the number of systems equal to the
number bars so as to get one bar per system, and perhaps tailor the meter as
needed, maybe as often as every bar. I don't think there's any limit on the
number of meter changes, but you would still gets vertical lines at the end
of each system.  In addition or perhaps as an alternative you might replace
all \xbar commands by \zbar (\\let\xbar\zbar\let\alaligne\zalaligne\); I'm
not sure what that would do to horizontal spacing.  Another consideration is
that if you stray from the standard kinds of meters, you may get wierd
beaming, but in PMX this could always be overridden with forced beams or
"alone"-notes. Let's wait and see what Dirk says about M-Tx, and if it looks
possible, then we can come back and iterate on the details.

--Don Simons



> -----Original Message-----
> From:	Guido Milanese [SMTP:gmilanese@mclink.it]
> Sent:	Friday, February 04, 2000 1:55 PM
> To:	mutex@gmd.de
> Subject:	MTX: no bars?
> 
> I am using MTX --> PMX --> MusiXTeX to write choral music (very good
> system!). Now I would like to transcribe some Mediaeval lyrics, where no
> bars are needed (better, they would be wrong). Is it possible to
> persuade MTX to work without bars? Or should I use MusiXTeX directly?
> 
> Many thanks,
> gm
>  
> ---------------------------------------------------------
> Guido Milanese            Vocal Ensemble "Ars Antiqua"
> gmilanese@mclink.it       http://web.mclink.it/arsantiqua
> Salita del Passero 11     I-16126 Genova GE, Italy
> * Sed nomini tuo da gloriam *                MMMR 4.70reg
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Dynamic dimensioning in PMX?
Date: Fri, 4 Feb 2000 15:22:29 -0800 
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So far all versions of PMX have used fixed array dimensions in the FORTRAN
coding, and if I'm in a good mood when someone asks for more I give 'em
more.  That's worked up to now, and no one has ever mentioned any problems
due to the sizes of the static arrays.  But I've just become aware of the
possibility of using dynamic dimensioning.  I'd be willing to look into this
if there's anything to be gained by it, and if it doesn't introduce
cross-platform-compatibility problems.  Our recent discussions about g77,
f2c, and their possible requirements for pristine FORTRAN 77 standard code,
make it seem pretty unfeasible, but I just thought I'd solicit comments.

--Don Simons


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Guido Milanese wrote:

> I am using MTX --> PMX --> MusiXTeX to write choral music (very good
> system!). Now I would like to transcribe some Mediaeval lyrics, where no
> bars are needed (better, they would be wrong). Is it possible to
> persuade MTX to work without bars?

It is - almost everything is possible with mtx :-)

Here is a short example with barless music and no barlines at linebreaks

Meter: 0/4
Style: Singer
Systems: 3
Pages: 1

%% \\let\alaligne\zalaligne\
@+4 c4 d e f g f e d c d e f g f e d
L: In this piece there are no bar lines, in this piece there are no bar
lines,

c4 d e f g f e d c d e f g f e d
L: In this piece there are no bar lines, in this piece there are no bar
lines,

c4 d e f g f e d c d e f g f e d :|
L: In this piece there are no bar lines, in this piece there are no bar
lines,

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


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Date: Fri, 4 Feb 2000 22:38:49 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: "Simons, Don" <DSimons@logicon.com>
cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: Dynamic dimensioning in PMX?
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On Fri, 4 Feb 2000, Simons, Don wrote:

> So far all versions of PMX have used fixed array dimensions in the FORTRAN
> coding, and if I'm in a good mood when someone asks for more I give 'em
> more.  That's worked up to now, and no one has ever mentioned any problems
> due to the sizes of the static arrays.  But I've just become aware of the
> possibility of using dynamic dimensioning.  I'd be willing to look into this
> if there's anything to be gained by it, and if it doesn't introduce
> cross-platform-compatibility problems.  Our recent discussions about g77,
> f2c, and their possible requirements for pristine FORTRAN 77 standard code,
> make it seem pretty unfeasible, but I just thought I'd solicit comments.
> 
> --Don Simons
> 
> 
I would guess that cross-platform-compatibility will not be easily achieved
using f77. F90/95 would be an option but I doubt that the cross-platform
team members will all have access to an F90/95 compiler... Head count?

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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Many thanks to everyone who offered advice, and especially to
Christian for the tip about XNView -- this seems to be just what the
doctor ordered. :)

Regards to all
Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)
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From: Christian Schrader <Christian.Schrader@gmx.de>
To: mutex@gmd.de
Subject: Classical guitar notes with PMX
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Hi!

I want to write some pieces for clasical guitar using pmx.

an example:
----------- snip ------------
1 1 2 4 2 4 1 +3 0 6 20 0

t
./
Tt
Ecossaise
r4-8          |    a43 o>   r4-8 |   a43     r4-8  |   b44      a  | g   r4-8   |   a43     r4-8  //
c85 d         | [ e85 a ] g f    | [ f85 e ] c e   | [ d85 e ] c e | b44 c8 d   | [ e85 a ] g f /
 a43       r4-8 |   e43      r4-8    | a Rlr r4-8 | r8 e83 r4-8 | r8 a83 r4-8 //
 [ f85 e ] c e  | [ b zd e ] g- zb e | a4-  g8 a  | b4 f8+ e    | c4 f8  e     /
  f44     r4-8  | e  r4-8  |   a-     r4-8 |   d       r4-8 | rb2                 //
[ d8s b ] c d   | e4 c8 dn | [ e8 a ] g f  | [ f8s g ] d b  | [ e8- c85 ] e83 b84 /
 mo400 a4 Rr //
 a4          /
----------- snip ------------

First I have to write the voice for the bass notes and then the
voice of the melody because of the direction of the stems.
Is it possible to change this order?

An other problem ist the use of ornaments. In the first beat the o>
should be written below the a43 and not obove the e85. 
How can I achieve this?

How can I write little numbers beside the noteheads. It´s 
to describe the fingering.

And last: are there some resources where I can find some pmx files
of guitar music which I can use as examples?

Thank you, 
Christian


From mutex-owner@mail.gmd.de  Sun Feb  6 23:05:07 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: Classical guitar notes with PMX
Date: Sun, 6 Feb 2000 13:48:02 -0800 
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Christian Schrader wrote

>First I have to write the voice for the bass notes and then the
>voice of the melody because of the direction of the stems.
>Is it possible to change this order?

PMX has always used MusiXTeX's voice numbering convention of bottom-to-top.
You could enter the upper line of music first, but then you would have to
explicitly force ALL the stems to go opposite their natural direction.  

>An other problem ist the use of ornaments. In the first beat the o>
>should be written below the a43 and not obove the e85. 
>How can I achieve this?

Change the height of the ornament.  See the edited version of your example
below. (You may have to do some untangling due to mail-reader line-breaking.
It's best to keep lines short in emailed examples.)

>How can I write little numbers beside the noteheads. It´s 
>to describe the fingering.

Define a macro as in example below.  You can change the font definition and
location of the number to suit your desires. If you do this you might
sometimes need to add some space using "X".

--Don Simons

================================
1 1 2 4 2 4 1 +3 0 6 20 0

t
c:\pctex\texinput\
Tt
Ecossaise
%
% Define macro for fingering
%
\\def\gfing#1#2{\loff{\zcharnote{#1}{\eightrm#2}}}\
%
% Example of how to change height of ornament
%
r4-8          |    a43 o>-20  r4-8 |   a43     r4-8  |   b44      a  | g
r4-8
a43     r4-8  //
%
%  Example of use of \gfing
%
c85 d         | [ \gfing62\ e85 a ] g f    | [ f85 e ] c e   | [ d85 e ] c e
| b
    [ e85 a ] g f /
 a43       r4-8 |   e43      r4-8    | a Rlr r4-8 | r8 e83 r4-8 | r8 a83
r4-8 //
 [ f85 e ] c e  | [ b zd e ] g- zb e | a4-  g8 a  | b4 f8+ e    | c4 f8  e
/
  f44     r4-8  | e  r4-8  |   a-     r4-8 |   d       r4-8 | rb2
[ d8s b ] c d   | e4 c8 dn | [ e8 a ] g f  | [ f8s g ] d b  | [ e8- c85 ]
e83 b8

From mutex-owner@mail.gmd.de  Mon Feb  7 02:35:05 2000
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Date: Mon, 7 Feb 2000 02:15:41 +0100
From: Christian Schrader <Christian.Schrader@gmx.de>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: Re: Classical guitar notes with PMX
Message-ID: <20000207021541.A28089@loba.ts.rz.tu-bs.de>
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In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428063039@xcgca040.sp.logicon.com>; from Simons, Don on Sun, Feb 06, 2000 at 01:48:02PM -0800
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On Sun, Feb 06, 2000 at 01:48:02PM -0800, Simons, Don wrote:
> >Is it possible to change this order?
> 
> PMX has always used MusiXTeX's voice numbering convention of bottom-to-top.
> You could enter the upper line of music first, but then you would have to
> explicitly force ALL the stems to go opposite their natural direction.  

I think that I will use M-Tx, which allows this change.
 
> >An other problem ist the use of ornaments. In the first beat the o>
> >should be written below the a43 and not obove the e85. 
> >How can I achieve this?
> 
> Change the height of the ornament.  

Well, I used this for the rests but I thought there is a way with
automatic placement. 

> >How can I write little numbers beside the noteheads. It´s 
> >to describe the fingering.
> 
> Define a macro as in example below.  You can change the font definition and
> location of the number to suit your desires. If you do this you might
> sometimes need to add some space using "X".

It seems to me that I can´t avoid to learn MusiXTeX. :-)

Thank you
     Christian

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Date: Mon, 7 Feb 2000 12:40:49 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: no bars?
To: mutex@gmd.de, gmilanese@mclink.it
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Fri, 4 Feb 2000 15:09:51 -0800 

> [...] In addition or perhaps as an alternative you might replace
> all \xbar commands by \zbar (\\let\xbar\zbar\let\alaligne\zalaligne\); I'm
> not sure what that would do to horizontal spacing. [...]

In rare cases replacing \xbar by \zbar may result in additional line breaks.
Concerning horizontal spacing at least \afterruleskip should be set to
0 or revoked. So my solution would be:

2 2 4 4 4 4 0 0
1 2 20 0.1
barlines
without
aa
./

\\let\xbarsav\xbar\
\\let\alalignesav\alaligne\
\\let\endpiecesav\endpiece\
\\def\xbar{\setemptybar\addspace{-\beforeruleskip}\xbarsav\addspace{-\afterruleskip}}\
\\def\alaligne{\addspace{-\beforeruleskip}\setemptybar\alalignesav}\
\\def\endpiece{\addspace{-\beforeruleskip}\setemptybar\endpiecesav}\
\\nostartrule\
\\nobarnumbers\

MR1 e44 e e e e e e e e e e e e e e e e e e e e e e e e e e e M Rb /
MP1 /

It's the usual trick knowing which MusiXTeX macros PMX uses and replacing
them by modified macros. That's the reason why a user should learn a little
bit about MusiXTeX after starting with PMX. Looking at the PMX generated
MusiXTeX-sources may be a good teacher for MusiXTeX :-)

Since I use PMX more and more I stopped using MusiXTeX directly. Instead
I use my MusiXTeX knowledge with the various in-line TeX features of PMX.

-- Werner

PS: If you lateron want to combine many PMX-generated TeX sources you should
    define some \Resetall for all those macros you clobbered MusiXTeX.
    In the example above it could be something like:
    
\\def\Resetall{\let\xbar\xbarsav\let\alaligne\alalignesav\let\endpiece\endpiecesav}\
\\def\endpiece{...<as above>...\Resetall}\

    The more such definition you collect the more you should store them in
    a seperate file outside PMX (without double-\ at beginning an \ at the end)
    and call this file within PMX as e.g. "\\input mypmx \"


From mutex-owner@mail.gmd.de  Mon Feb  7 20:36:32 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Mea culpa PMX bugs
Date: Mon, 7 Feb 2000 11:15:48 -0800 
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It was a slow weekend so I ran ftnchek on PMX.  Amid the >1000 lines of
output I did find the explanations for the strange behaviour with fermatas
and moved-dots in g77-compiled versions: I had neglected to initialize two
particular logical variables.  Once fixed, the .tex from the g77-compiled
version is just right.

(Who knows what wierdness lurks amid 16000 lines of amateur code!)

Sorry about the confusion this has caused.  Cross-platform team members
should probably wait for version 2.2 before stepping back into the fray.
Shouldn't be too long a wait.  The new version will have facilities for
inserting pauses, tempo changes, and repeated sections in the MIDI file.

--Don Simons
From mutex-owner@mail.gmd.de  Tue Feb  8 11:50:33 2000
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To: mutex@gmd.de
cc: mig@ncc.up.pt
Subject: Problem with musixflex
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	boundary="==_Exmh_-9448453640"
Date: Tue, 08 Feb 2000 10:20:33 +0000
From: Miguel Filgueiras <mig@ncc.up.pt>
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This is a multipart MIME message.

--==_Exmh_-9448453640
Content-Type: text/plain; charset=us-ascii


Hello,

I have the following problem with musixflex: when processing a
small example consisting of 3 similar lines it gives an error
that does not appear when processing only the first line. As
all the lines should have the same length I do not understand
why the error occurs. I enclose the MusiXTeX file below; inserting
\stoppiece
\eject
\bye
before the \bar command that appears just before the line
%%%%%%%%%%%%%%%                bar 7
the error will not happen.

The error message is:
 <<< musixflex 0.83/T.63dt+jh.2 >>>

 ... decoding command line
 ... open <tred2.mx1> for input
 ... testing versionnumber
 ... open <tred2.mx2> for output
 ... reading
 ... compute

 This shouldn't happen ! Too less bars or \mulooseness too large ?
 musixflx failed to process tr.mx1:  at /usr/bin/musixtex line 55.

Any hint on how to avoid this problem?

Cheers,
Miguel Filgueiras

-----------------------------------


--==_Exmh_-9448453640
Content-Type: text/x-tex ; name="tr.tex"; charset=us-ascii
Content-Description: tr.tex
Content-Disposition: attachment; filename="tr.tex"

%
% Document generated by SceX
%
% sceX:version(0-3-199906)
%
% source:fvl
% fvl-->fvl;preproc:version(1-1-19990316)
% fvl-->pir;fvltopir:version(1-0-19990730)
% pir-->sir;mixer:version(1-1-19990730)
% sir-->tex;toscore:version(0-3-19990730)
%
\ifx\mxversion\undefined
  \input musixtex
  \input musixcpt
  \input musixmad
\fi
\nobarnumbers%
\def\interfacteur{11}%
\advance\interinstrument by 2pt%
\def\voltadot{}%
% header
\def\nbinstruments{1}
\nbporteesi=2\relax
\generalsignature{-2}
\cleftoksi={{6}{0}{0}{0}}%
\metertoksi={{\meterC}{\meterC}{}{}}%
\debutmorceau
\normal
\Notes%
\sk\enotes
\Notes%
\ibl{2}{7}{0}\zqb{2}{7}%
\ibbu{1}{10}{1}\qh{1}{9}%
\nextstaff% at staff:1
\ibbbu{0}{10}{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes%
\Notes%
\qh{1}{11}%
\nextstaff% at staff:1
\qh{0}{9}%
\enotes%
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\nextstaff% at staff:1
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\enotes%
\Notes%
\tbl{2}\zqb{2}{7}%
\qh{1}{10}%
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\enotes%
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\nextstaff% at staff:1
\qh{0}{10}%
\enotes%
\Notes%
\tbu{1}\qh{1}{12}%
\nextstaff% at staff:1
\qh{0}{9}%
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\enotes%
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\nextstaff% at staff:1
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\enotes%
\Notes%
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\nextstaff% at staff:1
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\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbbu{0}\qh{0}{10}%
\enotes%
\Notes%
\qh{1}{11}%
\nextstaff% at staff:1
\nbbbbu{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbbu{0}\qh{0}{10}%
\enotes%
\Notes%
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\qh{1}{10}%
\nextstaff% at staff:1
\nbbbbu{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbbu{0}\qh{0}{10}%
\enotes%
\Notes%
\tbu{1}\qh{1}{12}%
\nextstaff% at staff:1
\nbbbbu{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
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\tbu{0}\qh{0}{10}%
\enotes%
\Notes%
\ibl{2}{7}{0}\zqb{2}{7}%
\ibbu{1}{9}{0}\qh{1}{9}%
\nextstaff% at staff:1
\ibbbbu{0}{11}{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbbu{0}\qh{0}{10}%
\enotes%
\Notes%
\qh{1}{11}%
\nextstaff% at staff:1
\nbbbbu{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbbu{0}\qh{0}{10}%
\enotes%
\Notes%
\tbl{2}\zqb{2}{7}%
\qh{1}{8}%
\nextstaff% at staff:1
\nbbbbu{0}\qh{0}{9}%
\enotes%
\Notes%
\nextstaff% at staff:1
\qh{0}{10}%
\enotes\Notes%
\nextstaff% at staff:1
\qh{0}{9}%
\tbu{0}\qh{0}{10}%
\enotes%
\Notes%
\tbu{1}\qh{1}{10}%
\nextstaff% at staff:1
\ccu{9}%
\enotes%
\bar
%%%%%%%%%%%%%%%                bar 7
\Notes%
\ibbbl{1}{9}{0}\qb{1}{9}%
\nextstaff% at staff:1
\zcharnote{0}{\quartsoupir}%
\ibl{0}{6}{2}\qb{0}{6}%
\enotes%
\Notes%
\qb{1}{10}%
\enotes%
\Notes%
\qb{1}{9}%
\nextstaff% at staff:1
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\enotes%
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\enotes%
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\nextstaff% at staff:1
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\qh{2}{9}%
\enotes%
\Notes%
\qb{1}{10}%
\enotes%
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\qb{1}{9}%
\nextstaff% at staff:1
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\enotes%
\Notes%
\tbl{1}\qb{1}{10}%
\enotes%
\Notes%
\ibbbl{2}{9}{0}\qb{2}{9}%
\nextstaff% at staff:1
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\ibbu{0}{9}{1}\qh{0}{8}%
\enotes%
\Notes%
\qb{2}{10}%
\enotes\Notes%
\tbl{2}\qb{2}{9}%
\enotes%
\Notes%
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\enotes%
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\enotes\Notes%
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\enotes%
\Notes%
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\nextstaff% at staff:1
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\enotes%
\Notes%
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\enotes\Notes%
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\nextstaff% at staff:1
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\enotes%
\Notes%
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\enotes\Notes%
\tbl{1}\qb{1}{10}%
\enotes%
\Notes%
\ibbbbl{2}{8}{0}\qb{2}{9}%
\nextstaff% at staff:1
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\ibbu{0}{9}{1}\qh{0}{8}%
\enotes%
\Notes%
\qb{2}{10}%
\enotes\Notes%
\qb{2}{9}%
\tbbl{2}\qb{2}{10}%
\enotes%
\Notes%
\nbbbbl{2}\qb{2}{9}%
\nextstaff% at staff:1
\qh{0}{11}%
\enotes%
\Notes%
\qb{2}{10}%
\enotes\Notes%
\qb{2}{9}%
\tbbl{2}\qb{2}{10}%
\enotes%
\Notes%
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\enotes%
\Notes%
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\tbbl{2}\qb{2}{10}%
\enotes%
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\enotes%
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\qb{2}{10}%
\enotes\Notes%
\qb{2}{9}%
\tbl{2}\qb{2}{10}%
\enotes%
\Notes%
\ibbbbl{2}{8}{0}\qb{2}{9}%
\nextstaff% at staff:1
\ibl{1}{6}{-2}\zqb{1}{6}%
\ibbu{0}{9}{0}\qh{0}{8}%
\enotes%
\Notes%
\qb{2}{10}%
\enotes\Notes%
\qb{2}{9}%
\tbbl{2}\qb{2}{10}%
\enotes%
\Notes%
\nbbbbl{2}\qb{2}{9}%
\nextstaff% at staff:1
\qh{0}{11}%
\enotes%
\Notes%
\qb{2}{10}%
\enotes\Notes%
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\tbbl{2}\qb{2}{10}%
\enotes%
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\nextstaff% at staff:1
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\enotes%
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\enotes\Notes%
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\enotes%
\Notes%
\ccl{9}%
\nextstaff% at staff:1
\tbu{0}\qh{0}{10}%
\enotes%
\bar
%%%%%%%%%%%%%%%                bar 11
\Notes%
\ibbbl{1}{3}{0}\qb{1}{3}%
\nextstaff% at staff:1
\ibl{0}{0}{2}\zqb{0}{0}%
\charnote{0}{\quartsoupir}%
\enotes%
\Notes%
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\enotes%
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\enotes%
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\fl{3}\qh{2}{3}%
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\nextstaff% at staff:1
\ibl{1}{0}{-2}\zqb{1}{0}%
\ibbu{0}{3}{0}\qh{0}{2}%
\enotes%
\Notes%
\qb{2}{4}%
\enotes\Notes%
\qb{2}{3}%
\tbbl{2}\qb{2}{4}%
\enotes%
\Notes%
\nbbbbl{2}\qb{2}{3}%
\nextstaff% at staff:1
\qh{0}{5}%
\enotes%
\Notes%
\qb{2}{4}%
\enotes\Notes%
\qb{2}{3}%
\tbbl{2}\qb{2}{4}%
\enotes%
\Notes%
\nbbbbl{2}\qb{2}{3}%
\nextstaff% at staff:1
\tbl{1}\zqb{1}{-1}%
\qh{0}{1}%
\enotes%
\Notes%
\qb{2}{4}%
\enotes\Notes%
\qb{2}{3}%
\tbl{2}\qb{2}{4}%
\enotes%
\Notes%
\ccl{3}%
\nextstaff% at staff:1
\tbu{0}\na{4}\qh{0}{4}%
\enotes%
%
\stoppiece
\eject
\bye

--==_Exmh_-9448453640--


From mutex-owner@mail.gmd.de  Tue Feb  8 16:01:49 2000
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Date: Tue, 8 Feb 2000 15:47:49 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Problem with musixflex
To: mutex@gmd.de, mig@ncc.up.pt
Cc: mig@ncc.up.pt
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> Date: Tue, 08 Feb 2000 10:20:33 +0000
> From: Miguel Filgueiras <mig@ncc.up.pt>

> I have the following problem with musixflex: when processing a
> small example consisting of 3 similar lines it gives an error
> that does not appear when processing only the first line. 
[...]
>  <<< musixflex 0.83/T.63dt+jh.2 >>>
[...]
>  This shouldn't happen ! Too less bars or \mulooseness too large ?
[...]
> Any hint on how to avoid this problem?

I think the problem is clear. Your source has only three bars but
a lot of notes so that musixflx thinks it would be best to
generate four lines of music. But this is impossible for musixflx.
This behaviour may disappear if you shorten the input.

The complete source works well if you add either \linegoal=3 or
\mulooseness=-1 (or some additional possiblities for line breaks
e.g. using \zbar if there are so many notes in a bar).

-- Werner

PS: The very beginning of the source is confusing. You ask whether
    \mxversion is defined and skip then \input musixtex, \input
    musixcpt and \input musixmad. That's not good because \mxversion
    is already defined if *only* musixtex has been inputted.
    You may remove \if completely, because all three first ask whether
    they have already been called :-)


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cc: mutex@gmd.de
Subject: Re: Problem with musixflex 
In-reply-to: Your message of "Tue, 08 Feb 2000 15:47:49 +0100."
             <200002081447.PAA29745@sunick.gmd.de> 
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Hi Werner,

> The complete source works well if you add either \linegoal=3 or
> \mulooseness=-1 (or some additional possiblities for line breaks e.g.
> using \zbar if there are so many notes in a bar). 

Thanks a lot! What confused me was the fact that with a single line
(which would be smaller because of the identation) it worked.

> PS: The very beginning of the source is confusing. You ask whether
>     \mxversion is defined and skip then \input musixtex, \input
>     musixcpt and \input musixmad. That's not good because \mxversion
>     is already defined if *only* musixtex has been inputted.
>     You may remove \if completely, because all three first ask whether
>     they have already been called :-) 

Ok. I picked this from some example...

Thanks again,
Miguel


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To: mutex@gmd.de
Subject: Re: Classical guitar notes with PMX
Date: Tue, 08 Feb 2000 20:18:23 +0100
Reply-To: evita.j@magnet.at
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On Mon, 7 Feb 2000 02:15:41 +0100, Christian Schrader
<Christian.Schrader@gmx.de> wrote:

>> >How can I write little numbers beside the noteheads. It´s 
>> >to describe the fingering.
>> 
>> Define a macro as in example below.  You can change the font definition and
>> location of the number to suit your desires. If you do this you might
>> sometimes need to add some space using "X".
>
>It seems to me that I can´t avoid to learn MusiXTeX. :-)
>
I have a file of guitar fingering macros that provide a way to enter
left hand fingering, string numbers (circled notes) and barre chords
(C symbol with vertical slash plus horizontal line). I've been using
the macros in raw MusiXTeX, but they should work as inline TeX
additions to PMX or M-Tx input as well. 

If you're interested, let me know and I'll send it to you (and anyone
else who might be interested) as an attachment.

Regards
Eva

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)
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Date: Tue, 08 Feb 2000 22:59:36 +0100
From: Guido Milanese <gmilanese@mclink.it>
Reply-To: mc1194@mclink.it
Organization: Vivarium
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Subject: Meter change?
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Dear all,

sorry to ask such a simple question -- I'm afraid I have not
understood the correct way to change meter in M-tx - PMX. This
little fragment is giving me errors:

c0 | e2 r2 | 3/4 b4 a b |

Meter is 4/4.
This is obviously part of a larger composition, but I noticed
that, even isolated, this compiles correctly under M-TX but PMX
gives an error and says: "You entered an invalid note-length
value" at the 3rd bar, so I assume I have made a trivial mistake.
I also tried "m34" to change rhythm but with no success.

Thanks a lot!
gm
 
------------------------------------------------------
Guido Milanese            Vocal Ensemble "Ars Antiqua"
gmilanese@mclink.it       http://fly.to/arsantiqua
Salita del Passero 11     I-16126 Genova GE, Italy
* Sed nomini tuo da gloriam *             MMMR 4.70reg
From mutex-owner@mail.gmd.de  Wed Feb  9 00:05:52 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Meter change?
Date: Tue, 8 Feb 2000 14:39:04 -0800 
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A little RTFM'ing is definitely in order here.

I cannot speak for M-Tx, but in PMX, meter changes require 4 numbers.  There
are two permissible syntaxes, one with slashes (which is newer and more
general), e.g. m3403 or m3/4/3/4 .  The first 2 numbers are the "logical"
meter numerator and denominator, and the last two determine what will be
printed.  The command ought to be placed at the beginning of an input block.
Your example is not valid PMX coding and I'm sorry but I cannot explain the
error message.  Normally PMX symbols that begin with a digit are interpreted
as figures (for figured bass).

--Don Simons

> -----Original Message-----
> From:	Guido Milanese [SMTP:gmilanese@mclink.it]
> Sent:	Tuesday, February 08, 2000 2:00 PM
> To:	mutex@gmd.de
> Subject:	Meter change?
> 
> Dear all,
> 
> sorry to ask such a simple question -- I'm afraid I have not
> understood the correct way to change meter in M-tx - PMX. This
> little fragment is giving me errors:
> 
> c0 | e2 r2 | 3/4 b4 a b |
> 
> Meter is 4/4.
> This is obviously part of a larger composition, but I noticed
> that, even isolated, this compiles correctly under M-TX but PMX
> gives an error and says: "You entered an invalid note-length
> value" at the 3rd bar, so I assume I have made a trivial mistake.
> I also tried "m34" to change rhythm but with no success.
> 
> Thanks a lot!
> gm
>  
> ------------------------------------------------------
> Guido Milanese            Vocal Ensemble "Ars Antiqua"
> gmilanese@mclink.it       http://fly.to/arsantiqua
> Salita del Passero 11     I-16126 Genova GE, Italy
> * Sed nomini tuo da gloriam *             MMMR 4.70reg
From mutex-owner@mail.gmd.de  Wed Feb  9 09:48:45 2000
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Date: Wed, 09 Feb 2000 08:26:56 +0000
From: Christian Mondrup <scancm@biobase.dk>
Organization: Scandiatransplant
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Subject: Re: Meter change?
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"Simons, Don" wrote:
> 
> A little RTFM'ing is definitely in order here.
> 
> I cannot speak for M-Tx,

uses pmx meter change syntax, but you must put the change in all staves.

> but in PMX, meter changes require 4 numbers.  There
> are two permissible syntaxes, one with slashes (which is newer and more
> general), e.g. m3403 or m3/4/3/4 .  The first 2 numbers are the "logical"
> meter numerator and denominator, and the last two determine what will be
> printed.  The command ought to be placed at the beginning of an input block.
> Your example is not valid PMX coding and I'm sorry but I cannot explain the
> error message.  Normally PMX symbols that begin with a digit are interpreted
> as figures (for figured bass).

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: Meter change?
To: scancm@biobase.dk (Christian Mondrup)
Date: Wed, 9 Feb 2000 12:32:24 +0200 (SAST)
Cc: DSimons@logicon.com (Simons Don), mutex@gmd.de
In-Reply-To: <38A124D0.6DE1E47E@biobase.dk> from "Christian Mondrup" at Feb 09, 2000 08:26:56 AM
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Christian Mondrup skryf:
> 
> "Simons, Don" wrote:
> > 
> > A little RTFM'ing is definitely in order here.
> > 
> > I cannot speak for M-Tx,
> 
> uses pmx meter change syntax, but you must put the change in all staves.
> 
The shortcut 3/4, meaning the same as m3434 or m3/4/3/4, is also
available.  Meter changes should appear in all voices (music lines),
not just in all staves.

Dirk
From mutex-owner@mail.gmd.de  Thu Feb 10 00:03:53 2000
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Message-ID: <38A1EC08.A26020F4@mclink.it>
Date: Wed, 09 Feb 2000 23:36:56 +0100
From: Guido Milanese <gmilanese@mclink.it>
Reply-To: mc1194@mclink.it
Organization: Vivarium
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Many thanks to all the kind souls who answered my request about using
M-TX to produce pieces with no bars. I think I can summarise as follows:

(1) for simple hymns with no bars, follow what is said in the m-tx 
manual. You must calculate the duration of each line, that's why I say
that this system is good for simple pieces.

(2) for complicated music (in my case, one of the versions of the
hispanic "Sibyl chant") I did as follows:
-- used a lot of hidden meter changes in m-tx and PMX (e.g. m4400);
-- edited directly the TeX file, commenting all the "xbar" statements
and the "tempo" at the beginning of the composition;
-- compiled the TeX file as usual.

Final result: excellent!

Many thanks again,
gm

------------------------------------------------------
Guido Milanese            Vocal Ensemble "Ars Antiqua"
gmilanese@mclink.it       http://fly.to/arsantiqua
Salita del Passero 11     I-16126 Genova GE, Italy
* Sed nomini tuo da gloriam *             MMMR 4.70reg

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Date: Thu, 10 Feb 2000 00:15:36 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: no bars (summary)
To: mutex@gmd.de, mc1194@mclink.it
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> Date: Wed, 09 Feb 2000 23:36:56 +0100
> From: Guido Milanese <gmilanese@mclink.it>

[...]
> (2) for complicated music (in my case, one of the versions of the
> hispanic "Sibyl chant") I did as follows:
> [...]
> -- edited directly the TeX file, commenting all the "xbar" statements
> and the "tempo" at the beginning of the composition; [...]

Put "\\let\xbar\relax\" near the beginning of the PMX-file (or M-Tx file)
and no post-editing is neccessary. Use "\\nobarnumbers\" to get rid of
the bar numbers. [I don't know what you mean with "tempo"].

I like it more if all changes can be done in the primary source. That's
nearly ever possible with PMX.

-- Werner

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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: no bars (summary)
To: mc1194@mclink.it
Date: Thu, 10 Feb 2000 08:52:07 +0200 (SAST)
In-Reply-To: <38A1EC08.A26020F4@mclink.it> from "Guido Milanese" at Feb 09, 2000 11:36:56 PM
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Guido Milanese skryf:
> 
> Many thanks to all the kind souls who answered my request about using
> M-TX to produce pieces with no bars. I think I can summarise as follows:
> 
> (1) for simple hymns with no bars, follow what is said in the m-tx 
> manual. You must calculate the duration of each line, that's why I say
> that this system is good for simple pieces.
> 
> (2) for complicated music (in my case, one of the versions of the
> hispanic "Sibyl chant") I did as follows:
> -- used a lot of hidden meter changes in m-tx and PMX (e.g. m4400);
> -- edited directly the TeX file, commenting all the "xbar" statements
> and the "tempo" at the beginning of the composition;
> -- compiled the TeX file as usual.
> 
It should not be necessary in M-Tx to calculate the duration of each line.
If you use

Meter: 0/4

then M-Tx itself calculates the duration, puts in the hidden meter changes,
and checks that the line duration is a multiple of 1/4.  

Dirk

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From: "nitadori" <nitadori@acrosssv32.across.or.jp>
To: <mutex@gmd.de>
Subject: Canons from Musical Offering
Date: Fri, 11 Feb 2000 18:56:50 +0900
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Hello.
 I would like to write J.S.Bach's Canons from Musical Offering BWV1079 by
PMX2.1.
They have two clefs in a staff.
Some of them hve clefs and accidentals which were put upside down.
(Please see following link)
http://jan.ucc.nau.edu/~tas3/musoffcanons.html

I tried to write Canon a4 (g-minor) which has french violin clefs and bass
clefs in each staff
like following source. But it still has troubles in spacing.


Keigo Nitadori, Japan

nitadori@po2.across.or.jp



1 1 4 4 0 0 0 -2
1 2 20 0.00

t
./
\\def\everystaff{\znotes\qsk\qsk\zchar6\bassclef\addspace{3\elemskip}\bigfl
i\hqsk\bigfl l\en}\
\\setclef19\
Abd B
Tt
Canon a 4
r4 Rl g84 a b c d e | fs4- r r d+ s | d8 s cs a bn cn2 s | c8 s bn g a bf2 s
/
b8 s s a gs a s af s gn fs g s | fs s en d ef s d s f a c s | b s d fs g s
a- e+ d c |
 b1 a g fs g g+ fs e d c b a g4 /

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Content-Type: text/html;
	charset="iso-2022-jp"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-2022-jp" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Hello.</FONT></DIV>
<DIV><FONT size=3D2>&nbsp;I would like to write J.S.Bach's Canons from =
Musical=20
Offering BWV1079 by PMX2.1.</FONT></DIV>
<DIV><FONT size=3D2>They&nbsp;have two clefs in a staff. </FONT></DIV>
<DIV><FONT size=3D2>Some of them hve clefs and accidentals which were =
put upside=20
down.</FONT></DIV>
<DIV><FONT size=3D2>(Please&nbsp;see following link)</FONT></DIV>
<DIV><FONT size=3D2><A=20
href=3D"http://jan.ucc.nau.edu/~tas3/musoffcanons.html">http://jan.ucc.na=
u.edu/~tas3/musoffcanons.html</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>I tried to write Canon a4 (g-minor) which =
has&nbsp;french=20
violin clefs and bass clefs in each staff </FONT></DIV>
<DIV><FONT size=3D2>like following source. But it still has troubles in=20
spacing.</FONT><FONT size=3D2></FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Keigo&nbsp;Nitadori,=20
Japan</FONT><FONT size=3D2></FONT></DIV>
<DIV><FONT size=3D2>&nbsp;&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; =
&nbsp;&nbsp;&nbsp;=20
&nbsp;&nbsp;&nbsp; <A =
href=3D"mailto:&nbsp;nitadori@po2.across.or.jp"><FONT=20
color=3D#000000 size=3D2><FONT=20
color=3D#0000ff>&nbsp;</FONT></FONT>nitadori@po2.across.or.jp</A></FONT><=
/DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>1 1 4 4 0 0 0 -2<BR>1 2 20 0.00</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>t<BR>./</FONT></DIV>
<DIV><FONT size=3D2><A=20
href=3D"file://\\def\everystaff">\\def\everystaff</A>{\znotes\qsk\qsk\zch=
ar6\bassclef\addspace{3\elemskip}\bigfl=20
i\hqsk\bigfl l\en}\<BR><A=20
href=3D"file://\\setclef19\">\\setclef19\</A></FONT></DIV>
<DIV><FONT size=3D2>Abd B<BR>Tt<BR>Canon a 4</FONT></DIV>
<DIV><FONT size=3D2>r4 Rl g84 a b c d e | fs4- r r d+ s | d8 s cs a bn =
cn2 s | c8=20
s bn g a bf2 s /<BR>b8 s s a gs a s af s gn fs g s | fs s en d ef s d s =
f a c s=20
| b s d fs g s a- e+ d c |<BR>&nbsp;b1 a g fs g g+ fs e d c b a g4=20
/</FONT></DIV></BODY></HTML>

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From mutex-owner@mail.gmd.de  Sun Feb 13 19:07:51 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: Canons from Musical Offering
Date: Sun, 13 Feb 2000 09:39:54 -0800
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Thanks for the provocative post.  The information in the link is very
interesting.  And I did not realize MusiXTeX had a French violin clef.

As for the TeX/PMX problems, what you are trying to do is very difficult
(but not as hard as upside-down clefs :-).  I don't have the full solution
but some ideas you might work with.  The difficulties are 
(1) You must never insert unscaled space inside a notes group, unless you
take it away right away.  That's what \roffset does.
(2) I don't completely understand how \everystaff deals with either scalable
or unscalable space.  It seems like you ought to be able to say
\everystaff{\hardspace{20pt}} but you can't.
(3) Horizontal positions of the added clef and accidentals must be entered
as unscalable space, otherwise the spacing would be different from one
staff to another.
(4) Even if we could figure out how to insert the right spacings using
in-line TeX, PMX would not be aware of the added spaces, and ALL of its
calculations for accidental spacing will be thrown off.  

Here's the best I have so far:

======================
1 1 4 4 0 0 0 -2
1 2 20 0.00

t
c:\pctex\texinput\
%\\def\everystaff{\znotes\qsk\qsk\zchar6\bassclef\
%\addspace{3\elemskip}\bigfl i\hqsk\bigfl l\en}\
\\def\everystaff{\znotes\roffset3{\zchar6\bassclef}\
\\roffset6{\bigfl3}\roffset7{\bigfl6}\en}\
\\let\alalt\alaligne\def\alaligne{\alalt\hardspace{18pt}}\
\\setclef19\
Abd B
Tt
Canon a 4
r4 Rl g84 a b c d e | fs4- r r d+ s | d8 s cs a bn cn2 s |
  c8 s bn g a bf2 s /
b8 s s a gs a s af s gn fs g s | fs s en d ef s d s f a c s |
  b s d fs g s a- e+ d c | b1 a g fs g g+ fs e d c b a g4 /
===========================

This still doesn't solve everything.  It does not insert the space on the
first line and probably would not on the first line of any later pages, nor
if you forced a line break in PMX.  And (point 4 above) if you look very
carefully near the end of the second line you can see that the accidental
spaces are not exactly right...that's because PMX doesn't know about the
extra added horizontal space at the start of the line.

Maybe someone else can "fill in the blanks."

--Don Simons


-----Original Message-----
From: nitadori
To: mutex@gmd.de
Sent: 2/11/00 1:56 AM
Subject: Canons from Musical Offering

Hello.
 I would like to write J.S.Bach's Canons from Musical Offering BWV1079
by PMX2.1.
They have two clefs in a staff. 
Some of them hve clefs and accidentals which were put upside down.
(Please see following link)
http://jan.ucc.nau.edu/~tas3/musoffcanons.html
<http://jan.ucc.nau.edu/~tas3/musoffcanons.html> 
 
I tried to write Canon a4 (g-minor) which has french violin clefs and
bass clefs in each staff 
like following source. But it still has troubles in spacing.
 
 
Keigo Nitadori, Japan
 
<mailto: nitadori@po2.across.or.jp>  nitadori@po2.across.or.jp
 
 
 
1 1 4 4 0 0 0 -2
1 2 20 0.00
 
t
./
\\def\everystaff <file://\\def\everystaff>
{\znotes\qsk\qsk\zchar6\bassclef\addspace{3\elemskip}\bigfl i\hqsk\bigfl
l\en}\
\\setclef19\ <file://\\setclef19\> 
Abd B
Tt
Canon a 4
r4 Rl g84 a b c d e | fs4- r r d+ s | d8 s cs a bn cn2 s | c8 s bn g a
bf2 s /
b8 s s a gs a s af s gn fs g s | fs s en d ef s d s f a c s | b s d fs g
s a- e+ d c |
 b1 a g fs g g+ fs e d c b a g4 /
From mutex-owner@mail.gmd.de  Sun Feb 13 22:25:14 2000
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Date: Sun, 13 Feb 2000 21:35:39 +0100
From: Guido Milanese <gmilanese@mclink.it>
Reply-To: mc1194@mclink.it
Organization: Vivarium
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Many thanks again to all those who helped me to solve this
problem. Now it is all clear. It is wonderful to see how real
gurus use their time to help common users!

Best,
gm
-- 
------------------------------------------------------
Guido Milanese            Vocal Ensemble "Ars Antiqua"
gmilanese@mclink.it       http://fly.to/arsantiqua
Salita del Passero 11     I-16126 Genova GE, Italy
* Sed nomini tuo da gloriam *             MMMR 4.70reg

From mutex-owner@mail.gmd.de  Mon Feb 14 13:12:45 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: Canons from Musical Offering
To: mutex@gmd.de
Cc: nitadori@acrosssv32.across.or.jp
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Sun, 13 Feb 2000 09:39:54 -0800

> Thanks for the provocative post.  The information in the link is very
> interesting.  And I did not realize MusiXTeX had a French violin clef.

[...]
> (4) Even if we could figure out how to insert the right spacings using
> in-line TeX, PMX would not be aware of the added spaces, and ALL of its
> calculations for accidental spacing will be thrown off.  

But you can make think PMX it's smaller:

======================
1 1 4 4 0 0 0 -2
1 2 20 0.00

t
./

\\def\everystaff{\znotes\roffset2{\zchar6\bassclef}\
\\roffset6{\bigfl3}\roffset{6.85}{\bigfl6}\en}\
\\let\alalt\alaligne\def\alaligne{\alalt\hardspace{30pt}}\
\\setclef19\

w490 \\hsize=520pt % make PMX think it's smaller \

Abd B
Tt
Canon a 4
\\\hardspace{30pt}% for the first line of the composition \
r4 Rl g84 a b c d e | fs4- r r d+ s | d8 s cs a bn cn2 s |
  c8 s bn g a bf2 s /
b8 s s a gs a s af s gn fs g s | fs s en d ef s d s f a c s |
  b s d fs g s a- e+ d c | b1 a g fs g g+ fs e d c b a g4 /
===========================

> This still doesn't solve everything.  It does not insert the space on the
> first line and

But this can be done manually for the first line of the piece.

>                probably would not on the first line of any later pages, nor
> if you forced a line break in PMX.

Maybe it could be done by patching "\contpiece" instead of "\alaligne".

>  And (point 4 above) if you look very
> carefully near the end of the second line you can see that the accidental
> spaces are not exactly right...that's because PMX doesn't know about the
> extra added horizontal space at the start of the line.

One can see that it works now by e.g. modifying "w490" to "w250".

> Maybe someone else can "fill in the blanks."

MusiXTeX and PMX rules!                                         -- Werner

From mutex-owner@mail.gmd.de  Wed Feb 16 13:20:03 2000
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MusiXTeX and PSTricks are good friends !

\input musixtex
\input pstricks
\instrumentnumber{1}\setstaffs{1}{1}%
\setclef{1}{\alto}
\startextract%
\NOtes%
\zchar{-4}{\rotatedown{\altoclef}}\sk%
\en%
\endextract%
\bye

On Linux, xdvi shows the altoclef not rotated.
But after dvips, gv shows the rotated altoclef.

COMMENT

Dear René,

you sent your mail to mutex-owner@gmd.de. I believe you
wanted to send it to the mutex list: mutex@gmd.de

Please, do so because your hint may help the users.

-- Werner

PS: and it works! I'm already figuring out how to
    use it with PMX :-)


René Bastian
38 rue de la Gare 67470 NIEDERROEDERN
Tél 0388 86 50 59 Fax 0388 86 88 04
émail rbastian@tpgnet.net

From mutex-owner@mail.gmd.de  Wed Feb 16 14:50:06 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: rotatedown
To: mutex@gmd.de
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> Date: Wed, 16 Feb 2000 12:59:09 +0100
> From: bastian <rbastian@tpgnet.net>

> MusiXTeX and PSTricks are good friends !

PMX and PSTricks, too  :-)

>> PS: and it works! I'm already figuring out how to
>>     use it with PMX :-)

1 1 4 4 0 6 1 1
1 3 20 0

t
./

\\input pstricks % requires pstricks.con, pstricks.pro, pst-dots.pro \
\\nobarnumbers\let\stppsav\stoppiece\let\endpsav\endpiece\
\\def\stoppiece{\Notes\sk % take some space at staff end and fill it ...\
 \\zchar{-3}{\llap{\rotatedown{\trebleclef\roff{\bigsh{6}}}}}\en\zstoppiece}\
\\def\endpiece{\Notes\sk  % take some space at staff end and fill it ...\
 \\zchar{-9}{\llap{\rotatedown{\medtype\bf~~~Allegro}}}\
 \\zchar{-3}{\llap{\rotatedown{\trebleclef\roff{\bigsh{6}\
 \\lower 5pt\hbox{\meterC}}}}}\en\zstoppiece}\
\\beforeruleskip\afterruleskip\

Ab w150m \\hsize 160mm % make PMX think it's smaller \

h-2
{\medtype\bf Allegro}

d45 g2 d4 b | g g+ zb- zd- g+ zb- zd- d++ | b8 b g g d d d4 | g r r d /
L2 r0b /
L3 g45 g8 g d d b b | g4 g+ zb- zd- g+ zb- zd- d++ | b g d2 /
m1/4/0/0 g4 Rb /


It's beginning and end of Mozart's Der Spiegel, a violin Duo. You
find a complete edition made by Fred Nachbaur with Noteworthy at
http://www.gmd.de/Misc/Music/scores/ under Mozart.

-- Werner

From mutex-owner@mail.gmd.de  Thu Feb 17 08:00:06 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200002170648.IAA14017@calvyn.puk.ac.za>
Subject: Repeat in mid-bar
To: mutex@gmd.de (List for MusicTeX etc)
Date: Thu, 17 Feb 2000 08:48:06 +0200 (SAST)
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I was trying to typeset a piece that starts with an upbeat and has two
verses and a little coda.  The upbeat to the coda is not the same as
to the verse.  It seemed logical to put a repeat sign at the end of
the verse, one beat before the end of the measure.  Saves me a volta.
PMX doesn't like the idea much.  I can fool it with blind meter changes,
but ...

Question:

Is it a reprehensible thing to try?  I.e. does good typesetting style
require me to use voltas instead?

Dirk
From mutex-owner@mail.gmd.de  Thu Feb 17 10:45:43 2000
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From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: Re: Repeat in mid-bar
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> does good typesetting style require me to use voltas instead?

It does. If you plan to have other musicians play your music, you
should try to typeset it the usual way using different Voltas.


-- 
Andreas Kurth    Mannheim, Germany

From mutex-owner@mail.gmd.de  Thu Feb 17 11:50:18 2000
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Date: Thu, 17 Feb 2000 11:27:59 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Repeat in mid-bar
To: mutex@gmd.de, dirk@calvyn.puk.ac.za
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Thu, 17 Feb 2000 08:48:06 +0200 (SAST)

> I was trying to typeset a piece that starts with an upbeat and has two
> verses and a little coda.  The upbeat to the coda is not the same as
> to the verse.  It seemed logical to put a repeat sign at the end of
> the verse, one beat before the end of the measure.  Saves me a volta.
> PMX doesn't like the idea much.  I can fool it with blind meter changes,
> but ...

Why to fool PMX. The follwing works perfectly:

1 1 4 4 4 4 1 0
1 1 20 0.00

t
.\

c44 c c c c | c c c c | c c c Rr c /
m3400 c c c /

Or didn't I understand the example?

> Question:
> 
> Is it a reprehensible thing to try?  I.e. does good typesetting style
> require me to use voltas instead?

Imho: It depends. The above example seems to me good typesetting style.
I always was astonished that some publishers add "Rl" - a left repeat -
at the very beginning; some do not.

If the coda is longer, at least one line or more, then I would prefer
to break the line at the repeat. But then too, no volta is neccessary:

1 1 4 4 4 4 1 0
1 1 20 0.00

t
.\

c44 c c c c  | c c c c | c c c Rr c | c c c c /
m3400 c c c /

Again: Or didn't I understand the example?

-- Werner

From mutex-owner@mail.gmd.de  Thu Feb 17 17:58:59 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Repeat in mid-bar
Date: Thu, 17 Feb 2000 08:45:54 -0800
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If I remember correctly, the only problem PMX has with midbar repeats (and
doublebars) is that they will not be copied properly into parts.

--Don Simons

> -----Original Message-----
> From:	Werner Icking [SMTP:Werner.Icking@gmd.de]
> Sent:	Thursday, February 17, 2000 2:28 AM
> To:	mutex@gmd.de; dirk@calvyn.puk.ac.za
> Subject:	Re: Repeat in mid-bar
> 
> > From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> > Date: Thu, 17 Feb 2000 08:48:06 +0200 (SAST)
> 
> > I was trying to typeset a piece that starts with an upbeat and has two
> > verses and a little coda.  The upbeat to the coda is not the same as
> > to the verse.  It seemed logical to put a repeat sign at the end of
> > the verse, one beat before the end of the measure.  Saves me a volta.
> > PMX doesn't like the idea much.  I can fool it with blind meter changes,
> > but ...
> 
> Why to fool PMX. The follwing works perfectly:
> 
> 1 1 4 4 4 4 1 0
> 1 1 20 0.00
> 
> t
> .\
> 
> c44 c c c c | c c c c | c c c Rr c /
> m3400 c c c /
> 
> Or didn't I understand the example?
> 
> > Question:
> > 
> > Is it a reprehensible thing to try?  I.e. does good typesetting style
> > require me to use voltas instead?
> 
> Imho: It depends. The above example seems to me good typesetting style.
> I always was astonished that some publishers add "Rl" - a left repeat -
> at the very beginning; some do not.
> 
> If the coda is longer, at least one line or more, then I would prefer
> to break the line at the repeat. But then too, no volta is neccessary:
> 
> 1 1 4 4 4 4 1 0
> 1 1 20 0.00
> 
> t
> .\
> 
> c44 c c c c  | c c c c | c c c Rr c | c c c c /
> m3400 c c c /
> 
> Again: Or didn't I understand the example?
> 
> -- Werner
From mutex-owner@mail.gmd.de  Sun Feb 20 14:01:12 2000
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Message-ID: <38ADCE3A.7BBC7193@lps.u-psud.fr>
Date: Fri, 18 Feb 2000 23:56:58 +0100
From: taupin <taupin@lps.u-psud.fr>
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Can somebody give an answer for PMX

> Diego Gonzalez wrote:
> 
> Mr Taupin:
>                 I wan't to know what files I need to use PMX and
> MusixTeX on a Win98 system, and what I have to do to run PMX, Where I
> can get the files (I found a site with UNIX versions) and
> Instructions?
> 
>                                                           Thanks a lot
>                                                 mailto:dgonzal@sce.cnc.una.py

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Mon Feb 21 13:14:51 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: [Fwd: ]
To: mutex@gmd.de, taupin@lps.u-psud.fr
Cc: dgonzal@sce.cnc.una.py
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> Date: Fri, 18 Feb 2000 23:56:58 +0100
> From: taupin <taupin@lps.u-psud.fr>

> Can somebody give an answer for PMX
> 
> > Diego Gonzalez wrote:
> > 
> > Mr Taupin:
> >                 I wan't to know what files I need to use PMX and
> > MusixTeX on a Win98 system, and what I have to do to run PMX, Where I
> > can get the files (I found a site with UNIX versions) and
> > Instructions?

PMX can be found at http://www.gmd.de/Misc/Music/ near to MusiXTeX.
From there it's mirrored to CTAN and it's mirrors.

For WIN32-systems fetch pmx.zip and unzip it to a new directory.

For running PMX from other directories it may be neccessary to copy 
pmx.exe and scor2prt.exe into a directory which is in the program's
path or to add the new directory to the path, and to copy pmx.tex to
a directory which contains TeX-macros like that of MusiXTeX.

The newest beta-version of PMX which can generate MIDI is there, too.

Hope this hilft -- Werner

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Date: Mon, 21 Feb 2000 16:12:47 +0100
From: Erwin Achermann <acherman@inf.ethz.ch>
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Hi all, 

is anybody aware of a easy way to go the other way round? That is: I
have a midi file and would like to get a MusixTeX version of it. 

Cheers
Erwin
-- 
Erwin Achermann                               Tel:      ++41 1 632 74 40
Institut fuer Wissenschaftliches Rechnen      Fax:      ++41 1 632 13 74
ETH Zentrum, RZ F11             mailto:acherman@inf.ethz.ch  ICQ:4625051
CH-8092 Zuerich	               http://www.inf.ethz.ch/personal/acherman/
>The train stops at the train station, the bus stops at the bus station,
>So why am I sitting at a work station?                  ---Ralph Hempel
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To: erwin.achermann@switzerland.org
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Subject: Re: Midi -> PMX/TeX 
In-reply-to: Your message of "Mon, 21 Feb 2000 16:12:47 +0100."
             <38B155EF.DBFC0D35@inf.ethz.ch> 
Date: Mon, 21 Feb 2000 17:22:42 +0100
From: Jan Nieuwenhuizen <janneke@gnu.org>
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On Monday, 21 February 2000, Erwin Achermann writes:

> is anybody aware of a easy way to go the other way round? That is: I
> have a midi file and would like to get a MusixTeX version of it. 

There's midi2ly, that creates LilyPond input from MIDI...
It might not be too hard to adapt that for pmx, or even,
to write ly2pmx converter.  Don't know too much about pmx.

Greetings,

Jan.

-- 
Jan Nieuwenhuizen <janneke@gnu.org> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien       | http://www.lilypond.org
From mutex-owner@mail.gmd.de  Mon Feb 21 19:42:21 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
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To: mutex@gmd.de
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 > From: Erwin Achermann <acherman@inf.ethz.ch>
 >
 > is anybody aware of a easy way to go the other way round? That is: I
 > have a midi file and would like to get a MusixTeX version of it. 
 >
Rosegarden allows one to view MIDI as music and export as pmx format.
The results will need editing.

http://www2.bath.ac.uk/~masjpf/rose.html

Bob T.
From mutex-owner@mail.gmd.de  Mon Feb 21 20:28:34 2000
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Date: Mon, 21 Feb 2000 14:11:01 -0500
From: Chris De Angelis <deangelc@erols.com>
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Funny that someone else is finally asking about this... I was quite
interested in generating printable scores from MIDI files myself, and
last year I tried fooling around with ways to do this _without_ having
to write another converter.  I may still need to - or at least do an
update - but these conversions get rather complex and I don't have all
eternity to play with writing converters...

Anyway, my idea was this.  There's a utility called Midi2Tex, which
doesn't convert to MusiXTeX, but does convert to MusiCTeX... so I did
this:

1) Midi->MusicTeX via Midi2Tex
2) MusicTeX->DVI via tex \&musictex
3) DVI->PS via dvips

And then you can just print the postscript file.  I had a lot of trouble
setting up my TeTeX/MusiCTeX environment/fonts, etc, so I made a few
notes along the way.... my results?  Some simple scores worked quite
well.  Others - like Schubert Impromputs - had some problems where the
either the conversion to MusicTeX or DVI - simply did not work (errors).

I thought it was something "do-able" though, so I had the idea of
starting from scratch on a server, and setting up a web interface for a
database of lots of classical scores already in MIDI format.  Then you
can just have the server go about and process the MIDI file on the
backend and convert it to a printable .ps (postscript) file.  Only
problem: No server available to me, and I had to wipe out my own Linux
partition for various reasons.  Still not back yet.  BUT - just last
week my friend put a Linux server on the Net that may be available for
this purpose, so if anyone is interested, I can keep the list abreast of
my progress because I plan to go try it again now that I have a stable,
centralized environment to do it in.

Thoughts, suggestions, etc? I know, I know - it doesn't work with
MusiXTeX, which will upset most of you, but what can I do... if any of
you want to write a MIDI->MusiXTeX converter, be my guest. :)

Cheers,
~Chris

PS - FYI, I never got into writing MusiC/X TeX files - always seemed too
cumbersome.  But I stay on the list b/c of my ideas about converting
Midi->TeX and wanted to draw any info from this list that I could.

--
Chris De Angelis
deangelc@erols.com

Jan Nieuwenhuizen wrote:
> 
> On Monday, 21 February 2000, Erwin Achermann writes:
> 
> > is anybody aware of a easy way to go the other way round? That is: I
> > have a midi file and would like to get a MusixTeX version of it.
> 
> There's midi2ly, that creates LilyPond input from MIDI...
> It might not be too hard to adapt that for pmx, or even,
> to write ly2pmx converter.  Don't know too much about pmx.
> 
> Greetings,
> 
> Jan.
> 
> --
> Jan Nieuwenhuizen <janneke@gnu.org> | GNU LilyPond - The music typesetter
> http://www.xs4all.nl/~jantien       | http://www.lilypond.org
From mutex-owner@mail.gmd.de  Mon Feb 21 20:44:17 2000
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Date: Mon, 21 Feb 2000 14:20:02 -0500
From: Chris De Angelis <deangelc@erols.com>
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Yeah, I knew that Rosegarden does this, but that's just the thing - I
don't want to have to edit the results.  (I'm lazy!)  I want it all just
to work in some kind of batch conversion process, like I was describing
earlier.  Then I want to print out the scores and learn to play them on
my piano.

Chris

> Rosegarden allows one to view MIDI as music and export as pmx format.
> The results will need editing.
> 
> http://www2.bath.ac.uk/~masjpf/rose.html
> 
> Bob T.
From mutex-owner@mail.gmd.de  Mon Feb 21 22:37:46 2000
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Date: Mon, 21 Feb 2000 22:22:24 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Midi -> PMX/TeX
To: deangelc@erols.com
Cc: mutex@gmd.de
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> Date: Mon, 21 Feb 2000 14:20:02 -0500
> From: Chris De Angelis <deangelc@erols.com>

> Yeah, I knew that Rosegarden does this, but that's just the thing - I
> don't want to have to edit the results.  (I'm lazy!)  I want it all just
> to work in some kind of batch conversion process, like I was describing
> earlier.  Then I want to print out the scores and learn to play them on
> my piano.

Why not play it directly with a keyboard?
That's much easier and the result may be better :-)

Just joking. But I don't think that it is so easy to get playable sheet
music without any manual interaction from a midi file. A midi file
doesn't know anything about signatures; sometimes nothing about the
meter; in a midi file there is no difference between E-flat and D-sharp;
the dynamics may be hidden in a midi file or completely missing; a
worked-out midi file will contains notes you never would notate this
way in sheet music; etc. etc.

If you have some midi-files you are keen on as sheet music, try 
http://www.notation.com/ and you will see, what I mean. If you learn 
playing from sheet music MidiNotate generates _without_ any interaction 
you will never learn to play from real sheet music.

-- Werner

From mutex-owner@mail.gmd.de  Tue Feb 22 00:14:52 2000
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Date: Mon, 21 Feb 2000 10:50:46 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Subject: PMX transposition.
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Hi,


I recently wrote a piece in the key of D. Yesterday I attempted to 
transpose it to the key of F, using:-

Ar
K+2-1

All instances of fn ( F natural ) came out as A natural, they should be Ab.
All instances of cn ( C natural ) came out as E natural, they should be Eb.

Please, what am I doing wrong? 

Obviously I can correct it in the .tex file but, if PMX can handle it, how? 

Thanks, 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Tue Feb 22 02:44:49 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'Mutex@gmd.de '" <Mutex@gmd.de>
Subject: RE: PMX transposition.
Date: Mon, 21 Feb 2000 17:33:05 -0800
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Howard, it sounds like you did not set up the original score using relative
accidentals.  You must (a) include the command "Ar" near the start of the
pmx source file, and (b) in the key of D for example, enter "ff" or "cf"
whenever you want an f-natural or c-natural.  Remember, when using relative
accidentals, "flat" means "lower it 1/2 step from where it would be if there
were no accidental".    

--Don Simons

-----Original Message-----
From: HowardGilbert
To: Mutex@gmd.de
Sent: 2/21/00 2:50 AM
Subject: PMX transposition.

Hi,


I recently wrote a piece in the key of D. Yesterday I attempted to 
transpose it to the key of F, using:-

Ar
K+2-1

All instances of fn ( F natural ) came out as A natural, they should be
Ab.
All instances of cn ( C natural ) came out as E natural, they should be
Eb.

Please, what am I doing wrong? 

Obviously I can correct it in the .tex file but, if PMX can handle it,
how? 

Thanks, 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)
From mutex-owner@mail.gmd.de  Tue Feb 22 02:59:50 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: Midi -> PMX/TeX
Date: Mon, 21 Feb 2000 17:38:46 -0800
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This doesn't really answer your question, but if you just want something
quick and dirty to read from, the FREEWARE program MidiNotate does a
creditable job of making a music score from a MIDI file. It even lets you
extract parts.  But you cannot edit the score in any meaningful way.  If you
want it and can't find it, write back; my records aren't easily available
from where I am right now.

--Don Simons

-----Original Message-----
From: Erwin Achermann
To: mutex@gmd.de
Sent: 2/21/00 7:12 AM
Subject: Midi -> PMX/TeX

Hi all, 

is anybody aware of a easy way to go the other way round? That is: I
have a midi file and would like to get a MusixTeX version of it. 

Cheers
Erwin
-- 
Erwin Achermann                               Tel:      ++41 1 632 74 40
Institut fuer Wissenschaftliches Rechnen      Fax:      ++41 1 632 13 74
ETH Zentrum, RZ F11             mailto:acherman@inf.ethz.ch  ICQ:4625051
CH-8092 Zuerich	               http://www.inf.ethz.ch/personal/acherman/
>The train stops at the train station, the bus stops at the bus station,
>So why am I sitting at a work station?                  ---Ralph Hempel
From mutex-owner@mail.gmd.de  Tue Feb 22 03:13:38 2000
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Date: Mon, 21 Feb 2000 19:46:16 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: HowardGilbert <howard.gilbert1@btinternet.com>
cc: Mutex@gmd.de
Subject: Re: PMX transposition.
In-Reply-To: <38B11886.CCEA901C@btinternet.com>
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On Mon, 21 Feb 2000, HowardGilbert wrote:

> I recently wrote a piece in the key of D. Yesterday I attempted to 
> transpose it to the key of F, using:-
> 
> Ar
> K+2-1
> 
> All instances of fn ( F natural ) came out as A natural, they should be Ab.
> All instances of cn ( C natural ) came out as E natural, they should be Eb.
> 
> Please, what am I doing wrong? 

Just a slight misunderstanding: relative accidentals are relative to the
scale in the untransposed music. (That may not make much sense. Let me try
with an example.)

In D major, an F natural is a minor third, i.e., flattened.  Thus you should
enter ff (F# flattened) and cf (C# flattened) instead. Of course, the sharps
are implicit from the key signature.

Hope this helps,
	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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On Mon, 21 Feb 2000, HowardGilbert wrote:

> Hi,
> 
> 
> I recently wrote a piece in the key of D. Yesterday I attempted to 
> transpose it to the key of F, using:-
> 
> Ar
> K+2-1
> 
> All instances of fn ( F natural ) came out as A natural, they should be Ab.
> All instances of cn ( C natural ) came out as E natural, they should be Eb.
> 
> Please, what am I doing wrong? 
Apparently you announced relative accidentals but wrote absolute ones.
F natural in D has to be written as fb! Try to repare it with a good
editor and it will work.
Happy pmxing,
               Christof


From mutex-owner@mail.gmd.de  Tue Feb 22 10:58:37 2000
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Date: Tue, 22 Feb 2000 10:51:47 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: MusiXTeX transposition (Re: PMX transposition.)
To: Mutex@gmd.de
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> Date: Mon, 21 Feb 2000 19:46:16 -0600
> From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>

> Just a slight misunderstanding: relative accidentals are relative to the
> scale in the untransposed music. (That may not make much sense. [...]

O, no! Imho it's one of the most powerful logics in MusiXTeX and MusicTeX
and it makes much sense.

I was very happy with it once I did understand it's principles. You find
a small but powerful MusiXTeX-example on http://www.gmd.de/Misc/Music/
Look for "typesetting scales using \relativeaccid" what's the name of
the corresponding MusiXTeX command.

-- Werner

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From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>
cc: Mutex@gmd.de
Subject: Re: MusiXTeX transposition (Re: PMX transposition.)
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On Tue, 22 Feb 2000, Werner Icking wrote:

> > From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
> 
> > Just a slight misunderstanding: relative accidentals are relative to the
> > scale in the untransposed music. (That may not make much sense. [...]
> 
> O, no! Imho it's one of the most powerful logics in MusiXTeX and MusicTeX
> and it makes much sense.

I agree that relative accidentals, as they are implemented in MusiXTeX, are
logical and powerful.  The lack of sense I was referring to was only in _my_
explanation.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Wed Feb 23 01:59:59 2000
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From: "nitadori" <nitadori@acrosssv32.across.or.jp>
To: <mutex@gmd.de>
Subject: liftpause
Date: Wed, 23 Feb 2000 09:46:38 +0900
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Thank you for your acrobatic solution for Canons from Musical Offering.
But I had difficult in putting slurs which extend across line.

I still have some questions about PMX and MusiXTeX.
When I typeset a piece for keyboard which has 2/4 meter, I need to raise
\PAuse (How do you call this rest symbol in English? Two whole rest?). But I
typed
"r9+1" in PMX, the output was "\liftpausepp{1}".
So I tried to raise it like this.
\\def\liftpausepp#1{\raise#1\Interligne\PAuse}\
But when you put this rest symbol above or below the staff, there is a
need for small horizontal line. Is it possible to put a horizontal line or
write a new macro, "\liftPAuse"?

Keigo Nitadori
nitadori@po2.across.or.jp
http://www.plaza.across.or.jp/~nitadori/
These address will be changed in April.

From mutex-owner@mail.gmd.de  Wed Feb 23 11:16:18 2000
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From: Michael Hierweck <michael@hierweck.de>
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Hello everybody,

as I'm plying drums I have to typeset a lot drum scores.
Does anybody use a preprocessor to do this?
Typesetting the scores directly seems to take very long time.

Thanks for hints,

Michael Hierweck
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: liftpause
To: mutex@gmd.de, nitadori@acrosssv32.across.or.jp
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> From: "nitadori" <nitadori@acrosssv32.across.or.jp>
> Date: Wed, 23 Feb 2000 09:46:38 +0900

[...]
> "r9+1" in PMX, the output was "\liftpausepp{1}".
> So I tried to raise it like this.
> \\def\liftpausepp#1{\raise#1\Interligne\PAuse}\
> But when you put this rest symbol above or below the staff, there is a
> need for small horizontal line. Is it possible to put a horizontal line or
> write a new macro, "\liftPAuse"?

Why did you do that? Following PMX-input works for me:

1 1 4 2 4 2 0 0
1 1 20 0.00

t
.\
r9+6 /
m2400 r2+6 | rp+6 /
m4400 r6+6 r6+6 r3+6 r1+6 r8+6 r4+6 r2+6 | r0+6 | rp+6 /


If you have problems with this the reason may be that you work with an
outdated version of pmx.tex. Maybe you unpacked it but didn't put it
into your TeX-path.

The relevant TeX-output of PMX is (slightly modified):

\startpiece\addspace\afterruleskip%
% Bar count 1
\pnotes{8.00}\en\def\atnextbar{\znotes\centerbar{\liftpausepp3}\en}%
% Bar count 2
\xbar\pnotes{4.16}\en\def\atnextbar{\znotes\centerbar{\lifthpause3}\en}%
% Bar count 3
\xbar\pnotes{4.16}\en\def\atnextbar{\znotes\centerbar{\liftpause3}\en}%
% Bar count 4
\xbar
\pnotes{0.81}\raise6\internote\qqs\raise6\internote\qqs\en%
\pnotes{1.13}\raise6\internote\hs\en%
\pnotes{1.56}\raise6\internote\qs\en%
\pnotes{2.17}\raise6\internote\ds\en%
\pnotes{3.00}\raise6\internote\qp\en%
\pnotes{4.16}\lifthpause3\en%
% Bar count 5
\xbar\pnotes{5.77}\en\def\atnextbar{\znotes\centerbar{\liftpause3}\en}%
% Bar count 6
\xbar\pnotes{5.77}\en\def\atnextbar{\znotes\centerbar{\liftpause3}\en}%
\Endpiece

Imho bar 2 is wrong, because I specified it bad. Full bar rests
should always be "pause", not "hpause". But that's my fault.

\pnotes{...} is something like \notes or \notesp or \Notes or ...

I'm not sure whether "r9" = "pausepp" is ok.

-- Werner

From mutex-owner@mail.gmd.de  Wed Feb 23 14:39:25 2000
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On Wed, 23 Feb 2000, nitadori wrote:

> 
> I still have some questions about PMX and MusiXTeX.
> When I typeset a piece for keyboard which has 2/4 meter, I need to raise
> \PAuse (How do you call this rest symbol in English? Two whole rest?). 
I think the latin expression minima is used in most languages.
> 
Christof


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: liftpause
Date: Wed, 23 Feb 2000 08:47:45 -0800
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Christof Biebricher [SMTP:cbiebri@gwdg.de] wrote
>On Wed, 23 Feb 2000, nitadori wrote:
>> 
>> I still have some questions about PMX and MusiXTeX.
>> When I typeset a piece for keyboard which has 2/4 meter, I need to raise
>> \PAuse (How do you call this rest symbol in English? Two whole rest?). 
>>
>I think the latin expression minima is used in most languages.
> 
Then what are breve and longa? I've always been totally confused by this
terminology, so I just call it "r9" :-) or double whole rest.

--Don Simons

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From: David Bobroff <bobroff@centrum.is>
Subject: \PAuse name
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Keigo Nitadori asked:

>\PAuse (How do you call this rest symbol in English? Two whole rest?).

Christof replied:

>I think the latin expression minima is used in most languages.

"Minima" may indeed be the proper name but I would simply call it a "double
whole-note rest" in English.

David Bobroff
From mutex-owner@mail.gmd.de  Wed Feb 23 19:37:37 2000
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From: evita.j@magnet.at
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To: mutex@gmd.de
Subject: Updated guitar fingering macros
Date: Wed, 23 Feb 2000 19:26:38 +0100
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I've added macros for RH apoyando fingering to my definitions file; if
anyone's interested, give me a shout.

(To those people who have the previous version: I never heard back
from any of you -- is everything clear enough in the comments?)

Eva
...who will be adding tirando fingerings too just as soon as she has
time

--
"I don't play the clarinet. I speak music."
   ---Giora Feidman (clarinetist with Israel Philharmonic)
From mutex-owner@mail.gmd.de  Thu Feb 24 05:09:12 2000
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From: "nitadori" <nitadori@acrosssv32.across.or.jp>
To: <mutex@gmd.de>
Subject: Re: liftpause
Date: Thu, 24 Feb 2000 12:45:44 +0900
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Sorry, I have wrote 
>a piece for keyboard which has 2/4 meter, 
was wrong. What I wanted to say was,
a piece for keyboard which has 4/2 meter, 

What I want to raise or lower is \PAuse, not \pausepp nor \pause.
Please see an example which I have scanned.
http://www.plaza.across.or.jp/~nitadori/score/rece6.gif

Anyway, can \pause be both "Whole rest as whole rest" and
"Whole rest as full bar rest" in 4/2 meter music?


Keigo Nitadori
nitadori@po2.across.or.jp
http://www.plaza.across.or.jp/~nitadori/
This address will be changed in April.



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To: "Simons, Don" <DSimons@logicon.com>
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Subject: RE: liftpause
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On Wed, 23 Feb 2000, Simons, Don wrote:

> Christof Biebricher [SMTP:cbiebri@gwdg.de] wrote
> >On Wed, 23 Feb 2000, nitadori wrote:
> >> 
> >> I still have some questions about PMX and MusiXTeX.
> >> When I typeset a piece for keyboard which has 2/4 meter, I need to raise
> >> \PAuse (How do you call this rest symbol in English? Two whole rest?). 
> >>
> >I think the latin expression minima is used in most languages.
> > 
> Then what are breve and longa? I've always been totally confused by this
> terminology, so I just call it "r9" :-) or double whole rest.
I stand corrected, you are right. `minima' is the whole note (written as rhombus),
2/1 is breve and 4/1 longa (breve with stem).
But, indeed, these terms are now obsolete and yours are clear.
Christof


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Subject: Re: liftpause
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Christof Biebricher wrote:
> 
> On Wed, 23 Feb 2000, Simons, Don wrote:
> 
> > Christof Biebricher [SMTP:cbiebri@gwdg.de] wrote
> > >On Wed, 23 Feb 2000, nitadori wrote:
> > >>
> > >> I still have some questions about PMX and MusiXTeX.
> > >> When I typeset a piece for keyboard which has 2/4 meter, I need to raise
> > >> \PAuse (How do you call this rest symbol in English? Two whole rest?).
> > >>
> > >I think the latin expression minima is used in most languages.
> > >
> > Then what are breve and longa? I've always been totally confused by this
> > terminology, so I just call it "r9" :-) or double whole rest.
> I stand corrected, you are right. `minima' is the whole note (written as rhombus),
> 2/1 is breve and 4/1 longa (breve with stem).
> But, indeed, these terms are now obsolete and yours are clear.

I'm afraid they are not as obsolete as you would wish. In a musical
terms glossary I'm working on for the Lilypond project - eventually to
be published on the GMD archive too - I have to reflect differences in
the terms used for note values in British and US English contexts. For
example British English says 'semiminima' for the quarter note, 'minima'
for the half note, 'semibreve' for the whole note etc. 

I think we'll have to live with that :-(
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Feb 24 12:18:02 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: liftpause
To: mutex@gmd.de, nitadori@acrosssv32.across.or.jp
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> From: "nitadori" <nitadori@acrosssv32.across.or.jp>
> Date: Thu, 24 Feb 2000 12:45:44 +0900

> What I want to raise or lower is \PAuse, not \pausepp nor \pause.

The musix-fonts do not contain the characters neccessary to lift
a \PAuse. The following may help although it's a misuse of musixchar 26,
which is an accent and not a ledger line. You can replace it by some
\hrule (which then should depend on \musicsize):

\input musixtex
\def\liftPAusechar{\hbox{\kern-.6\internote\raise2\Interligne
 \hbox{\musixchar26}\kern.6\internote\PAuse}}
\def\liftPAuse#1{\raise #1\Interligne\liftPAusechar}
\def\liftedpauses{\PAuse\liftPAuse2\liftPAuse4\liftpause4\sk}
\normalmusicsize\startextract\notes\liftedpauses\en\endextract
\smallmusicsize\startextract\NOTEs\liftedpauses\en\endextract
\largemusicsize\startextract\NOTEs\liftedpauses\en\endextract
\Largemusicsize\startextract\NOTEs\liftedpauses\en\endextract\bye
\input musixtex
\def\liftPAusechar{\hbox{\kern-.6\internote\raise2\Interligne
 \hbox{\musixchar26}\kern.6\internote\PAuse}}
\def\liftPAuse#1{\raise #1\Interligne\liftPAusechar\bsk}
\def\liftedpauses{\PAuse\liftPAuse2\sk\liftPAuse4\sk\liftpause4\sk}
\normalmusicsize\startextract\NOTEs\liftedpauses\en\endextract
\smallmusicsize\startextract\NOTEs\liftedpauses\en\endextract
\largemusicsize\startextract\NOTEs\liftedpauses\en\endextract
\Largemusicsize\startextract\NOTEs\liftedpauses\en\endextract\bye


> Anyway, can \pause be both "Whole rest as whole rest" and
> "Whole rest as full bar rest" in 4/2 meter music?

Yes. \pause is as well a rest replacing a whole note as well
as a whole bar rest. As whole bar rest for nearly any meter
it must be centered in the bar (which isn't easy :-). Have a look
at http://www.gmd.de/Misc/Music/  look for MusiXTeX/Add-ons/rests

-- Werner

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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Re: liftpause
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> From: Christian Mondrup <scancm@biobase.dk>

> I'm afraid they are not as obsolete as you would wish. In a musical
> terms glossary I'm working on for the Lilypond project - eventually to
> be published on the GMD archive too - I have to reflect differences in
> the terms used for note values in British and US English contexts. For
> example British English says 'semiminima' for the quarter note, 'minima'
> for the half note, 'semibreve' for the whole note etc. 

This is how we call the notes in Italy too (I think it's Latin, actually).
If you plan to add translations to the glossary :-), we then have
croma (1/8), semicroma (1/16), biscroma (1/32) and semibiscroma (1/64).
I don't think there is a name for 1/128, even if I found some example.

ciao, .mau.

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Subject: Note names. (was: re: liftpause)
To: mutex@gmd.de
Date: Fri, 25 Feb 2000 12:19:30 +0000 (GMT)
In-Reply-To: <200002241302.OAA15825@beatles.cselt.it> from "Maurizio Codogno" at Feb 24, 2000 02:02:30 PM
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> > From: Christian Mondrup <scancm@biobase.dk>
> 
> > I'm afraid they are not as obsolete as you would wish. In a musical
> > terms glossary I'm working on for the Lilypond project - eventually to
> > be published on the GMD archive too - I have to reflect differences in
> > the terms used for note values in British and US English contexts. For
> > example British English says 'semiminima' for the quarter note, 'minima'
> > for the half note, 'semibreve' for the whole note etc. 

(Delurking...)
I've _never_ seen the term "semiminima" before...!...
The terms I'm used to (from Australian/British references) are:
breve      (two whole notes)
semibreve  (whole note - takes up 1 bar of 4/4 time.)
minim      (half)
crotchet   (1/4)
quaver     (1/8, also the feeling you get just before a lesson when you
                 haven't practised ;->
semiquaver (1/16)
demisemiquaver (1/32)
hemidemisemiquaver (1/64)

I don't think the 1/128 has a separate name, although it does crop up
occasionally (I think the end of the intro to Beethoven's Pathetique sonata has
a run of these things).

> From: Maurizio Codogno <mau@beatles.cselt.it>
> This is how we call the notes in Italy too (I think it's Latin, actually).
> If you plan to add translations to the glossary :-), we then have
> croma (1/8), semicroma (1/16), biscroma (1/32) and semibiscroma (1/64).
> I don't think there is a name for 1/128, even if I found some example.
> ciao, .mau.


And while I'm here, Thanks to all involved for providing Musixtex/PMX/advice
over the list/all the other work you do - I've not had the time to do 
anything with them lately, but I appreciate having them, and hope to 
get back to something over summer.

Grateful greetings,
Andrew
  /\    /\   --| \ | /-| | | \    /
 /  \  /  \  __| /-| | | |\|  \--/               A.E.R.Usher@qmw.ac.uk
/    \/    \ __| \_| \_| | |   \/
Practise random Kindness and senseless acts of Beauty.
From mutex-owner@mail.gmd.de  Fri Feb 25 17:06:34 2000
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Subject: Re: Note names. (was: re: liftpause)
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On Fri, 25 Feb 2000, Andrew Usher wrote:

> I don't think the 1/128 has a separate name, although it does crop up
> occasionally (I think the end of the intro to Beethoven's Pathetique sonata has
> a run of these things).
> 
Beethoven wasn't certainly the first composer to use 1/128. It even occurs
occasionally in Bachs music, and it is quite possible that they were in use
even before. Older composers, e.g. Frescobaldi, avoided 1/64 by using alla breves
like 3/1. 1/128 is certainly not common, but if a guru finds a way to write
them, let me know. I had already an occasion where I had to cheat because
I could not set it.
And I certainly look forward to download Christian Mondrup's polyglott glossary;
I am sure that it will help also communication in this list.
Regards, Christof.

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Date: Mon, 28 Feb 2000 11:25:34 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Note names. (was: re: liftpause)
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> Date: Fri, 25 Feb 2000 16:42:31 +0100 (CET)
> From: Christof Biebricher <cbiebri@gwdg.de>

> [...] 1/128 is certainly not common, but if a guru finds a way to write
> them, let me know. I had already an occasion where I had to cheat because
> I could not set it.

They are part of musixbm.tex: \ccccca, \cccccu, \cccccl, \zcccccu, \zcccccl

musixbm.tex defines 1/128 beams. musixbbm.tex defines 1/256 beams, but
not single 1/256 notes. But I don't think that these are needed.

-- Werner



From mutex-owner@mail.gmd.de  Mon Feb 28 11:44:18 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Note names. (was: re: liftpause)
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> From: Andrew Usher <A.E.R.Usher@qmw.ac.uk>
> Date: Fri, 25 Feb 2000 12:19:30 +0000 (GMT)

[...]
> I don't think the 1/128 has a separate name, although it does crop up
> occasionally (I think the end of the intro to Beethoven's Pathetique sonata has
> a run of these things).

They are used by Bach, too; e.g. 1st movement of the 1st sonata for violin
solo (BWV1001). I had a need for 1/256, too when typesetting an ornamented
version of Corelli's Opus 5. An example is in bar 10a of
http://www.gmd.de/Misc/Music/scores/corelli/op5.gif
(It looks nicer in the PS-file.)

-- Werner

From mutex-owner@mail.gmd.de  Mon Feb 28 13:02:12 2000
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From: "nitadori" <nitadori@acrosssv32.across.or.jp>
To: <mutex@gmd.de>
Subject: Re:liftpause
Date: Mon, 28 Feb 2000 20:48:12 +0900
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Thank you for your great help for my question.
I accomplished to write \liftPAuse from \liftpause and \lifthpause
by using of pstricks. But I am a beginner and have little knowledge
about TeX macro, box, and pstricks so I wonder it is all right.
Is it all right?

Keigo Nitadori
nitadori@po2.across.or.jp
http://www.plaza.across.or.jp/~nitadori/

\input musixtex
\input pstricks
\def\templiftPAusechar{\hbox{\liftpause0\lifthpause0\kern 1\Interligne}}
\def\liftPAusechar{\hbox{\scaleboxto(0.40\Interligne,3\Interligne){\templift
PAusechar}}}
\def\liftPAuse#1{\raise #1\Interligne\liftPAusechar}
\def\liftedpauses{\PAuse\bsk\liftPAuse{-4}\sk\liftPAuse{-3}\sk
\liftPAuse{0}\sk\liftPAuse{2}\sk\liftPAuse{3}\sk\liftpause3\sk}
\normalmusicsize\startextract\notes\liftedpauses\en\endextract
\smallmusicsize\startextract\NOTEs\liftedpauses\en\endextract
\largemusicsize\startextract\NOTEs\liftedpauses\en\endextract
\Largemusicsize\startextract\NOTEs\liftedpauses\en\endextract\bye



From mutex-owner@mail.gmd.de  Mon Feb 28 17:10:05 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200002281553.RAA30013@calvyn.puk.ac.za>
Subject: Unexpected behaviour from PMX/MusiXLyr
To: mutex@gmd.de (List for MusicTeX etc)
Date: Mon, 28 Feb 2000 17:53:04 +0200 (SAST)
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Consider the following PMX input file:

\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixlyr\:\enableauxlyrics
---
1 1 4 2 4 2  0.00000 0 1 1 20 0

0
./
% Paragraph 2 line 6 bar 1
\\\setlyrics{11}{Breathe in deep-ly now.}\
\\\assignlyrics1{11}\
\beginmel\ g04 s \endmel\ f2 s e2 /
%Bar 2
\beginmel\ f2 s \endmel\ e0 s d2 /
%Bar 3
\beginmel\ c0 st \endmel\ c0 st /

This works perfectly with all the PMX/MusiXTeX combinations that
I have tried.  Now try a few variations.

Variation 1: 'Alla semibreve'

Change the meter from 4/2 to 2/1.  PMX aborts after two bars,
and I get a core file.  (This is PMX-2.10-unix)

Variation 2: 'Double'

Change the meter from 4/2 to 8/2 and double each note in length.
The music lines are now

\beginmel\ g94 s \endmel\ f0 s e0 /
\beginmel\ f0 s \endmel\ e9 s d0 /
\beginmel\ c9 st \endmel\ c9 st /

The notes get set properly, but the lyrics are all wrong.
I seem to recall this problem having cropped up before, and
it was explained that the MusiXTeX breve is non-spacing.
But that was long ago, and I was hoping that the problem had
been sorted out by now.

Any ideas, anyone?

Dirk
From mutex-owner@mail.gmd.de  Mon Feb 28 18:43:56 2000
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Date: Mon, 28 Feb 2000 11:24:15 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Dirk Laurie <dirk@calvyn.puk.ac.za>
cc: List for MusicTeX etc <mutex@gmd.de>
Subject: Re: Unexpected behaviour from PMX/MusiXLyr
In-Reply-To: <200002281553.RAA30013@calvyn.puk.ac.za>
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On Mon, 28 Feb 2000, Dirk Laurie wrote:

> Consider the following PMX input file:
> 
	[snip]
> 
> This works perfectly with all the PMX/MusiXTeX combinations that
> I have tried.  Now try a few variations.
> 
> Variation 1: 'Alla semibreve'
> 
> Change the meter from 4/2 to 2/1.  PMX aborts after two bars,
> and I get a core file.  (This is PMX-2.10-unix)

I'm not sure why you're crashing.  I get

        This is pmxab, version 2.1, 8 December 1999
        Opening dirk.pmx

        Starting first PMX pass

         Bar 1Bad error in fnote

Function fnote "returns the real duration of a note." So I'm guessing this
is a Dr. Don problem.

> Variation 2: 'Double'
> 
> Change the meter from 4/2 to 8/2 and double each note in length.
> The music lines are now
> 
	[snip]
> 
> The notes get set properly, but the lyrics are all wrong.

I can verify that the error in fnote (variation 1) and the bad lyric spacing
(variation 2) both still occur in version 2.195.

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Mon Feb 28 18:59:03 2000
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Date: Mon, 28 Feb 2000 18:29:41 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Unexpected behaviour from PMX/MusiXLyr
To: mutex@gmd.de, dirk@calvyn.puk.ac.za
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> From: Dirk Laurie <dirk@calvyn.puk.ac.za>
> Date: Mon, 28 Feb 2000 17:53:04 +0200 (SAST)
> 
> Consider the following PMX input file:

As long as the file does not start with "---" there's nothing
to consider :-(

> \let\:=\relax\input musixtex\:\sepbarrules\input pmx
> \input musixlyr\:\enableauxlyrics
> ---
> 1 1 4 2 4 2  0.00000 0 1 1 20 0
> 
[...]
> \beginmel\ c0 st \endmel\ c0 st /
> 
> This works perfectly with all the PMX/MusiXTeX combinations that
> I have tried.  Now try a few variations.

Works with the latest betatest version I have.

> Variation 1: 'Alla semibreve'
> 
> Change the meter from 4/2 to 2/1.  PMX aborts after two bars,
> and I get a core file.  (This is PMX-2.10-unix)

PMX reports "Bad error in fnote". It's worse than "good error" :-)

> Variation 2: 'Double'
> 
> Change the meter from 4/2 to 8/2 and double each note in length.
[...]
> The notes get set properly, but the lyrics are all wrong.
> I seem to recall this problem having cropped up before, and
> it was explained that the MusiXTeX breve is non-spacing.
> But that was long ago, and I was hoping that the problem had
> been sorted out by now.

The MusiXTeX problem - if there was any - seems to be solved.
But PMX does not use \breve, but \zbreve...\sk. So you can fool
PMX for this small example with

\\let\sk\empty\
\\let\breve\zbreve\


A better workaround is

\\let\sksav\sk\
\\def\zbreve#1{\breve{#1}\def\sk{\let\sk\sksav}}\

near the beginning of your PMX-source or with less backslash
added to pmx.tex until Don makes PMX use \breve instead of \zbreve.

I don't know if this is side-effect free with PMX.

-- Werner

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: New musixbar.tex - inconsistency between musixbar and musixlyr
To: MuTeX@gmd.de
Cc: taupin@lps.u-psud.fr
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--Colony_of_Rats_087_000
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Dear MuTeX-list subscribers,

there was an inconsistency between musixbar.tex and musixlyr.tex so
that seperate barlines changed when beams were used :-)

I attach a new version of musixbar.tex which does not have this error.
The new version is authorized by Mthimkhulu Molekwa. That part of the
former musixbar.tex which has been integrated into musixtex.tex does
_not_ have this error.

The new version is available too under

 http://www.gmd.de/Misc/Music/musixtex/add-ons/musixbar.tex

-- Werner

PS: Daniel, please include the new version into the next update of musixtex.zip

--Colony_of_Rats_087_000
Content-Type: TEXT/plain; name="musixbar.tex"; charset=US-ASCII; x-unix-mode=0644
Content-Transfer-Encoding: QUOTED-PRINTABLE
Content-Description: musixbar.tex
Content-MD5: r6OQcsgH3r/XbEVqm6BABQ==

%%%%%%%%%% Hiding/printing bar lines individually %%%%%%%%%%%%%%%%%%%%%%%%%=
%%
%
% Here comes a bunch of rather general macros which enable printing or=20
% hiding barlines for each staff and inter-staff space individually:
%
% Mthimkhulu Molekwa <MMolekwa@rrs.co.za>

\ifx\indivbarrules\undefined\else\endinput\fi

\immediate\write10{MusiXBAR printing or hiding seperate bar lines 1.01\spac=
e<23 Februar 2000>}%

\edef\catcodeat{\the\catcode`\@}\catcode`\@=3D11

%\makeatletter

\newdimen\barline@depth
 =20
\def\rul@indiv#1{%
  \n@loop
    \Comp@High
    \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax
      \multiply\barline@depth -1\relax
      \advance\barline@depth\altitude
    \else
      \barline@depth=3D0pt\relax
    \fi
    {\expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 1%
       \y@v=3D0pt\relax
     \fi
     \raise\altitude\rlap{\vrule\@depth\barline@depth\@width#1\@height\y@v}=
}%
    \barline@depth\altitude
    \advance\barline@depth\y@v
  \repeat
  \addspace#1}

\def\rul@indiv@#1{\n@loop{\prul@indiv@#1}\repeat\addspace#1}

\def\prul@indiv@#1{%
      \y@v\interportee \C@Inter\advance\y@v-\stem@skip
      \expandafter\ifx\csname s@b\romannumeral\noinstrum@nt\endcsname\relax
        \multiply\barline@depth -1\relax
        \advance\barline@depth\altitude
      \else
        \barline@depth=3D0pt\relax
      \fi
      {\expandafter\ifx\csname h@bl\romannumeral\noinstrum@nt\endcsname 1%
         \y@v=3D0pt\relax
       \fi
      \p@loop
        \raise\altportee\rlap{%
          \vrule\@depth\barline@depth\@width#1\@height\y@v}%
        \count@portee
      \repeat}%
      \barline@depth\altitude
      \advance\barline@depth\y@v}

%=3D=3D Required to use the following macros
\def\indivbarrules{%
  \let\writ@rule\rul@indiv
  \sepbarrule 1}

\def\Indivbarrules{%
  \let\writ@rule\rul@indiv@
  \sepbarrule 1}

%=3D=3D separates bar line of specified instrument from one of previous ins=
trument
\def\sepbarrule#1{\expandafter\let\csname s@b\romannumeral#1\endcsname 1}

%=3D=3D connects bar line of specified instrument to one of previous instru=
ment
\def\conbarrule#1{%
  \if 1#1\else\expandafter\let\csname s@b\romannumeral#1\endcsname\relax\fi=
}
 =20
%=3D=3D hides bar line for specified instrument
\def\hidebarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname 1}
 =20
%=3D=3D shows bar line for specified instrument
\def\showbarrule#1{\expandafter\let\csname h@bl\romannumeral#1\endcsname\re=
lax}

%=3D=3D separates barlines in multistaff instruments
\def\rul@sep@#1{\n@loop{\prul@sep#1}\repeat\addspace#1}

\def\prul@sep#1{%
      \y@v\interportee \C@Inter\advance\y@v-\stem@skip
      \p@loop
        \hbox{\raise\altportee\rlap{%
          \vrule\@depth\hlthick\@width#1\@height\y@v}}%
        \count@portee\repeat}

\def\Sepbarrules{\let\writ@rule\rul@sep@ }

%-\makeatother

\catcode`\@=3D\catcodeat
\endinput

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

% Here comes an example of how to use these macros

%%%%% Pre-amble
\input musixtex
\input musixbar

\instrumentnumber3
\setmeter3{{\meterfrac{3}{4}}}
\setmeter2{{\meterfrac{2}{4}}}
\setmeter1{{\meterfrac{3}{8}}}
\nobarnumbers
\indivbarrules
\sepbarrule2
\sepbarrule3

%%%%% Spacing
\beforeruleskip=3D0.5\afterruleskip
\interinstrument=3D4\Interligne

%%%%% Macros
\let\ni\nextinstrument

%%%%% Music
\linegoal2
\startpiece\addspace\afterruleskip
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\showbarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\hidebarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\showbarrule3\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\hidebarrule3\bar
\NOtes\pt f\qa f\ni\qa f\ni\qa f\en
\hidebarrule2\bar
\NOtes\multnoteskip{.333}\Tqbu fff\ni\qa f\ni\qa f\en
\showbarrule2\showbarrule3\stoppiece
\bye

--Colony_of_Rats_087_000--
From mutex-owner@mail.gmd.de  Wed Mar  1 16:26:03 2000
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Date: Wed, 01 Mar 2000 14:58:30 +0000
From: Nigel Warner <nwarner@freenetname.co.uk>
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Dear All,

    I would like to use Musixtex to create small examples, a couple of
bars long
or possibly more. However I want to use them outside of  TeX with which
I find
myself unfamiliar after a long time away.

    My objective is to use TeX to generate a DVI and then process it
through
Dvips to Postscript and then via Ghostscript to a graphics format which
will then
be converted to a GIF and displayed in Html. I also want to use TeX to
produce
a printed version but this is catered for.

    My question is; How do I set up MusicxTex to use a small page size,
say
1.5 x 4 inches ?. My preliminary experiments, only moderately
successful, come out
as a full size page. Needless to say I want to automate the process
i.e.: no tedious
messing around with cut and paste so getting the correct size DVI to
start with is
critical.

    Regards,

    Nigel.

From mutex-owner@mail.gmd.de  Wed Mar  1 18:24:21 2000
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Date: Wed, 1 Mar 2000 17:58:51 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Musical EXamples
To: mutex@gmd.de, nwarner@freenetname.co.uk
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> Date: Wed, 01 Mar 2000 14:58:30 +0000
> From: Nigel Warner <nwarner@freenetname.co.uk>

[...]
>     I would like to use Musixtex to create small examples, a couple of
> bars long or possibly more.[...] 
>     My objective is to use TeX to generate a DVI and then process it
> through Dvips to Postscript and then via Ghostscript to a graphics
> format which will then  be converted to a GIF and displayed in Html.

I did it in a lot of cases using PMX with a small width. I then
typeset each example as movement. If there was more than one
movement on a page I cut and trimmed each sample from the bigger GIF.

You can see many of these samples in http://people.a2000.nl/pgabler/
Look for "sheet music & recordings ..." 


>     My question is; How do I set up MusicxTex to use a small page size,
> say 1.5 x 4 inches ?. 

Although I recommend PMX here's a possible musixtex solution:

\input musixtex
\hoffset-1in\voffset-1in\hsize=4in\vsize=1.5in
\generalmeter{\meterfrac{20}{16}}\generalsignature5
\def\Bar{\NOtes\qa{fg'abc}\en}
\nopagenumbers\nobarnumbers\linegoal2\startpiece
\Bar\bar\Bar\bar\Bar\bar\Bar\bar\Bar\bar\Bar\Endpiece\bye

The mini-page is now in the left upper corner of a "real page".
So you have to define a corresponding pageformat for dvips
and define this pagesize to ghostview ... which is easy using
MS-Windows Gsview/Ghostscript

Or you leave out setting \hoffset and \voffset and then trim the GIF
to the wanted size.


From mutex-owner@mail.gmd.de  Thu Mar  2 11:36:18 2000
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Date: Thu, 02 Mar 2000 10:51:17 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Dear mutex scubscribers.

Upon recent discussions on this list concerning British English musical
terms I'm pleased to announce that a 'beta' release of a totally
reworked musical terms glossary for the Lilypond project is now
available for the mutex community as

ftp://ftp.gmd.de/music/lists/glossary/glossary.ps

Most French and Norwegian terms are still missing. Hopefully I'll be
able to upload a new release with these terms added soon.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Mar  6 00:41:29 2000
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Date: Sun, 05 Mar 2000 23:39:41 +0100
From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
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A pmx question:

When the meter changes at the end of a line the new meter is printed at the end of this
line and at the beginning of the next line.

What am I doing wrong??

Rainer adS


From mutex-owner@mail.gmd.de  Mon Mar  6 04:05:10 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Meter change at line break
Date: Sun, 5 Mar 2000 18:14:37 -0800 
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Rainer adS wrote

>a PMX question:
>
>When the meter changes at the end of a line the 
>new meter is printed at the end of this
>line and at the beginning of the next line.

That is the intended result, and that is what I just got with a test file. 

>What am I doing wrong??

Nothing I can see.  Did you want some other result?

--Don Simons


From mutex-owner@mail.gmd.de  Mon Mar  6 04:13:40 2000
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Rainer aus dem Spring wrote:
> 
> A pmx question:
> 
> When the meter changes at the end of a line the new meter is printed at the end of this
> line and at the beginning of the next line.
> 
> What am I doing wrong??
> 
> Rainer adS

Nothing!  It is a feature.  I just wish there was an easy way of doing
the same in plain MusiXTeX.

Mogens

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Date: Mon, 06 Mar 2000 12:25:55 +0100
From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
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Erm,

yes, this seems to be common practice. In my eyes it looks UGLY, though. I'll ask a
professional music type setter.

A different question:

I use Alto, soprano, ... clefs. Today these are replaced by the treble ("G") clef notated
an octave higher then the music sounds. Is there any way to print music that was entered
for those obsolete clefs with the modern one?

Rainer adS

"Simons, Don" wrote:
> 
> Rainer adS wrote
> 
> >a PMX question:
> >
> >When the meter changes at the end of a line the
> >new meter is printed at the end of this
> >line and at the beginning of the next line.
> 
> That is the intended result, and that is what I just got with a test file.
> 
> >What am I doing wrong??
> 
> Nothing I can see.  Did you want some other result?
> 
> --Don Simons

-- 
-------------------------------------------------------------------
Rainer aus dem Spring       email: Rainer.adS.BERA_GmbH@t-online.de
Schimmelbuschstr. 10, 40699 Erkrath, Germany
-------------------------------------------------------------------


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On Mon, 6 Mar 2000, Rainer aus dem Spring wrote:

> yes, this seems to be common practice. In my eyes it looks UGLY, though. I'll ask a
> professional music type setter.
That has nothing to do with UGLY or beautiful. It is obvious that a quick
reader will not look again at the accidents, clefs etc. at the line begins 
except at the first; therefore a clef change would be overlooked.
> 
> I use Alto, soprano, ... clefs. Today these are replaced by the treble ("G") clef notated
> an octave higher then the music sounds. Is there any way to print music that was entered
> for those obsolete clefs with the modern one?
Sure. You can take any clef you like. The octavated G clef is only used for
the Tenor. Mtx does it automatically. In pmx, just change the octava numbers.
> 
Christof

From mutex-owner@mail.gmd.de  Mon Mar  6 18:31:50 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: MusiXTeX mailing list <mutex@gmd.de>
Subject: RE: Meter change at line break
Date: Mon, 6 Mar 2000 09:12:36 -0800 
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You could make the same statement about dozens of other music typesetting
tasks, starting with providing adequate horizontal space for accidentals.
PMX's role in life is to simplify that which is complicated in MusiXTeX.
Unlike TeX, PMX has no practical limit on number of variables or on the
complexity of numerical or logical operations, so it can accomplish any
logical process that the developer (i.e., me) has the time and inclination
to implement.

--Don Simons

> -----Original Message-----
> From:	Mogens Lemvig Hansen [SMTP:mlhansen@uniserve.com]
> Sent:	Sunday, March 05, 2000 6:12 PM
> To:	Rainer.adS.BERA_GmbH@t-online.de
> Cc:	MusiXTeX mailing list
> Subject:	Re: Meter change at line break
> 
> Rainer aus dem Spring wrote:
> > 
> > A pmx question:
> > 
> > When the meter changes at the end of a line the new meter is printed at
> the end of this
> > line and at the beginning of the next line.
> > 
> > What am I doing wrong??
> > 
> > Rainer adS
> 
> Nothing!  It is a feature.  I just wish there was an easy way of doing
> the same in plain MusiXTeX.
> 
> Mogens
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Meter change at line break
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> Rainer adS wrote
> 
> >I use Alto, soprano, ... clefs. Today these are replaced by the treble
> ("G") clef notated
> >an octave higher then the music sounds. Is there any way to print music
> that was entered
> >for those obsolete clefs with the modern one?
> 
> There must be more than one set of meanings for these clef names.  In the
> baroque world, "soprano" clef is a C-clef with middle C on the bottom
> line.  It is most commonly used for vocal parts sung by...you guessed
> it...sopranos.  This is not currently available in PMX.
> 
> In both the baroque and modern worlds, "Alto" clef is a C-clef with middle
> C on the middle line.  It is immediately available in PMX, and since pitch
> levels in PMX are absolute and independent of the clef, it is completely
> trivial to change an existing staff from one clef to another.
> 
> There are no octave-transposed clefs available in PMX, but I suppose there
> should be.  Maybe even two different flavors, because it seems to me there
> are two possible ways of inputting the PMX data for notes referring to
> these clefs.  For example with a "soprano recorder clef" the logical and
> consistent method (i.e., consistent with all other PMX clefs) would be to
> enter c45 and have it appear on the line below the staff.  But I'm sure
> there are others who would prefer that "c45" represent a note that appears
> on the 3rd space in this clef, even though it sounds at c46.
> 
> --Don Simons
> 
> 
From mutex-owner@mail.gmd.de  Mon Mar  6 19:44:56 2000
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From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
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Christof Biebricher wrote:
> 
> On Mon, 6 Mar 2000, Rainer aus dem Spring wrote:
> 
> > yes, this seems to be common practice. In my eyes it looks UGLY, though. I'll ask a
> > professional music type setter.
> That has nothing to do with UGLY or beautiful. It is obvious that a quick
> reader will not look again at the accidents, clefs etc. at the line begins
> except at the first; therefore a clef change would be overlooked.

I am entering scores to study them... Nobody plays 5 part viol music from the score.

> >
> > I use Alto, soprano, ... clefs. Today these are replaced by the treble ("G") clef notated
> > an octave higher then the music sounds. Is there any way to print music that was entered
> > for those obsolete clefs with the modern one?
> Sure. You can take any clef you like.


> The octavated G clef is only used for the Tenor.
Nonsense.

> Mtx does it automatically. In pmx, just change the octava numbers.

Ha, ha, ha, ha, ha , i.e., it is NOT possible(?).

From mutex-owner@mail.gmd.de  Tue Mar  7 08:17:38 2000
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Subject: RE: Meter change at line break
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On Mon, 6 Mar 2000, Simons, Don wrote:

> There must be more than one set of meanings for these clef names.  In the
> baroque world, "soprano" clef is a C-clef with middle C on the bottom
> line.  It is most commonly used for vocal parts sung by...you guessed
> it...sopranos.  This is not currently available in PMX.

Oh, but it is! Cs gives the C-clef on the bottom line. The only clef that
I miss in PMX is the french violin clef (G-clef on bottom line). It would
be handy for proofreading when the original has it. Today I typically use
K-2+0 to transpose down everything while I proof read a part with this
clef.

/Johan TUfvesson

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Johan Tufvesson wrote:

> Oh, but it is! Cs gives the C-clef on the bottom line. The only clef that
> I miss in PMX is the french violin clef (G-clef on bottom line). It would
> be handy for proofreading when the original has it. Today I typically use
> K-2+0 to transpose down everything while I proof read a part with this
> clef.
>
> /Johan TUfvesson

You may get anyway using inline MusiXTeX:

1 1 4 4 0 6  0.00000 0 0 4 20 0

0
./
\\setclef19\
g45 f e d | c d e f | g0 /

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


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On Mon, 6 Mar 2000, Simons, Don wrote:

> > Rainer adS wrote
> > 
> > >I use Alto, soprano, ... clefs. Today these are replaced by the treble
> > ("G") clef notated
> > >an octave higher then the music sounds. Is there any way to print music
> > that was entered
> > >for those obsolete clefs with the modern one?
> > 
> > There must be more than one set of meanings for these clef names.  In the
> > baroque world, "soprano" clef is a C-clef with middle C on the bottom
> > line.  It is most commonly used for vocal parts sung by...you guessed
> > it...sopranos.  This is not currently available in PMX.
> > 
Now I am completely stymied. I have written numerous open scores with
the classical clefs with pmx (via Mtx) and learn now that the
soparano clef is not available.
I attach one (BWV146,2) as an example.
Christof
***********************************************
---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixlyr\:\enableauxlyrics
---
4 4 3 4 3 4  0.00000 -2 6 18 20 0




bnas
./
\\grouptop14\groupbottom11\
\\setsize4{\normalvalue}\
Tt
Wir m\"ussen durch viel Tr\"ubsal
Tc
Joh. Sebastian Bach
\\settrebleclefsymbol{2}\treblelowoct\
% Paragraph 2 line 11 bar 1
h240m w190m
\\hoffset=-15.4mm\voffset=-15.4mm\
\\vsize=270truemm\
\\\setlyrics{11}{Wir m\"us-sen durch viel}\
\\\setlyrics{21}{Wir m\"us-sen durch viel}\
\\\setlyrics{31}{Wir m\"us-sen durch viel}\
\\\setlyrics{41}{Wir m\"us-sen durch viel Tr\"ub-sal,}\
\\\assignlyrics4{11}\
\\\assignlyrics3{21}\
\\\assignlyrics2{31}\
\\\assignlyrics1{41}\
\\\setsongraise1{-7\internote}\ Arb K+0+0 [ \beginmel\ ga83 \endmel\ aa8 ] ba8 ca8 da8 da8-l | /
g44 d4 c4 | /
b44 g4 f4s | /
d45 d4 d4 | /

%Bar 2
[ \beginmel\ ea8 \endmel\ da8 ] e4 r4 | /
b2 g4 | /
\beginmel\ g8 s f8s \endmel\ g4 s b4 | /
\beginmel\ d4 s g8 \endmel\ e8 s [ \beginmel\ da8 \endmel\ ca8 ] | /

% Paragraph 3 line 23 bar 3
\\\setlyrics{11}{Tr\"ub-sal }\
\\\setlyrics{21}{Tr\"ub-sal in}\
\\\setlyrics{31}{Tr\"ub-sal }\
\\\setlyrics{41}{durch viel Tr\"ub-sal in das Reich}\
\beginmel\ a4 s \endmel\ c4 s e4 | /
\beginmel\ e2+d  s | /
\beginmel\ b4  a8 g8 f8s g8 | /
\beginmel\ c2d s | /

%Bar 4
\beginmel\ f4-s  a4 c4 | /
e8 s d8 c8 d8 c8 b8 | /
a4d b8 a8 g8 | /
c2d s s | /

%Bar 5
d4- f4s a4 | /
a4 d4 f4-s s | /
f8s g8 a2 s | /
c2d s s | /

%Bar 6
b8- \endmel\ a8 ba8 ba8+ fa8s ga8 | /
\endmel\ f4 s g4 r4 | /
\endmel\ a4 s d4- \beginmel\ g4 s | /
\endmel\ c4 s b4 r4 | /

% Paragraph 4 line 33 bar 7
\\\setlyrics{11}{in das Reich Got-tes ein-ge-hen, in das Reich}\
\\\setlyrics{21}{das Reich Got-tes ein-ge-}\
\\\setlyrics{31}{in das Reich Got-tes ein-ge-}\
\\\setlyrics{41}{Got-tes ein-ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ca8- \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ ba8+ ] [ \beginmel\ fa8s \endmel\ ga8 ] | /
e4+ [ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8 ] | /
\endmel\ g4 s g4 [ \beginmel\ aa8 \endmel\ ga8 ] | /
[ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ba8 ] | /

%Bar 8
[ \beginmel\ da8 \endmel\ ca8 ] da8 [ \beginmel\ ba8+ \endmel\ fa8s ] ga8 | /
a4 [ \beginmel\ aa8 \endmel\ da8 ] \beginmel\ c8  b8 s | /
f4s [ \beginmel\ fa8 \endmel\ ga8 ] \beginmel\ d4  s | /
[ \beginmel\ ca8 \endmel\ ea8 ] [ \beginmel\ da8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ga8 ] | /

%Bar 9
\beginmel\ e4d  g8 a8f f8 | /
b8 s \endmel\ g8 \beginmel\ e4+  d8 c8 | /
d8 s \endmel\ c8 \beginmel\ g4+  f8 oen e8 | /
[ \beginmel\ ga8+ \endmel\ ea8 ] da8 ca8 ba8s ca8 | /

% Paragraph 5 line 43 bar 10
\\\setlyrics{11}{Got-tes ein-ge-hen, wir}\
\\\setlyrics{21}{hen, wir}\
\\\setlyrics{31}{hen, wir}\
\\\setlyrics{41}{sal in das Reich Got-tes ein-ge-hen,}\
b8-s \endmel\ c8 [ \beginmel\ da8 \endmel\ ea8 ] [ \beginmel\ fa8 \endmel\ ga8 ] | /
a8+f g8 f8 e8 d8 c8 | /
d4 d2+ sl | /
f4 f4 f4 | /

%Bar 11
[ \beginmel\ aa8f \endmel\ fa8 ] [ \beginmel\ ga8 \endmel\ da8+ ] [ \beginmel\ ea8 \endmel\ ca8 ] | /
b8s c1 d1 g4-d f1s g1 | /
d8 s b8s c8 f8- g8 b8n | /
\beginmel\ f8  d8 e8 b8s c4 s | /

%Bar 12
fa8-s ga8 d2 | /
a8 b1 c1 \endmel\ d2 | /
a8 g8 \endmel\ f2s | /
c8 s b8 oef a8 e8+ d8 c8 | /

%Bar 13
g2 r4 | /
d2 d4 | /
g2 g4 | /
b8 \endmel\ a8 g4 d4+ | /

% Paragraph 6 line 53 bar 14
\\\setlyrics{11}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{21}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{31}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{41}{Wir m\"us-sen durch viel Tr\"ub-sal,}\
[ \beginmel\ ga8 \endmel\ aa8 ] ba8 ca8 da8 da8- | /
ga8 ea8 [ \beginmel\ da8 \endmel\ ca8 ] [ \beginmel\ ba8 \endmel\ aa8 ] | /
ba8 aa8 g4 [ \beginmel\ da8 \endmel\ ca8 ] | /
da8 ca8 [ \beginmel\ ba8 \endmel\ aa8 ] [ \beginmel\ ga8 \endmel\ fa8s ] | /

%Bar 15
[ \beginmel\ ea8 \endmel\ da8 ] e4 r4 | /
g4 g4 r4 | /
b4 e4 r4 | /
[ \beginmel\ ga8 \endmel\ fa8s ] g4 r4 | /

% Paragraph 7 line 63 bar 16
\\\setlyrics{11}{durch viel Tr\"ub-sal in}\
\\\setlyrics{21}{durch viel Tr\"ub-sal in}\
\\\setlyrics{31}{durch viel Tr\"ub-sal in das}\
\\\setlyrics{41}{durch viel Tr\"ub-sal in das Reich}\
\beginmel\ a4 s \endmel\ c4 s e4 | /
\beginmel\ a4l s \endmel\ e4+ s a4- | /
\beginmel\ f4ds s \endmel\ a8 s [ \beginmel\ ca8- \endmel\ ea8 ] | /
\beginmel\ c4 s \endmel\ a4 s f4s | /

%Bar 17
\beginmel\ f4-s  a4 c4 | /
\beginmel\ a8  g8 f2s s | /
\beginmel\ a4-  a2+ sl | /
\beginmel\ d4  c2+ s | /

%Bar 18
d4- f4s a4 | /
\endmel\ f2d s | /
a2d s | /
c2d s s | /

%Bar 19
b8- \endmel\ a8 ba8 ba8+ fa8s ga8 | /
g4 d4+ g4 | /
\endmel\ d4- g4 b4 | /
\endmel\ c4 s b4 d4 | /

% Paragraph 8 line 73 bar 20
\\\setlyrics{11}{das Reich Got-tes ein-ge-hen, in}\
\\\setlyrics{21}{das Reich Got-tes ein-ge-hen, in}\
\\\setlyrics{31}{das Reich Got-tes ein-ge-hen,}\
\\\setlyrics{41}{Got-tes ein-ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ca8- \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ ba8+ ] [ \beginmel\ fa8s \endmel\ ga8 ] | /
g2d | /
\beginmel\ a2d s | /
\beginmel\ e4 s \endmel\ g4 s e4 | /

%Bar 21
[ \beginmel\ da8 \endmel\ ca8 ] da8 [ \beginmel\ ba8+ \endmel\ fa8s ] ga8 | /
\beginmel\ f8s  g1 \endmel\ a1 a4- d4 | /
\endmel\ a8 s ca8 ca8 ba8 a4 | /
[ \beginmel\ ca8 \endmel\ ea8 ] [ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ da8 \endmel\ ca8 ] | /

%Bar 22
\beginmel\ e4  s e8 s g8 a8f f8 | /
[ \beginmel\ ga8- \endmel\ aa8 ] b4 r4 | /
[ \beginmel\ ga8 \endmel\ fa8s ] g4 \beginmel\ b4s  | /
[ \beginmel\ ba8 \endmel\ aa8 ] g4 \beginmel\ f4+  s | /

% Paragraph 9 line 83 bar 23
\\\setlyrics{11}{das Reich Got-tes ein-ge-hen}\
\\\setlyrics{21}{das Reich Got-tes ein-ge-hen}\
\\\setlyrics{31}{in das Reich Got-tes ein-ge-hen}\
\\\setlyrics{41}{sal in das Reich Got-tes ein-ge-hen,}\
b8-s \endmel\ c8 [ \beginmel\ da8 \endmel\ ea8 ] [ \beginmel\ fa8 \endmel\ ga8 ] | /
[ \beginmel\ da8 \endmel\ ea8 ] [ \beginmel\ fa8 \endmel\ ga8 ] [ \beginmel\ aa8f \endmel\ fa8 ] | /
a8f \endmel\ g8 [ \beginmel\ fa8 \endmel\ ea8 ] [ \beginmel\ da8 \endmel\ ca8 ] | /
f8 s \endmel\ e8 [ \beginmel\ da8 \endmel\ ca8 ] [ \beginmel\ ba8s \endmel\ ca8 ] | /

%Bar 24
[ \beginmel\ aa8f \endmel\ fa8 ] [ \beginmel\ ga8 \endmel\ da8+ ] [ \beginmel\ ea8 \endmel\ ca8 ] | /
d4d fa8 e4 | /
[ \beginmel\ ba8s \endmel\ da8 ] [ \beginmel\ ga8 \endmel\ fa8 ] g4 | /
[ \beginmel\ da8 \endmel\ ba8s ] [ \beginmel\ ga8 \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ ea8 ] | /

%Bar 25
aa8f fa8 \beginmel\ g4 s \endmel\ g4- s | /
[ \beginmel\ fa8 ca8 ga8+ ea8 fa8 \endmel\ da8 ] | /
\beginmel\ a4f s \endmel\ g2 s | /
\beginmel\ d8  c8 s c8 s d1 e1 \endmel\ b4s | /

%Bar 26
c4 r4 r4 | /
e4 r4 r4 | /
g4 r4 r4 | /
c4 r4 r4 | /

% Paragraph 10 line 93 bar 27
\\\setlyrics{11}{Wir m\"us-sen durch viel Tr\"ub-sal}\
\\\setlyrics{21}{Wir m\"us-sen durch viel Tr\"ub-sal}\
\\\setlyrics{31}{Wir m\"us-sen durch viel Tr\"ub-sal}\
\\\setlyrics{41}{Wir m\"us-sen durch viel Tr\"ub-sal}\
rp | /
rp | /
rp | /
rp | /

%Bar 28
rp | /
rp | /
rp | /
rp | /

%Bar 29
rp | /
r4 r4 d4 | /
r4 r4 f4 | /
r4 r4 a4 | /

%Bar 30
[ \beginmel\ da8 \endmel\ ea8 ] fa8 ga8 aa8 aa8- | /
d4d ga8 fa8 ea8s | /
aa8 ga8 [ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ga8 ] | /
fa8+ ea8s d4 c4s | /

%Bar 31
[ \beginmel\ ba8 \endmel\ aa8 ] b4 r4 | /
[ \beginmel\ da8 ea1s \endmel\ fa1 ] b4- r4 | /
[ \beginmel\ fa8 ga1 \endmel\ aa1 ] d4- r4 | /
[ \beginmel\ da8 \endmel\ ca8s ] d4 r4 | /

% Paragraph 11 line 103 bar 32
\\\setlyrics{11}{durch viel Tr\"ub-sal in}\
\\\setlyrics{21}{durch viel Tr\"ub-sal in das}\
\\\setlyrics{31}{durch viel Tr\"ub-sal in das}\
\\\setlyrics{41}{durch viel Tr\"ub-sal in das Reich}\
\beginmel\ e4s s \endmel\ g4 s b4 | /
\beginmel\ g8  a8 \endmel\ b4 e4-s | /
\beginmel\ c4+sd  d1 \endmel\ e1s [ \beginmel\ ga8- aa1 \endmel\ ba1 ] | /
\beginmel\ g4 s \endmel\ e4s s c4s | /

%Bar 33
\beginmel\ c4-s  e4s g4 | /
\beginmel\ a8  b8s c2s s | /
\beginmel\ e2-sd s | /
\beginmel\ a4  g2 s | /

%Bar 34
a4- c4s e4s | /
\endmel\ c2d s | /
\endmel\ e2d s | /
g2d s s | /

%Bar 35
f8 \endmel\ e8s fa8 fa8 ca8s da8 /
d4 a4 d4 | /
a4- d4 f4 | /
\endmel\ g4 s f4 a4 | /

% Paragraph 12 line 113 bar 36
\\\setlyrics{11}{das Reich Got-tes ein-ge-hen,}\
\\\setlyrics{21}{Reich Got-tes ein-ge-hen, in}\
\\\setlyrics{31}{Reich Got-tes ein-ge-hen,}\
\\\setlyrics{41}{Got-tes ein-ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ga8 \endmel\ fa8 ] [ \beginmel\ ga8 \endmel\ fa8 ] [ \beginmel\ ca8s \endmel\ da8 ] | /
d2d | /
\beginmel\ e2sd s | /
\beginmel\ b4 s \endmel\ d4 s b4 | /

%Bar 37
[ \beginmel\ aa8+ \endmel\ ga8 ] aa8 [ \beginmel\ fa8 ca8s \endmel\ da8 ] | /
[ \beginmel\ ca8s da1 \endmel\ ea1s ] e4-s a4 | /
\endmel\ e8 s ga8 [ \beginmel\ ga8 \endmel\ fa8 ] e4s | /
[ \beginmel\ ga8 \endmel\ ba8 ] [ \beginmel\ ba8 \endmel\ aa8 ] [ \beginmel\ aa8 \endmel\ ga8 ] | /

%Bar 38
b4+d [ \beginmel\ d8  e8 oef c8 ] | /
[ \beginmel\ da8 \endmel\ ea8s ] f4 r4 | /
[ \beginmel\ da8 \endmel\ ca8s ] d4 \beginmel\ c4+ oen  s | /
[ \beginmel\ fa8 \endmel\ ea8s ] d4 r4 | /

% Paragraph 13 line 123 bar 39
\\\setlyrics{11}{in das Reich Go-tes ein-ge-hen, durch viel}\
\\\setlyrics{21}{das Reich Go-tes ein-ge-hen,}\
\\\setlyrics{31}{in das Reich Go-tes ein-ge-hen,}\
\\\setlyrics{41}{sal in das Reich Go-tes ein-ge-hen,}\
[ f8-s \endmel\ g8 ] [ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ da8 ] | /
[ \beginmel\ aa8- \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ da8 ] [ \beginmel\ ea8 \endmel\ ca8 ] | /
c8 s \endmel\ b8 [ \beginmel\ aa8 \endmel\ ga8 ] [ \beginmel\ fa8s \endmel\ ea8n ] | /
[ \beginmel\ ea8+ oef \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ga8 ] | /

%Bar 40
[ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ aa8 ] [ \beginmel\ ba8 \endmel\ ca8 ] | /
a4d ga8+ [ \beginmel\ fa8 \endmel\ ea8 ] | /
c4d ca8+ [ \beginmel\ ba8 \endmel\ aa8 ] | /
f4d ea8+ [ \beginmel\ da8 \endmel\ ca8 ] | /

%Bar 41
da8 ea8- f2 | /
[ \beginmel\ da8 ca8 da8 ea8 fa8 \endmel\ ca8 ] | /
\beginmel\ b4 s \endmel\ f2 s | /
\beginmel\ b4d s c8 \endmel\ a4 s | /

%Bar 42
b4- r4 r4 | /
d4 r4 r4 | /
f4 r4 r4 | /
b4 f4+ f4 | /

% Paragraph 14 line 133 bar 43
\\\setlyrics{11}{Tr\"ub-sal, wir m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{21}{durch viel Tr\"ub-sal, wir m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{31}{durch viel Tr\"ub-sal, wir m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{41}{durch viel Tr\"ub-sal, wir m\"us-sen durch viel Tr\"ub-sal,}\
r4 b4+s b4 | /
r4 d4 d4 | /
r4 g4 g4 | /
\beginmel\ f2d  s | /

%Bar 44
[ \beginmel\ ba12s ca1 \endmel\ da8 ] g4- b4 | /
d4 d4 d4 | /
g4 g4 g4 | /
f8 s \endmel\ d8 b4s g4 | /

%Bar 45
ca8 da8 [ \beginmel\ ea8 \endmel\ fa8 ] g4 | /
ea8 da8 [ \beginmel\ ca8 \endmel\ fa8 ] [ \beginmel\ ea8 \endmel\ da8 ] | /
g4d aa8f ga8 fa8 | /
ga8+ fa8 [ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8s ] | /

%Bar 46
[ \beginmel\ aa8-f \endmel\ ga8 ] a4 r4 | /
c4 c4 r4 | /
e4 e4 r4 | /
[ \beginmel\ ca8 \endmel\ ba8s ] c4 r4 | /

% Paragraph 15 line 143 bar 47
\\\setlyrics{11}{durch viel Tr\"ub-}\
\\\setlyrics{21}{durch viel Tr\"ub-}\
\\\setlyrics{31}{durch viel Tr\"ub-sal, durch viel}\
\\\setlyrics{41}{durch viel Tr\"ub-sal in das Reich Got-tes ein-}\
\beginmel\ d4 s \endmel\ f4 s a4f | /
\beginmel\ f4 s \endmel\ a4f s d4- | /
\beginmel\ b4+sd  c1 \endmel\ d1 [ \beginmel\ fa8- ga1 \endmel\ aa1f ] | /
\beginmel\ f4 s \endmel\ d4 s b4s | /

%Bar 48
\beginmel\ b4-s  d4 f4 | /
\beginmel\ g4  f2 s | /
\beginmel\ d2-d  s | /
\beginmel\ g2  a4f s | /

%Bar 49
g4- b4s d4 | /
f8 s e8 d8 e8 f4 s | /
d4 s g2 s | /
a4 s g4 b4s s | /

%Bar 50
e8 \endmel\ d8 ea8 ea8+ ba8s ca8 | /
f4 s e4 \endmel\ d4 | /
g2 s a4f s | /
b4 s c4 f4 s | /

%Bar 51
[ \beginmel\ fa8- \endmel\ ea8 ] [ \beginmel\ fa8 \endmel\ ea8+ ] [ \beginmel\ ba8s \endmel\ ca8 ] | /
c4 r4 fa8 ea8 | /
a8 s b8 a8f g1 f1 g4 s | /
f8 s g8 f8 e8 d8 c8 | /

% Paragraph 16 line 153 bar 52
\\\setlyrics{11}{sal in das Reich Got-tes ein-}\
\\\setlyrics{21}{sal, wir m\"us-sen durch viel}\
\\\setlyrics{31}{Tr\"ub-sal, wir}\
\\\setlyrics{41}{ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ga8 \endmel\ fa8 ] ga8 [ \beginmel\ ea8+ \endmel\ ba8s ] ca8 | /
\beginmel\ d1  e1 \endmel\ f8 b4-s r4 | /
g8 s \endmel\ a8f g4 r4 | /
b1s c1 \endmel\ d8 ga8- ga8+ fa8 ea8 | /

%Bar 53
\beginmel\ a4fd  c8 d8f b8 | /
r4 r4 r8 fa8+ | /
r8 ca8- ga8+ fa8 ga8 aa8f | /
[ \beginmel\ ea8 \endmel\ ca8 ] [ \beginmel\ ba8 \endmel\ aa8f ] [ \beginmel\ ba8 \endmel\ ca8 ] | /

% Paragraph 17 line 163 bar 54
\\\setlyrics{11}{ge-hen, in das Reich Got-tes ein-ge-}\
\\\setlyrics{21}{Tr\"ub-sal das Reich Got-tes ein-ge-}\
\\\setlyrics{31}{m\"us-sen durch viel Tr\"ub-sal in das Reich Got-tes ein-ge-}\
\\\setlyrics{41}{sal in das Reich Got-tes ein-ge-}\
[ e8-s \endmel\ f8 ] [ \beginmel\ ga8 \endmel\ aa8f ] [ \beginmel\ ba8 \endmel\ ca8 ] | /
ga8- aa8f ba8 ca8 [ \beginmel\ da8f \endmel\ ca8 ] | /
[ \beginmel\ ba8 \endmel\ aa8f ] ga8 fa8 ea8s ga8 | /
\beginmel\ d8f  c8 b8 a8f g8 f8 | /

%Bar 55
[ \beginmel\ da8f \endmel\ ea8-s ] [ \beginmel\ fa8 \endmel\ ga8 ] [ \beginmel\ aa8f \endmel\ fa8 ] | /
ba8 ga8 aa8f ba8 [ \beginmel\ ca8 da1 \endmel\ ea1 ] | /
\beginmel\ b4d s \endmel\ g8 s fa8 fa8 | /
e8s \endmel\ d8 ca8 ea8+s fa8 ca8 | /

%Bar 56
ba8s ca8 \beginmel\ g4 s \endmel\ g4- s | /
da8 ea8 [ \beginmel\ ba8s ca8 da8 \endmel\ fa8 ] | /
\beginmel\ f8  e8 oef \endmel\ g2 | /
da8 [ \beginmel\ ca1 ba1s aa1 \endmel\ ga1 ] ea8+ d4 oT0 | /

% Paragraph 18 line 173 bar 57
\\\setlyrics{11}{hen, durch viel Tr\"ub-sal, wir}\
\\\setlyrics{21}{hen, durch viel Tr\"ub-sal, wir}\
\\\setlyrics{31}{hen, durch viel Tr\"ub-sal, wir}\
\\\setlyrics{41}{hen, durch viel Tr\"ub-sal, wir}\
c4 c4+ b4 | /
e4 g4 g4 | /
g4 c4 c4 | /
c4 e4 e4 | /

%Bar 58
\beginmel\ a2d s | /
\beginmel\ f2sd s | /
\beginmel\ c2d s | /
\beginmel\ e2d  s | /

%Bar 59
a2d s s | /
f2d s s | /
c2d s s | /
e2d s s | /

%Bar 60
\endmel\ a4 s f4s r8 da8 | /
\endmel\ f4 s a4- r8 da8 | /
\endmel\ c4 s d4- r8 aa8+ | /
e8 s \endmel\ d8 d4 r8 da8 | /

% Paragraph 19 line 183 bar 61
\\\setlyrics{11}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{21}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{31}{m\"us-sen durch viel Tr\"ub-sal,}\
\\\setlyrics{41}{m\"us-sen durch viel Tr\"ub-sal,}\
ga8 aa8 [ \beginmel\ ba8 \endmel\ ca8 ] d4 | /
da8 ea8 [ \beginmel\ da8 \endmel\ ca8 ] [ \beginmel\ ba8 \endmel\ aa8 ] | /
ba8 aa8 [ \beginmel\ ga8 \endmel\ ea8 ] [ \beginmel\ da8 \endmel\ ca8 ] | /
da8 ca8 [ \beginmel\ ba8 \endmel\ aa8 ] [ \beginmel\ ga8 \endmel\ fa8s ] | /

%Bar 62
[ \beginmel\ ea8- \endmel\ da8 ] e4 r4 | /
g4 g4 r4 | /
b4 b4 r4 | /
[ \beginmel\ ga8 \endmel\ fa8s ] g4 r4 | /

% Paragraph 20 line 193 bar 63
\\\setlyrics{11}{durch viel Tr\"ub-sal in}\
\\\setlyrics{21}{durch viel Tr\"ub-sal in}\
\\\setlyrics{31}{durch viel Tr\"ub-sal in das}\
\\\setlyrics{41}{durch viel Tr\"ub-sal in das Reich}\
\beginmel\ a4 s \endmel\ c4 s e4 | /
\beginmel\ e4+ s \endmel\ c4 s a4 | /
\beginmel\ f4+sd  g1 \endmel\ a1 [ \beginmel\ ca8- da1 \endmel\ ea1 ] | /
\beginmel\ c4 s \endmel\ a4 s f4s | /

%Bar 64
\beginmel\ f4-s  a4 c4 | /
\beginmel\ a8  b8 c4d e8 | /
\beginmel\ a4-  a4d+ b8 | /
\beginmel\ d4  c2+ s | /

%Bar 65
d4- f4s a4 | /
\endmel\ f2sd | /
a2d | /
c2d s s | /

%Bar 66
b8- \endmel\ a8 ba8 ba8+ fa8s ga8 | /
d4 d4 [ \beginmel\ ea8 \endmel\ da8 ] | /
\endmel\ g4 g4 [ \beginmel\ aa8 \endmel\ ba8 ] | /
\endmel\ c4 s [ \beginmel\ ba8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8 ] | /

% Paragraph 21 line 203 bar 67
\\\setlyrics{11}{das Reich Got-tes ein-ge-hen, in das Reich}\
\\\setlyrics{21}{das Reich Got-tes ein-ge-hen, in das Reich}\
\\\setlyrics{31}{das Reich Got-tes ein-ge-hen, in das Reich}\
\\\setlyrics{41}{Got-tes ein-ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ca8- \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ ba8+ ] [ \beginmel\ fa8s \endmel\ ga8 ] | /
g2d | /
\beginmel\ a2d sl | /
\beginmel\ e4  g8 \endmel\ f8 [ \beginmel\ ea8 \endmel\ da8 ] | /

%Bar 68
[ \beginmel\ da8 \endmel\ ca8 ] da8 [ \beginmel\ ba8+ \endmel\ fa8s ] ga8 | /
\beginmel\ f8s  g1 \endmel\ a1 a4- d4 | /
\endmel\ a8 s ca8 ca8 ba8 a4 | /
[ \beginmel\ ca8 \endmel\ ea8 ] [ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ da1 ea1 \endmel\ ca8 ] | /

%Bar 69
\beginmel\ e4d  g8 a8f f8 | /
[ \beginmel\ ga8- \endmel\ aa8 ] ba8 ea8 ea8 fa8 | /
[ \beginmel\ ga8 \endmel\ ca8- ] ba8 ga8+ ea8 fa8 | /
[ \beginmel\ ba1 ca1 \endmel\ aa8 ] ga8 ba8s ca8 [ \beginmel\ aa1f \endmel\ fa1 ] | /

% Paragraph 22 line 213 bar 70
\\\setlyrics{11}{Got-tes, in das Reich Got-tes}\
\\\setlyrics{21}{Got-tes, in das Reich Got-tes}\
\\\setlyrics{31}{Got-tes, in das Reich Got-tes}\
\\\setlyrics{41}{sal in das Reich Got-tes, in das Reich Got-tes}\
[ b8-s \endmel\ c8 ] da8 ea8 fa8 ga8 | /
\beginmel\ d2d s | /
\beginmel\ a2fd  s | /
\beginmel\ f2+d  s | /

%Bar 71
[ \beginmel\ aa8f \endmel\ ba8s ] ca8- fa8s ea8 ca8 | /
\endmel\ d4 s ca8 fa8 ea8 ga8 | /
a8 s \endmel\ f8 ga8 ba8s ca8 ga8 | /
f8 s \endmel\ d8 ea8 aa8f ga8 fa8 | /

%Bar 72
[ \beginmel\ fa8s \endmel\ ga8 ] e4 r4 | /
[ \beginmel\ fa8s \endmel\ da8 ] e4 r4 | /
[ \beginmel\ aa8 \endmel\ ga8 ] g4 r4 | /
[ \beginmel\ ea8 \endmel\ ba8s ] c4 r4 | /

% Paragraph 23 line 222 bar 73
\\\setlyrics{11}{ein-ge-hen. Wir m\"us-sen durch viel Tr\"ub-sal in das Reich}\
\\\setlyrics{21}{ein-ge-hen. Wir m\"us-sen durch viel Tr\"ub-}\
\\\setlyrics{31}{ein-ge-hen. Wir m\"us-sen durch viel}\
\\\setlyrics{41}{ein-ge-hen. }\
r8 ca8s d2 | /
r8 ga8- [ \beginmel\ aa8 ba8 ca8 \endmel\ da8 ] | /
r8 ga8 \beginmel\ g4 s \endmel\ f4s s | /
r8 aa8 \beginmel\ a4d s \endmel\ g8 s | /

%Bar 74
g4- r4 r4 | /
b4 r4 r4 | /
g4 r4 r4 | /
ga8 da8 ca8+ ca8 ca8 ca8 | /

%Bar 75
rp | /
rp | /
r8 ga8- ga8+ ga8 ga8 ga8 | /
\beginmel\ c4  b2 s | /

%Bar 76
rp | /
r8 da8- ca8+ ca8 ca8 ca8 | /
\beginmel\ g4  f2s s | /
\endmel\ b4 s aa8 ba8 ca8 da8 | /

% Paragraph 24 line 231 bar 77
\\\setlyrics{11}{Got-tes ein-ge-hen, in das Reich Got-tes ein-ge-hen,}\
\\\setlyrics{21}{Tr\"ub-sal in das Reich Got-tes, in das Reich Got-tes ein-ge-hen, in}\
\\\setlyrics{31}{Tr\"ub-sal }\
\\\setlyrics{41}{Wir m\"us-sen durch viel Tr\"ub-sal in das Reich}\
r8 aa8 aa8+ aa8 aa8 aa8 | /
\beginmel\ c2d s | /
\endmel\ f4 s fa8s ga8 aa8 ba8 | /
\beginmel\ e2d  s | /

%Bar 78
\beginmel\ f4s  a4 c4 | /
c2d s s | /
[ \beginmel\ ca8 \endmel\ ba8 ] aa8 ba8 aa8 ga8 | /
e8 s \endmel\ d8 ca8 da8 ca8 ba8 | /

%Bar 79
d4- f4s a4 | /
c2d s s | /
[ \beginmel\ fa8s \endmel\ ga8 ] a4 a4 | /
a4 d4 f4-s | /

%Bar 80
b8- \endmel\ a8 ba8 ba8+ fa8s ga8 /
\endmel\ c4 s b4 r4 | /
a4 d4- \beginmel\ g4 s | /
f4s g4 r4 | /

% Paragraph 25 line 240 bar 81
\\\setlyrics{11}{in das Reich Got-tes ein-ge-hen, in das Reich}\
\\\setlyrics{21}{das Reich Got-tes ein-ge-}\
\\\setlyrics{31}{in das Reich Got-tes ein-ge-}\
\\\setlyrics{41}{Got-tes ein-ge-hen, durch viel Tr\"ub-}\
[ \beginmel\ ca8- \endmel\ ba8 ] [ \beginmel\ ca8 \endmel\ ba8+ ] [ \beginmel\ fa8s \endmel\ ga8 ] | /
e4 [ \beginmel\ ea8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8 ] | /
\endmel\ g4 s g4 [ \beginmel\ aa8 \endmel\ ga8 ] | /
[ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ba8 ] | /

%Bar 82
[ \beginmel\ da8 \endmel\ ca8 ] da8 [ \beginmel\ ba8+ \endmel\ fa8s ] ga8 | /
a4 [ \beginmel\ aa8 \endmel\ da8 ] [ \beginmel\ ca8 \endmel\ ba8 ] | /
f4s [ \beginmel\ fa8 \endmel\ ga8 ] \beginmel\ d4  s | /
[ \beginmel\ ca8 da1 \endmel\ ea1 ] [ \beginmel\ da8 \endmel\ ba8 ] [ \beginmel\ aa8 \endmel\ ga8 ] | /

%Bar 83
\beginmel\ e4d  g8 a8f f8 | /
\beginmel\ b8  g8 e4+ d8 c8 | /
d8 s \endmel\ c8 \beginmel\ g4+  f8 oen e8 | /
[ \beginmel\ ga8+ \endmel\ ea8 ] da8 ca8 ba8s ca8 | /

% Paragraph 26 line 249 bar 84
\\\setlyrics{11}{Got-tes ein-ge-hen.}\
\\\setlyrics{21}{ge-hen. }\
\\\setlyrics{31}{hen. }\
\\\setlyrics{41}{sal in das Reich Got-tes ein-ge-hen.}\
b8-s \endmel\ c8 [ \beginmel\ da8 \endmel\ ea8 ] [ \beginmel\ fa8 \endmel\ ga8 ] | /
a8+f g8 f8 e8 d8 c8 | /
d4 d2+ s | /
f4 f4 f4 | /

%Bar 85
[ \beginmel\ aa8f \endmel\ fa8 ] [ \beginmel\ ga8 \endmel\ da8 ] [ \beginmel\ ea8 \endmel\ ca8+ ] | /
b8s c1 d1 g4-d f1s g1 | /
d8 s b8s c8 f8- g8 a1 b1n | /
\beginmel\ f8  d8 e8 b8s c4 s | /

%Bar 86
fa8-s ga8 d2 | /
a8 b1 c1 d4 c8 \endmel\ b8s | /
a8 g8 \endmel\ f2s | /
c1 s e1 d1 c1 b4 oef a8 \endmel\ g8 | /

%Bar 87
g2-d of RD
 /
b2sd of /
d2d of /
g2d of /


From mutex-owner@mail.gmd.de  Tue Mar  7 10:41:55 2000
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To: Rainer aus dem Spring <Rainer.adS.BERA_GmbH@t-online.de>
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Subject: Re: Meter change at line break
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On Mon, 6 Mar 2000, Rainer aus dem Spring wrote:

> 
> I am entering scores to study them... Nobody plays 5 part viol music from the score.
> 
> > >
> > Sure. You can take any clef you like.
> 
> 
> > The octavated G clef is only used for the Tenor.
> Nonsense.
> 
> > Mtx does it automatically. In pmx, just change the octava numbers.
> 
> Ha, ha, ha, ha, ha , i.e., it is NOT possible(?).
> 
Just take the BWV146 example I had shown in the previous email.
change the clef line from bnas to bttt and the tenor beginning
from g44 to g45, and rerun pmx. That is all, try yourself!

Christof
-- 
Prof. Dr. Christof Biebricher
Max-Planck-Institute for Biophysical Chemistry
D-37070 Gottingen
Tel: +49 (551) 201 1442
FAX: +49 (551) 201 1435
email: cbiebri@gwdg.de

From mutex-owner@mail.gmd.de  Tue Mar  7 23:48:51 2000
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Date: Tue, 07 Mar 2000 23:27:07 +0100
From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
Reply-To: Rainer.adS.BERA_GmbH@t-online.de
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Subject: Re: Meter change at line break
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I have to apologize - I didn't understand your intention.

As a pmx newbie (haven't used it for a long time) I didn't use relative notes, i.e., I
wrote

c44 d44 e44 ....

If you use no absolute octaves except for the first note it is relatively easy.

Thanks a lot.

Rainer adS

PS

I have lost the link to the pmx-to-MIDI program. 
Anybody got it? 

PPS

Concerning the meter change, of course, everybody was right - this IS good music
typesetting.

I normally read lute tablature and late 16th/early 17th century menusural notation.
You won't find many meter changes here :)



Christof Biebricher wrote:
> 
> On Mon, 6 Mar 2000, Rainer aus dem Spring wrote:
> 
> >
> > I am entering scores to study them... Nobody plays 5 part viol music from the score.
> >
> > > >
> > > Sure. You can take any clef you like.
> >
> >
> > > The octavated G clef is only used for the Tenor.
> > Nonsense.
> >
> > > Mtx does it automatically. In pmx, just change the octava numbers.
> >
> > Ha, ha, ha, ha, ha , i.e., it is NOT possible(?).
> >
> Just take the BWV146 example I had shown in the previous email.
> change the clef line from bnas to bttt and the tenor beginning
> from g44 to g45, and rerun pmx. That is all, try yourself!
> 
> Christof
> --
> Prof. Dr. Christof Biebricher
> Max-Planck-Institute for Biophysical Chemistry
> D-37070 Gottingen
> Tel: +49 (551) 201 1442
> FAX: +49 (551) 201 1435
> email: cbiebri@gwdg.de

From mutex-owner@mail.gmd.de  Wed Mar  8 11:04:09 2000
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Date: Wed, 8 Mar 2000 10:38:43 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: PMX test-versions, pre-releases
To: mutex@gmd.de, Rainer.adS.BERA_GmbH@t-online.de
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> Date: Tue, 07 Mar 2000 23:27:07 +0100
> From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)

[...]
> I have lost the link to the pmx-to-MIDI program. 
> Anybody got it? 

The latest "official" beta-test release can be found at

  http://www.gmd.de/Misc/Music/   look for PMX and "test-version".
  
There may be newer test-versions which didn't make it to the server.

-- Werner

From mutex-owner@mail.gmd.de  Thu Mar  9 16:06:44 2000
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: pmx h-command
Date: Thu, 9 Mar 2000 15:32:35 +0100
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Hello everyone,

I have 2 questions about the h-command, i illustrated them with a pmx-file
Again i am asking for help

 - how to spread the text over 1 line?
 (i can do it at the beginning of the music, by using tex commands but not
on the second
 page: pmx does not accept tex commands there)

 - how to create extra space above the upperstaff on the second page(the
first with music)?
 (i tried h-6 but this takes only the text closer to the title; i tried
\\\zchar{25}{~}\
 that works everywhere but not on top of the second page)

and thanks
Andre

(sorry for the long useless file )
-----------------
    7    6    4    4   0   6   0  1
    5  12  16  .09






btbtttt
./
Arbd
%Tt
\\def\li{\line{text \hss music is gone with the h command}}\
\\centerline{title}\
\\li\
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
\zchar{20}{make more space ok}\ r0 r0 /
%Tt-6
Tt
title
h
\li
% change to 1 instrument - 2 staffs
%1
\\\advance\barno-2\
L3P2Mr+n11bt
r0 r0 /
\zchar{20}{make more space - naughty}\
r0 r0 /
% change to 2 instrument - 3 staffs
L5Mcr+n215btt
r0 r0 r0 r0 /
r0 r0 r0 r0 /
\zchar{20}{make more space - ok}\
r0 r0 r0 r0 /
% change to 5 instrument - 6 staffs
L9P3Mcr+n6123456btbtttt
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
\zchar{20}{make more space - ok}\
r0 r0 /
%47+1
%L11P4
%Ai1.2
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
r0 r0 /
\zchar{20}{make more space - ok}\
r0 r0 /
---------------

From mutex-owner@mail.gmd.de  Thu Mar  9 20:40:06 2000
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Date: Thu, 9 Mar 2000 20:10:57 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx h-command
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
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> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
> Date: Thu, 9 Mar 2000 15:32:35 +0100

I know that something like "Tt+n" and "h+n" worked for me in some PMX-sources
but when I tried to make an example for you, I failed. Imho may "Tt+n" be
used to add some space (n internote) between the end of the title and
the music. This space may vitually be eaten by "h+i" which raises the
header into the space between the title and the music. But as I said
already a small demo-source failed :-(

> i tried
> \\\zchar{25}{~}\
>  that works everywhere but not on top of the second page)

This should not work anywhere. \zchar has to be used between \notes...\en,
but the PMX-notation \\\zchar...\ is posted outside \notes...\en. I
didn't test it, but "\zchar{..}{~}\" should do the job for that staff
where the next note goes to.

-- Werner

From mutex-owner@mail.gmd.de  Fri Mar 10 22:22:38 2000
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Date: Fri, 10 Mar 2000 22:00:32 +0100 (CET)
From: Stefan Svensson <stefan@kristnet.org>
To: mutex@gmd.de
Subject: Underfull hbox (MusixTex)
Message-ID: <Pine.LNX.4.04.10003102158090.2438-100000@matteus.kristnet.org>
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Hi!

I just don't understand this. MusiXTeX (version T.94, RPM version, Redhat
6.1) does get underfull hbox errors in the second TeX pass on the
following file. However, if I change a "\bar" to "\leftrepeat", the
underfull boxes disappear. Why?

\input musixtex
\input musixsty
\generalmeter{\meterfrac78}
\instrumentnumber{1}
\setstaffs1{2}
\setclef1{\bass}
\generalsignature{4}
\interstaff{10}
\parskip=5mm

\def\meter#1#2{\generalmeter{\meterfrac{#1}{#2}}}%

\startpiece
% Takt 1
\notes\cmidstaff\pp\zchar{-8}{\Ped}\ibbu0I5\qb0{E'BEFG}\tbu0\qb0{`b}|%
\uptext{\boxit{A}}\en%
\notes|\ibbu0e1\qb0{ege}\tbu0\itieu0f\qb0f\ibbl1h{-1}\ttie0\zqu
f\qb1{f}\en%
\notes\qb1{db}\DEP\tqh1{'F}\en%
% If i change the following \bar to \leftrepeat i get no underfull
% \hbox
\bar%
%
% Takt 2
\notes\zchar{-8}{\Ped}\ibbu0I5\qb0{E'BEFG}\tbu0\qb0{`b}\en%
\notes|\ibbu0e1\qb0{ege}\tbu0\itied0f\qb0f\en%
\notes|\ttie0\zqu f\ibbl0f{-1}\qb0d\en%
\notes\qb0{b'F}\DEP\tqh0G\en%
% Takt 3
\meter58\changecontext
\notes\PED\ibbu1{'D}3\qb1{AE}\qb1{`ab}|%
\ibbu0{'c}{-1}\qb0{ce`g}\tbu0\itied0{'b}\qb0b\en%
\notes|\ttie0\zcu{'b}\qb1{`c}\tqb1e\en%
\notes\sk\sk\sk\DEP|\zql f\ibbu0{'d}3\qb0{ae'a}\tbu0\qb0{`g}\en%
\endpiece%
\end%
%


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Date: Sat, 11 Mar 2000 16:08:14 +0000 (GMT)
To: mutex@gmd.de
Subject: M-Tx/PMX/MusiXTeX problem
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Hi,

I'm writing a program that outputs M-Tx files and I'm trying to test
it, but I can't figure out what's wrong with the following.  Can
anyone help?

The file runs through M-Tx OK, but when I run the result through PMX,
PMX enters an infinite loop after the second pass.  I found by binary
chop that the problem is around bar 36, which doesn't seem to be in
any way unusual.  But even with only bars 1-25, it still goes wrong at
the MusiXTeX stage - I get the message:

"This shouldn't happen ! Too less bars or \mulooseness too large ?"

Here is the M-Tx file and the PMX file it produces, separated by
===========================.

Many thanks, Silas

                           Title: A Musical Diversion
                            Composer: S S Brown 1996
Style: MyStyle
MyStyle: Voices V1 V2 V3; Clefs G G G

%% w120m
4/4 r2d f4 e4d f8 g4 o. a4 o. b2d d4s        e4d e8 g4 o. e4 o. d2ds e4      
4/4 r2d a4 g4 b4 b4 c8 e8     f4d d8s d4 f4  g4 e4 e4 o. c4 o.  b4d f8 f4 b4 
4/4 r0     e2 e2              b4 f4 b4 a8 b8 c2d a4             b4 f4 b4 g4  
                                                                             
c4d c8 b4 o. a4 o. c8 b8 b4d g8 f8 e8 b4d b8 c4 o. b4 o. g2d f4          
e4 c4 e4 o. d4s o. e4d b8 g8 b8 b4    d4s f4 e4 o. d4 o. e4d b8 b4 o. a4 
a2 g4 o. f4 o.     g2 e4 o. g4 o.     b2 a4 o. b4 o.     e2d r4          
                                                                         
e4d f8 g4 o. a4 o. b2d d4s        e4d e8 f4 o. f4 o.           
g4 b4 b4 c8 e8     f4d d8s d4 f4  e8 g8 ( e8 g8 ) b4 ( b8 f8 ) 
e2 e2              b4 f4 b4 a8 b8 c2 d2s                       
                                                               
g2d g4             f4d e8 d4s ( f8 d8 )   e4d c8 a4 ( a8 g8 ) 
e4d b8 b4 o. e4 o. ( d4s e4 ) f4 o. b4 o. a4 e4 e4 ( f8 e8 )  
e4 e4 e8 g8 b4  b2 b2                  c4d a8 c4 c4        
                                                              
f4d f8 g4 o. f4 o. e2d b4       ( g4d a8 ) ( b8 a8 ) g4            
d2s e4 o. c4 o.    b4d g8 g4 e4 ( d4 b8 c8 ) ( d8 c8 ) d8 o. b8 o. 
b4 f4 g4 a4        g4 e4 e4 g4  b4d a8 g4 b8 g8                    
                                                                   
d4d a8 d4 ( c8 d8 )      e4d d8 c4 ( d8 e8 ) d4d b8 g4 a8 b8 c4d b8 a8 b8 c8 d8 
a4 a8 d8 a8 b8 ( f8 g8 ) e4 g4 g4 f8 g8      g4 d4 d4 e8 d8  e4 e8 f8 e4 c4     
f2 f8 g8 a8 b8           c4d d8 e4 d8 c8     b4d g8 b4 c8 b8 a4d d8 c4 a4       
                                                                                
c8 b8 b4 g4 ( a8 b8 ) d8 c8s c4 a4 ( b8 c8 ) d4 ( f8 e8 ) d4d r8 
e8 d8 e8 d8 b4 c8 d8  f8 e8 f8 e8 c4s d8 e8  a2 a4d e8           
g4 o. g4 g4 a8 g8     a4 o. a4 a4 g8 a8      f2d f8 g8           
                                                                 
( g4d a8 ) ( b8 a8 ) g4          d4d e8 d4 e8 f8 g4d f8 e4 d8 c8 
( d4d c8 ) ( d8 c8 ) d8 o. b8 o. a4 d8 b8 a2     g4 b8 a8 b4 d4  
( b4d a8 ) g4 b8 g8              f4d g8 f4 e8 d8 e2 g4 a8 g8     
                                                                 
d4d b8 g4 ( a8 b8 )   c4d b8 a4 g8 f8   g4d f8 e4 f8 g8   a4d b8 g4 o. f4 o.    
g4 b8 g8 d4 ( c8 b8 ) g4 c8 e8 d4 d4s   e4 b8 c8 b4 a8 b8 e4 c8 d8 c4 o. b4 o.  
b4 g4 b4 a8 g8        e4 g8 e8 f4 g8 a8 e4 b8 a8 g4 f8 e8 c4 e8 g8 e4 o. d4s o. 
                                                                                
e2d f4 e4d f8 g4 o. a4 o. b2d d4s        e4d e8 g4 o. e4 o. d2ds e4      
g2d a4 g4 b4 b4 c8 e8     f4d d8s d4 f4  g4 e4 e4 o. c4 o.  b4d f8 f4 b4 
e2d r4 e2 e2              b4 f4 b4 a8 b8 c2d a4             b4 f4 b4 g4  
                                                                         
c4d c8 b4 o. a4 o. c8 b8 b4d g8 f8 e8 b4d b8 c4 o. b4 o. g2d f4          
e4 c4 e4 o. d4s o. e4d b8 g8 b8 b4    d4s f4 e4 o. d4 o. e4d b8 b4 o. a4 
a2 g4 o. f4 o.     g2 e4 o. g4 o.     b2 a4 o. b4 o.     e2d r4          
                                                                         
e4d f8 g4 o. a4 o. b2d d4s        e4d e8 f4 o. f4 o.           
g4 b4 b4 c8 e8     f4d d8s d4 f4  e8 g8 ( e8 g8 ) b4 ( b8 f8 ) 
e2 e2              b4 f4 b4 a8 b8 c2 d2s                       
                                                               
g2d g4             f4d e8 d4s ( f8 d8 )   e4d c8 a4 ( a8 g8 ) 
e4d b8 b4 o. e4 o. ( d4s e4 ) f4 o. b4 o. a4 e4 e4 ( f8 e8 )  
e4 e4 e8 g8 b4  b2 b2                  c4d a8 c4 c4        
                                                              
f4d f8 g4 o. f4 o. e2d r4       
d2s e4 o. c4 o.    b4d g8 g4 r4 
b4 f4 g4 a4        g4 e4 e4 r4  
                                

===========================

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
3 3 4 4 0 6  0.00000 0 1 1 20 0



000
./
Tt
A Musical Diversion
Tc
S S Brown 1996
% Paragraph 2 line 6 bar 1
 w120m
m4/4/4/4
r0 /
r2d a44 /
r2d f44 /

%Bar 2
e24 e2 /
g4 b4 b4 c8 e8 /
e4d f8 g4 o. a4 o. /

%Bar 3
b4 f4 b4 a8 b8 /
f4d d8s d4 f4 /
b2d d4s /

%Bar 4
c2d a4 /
g4 e4 e4 o. c4 o. /
e4d e8 g4 o. e4 o. /

%Bar 5
b4 f4 b4 g4 /
b4d f8 f4 b4 /
d2sd e4 /

% Paragraph 3 line 11 bar 6
a2 g4 o. f4 o. /
e4 c4 e4 o. d4s o. /
c4d c8 b4 o. a4 o. /

%Bar 7
g2 e4 o. g4 o. /
e4d b8 g8 b8 b4 /
c8 b8 b4d g8 f8 e8 /

%Bar 8
b2 a4 o. b4 o. /
d4s f4 e4 o. d4 o. /
b4d b8 c4 o. b4 o. /

%Bar 9
e2d r4 /
e4d b8 b4 o. a4 /
g2d f4 /

% Paragraph 4 line 15 bar 10
e2 e2 /
g4 b4 b4 c8 e8 /
e4d f8 g4 o. a4 o. /

%Bar 11
b4 f4 b4 a8 b8 /
f4d d8s d4 f4 /
b2d d4s /

%Bar 12
c2 d2s /
e8 g8 e8 s g8 s b4 b8 s f8 s /
e4d e8 f4 o. f4 o. /

% Paragraph 5 line 19 bar 13
e4 e4 e8 g8 b4 /
e4d b8 b4 o. e4 o. /
g2d g4 /

%Bar 14
b2 b2 /
d4s s e4 s f4 o. b4 o. /
f4d e8 d4s f8 s d8 s /

%Bar 15
c4d a8 c4 c4 /
a4 e4 e4 f8 s e8 s /
e4d c8 a4 a8 s g8 s /

% Paragraph 6 line 23 bar 16
b4 f4 g4 a4 /
d2s e4 o. c4 o. /
f4d f8 g4 o. f4 o. /

%Bar 17
g4 e4 e4 g4 /
b4d g8 g4 e4 /
e2d b4 /

%Bar 18
b4d a8 g4 b8 g8 /
d4 s b8 c8 s d8 s c8 s d8 o. b8 o. /
g4d s a8 s b8 s a8 s g4 /

% Paragraph 7 line 27 bar 19
f2 f8 g8 a8 b8 /
a4 a8 d8 a8 b8 f8 s g8 s /
d4d a8 d4 c8 s d8 s /

%Bar 20
c4d d8 e4 d8 c8 /
e4 g4 g4 f8 g8 /
e4d d8 c4 d8 s e8 s /

%Bar 21
b4d g8 b4 c8 b8 /
g4 d4 d4 e8 d8 /
d4d b8 g4 a8 b8 /

%Bar 22
a4d d8 c4 a4 /
e4 e8 f8 e4 c4 /
c4d b8 a8 b8 c8 d8 /

% Paragraph 8 line 31 bar 23
g4 o. g4 g4 a8 g8 /
e8 d8 e8 d8 b4 c8 d8 /
c8 b8 b4 g4 a8 s b8 s /

%Bar 24
a4 o. a4 a4 g8 a8 /
f8 e8 f8 e8 c4s d8 e8 /
d8 c8s c4 a4 b8 s c8 s /

%Bar 25
f2d f8 g8 /
a2 a4d e8 /
d4 f8 s e8 s d4d r8 /

% Paragraph 9 line 35 bar 26
b4d s a8 s g4 b8 g8 /
d4d s c8 s d8 s c8 s d8 o. b8 o. /
g4d s a8 s b8 s a8 s g4 /

%Bar 27
f4d g8 f4 e8 d8 /
a4 d8 b8 a2 /
d4d e8 d4 e8 f8 /

%Bar 28
e2 g4 a8 g8 /
g4 b8 a8 b4 d4 /
g4d f8 e4 d8 c8 /

% Paragraph 10 line 39 bar 29
b4 g4 b4 a8 g8 /
g4 b8 g8 d4 c8 s b8 s /
d4d b8 g4 a8 s b8 s /

%Bar 30
e4 g8 e8 f4 g8 a8 /
g4 c8 e8 d4 d4s /
c4d b8 a4 g8 f8 /

%Bar 31
e4 b8 a8 g4 f8 e8 /
e4 b8 c8 b4 a8 b8 /
g4d f8 e4 f8 g8 /

%Bar 32
c4 e8 g8 e4 o. d4s o. /
e4 c8 d8 c4 o. b4 o. /
a4d b8 g4 o. f4 o. /

% Paragraph 11 line 43 bar 33
e2d r4 /
g2d a4 /
e2d f4 /

%Bar 34
e2 e2 /
g4 b4 b4 c8 e8 /
e4d f8 g4 o. a4 o. /

%Bar 35
b4 f4 b4 a8 b8 /
f4d d8s d4 f4 /
b2d d4s /

%Bar 36
c2d a4 /
g4 e4 e4 o. c4 o. /
e4d e8 g4 o. e4 o. /

%Bar 37
b4 f4 b4 g4 /
b4d f8 f4 b4 /
d2sd e4 /

% Paragraph 12 line 47 bar 38
a2 g4 o. f4 o. /
e4 c4 e4 o. d4s o. /
c4d c8 b4 o. a4 o. /

%Bar 39
g2 e4 o. g4 o. /
e4d b8 g8 b8 b4 /
c8 b8 b4d g8 f8 e8 /

%Bar 40
b2 a4 o. b4 o. /
d4s f4 e4 o. d4 o. /
b4d b8 c4 o. b4 o. /

%Bar 41
e2d r4 /
e4d b8 b4 o. a4 /
g2d f4 /

% Paragraph 13 line 51 bar 42
e2 e2 /
g4 b4 b4 c8 e8 /
e4d f8 g4 o. a4 o. /

%Bar 43
b4 f4 b4 a8 b8 /
f4d d8s d4 f4 /
b2d d4s /

%Bar 44
c2 d2s /
e8 g8 e8 s g8 s b4 b8 s f8 s /
e4d e8 f4 o. f4 o. /

% Paragraph 14 line 55 bar 45
e4 e4 e8 g8 b4 /
e4d b8 b4 o. e4 o. /
g2d g4 /

%Bar 46
b2 b2 /
d4s s e4 s f4 o. b4 o. /
f4d e8 d4s f8 s d8 s /

%Bar 47
c4d a8 c4 c4 /
a4 e4 e4 f8 s e8 s /
e4d c8 a4 a8 s g8 s /

% Paragraph 15 line 59 bar 48
b4 f4 g4 a4 /
d2s e4 o. c4 o. /
f4d f8 g4 o. f4 o. /

%Bar 49
g4 e4 e4 r4 /
b4d g8 g4 r4 /
e2d r4 /

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Just like someone mad that is shooting fiery missiles, arrows and
death, so is the man that has tricked his fellowman and has said: 'Was
I not having fun?'" - Proverbs 26:19
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: M-Tx/PMX/MusiXTeX problem
Date: Sat, 11 Mar 2000 10:03:19 -0800
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Silas Brown wrote
 
>PMX enters an infinite loop after the second pass.  
>...
>---
>\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
>\let\:=\relax\input musixtex\:\sepbarrules\input pmx
>---
>3 3 4 4 0 6  0.00000 0 1 1 20 0
>...

You tried to cram the whole piece into a single system.  I would complain
too!  It worked fine when I replaced "1 1" with "0 4".

--Don Simons

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On Sat, 11 Mar 2000, Silas S. Brown wrote:

> Hi,
> 
> I'm writing a program that outputs M-Tx files and I'm trying to test
> it, but I can't figure out what's wrong with the following.  Can
> anyone help?
> 
> The file runs through M-Tx OK, but when I run the result through PMX,
> PMX enters an infinite loop after the second pass.  I found by binary
> chop that the problem is around bar 36, which doesn't seem to be in
> any way unusual.  But even with only bars 1-25, it still goes wrong at
> the MusiXTeX stage - I get the message:
> 
I tried your music piece and neither prepmx nor pmxab accepted it,
with the complaining of illegal characters in it. I detected none, but
I noticed that the line ends contained invisible characters, I cut them
off and then compilation worked. The file (with a few additions) is attached.
Apparently the music still needs some repair by the composer.
What editor do you use? Is it possible that it adds non-ASCII characters?

Christof

--1283879121-869670562-952798579=:12365
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Content-Transfer-Encoding: BASE64
Content-ID: <Pine.LNX.4.10.10003111916190.12365@fredi.mpibpc.gwdg.de>
Content-Description: mtx-file
Content-Disposition: attachment; filename="prob4.mtx"

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NCBnNCBhNCBnNCBlNCBlNCByNA0KDQo=
--1283879121-869670562-952798579=:12365--
From mutex-owner@mail.gmd.de  Sun Mar 12 02:02:18 2000
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Date: Sun, 12 Mar 2000 00:38:43 +0000
To: mutex@gmd.de
From: David Bobroff <bobroff@centrum.is>
Subject: pmx mysteries
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PMX gurus,

I am having quite a bit of difficulty with a pmx file.  With the file that
follows I have been getting this response:

 Starting first PMX pass

  Bar0  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6
Bar 7  Bar 8

 ERROR in line 32, bar 16: Bar line marker out of place

                         v
 f8 b s t b1 s a t g f e d c b | a s b s a b c s
d s c d e8 e | e c+ s t c1 s b
         

I have checked and re-checked, and as far as I can tell there are no bar
line markers out of place.  Also, when I get it to run without errors I'm
always missing the last four bars.  I have been getting very  strange
errors with this file.  One of them claims that the last character of the
file is not '/,%' but a letter (the letter varies).  I don't understand
this, at all.

I'm running PMX-2.0.0 for Unix/Linux on a RedHat Linux box.


Thanks,

David Bobroff

Here is the pmx input:


3 3 3 4 3 4 0.5 -2
0 4 20 0.07



bbn
./
%
% bar 0-4
%
% -- contra
r8 | Rl
b81 b+ [ b b ] b b | b- b+ [ b b ] b b | f r f r f r | b8d- e1 [ d8 e ] d r
/
% -- bass
r8 | r d83 [ d d ] d d | r d [ d d ] d d | r c r c r c1 e | d s
e s d c [ b8 b+ ] b r /
% -- tenor
f84 | f s d s d4 r8 b+ | b s f s f4 r8 d
| f1 s e s e8 s e s f1 e d s c s b a | b s c s d e f8 b1 g f8 f /
% bar
5-8
%
% -- contra
b b+ [ b b ] b b | b- b+ [ b b ] b b | c c- [ c+ c ] c c
| f- c+ [ f f- ] f1 s e s d c /
% -- bass
r8 d- [ d d ] d d | r d [ d d ] d
f | f f4 g1 a c s b s a g | a8 b1 g a4 r /
% -- tenor
f8 s d s d4 r8 b+ | b
s f s f4 r8 d+ | d1 s c s c8 s c s b1 a a s g s f en | f8 g1 en f4 r8 f /
%
bar 9-15
%
% -- contra
b8 b+ [ b b ] b b | c4 r r | f8- f+ [ f f- ] f f |
b4 r r8 b+ | a4d c8 s b a | b4 s r8 b- s c d s | e4 e- r1 c d e /
% --
bass
r8 d4- d8 [ d d ] | e4 r r | r8 e4 d8 [ c e ] | d1 s e s d c b s c s b
c d8 d+ | e4d e8 s [ d c ] s | d4d d8- s e f s | g2 r1 g f e /
% --
tenor
f8 b s t b1 s a t g f e d c b | a s b s a b c s d s c d e8 e | e c+ s
t c1 s b t a g f e d c | b s c s b c d s e s d e f8 f | f c1+ e f8 f [ f f
] | f d1+ b f8 f s  e d s  | c1 s d s c d e s f s e f g e d c  /






From mutex-owner@mail.gmd.de  Sun Mar 12 02:47:23 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: pmx mysteries
Date: Sat, 11 Mar 2000 17:28:54 -0800
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David Bobroff wrote

>I am having quite a bit of difficulty with a pmx file...

In the copy of the file I got in the mail, the following four lines were
uncommented:

5-8

bar 9-15

bass

tenor

When I commented out these lines, the file ran fine.

--Chief PMX guru

P.S.  Even the Chief guru has gotten caught with uncommented bar numbers.
To PMX they look at first glance like figured bass symbols, so the error
message usually doesn't point right to the error.

From mutex-owner@mail.gmd.de  Mon Mar 13 01:31:16 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Meter denominators in PMX
Date: Sun, 12 Mar 2000 16:11:05 -0800
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Dirk Laurie recently emailed me about inability to use mtrnuml=1 to
represent a whole note time unit, (normally printed as "1" in denominator).
I also discovered an email from him dated 10/98 on the same subject .  I
thought we had discussed it further at that time but couldn't find any more
in my or the list's archives. In my current development version I initially
fixed it to act the way he wanted, but I've just realized this creates
backward incompatibilities.   The table below, based on my experiments and
coming with no guarantees, shows how I think Version 2.1 interprets 4
different inputs for mtrdenl and mtrdnp in 3 possible circumstances (new "m"
is the syntax with slashes).

--------------------------------------------
Circumstance -- input -- mtrdenl -- mtrdnp
--------------------------------------------
  setup      --  1    --   16th  --  "1"
  setup      --  o    --  error  --  error
  setup      --  0    --  whole  --  error
  setup      --  16   --   16th  --  "16"
--------------------------------------------
  old "m"    --  1    --  error  --  error
  old "m"    --  o    --   16th  --  "1"
  old "m"    --  0    --  whole  --  error
  old "m"    --  16   --   16th  --  "16"
--------------------------------------------
  new "m"    --  1    --   16th  --  "1"
  new "m"    --  o    --  error  --  error
  new "m"    --  0    --  whole  --  error
  new "m"    --  16   --   16th  --  "16"
--------------------------------------------

Please don't ask how it got this way, I'm not sure I can reconstruct it.
The good news is that every possible combination (16th or whole for mtrdenl,
"1" or "16" for mtrdenp) is covered under any circumstance, and that "16"
always represents a 16th note.  The bad news is the inconsistencies, and the
fact there's no way to remedy them without losing some backward
compatibility.  For that reason alone I'm tempted to leave things the same
as in 2.1 . Dirk wants mtrdenl=1 to represent a whole note. On the other
side, since that currently is interpreted as a 16th in setup and new-"m",
changing it could cause incompatibility. Also, I don't see how to make "1"
represent a whole note in old-"m", because when a "1" is encountered, the
following digit is automatically appended.  That's part of why new-"m" was
installed.

My proposal is to leave it as is, except that I could be fairly easily
convinced to allow mtrdnp=0 ; that would make 0 always represent a whole
note.  Convincing me to make mtrdenl=1 equate to a whole will take some
stronger arguments, but I'm willing to listen now that the considerations
are on the table.

--Don Simons
From mutex-owner@mail.gmd.de  Mon Mar 13 07:42:24 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200003130632.IAA04544@calvyn.puk.ac.za>
Subject: Re: pmx mysteries
To: bobroff@centrum.is (David Bobroff)
Date: Mon, 13 Mar 2000 08:32:53 +0200 (SAST)
Cc: mutex@gmd.de (List for MusicTeX etc)
In-Reply-To: <3.0.6.32.20000312003843.007d6d30@centrum.is> from "David Bobroff" at Mar 12, 2000 12:38:43 AM
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David Bobroff skryf:
> 
> I have been getting very  strange
> errors with this file.  One of them claims that the last character of the
> file is not '/,%' but a letter (the letter varies).  I don't understand
> this, at all.
> 
I've also been getting this behaviour unpredicatably.  My solution
is always to end the PMX file with a comment line.  E.g.
%  Coded by Ludwig van Beethoven, Heiligenstadt, 12 October 1807 
Makes me feel good.

[Maybe one of my erudite German colleagues knows off-hand which dates
 would be plausible for that musician at that place.]

Dirk
From mutex-owner@mail.gmd.de  Tue Mar 14 12:25:50 2000
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Date: Tue, 14 Mar 2000 12:08:32 +0100
From: Michael Hierweck <michael@hierweck.de>
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Subject: Bass/Guitar Tabs
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Hello everybody,

I have to typeset some rock and pop songs. Therefore I need a
possibility to typeset bass and guitar tabulatures used in many song
books with four or six lines. The example given in the documentation
with tabs at the top of the vocals (2.26.11 musixgui) does not fit.
Is there a possibility to this? Is there a demo-piece availible?

Thanks for your help.

Michael Hierweck

-- 
Wer fragt, der lernt - Sprichwort

From mutex-owner@mail.gmd.de  Tue Mar 14 18:31:20 2000
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Date: Tue, 14 Mar 2000 17:18:37 +0000
From: Nigel Warner <nwarner@freenetname.co.uk>
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Dear all,

    How does one code a piece in C major with a single stave for a
transposing
instrument ( Clarinet in A ) showing two sharps ?. Is there such a thing
as
\signature{stave}{signature}?

    Regards,

    Nigel.

From mutex-owner@mail.gmd.de  Tue Mar 14 19:15:08 2000
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From: Nigel Warner <nwarner@freenetname.co.uk>
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Dear all,

    Well, to answer my question Page 48

    Next question - what does \changecontext do ?

    Regards,

    Nigel.

From mutex-owner@mail.gmd.de  Tue Mar 14 19:30:11 2000
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Date: Tue, 14 Mar 2000 18:59:33 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Transposed Instruments ?
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> Date: Tue, 14 Mar 2000 17:18:37 +0000
> From: Nigel Warner <nwarner@freenetname.co.uk>

>     How does one code a piece in C major with a single stave for a
> transposing instrument ( Clarinet in A ) showing two sharps ?. 
> Is there such a thing as \signature{stave}{signature}?

The command is named \setsign

Have a look at http://www.gmd.de/Misc/Music/ . Look for MusiXTeX,
add-ons, orchestal scores. There you find e.g. "4 Corni in Fa"
or in the sample of Mozart's Haffner Sinfonie K.V. 385 "2 Clarinetti
in La", "2 Corni in Re", "2 Trombe in Re".

It would be interesting to convince PMX to do that using inline-TeX :-)

-- Werner


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From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Re: Transposed Instruments ?
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On Tue, 14 Mar 2000, Werner Icking wrote:

> It would be interesting to convince PMX to do that using inline-TeX :-)

And what is wrong with

	\\setsign1{2}\

in the first music paragraph of PMX? (I've tried it; it works! But, alas,
the MIDI output is not-so-good sounding.)

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Transposed Instruments ?
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> Date: Tue, 14 Mar 2000 16:27:26 -0600
> From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>

> On Tue, 14 Mar 2000, Werner Icking wrote:
> 
> > It would be interesting to convince PMX to do that using inline-TeX :-)
> 
> And what is wrong with
> 
> 	\\setsign1{2}\
> 
> in the first music paragraph of PMX? (I've tried it; it works! But, alas,
> the MIDI output is not-so-good sounding.)

That's the hint, what I ment.

I thought about coding as it sounds (as it is e.g. missing for \trebleoct or
\treblelowoct, ...) and then making the transposition with inline TeX.
One could e.g. redefine & and | to make the transposition local. But this
requires in addition to change stems and beams. So I think it could be done
well only within PMX; something like "K7+4-1" for "Corni in Fa" if these
have the 7th voice for a composition is in C.

-- Werner


From mutex-owner@mail.gmd.de  Wed Mar 15 13:22:25 2000
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From: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
Reply-To: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
To: MuX2d announce list <mux2d-announce@lists.sourceforge.net>,
        mutex list <mutex@gmd.de>, qt-interest@troll.no
Subject: MuX2d 0.2.1
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Hi,

This is the announcement for MuX2d 0.2.1 - a graphical editor for MusiXTeX
(a TeX macro package) using Qt 2.x.
For the edited score can be created a MusiXTeX file which will be
computed by TeX and musixflx and display by xdvi.

MuX2d is still in a alpha state. Features are planned in a roadmap. See
"To Do" on the website.

New in this version is the changing of general meter and signature.

I want to invite you the a new MuX2d-list: mux2d-discuss
A discussion list for users (and hopfully some new developers) about
MuX2d. Go to http://lists.sourceforge.net/mailman/listinfo/mux2d-discuss
to become a member.

Please have a look at http://mux2d.sourceforge.net/

Yours,
Lukas

-----------------------------------------------------------------
Lukas Gr"utzmacher
           Dresden University of Technology, Dept. of CS, Germany
lukas.gruetzmacher@iname.com     --    http://www.ksg-dresden.de/
http://lukas-g.home.pages.de/    --      http://www.bierkreis.de/
-----------------------------------------------------------------
I like Techno - unplugged.


From mutex-owner@mail.gmd.de  Wed Mar 15 16:22:51 2000
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Date: Wed, 15 Mar 2000 16:07:06 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: what does \changecontext do? (was: Answer Page 48)
To: mutex@gmd.de, nwarner@freenetname.co.uk
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> Date: Tue, 14 Mar 2000 18:01:43 +0000
> From: Nigel Warner <nwarner@freenetname.co.uk>

>     Well, to answer my question Page 48
> 
>     Next question - what does \changecontext do ?

42?

I'm sure the answer is in musixdoc.dvi, too.

After defining a new context (e.g. by setting new signatures,
clefs, meters, ...) \changecontext makes the real transition
to the new context. This is neccessary because not any single
specification for the new context should have an immediate
action in the output.

-- Werner

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Bass/Guitar Tabs
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> Date: Tue, 14 Mar 2000 12:08:32 +0100
> From: Michael Hierweck <michael@hierweck.de>

> I have to typeset some rock and pop songs. Therefore I need a
> possibility to typeset bass and guitar tabulatures used in many song
> books with four or six lines. The example given in the documentation
> with tabs at the top of the vocals (2.26.11 musixgui) does not fit.
> Is there a possibility to this? Is there a demo-piece availible?

IIRC there is at least on example of tabulatur on
http://www.gmd.de/Misc/Music/ under MusiXTeX add-ons.
But it's neither Rock nor Pop music :-)

-- Werner

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Date: Wed, 15 Mar 2000 21:53:55 +0100
From: Rainer.adS.BERA_GmbH@t-online.de (Rainer aus dem Spring)
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Get a decent program to typeset lute tablature and use the so-called Spanish tablature.

There are at least two freeware programs available.

Rainer adS

Werner Icking wrote:
> 
> > Date: Tue, 14 Mar 2000 12:08:32 +0100
> > From: Michael Hierweck <michael@hierweck.de>
> 
> > I have to typeset some rock and pop songs. Therefore I need a
> > possibility to typeset bass and guitar tabulatures used in many song
> > books with four or six lines. The example given in the documentation
> > with tabs at the top of the vocals (2.26.11 musixgui) does not fit.
> > Is there a possibility to this? Is there a demo-piece availible?
> 
> IIRC there is at least on example of tabulatur on
> http://www.gmd.de/Misc/Music/ under MusiXTeX add-ons.
> But it's neither Rock nor Pop music :-)
> 
> -- Werner

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Werner Icking wrote:

> > Date: Tue, 14 Mar 2000 16:27:26 -0600
> > From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
>
> > On Tue, 14 Mar 2000, Werner Icking wrote:
> >
> > > It would be interesting to convince PMX to do that using inline-TeX :-)
> >
> > And what is wrong with
> >
> >       \\setsign1{2}\
> >
> > in the first music paragraph of PMX? (I've tried it; it works! But, alas,
> > the MIDI output is not-so-good sounding.)
>
> That's the hint, what I ment.
>
> I thought about coding as it sounds (as it is e.g. missing for \trebleoct or
> \treblelowoct, ...) and then making the transposition with inline TeX.
> One could e.g. redefine & and | to make the transposition local. But this
> requires in addition to change stems and beams. So I think it could be done
> well only within PMX; something like "K7+4-1" for "Corni in Fa" if these
> have the 7th voice for a composition is in C.

What \setsign does is solely to change signs; no transposition is made. What I
would like a pmx feature for transposing instruments to do is to read pitches
entered as they should sound, i.e. in C, and transpose the printing of the
corresponding voices to the keys used by the player of the instruments in
question. For example in a composition in C major a Bb clarinet part should be
written in D major. That is the way editors like Finale behave. If pmx were
programmed that way you will be able to enter your score in actual sounding
pitches, do proof listening from the MIDI output, and then first when you're
confident with your typesetting add directives for the transposing instruments.
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Transposed Instruments ?
Date: Thu, 16 Mar 2000 09:17:17 -0800
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If I understand this right, CM is suggesting a feature that acts exactly the
same way transposition does currently in PMX, except it should be selectable
by instrument, and of course allow different transpositions for different
instruments.  I have thought numerous times about doing this, deterred only
by the fact that I have no use for it myself :-)  I'll go as far as putting
it on the list.

--Don

> -----Original Message-----
> From:	Christian Mondrup [SMTP:scancm@biobase.dk]
> Sent:	Thursday, March 16, 2000 7:46 AM
> To:	Werner Icking
> Cc:	mutex@gmd.de
> Subject:	Re: Transposed Instruments ?
> 
> Werner Icking wrote:
> 
> > > Date: Tue, 14 Mar 2000 16:27:26 -0600
> > > From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
> >
> > > On Tue, 14 Mar 2000, Werner Icking wrote:
> > >
> > > > It would be interesting to convince PMX to do that using inline-TeX
> :-)
> > >
> > > And what is wrong with
> > >
> > >       \\setsign1{2}\
> > >
> > > in the first music paragraph of PMX? (I've tried it; it works! But,
> alas,
> > > the MIDI output is not-so-good sounding.)
> >
> > That's the hint, what I ment.
> >
> > I thought about coding as it sounds (as it is e.g. missing for
> \trebleoct or
> > \treblelowoct, ...) and then making the transposition with inline TeX.
> > One could e.g. redefine & and | to make the transposition local. But
> this
> > requires in addition to change stems and beams. So I think it could be
> done
> > well only within PMX; something like "K7+4-1" for "Corni in Fa" if these
> > have the 7th voice for a composition is in C.
> 
> What \setsign does is solely to change signs; no transposition is made.
> What I
> would like a pmx feature for transposing instruments to do is to read
> pitches
> entered as they should sound, i.e. in C, and transpose the printing of the
> corresponding voices to the keys used by the player of the instruments in
> question. For example in a composition in C major a Bb clarinet part
> should be
> written in D major. That is the way editors like Finale behave. If pmx
> were
> programmed that way you will be able to enter your score in actual
> sounding
> pitches, do proof listening from the MIDI output, and then first when
> you're
> confident with your typesetting add directives for the transposing
> instruments.
> --
> Christian Mondrup, Computer Programmer
> Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
> Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
> Phone: +45 89 49 53 01
> 
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"Simons, Don" wrote:

> If I understand this right, CM is suggesting a feature that acts exactly the
> same way transposition does currently in PMX, except it should be selectable
> by instrument, and of course allow different transpositions for different
> instruments.

exactly!

> I have thought numerous times about doing this, deterred only
> by the fact that I have no use for it myself :-)  I'll go as far as putting
> it on the list.

If I were given any influence on priorities xtuplets containing non equal lenght
note values should be much higher on the list :-)
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


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Date: Thu, 16 Mar 2000 13:37:51 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: "Simons, Don" <DSimons@logicon.com>
cc: mutex@gmd.de
Subject: RE: Transposed Instruments ?
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On Thu, 16 Mar 2000, Simons, Don wrote:

> If I understand this right, CM is suggesting a feature that acts exactly the
> same way transposition does currently in PMX, except it should be selectable
> by instrument, and of course allow different transpositions for different
> instruments.  I have thought numerous times about doing this, deterred only
> by the fact that I have no use for it myself :-)  I'll go as far as putting
> it on the list.
> 
> --Don

As long as it's on the list, I'll toss out a few ideas for consideration.
How about a syntax like 

	Ii<inst_name_or_number><+|-><half_steps><:> ...

so that, for example, 'Iipipicl+2' would be used to transpose the clarinet
up a whole step.  I'm specifically suggesting a disconnect between the MIDI
transposition and the existing 'K' transposition/key change mechanism
because one might like to introduce a \treblelowoct, etc, via in-line TeX.

Further, since it would be nice to be able to use \Ioctfinup ... \Toctfin,
etc, and have them reflected in the MIDI output, a local by-voice mechanism
should be available.  I haven't come up with a clear syntax idea yet, maybe
putting, for example, 'Ii+12' in a voice to raise it an octave? And then
'Ii-12' to revert to the original transposition?

As I said, these are just some ideas for consideration.
	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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Subject: Re: Transposed Instruments ?
From: stk@snafu.de (Stefan Haller)
Date: Thu, 16 Mar 2000 20:51:20 +0100
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"Simons, Don" <DSimons@logicon.com> wrote:

> If I understand this right, CM is suggesting a feature that acts exactly the
> same way transposition does currently in PMX, except it should be selectable
> by instrument, and of course allow different transpositions for different
> instruments.

To be really useful, it would even have to allow the transposition to be
changed in the middle of the piece for a given instrument.  In romantic
orchestral music it is quite common for trumpets to change from B-flat
to F to D to E-flat and back from one bar to the next; it is also common
for clarinets to change from A to B-flat and back within a piece, or a
change from oboe to english horn, etc.


-- 
Stefan Haller
Berlin, Germany
http://www.snafu.de/~stk/
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Subject: PMX funny error message
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Hi,

When I run the following through PMX, I get "Bar 1 Bad error in
fnote".  Any ideas why?  I can't figure out what's wrong with bar 1
but obviously there's a "bad error" somewhere! ;-)

Thanks, Silas

PS: I'm enclosing the original M-Tx file at the end.

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
2 2 1 1 1 1  0.00000 0 0 4 20 0


00
./
% Paragraph 2 line 7 bar 1
C6 r2 r1 c13 d1 e1 f1 d1 e1 c1 /
C0 r1 c14 d1 e1 f1 d1 e1 c1 g8+ c8 b8 om c8 /

%Bar 2
g8+ g8- r4 r1 g1+ a1 b1 c1 a1 b1 g1 /
d1 g1- a1 b1 c1 a1 b1 g1 d8+ g8 f8 om g8 /

% Paragraph 3 line 10 bar 3
c8 b8 c8 d8 e8 g8- a8 b8 /
e1 a1 g1 f1 e1 g1 f1 a1 g1 f1 e1 d1 c1 e1 d1 f1 /

%Bar 4
c8 e8- f8s g8 a8 b8 c4 /
e1 d1 c1 b1 a1 c1 b1 d1 c1 b1 a1 g1 f1s a1 g1 b1 /

% Paragraph 4 line 13 bar 5
c1 d1- e1 f1s g1 e1 f1 d1 g8 b8- c8 d8 /
a8 d8- c8+d om d1 b1 a1 g1 f1s e1 g1 f1 a1 /

%Bar 6
e8 f8s g8 e8 b8d c1 d8 d8- /
g1 b1 a1 c1 b1 d1 c1 e1 d1 b3 c3 d1 g1 b8- om a1 g1 /

% Paragraph 5 line 16 bar 7
r1 g1 a1 b1 c1 a1 b1 g1 d8+ g8 f8s g8 /
g8 r8 r4 r1 g1 a1 b1 c1 a1 b1 g1 /

%Bar 8
a1 d1- e1 f1s g1 e1 f1 d1 a8+ d8 c8 d8 /
f8s om r8 r4 r1 a1 b1 c1 d1 b1 c1 a1 /

% Paragraph 6 line 19 bar 9
g1- C0 g1+ f1 e1 d1 f1 e1 g1 f8 e8 f8 d8 /
b8 r8 r4 r1 d1 c1 b1 a1 c1 b1 d1 /

%Bar 10
e1 a1 g1 f1 e1 g1 f1 a1 g8 f8 g8 e8 /
c8 r8 r4 r1 e1 d1 c1 b1 d1 c1s e1 /

% Paragraph 7 line 22 bar 11
f1 b1f a1 g1 f1 a1 g1 b1 a1 g1 f1 e1 d1 f1 e1 g1 /
d8 c8s d8 e8 f8 a8- b8 c8 /

%Bar 12
f1 e1 d1 c1 b1 d1 c1 e1 d1 c1 b1 a1 g1s b1 a1 c1 /
d8 f8-s g8s a8 b8 c8 d4 /

% Paragraph 8 line 25 bar 13
b8 e8- d8+d om e1 c1 b1 a1 g1 f1s a1 g1s b1 /
d1 e1- f1s g1s a1 f1 g1 e1 e1+ d1 c1 e1 d1 c1 b1 d1 /

%Bar 14
a1 c1 b1 d1 c1 e1 d1 f1 e8 a8- e8+ e8- /
c1 a1+ g1s b1 a1 e1 f1 d1 g1-s f1+ e1 d1 c8 b1 a1 /

% Paragraph 9 line 28 bar 15
a8 a8- r4 r1 e1++ d1 c1 b1 d1 c1s e1 /
a1 a1+ g1 f1 e1 g1 f1 a1 g2 /

%Bar 16
d2 d1 a1 b1 c1 d1 b1 c1 a1 /
g1 e1 f1 g1 a1 f1 g1 e1 f2 /

%Bar 17
b2 b1 d1 c1 b1 a1 c1 b1 d1 /
f1 g1 f1 e1 d1 f1 e1 g1 f2 /

% Paragraph 10 line 31 bar 18
c2 c1 g1 a1 b1f c1 a1 b1 g1 /
f1 d1 e1 f1 g1 e1 f1 d1 e2 /

%Bar 19
a8 b8f a8 g8 f8 d8+ c8 b8 /
e1 c1 d1 e1 f1 d1 e1 c1 d1 e1 f1 g1 a1 f1 g1 e1 /

% Paragraph 11 line 34 bar 20
a8 f8+ e8 d8 e1 d1- e1 f1 g1 e1 f1 d1 /
f1 g1 a1 b1 c1 a1 b1 g1 c8 g8 e8 d1 c1 /

%Bar 21
e8 c8 d8 e8 f1 d1 e1 f1 g8 g8- /
c1 b1f a1 g1 f1 a1 g1 b1 a1 b1n c1 e1- d1 c1+ f1- b1 /

% Paragraph 12 line 37 bar 22
c0 /
c0 /

%Bar 23
c0- of of /
e0 of of of /


Original M-Tx file:
                        Bars/Line: 4                    
                        Style: MyStyle                  
                        MyStyle: Voices V1 V2; Clefs G G
                        Meter: 1/1                      
                                                        
                                                        
C0 r1 c d e f d e c g8+ c b om c d1 g- a b c a b g d8+ g f om g 
C6 r2 r1 c- d e f d e c          g8+ g- r4 r1 g+ a b c a b g    
                                                                
e1 a g f e g f a g f e d c e d f e d c b a c b d c b a g fs a g b 
c8 b c d e g- a b                c e- fs g a b c4                 
                                                                  
a8 d- cd+ om d1 b a g fs e g f a g b a c b d c e d b3 c d1 g b8- om a1 g 
c1 d- e fs g e f d g8 b- c d     e fs g e bd c1 d8 d-                    
                                                                         
g8 r r4 r1 g a b c a b g    f8s om r r4 r1 a b c d b c a 
r1 g a b c a b g d8+ g fs g a1 d- e fs g e f d a8+ d c d 
                                                         
b8 r r4 r1 d c b a c b d       c8 r r4 r1 e d c b d cs e 
g1- C0 g+ f e d f e g f8 e f d e1 a g f e g f a g8 f g e 
                                                         
d8 cs d e f a- b c                d fs- gs a b c d4                   
f1 bf a g f a g b a g f e d f e g f e d c b d c e d c b a gs b a c C6 
                                                                      
d1 e- fs gs a f g e e+ d c e d c b d c a+ gs b a e f d gs- f+ e d c8 b1 a 
b8 e- dd+ om e1 c b a g fs a gs b    a c b d c e d f e8 a- e+ e-          
                                                                          
a a+ g f e g f a g2         g1 e f g a f g e f2 f1 g f e d f e g f2 
a a- r4 r1 e++ d c b d cs e d2 d1 a b c d b c a b2 b1 d c b a c b d 
                                                                    
f1 d e f g e f d e2  e1 c d e f d e c d e f g a f g e 
c2 c1 g a bf c a b g a8 bf a g f d+ c b               
                                                      
f g a b c a b g c8 g e d1 c c bf a g f a g b a bn c e- d c+ f- b 
a f+ e d e1 d- e f g e f d  e8 c d e f1 d e f g8 g-              
                                                                 
c0 e of of of 
c0 c- of of     
                


-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Mere oppression may make a wise one act crazy" - Ecclesiastes 7:7
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On Fri, 17 Mar 2000, Silas S. Brown wrote:

> Hi,
> 
> When I run the following through PMX, I get "Bar 1 Bad error in
> fnote".  Any ideas why?  I can't figure out what's wrong with bar 1
> but obviously there's a "bad error" somewhere! ;-)
> 
We had this discussion just recently. The error is the measure 1/1.
Try 4/4 as the composer has wanted it and everything is oK.
I wish there would be always a bad  error if the intentions of the
composers are not fulfilled. (Don't be upset, it is supposed to be
a joke.)
Christof

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Subject: Re: PMX funny error message
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> We had this discussion just recently.                 
                                                        
Sorry I missed it.                                      

> We had this discussion just recently. The error is the measure 1/1.
> Try 4/4 as the composer has wanted it and everything is oK.

Thanks.  Unfortunately the program I'm writing is a program to convert
between different music formats, and the original was marked 1/1
(it was not my doing).  Is it just a denominator of 1 that I should
look out for, or are there some other catches?
 
Thanks, Silas
 
-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"As for the dead, they are conscious of nothing at all"
  - Ecclesiastes 9:5
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX funny error message
Date: Fri, 17 Mar 2000 08:51:47 -0800
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I recognize that the error message isn't very helpful (except to jokers),
but please see my VERY recent posting on exactly this subject

http://www.gmd.de/Mail/mutex-archive-tail/1253.html

For reasons that are buried in the sands of time, the second "1" in the
setup data 

2 2 1 1 1 1  0.00000 0 0 4 20 0

is being interpreted as a sixteenth, not a whole note.  So you have
specified a logical meter of 1/16.

--Don Simons

> -----Original Message-----
> From:	Christof Biebricher [SMTP:cbiebri@gwdg.de]
> Sent:	Friday, March 17, 2000 7:33 AM
> To:	Silas S. Brown
> Cc:	mutex@gmd.de
> Subject:	Re: PMX funny error message
> 
> On Fri, 17 Mar 2000, Silas S. Brown wrote:
> 
> > Hi,
> > 
> > When I run the following through PMX, I get "Bar 1 Bad error in
> > fnote".  Any ideas why?  I can't figure out what's wrong with bar 1
> > but obviously there's a "bad error" somewhere! ;-)
> > 
> We had this discussion just recently. The error is the measure 1/1.
> Try 4/4 as the composer has wanted it and everything is oK.
> I wish there would be always a bad  error if the intentions of the
> composers are not fulfilled. (Don't be upset, it is supposed to be
> a joke.)
> Christof
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Christof Biebricher wrote:

> On Fri, 17 Mar 2000, Silas S. Brown wrote:
>
> > Hi,
> >
> > When I run the following through PMX, I get "Bar 1 Bad error in
> > fnote".  Any ideas why?  I can't figure out what's wrong with bar 1
> > but obviously there's a "bad error" somewhere! ;-)
> >
> We had this discussion just recently. The error is the measure 1/1.
> Try 4/4 as the composer has wanted it and everything is oK.
> I wish there would be always a bad  error if the intentions of the
> composers are not fulfilled. (Don't be upset, it is supposed to be
> a joke.)
> Christof

At least as notated in the Henle Urtext Ausgabe of this piece (the Inventio
I by J. S. Bach) a better choice would be meter: C

One should _not_ introduce clef changes in the very first measure. The
reason why Silas did it might be that in the preamble paragraph he refers
to a style before it is defined. Here the better choice had been the
predefined style piano. In measure 9 of Silas' mtx source he introduces a
clef change in the middle of a 16th note group. The Henle edition changes
the clef immediately before the measure. Later down in measure 12 the
change back to an f clef is introduced at the end of the bar and is never
executed. Again if we refer to the Henle edition the clef change should be
before the third beat in measure 12. In the concluding measure there should
be a 3 voice chord in the right hand and the bass note should be moved an
octave down.

Generally I will STRONGLY recommend using bar lines in mtx/pmx sources and
peferably a comment with the actual measure number in the start of each
paragraph (talking about mtx). That does things much easier for both the
typersetter and other persons asked to look at the masterpieces :-)

During the processing of the generated pmx code pmx complains of too little
space here and there. This is understandable when you look at the dvi
output. I recommend 3 measures per line.

I append a slightly changed version of Silas' mtx source.

Bars/Line: 3
MyStyle: Voices V1 V2; Clefs G G
%Style: MyStyle
Style: piano
Meter: C

% C0 r1 c d e f d e c g8+ c b om c d1 g- a b c a b g d8+ g f om g
% C6 r2 r1 c- d e f d e c g8+ g- r4 r1 g+ a b c a b g
r1 c d e f d e c g8+ c b om c d1 g- a b c a b g d8+ g f om g
r2 r1 c d e f d e c g8+ g- r4 r1 g+ a b c a b g

e1 a g f e g f a g f e d c e d f e d c b a c b d c b a g fs a g b
c8 b c d e g- a b c e- fs g a b c4

a8 d- cd+ om d1 b a g fs e g f a g b a c b d c e d b3 c d1 g b8- om a1 g
c1 d- e fs g e f d g8 b- c d e fs g e bd c1 d8 d-

g8 r r4 r1 g a b c a b g f8s om r r4 r1 a b c d b c a
r1 g a b c a b g d8+ g fs g a1 d- e fs g e f d a8+ d c d

b8 r r4 r1 d c b a c b d c8 r r4 r1 e d c b d cs e
C0 g1- g+ f e d f e g f8 e f d e1 a g f e g f a g8 f g e

d8 cs d e f a- b c d fs- gs a b c d4
f1 bf a g f a g b a g f e d f e g f e d c b d c e C6 d c b a gs b a c

d1 e- fs gs a f g e e+ d c e d c b d c a+ gs b a e f d gs- f+ e d c8 b1 a
b8 e- dd+ om e1 c b a g fs a gs b a c b d c e d f e8 a- e+ e-

a a+ g f e g f a g2 g1 e f g a f g e f2 f1 g f e d f e g f2
a a- r4 r1 e++ d c b d cs e d2 d1 a b c d b c a b2 b1 d c b a c b d

f1 d e f g e f d e2 e1 c d e f d e c d e f g a f g e
c2 c1 g a bf c a b g a8 bf a g f d+ c b

f g a b c a b g c8 g e d1 c c bf a g f a g b a bn c e- d c+ f- b
a f+ e d e1 d- e f g e f d e8 c d e f1 d e f g8 g-

c0 of zg ze
c0- ofd


--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: Horizontal spacing in PMX (was RE: PMX funny error message)
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Silas Brown wrote

>My program in its present form cannot do this unless there's some way
>of getting M-Tx to accept | signs at the start of lines without
>complaining about an empty bar.  

A preprocessor (Silas' program) for a preprocessor (M-Tx) for a preprocessor
(PMX) !!!  Boggles the mind.  

>Is there a way of getting M-Tx/PMX/etc to automatically choose the
>best number of measures per line?  

I assume you mean "best average number of measures per line," because some
measures will always have more shorter-duration notes than others, and they
require more horizontal space.  Speaking for PMX, the answer to the question
is no.  It works the other way around: You specify the total number of
systems (and number of pages) and it will distribute everything nicely over
that number of systems (assuming there are no forced line breaks).  It is
very easy to iterate on the total number systems (and pages) to find what
looks best.  Once the number of systems is specified, there is also a rarely
used way to subtly alter the horizontal spacing on lines that are still
crowded.  You can globally specify the minimum allowable horizontal gap
between noteheads (the default is 0.3 notehead widths).  On lines where the
shortest-duration notes are crowded, PMX tries to adjust all the wider gaps
to accommodate this.  As a line gets ever more crowded, it will keep
"flattening" the range of gaps until all gaps are equal regardless of note
duration.  If it still cannot meet the minimum gap criterion, it sends a
message that the line is too crowded, but keeps on truckin' anyhow, letting
musixflx mop things up.

--Don
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Hi,

Thanks for all your comments.

Christian Mondrup writes:
> One should _not_ introduce clef changes in the very first measure.

Fixed.

> In measure 9 of Silas' mtx source he introduces a
> clef change in the middle of a 16th note group. ... Later down in
> measure 12 the change back to an f clef is introduced at the end

This is not my doing - it is what it says in the original MuseData
file.

> Generally I will STRONGLY recommend using bar lines in mtx/pmx sources

My program in its present form cannot do this unless there's some way
of getting M-Tx to accept | signs at the start of lines without
complaining about an empty bar.  (My program currently doesn't know
where the line breaks are going to go until it's finished writing
everything.  I may fix it later but probably not for this project -
the deadline is too soon.)

> I recommend 3 measures per line.

Is there a way of getting M-Tx/PMX/etc to automatically choose the
best number of measures per line?  Leaving it out doesn't seem to
work.  3 measure per line is too small for some music.

Thanks, Silas

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"When particulars are lacking, it is almost impossible to understand or
judge a matter and equally impossible to commit it to memory" - Comenius
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Hi,

Simons, Don writes:
> A preprocessor (Silas' program) for a preprocessor (M-Tx) for a preprocessor
> (PMX) !!!  Boggles the mind.  

Well the MuseData database contains several thousand scores in
MuseData format, but the only programs that can actually typeset them
run on an operating system that is practically unheard of outside
Stanford University.  So I thought it would be nice to convert them to
something else.  And M-Tx seemed easy enough (actually the main
purpose of this project is to output Braille, but M-Tx output lets you
see what's going on).

> You specify the total number of
> systems (and number of pages) and it will distribute everything nicely over
> that number of systems

Can there be any way to say "take as much space as you want"?  I mean,
without stretching things out rediculously.  Or maybe some sort of
heuristic for suggesting the number of systems to PMX?

> It is very easy to iterate on the total number systems (and pages)
> to find what looks best.

Not if you're blind.  Or if you have a slow computer.

Best wishes, Silas

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Mere oppression may make a wise one act crazy" - Ecclesiastes 7:7
From mutex-owner@mail.gmd.de  Sat Mar 18 00:11:12 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Horizontal spacing in PMX (was RE: PMX funny error message)
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Silas Brown wrote

>Can there be any way to say "take as much space as you want"?  I mean,
>without stretching things out rediculously.  Or maybe some sort of
>heuristic for suggesting the number of systems to PMX?

The closest thing to that in PMX is the ability to specify the average
number of bars per system, in lieu of number of systems and number of pages.
But there is no way to leave it entirely up to PMX.

--Don Simons
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"Silas S. Brown" wrote:
> 
> Hi,
> 
> Thanks for all your comments.
> 
> Christian Mondrup writes:
> > One should _not_ introduce clef changes in the very first measure.
> 
 Sorry: many piano scores start with the nearly standard G-clef/F-Clef
setting, and immediately change one of them at the beginning. Probably
to make this change more noticeable.

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
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Date: Mon, 20 Mar 2000 19:01:56 +0100
From: Silvio Weiland <sw2@Rcs1.urz.tu-dresden.de>
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Subject: Some Problems with PMX??
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Dies ist eine mehrteilige Nachricht im MIME-Format.
--------------504729C9944C9B5440683443
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi, Members,

For some days I' ve been using LateX/MusixTeX to write my music. But now
I got some Problems with. I tried to find the error for days, but I
failed. May be anyone can help with some tips where the Problem could
be? MTX-File comes with the mail...

After Mtx'ing the file I have some trouble with PMX

In the second pmx-pass I've got the following error:

Bar 0 Bar 1 Bar 2 Bar 3 Bar 4 Bar 5 ...
Bar 14  Bar 15forrtl: severe(27): too many records in I/O statement,
unit -5,
file Internal Formatted Write

What is wrong in my MTX-File? What's the problem? What causes this
error?
Could sombody help me to find the error?

Thank's for help!!!

Silvio



--------------504729C9944C9B5440683443
Content-Type: text/plain; charset=iso-8859-1;
 name="Choral.mtx"
Content-Transfer-Encoding: 8bit
Content-Disposition: inline;
 filename="Choral.mtx"

Title: 228 Ja modl\'im sa k tej moci l\'asky 
%Title: 228 Ich bete an die Macht der Liebe 
Composer: Dem. Bortniansky, 1822 
Poet: Gerhard Tersteegen  
Style: SATB                                            
Meter: 3/4                          
Pages: 1                          
Systems: 4                        
Space: 0 4                          
                                  
%%w170m                           
 
{vers1}
1. Ja mod-lim sa k tej mo-ci l\'as-ky 
kto-r\'u n\'am Je-\v{z}i\v{s} zja-vu-je
Ja od-d\'a-vam sa to-ku l\'as-ky 
kto--rou ma \v{c}er-va mi-lu-je.
Na se-ba ne-bu-dem pa-md-ta\q{t}, 
len mo-re l\'as-ky chcem v srd-ci ma\q{t}.

{vers2}
2. Len hl-bo-ko mi Tvo-je me-no, Je-\v{z}i\v{s}
do m\^oj-ho srd-ca vtla\v{c}.
Len Tvo-ju pre-ve-li-k\'u l\'as-ku 
a moju my-se\q{l} povz-nies\q{t} r\'a\v{c}.
By v \v{c}i-noch, v srd-ci aj vo Slo-ve 
len me-no Je-\v{z}i-\v{s}a chv\'a-li-me.    

g4 | e2 f4 | g2 c4 | ( d c ) b | c2 g4- | a4 c4 a |
e4 | c2 d4 | e2 g4 | ( f e ) d | e2 e4  | f f f |
L: {vers1,vers2}                                 
c4+ | f2 f4 | c2 c4 | ( e f ) f | f2 c4 | c c c |
c4 | c2 c4 | c2 a4 | ( g f ) f4- | c2 c4 | g e g |

g2 e4 | ( g f ) e | d2 g4 | e2 f4 | g2 c4+ | ( d c ) b |
e2 c4 | d2 c4 | b2 d4 | c2 d4 | e2 g4 | ( f e ) d |
c2+ f4 | f2 f4 | f2 f4 | f2 f4 | c2 c4 | ( e f ) f |
c2 c4 | d2 c4 | f2 d4 | c2 c4 | c2 a4 | ( g f ) f4- |

c2 g4 | a c a | g2 f4 | ( a4d g8 ) [ f8 e8 ] | d2 g4 | b2 g4 | c2+ g4 |
e2 e4 | f f f | e2 c4 | c2 [ b8 c8 ]  | b2 d4 | g2 g4 | g2 g4 |
f2 c4 | c c c | c2 f4 | ( g4d f8 ) f4 | f2 d4 | b2 d4 | c2 b4 |
c2 c4 | g4+ e g | c2 c4 | ( a4d a8 ) [ b8 c8 ] | f2 f4 | f2 [ f8 g ] | a2 d4- |

( e4+ d ) c | c2 b4 | c b a | g2 e4 | ( a g ) f | ( e2d | d2d ) | c2 ||
( g f ) e | e2 d4 | c e c | e2 c4 | c2 d4 | ( c2d | c2 b4 ) | c2 ||
( c4+ d ) f | f2 f4 | a f g | c2 f4 | ( g f ) e | ( f2d | g2d ) | a2 ||
( c b ) [ a8 g ] | f2 f4- | e a4+ g | c2- c4 | ( g a ) g | ( f2d | f2d- ) | c2 ||

--------------504729C9944C9B5440683443--

From mutex-owner@mail.gmd.de  Mon Mar 20 19:42:40 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Some Problems with PMX??
To: mutex@gmd.de, Silvio.Weiland@mailbox.tu-dresden.de
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> Date: Mon, 20 Mar 2000 19:01:56 +0100
> From: Silvio Weiland <sw2@Rcs1.urz.tu-dresden.de>

> For some days I' ve been using LateX/MusixTeX to write my music. But now
> I got some Problems with. I tried to find the error for days, but I
> failed. [...]

> What is wrong in my MTX-File? What's the problem? What causes this
> error?

The problem is that already in bar 3 there are some very, very deep notes.

The cause is you(r input).

As beginner one should code only a few bars and then process that bars.
There are too many possibilities to generate a pmx-input which cannot
be processed by PMX or an TeX-input which fails during TeX-phase.

If you have such a case then PMX helps you because it tells you the
bars it could already deal with - in your case up to bar 15. So
shorten your input up to that bar and have a look at the output.
To get some output it may be neccessary to convince TeX by telling
"q" if an error is detected in both(!) TeX-phases.

In your case the dvi-output of the 1st 15 bars was so horrible, that
my dvi-viewer crashed :-(

> Could sombody help me to find the error?

Binary search.

Hope this hilft -- Werner

From mutex-owner@mail.gmd.de  Mon Mar 20 21:42:49 2000
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Thanks for rapidly help.

I tried the first bars, and the result was really more than horrible. I fixed
the mistakes and now it works and looks fine....
Thank you that you helped an absolut beginner, cause I didn't know what I can
do. But I hope, I'm getting better soon and that don't have to nerve the
mutex-mailing-list with such low-level-stuff.

Silvio

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From: "Diego Gonzalez" <dgonzal@sce.cnc.una.py>
To: <mutex@gmd.de>
Subject: PMI files
Date: Tue, 21 Mar 2000 06:20:45 -0600
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What are exactly PMI Files?

                 David González

From mutex-owner@mail.gmd.de  Tue Mar 21 00:10:31 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMI files
Date: Mon, 20 Mar 2000 15:04:49 -0800
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Don't know.  But if you are really asking about pml files, that is the
filename extension for the log files that are generated every time you run
PMX.  They contain any error messages or warnings issued by PMX.  There is
no need to save them for any reason at all.

--Don Simons

> -----Original Message-----
> From:	Diego Gonzalez [SMTP:dgonzal@sce.cnc.una.py]
> Sent:	Tuesday, March 21, 2000 4:21 AM
> To:	mutex@gmd.de
> Subject:	PMI files
> 
> What are exactly PMI Files?
> 
>                  David González
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Two instruments on one stuff
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Hi,

Is it possible to have two instruments on one and the same stuff?

I plan to publish some choral scores with the use of MusixTeX/MXlyr, and
I'd like to retain the possibility to quickly change the layout: either
to join tenor with bass or to provide a separate stuff to him. From what
I see now, I can hardly figure out that this is at all possible: I have
to write tenor+bass scores as if it was a single 'instrument' issuing
chords:

\zql L\qu b
\zql M\qu c
\zql L\qu b
...

rather than

\ql{LML} & \qu{bcb}
(this example may be musically unreasonable, just to show the idea)

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Tue Mar 21 01:36:29 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Two instruments on one stuff
Date: Mon, 20 Mar 2000 16:13:07 -0800
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I cannot speak for M-Tx (which you would need to use for lyrics), but in PMX
it is *very* easy to put two instruments on one staff (actually the PMX
terminology is "two lines of music" on one staff).  And if later you want to
change them to separate staves, that would also be very easy, simply having
to replace the "//" with "/" at the end of the first of each bass/tenor pair
of input lines.

If you do not or cannot use a pre-processor, everything will be hard.

--Don Simons

-----Original Message-----
From:	Alexander V. Voinov [SMTP:avv@quasar.ipa.nw.ru]
Sent:	Monday, March 20, 2000 3:42 PM
To:	mutex@gmd.de
Subject:	Two instruments on one stuff

Hi,

Is it possible to have two instruments on one and the same stuff?

I plan to publish some choral scores with the use of MusixTeX/MXlyr, and
I'd like to retain the possibility to quickly change the layout: either
to join tenor with bass or to provide a separate stuff to him. From what
I see now, I can hardly figure out that this is at all possible: I have
to write tenor+bass scores as if it was a single 'instrument' issuing
chords:

\zql L\qu b
\zql M\qu c
\zql L\qu b
...

rather than

\ql{LML} & \qu{bcb}
(this example may be musically unreasonable, just to show the idea)

Thank you in advance

Alexander

From mutex-owner@mail.gmd.de  Tue Mar 21 02:51:29 2000
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To: "Simons, Don" <DSimons@logicon.com>, "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: Two instruments on one stuff
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hi,

Thank you, I shall try PMX. Does it work well with MikTeX?

Alexander

"Simons, Don" wrote:
> 
> I cannot speak for M-Tx (which you would need to use for lyrics), but in PMX
> it is *very* easy to put two instruments on one staff (actually the PMX
> terminology is "two lines of music" on one staff).  And if later you want to
> change them to separate staves, that would also be very easy, simply having
> to replace the "//" with "/" at the end of the first of each bass/tenor pair
> of input lines.
> 
> If you do not or cannot use a pre-processor, everything will be hard.
> 
> --Don Simons
> 
> -----Original Message-----
> From:   Alexander V. Voinov [SMTP:avv@quasar.ipa.nw.ru]
> Sent:   Monday, March 20, 2000 3:42 PM
> To:     mutex@gmd.de
> Subject:        Two instruments on one stuff
> 
> Hi,
> 
> Is it possible to have two instruments on one and the same stuff?
> 
> I plan to publish some choral scores with the use of MusixTeX/MXlyr, and
> I'd like to retain the possibility to quickly change the layout: either
> to join tenor with bass or to provide a separate stuff to him. From what
> I see now, I can hardly figure out that this is at all possible: I have
> to write tenor+bass scores as if it was a single 'instrument' issuing
> chords:
> 
> \zql L\qu b
> \zql M\qu c
> \zql L\qu b
> ...
> 
> rather than
> 
> \ql{LML} & \qu{bcb}
> (this example may be musically unreasonable, just to show the idea)
> 
> Thank you in advance
> 
> Alexander
From mutex-owner@mail.gmd.de  Tue Mar 21 08:11:41 2000
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Subject: Re: PMI files
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On Tue, 21 Mar 2000, Diego Gonzalez wrote:

> What are exactly PMI Files?
> 
>                  David González

It could be that you have stumbled on one of my editions, where I use (my
own personal standard) .pmi files for .tex files which I include from
.pmx-files. They are just ordinary .tex-files.

/Johan Tufvesson

From mutex-owner@mail.gmd.de  Tue Mar 21 09:42:37 2000
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: RE: Two instruments on one stuff
To: mutex@gmd.de
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> I cannot speak for M-Tx (which you would need to use for lyrics), but in PMX
> it is *very* easy to put two instruments on one staff (actually the PMX
> terminology is "two lines of music" on one staff).  

Actually in M-Tx you should just change the style from SATB to 
SATB4 :-)

ciao, .mau.

(there should be no problem in having a different TeX distribution, BTW)

From mutex-owner@mail.gmd.de  Wed Mar 22 18:43:50 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX 2.2 is here!
Date: Wed, 22 Mar 2000 09:28:20 -0800
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PMX is a text-based preprocessor for MusiXTeX that will allow you to typeset
scores and parts with far less effort than by using MusiXTeX alone.

All files necessary for running the DOS version in a WIN95 DOS window are
contained in

http://www.gmd.de/Misc/Music/musixtex/software/pmx/pmx220.zip.  

The full instruction manual is in pmx220.tex (use LaTeX 2.09).  There is
also a postscript image in case you have problems TeX'ing it.  If you have
not used PMX before, you should read the first few sections of the manual to
get started, as there is no automatic install or online help.

ref220.tex is a summary of all the legal PMX "symbols" (commands).  

Non-DOS users:  You will either have to compile the FORTRAN source, or see
the manual for locations of other versions, or wait and other versions may
appear on ftp.gmd.de.
 
What's new since Version 2.10?

The biggest news is the addition of MIDI file output capability.  If you
simply enter "I" near the top of the .pmx file, PMX will generate
[jobname].mid in the working directory, using default settings for all
available options.  Please see the manual for description of the options,
which include tempo, midi instrument selection, setting the gap at the end
of each tone, inserting pauses, and replicating entire sections.  Please be
aware of the following two restrictions in creating MIDI files: (1) The only
ties that are recognized are those with no index.  Among other things this
means that in tied chords at most one note will sound tied while the rest
will be reattacked; (2) Changing the number of instruments in mid-stream
will cause unpredictable results.

Other new additions: 
French violin clef. ("f" or "7")
Dotted 32nd rest.
3-digit page numbers. 
Numerous bug fixes as usual. See comments near top of pmxab.for for a full
list.

--Don Simons
Chief scientist, Dr. Don's PC and Harpsichord Emporium
From mutex-owner@mail.gmd.de  Wed Mar 22 21:42:50 2000
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Subject: Musical symbols in text
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Hi,

Is there some way of putting individual musical symbols in text
documents, without having to figure out how to write a hundred lines
of MusiXTeX?  Eg. if I wanted to say "B-flat", with a proper flat
sign, in a LaTeX paragraph, how would I go about doing it?

Thanks, Silas

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Do not reveal the confidential talk of another" - Proverbs 25:9
From mutex-owner@mail.gmd.de  Wed Mar 22 22:13:57 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Musical symbols in text
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> From: "Silas S. Brown" <ssb22@cam.ac.uk>
> Date: Wed, 22 Mar 2000 20:30:25 +0000 (GMT)

> Is there some way of putting individual musical symbols in text
> documents, without having to figure out how to write a hundred lines
> of MusiXTeX?  Eg. if I wanted to say "B-flat", with a proper flat
> sign, in a LaTeX paragraph, how would I go about doing it?

B~\fl1

From mutex-owner@mail.gmd.de  Wed Mar 22 22:44:10 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
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Subject: Re: Musical symbols in text
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 > Is there some way of putting individual musical symbols in text
 > documents, without having to figure out how to write a hundred lines
 > of MusiXTeX?  Eg. if I wanted to say "B-flat", with a proper flat
 > sign, in a LaTeX paragraph, how would I go about doing it?
 >
You would print out for yourself tables of the main musixtex fonts and 
then access the individual "characters" in your document.

Bob T.
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CC: mutex@gmd.de
Subject: Re: Musical symbols in text
References: <14553.11617.101201.82795@ssb22.joh.cam.ac.uk>
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\flat  \natural  and  \sharp  all exist in plain LaTeX (Lamport's LaTeX
book p 43) and are intended for things like B-flat in text.  The symbols
likely come from a different font than the MusiXTeX accideltals.

Regards,
Mogens Lemvig Hansen


Silas S. Brown wrote:
> 
> Hi,
> 
> Is there some way of putting individual musical symbols in text
> documents, without having to figure out how to write a hundred lines
> of MusiXTeX?  Eg. if I wanted to say "B-flat", with a proper flat
> sign, in a LaTeX paragraph, how would I go about doing it?
> 
> Thanks, Silas
> 
> --
> Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas
> 
> "Do not reveal the confidential talk of another" - Proverbs 25:9
From mutex-owner@mail.gmd.de  Thu Mar 23 09:21:29 2000
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Subject: Re: Musical symbols in text
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On Wed, 22 Mar 2000, Silas S. Brown wrote:

> Hi,
> 
> Is there some way of putting individual musical symbols in text
> documents, without having to figure out how to write a hundred lines
> of MusiXTeX?  Eg. if I wanted to say "B-flat", with a proper flat
> sign, in a LaTeX paragraph, how would I go about doing it?
$\flat$ and $\sharp$ are included in plain TeX and therefore also
in Latex. No need for musixtex.
Christof

From mutex-owner@mail.gmd.de  Thu Mar 23 10:15:07 2000
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Date: Thu, 23 Mar 2000 09:54:33 +0100
From: taupin <taupin@lps.u-psud.fr>
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Has somebody a version of musixflx.exe running on a 486 with NO
math-coprocessor?

Juraj.Chlpik@fmph.uniba.sk wrote:
> 
> Dear Mr. Tauplin
> 
> I have downloaded your (I hope the newest) version of MusiXTeX T.98. I worked
> with an older version of MusicTeX from April 1994 untill now. So I was in fact
> surprised, when I had found the new version on Internet. The huge amount of
> possibilities offerd by the MusiXTeX is amazing. Namely, the sloping slur archs
> and some new macros to help a typesetter to write a text under choir scores.
> Everithing is good and I am satisfied. BUT...
> Due to the absence of the "glue" macro \temps you decided to calculate the
> right measures of bars by a special program "musixflx.exe". The program I
> downloaded doesn't want to run in my computer. I have got an older 486 without
> any numerical coprocessor and your program writes down the error message: "Can't
> find numerical coprocessor." And is terminated. So I tried to compile the
> source code of the program by using a Borland C++ compiler. I am not too skilly
> in programming, so that is my problem. The compiler is not able to compile it,
> because there are some function error messages in the message window. I don't
> know, what to do.
> 
> In according to my problems alredy described, I would like to ask you to send me
> either some helpfull advice or, and it would be better, the programm copiled
> without using a numerical coprocessor. I work under MS Windows 95.
> 
> I would be very glad if I had a complete and working MusiXTeX.
> 
> Yours sincerely
> 
> Juraj Chlpik

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Thu Mar 23 20:55:01 2000
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From: "avr" <avr@kk.khbo.be>
To: <mutex@gmd.de>
Subject: Re: Musical symbols in text
Date: Thu, 23 Mar 2000 20:40:39 +0100
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Only for the flat, natural and sharp ( [ \ ] )

Big Characters:

\font\flatb = cmmib10 scaled 2400
\def\title{Waltz in A{\flatb [} Major}% {\flatb [ \ ] }

Normal text:
\def\title{Waltz in A$\flat$ Major}% $\flat \natural \sharp $

For an example of this look at http://www.gmd.de/Misc/Music/scores/  Chopin
Waltz op.69.1

For all MusiXTeX symbols, i vote for the suggestion of Mr. Icking

From mutex-owner@mail.gmd.de  Thu Mar 23 22:10:03 2000
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From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
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Greetings,

	PMX 2.2 for MacOS has been uploaded to GMD, and should show up in
<http://www.gmd.de/Misc/Music/> shortly.

	It is also available from
<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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From: Maurizio Codogno <mau@beatles.cselt.it>
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Subject: meter with notes
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In some Italian scores I found meter indication in a peculiar way:
instead of 4/4 or C, for example, you have 
    4
   \ql
(let me write it 4 \over \ql for simplicity). 

Similarly, 2/2 is 2\over \hl and 6/8 is 2 \over \qlp .

I found that notation really useful, especially for beginners, and I wonder
(a) whether it is common outside Italy and (b) if MusixTeX supports it.

ciao, .mau.
From mutex-owner@mail.gmd.de  Fri Mar 24 09:11:13 2000
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On Thu, 23 Mar 2000, Maurizio Codogno wrote:

> In some Italian scores I found meter indication in a peculiar way:
> instead of 4/4 or C, for example, you have 
>     4
>    \ql
> (let me write it 4 \over \ql for simplicity). 
> 
> Similarly, 2/2 is 2\over \hl and 6/8 is 2 \over \qlp .
> 
I haven't seen it yet. What is common in mensural notation is
to indicate the beat unit at the horizontal position of the meter but
above the stave. Is there a sign in musixtex for tempus perfectum (full
circle)?
Christof.

From mutex-owner@mail.gmd.de  Fri Mar 24 09:56:18 2000
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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: meter with notes
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Christof Biebricher wrote:

> On Thu, 23 Mar 2000, Maurizio Codogno wrote:
>
> > In some Italian scores I found meter indication in a peculiar way:
> > instead of 4/4 or C, for example, you have
> >     4
> >    \ql
> > (let me write it 4 \over \ql for simplicity).
> >
> > Similarly, 2/2 is 2\over \hl and 6/8 is 2 \over \qlp .
> >
> I haven't seen it yet. What is common in mensural notation is
> to indicate the beat unit at the horizontal position of the meter but
> above the stave. Is there a sign in musixtex for tempus perfectum (full
> circle)?

yes and no! With the help of one of the Lilypond gurus, Mats Bengtsson, I
got these mensural notation symbols added to the lilypond feta fonts in
order to use them for my modern edition of music by Thomas Ravenscroft. You
may download these fonts and the associated MusiXTeX macros as
ftp://ftp.gmd.de/music/scores/ravenscroft/common.zip . Have a look at the
Ravenscroft M-tx sources to see how the symbols may be used. The macros
also make diamond shaped mensural notation note shapes and the
corresponding rests available.

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Fri Mar 24 10:11:15 2000
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Date: Fri, 24 Mar 2000 10:04:03 +0100 (MET)
From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: Re: meter with notes
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 Christof:
 
> > In some Italian scores I found meter indication in a peculiar way:
> > instead of 4/4 or C, for example, you have 
> >     4
> >    \ql
> > (let me write it 4 \over \ql for simplicity). 
> > 
> > Similarly, 2/2 is 2\over \hl and 6/8 is 2 \over \qlp .
> > 
> I haven't seen it yet.

So probably it's a peculiarity of some Italian publisher. Schade.


> What is common in mensural notation is
> to indicate the beat unit at the horizontal position of the meter but
> above the stave. Is there a sign in musixtex for tempus perfectum (full
> circle)?

Never heard of, I am sorry.

ciao, .mau.

From mutex-owner@mail.gmd.de  Fri Mar 24 10:41:14 2000
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Maurizio Codogno'" <mau@beatles.cselt.it>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: meter with notes
Date: Fri, 24 Mar 2000 11:34:15 +0200
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Buon giorno,

I haven't seen any actual scores with this method of indicating a time signature; however, I've seen it used in the examples of the web site "Aural Comprehension Guide" http://www.wmich.edu/mus-theo/etg/et_guide.html. (This link may have errors, but...) MusixTeX doesn't support it; however, I liked this functionality and hacked up a few macros (included below) to enable me to do this. They are not perfect, but they do the job.

Cheers,
MK

%==== Snip here =======================================

\makeatletter

\newdimen\qn@wd
\qn@wd\fontdimen\si@\musicnorfont

%%% Dotted Minim (\hlp)
\def\Mnp{\vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\@ight
         \raise\internote\hbox{\musixchar\z@}%
         \hss}
      \vss}}

%%% Minim (\hl)
\def\Mnm{\vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\@ight
         \hss}
      \vss}}

%%% Dotted Crotchet (\qlp)
\def\Crp{\vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \raise\internote\hbox{\musixchar\z@}%
         \hss}
      \vss}}

%%% Crotchet (\ql)
\def\Crt{\vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \hss}
      \vss}}

%%% Dotted Quaver (\clp)
\def\Qvp{\setbox\ch@box\hbox{\musicnorfont\char\@xlv}%
      \vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \lower\si@\internote\box\ch@box
         \raise\internote\hbox{\musixchar\z@}%
         \hss}
      \vss}}

%%% Quaver (\cl)
\def\Qvr{\setbox\ch@box\hbox{\musicnorfont\char\@xlv}%
      \vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \lower\si@\internote\box\ch@box
         \hss}
      \vss}}

%%% Dotted SemiQuaver (\cclp)
\def\Sqp{\setbox\ch@box\hbox{\musicnorfont\char46}%
      \vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \lower\si@\internote\box\ch@box
         \raise\internote\hbox{\musixchar\z@}%
         \hss}
      \vss}}

%%% SemiQuaver (\ccl)
\def\Sqv{\setbox\ch@box\hbox{\musicnorfont\char46}%
      \vbox\@to\thr@@\internote{\offinterlineskip
      \hbox\@to\qn@wd{%
         \hss
         \vrule\@height\z@\@depth\si@\internote\@width\lthick\kernm\lthick
         \musicnorfont\s@v@n
         \lower\si@\internote\box\ch@box
         \hss}
      \vss}}

\def\Meterfrac#1#2{%
  \setbox\toks@box\vbox{\hbox{~\meterfont{#1}}}%
  \vbox\@to\@ight\internote{\offinterlineskip
  \hbox\@to\wd\toks@box{\hss{\meterfont{#1}}\hss}\vss
  \hbox\@to\wd\toks@box{#2\hss}}}

\makeatother

% Usage: 

\generalmeter{\Meterfrac{4}{\Crt}} % 4 \over \ql

%==== Snip here =========================================

-----Original Message-----
From:	Maurizio Codogno [SMTP:mau@beatles.cselt.it]
Sent:	Thursday, March 23, 2000 23:11
To:	mutex@gmd.de
Subject:	meter with notes

In some Italian scores I found meter indication in a peculiar way:
instead of 4/4 or C, for example, you have 
    4
   \ql
(let me write it 4 \over \ql for simplicity). 

Similarly, 2/2 is 2\over \hl and 6/8 is 2 \over \qlp .

I found that notation really useful, especially for beginners, and I wonder
(a) whether it is common outside Italy and (b) if MusixTeX supports it.

ciao, .mau.

From mutex-owner@mail.gmd.de  Fri Mar 24 11:41:13 2000
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From: Straeten Hans-Martin <Hans-Martin.Straeten@softlab.de>
Reply-To: martin.straeten@gmx.de
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: beaming 32 and dotted 16
Date: Fri, 24 Mar 2000 11:28:03 +0100
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Hi,

you can see my problem in the following mtx code.
Is there a way to code it correct in mtx or pmx?

thanks,

Martin Straeten


%-BEGIN MTX-CODE---------------------------------

Meter: 3/8
Sharps: 2
Systems: 2
Size: 29
Style: Solo

%
%  I need beaming this way
%   ________________________
%  |________________________|
%  |__  |    |__  |    |__  |
%  |    |    |    |    |    |
%  |    |    |    |    |    |
% x    x .  x    x    x    x .
%

%  Using this ...

%%w100m 
b3 g1d  a3 f1d g3 e1d  |

%  I get:
%   ________________________
%  |________________________|
%  |__  |  __|    |  __|    |
%  |    |    |    |    |    |
%  |    |    |    |    |    |
% x    x .  x    x    x    x .


%  Coding this ...

[ b3+ g1d ][ a3 f1d ][ g3 e1d ] |

%  won't help, too
%   ________________________
%  |____|    |____|    |____|
%  |__  |    |__  |    |__  |
%  |    |    |    |    |    |
%  |    |    |    |    |    |
% x    x .  x    x    x    x .

%-END MTX-CODE---------------------------------

From mutex-owner@mail.gmd.de  Fri Mar 24 14:13:28 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "taupin" <taupin@lps.u-psud.fr>, "mutex list" <mutex@gmd.de>
Cc: <Juraj.Chlpik@fmph.uniba.sk>
Subject: Re: [Fwd: musixflx] - Need for a musixflx without Math Coprocessor
Date: Fri, 24 Mar 2000 07:51:15 -0500
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Greetings!

At the last update to musixflx, I too was running a machine without a math
co-processor, so (on the inspiration of Werner Icking) several contributions
were made to a general archive containing pre-compiled executables for a
variety of  musixflx installations.  This archive can be downloaded from:

  ftp://ftp.gmd.de/music/musixtex/musixflx.zip

In particular, find the musixflx.exe compiled for DOS-16 without a math
coprocessor.  That should run on ANY PC.  I know by experience that it runs
on an old XT.

Another alternative (which once worked for me) is to download a coprocessor
emulater (EM87) and load that before running musixflx.  (Such things can be
found by searching http://www.simtel.net/simtel.net/ (The World-Wide Simtel
Archive).  One SHAREWARE example is:

  http://www.simtel.net/pub/simtelnet/msdos/emulate/em87v1_3.zip

Now, with that problem handled, be aware (encouraged?, ... it's not your
fault) that the Borland C++ compiler
(http://www.borland.com/bcppbuilder/freecompiler/cppc55steps.html) cannot
compile the musixflx.c code... This compiler is great for C++ Code, but has
a notorious "unstability" toward compiling pure C code under Windows 95.
(Borland has not admitted there is a problem yet, although the chatter about
it has been consistent and frequent.  See the newsgroup:
borland.public.cpp.commandlinetools).

Another Free compiler is the older Borland Turbo C 2.01, which can be
obtained from:

  http://community.borland.com/museum/borland/software/TC201.zip

This is about as "PURE DOS" as you can go... The problem is that it is
limited by the old 64K data models... To compile musixflx.c successfully you
have to declare all the data arrays as External and put them in another
separate C module, then compile it as two C files, linked together.  This
allows Turbo C to assign the data to its own area in the memory map.  (Hint
thanks to Dirk Laurie.)

If you really want a nice FREE C Compiler (cannot do C++), you might also
try LCC-WIN:

  ftp://ftp.cs.virginia.edu/pub/lcc-win32/lccwin32.exe

This one can compile musixflx.c, too, but has an add-on Fortran to C package
available, that some have used successfully to recompile PMX as a C program.
(This is a very capable package for budding Windows developers using C.)

At last, there is the old standby, DJGPP, the MSDOS Port of the GNU C
compiler...

   http://www.delorie.com/djgpp/

However, this installation is really a major commitment, with lots of
notorious setup problems, and it only makes DOS programs that run under on
386 or better anyway.

Finally, I find it curious that any version of Musixflx.exe does not run
under Windows 95.  The problems we had in the past were typical when we
tried to run version of Musixflx compiled for Extended Memory models such as
Windows 95 on DOS based machines.  I am wondering if you (Juraj) may still
have some other problem with the Windows installation.. (I hate answers like
that :-)).... Anyway, the DOS-16 version in the archives should certainly
work for you... That is about as old as it goes.

Hope this helped.

Joel Hunsberger
jhunsberger@i2k.com

-----Original Message-----
From: taupin <taupin@lps.u-psud.fr>
To: mutex list <mutex@gmd.de>
Date: Thursday, March 23, 2000 5:17 AM
Subject: [Fwd: musixflx]


>Has somebody a version of musixflx.exe running on a 486 with NO
>math-coprocessor?
>
>Juraj.Chlpik@fmph.uniba.sk wrote:
>>
>> Dear Mr. Tauplin
>>
>> I have downloaded your (I hope the newest) version of MusiXTeX T.98. I
worked
>> with an older version of MusicTeX from April 1994 untill now. So I was in
fact
>> surprised, when I had found the new version on Internet. The huge amount
of
>> possibilities offerd by the MusiXTeX is amazing. Namely, the sloping slur
archs
>> and some new macros to help a typesetter to write a text under choir
scores.
>> Everithing is good and I am satisfied. BUT...
>> Due to the absence of the "glue" macro \temps you decided to calculate
the
>> right measures of bars by a special program "musixflx.exe". The program I
>> downloaded doesn't want to run in my computer. I have got an older 486
without
>> any numerical coprocessor and your program writes down the error message:
"Can't
>> find numerical coprocessor." And is terminated. So I tried to compile the
>> source code of the program by using a Borland C++ compiler. I am not too
skilly
>> in programming, so that is my problem. The compiler is not able to
compile it,
>> because there are some function error messages in the message window. I
don't
>> know, what to do.
>>
>> In according to my problems alredy described, I would like to ask you to
send me
>> either some helpfull advice or, and it would be better, the programm
copiled
>> without using a numerical coprocessor. I work under MS Windows 95.
>>
>> I would be very glad if I had a complete and working MusiXTeX.
>>
>> Yours sincerely
>>
>> Juraj Chlpik
>
>--
>
>------------------------------------------------------------------------
>  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
>  E-mail= mailto:taupin@lps.u-psud.fr
>  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
>(33)1.60.10.26.44
>
>------------------------------------------------------------------------
>

From mutex-owner@mail.gmd.de  Fri Mar 24 16:01:44 2000
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From: John_Siebenthaler@Dell.com
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To: mutex@gmd.de
Subject: Chord names above staff
Date: Fri, 24 Mar 2000 08:52:30 -0600
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Hello all,

Does MusiXTeX provide a means of writing chord names above the bars in the
style of Jazz "Lead Sheets," as in the Real Book etc.

Thanks,

John Siebenthaler
Software Engineer
ESG Secondary Storage Management Software
Dell Computer
(512) 723-1368


From mutex-owner@mail.gmd.de  Fri Mar 24 19:31:14 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: beaming 32 and dotted 16
Date: Fri, 24 Mar 2000 10:13:53 -0800
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There is no automatic way to do what you want.  If no one else posts the
necessary in-line TeX before end-of-business today (in California, 7 hours
from now), I'll work it out for you sometime after that.

--Don Simons

> -----Original Message-----
> From:	Straeten Hans-Martin [SMTP:Hans-Martin.Straeten@softlab.de]
> Sent:	Friday, March 24, 2000 2:28 AM
> To:	'mutex@gmd.de'
> Subject:	beaming 32 and dotted 16
> 
> Hi,
> 
> you can see my problem in the following mtx code.
> Is there a way to code it correct in mtx or pmx?
> 
> thanks,
> 
> Martin Straeten
> 
> 
> %-BEGIN MTX-CODE---------------------------------
> 
> Meter: 3/8
> Sharps: 2
> Systems: 2
> Size: 29
> Style: Solo
> 
> %
> %  I need beaming this way
> %   ________________________
> %  |________________________|
> %  |__  |    |__  |    |__  |
> %  |    |    |    |    |    |
> %  |    |    |    |    |    |
> % x    x .  x    x    x    x .
> %
> 
> %  Using this ...
> 
> %%w100m 
> b3 g1d  a3 f1d g3 e1d  |
> 
> %  I get:
> %   ________________________
> %  |________________________|
> %  |__  |  __|    |  __|    |
> %  |    |    |    |    |    |
> %  |    |    |    |    |    |
> % x    x .  x    x    x    x .
> 
> 
> %  Coding this ...
> 
> [ b3+ g1d ][ a3 f1d ][ g3 e1d ] |
> 
> %  won't help, too
> %   ________________________
> %  |____|    |____|    |____|
> %  |__  |    |__  |    |__  |
> %  |    |    |    |    |    |
> %  |    |    |    |    |    |
> % x    x .  x    x    x    x .
> 
> %-END MTX-CODE---------------------------------
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Subject: \rightrepeat before \Endpiece
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Hello,

a piece ends with a repeat.

So I typeset

\rightrepeat\Endpiece

and get BOTH symbols. I only need the "end of repeat"-symbol...
What shall I do?

Thanks,

Michael Hierweck

From mutex-owner@mail.gmd.de  Fri Mar 24 20:48:54 2000
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Date: Fri, 24 Mar 2000 13:35:49 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Michael Hierweck <michael@hierweck.de>
cc: mutex@gmd.de
Subject: Re: \rightrepeat before \Endpiece
In-Reply-To: <200003241826.TAA02599@post.webmailer.de>
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On Fri, 24 Mar 2000, Michael Hierweck wrote:

> Hello,
> 
> a piece ends with a repeat.
> 
> So I typeset
> 
> \rightrepeat\Endpiece
> 
> and get BOTH symbols. I only need the "end of repeat"-symbol...
> What shall I do?
> 
> Thanks,
> 
> Michael Hierweck
> 
Try \endpiece (lowercase doesn't give the heavy final double bar).

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: [Long] How to Compile Musixflx using FREE Turbo C
Date: Fri, 24 Mar 2000 18:06:52 -0500
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How to Compile Musixflx.exe for MS-DOS using Borland Turbo C

Purpose:  To describe a method by which one can restructure and
recompile musixflx.c using the FREE Borland Turbo C compiler.

Problem:  Some older PCs cannot run the compiled musixflx.exe provided
with the MusixTex distribution.  Also, some users may want to make
local changes or recompile it for various reasons.  However, certain free
C compilers manifest problems when compiling some C code.  (Discussing
all the various problems is beyond the scope of this article.)

Caveat:  This article is a bit much, but this is primarily for the
"newbies"...
Other whiners or complainers should see the final thought at the very end.

Background:  The original musixflx was (apparently) developed and compiled
in the Unix context, using Gcc (for which there is an MSDOS Port.)
Gcc implements a "flat" memory model, meaning that all memory available is
considered to be one big area with no internal boundaries.  Following a
simplistic approach, all data for musixflx is stored in large arrays, set up
to be bigger than what the most demanding user might need.   (This avoids
the
complications of dynamic memory allocation... maybe that is what should be
fixed! :-))  Whatever one's opinion on that issue, as musixflx grew, to
handle more cases of "this and that," so also did the internal data arrays
until they eventually became too large for the limited "memory partitions"
enforced by some of the older C compilers (like Borland Turbo C!)

Recently Borland placed the Turbo C 2.01 compiler package in their on-line
museum, making it free for all, which provides a simple, yet very
significant
C compiler for those who are able to download the file and install it.

It is great(!!) that Borland Turbo C 2.01 is now free, mainly because it
does support older PCs, and it is very simple to install.  (Did I mention
that it also is very stable?!)... However, it enforces size constraints on
static data, such that some of the data needed for musixflx, when grouped
together, is rejected because it is too many bytes for the maximum storage
allowed for one Turbo C module.

The solution is simply to move chunks of static data into as many separate
modules as needed to avoid exceeding the limits imposed by the compiler.
This method describes that process in a few simple, but detailed steps,
such that anyone should be able to restructure the musixflx code and
ultimately compile musixflx.exe with Turbo C 2.01.

System Requirements:  IBM PC (286 or better) with Internet Access.

Skills:  Ability to work in MS-DOS (console windows) on the PC and make
modifications to text files.

Process:

1)  Download and install the Free Borland Turbo C 2.01 Package available at:

http://community.borland.com/museum/borland/software/TC201.zip

Install the package and make sure that the installation path (e.g. C:\TC) is
added to the PATH variable under MS-DOS.  (To do that, you may need to
modify
C:\autoexec.bat, adding ";C:\TC" at the end of the PATH= statement, or you
can temporarily add it to the path once you are in the MS-DOS console
window.)

To check out your installation:

Start an MSDOS console window (MS-DOS Prompt).  (For some, this can be
selected
from START->PROGRAMS->MS-DOS Prompt.  If you don't see that, look under
PROGRAMS->
ACCESSORIES.  No Luck?  You can always click START, then RUN and type
COMMAND.COM
in the box... :-((

At the Dos Prompt type... (I assume you know that C:\> illustrates the
prompt
provided by the system, but you only type "PATH" followed by the enter
key)...

  C:\> PATH

You should see C:\TC in the list of directories printed out.  IF NOT, then
enter

  C:\> PATH=C:\TC;%PATH%

Now, enter PATH again and see if it is present.  (CAUTION:  If you had to do
this,
then you may want to put C:\TC in your PATH statement in C:\Autoexec.bat,
and
REBOOT.  Otherwise, you will need to do the second step EACH TIME you
restart
the MS-DOS Window.)

Finally, type...

  C:\> tcc

You should see the Turbo C 2.01 help screen, explaining compiler options.

2)  Obtain the musixflx.c source code from the MusixTex distribution.  For
this example, the source code in MusixTex .T98 is used (unchanged since
.T83).
Place the file in a working directory on your PC.  (For this example I
assume
that you created C:\MFX and placed musixflx.c in that directory.)

Note:  In all the examples below, the Musixflx.c Line Numbers given imply
that you are working with the file musixflx.c obtained from the distribution
for MusixTex .T98.  (Adjust as needed to get the results shown!).

3)  Using any suitable editor (Notepad will work fine for this activity), do
the
following steps...  Make sure that all files are placed in the same
directory
as the musixflx.c file, (which I assume is C:\MFX.)...

a)  Create the file "globsize.h" and COPY (NOT CUT) lines 42 - 44 from
musixflx.c
into this file... The end result should look like this:

---- globsize.h starts on the next line --------------
#define MAX_SIGNS    128  /* max signature changes  */
#define MAX_SECTIONS 128  /* max sections */
#define MAX_BARS    2048  /* max number of bars */
---- globsize.h ended at the line above --------------

b)  Create the file "ma.c" which includes a new first line, and then the
contents
of musixflx.c:line 58, edited as shown below (replace the final comma with a
;).
The final result should look like this:

---- ma.c starts on the next line ------------
#include "globsize.h"
double hardbarlength[MAX_BARS], softbarlength[MAX_BARS];
---- ma.c ended at the line above -------------

c)  Create the file "mb.c" with a new first line, and the contents from
musixflx.c:Line 59, edited as shown below (add "double " to at the start,
and
replace the final comma with a ;).  The final result should look like this:

---- mb.c starts on the next line --------
#include "globsize.h"
double width_leftrightrepeat[MAX_BARS], width_leftrepeat[MAX_BARS];
---- mb.c ended at the line above --------

d)  Create the file "mc.c" with a new first line, and the contents from
musixflx.c:Lines 60-62, edited as shown below.  (Add "double " to the
beginning of the second line.)

---- mc.c starts on the next line -----
#include "globsize.h"
double eff_hardlength[MAX_SECTIONS], eff_softlength[MAX_SECTIONS],
       oldsignskip[MAX_SIGNS], signskip[MAX_SIGNS],
       futuresignskip[MAX_SIGNS], tempholdskip, hardsign /* jh-1 */;
---- mc.c ended at the line above ----

Make sure all four files are saved and in the same directory as musixflx.c.

4)  Edit musixflx.c to make a two minor changes, as follows:

a)  Change musixflx.c line 2... (Add +TCC to the version string.)

Was(2)--> #define MYVERSION "/T.63dt+jh.2\0" /* Revision jh.2  jh-2 */
New(2)--> #define MYVERSION "/T.63dt+jh.2+TCC\0" /* Revised for TURBO C
Compile */

(This change will keep you, and others from confusing the distributed
version
from your special compiled version.)

b)  Change musixflx.c line 58... (Add extern at the start of the line.)

Was(58)--> double hardbarlength[MAX_BARS], softbarlength[MAX_BARS],
New(58)--> extern double hardbarlength[MAX_BARS], softbarlength[MAX_BARS],

Save these changes.  It is now time to compile!

5)  Compiling a revised Musixflx.exe...

a)  Start an MS-DOS Window (... an "MS-DOS Prompt.")  See step 1 if you
don't
know what this means.  Change the default directory to be C:\MFX...

  CD \MFX     (... if that is the name you used...)

b)  (Check)  Type the command DIR (and press enter)... You should see at
least the
following files in the list of files:

  ma.c
  mb.c
  mc.c
  globsize.h
  musixflx.c

c)  (Check)  Type the command TCC (and press enter)... You should see a full
screen
report of all the compiler options and command line syntax.  If you see
this, you
are ready to compile.  If not, then either Turbo C is not installed in the
path
you think it is (C:\TC ?) or your PATH does not include C:\TC ...  As a last
resort, try entering PATH=C:\TC;%PATH% and then enter TCC again.

Assuming everything checks out as expected...

d)  Compile the files by entering the following command:

  TCC -mh musixflx.c ma.c mb.c mc.c

The response on your screen should look something like this...

  Turbo C  Version 2.01  Copyright (c) 1987, 1988 Borland International
  musixflx.c:
  ma.c:
  mb.c:
  mc.c:
  Turbo Link  Version 2.0  Copyright (c) 1987, 1988 Borland International
          Available memory 295582  <--- (Your mileage may vary :-)

If you have any errors, recheck all files and changes carefully.

You should now have a file "musixflx.exe" and when you enter MUSIXFLX, you
should
see the following printout:

   <<< musixflex 0.83/T.63dt+jh.2+TCC >>>

   ... decoding command line

  Usage: musixflx filename [d|f|s] (optional for debug modes)

e)  Copy this new MUSIXFLX.EXE to replace the distributed version, (if
desired), and
use it at needed.

Helpful Win95 Hint:  You can start "Notepad" from the DOS command prompt by
simply
entering (for example...)

  notepad musixflx.c

Then you can edit files with Windows tools, while keeping the MS-DOS window
open
for command line entry.  (You can also start Windows applications by typing
START application.ext.  This is really quick for files that are associated
with
a given windows tool.  For example "START MYWORD.DOC" should start Microsoft
Word,
editing MYWORD.DOC if you have that on your system.  (Just for fun, try
"START EXPLORER ." ).

Acknowledgments:  Credit goes to Dirk Laurie (author of M-Tx) for calling my
attention to this issue in the first place (over a year ago) and for
outlining
the general solution!

Final Thought:  If you didn't need to know this, Good For You!  However,
everyone
was a newbie once, and everyone is still a "newbie" on a great many
subjects!

Joel Hunsberger
jhunsberger@i2k.com

Other References of possible interest (all FREE):

MusixTex Archive:  ftp://ftp.gmd.de/music/README.html
DJGPP: http://www.delorie.com/djgpp/
LCC-WIN: ftp://ftp.cs.virginia.edu/pub/lcc-win32/lccwin32.exe
Borland Turbo Pascal 5.5:
  http://community.borland.com/museum/borland/software/TP55.zip
Borland C++ (Free Command Line Tools):
ftp://ftpd.inprise.com/download/bcppbuilder/FreeCommandLineTools.exe
  You may need to enter via...
  http://www.borland.com/bcppbuilder/freecompiler/cppc55steps.html
JFE - A nice C/C++ editor: http://home.t-online.de/home/Jens.Altmann/jfe.htm
Syedit - Another nice editor: http://www.mkidesign.com/synedit/info.html
The TeX Online Catalog (links to CTAN):
ftp://ftp.cdrom.com/pub/tex/ctan/help/Catalogue/catalogue.html
C Tutorials: http://www.astentech.com/tutorials/C.html
C++ Tutorials: http://www.astentech.com/tutorials/Cpp.html
TeX FAQ: http://www.tex.ac.uk/cgi-bin/texfaq2html


From mutex-owner@mail.gmd.de  Sat Mar 25 01:02:35 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: <John_Siebenthaler@Dell.com>, <mutex@gmd.de>
Subject: RE: Chord names above staff
Date: Sat, 25 Mar 2000 07:42:44 -0600
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You should read pages 54-55 of MusiXTeX documentation, for other symbols
needed, you should read TeX documentation, I'm sorry I can't tell you more,
but I'm not a TeXpert
                David González

From mutex-owner@mail.gmd.de  Sat Mar 25 12:45:02 2000
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Date: Sat, 25 Mar 2000 12:33:14 +0100
From: Christian Mondrup <scancm@biobase.dk>
Reply-To: scancm@biobase.dk
Organization: Scandiatransplant
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To: John_Siebenthaler@Dell.com
CC: mutex@gmd.de
Subject: Re: Chord names above staff
References: <0F22C14796DDD3118E000090277A4B460E1FE6@ausxmrr112.us.dell.com>
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John_Siebenthaler@Dell.com wrote:

> Hello all,
>
> Does MusiXTeX provide a means of writing chord names above the bars in the
> style of Jazz "Lead Sheets," as in the Real Book etc.

if by "lead sheet" is meant tablature style chord notation I guess this will
be more than difficult. Letter style chords, however, should be possible to
achieve. If you use M-Tx as your typesetting tool you may put chord symbols in
uptexts, see the M-Tx documentation. Generally the MusiXTeX macro \zcharnote
(applied as in-line MusixTeX within M-tx- and pmx sources) may be used to put
any text anywhere. Some TeX formatting may be necessary to place chord
definition digits in complicated jazz chords where you want them.
--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01


From mutex-owner@mail.gmd.de  Sat Mar 25 17:26:16 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "''mutex@gmd.de' '" <mutex@gmd.de>
Subject: RE: beaming 32 and dotted 16; also M-Tx bug?
Date: Sat, 25 Mar 2000 08:20:09 -0800
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Straeten Hans-Martin wrote

>%
>%  I need beaming this way
>%   ________________________
>%  |________________________|
>%  |__  |    |__  |    |__  |
>%  |    |    |    |    |    |
>%  |    |    |    |    |    |
>% x    x .  x    x    x    x .
>%
>...

The pmx code at the bottom of this reply does the job.  

Comments:

1. M-tx inserted a font modifier that messes up the sizes of the digits in
the time signature.  Do I have an obsolete version of M-tx?

2. In pmx.tex I defined a macro \rbbbu that was used automagically by PMX
for the first 32nd.  But I cannot use inline TeX to redefine \tbbbu as
\rbbbu, because \rbbbu itself uses \tbbbu in its definition.

3. If you want to similarly alter any lower beams, you will have to make
another (obvious) redefinition for them.

--Don Simons

=============
---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
1 1 3 8 3 8  0.00000 2 1 2 20 0

0
c:\pctex\texinput\
\\setsize1{\Largevalue}\
%++ 
% If the following line folds, unfold it.
\\def\rft{\let\tbt\tbbbu\def\tbbbu##1{\roff{\tbt{##1}}\let\tbbbu\tbt}}\
%++
% Paragraph 4 line 19 bar 1
w100m
b34 g1d \rft\ a3 f1d \rft\ g3 e1d | /

% Paragraph 7 line 33 bar 2
[ b3+ g1d ][ a3 f1d ][ g3 e1d ] | /

===========================

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From: Reinhard Katzmann <reinhard@suamor.de>
To: "Simons, Don" <DSimons@logicon.com>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: PMX 2.2 is here!
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Hi Don & Others,

> All files necessary for running the DOS version in a WIN95 DOS window are
> contained in
> 
> http://www.gmd.de/Misc/Music/musixtex/software/pmx/pmx220.zip.  

Ok, I downloaded it and tried to build it, no problems seemed to occur
with g77 (except severel warnings as usual and the changes of call in
line 223/236), but f2c bailed out:
 g1etnote:
Error on line 1112 of pmxab.f: Statement order error: declaration after DATA
Warning on line 2853 of pmxab.f: local variable mgap never used
Warning on line 2853 of pmxab.f: local variable crdacc never used
Warning on line 2853 of pmxab.f: local variable relacc never used
Warning on line 2853 of pmxab.f: local variable nmidcrd never used
Warning on line 2853 of pmxab.f: local variable numchan never used
Warning on line 2853 of pmxab.f: local variable notmain never used

scor2prt was build with no problems.

I've included the spec file so you see, how the thing is being compiled.
A word of warning: I was unable to check the whole spec file, though
the only problems might be in the gcc compile process of the converted
pmxab.f file, so use it at your own risk, when you want to create RPMS.

Oh and while we're at it: Comments to the to be created and uploaded
RPMS/spec are welcome. The main changes are that I want to include
f2c binaries as they seem to be more stable and all DOS files are
converted to unix while building. A patch will have to be included
concerning the g77 files and the main difference to the original
zip file will be the removal of .exe files and the added pmx script.
 
> --Don Simons
> Chief scientist, Dr. Don's PC and Harpsichord Emporium

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1/HW-IV (95% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas

--J/dobhs11T7y2rNN
Content-Type: text/plain; charset=us-ascii
Content-Disposition: attachment; filename="pmx.spec"

Summary: a Preprocessor for MusiXTeX
Name: pmx
Version: 2.20
Vendor: Don Simons (dsimons@logicon.com)
Release: 1
Source: pmx-2.20.tar.bz2
Copyright: GPL
Group: System Environment/Daemons
URL: http://www.gmd.de/Misc/Music
Packager: Reinhard Katzmann <reinhard@suamor.de>
Requires: tetex >= 1.0, musixtex, musixtex-musixflx, f2c
Prefix: /usr
BuildRoot: /var/tmp/%{name}-%{version}-root
BuildRequires: dos2unix, f2c
#BuildRequires: gcc-g77 >= 2.95
%description
PMX is a preprocessor for MusiXTeX that produces nearly professional-looking 
scores and parts with far less effort than would be required using MusiXTeX 
alone.

PMX can help you typeset a musical score if you have a reasonably
up-to-date version of MusiXTeX. The goal of PMX is to facilitate 
the efficient production of scores and parts that have an almost
professional appearance.  It can do all the work involved in 
setting up \notes-\enotes groupings, selecting groups of notes to
be beamed, defining beam heights and slopes, spreading the entire
piece evenly over specified numbers of systems and pages, and
inserting extra spaces where needed to make room for accidentals,
flags, dots, and new clefs.

%prep
%setup -q -n %{name}-%{version}

%build
mv pmxab.for pmxab.f
mv scor2prt.for scor2prt.f
# Uncomment if you wish to build g77-binary
#g77 -O2 -Wall pmxab.f -o pmxab
#g77 -O2 -Wall scor2prt.f -o scor2prt
#mv pmxab pmxab-g77
#strip pmxab-g77
#mv scor2prt scor2prt-g77
#strip scor2prt-g77
dos2unix -o barsant.pmx
dos2unix -o most.pmx
dos2unix -o mwalmnd.pmx
dos2unix -o pmx.tex
dos2unix -o pmx220.tex
dos2unix -o pmxab.f
dos2unix -o ref220.tex
dos2unix -o rtsg.pmx
dos2unix -o scor2prt.f
f2c -C -Nn802 -Nx400 pmxab.f
gcc -O2 -Wall -lf2c pmxab.c -o pmxab
strip pmxab
f2c -C scor2prt.f
gcc -O2 -Wall -lf2c scor2prt.c -o scor2prt
strip scor2prt
./pmx barsant
./pmx most
./pmx mwalmnd
./pmx rtsg

%install
mkdir -p $RPM_BUILD_ROOT%{prefix}/bin
mkdir -p $RPM_BUILD_ROOT%{prefix}/doc
mkdir -p $RPM_BUILD_ROOT%{prefix}/share/texmf/tex/plain/misc
cp pmx pmxab scor2prt $RPM_BUILD_ROOT%{prefix}/bin
#cp pmxab-g77 scor2prt-g77 $RPM_BUILD_ROOT%{prefix}/bin
cp pmx.tex  $RPM_BUILD_ROOT%{prefix}/share/texmf/tex/plain/misc

%clean
rm -rf $RPM_BUILD_ROOT

%post
texhash

%postun
texhash

%files
%doc COPYING pmx210* ref210* barsant.ps barsant.pmx most.ps most.pmx
%doc mwalmnd.ps mwalmnd.pmx rtsg.ps rtsg.pmx readme
%{prefix}/bin
%{prefix}/share

--J/dobhs11T7y2rNN--
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Date: Sun, 26 Mar 2000 20:05:11 +0200
From: Reinhard Katzmann <reinhard@suamor.de>
To: MuTeX ML <mutex@gmd.de>
Subject: pmx-2.20 RPMS uploaded
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Reply-To: 
Hi!

I've upload RPMS for pmx (Linux i586) and source RPM for
those who want to compile it for themselves. Two versions
will be built, the default one with f2c and the other one
with g77. If you prefer only one, just change the .spec-file.
I've included it with this mail again, as I made severel
changes to it. Have fun!

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de

Current Projects: Linux-Installation RH6.1 (90% finished)
                  Java-DB and -Interface for Pincity
                  Bach & Händel Trio Sonatas

--Kj7319i9nmIyA2yE
Content-Type: text/plain; charset=us-ascii
Content-Disposition: attachment; filename="pmx.spec"

Summary: a Preprocessor for MusiXTeX
Name: pmx
Version: 2.20
Vendor: Don Simons (dsimons@logicon.com)
Release: 1
Source: pmx-2.20.tar.bz2
Patch: pmx-2.20.patch
Copyright: GPL
Group: System Environment/Daemons
URL: http://www.gmd.de/Misc/Music
Packager: Reinhard Katzmann <reinhard@suamor.de>
Requires: tetex >= 1.0, musixtex, musixtex-musixflx, f2c
Prefix: /usr
BuildRoot: /var/tmp/%{name}-%{version}-root
BuildRequires: dos2unix, f2c
BuildRequires: gcc-g77 >= 2.95
%description
PMX is a preprocessor for MusiXTeX that produces nearly professional-looking 
scores and parts with far less effort than would be required using MusiXTeX 
alone.

PMX can help you typeset a musical score if you have a reasonably
up-to-date version of MusiXTeX. The goal of PMX is to facilitate 
the efficient production of scores and parts that have an almost
professional appearance.  It can do all the work involved in 
setting up \notes-\enotes groupings, selecting groups of notes to
be beamed, defining beam heights and slopes, spreading the entire
piece evenly over specified numbers of systems and pages, and
inserting extra spaces where needed to make room for accidentals,
flags, dots, and new clefs.

%prep
%setup -q -n %{name}-%{version}
mv pmxab.for pmxab.f
dos2unix -o pmxab.f
mv scor2prt.for scor2prt.f
dos2unix -o scor2prt.f
%patch -p1 -b .orig

%build
# Uncomment if you wish to build g77-binary
g77 -O2 -Wall pmxab.f -o pmxab
g77 -O2 -Wall scor2prt.f -o scor2prt
mv pmxab pmxab-g77
strip pmxab-g77
mv scor2prt scor2prt-g77
strip scor2prt-g77
dos2unix -o barsant.pmx
dos2unix -o most.pmx
dos2unix -o mwalmnd.pmx
dos2unix -o pmx.tex
dos2unix -o pmx220.tex
dos2unix -o ref220.tex
dos2unix -o rtsg.pmx
f2c -C -Nn802 -Nx400 pmxab.f
gcc -O2 -Wall -lf2c pmxab.c -o pmxab
strip pmxab
f2c -C scor2prt.f
gcc -O2 -Wall -lf2c scor2prt.c -o scor2prt
strip scor2prt
./pmx barsant
./pmx most
./pmx mwalmnd
./pmx rtsg

%install
mkdir -p $RPM_BUILD_ROOT%{prefix}/bin
mkdir -p $RPM_BUILD_ROOT%{prefix}/doc
mkdir -p $RPM_BUILD_ROOT%{prefix}/share/texmf/tex/plain/misc
cp pmx pmxab scor2prt $RPM_BUILD_ROOT%{prefix}/bin
cp pmxab-g77 scor2prt-g77 $RPM_BUILD_ROOT%{prefix}/bin
cp pmx.tex  $RPM_BUILD_ROOT%{prefix}/share/texmf/tex/plain/misc

%clean
rm -rf $RPM_BUILD_ROOT

%post
texhash

%postun
texhash

%files
%doc pmx220* ref220* barsant.ps barsant.pmx most.ps most.pmx
%doc mwalmnd.ps mwalmnd.pmx rtsg.ps rtsg.pmx readme
%{prefix}/bin
%{prefix}/share

--Kj7319i9nmIyA2yE--
From mutex-owner@mail.gmd.de  Sun Mar 26 19:28:54 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Installing MusixTeX
Date: Sun, 26 Mar 2000 23:34:39 -0600
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Hello all,
               Where I should put the Executables? and the .sh .mx1 .mx2
.slg .toc .lgi .ind .lgi .cb .c .aux and some other files? I've moved the
.mf and .tfm files to the proper directory, also the .tex and .sty files to
the working directory, but I can't figure it out where to put the rest.
                                        Thanks
                                                       David González

From mutex-owner@mail.gmd.de  Sun Mar 26 20:58:57 2000
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CC: mutex list <mutex@gmd.de>
Subject: Re: Installing MusixTeX
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David González wrote:
> 
> Hello all,
>                Where I should put the Executables?

 Executables, either in your working directory, or in the path.

 and the .sh .mx1 .mx2

The *.mx* files are temporary files. Normally, you do not need them,
except for latexing musixdoc.tex if you have NOT installed musixflx.

> .slg .toc .lgi .ind .lgi .cb .c .aux and some other files?

The *.c is the source for musixflx. Put it anywhere, en remember.

Tne *.lg* anf *.lg*  ar log files. The *.ind is needed in the first step
to have an index of musixdoc. In case where you have no convenient
makeindex routine.

 I've moved the
> .mf and .tfm files to the proper directory, also the .tex and .sty files to
> the working directory, but I can't figure it out where to put the rest.
>                                         Thanks
>                                                        David González

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Mon Mar 27 09:42:34 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200003270725.JAA21152@calvyn.puk.ac.za>
Subject: Re: beaming 32 and dotted 16; also M-Tx bug?
To: DSimons@logicon.com (Simons, Don)
Date: Mon, 27 Mar 2000 09:25:42 +0200 (SAST)
Cc: mutex@gmd.de (''mutex@gmd.de' ')
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428063136@xcgca040.sp.logicon.com> from "Simons, Don" at Mar 25, 2000 08:20:09 AM
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Simons, Don skryf:
> 
> Comments:
> 
> 1. M-tx inserted a font modifier that messes up the sizes of the digits in
> the time signature.  Do I have an obsolete version of M-tx?
> 
I can't reproduce the error on a Linux prepmx that I just built, downloading 
mtx052.zip from ftp.gmd.de as if I have never seen it myself.  Your version
seems to be the current one.  I can't test the MSDOS executable from this
machine.  What font modifier gets inserted?

Dirk

From mutex-owner@mail.gmd.de  Mon Mar 27 12:31:28 2000
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Date: Mon, 27 Mar 2000 12:14:41 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: meter with notes
To: mau@beatles.cselt.it, MMolekwa@rrs.co.za
Cc: mutex@gmd.de
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> From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
> Date: Fri, 24 Mar 2000 11:34:15 +0200

> % Usage: 
> 
> \generalmeter{\Meterfrac{4}{\Crt}} % 4 \over \ql

Imho something like this should work:

 \generalmeter{\meterfrac4{\zql0}}
 

But I was astonished that it does not work with \zql, only with \zqu
as the following example demonstrates:

\input musixtex
\generalmeter{\meterfrac4{\loffset{.4}{\zql0}}}
\startextract\endextract

This is \zql1

\generalmeter{\meterfrac4{\loffset{.4}{\zqu0}}}
\startextract\endextract

This is \zqu1

\bye

Daniel, help!

-- Werner





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Date: Mon, 27 Mar 2000 12:54:05 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \rightrepeat before \Endpiece
To: michael@hierweck.de, epeterse@msi.umn.edu
Cc: mutex@gmd.de
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> Date: Fri, 24 Mar 2000 13:35:49 -0600
> From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>

> On Fri, 24 Mar 2000, Michael Hierweck wrote:

> > \rightrepeat\Endpiece

> Try \endpiece (lowercase doesn't give the heavy final double bar).

That's not sufficient.

\rightrepeat generates a rightrepeat as bar line
\Endpiece generates a heavy double bar as bar line and terminates the piece
\endpiece generates a bar line which has been set as bar line (as default
           a simple bar line) and terminates the piece.
           
So the solution is:

\setrightrepeat\endpiece

(as it is documented somewhere in musixdoc.tex :-)   -- Werner

From mutex-owner@mail.gmd.de  Mon Mar 27 14:12:40 2000
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From: Stefan Evert <evert@ims.uni-stuttgart.de>
To: mutex@gmd.de
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   PMX is a text-based preprocessor for MusiXTeX that will allow you to typeset
   scores and parts with far less effort than by using MusiXTeX alone.

   All files necessary for running the DOS version in a WIN95 DOS window are
   contained in

   http://www.gmd.de/Misc/Music/musixtex/software/pmx/pmx220.zip.  

   [...]

   Non-DOS users:  You will either have to compile the FORTRAN source, or see
   the manual for locations of other versions, or wait and other versions may
   appear on ftp.gmd.de.

The Unix/C version (translated by f2c), which should work on virtually
every Unix platform, has arrived, too:

http://www.gmd.de/Misc/Music/musixtex/software/pmx/pmx-unix-2.20.tar.gz


I've added MIDI commands to the example files in the examples/
subdirectory, so PMX will produce MIDI output for all examples. 
(BTW, I wasn't able to insert midi repeats into mw55a.pmx because of
fractional bars -- the repeat bars aren't aligned with bar lines)

Take care,
Stefan.




From mutex-owner@mail.gmd.de  Mon Mar 27 14:27:39 2000
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Date: Mon, 27 Mar 2000 14:14:07 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Chord names above staff
To: John_Siebenthaler@Dell.com
Cc: mutex@gmd.de
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> Date: Sat, 25 Mar 2000 12:33:14 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> John_Siebenthaler@Dell.com wrote:

> > Does MusiXTeX provide a means of writing chord names above the bars in the
> > style of Jazz "Lead Sheets," as in the Real Book etc.
> 
> if by "lead sheet" is meant tablature style chord notation I guess this will
> be more than difficult. Letter style chords, however, should be possible to
> achieve. If you use M-Tx as your typesetting tool you may put chord symbols in
> uptexts, see the M-Tx documentation. Generally the MusiXTeX macro \zcharnote
> (applied as in-line MusixTeX within M-tx- and pmx sources) may be used to put
> any text anywhere. Some TeX formatting may be necessary to place chord
> definition digits in complicated jazz chords where you want them.

Tablatur style chord notation is provided by musixgui.tex. A short
description is in "musixdoc" - currently section 2.26.11, page 92(94).

This can be used as inline TeX with PMX and is possibly useable as
"U:"-ptext with M-tx, too.

-- Werner

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Date: Mon, 27 Mar 2000 08:56:44 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: Werner Icking <Werner.Icking@gmd.de>
cc: michael@hierweck.de, mutex@gmd.de
Subject: Re: \rightrepeat before \Endpiece
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On Mon, 27 Mar 2000, Werner Icking wrote:

> [snip]
>            
> So the solution is:
> 
> \setrightrepeat\endpiece
> 
> (as it is documented somewhere in musixdoc.tex :-)   -- Werner
> 
Mea culpa. Serves me right for posting without testing.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 612-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Mon Mar 27 18:04:32 2000
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: pmx ntuplet (small) problem
Date: Mon, 27 Mar 2000 17:40:29 +0200
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Hi,

I need help for making a xtuplet with 12 notes. There are no
problems when using the normal notesize (first mesure).

But:

1.
i can not move the number 12 to the right more than 1 position, i.e. when i
change the line
[u-3+2 a24sx12n-1+1f s-1  b a  by   [u-3+2 a24sx12n-1+2f s-1  b a
the error is: ntup number out of range

2.
I tried to use small notes, but i do not manage to get the spacing between
the notes right (mesure 2)
or to sync the lower staff with normal notes (mesure 3).
I suppose i use the wrong method.

3.
Is there a way to replace the double beam by a single beam?

Thanks in advance
Andre

%---------
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    2    1    3         4       3       4      0      -4
% npages,nsyst,musicsize,fracindent
    1      1      20       0

bt
./
Arbd
%1
e23nd //
r4+6 gf43 zc g zc /
[u-3+2 a24sx12n-1+1f s-1  b a
gs a c  e
gf  as c  e f ]
[-6+2 g8f s-1 r1 a1-- ] /
%2
e23nd //
r4+6 gf43 zc g zc /
\multnoteskip\smallvalue\smallnotesize\
[u-3+2 a24sx12n-1+1f s-1  b a
gs a c  e
\multnoteskip\smallvalue\smallnotesize\
gf  as c  e f ]
[-6+2 g8f s-1 r1 a1-- ] /
%3
e23nd //
r4+6 XS-.8 gf43 zc g zc /
\multnoteskip\smallvalue\smallnotesize\
[u-3+2 a24sx12n-1+1f s-1  X.05 b X.05 a
X-.2 gs X.05 a X.05 c X.05 e
\multnoteskip\smallvalue\smallnotesize\
X-.2 gf X-.2 as X.05 c X.05 e  X.05 f ]
[-6+2 g8f s-1 r1 a1-- ] /
%


From mutex-owner@mail.gmd.de  Mon Mar 27 18:48:18 2000
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Date: Mon, 27 Mar 2000 18:36:05 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx ntuplet (small) problem
To: mutex@gmd.de, andre.vanryckeghem@kh.khbo.be
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> From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
> Date: Mon, 27 Mar 2000 17:40:29 +0200

> I need help for making a xtuplet with 12 notes. There are no
> problems when using the normal notesize (first mesure).

I like that solution most.

> 1.
> i can not move the number 12 to the right more than 1 position, i.e. when i
> change the line
> [u-3+2 a24sx12n-1+1f s-1  b a  by   [u-3+2 a24sx12n-1+2f s-1  b a
> the error is: ntup number out of range

Yes, that may be a little bit too less for other cases, but in your
case the 12 sits exactly where it should sit: after the 6th note, 
in front of the 7th note - if I counted right.

> 2.
> I tried to use small notes, but i do not manage to get the spacing between
> the notes right (mesure 2)
> or to sync the lower staff with normal notes (mesure 3).
> I suppose i use the wrong method.

Yes. If you use \multnoteskip in such a context, then you are responsible
for any spacing. It may help - I didn't test it - to use \multnoteskip
in all appropriate places e.g. in all voices before any note with a new
timing value.

In addition PMX doesn't know of it. So it inserts additional space
for accidentals, which has to be adapted to the smaller notes. 
It can be done by overfooling \ast for that notes.

> 3.
> Is there a way to replace the double beam by a single beam?

Use "[m1u-3+2" instead of "[u-3+2".


And again. Imho the original solution is already ok. Or why should
the notes be small?


-- Werner

 

From mutex-owner@mail.gmd.de  Mon Mar 27 19:02:08 2000
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Subject: Subject:  Weird spacing problem
Date: Mon, 27 Mar 2000 10:50:10 -0600
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Hello All,

Thanks for all the help getting me going with MusiXTeX.  I have spent the
past several days learning it and I'm very excited about the possiblities.

I am having one problem that has persisted through the weekend.  I want to
make charts with chord indications for bassists.  If I do one bar with the
following code, it looks passable, except for the fact that the "common"
meter indicator is slammed into the notes of the first chord:

\ifx\mxversion\undefined%
  \input musixtex%
  \input musixcpt%
  \input musixsty%
\fi%
\startmuflex%
\fulltitle{You Don't Know What Love Is}%
\title{You Don't Know What Love Is}%
\subtitle{Chords for bass}%
\author{Raye/De Paul}%
\shortauthor{Raye/DePaul}%
\maketitle%
\parindent 18mm%
\setclef{1}{6}%
\generalsignature{-1}%
\generalmeter{\meterC}%
\setname1{Bass}%
\startpiece%
\notes\Bigtype\Uptext{Dm7}\znq{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\znq
{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\en\bar%
\endpiece%
\bye%

But if I add a second line of code duplicating the first bar, the layout
goes nuts:

\ifx\mxversion\undefined%
  \input musixtex%
  \input musixcpt%
  \input musixsty%
\fi%
\startmuflex%
\fulltitle{You Don't Know What Love Is}%
\title{You Don't Know What Love Is}%
\subtitle{Chords for bass}%
\author{Raye/De Paul}%
\shortauthor{Raye/DePaul}%
\maketitle%
\parindent 18mm%
\setclef{1}{6}%
\generalsignature{-1}%
\generalmeter{\meterC}%
\setname1{Bass}%
\startpiece%
\notes\Bigtype\Uptext{Dm7}\znq{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\znq
{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\en\bar%
\notes\Bigtype\Uptext{Dm7}\znq{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\znq
{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\en\bar%
\endpiece%
\bye%

If anyone could give me some tips, I would be very grateful.

Thanks,

John Siebenthaler

From mutex-owner@mail.gmd.de  Mon Mar 27 19:32:09 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Strange DVI output
Date: Tue, 28 Mar 2000 01:17:40 -0600
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Can someone tell me why I get this (DVI files comes with the mail)
pmxab didn't told me anything, but Texing it I got some error messages.

David

From mutex-owner@mail.gmd.de  Mon Mar 27 20:33:31 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Strange DVI output
To: mutex@gmd.de, dgonzal@sce.cnc.una.py
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> From: "David González" <dgonzal@sce.cnc.una.py>
> Date: Tue, 28 Mar 2000 01:17:40 -0600
> 
> Can someone tell me why I get this (DVI files comes with the mail)
> pmxab didn't told me anything, but Texing it I got some error messages.

Please send the PMX-file. Please don't send DVI-files to the list
unless there is no other way finding/describing the error.

You didn't send the DVI-file.

-- Werner

From mutex-owner@mail.gmd.de  Mon Mar 27 20:47:05 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Subject:  Weird spacing problem
To: mutex@gmd.de, John_Siebenthaler@Dell.com
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> From: John_Siebenthaler@Dell.com
> Date: Mon, 27 Mar 2000 10:50:10 -0600

> I am having one problem that has persisted through the weekend.  I want to
> make charts with chord indications for bassists.  If I do one bar with the
> following code, it looks passable, except for the fact that the "common"
> meter indicator is slammed into the notes of the first chord:
> 
> \ifx\mxversion\undefined%
>   \input musixtex%
>   \input musixcpt%

You should use  musixcpt  only for old musi-C-tex sources. It's a compatibility
mode and works like described in the Musi-C-TeX manual.

>   \input musixsty%
> \fi%
> \startmuflex%
[...]
> \startpiece%
> \notes\Bigtype\Uptext{Dm7}\znq{FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\znq
> {FHJMP}\lq{K}\nq{R}\znq{FHJMP}\lq{K}\nq{R}\en\bar%

With \lq you request a note going to the left. Therefore you have to provide
some space for it. Esp. in this case, because at the very beginnung of a
piece there's not the space which is normally after a bar rule. So you should
code normally:

\startpiece\addspace\afterruleskip

With \notes you request the smallest spacing between notes normally used
for notes with short duration. Is that what you wanted?


> But if I add a second line of code duplicating the first bar, the layout
> goes nuts:
[...]

I couldn't detect that this is worse than the first case.

> If anyone could give me some tips, I would be very grateful.

Use PMX - PMX already knows how to deal with \notes, \Notes, ...,
\afterruleskip, ... et.al.

And it knows real note names  :-)

-- Werner

chord.pmx:

1 1 4 4 0 6 0 -1
1 1 20 0.09
Bass
b
./

\\def\mytitle{\vbox{\
\\hbox to \hsize{\hss\BIGtype You Don't Know What Love Is\hss}\
\\hbox to \hsize{\hss\medtype\it Chords for bass\hss}}}\
Tt
{\mytitle}
Tc
{\medtype Raye/De Paul}
\\def\chrd#1{\Uptext{\bigfont #1}}\
%-\\let\ql\nq\
\chrd{Dm7}\ d44 zb zf zde zc za zf d44 zb zf zde zc za zf
 d44 zb zf zde zc za zf d44 zb zf zde zc za zf /
\chrd{Dm7}\ d44 zb zf zde zc za zf d44 zb zf zde zc za zf
 d44 zb zf zde zc za zf d44 zb zf zde zc za zf /




From mutex-owner@mail.gmd.de  Tue Mar 28 02:02:03 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Werner Icking" <Werner.Icking@gmd.de>,
        "Mutex Mailing List" <mutex@gmd.de>
Subject: RE: Strange DVI output
Date: Tue, 28 Mar 2000 07:39:35 -0600
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>Please send the PMX-file. Please don't send DVI-files to the list
>unless there is no other way finding/describing the error.

I have to send you the DVI, because the file is a sample that comes with PMX
(It's Roman's trio sonata) other files have the same weird look, that makes
me think it's not a problem in the file. All notes are aligned to the left,
one over another.


David

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Date: Mon, 27 Mar 2000 23:52:13 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Hi,

I recently downloaded and installed teTeX 1.0 (previously used 0.4).

I now find that dvi output from PMX/Musixtex is totally devoid of lines. All
noteheads, clefs and text are there but no stave lines no barlines and no stems
on notes. I think the problem lies in teTeX rather than Musixtex 'cos I tried
processing the PMX file ref210.tex which I think has lines on it but I got none. 

What part of my instalation should I look at to find the problem?  How does
Musixtex do lines?

Please help if you can. 
-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Tue Mar 28 04:17:03 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
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 >
 > I recently downloaded and installed teTeX 1.0 (previously used 0.4).
 >
 > I now find that dvi output from PMX/Musixtex is totally devoid of lines. 

Did you do texconfig?   Make sure the environment variable
TEXMF has the right value (the root of the tetex tree).

Bob T.

From mutex-owner@mail.gmd.de  Tue Mar 28 09:03:14 2000
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Subject: Re: Strange DVI output
To: dgonzal@sce.cnc.una.py (=?iso-8859-1?Q?David_Gonz=E1lez?=)
Date: Tue, 28 Mar 2000 08:40:34 +0200 (SAST)
Cc: Werner.Icking@gmd.de (Werner Icking), mutex@gmd.de (Mutex Mailing List)
In-Reply-To: <001e01bf98bb$311db500$abe40ac8@usuario-part.> from "=?iso-8859-1?Q?David_Gonz=E1lez?=" at Mar 28, 2000 07:39:35 AM
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=?iso-8859-1?Q?David_Gonz=E1lez?= skryf:
> 
> >Please send the PMX-file. Please don't send DVI-files to the list
> >unless there is no other way finding/describing the error.
> 
> I have to send you the DVI, because the file is a sample that comes with PMX
> (It's Roman's trio sonata) other files have the same weird look, that makes
> me think it's not a problem in the file. All notes are aligned to the left,
> one over another.
> 
Aha!  Now you say *that* there is no need to send anything more.
This must be newbie FAQ number 1.  The answer is:

               You have failed to run musixflx.

Page 2 or thereabouts of the MusiXTeX manual describes the
three-pass system.

1. tex
2. musixflx
3. tex

When repeating the exercise, remember to delete all .mx1 and .mx2
files, otherwise you don't get the desired fresh start.

Dirk
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Date: Tue, 28 Mar 2000 14:02:26 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: No lines
To: mutex@gmd.de, howard.gilbert1@btinternet.com
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> Date: Mon, 27 Mar 2000 23:52:13 +0000
> From: HowardGilbert <howard.gilbert1@btinternet.com>

[...]
> I now find that dvi output from PMX/Musixtex is totally devoid of lines. All
> noteheads, clefs and text are there but no stave lines no barlines and no stems
> on notes. I think the problem lies in teTeX rather than Musixtex 'cos I tried
> processing the PMX file ref210.tex which I think has lines on it but I got none. 

If you look into ref210.tex you can see that it does not contain any MusiXTeX,
it's pure LaTeX (2.09?).

If you look into ref210.ps you can see the same.

-- Werner

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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Re: Strande DVI output
Date: Wed, 29 Mar 2000 00:17:16 -0600
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To mutex:
                Thank you all, the problem is now solved, I forgot TeX is a
3-pass System

From mutex-owner@mail.gmd.de  Tue Mar 28 19:47:41 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: pmxab error message
Date: Wed, 29 Mar 2000 01:26:09 -0600
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This is a multi-part message in MIME format.

------=_NextPart_000_001B_01BF991D.C2FE24C0
Content-Type: text/plain;
	charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

Why I get this: (in pmxab) "Bar 8forrtl: severe (27): too many records in
I/O statement, unit -5, file Internal Formatted Write" Here are the original
MTX file, the resulting PMX file, and the .PML file.



------=_NextPart_000_001B_01BF991D.C2FE24C0
Content-Type: application/octet-stream;
	name="CSNSC1.pml"
Content-Transfer-Encoding: quoted-printable
Content-Disposition: attachment;
	filename="CSNSC1.pml"

This is pmxab, version 2.2, 18 March 2000
Opening CSNSC1.pmx                =20
 Starting first PMX pass

  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10  =
Bar 11
  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16  Bar 17  Bar 18  Bar 19  Bar 20
  Bar 21
In system #    1 cannot meet min. space rqmt

In system #    2 cannot meet min. space rqmt

In system #    3 cannot meet min. space rqmt

 Done with first pass

Starting second PMX pass

  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8
------=_NextPart_000_001B_01BF991D.C2FE24C0
Content-Type: application/octet-stream;
	name="CSNSC1.PMX"
Content-Transfer-Encoding: 7bit
Content-Disposition: attachment;
	filename="CSNSC1.PMX"

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
h
Allegro
---
4 4 4 4 0 6  0.00000 0 2 3 16 0.12
{\twelvebf{Basso}}
{\twelvebf{Violino2}}
{\twelvebf{Violino1}}
{\twelvebf{Flauto}}
6000
./
\\grouptop14\groupbottom11\
\\setsize4{\normalvalue}\
Tt
Concerto in Amin (Sonata Nona)
Tc
Alessandro Scarlatti
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%Bar 9
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------=_NextPart_000_001B_01BF991D.C2FE24C0
Content-Type: application/octet-stream;
	name="CSNSC1.mtx"
Content-Transfer-Encoding: quoted-printable
Content-Disposition: attachment;
	filename="CSNSC1.mtx"

Title: Concerto in Amin (Sonata Nona)
Composer: Alessandro Scarlatti
Meter: C
Pages: 2
Systems: 3
Size: 16
Style: Own
Own: Voices Fl V1 V2 BC; Clefs G G G F; Group
Name: Flauto Violino1 Violino2 Basso

%%h
%%Allegro

\\def\makefootline{\baselineskip2pt\line{\the\footline}}\
\\def\copyr{\ninerm\copyright 2000 David Gonz=E1lez =
(dgonzal@sce.cnc.una.py.com)}\
\\footline{\copyr\hss\ninerm\Non-commercial copying welcome}\

%%h11i
%%w8.5i

\p\ e+ r8 a+ g4s r8 g | a b cd+ b1- b4 r8 e- | a8d+ b1 g8d a1 f8d g1 e8d =
g1 |
\p\ c4++ r b- r | e8 e e fs g4s r | e4 d a g |
\p\ e4+ r e r | r1 e d e c8 a- e4+ r | a- d+ c8d+ d1 e8 c |
\p\ a8- b c a e+ d e b- | c gs a ds+ e fs e dn | c c+ b b- a a1+ b c8 e- =
|

a1+ f g a e8d d1 c4 r8 c | g1+ f g a f a g f e4 r8 e | a1 g a b a b a g =
f4s r8 f |
f1 a- b c g8 b g4 r | g+ r g r | c- r a+ r |
c4d g1 f1 e4 r | d+ r e r | e r fs r |
f8 f- g+ g- c c1 b e8 c | b g d+ g c e1 d c8 c1+ b | f8 c1 b c8 cs d =
f1s- e d8 d1+ c |

b1+ a b c b c b a g4 gs | a1 b c b a g fs e ( a4+ a1 ) c b a | g a b c =
g8d f1s e4 ( e | e1 ) ds e fs b8- d e4 r :|:
d4s- r b r | a+ r8 b a c f1s- e d8s | b+ b4- b8+ b4 a8 b | c a g fs g4 r =
:|:
f4s r g r | e r8 g ds e c fs | e e4 d8s e4d g8 | e4d b8 b4 r :|:
b8 b- fs+ g- e e1+ dn e8 b | c a1 b c8 g fs e ds b | e g1 a b8 b- c c1+ =
b c8 g | a c b b- e4 r :|:

g1 f g a g a g f e4 r8 g | g cs- c a+ a1 g f e d8 g | a1 g f g e8d d1 d4 =
r1 f g a |
r8 b1- c d8 d e4 r | r8 g cs- c d a+ bf d- | a8 a bf a f4+ r |
r8 e1 f g8 g g4  r | r8 e ed e1 f8 f r g- | e+ d4 c8s a4 r |
r8 e b+ b- c c1+ b c8 bf | a a1 g a8 g f d g bf | cs- d g b d d1+ c d8 c =
|

P2

d1- c d e d e f g e4 r8 a+ | b e- c+ b1 a gs fs g e a4+ | r1 a gs a b4 =
r1 b a b c4 | r1 c b c d c b a b8 e1- f e8 a+ |
g r g r | r8 c1- b c8 d b4 r1 e f e | f4 r8 fs b4- r1 g+ f g | a4 r8 a e =
a1+ b a8 e |
d r e r | r8 e e f g4s- r | r1 f+ e f d c b a g4s r | r1 a+ g a f e d c =
b8 c1 d c8d b1 |
b a b g c- c1+ b c8 a | gs a1 g a8 d- e4 r8 cs | d4 r8 ds e4 r8 e | f4 =
r8 fs g1s f g8  a a- |

a1 gs a b e8- g a1 g a e a4 | r1 a gs a b4 r1 b a b c4 | r1 c b c d c b =
a b8 a1- f e8 a | a1 gs a b e8- g a4 r :|
f8 d c1 d b d c4 r1 e f e | f4d f8s b4- r1 gs+ f g | a4 r8 a e a1 b a g =
f e | f8 d c1 d b d c4 r :|
a8 a a e e4+ r | r1 f e f d c b a g4s r | r1 a+ g a f e d c b8  c1 d c8d =
b1 | a8 a a e a4+ r :|
d f e e- a4 r8 c | d4 r8 ds e4 r8 e | f4 r8 fs es f1 e f8 c- | d f e e- =
a4 r :|

------=_NextPart_000_001B_01BF991D.C2FE24C0--

From mutex-owner@mail.gmd.de  Wed Mar 29 09:04:40 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200003290648.IAA24009@calvyn.puk.ac.za>
Subject: Re: pmxab error message
To: dgonzal@sce.cnc.una.py (=?iso-8859-1?Q?David_Gonz=E1lez?=)
Date: Wed, 29 Mar 2000 08:48:39 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <002101bf9950$3ea38340$a5e40ac8@usuario-part.> from "=?iso-8859-1?Q?David_Gonz=E1lez?=" at Mar 29, 2000 01:26:09 AM
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> 
> Why I get this: (in pmxab) "Bar 8forrtl: severe (27): too many records in
> I/O statement, unit -5, file Internal Formatted Write" Here are the original
> MTX file, the resulting PMX file, and the .PML file.
> 
> 
> Title: Concerto in Amin (Sonata Nona)
> Composer: Alessandro Scarlatti
> Meter: C
> Pages: 2
> Systems: 3
> Size: 16
> Style: Own
> Own: Voices Fl V1 V2 BC; Clefs G G G F; Group
> Name: Flauto Violino1 Violino2 Basso
> 
"Systems: 3" does not mean three systems per page, it means three systems
in total, and your piece is much too long for that.  Recommended is to use
"Bars/Line: 4" until you have all the notes right.  Then look at the output, 
decide whether it looks too open or too cramped, and choose the number of 
pages and the total number of systems.

Dirk
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Date: Wed, 29 Mar 2000 07:58:58 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Subject: No Lines - Update
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Hi,

Thanks for replies.

Werner Icking wrote:-

>If you look into ref210.tex you can see that it does not contain any MusiXTeX,
>it's pure LaTeX (2.09?).

Yes, this was the point I was trying to make. It is not just a MusixTeX problem.
I was assuming that MusixTeX uses a LaTeX routine/font? to draw lines and asking
if anyone knew what it was. Sorry if I wasn't clear. (However, see the new info
below which now leads me to believe it's an xdvi problem).

Bob Tennant wrote:-

>Did you do texconfig?   Make sure the environment variable
>TEXMF has the right value (the root of the tetex tree).  

Yes.

kpsexpand '$TEXMF' 
gives !!/usr/local/teTeX/share/texmf

that is correct.

NEW INFO.

My previous message was sent because no lines appeared when I viewed the .dvi
file on screen using xdvi (in Linux).  However, I have now found that, if I
convert to a postscript file (using dvips ) then ghostview shows all the
expected lines on screen and these will print from the .ps file. 

So at least I can now get on but I'd still like to get the screen view of the
.dvi file sorted out. If anyone has any ideas I'd be grateful.
 
-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

============================================================================
Previous message:-

I recently downloaded and installed teTeX 1.0 (previously used 0.4).

I now find that dvi output from PMX/Musixtex is totally devoid of lines. All
noteheads, clefs and text are there but no stave lines no barlines and no stems
on notes. I think the problem lies in teTeX rather than Musixtex 'cos I tried
processing the PMX file ref210.tex which I think has lines on it but I got none. 

What part of my instalation should I look at to find the problem?  How does
Musixtex do lines?

Please help if you can.

From mutex-owner@mail.gmd.de  Sat Apr  1 02:44:43 2000
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To: Zdenek Pytela <letty@phil.muni.cz>, mutex@gmd.de
Subject: No Lines - Further Update
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Hi, 

In a private mail Zdenek Pytela wrote:

>         I have it sometimes when xdvi rounds bad. Changing to better
> resolutions or using of the mouse-magnifying glass shows them.
> Cannot this be just this sort of problem? It appears just in xdvi, not with
> gv; printed on the paper everything is OK.
> 
> --
> 
> --Zdenek <pytela@phil.muni.cz>

Many thanks Zdenek.  I found that clicking to higher magnification caused all
the missing lines to instantly appear and they persisted when I dropped back to
the lowest magnification.

I thought I'd put this on the list so that any other xdvi users are made aware.

Thanks to all who replied,
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Mon Apr  3 09:28:11 2000
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Date: Mon, 3 Apr 2000 09:23:52 +0200 (MEST)
From: Bernhard Lang <blang@ipmc.unil.ch>
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To: mutex <mutex@gmd.de>
Subject: musixflx crash
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Hello all

musixflxing some music I get the following on the screen

 <<< musixflex 0.83/T.63dt+jh.2 >>>

 ... decoding command line
 ... open <mv.mx1> for input
 ... testing versionnumber
 ... open <mv.mx2> for output
 ... reading
 ... compute

Division by zero ! Ask a wizard !

Does anyone out there feel to be wizard enough to help me? To my knowledge
the music itself --- some pieces from Monteverdi's Selva Morale --- does
not contain anything strange. This happened all of a sudden. Contents of
mv.mx* are added below.

many thanks
  Bernhard Lang

            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/

---------------start of mv.mx1-------------
0.83
S
540.60236pt
0.0pt
0.0pt
8.0pt
5.99998pt
15.99998pt
1.99997pt
0 0 13.00003pt
0 1 167.99957pt
0 1 0.0pt
0 0 0.4pt
b 1
1 1 109.99974pt
1 1 0.0pt
1 0 0.4pt
b 2
2 1 112.99973pt
2 1 0.0pt
2 0 0.4pt
b 3
3 1 151.99963pt
3 1 0.0pt
3 0 0.4pt
b 4
4 1 151.99963pt
4 1 0.0pt
4 0 0.4pt
b 5
5 1 199.99951pt
5 1 0.0pt
5 0 0.4pt
b 6
6 1 121.99971pt
6 1 0.0pt
6 0 0.4pt
b 7
7 1 103.99976pt
7 1 0.0pt
7 0 0.4pt
b 8
8 1 103.99976pt
8 1 0.0pt
8 0 0.4pt
b 9
9 1 109.99974pt
9 1 0.0pt
9 0 0.4pt
b 10
10 1 139.99963pt
10 1 0.0pt
10 0 0.4pt
b 11
11 1 175.99951pt
11 1 0.0pt
11 0 0.4pt
b 12
12 1 136.99963pt
12 1 0.0pt
12 0 0.4pt
b 13
13 1 160.99954pt
13 1 0.0pt
13 0 0.4pt
b 14
14 1 190.9995pt
14 1 0.0pt
14 0 0.4pt
b 15
15 1 133.99966pt
15 1 0.0pt
15 0 0.4pt
b 16
16 0 0.0pt
16 0 24.43335pt
16 1 202.9995pt
16 1 0.0pt
16 0 0.4pt
b 17
17 1 151.99963pt
17 1 0.0pt
17 0 0.4pt
b 18
18 1 151.99963pt
18 1 0.0pt
18 0 0.4pt
b 19
19 1 151.99963pt
19 1 0.0pt
19 0 0.4pt
b 20
20 0 0.0pt
20 0 13.00003pt
20 1 250.99937pt
20 1 0.0pt
20 0 0.4pt
b 21
21 0 0.0pt
21 0 24.43335pt
21 1 130.99968pt
21 1 0.0pt
21 0 0.4pt
b 22
22 1 133.99968pt
22 1 0.0pt
22 0 0.4pt
b 23
23 1 241.99939pt
23 1 0.0pt
23 0 0.4pt
b 24
24 1 160.9996pt
24 1 0.0pt
24 0 0.4pt
b 25
25 1 160.9996pt
25 1 0.0pt
25 0 0.4pt
b 26
26 1 148.99963pt
26 1 0.0pt
26 0 0.4pt
b 27
27 1 133.99968pt
27 1 0.0pt
27 0 0.4pt
b 28
28 1 160.9996pt
28 1 0.0pt
28 0 0.4pt
b 29
29 1 160.9996pt
29 1 0.0pt
29 0 0.4pt
b 30
30 1 160.9996pt
30 1 0.0pt
30 0 0.4pt
b 31
31 0 0.0pt
31 0 13.00003pt
31 1 205.9995pt
31 1 0.0pt
31 0 0.4pt
b 32
32 0 0.0pt
32 0 24.43335pt
32 1 184.99954pt
32 1 0.0pt
32 0 0.4pt
b 33
33 1 169.99959pt
33 1 0.0pt
33 0 0.4pt
b 34
34 1 133.99968pt
34 1 0.0pt
34 0 0.4pt
b 35
35 1 175.99957pt
35 1 0.0pt
35 0 0.4pt
b 36
36 1 133.99968pt
36 1 0.0pt
36 0 0.4pt
b 37
37 1 175.99957pt
37 1 0.0pt
37 0 0.4pt
b 38
38 1 133.99968pt
38 1 0.0pt
38 0 0.4pt
b 39
39 1 175.99957pt
39 1 0.0pt
39 0 0.4pt
b 40
40 1 133.99968pt
40 1 0.0pt
40 0 0.4pt
b 41
41 1 103.99976pt
41 1 0.0pt
41 0 0.4pt
b 42
42 1 196.99951pt
42 1 0.0pt
42 0 0.4pt
b 43
43 1 79.99982pt
43 1 0.0pt
43 0 0.4pt
b 44
44 1 199.99951pt
44 1 0.0pt
44 0 0.4pt
b 45
45 1 148.99963pt
45 1 0.0pt
45 0 0.4pt
b 46
46 1 241.9994pt
46 1 0.0pt
46 0 0.4pt
b 47
47 0 0.0pt
47 0 13.00003pt
47 1 139.99966pt
47 1 0.0pt
47 0 0.4pt
b 48
48 1 151.99963pt
48 1 0.0pt
48 0 0.4pt
b 49
49 1 139.99963pt
49 1 0.0pt
49 0 0.4pt
b 50
50 1 139.99963pt
50 1 0.0pt
50 0 0.4pt
b 51
51 1 205.99948pt
51 1 0.0pt
51 0 0.4pt
b 52
52 1 217.99937pt
52 1 0.0pt
52 0 0.4pt
b 53
53 1 157.99959pt
53 1 0.0pt
53 0 4.90004pt
b 54
* 1 0
54 1 0.0pt
54 1 0.0pt
54 0 4.90004pt
b 55
* 0 0
S
540.60236pt
0.0pt
0.0pt
8.0pt
5.99998pt
15.99998pt
6.99997pt
0 0 13.00003pt
0 1 47.99988pt
0 1 0.0pt
0 0 0.4pt
b 1
1 1 97.99977pt
1 1 0.0pt
1 0 0.4pt
b 2
2 1 43.99991pt
2 1 0.0pt
2 0 0.4pt
b 3
3 1 67.99985pt
3 1 0.0pt
3 0 0.4pt
b 4
4 1 97.99977pt
4 1 0.0pt
4 0 0.4pt
b 5
5 1 43.99991pt
5 1 0.0pt
5 0 0.4pt
b 6
6 1 67.99985pt
6 1 0.0pt
6 0 0.4pt
b 7
7 1 112.99973pt
7 1 0.0pt
7 0 0.4pt
b 8
8 1 97.99977pt
8 1 0.0pt
8 0 0.4pt
b 9
9 1 67.99985pt
9 1 0.0pt
9 0 0.4pt
b 10
10 1 112.99973pt
10 1 0.0pt
10 0 0.4pt
b 11
11 1 97.99977pt
11 1 0.0pt
11 0 0.4pt
b 12
12 1 67.99985pt
12 1 0.0pt
12 0 0.4pt
b 13
13 1 43.99991pt
13 1 0.0pt
13 0 0.4pt
b 14
14 1 67.99985pt
14 1 0.0pt
14 0 0.4pt
b 15
15 1 67.99985pt
15 1 0.0pt
15 0 0.4pt
b 16
16 1 43.99991pt
16 1 0.0pt
16 0 0.4pt
b 17
17 1 115.99973pt
17 1 0.0pt
17 0 0.4pt
b 18
18 1 97.99977pt
18 1 0.0pt
18 0 0.4pt
b 19
19 1 124.9997pt
19 1 0.0pt
19 0 0.4pt
b 20
20 1 43.99991pt
20 1 0.0pt
20 0 0.4pt
b 21
21 1 43.99991pt
21 1 0.0pt
21 0 0.4pt
b 22
22 1 67.99985pt
22 1 0.0pt
22 0 0.4pt
b 23
23 1 67.99985pt
23 1 0.0pt
23 0 0.4pt
b 24
24 1 67.99985pt
24 1 0.0pt
24 0 0.4pt
b 25
25 1 67.99985pt
25 1 0.0pt
25 0 0.4pt
b 26
26 1 67.99985pt
26 1 0.0pt
26 0 0.4pt
b 27
27 1 67.99985pt
27 1 0.0pt
27 0 0.4pt
b 28
28 1 67.99985pt
28 1 0.0pt
28 0 0.4pt
b 29
29 1 43.99991pt
29 1 0.0pt
29 0 0.4pt
b 30
30 1 109.99973pt
30 1 0.0pt
30 0 0.4pt
b 31
31 1 43.99991pt
31 1 0.0pt
31 0 0.4pt
b 32
32 1 85.9998pt
32 1 0.0pt
32 0 0.4pt
b 33
33 1 85.9998pt
33 1 0.0pt
33 0 0.4pt
b 34
34 1 85.9998pt
34 1 0.0pt
34 0 0.4pt
b 35
35 1 67.99985pt
35 1 0.0pt
35 0 0.4pt
b 36
36 1 109.99973pt
36 1 0.0pt
36 0 0.4pt
b 37
37 1 43.99991pt
37 1 0.0pt
37 0 0.4pt
b 38
38 1 85.9998pt
38 1 0.0pt
38 0 0.4pt
b 39
39 1 103.99976pt
39 1 0.0pt
39 0 0.4pt
b 40
40 1 100.99976pt
40 1 0.0pt
40 0 0.4pt
b 41
41 1 67.99985pt
41 1 0.0pt
41 0 0.4pt
b 42
42 1 82.9998pt
42 1 0.0pt
42 0 0.4pt
b 43
43 1 43.99991pt
43 1 0.0pt
43 0 0.4pt
b 44
44 1 85.9998pt
44 1 0.0pt
44 0 0.4pt
b 45
45 1 85.9998pt
45 1 0.0pt
45 0 0.4pt
b 46
46 1 85.9998pt
46 1 0.0pt
46 0 0.4pt
b 47
47 1 43.99991pt
47 1 0.0pt
47 0 0.4pt
b 48
48 1 64.99985pt
48 1 0.0pt
48 0 0.4pt
b 49
49 1 85.9998pt
49 1 0.0pt
49 0 0.4pt
b 50
50 1 67.99985pt
50 1 0.0pt
50 0 0.4pt
b 51
51 1 85.9998pt
51 1 0.0pt
51 0 0.4pt
b 52
52 1 43.99991pt
52 1 0.0pt
52 0 0.4pt
b 53
53 1 43.99991pt
53 1 0.0pt
53 0 0.4pt
b 54
54 1 67.99985pt
54 1 0.0pt
54 0 0.4pt
b 55
55 1 67.99985pt
55 1 0.0pt
55 0 0.4pt
b 56
56 1 43.99991pt
56 1 0.0pt
56 0 0.4pt
b 57
57 1 67.99985pt
57 1 0.0pt
57 0 0.4pt
b 58
58 1 85.9998pt
58 1 0.0pt
58 0 0.4pt
b 59
59 1 103.99976pt
59 1 0.0pt
59 0 0.4pt
b 60
60 1 85.9998pt
60 1 0.0pt
60 0 0.4pt
b 61
61 1 103.99976pt
61 1 0.0pt
61 0 0.4pt
b 62
62 1 67.99985pt
62 1 0.0pt
62 0 0.4pt
b 63
63 1 103.99976pt
63 1 0.0pt
63 0 0.4pt
b 64
64 1 43.99991pt
64 1 0.0pt
64 0 0.4pt
b 65
65 1 127.9997pt
65 1 0.0pt
65 0 0.4pt
b 66
66 1 97.99977pt
66 1 0.0pt
66 0 0.4pt
b 67
67 1 127.9997pt
67 1 0.0pt
67 0 0.4pt
b 68
68 1 97.99977pt
68 1 0.0pt
68 0 0.4pt
b 69
69 1 127.9997pt
69 1 0.0pt
69 0 0.4pt
b 70
70 1 115.99973pt
70 1 0.0pt
70 0 0.4pt
b 71
71 1 43.99991pt
71 1 0.0pt
71 0 0.4pt
b 72
72 1 103.99976pt
72 1 0.0pt
72 0 0.4pt
b 73
73 1 43.99991pt
73 1 0.0pt
73 0 0.4pt
b 74
74 1 127.9997pt
74 1 0.0pt
74 0 0.4pt
b 75
75 1 115.99973pt
75 1 0.0pt
75 0 0.4pt
b 76
76 1 127.9997pt
76 1 0.0pt
76 0 0.4pt
b 77
77 1 115.99973pt
77 1 0.0pt
77 0 0.4pt
b 78
78 1 139.99966pt
78 1 0.0pt
78 0 0.4pt
b 79
79 1 127.9997pt
79 1 0.0pt
79 0 0.4pt
b 80
80 1 151.99963pt
80 1 0.0pt
80 0 0.4pt
b 81
81 1 151.99963pt
81 1 0.0pt
81 0 0.4pt
b 82
82 1 64.99985pt
82 1 0.0pt
82 0 0.4pt
b 83
83 1 145.99963pt
83 1 0.0pt
83 0 0.4pt
b 84
84 1 43.99991pt
84 1 0.0pt
84 0 4.90004pt
b 85
* 1 0
---------------end of mv.mx1---------------

---------------start of mv.mx2-------------
\lineset{  1}{ 4}{ 5.61328pt}{ 7.48440pt}{ 0.00000pt}% 1 - 4
\lineset{  2}{ 3}{ 6.60002pt}{ 8.80006pt}{ 0.00000pt}% 5 - 7
\lineset{  3}{ 4}{ 6.82535pt}{ 9.10050pt}{ 0.00000pt}% 8 - 11
\lineset{  4}{ 3}{ 6.60003pt}{ 8.80007pt}{ 0.00000pt}% 12 - 14
\lineset{  5}{ 3}{ 5.64737pt}{ 7.52985pt}{ 0.00000pt}% 15 - 17
\lineset{  6}{ 3}{ 6.86055pt}{ 9.14743pt}{ 0.00000pt}% 18 - 20
\lineset{  7}{ 2}{ 7.60788pt}{10.14388pt}{ 0.00000pt}% 21 - 22
\lineset{  8}{ 3}{ 5.82572pt}{ 7.76765pt}{ 0.00000pt}% 23 - 25
\lineset{  9}{ 3}{ 7.04597pt}{ 9.39466pt}{ 0.00000pt}% 26 - 28
\lineset{ 10}{ 3}{ 6.47704pt}{ 8.63609pt}{ 0.00000pt}% 29 - 31
\lineset{ 11}{ 2}{ 7.43277pt}{ 9.91039pt}{ 0.00000pt}% 32 - 33
\lineset{ 12}{ 3}{ 6.51752pt}{ 8.69006pt}{ 0.00000pt}% 34 - 36
\lineset{ 13}{ 3}{ 7.04597pt}{ 9.39466pt}{ 0.00000pt}% 37 - 39
\lineset{ 14}{ 3}{ 7.55655pt}{10.07543pt}{ 0.00000pt}% 40 - 42
\lineset{ 15}{ 3}{ 6.55851pt}{ 8.74472pt}{ 0.00000pt}% 43 - 45
\lineset{ 16}{ 3}{ 5.74465pt}{ 7.65957pt}{ 0.00000pt}% 46 - 48
\lineset{ 17}{ 3}{ 7.24169pt}{ 9.65562pt}{ 0.00000pt}% 49 - 51
\lineset{ 18}{ 3}{ 5.32889pt}{ 7.10521pt}{ 0.00000pt}% 52 - 54
---------------end of mv.mx1---------------


From mutex-owner@mail.gmd.de  Mon Apr  3 18:58:10 2000
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Date: Mon, 3 Apr 2000 18:53:29 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: musixflx crash
To: mutex@gmd.de, b.lang@gmx.net
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> Date: Mon, 3 Apr 2000 09:23:52 +0200 (MEST)
> From: Bernhard Lang <blang@ipmc.unil.ch>

> musixflxing some music I get the following on the screen
> 
>  <<< musixflex 0.83/T.63dt+jh.2 >>>
> 
>  ... decoding command line
>  ... open <mv.mx1> for input
>  ... testing versionnumber
>  ... open <mv.mx2> for output
>  ... reading
>  ... compute
> 
> Division by zero ! Ask a wizard !
> 
> Does anyone out there feel to be wizard enough to help me? To my knowledge
> the music itself --- some pieces from Monteverdi's Selva Morale --- does
> not contain anything strange. This happened all of a sudden. Contents of
> mv.mx* are added below.

Thanks for adding the required data.

You could have tried "musixflx mv d" for debugging?

The above output shows, that the first section is being computed or
is finished already. The mx2-file shows at the end

> \lineset{ 18}{ 3}{ 5.32889pt}{ 7.10521pt}{ 0.00000pt}% 52 - 54

that bars 52-54 heve been processed already.

mx1 shows for the next bars:

> b 54
> * 1 0
> 54 1 0.0pt
> 54 1 0.0pt
> 54 0 4.90004pt
> b 55
> * 0 0

That seems to be the problem :-)  There is something with no content.
Lines in .mx1 beginnig with "*" always denote a new section; the next
two numbers are \muloosenes and \linegoal.

Have a look what happens between bar 54 and 55. And then tell us,
what to avoid in the future.


It's not too hard to read .mx1 and .mx2. For .mx1 compare your
input against the contents of .mx1. For each bar the space requirement
is notated somehow.

.mx2 tells for each line of music it's number, the number of bars in it,
\elemskip, \afterruleskip, \beforruleskip and as comment the bar numbers.

Hope this hilft -- Werner

From mutex-owner@mail.gmd.de  Mon Apr  3 20:41:56 2000
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The -- division by zero -- message of musixflx was due to a repeated
\Stoppiece (without \contpiece inbetween). This caused musixflx to give
up.

Thanks to Werber Icking

>> .mx1:
>>
>> b 54
>> * 1 0
>> 54 1 0.0pt
>> 54 1 0.0pt
>> 54 0 4.90004pt
>> b 55
>> * 0 0
>
> That seems to be the problem :-)  There is something with no content.
> Lines in .mx1 beginnig with "*" always denote a new section; the next
> two numbers are \muloosenes and \linegoal.
> 
> Have a look what happens between bar 54 and 55. And then tell us,
> what to avoid in the future.
>

            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/



From mutex-owner@mail.gmd.de  Sun Apr  9 15:51:00 2000
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Hello All

I have two general questions concerning pmx.

1. Is it possible to change the general spacing pattern? -> In old music
sometimes the whole note is something fast. So the spacing should be
shifted e.g. like whole -> 4th, half -> 8th etc.

2. Is it possible to prevent pmx from putting commands into the pre- and
postamble of the TeX-output which are not compatible with LaTeX (as
\nopagenumbers, \bye and all sorts of paper size commands etc.) or with
plain MusiXTeX (like \elemskip1pt, \endmuflex...)? -> Without, putting
several different pieces of music together perhaps not all written using
pmx needs some tedious hand work after each run of pmx on some parts.

Bernhard
            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/




From mutex-owner@mail.gmd.de  Sun Apr  9 16:51:07 2000
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Subject: pmx questions
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Hello all

and a third question

How can I get a \zbreve? A pmx note word with length 9 gives a twofold
spaced whole, not a breve. And adding a dot to this seems to mess up pmx's
length counting in some cases.

Bernhard

            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/

From mutex-owner@mail.gmd.de  Sun Apr  9 19:36:00 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex '" <mutex@gmd.de>
Subject: RE: pmx features
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Bernhard Lang wrote

> Is it possible to change the general spacing pattern? -> In old music
>sometimes the whole note is something fast. So the spacing should be
>shifted e.g. like whole -> 4th, half -> 8th etc.

There is no easy way I can think of right off hand.  But I guess I don't
understand the question.  Unless a line becomes very crowded, the basic
spacing laws make horizontal distances proportional to the square root of
the time.  So the ratio of spacings for wholes to halfs is the same as from
quarters to eighths, viz., 1.414... 

2. Is it possible to prevent pmx from putting commands into the pre- and
postamble of the TeX-output which are not compatible with LaTeX (as
\nopagenumbers, \bye and all sorts of paper size commands etc.) or with
plain MusiXTeX (like \elemskip1pt, \endmuflex...)? 

Again, I cannot think of any easy way. But stay tuned, Werner may weigh in
with something here.  And again, I don't fully understand the question.  All
PMX commands had better be compatible with MusiXTeX.  I don't know what you
mean by "plain MusiXTeX."  MusiXTeX is inherently a 3-pass system.  The 1-pt
\elemskip is specified to absolutely guarantee no lines are too long on the
first pass.  On the 2nd pass, musixflx scales it up as required for the 3rd
pass.

--Don Simons 


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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex '" <mutex@gmd.de>
Subject: RE: pmx questions
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Bernhard Lang wrote

>How can I get a \zbreve? A pmx note word with length 9 gives a twofold
>spaced whole, not a breve. And adding a dot to this seems to mess up
>pmx's length counting in some cases.

First, let's check terminology.  PMX regards a breve as a square note with
duration twice as long as a whole note.  If your definition is something
else then please let me know...so far no one else has questioned the
definition I used.

It is true that PMX interprets length 9 to mean a double whole note.  In
keeping with the square-root rule, the spacing it assigns is 1.414 times
that of a whole note.  If you have examples to the contrary (in lines that
are not crowded) then please send the PMX source because there is a bug I
don't know about.

According to a check I just did, adding a dot to a pmx-breve does cause
unexpected results.  I would hope to see a pmx-breve with a dot, spaced at
2^(1/4)=1.19 times the spacing of the square note itself.  What I see is a
dotted whole note, spaced at 1.22 times the undotted breve spacing.  So
there is a bug here and I'll look into it.  It's actually no surprise
because I never made any provision for dotted pmx-breves.

Finally, maybe you are talking about the distinction between \breve and
\zbreve. Prior to PMX 2.2, PMX generated \zbreve\sk for pmx-breves.
MusiXTeX has been upgraded to include a "spacing breve" \breve , so now that
is the TeX command that PMX generates.

There are in-line techniques for substituting one TeX command for another.
There are also PMX commands for adding or subtracting horizontal space.  In
combination, these could substitute one kind of note symbol for another and
maintain spacing according to the square root rule.  If you have a
particular example I'd be glad to explain this further.

--Don Simons
From mutex-owner@mail.gmd.de  Mon Apr 10 10:23:33 2000
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> Bernhard Lang wrote
> 
> > Is it possible to change the general spacing pattern? -> In old music
> >sometimes the whole note is something fast. So the spacing should be
> >shifted e.g. like whole -> 4th, half -> 8th etc.
> 
> There is no easy way I can think of right off hand.  But I guess I don't
> understand the question.  Unless a line becomes very crowded, the basic
> spacing laws make horizontal distances proportional to the square root of
> the time.  So the ratio of spacings for wholes to halfs is the same as from
> quarters to eighths, viz., 1.414... 
> 

Ok, I think, my question was too short. What I would need is a change of
spacing just within a few bars which do not even fill a line. So
"compressing" just by changing the number of bars within that line does
not work. Within these bars whole notes should have approx. the same
spacing as 4th outside, 2th within as 8th outside etc.

> 2. Is it possible to prevent pmx from putting commands into the pre- and
> postamble of the TeX-output which are not compatible with LaTeX (as
> \nopagenumbers, \bye and all sorts of paper size commands etc.) or with
> plain MusiXTeX (like \elemskip1pt, \endmuflex...)? 
> 
> Again, I cannot think of any easy way. But stay tuned, Werner may weigh in
> with something here.  And again, I don't fully understand the question.  All
> PMX commands had better be compatible with MusiXTeX.  I don't know what you
> mean by "plain MusiXTeX."  MusiXTeX is inherently a 3-pass system.  The 1-pt
> \elemskip is specified to absolutely guarantee no lines are too long on the
> first pass.  On the 2nd pass, musixflx scales it up as required for the 3rd
> pass.
> 
> --Don Simons 
> 
> 

By "plain MusiXTeX" I meant using it just as it is without any
preprocessor. When I insert a pmx generated file inbetween such hand
written MusiXTeX files, everyting which comes after the pmx generated one
looks either a) terrible crowded (musixflx tells me that I shouldn't
stress \mulooseness too much, well I think it's not me who does this :-)
or b) even the third MusixTeX pass ends up with an "\inline=" input
message.

a) can be solved by saving and restoring TeX's skip registers being
changed by the pmx output.

b) It looks like the stuff which should go to .mx1 is written to the .log
file after the \endmuflex in the pmx output (why? even an explicit
\startmuflex afterwards does not change this). Afterwards, musixflx
produces no output for this part -> MusiXTeX hangs in the third pass. The
problem can be fixed by deleting the \endmuflex at the very end of the TeX
file written by pmx. But this (and removing the LaTeX incompatible
commands \nopagenumbers, \vsize and \hsize) needs patchwork whenever pmx
has been running over the the pmx-input :-( Ok, this can also be done
automatically by a little program. So the problem is not that serious :-)

Bernhard

From mutex-owner@mail.gmd.de  Mon Apr 10 10:55:07 2000
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> Bernhard Lang wrote
> 
> >How can I get a \zbreve? A pmx note word with length 9 gives a twofold
> >spaced whole, not a breve. And adding a dot to this seems to mess up
> >pmx's length counting in some cases.
> 
> First, let's check terminology.  PMX regards a breve as a square note with
> duration twice as long as a whole note.  If your definition is something
> else then please let me know...so far no one else has questioned the
> definition I used.

I agree.

> It is true that PMX interprets length 9 to mean a double whole note.  In
> keeping with the square-root rule, the spacing it assigns is 1.414 times
> that of a whole note.  If you have examples to the contrary (in lines that
> are not crowded) then please send the PMX source because there is a bug I
> don't know about.

Undotted I get right the squared breve as I expect --- if there is nothing
dotted around.

> According to a check I just did, adding a dot to a pmx-breve does cause
> unexpected results.  I would hope to see a pmx-breve with a dot, spaced at
> 2^(1/4)=1.19 times the spacing of the square note itself.  What I see is a
> dotted whole note, spaced at 1.22 times the undotted breve spacing.  So
> there is a bug here and I'll look into it.  It's actually no surprise
> because I never made any provision for dotted pmx-breves.

Yes, I saw something similar. That's why I asked. And if I remember right,
there was also a problem in counting lengths in the pmx input when using
dotted breves. But the problem was not that straight forward. I didn't
isolate that really and I don't have the example at hand now.

> Finally, maybe you are talking about the distinction between \breve and
> \zbreve. Prior to PMX 2.2, PMX generated \zbreve\sk for pmx-breves.
> MusiXTeX has been upgraded to include a "spacing breve" \breve , so now that
> is the TeX command that PMX generates.
>
> There are in-line techniques for substituting one TeX command for another.
> There are also PMX commands for adding or subtracting horizontal space.  In
> combination, these could substitute one kind of note symbol for another and
> maintain spacing according to the square root rule.  If you have a
> particular example I'd be glad to explain this further.
> 
> --Don Simons
> 

Here is the example. I tried to go around the problem using something like
"\pt N\breve N\ rb9d" instead of "g9d". But this causes a "Bad error in
fnote"

-------
% nv, noinst, mtrnuml, mtrdenl, mtrnmp, mtrdnp, xmtrnum0, isig
  2   2       4        4        4       4       0         0
% npages, nsyst, musicsize, fracindent
  0       8      20         0.1
BC
Basso solo
bb
./
B
Ab
Ad
AI0.8
% bar 8 
c2d d4 | e2 fs | g0 | ( a | a ) | b- | a | g | /
%
r2 c2 | d2  fs8 d e  f | g2 g | a2d b4 | c2 r2 |
b-4d c1 d  g-4d g8 | g2d fs4 | g0 | /
%

m3/1/3/2
% bar 16
g+9d | a9d | /
%
g+9 g0 | g9 a0 | /
%
-------

pmxing this I get 

*=== RUNNING PMX  ===
* This is pmxab, version 2.2, 18 March 2000
* Opening ab-aeterna-ex.pmx
*
* Starting first PMX pass
*
*  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9 Bad error
* in fnote

commenting out the block bar 8 - bar 15 and pmxing I get

*=== RUNNING PMX  ===
* This is pmxab, version 2.2, 18 March 2000
* Opening ab-aeterna-ex.pmx
*
* Starting first PMX pass
*
*
* ERROR in line 22, bar 2 Pickup bar length disagrees with mtrnum0
*     v
* g+9d | a9d | /
*     ^

Bernhard

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: pmx features
To: mutex@gmd.de, b.lang@gmx.net
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> Date: Mon, 10 Apr 2000 10:09:47 +0200 (MEST)
> From: Bernhard Lang <blang@ipmc.unil.ch>

[...]
> Ok, I think, my question was too short. What I would need is a change of
> spacing just within a few bars which do not even fill a line. So
> "compressing" just by changing the number of bars within that line does
> not work. Within these bars whole notes should have approx. the same
> spacing as 4th outside, 2th within as 8th outside etc.

That's only possible by overfooling PMX. As you already wrote it's no
problem to convince PMX to put these specific bars into one line together
with "normal" bars. Now you have to convince MusiXTeX to use different
spacing for these bars. I would try it in the following way:

\\def\eng{\multnoteskip{0.5}\
...
m4/4/0/0 c4 c c8 c8 c4 /
Rd m4/1/0/0 \eng\ c0 c \eng\ c2 c \eng\ c0 /
m4/4/0/0 c4 c c8 c8 c4 /

It's untested. Your mileage ("0.5") may vary. If it doesn't work I've
to overthink it. For multistaff music or music with more than one
voice in a staff "\eng\" must be used in all voices for any new time
value in any of the voices or staffs. I used a similar solution for
"Stichworte" (indicating another voice during the rests in one voice in
small notes). I used it in my string-quartet edition of Bach's Kunst der
Fuge.

> > 2. Is it possible to prevent pmx from putting commands into the pre- and
> > postamble of the TeX-output which are not compatible with LaTeX (as
> > \nopagenumbers, \bye and all sorts of paper size commands etc.) or with
> > plain MusiXTeX (like \elemskip1pt, \endmuflex...)? 
> > 
> > Again, I cannot think of any easy way. But stay tuned, Werner may weigh in
> > with something here.  And again, I don't fully understand the question.  All
> > PMX commands had better be compatible with MusiXTeX.  I don't know what you
> > mean by "plain MusiXTeX."  MusiXTeX is inherently a 3-pass system.  The 1-pt
> > \elemskip is specified to absolutely guarantee no lines are too long on the
> > first pass.  On the 2nd pass, musixflx scales it up as required for the 3rd
> > pass.

> By "plain MusiXTeX" I meant using it just as it is without any
> preprocessor. When I insert a pmx generated file inbetween such hand
> written MusiXTeX files, everyting which comes after the pmx generated one
> looks either a) terrible crowded (musixflx tells me that I shouldn't
> stress \mulooseness too much, well I think it's not me who does this :-)
> or b) even the third MusixTeX pass ends up with an "\inline=" input
> message.

Have a look at the archive of this mailing list for "endmuflex" and
on the sheet music archive http://www.gmd.de/Misc/Music/scores/. There
are a lot of editions made out of different PMX or M-tx-source by
using a quite normal TeX-file \input-ting the sources, IIRC e.g. some
Ravenscroft by Christian Mondrup. This main TeX has to include
some code to reset things change in the PMX-generates sources. It's not
easy but works.

[...]
> b) It looks like the stuff which should go to .mx1 is written to the .log
> file after the \endmuflex in the pmx output

That's very strange. I've never seen such a behaviour.

> (why? even an explicit
> \startmuflex afterwards does not change this). 

IIRC \startmuflex works only once, and this condition isn't reset by
\endmuflex. But it is very easy to intercept \startmuflex and \endmuflex
e.g. by

\startmuflex\let\startmuflex\relax
\let\endmuflexsav\endmuflex\let\endmuflex\relax
...
\endmuflexsav
\end

Since long I use a similar solution with \let\endmuflex\endinput to
get rid of the end of a PMX-generated TeX-output which e.g. contains
an unwanted \bye.

> Afterwards, musixflx
> produces no output for this part -> MusiXTeX hangs in the third pass. The
> problem can be fixed by deleting the \endmuflex at the very end of the TeX
> file written by pmx. But this (and removing the LaTeX incompatible
> commands \nopagenumbers, \vsize and \hsize) needs patchwork whenever pmx
> has been running over the the pmx-input :-( Ok, this can also be done
> automatically by a little program. So the problem is not that serious :-)

On http://www.gmd.de/Misc/Music/ under M-Tx there should be something
I've never used which extracts the pure MusiXTeX from M-Tx/PMX-generated
TeX-source - I hope I understood correctly what tex2ex should do.

Another file in that archice may be worth for you. Under "add-ons" is
an 1-page articel on PMX&LaTeX2e

Hope this hilft -- Werner

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Hello all
                How can I change the position of the \upbow\ symbol when I
use it in front of a note in PMX, It comes at a wrong vertical position.

Thanks

David


From mutex-owner@mail.gmd.de  Thu Apr 13 09:51:15 2000
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CC: Mutex Mailing List <mutex@gmd.de>
Subject: Re: Question about PMX
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David González wrote:
> 
> Hello all
>                 How can I change the position of the \upbow\ symbol when I
> use it in front of a note in PMX, It comes at a wrong vertical position.
> 
Use \zcharnote to position \upbow where you want it, for example:

...
g44 a4 b4 \zcharnote{h}{\upbow}\ c4 | c4 c4 b4 a4 | g0 
...

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
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> From: "David González" <dgonzal@sce.cnc.una.py>
> Date: Wed, 12 Apr 2000 07:31:11 -0600

>                 How can I change the position of the \upbow\ symbol when I
> use it in front of a note in PMX, It comes at a wrong vertical position.

It's only a name for the symbol like ordinary text. Use it with \uptext,
\Uptext, \zcharnote, ... or use a more general solution as I pointed out
already earlier in this list. Search the archive of this list
http://www.gmd.de/Mail/mutex-archive/ and look for e.g.

"Downbow and upbow with PMX" which leads currently to
              http://www.gmd.de/Mail/mutex-archive/2591.html

"fingering notation" which leads currently to
              http://www.gmd.de/Mail/mutex-archive/0314.html

-- Werner

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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Re: Question about PMX
Date: Thu, 13 Apr 2000 00:39:25 -0600
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Thanks to Werner Icking a Christian Mondrup for answering, \Uptex\ and
\zcharnote\ work fine, I'll check the URL's you gave me for more information

Bye!

From mutex-owner@mail.gmd.de  Thu Apr 13 21:57:20 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: Mutex Mailing List <mutex@gmd.de>
Subject: RE: Question about PMX
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When you use an in-line command like \zcharnote or any other TeX command
that requires a note level, you must be careful about which octave you are
in.  If you are never going to transpose the piece, or if you want the level
to be independent of any transposition, then you can use a number to
represent the level.  If you are going to transpose, and want to enter the
level as a note name,  then there is some trick involving "!" that I can't
exactly remember right at the moment.  Maybe it's discussed in the URL's
that Werner gave.  If you don't use the trick, then you may end up with
everything that comes later being in the wrong octave.

--Don Simons

> -----Original Message-----
> From:	David González [SMTP:dgonzal@sce.cnc.una.py]
> Sent:	Wednesday, April 12, 2000 11:39 PM
> To:	Mutex Mailing List
> Subject:	Re: Question about PMX
> 
> Thanks to Werner Icking a Christian Mondrup for answering, \Uptex\ and
> \zcharnote\ work fine, I'll check the URL's you gave me for more
> information
> 
> Bye!
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From: Bernie Gardner <bernieg1@mediaone.net>
To: MusixTex <mutex@gmd.de>
Subject: musicnft
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I'm trying to get MusixTex to work on my SuSE 6.4 linux system.  MusixTex came
with the distribution, but apparently there is no musicnft.tex file.  I also
downloaded the latest version of MusixTex, but don't see musicnft.tex anywhere
in that either.  This is apparently an essential part of MusixTex.  I'm sure
this is a dumb question but could someone give a 'newbie' a hint as to where to
find it?

Thanks for any help,


Bernie Gardner
bernieg1@mediaone.net
From mutex-owner@mail.gmd.de  Sun Apr 16 02:32:44 2000
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Date: Sat, 15 Apr 2000 17:12:34 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: PMX examples
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Hi All,

May I ask somebody to send me a PMX example for something 4-voice
choral: Soprano, Alto, Tenor, Bass.

I tried some examples from http://www.gmd.de/Misc/Music/, but they all
fail, probably due to a version incompatibility.

Thank you in advance

Alexander


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Here is Alexander's message, in case anyone's mailer refused to
display the Russian "koi8-r" character set (as mine did).  The
message is in English obviously, but the headers included

X-Mailer: Mozilla 4.7 [en] (X11; I; Linux 2.2.14-15mdksecure i686)
X-Accept-Language: en
MIME-Version: 1.0
Content-Type: text/plain; charset=koi8-r

which can confuse (incidentally I wonder why English Netscape 4.7
should think it's Russian...)

===============================================================
Hi All,

May I ask somebody to send me a PMX example for something 4-voice
choral: Soprano, Alto, Tenor, Bass.

I tried some examples from http://www.gmd.de/Misc/Music/, but they all
fail, probably due to a version incompatibility.

Thank you in advance

Alexander
===============================================================

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"To the stupid one the carrying on of loose conduct is like sport"
  - Proverbs 10:23
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On Sat, 15 Apr 2000, Bernie Gardner wrote:

> I'm trying to get MusixTex to work on my SuSE 6.4 linux system.  MusixTex came
> with the distribution, but apparently there is no musicnft.tex file.  I also
> downloaded the latest version of MusixTex, but don't see musicnft.tex anywhere
> in that either.
I am using MusixTex on SuSE linux; there is no problem. musicnft is not part
of MusixTeX, but of Musicnft. Do you still use MusicTeX? Downloading MusicTeX
will supply it to you.
Christof.

From mutex-owner@mail.gmd.de  Mon Apr 17 11:35:29 2000
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Date: Mon, 17 Apr 2000 11:14:43 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: musicnft
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> Date: Sat, 15 Apr 2000 14:49:36 -0000 (GMT)
> From: Bernie Gardner <bernieg1@mediaone.net>

> I'm trying to get MusixTex to work on my SuSE 6.4 linux system.  MusixTex came
> with the distribution, but apparently there is no musicnft.tex file.

You are installing MusiXTeX and complain that a file is missing which
is part of Musi-c-TeX. MusiXTeX is the successor of Musi-c-TeX. MusiXTeX
has a partial compatibility mode for processing old Musi-c-TeX source.
To use that compatibility mode (and only for that case!) it's neccessary
to use musixcpt.tex. So if it is neccessary to include "\input musixcpt"
into old Musi-c-TeX sources then you should comment-out or drop the
line "\input musicnft" which is or was neccessary with Musi-c-TeX.

If you want to use a special MusiXTeX-format to process old Musi-c-TeX
sources without modifying the sources you may add a file musicnft.tex
to the MusiXTeX macros which contains only one line e.g. "\relax" or
"\endinput" (other such "empty" files may be neccessary, too).

>  I also
> downloaded the latest version of MusixTex, but don't see musicnft.tex anywhere
> in that either.  This is apparently an essential part of MusixTex.  I'm sure
> this is a dumb question but could someone give a 'newbie' a hint as to where to
> find it?

If you are a "newbie" then there is no need to use musicnft. And there
is often no need to use MusiXTeX directly. Use instead PMX or M-tx and
PMX which do not call for musicnft.

-- Werner

From mutex-owner@mail.gmd.de  Mon Apr 17 16:29:21 2000
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Date: Mon, 17 Apr 2000 16:00:28 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX examples
To: mutex@gmd.de, avv@quasar.ipa.nw.ru
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> Date: Sat, 15 Apr 2000 17:12:34 -0700
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

> May I ask somebody to send me a PMX example for something 4-voice
> choral: Soprano, Alto, Tenor, Bass.
> 
> I tried some examples from http://www.gmd.de/Misc/Music/, but they all
> fail, probably due to a version incompatibility.

Please be more specific. Which examples did you try? How did they fail?
Which versions do you use?

Did you try to ask the authors directly. They are all named by my site.


From mutex-owner@mail.gmd.de  Thu Apr 20 02:39:47 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: <mutex@gmd.de>
Subject: Brackets in M-tx
Date: Wed, 19 Apr 2000 08:24:51 -0600
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Is there a way to put brackets to instruments with different names? if I =
use Continuo, M-tx thinks they are a single instruments, but I want to =
put them to Violin I and Violin II, and I can't figure it out how to do =
it. Could somebody tell me how to do it?


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<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff><FONT color=3D#000000 size=3D2></FONT><FONT =
color=3D#000000=20
size=3D2></FONT>
<P><FONT face=3D"" size=3D3>Is there a way to put brackets to =
instruments with=20
different names? if I use Continuo, M-tx thinks they are a single =
instruments,=20
but I want to put them to Violin I and Violin II, and I can't figure it =
out how=20
to do it. Could somebody tell me how to do it?</FONT></P></BODY></HTML>

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From mutex-owner@mail.gmd.de  Thu Apr 20 09:24:54 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Brackets in M-tx
To: dgonzal@sce.cnc.una.py (=?iso-8859-1?Q?David_Gonz=E1lez?=)
Date: Thu, 20 Apr 2000 09:08:21 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <000901bfaa0b$29fd6de0$afe40ac8@usuario-part.> from "=?iso-8859-1?Q?David_Gonz=E1lez?=" at Apr 19, 2000 08:24:51 AM
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=?iso-8859-1?Q?David_Gonz=E1lez?= skryf:
> 

> Is there a way to put brackets to instruments with different names? if I =
> use Continuo, M-tx thinks they are a single instruments, but I want to =
> put them to Violin I and Violin II, and I can't figure it out how to do =
> it. Could somebody tell me how to do it?
> 
You can put a choir-style bracket (looks like '[') easily:

Style: Violins
Violins: Voices V1 V2; Clefs G G; Group

Dirk
From mutex-owner@mail.gmd.de  Sun Apr 23 00:23:33 2000
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 The is a possible conflict between amsmath.sty and muaixtex: this
concerns the macro \breve.

 If, for some reason, you have to use both packages amsmath.sty AND
musixtex.sty, you have better:

  1. either invoke \usepackage{amsmath} before \usepackage{musixtex}

  2. OR have a recent distribution of amsmath.sty of other ams*.sty:
versions younger than Dec 1999 refuse to override a previous definition
of \breve.

 If this is not done, musixtex crashes at the definition of \breve.
-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Tue Apr 25 00:17:26 2000
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Date: Mon, 24 Apr 2000 23:57:02 +0200 (CEST)
From: Guido Milanese <MC1194@mclink.it>
To: mutex@gmd.de
Subject: addbook:add?vcard=begin%3Avcaraddbook:add?vcard=begin%3Avcard%Gregorian Chant notation problem
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Dear all,
           I am trying the gregorian chant package (the edition I
have found in the SuSE Linux 6.3 CDs, is dated 03.01.1997).
Everything is OK if I use the "C" clefs, setting them with

        \setstaffs 1 1
        \setlines 1 4
        \setclef 1{3000} % or 2000, or 4000
        \setaltoclefsymbol 1 \gregorianCclef

If I use the F clef, horrible things happen. A modern "C" clef
appears in place of the gregorian "F" clef. I set the clef as
follows:

        \setstaffs 1 1
        \setlines 1 4
        \setclef 1{3000} % or 2000, or 4000
        \setbassclefsymbol 1 \gregorianFclef

If I state \setaltoclefsymbol in place of \setbassclefsymbol, the
correct clef appears, but the notes are in the wrong position
(i.e. as if there were a "C" clef).

According to the MusiXTeX manual (version T.86() this should be
correct, I think, but clearly I am doing something wrong. Any
suggestions appreciated, with thanks in advance!

Best regards,
gm



Guido Milanese               -- gmilanese@mclink.it
Vocal Ensemble "Ars Antiqua" -- http://fly.to/arsantiqua
Salita del Passero 11, I-16126 Genova GE, Italy
* SED NOMINI TUO DA GLORIAM *






From mutex-owner@mail.gmd.de  Tue Apr 25 19:44:56 2000
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Date: Tue, 25 Apr 2000 19:33:18 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: addbook:add?vcard=begin%3Avcaraddbook:add?vcard=begin%3Avcard%Gregorian Chant notation problem
To: mutex@gmd.de, MC1194@mclink.it
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> Date: Mon, 24 Apr 2000 23:57:02 +0200 (CEST)
> From: Guido Milanese <MC1194@mclink.it>

[...]
>         \setclef 1{3000} % or 2000, or 4000
                    ^^^ 3 requests the altoclefsymbol and computes the
the pitches according to the position of the altoclef
>         \setbassclefsymbol 1 \gregorianFclef

If the altoclefsymbol is requested it does not help to exchange the 
bassclefsymbol.

> If I state \setaltoclefsymbol in place of \setbassclefsymbol, the
> correct clef appears, but the notes are in the wrong position
> (i.e. as if there were a "C" clef).

If you want the pitches according to the "normal" bass-clef then
you must say:

          \setclef 1{6000}
       
Then exchanging the bassclefsymbol will work, too.

-- Werner

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To: mutex@gmd.de
Subject: Melisma varying by voice/verse and other M-Tx queries
Date: Tue, 25 Apr 2000 16:31:16 -0400
From: Vince Del Vecchio <vince.delvecchio@analog.com>
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I'm just learning how to use M-Tx and have come up with a couple of
things I haven't been able to figure out how to do.

I tried to ask a couple of days ago, but my message bounced.  In the
meantime, I've figured out a couple of answers, and I've come up with
a few new questions!  Sorry this message is so long!

I'm typesetting a hymn in 4 parts, so the format is SATB (2 staves per
system), and there are five verses--every voice has the same words and
at the same times.

1) The refrain is after the verses and begins on a pickup note, i.e. in
   the middle of a bar.  I would like to switch from 5 lines of text to
   1 line exactly at the start of the refrain, i.e. in the middle of
   the bar.  Is this possible?

2) When I change the inter-staff spacing with the "Space:" command,
   a trailing hyphen in the lyrics of the last measure before the
   space change disappears!  Is there any way to prevent this?
   (An example is below.)

3) If I put "1.", "2.", "3." etc. at the beginning of the lyrics, it
   prints verse numbers.
     a) Is there any way to get the numbers to line up with each other?
     b) Is there any way to get them at the beginning of each system?
        (Ideally, without needing to know how many bars are in a
         given system, and, given the refrain, I probably also need
         to be able to turn this off.)

4) Sometimes, some parts have moving notes (melisma) where other parts
   have longer notes for the same words.  I want a trailing underline
   in the text if *any* part has melisma (extending to the rightmost
   note in the melisma in any part), but M-Tx produces an underline only
   if the alto part has a melisma.  Is there a way to get the text to
   match to a different part temporarily?

   I mostly solved this by moving the L: lines to below the lines of
   music, i.e. attaching them to the bass line, and using @^+3 to get
   the text above the staff.  Except in one spot, the bass line has
   the "longest" melismas, so this works pretty well for me.

   I tried switching the text from alto to bass midstream, but the
   lyrics wouldn't line up vertically--offset by a few points.  Ugh!

5) In the process of playing with moving lyrics from part to part, I
   got some really strange results.  If I label everything as "LA:",
   some of the words start to come out in the wrong places!  "LS:"
   works (printing above the staff).  In the example below, the
   second word prints under the 6th beat rather than the 5th.  Oddly
   enough, the underscore ends in the right place, but then it starts
   using hyphens to fill in the whitespace until it prints the "Oh".

   If I add identical "LS:" lines, I get an "Ah" above the staff
   (no "Oh", just hyphens for the last two notes) and nothing below
   the staff at all!  What have I done here?

6) In one or two spots in the hymn, one verse has two syllables and
   another verse has only one.  I want the verse with only one
   syllable to have the trailing underline.

   I figured this one out by looking at the source for an example in
   the musixlyr manual.  If there is a melisma only in the second of
   five verses, for example, you say
        \verses{,\beginmel,,,}\
   before the note where the melisma starts and
        \verses{,\endmel,,,}\
   before the note where it ends.

7) I was looking for a way to turn off the measure numbers, or to get
   measure numbers without boxes.

   Werner helped me with this one, and I also found it in the musixtex
   manual.  To get rid of the bar numbers, it's
        %%\nobarnumbers
   For bar numbers without boxes, I used:
        %%\def\writebarno{\eightbf\the\barno\barnoadd}
   I also wanted to raise them a little higher off the staff:
        %%\def\raisebarno{5\internote}

Any help appreciated!

The example for #2 and #5 is:
--------Cut-----------------------------
SA: Voices S,A; Vocal; Clefs G
Style: SA
Meter: 6/4
Bars/Line: 1

   c0+        ( d4 e ) |
 ( a2 g4 a )  ( b c )  |
LA:  Ah       Oh-

Space: 6

   d2 c0 ||
   b2 c0 ||
LA: oh Ah.
--------Cut-----------------------------

-Vince Del Vecchio
vince.delvecchio@analog.com
From mutex-owner@mail.gmd.de  Wed Apr 26 09:00:06 2000
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Date: Wed, 26 Apr 2000 07:40:43 +0100 (BST)
To: mutex@gmd.de
Subject: Large print music
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Hi,

Does anyone know how to make PMX print in the 24-point or 28.8-point
size (MusiXTeX's \largemusicsize and \Largemusicsize)?

Thanks, Silas

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"As for the dead, they are conscious of nothing at all"
  - Ecclesiastes 9:5
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From: Christian Mondrup <scancm@biobase.dk>
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"Silas S. Brown" wrote:
> 
> Hi,
> 
> Does anyone know how to make PMX print in the 24-point or 28.8-point
> size (MusiXTeX's \largemusicsize and \Largemusicsize)?
> 

Add \\Largemusicsize\ in front of the first input block:


---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
1 1 4 4 0 6  0.00000 1 0 4 20 0

0
./
% Paragraph 3 line 8 bar 1
\\Largemusicsize\
g44 g4 g4 a4 | /

%Bar 2
b2 a2 | /

%Bar 3
g4 b4 a4 a4 | /

%Bar 4
g0 of /


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Wed, 26 Apr 2000 11:11:33 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Large print music
To: ssb22@cam.ac.uk, scancm@biobase.dk
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> Date: Wed, 26 Apr 2000 10:03:34 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> "Silas S. Brown" wrote:

> > Does anyone know how to make PMX print in the 24-point or 28.8-point
> > size (MusiXTeX's \largemusicsize and \Largemusicsize)?

> Add \\Largemusicsize\ in front of the first input block:

> 1 1 4 4 0 6  0.00000 1 0 4 20 0
[...]
> ./
> \\Largemusicsize\

PMX nevertheless assumes that the music is printed with a 20-point
font and makes it's calculation corresponding to this size. I.e.
that e.g. if there isn't enough space between two big notes to place
a big accidental, PMX will not add additional space although it is
required. Or if there isn't the minimum space between two successiv notes
PMX will not change it's spacing to guarantee a miminum space. So it may 
help to overfool PMX in the following way - which I didn't test:

w132m h175m
\\Largemusicsize\hsize 190mm\vsize 251mm\

This makes PMX believe that the page is 132mm x 175mm whilst MusiXTeX uses
190mm x 251mm which corresponds to the ratio 20:28.8.

-- Werner




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Werner Icking writes:
> w132m h175m
> \\Largemusicsize\hsize 190mm\vsize 251mm\

This works nicely for parts.  It goes slightly wrong with scores
though - when I tried it on a 3-part score, I got (alternately) a page
with 9 staves and a page with 3 staves (maybe PMX thought it was
fitting 12 staves on a page and MusiXTeX thought otherwise?  I don't
know, I'm not a TeX wizard).

I only needed a part so it's not a problem.  I do wonder what one
would do if one wanted to print a large print score though.

(On the subject of scores is there any way of getting M-Tx or PMX to
print an orchestral score?  I tried using my conversion program to
convert Beethoven's Fifth Symphony into M-Tx format, but it said
something about not being able to do more than 7 staves, and then died
horribly...)

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Though science may explain the world, we still have to explain science"
  - Paul Davies, "Superforce"
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On Wed, 26 Apr 2000, Silas S. Brown wrote:

> Werner Icking writes:
> > w132m h175m
> > \\Largemusicsize\hsize 190mm\vsize 251mm\
> 
> This works nicely for parts.  It goes slightly wrong with scores
> though - when I tried it on a 3-part score, I got (alternately) a page
> with 9 staves and a page with 3 staves (maybe PMX thought it was
> fitting 12 staves on a page and MusiXTeX thought otherwise?  I don't
> know, I'm not a TeX wizard).

I do not think this has anything to do with scores: if the space does
not suffice to place it on the page, pmx puts the extra system onto
the next page.
> 
> I only needed a part so it's not a problem.  I do wonder what one
> would do if one wanted to print a large print score though.
> 
> (On the subject of scores is there any way of getting M-Tx or PMX to
> print an orchestral score?  I tried using my conversion program to
> convert Beethoven's Fifth Symphony into M-Tx format, but it said
> something about not being able to do more than 7 staves, and then died
> horribly...)
> 
The newest version of PMX handles 12 voices. I have set scores with
11 voices and it worked. However, the registers did not suffice to
handle an entire movement; it was necessary to subdivide the movements
into several pieces which I fused together (with an editor macro) on
the TeX-level. It needs, however, some efforts to get the geometry
right. I thought to increase the dimension of the arrays in Don's
FORTRAN program, but after I had seen that pmx is a highly sophisticated
wonder of saving spaces by overwriting registers that are not needed any 
more (probably for fitting the program within the 640k barrier of DOS), 
I dropped that idea...
There are certainly good reasons that nobody else has ever tried to introduce
patches into Don's program.

Good luck and happy PMXing, Christof

From mutex-owner@mail.gmd.de  Wed Apr 26 16:15:06 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Large print music
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> From: "Silas S. Brown" <ssb22@cam.ac.uk>
> Date: Wed, 26 Apr 2000 12:50:45 +0100 (BST)

> Werner Icking writes:
> > w132m h175m
> > \\Largemusicsize\hsize 190mm\vsize 251mm\
> 
> This works nicely for parts.  It goes slightly wrong with scores
> though - when I tried it on a 3-part score, I got (alternately) a page
> with 9 staves and a page with 3 staves (maybe PMX thought it was
> fitting 12 staves on a page and MusiXTeX thought otherwise? [...]

PMX thinks - and sometime it thinks wrong esp. when overfooled by
some damned tricks. MusiXTeX does not think. It simply fills a page
with lines of music until TeX believes that the page is full or
until there is an explicit "eject" (alapage) as PMX uses it.

If the 9 staves really fill the page without too much space between
the staves, then my modifications have successfully confused PMX.
In that case you can play with "h175m". Reducing it should convince
PMX to put less staves on the page so that the pages do not overflow
during the (MusiX)TeX run. Reduce the h-value until PMX does not put
more than 9 staves to the page.

If you think that more than 9 staves should fit to the page then you
may try to use PMX's "Ai" or "AI" or to increase the h-value.

The vsize value of 251mm is derived from letter-size paper. It's
279mm high; minus 20mm for two 10mm margins result in 259mm. The
remaining 8 mm are ment for a footline as I use it.

-- Werner

From mutex-owner@mail.gmd.de  Wed Apr 26 22:13:41 2000
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Subject: Possible bug in PMX transposition
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Hi,

The PMX manual states that K+2+4 in the first block should transpose a
whole score from C major into E major.

I used K+1+2 to transpose from C major into D major.  The original had
some flatterned thirds (E flats), which should have been transposed to
F naturals in D major.  However, PMX wrote F flat.

It seems that PMX does not adjust the accidental when transposing.

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"Earth itself has been given into the hand of the wicked one" - Job 9:24
From mutex-owner@mail.gmd.de  Wed Apr 26 23:13:39 2000
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"Silas S. Brown" wrote:
> 
> Hi,
> 
> The PMX manual states that K+2+4 in the first block should transpose a
> whole score from C major into E major.
> 
> I used K+1+2 to transpose from C major into D major.  The original had
> some flatterned thirds (E flats), which should have been transposed to
> F naturals in D major.  However, PMX wrote F flat.
> 
> It seems that PMX does not adjust the accidental when transposing.
> 

Did you remember to write the pmx code using relative accidentals (Ar)?
See the pmx docs.

> --
> Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas
> 
> "Earth itself has been given into the hand of the wicked one" - Job 9:24

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: Possible bug in PMX transposition
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Hi,

Christian Mondrup writes:
> Did you remember to write the pmx code using relative accidentals (Ar)?
> See the pmx docs.

Yes, this is the problem, sorry.  However, the PMX documentation is
slightly scant on the meaning of "relative accidental" - does it mean
that if I wanted a B natural in a flat key I would have to say B#?
(Ie. apart from putting "Ar" in, do I have to do anything else?)

Thanks, Silas

-- 
Silas S Brown, St John's College Cambridge UK http://www.flatline.org.uk/~silas

"By every kind of toil there comes to be an advantage" - Proverbs 14:23
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Date: Wed, 26 Apr 2000 22:40:11 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Subject: PMX 2.2 - MIDI
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Hi,

"Simons, Don" wrote (some time ago):

> The biggest news is the addition of MIDI file output capability.  If you
> simply enter "I" near the top of the .pmx file, PMX will generate
> [jobname].mid in the working directory, using default settings for all
> available options.  Please see the manual for description of the options,
> which include tempo, midi instrument selection, setting the gap at the end
> of each tone, inserting pauses, and replicating entire sections.  Please be
> aware of the following two restrictions in creating MIDI files: (1) The only
> ties that are recognized are those with no index.  Among other things this
> means that in tied chords at most one note will sound tied while the rest
> will be reattacked; (2) Changing the number of instruments in mid-stream

I'm not sure I understand the use of IMi commands to cope with repeats.

Assume the musical form is:-

partial bar0 Rl | <some bars to be repeated> | V1 <1st time bar> | Rr V2 <2nd
time bar | Vx <more bars ......> 

My reading of the manual leads me to suppose that, to get a MIDI file, I must
do:

Ixinn:nn...
partial bar0 | IMR1 Rl <some bars to be repeated> | IM V1 <1st time bar> | IMP1
Rr V2 <2nd time bar | Vx <more bars ......>

Each IM[x} must start a block.

This works fine for me IF I don't have the partial bar0 but when I do have it
(including a suitable change to xmtrnum0):-

if I put partial bar0 in the same block as bars1..4, I get an error message
something like MIDI stuff must start a group

if I put the partial bar0 in its own block so I can put IMR1 at the start of
block bars1..4 the first pass of pmxab gets to bar5 and then says Bad error in
fnote.
 
How should I be doing this, please?

Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Thu Apr 27 11:20:39 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Possible bug in PMX transposition
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> From: "Silas S. Brown" <ssb22@cam.ac.uk>
> Date: Wed, 26 Apr 2000 22:14:45 +0100 (BST)

[...]
> Yes, this is the problem, sorry.  However, the PMX documentation is
> slightly scant on the meaning of "relative accidental" - does it mean
> that if I wanted a B natural in a flat key I would have to say B#?

Yes. Because "relative accidentals" are more a feature of MusiXTeX than
of PMX the descript is (should be :-) in the MusiXTeX manual. But I'm
sure it cannot be described, it can only easily be used once one has
seen how logically it works :-)

> (Ie. apart from putting "Ar" in, do I have to do anything else?)

"Ar" puts "\relativeaccid" into PMX's MusiXTeX output. If you then code
"bs" in PMX, PMX will generate "\sh b¨. If the signature is a flat key
MusiXTeX will output a natural. In the same way "bn" produces "\na b"
and MusiXTeX output a flat sign.

Some time ago I put a small example for this powerful MusiXTeX feature
on http://www.gmd.de/Misc/Music/. Look for "typesetting scales" under
MusiXTeX add-ons. A C-major/A-minor scale is tranposed to all keys
using \transpose and \relativeaccid.

-- Werner


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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX 2.2 - MIDI
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> Date: Wed, 26 Apr 2000 22:40:11 +0000
> From: HowardGilbert <howard.gilbert1@btinternet.com>

If you have a (partial) pickup bar which should not be repeated, make
it to a real first bar if you want to produce MIDI. Here is an 
untested shortened example with 3/8th pickup with meter 4/4

1 1 3 8 4 4 0 0
...

c85 c c /

\\\advance\barno-1\
IMR1
m4400 c4 c c c /
IM
V1 c4 c r8 c c c /

IMP1
Rr V2 ... /


Hope this hilft -- Werner

PS: Why on heaven do I write such small samples always with c.5 :-?

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Subject: Re: Melisma varying by voice/verse and other M-Tx queries
To: vince.delvecchio@analog.com (Vince Del Vecchio)
Date: Fri, 28 Apr 2000 13:10:22 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <200004252031.QAA12656@dejavu.spd.analog.com> from "Vince Del Vecchio" at Apr 25, 2000 04:31:16 PM
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Vince Del Vecchio skryf:
> 
> I'm just learning how to use M-Tx and have come up with a couple of
> things I haven't been able to figure out how to do.
> 
> I tried to ask a couple of days ago, but my message bounced.  In the
> meantime, I've figured out a couple of answers, and I've come up with
> a few new questions!  Sorry this message is so long!
> 
> I'm typesetting a hymn in 4 parts, so the format is SATB (2 staves per
> system), and there are five verses--every voice has the same words and
> at the same times.
> 
> 1) The refrain is after the verses and begins on a pickup note, i.e. in
>    the middle of a bar.  I would like to switch from 5 lines of text to
>    1 line exactly at the start of the refrain, i.e. in the middle of
>    the bar.  Is this possible?
> 
Yes.  M-Tx manual Section 3.3.

> 2) When I change the inter-staff spacing with the "Space:" command,
>    a trailing hyphen in the lyrics of the last measure before the
>    space change disappears!  Is there any way to prevent this?
>    (An example is below.)
> 
You're not supposed to use "LA:" when the staff has no other lyrics.
M-Tx manual section 1.5, explanation of "auxiliary lyrics line".
: Change it to "L:" and it works.

> 3) If I put "1.", "2.", "3." etc. at the beginning of the lyrics, it
>    prints verse numbers.
>      a) Is there any way to get the numbers to line up with each other?
>      b) Is there any way to get them at the beginning of each system?
>         (Ideally, without needing to know how many bars are in a
>          given system, and, given the refrain, I probably also need
>          to be able to turn this off.)
> 
a. They're supposed to.
b. No.  I can't predict where the line breaks will come.  Of course,
   if you do all the line breaking yourself, you can also put the line
   numbers in manually, e.g. "\llap{1.}~Oh".

> 4) Sometimes, some parts have moving notes (melisma) where other parts
>    have longer notes for the same words.  I want a trailing underline
>    in the text if *any* part has melisma (extending to the rightmost
>    note in the melisma in any part), but M-Tx produces an underline only
>    if the alto part has a melisma.  Is there a way to get the text to
>    match to a different part temporarily?
> 
The line style is determined by the voice to which the lyrics belong.
M-Tx relies on musixlyr, which has extra features that you can access 
via inline TeX.  I don't know them well enough to advise.

>    I mostly solved this by moving the L: lines to below the lines of
>    music, i.e. attaching them to the bass line, and using @^+3 to get
>    the text above the staff.  Except in one spot, the bass line has
>    the "longest" melismas, so this works pretty well for me.
> 
That's what I do too.

>    I tried switching the text from alto to bass midstream, but the
>    lyrics wouldn't line up vertically--offset by a few points.  Ugh!
> 
Vertical repositioning is very tricky because PMX makes the decisions.
Some control is possible but it remains a chore.

> 5) In the process of playing with moving lyrics from part to part, I
>    got some really strange results.  If I label everything as "LA:",
>    some of the words start to come out in the wrong places!  "LS:"
>    works (printing above the staff).  In the example below, the
>    second word prints under the 6th beat rather than the 5th.  Oddly
>    enough, the underscore ends in the right place, but then it starts
>    using hyphens to fill in the whitespace until it prints the "Oh".
> 
>    If I add identical "LS:" lines, I get an "Ah" above the staff
>    (no "Oh", just hyphens for the last two notes) and nothing below
>    the staff at all!  What have I done here?
> 
See answer to 2.

> 6) In one or two spots in the hymn, one verse has two syllables and
>    another verse has only one.  I want the verse with only one
>    syllable to have the trailing underline.
> 
>    I figured this one out by looking at the source for an example in
>    the musixlyr manual.  If there is a melisma only in the second of
>    five verses, for example, you say
>         \verses{,\beginmel,,,}\
>    before the note where the melisma starts and
>         \verses{,\endmel,,,}\
>    before the note where it ends.
> 
There is as yet no clean way to do this without inline TeX.

> 7) I was looking for a way to turn off the measure numbers, or to get
>    measure numbers without boxes.
> 
>    Werner helped me with this one, and I also found it in the musixtex
>    manual.  To get rid of the bar numbers, it's
>         %%\nobarnumbers
>    For bar numbers without boxes, I used:
>         %%\def\writebarno{\eightbf\the\barno\barnoadd}
>    I also wanted to raise them a little higher off the staff:
>         %%\def\raisebarno{5\internote}
> 
You may also need to put in the space that they would have occupied,
because PMX thinks it is there and may rely on it to keep the systems
from interfering with each other.  The command (LaTeX) is:
%%\renewcommand{\writebarno}{\rule{0pt}{12pt}}
In plain MusiXTeX you would do the same using \def.

Dirk
From mutex-owner@mail.gmd.de  Fri Apr 28 18:13:36 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Possible bug in PMX transposition
Date: Fri, 28 Apr 2000 09:03:12 -0700
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To make transposition work correctly in PMX, you must

1. enter the transposition command (e.g., K+2+4, which Silas did OK)

2. enter "Ar" (which Silas apparently did not do)

3. use the relative acidental convention when coding accidentals (which in
the case of the Eb, Silas actually *did* do without realizing it, because in
this case there is no difference)

For me, the easiest way to understand the relative accidental convention is
to realize that the accidental tells you how much to shift the pitch
compared to what it would be if the accidental were not there.  In contrast,
with the ordinary convention, the accidental tells you how much to shift the
pitch compared to what it would be if you were in the key of C major.

--Don Simons

> -----Original Message-----
> From:	Silas S. Brown [SMTP:ssb22@cam.ac.uk]
> Sent:	Wednesday, April 26, 2000 12:56 PM
> To:	mutex@gmd.de
> Subject:	Possible bug in PMX transposition
> 
> Hi,
> 
> The PMX manual states that K+2+4 in the first block should transpose a
> whole score from C major into E major.
> 
> I used K+1+2 to transpose from C major into D major.  The original had
> some flatterned thirds (E flats), which should have been transposed to
> F naturals in D major.  However, PMX wrote F flat.
> 
> It seems that PMX does not adjust the accidental when transposing.
> 
> -- 
> Silas S Brown, St John's College Cambridge UK
> http://www.flatline.org.uk/~silas
> 
> "Earth itself has been given into the hand of the wicked one" - Job 9:24
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Date: Fri, 28 Apr 2000 11:47:28 +0000
From: HowardGilbert <howard.gilbert1@btinternet.com>
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To: mutex@gmd.de
Subject: Re: PMX 2.2 - MIDI
References: <200004270926.LAA13964@sunick.gmd.de>
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Hi Werner,

Thanks for your help - yet again.

I append a tested version based on your method in case anyone else is
interested. 

Note that I put no thought into this composition except for ensuring a final
cadence. It is a Unix version; I assume you would need to invert the slash in
line 5 for Windoze. 

The final dummy bar is something I sometimes need to add to get the last block
to process in pmxab (the dummy bar itself does not process) don't know why it's
needed. Any explanation will be welcomed.

Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


Werner Icking wrote:
> 
> > Date: Wed, 26 Apr 2000 22:40:11 +0000
> > From: HowardGilbert <howard.gilbert1@btinternet.com>
> 
> If you have a (partial) pickup bar which should not be repeated, make
> it to a real first bar if you want to produce MIDI. Here is an
> untested shortened example with 3/8th pickup with meter 4/4
> 
> 1 1 3 8 4 4 0 0
> ...
> 
> c85 c c /
> 
> \\\advance\barno-1\
> IMR1
> m4400 c4 c c c /
> IM
> V1 c4 c r8 c c c /
> 
> IMP1
> Rr V2 ... /
> 
> Hope this hilft -- Werner
> 
> PS: Why on heaven do I write such small samples always with c.5 :-?

--
--------------5B3D0D185FDB573080999620
Content-Type: text/plain; charset=us-ascii;
 name="test.pmx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="test.pmx"

1 1 1 4 0 6 0 0
1 4 20 0.07
Horn
t
./
Tt
Test Midi
Tc
Gilbert
%AI0.7
It108ifr 
%bars0
a43 /
\\\advance\barno-1\
%bars1-4
IMR1 m4400 Rl b43 c d e | f24d g44 | a e d c | d24d f44 /
%bars5-7
d44 f a g | f24d e44 | d c b c /
%bar8
IM V1 d24d g43 /
%bar16
IMP1 Rr V2 e24d d44 /
%bars17-20
Vx e44 e d d | f f a a | b a g e | d24d c44 /
%bars 21-24
b43 c d e | f24d g44 | g f d b | c04 /  
%dummy
rb0 /
--------------5B3D0D185FDB573080999620--


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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
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Subject: Footlines and Copyrights
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How I can assign a footline (copyright notice) only for the fist page? =
how can I center it?

Thank you all

David

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From mutex-owner@mail.gmd.de  Sun Apr 30 14:51:01 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "David González" <dgonzal@sce.cnc.una.py>,
        "Mutex Mailing List" <mutex@gmd.de>
Subject: Re: Footlines and Copyrights
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David González <dgonzal@sce.cnc.una.py> wrote:

How I can assign a footline (copyright notice) only for the fist page? how can I center
it?

David:

This can be accomplished by redefining the output routine \outmorceau as needed.  I
suggest that you build a separate file which you then \input whenever you want to build
your own footers.

Here is a template, but changes have to be made in the conitional parts that apply to your
first page, and following pages....

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
% Alternate output routine
\def\outmorceau{\shipout\vbox{\vbox to \vsize{\vss\pagecontents\vss}%
\ifnum\pageno>1{%
% your second and following page stuff here, if any %
}\else{%
%  your first page stuff here %
}\fi}%
 \global\advance\count0 by 1\relax
 \ifnum\outputpenalty>-20000 \else\dosupereject\fi}%
\output{\outmorceau}%
%

Take a look at the \outmorceau definition in  musixtex.tex to see some of the things that
can be done, particularly with the \line{} macro...  To center something, one can do
\centerline{}.  Also, as with all TeX code, pay close attention to the balancing of the {}
pairs.


The above is for example, and this snippett has not been tested... as always, if you find
something wrong, then you will know what kind of fool am I (or ... bad typist :-)

Suppose you put your new output routine in a file newout.tex.  Here is an example of how
it is included in a typical M-Tx input file...

[.... M-Tx header...]
Meter: 4/4
Bars/Line: 6
Style: Solo

%%\\input newout\
[...more of the M-Tx file ...]


Joel Hunsberger
jhunsberger@i2k.com



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CC: David =?iso-8859-1?Q?Gonz=E1lez?= <dgonzal@sce.cnc.una.py>,
        Mutex 
	Mailing List <mutex@gmd.de>
Subject: Re: Footlines and Copyrights
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Hunsbergers wrote:
> 
> David González <dgonzal@sce.cnc.una.py> wrote:
> 
> How I can assign a footline (copyright notice) only for the fist page? how can I center
> it?
> 
> David:
> 
> This can be accomplished by redefining the output routine \outmorceau as needed.  I
> suggest that you build a separate file which you then \input whenever you want to build
> your own footers.
> 
> Here is a template, but changes have to be made in the conitional parts that apply to your
> first page, and following pages....
> 

And here is another solution based on testing the value of the variable
\folio and surrounding the copyright text with TeX infinitely
stretchable and shrinkable glue (\hss) in order to get the text
centered:

Style: solo
Meter: C
Pages: 2
Systems: 10

%%\def\myfootline{CopyrightText}

%% h250m
%%\\footline{\ifnum\folio=1\hss\myfootline\hss\fi}\
c c c c | c c c c | c c c c | c c c c | 
...

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: mutex@gmd.de
cc: Dirk Laurie <dirk@calvyn.puk.ac.za>
Subject: Re: Melisma varying by voice/verse and other M-Tx queries 
In-Reply-To: Message from Dirk Laurie <dirk@calvyn.puk.ac.za> 
   of "Fri, 28 Apr 2000 13:10:22 +0200." <200004281110.NAA18541@calvyn.puk.ac.za> 
Date: Sun, 30 Apr 2000 16:44:11 -0400
From: Vince Del Vecchio <vince.delvecchio@analog.com>
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> Vince Del Vecchio skryf:
> > 1) The refrain is after the verses and begins on a pickup note, i.e. in
> >    the middle of a bar.  I would like to switch from 5 lines of text to
> >    1 line exactly at the start of the refrain, i.e. in the middle of
> >    the bar.  Is this possible?
> > 
> Yes.  M-Tx manual Section 3.3.

Ah, yes.  Thank you.  Clearly, I need to read the manual a bit more
carefully.

> > 2) When I change the inter-staff spacing with the "Space:" command,
> >    a trailing hyphen in the lyrics of the last measure before the
> >    space change disappears!  Is there any way to prevent this?
> >    (An example is below.)
> > 
> You're not supposed to use "LA:" when the staff has no other lyrics.
> M-Tx manual section 1.5, explanation of "auxiliary lyrics line".
> : Change it to "L:" and it works.

Actually, this seems to happen even if I use just "L:".  If I use the
paragraph form, the hyphens come out but they're not lined up right--
probably lined up for the next system.  Try this:
--------------------
SA: Voices S,A; Vocal; Clefs G
Style: SA
Meter: 6/4
Bars/Line: 1

{lyr}
Ah Oh-oh Ah.
 
   c0+        ( d4 e ) |
 ( a2 g4 a )  ( b c )  |
L: {lyr}
 
Space: 6
 
   d2 c0 ||
   b2 c0 ||
--------------------

And, as I said, if I actually put the lyrics on the L: line, I get no
hyphen at all.

Perhaps this is a musixlyr limitation/bug?

Thanks for your help.

-Vince Del Vecchio
vince.delvecchio@analog.com
From mutex-owner@mail.gmd.de  Tue May  2 00:37:31 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Mysterious triangles in postscript output
Date: Mon, 1 May 2000 15:21:47 -0700 
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At times I have encountered a very wierd problem with postscript output.
The problem always results in an unwanted solid triangle in printed
postscript output.  The lower left corner of the triangle coincides with the
bottom of an intended note stem.  But the note stem itself is not visible.
The triangle extends horizontally to the right some distance, then straight
upward from that point by a distance exactly equal to the height of the
missing notestem. The third side of the triangle returns diagonally to the
bottom of the missing stem.  The triangle is filled in solid black.  

I think I've always been using dvips or dvips32 when this has occurred.  I
would copy the postscript file directly to a printer.  

I've always been able to make the unwanted triangle disappear by creating a
pdf file from the postscript, then printing out the pdf from within Acrobat.


It's not fatal but it sure is a nuisance, as it forces me have Acrobat
Distiller available and to go through several extra steps to produce printed
output.

Has anyone else ever run into this? 

--Don Simons
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Chord word must start with note
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--------------B64275408B6722D23DDEDE58
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I am trying to set a piece that starts with a rest (in fact, many of the
bars start with a rest, producing a slightly syncopated effect), but I
want the chords to be at the start of the bar.  When I run the piece
through prepmx, I get the following error message:

C:> prepmx blame
==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
Writing to blame.pmx
In voice "Voice" near word 4:
            V
   Am: Chord word must start with note: ERROR on line 26
| D

The source is attached.  If that is unreadable for people, I'll cut and
paste it instead.
--------------B64275408B6722D23DDEDE58
Content-Type: text/plain; charset=us-ascii;
 name="blame.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="blame.mtx"

Meter: 4/4
Flats: 2
Style: SINGER
Space: 8
Bars/Line: 4
% Pages: 1
% Systems: 6

%% h9.8i
%% w7i
%% Ar K+2+0
%% \\input bdgmusic\ 
%% \\pageno=6\ 
%% \\headline{\twelverm XenoFilkia \#xx\hfill page XX}\ 
%% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm I BLAME YOU\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1998 by Erica Neely\hfill}\ 
U:   Intro
@+7  r2b r2b   r2b   r2b   r2b r2b |
C:   Am  D   | Dsus  D   | Am  G   |
L:   

U:   
   r8 g8   g    g   [ g g ] g    g | a2 g2   |
C: ~  Am                           | D
L: ~  They said it   wasn't cost ef-fec-tive

U: 
   r8 g8   g    g   [ g f ]  e    f   | f2d   r4 |
C: Am                                 | G
L: ~  They said it  didn't   help the   poor.

U: 
   r8 g8   g      g     g     g  g   g   | a2    g   |
C: Am                                    | D
L: ~  They turned their backs on all the   dream-ers,

U: 
   r8 g8   g      g     g     f    e      d    | ( c0 | c2 ) r4 f8 f     |
C: Am                                          |   F
L: ~  They closed their eyes, they closed that     door.     ~  I  blame

U: Chorus:
   r8 g4  r8 c-  c    [ c c ] f   | ( f2 f8 ) c c4    |
C: Am                             |   D
L: ~  you -- you took   away  the     stars,  I blame

U: 
   g4  r8 g8  c4d-  c8  | e4    f8  e  d   c8d  c1 c8    |
C: Am ~   ~  ~ D        | F     ~   ~  G
L: you -- you stole our   brigh-ter to-mor-row, I  blame

U: 
   g4  r8 g8  c-   c  c    c  | f2       r8   c8 c4    |
C: Am                         | D        Dsus    D
L: you -- you made us what we   are,          I  blame

U: 
   g4  r8 g8  c4d-   c8  | e4  f8   e  d4  ( c   | c0 )
C: Am ~   ~  ~   D       | F   ~    ~  G   F
L: you -- you turned our   pro-mise to sor-row.

% Normal ending
U: 
   V1 r0 |
C:
L: 

% last ending
U: 
   Vlast r2  r8 f8 f4   | Vx c0
C:
L:       ~   ~  I blame      you.

%% K-3
U: Break
   r8 b8    g+  g g4   g8   b   | b4   b    b8    a  a   g   | g0    |
C: C                            |                            | Am
L:    There was a time when the   drea-mers spoke a-bout the   stars

U: 
   r8 a8   a    a    a    a   a      c4   b4d    b8   b4  a8     g  |
C: F                                    | G
L:    They said that some-day they'd go   there, some-day they'd go

U: 
   g0   | r8 f8  f    f   f  g    a | g2  r8 e8  e     d   | c2   b+   |
C: C    | G                         | Am                   | C
L: far,      But that was so long a-go...    And where the   drea-mers

U: 
   f    e4 d   | ( e0 | e0 ) |
C: G           | F
L: went no one   knows.

   r8 c8  c    c  c  c    c    c    | d2  c    | r8 c4  c8  c   b  g    e |
C:                                  |          |
L:    Now tell me if your chil-dren   ask you,      How you let it slip a-

U:
   f0   | r8 c+8  c    c  c   b   g    e   | f2   ( f8 e d4 ) |
C:  
L: way.      What kind of ans-wer will you   give them? - -

U:                                    |      | Chorus
   r8 g8  g     g   g   f   e    d    | c0   | ~
C:                                    |   
L:    What will you do, what will you   say?

--------------B64275408B6722D23DDEDE58--

From mutex-owner@mail.gmd.de  Tue May  2 06:26:14 2000
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Date: Mon, 01 May 2000 21:26:47 -0700
From: Barry Gold <bdgold@mediaone.net>
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Never mind, I figured out that I have to put my guitar chords on a U:
line instead of a C: line.  Later on I ran into a key change problem,
but I wrote about that in a separate message.

Barry Gold wrote:
> 
> I am trying to set a piece that starts with a rest (in fact, many of the
> bars start with a rest, producing a slightly syncopated effect), but I
> want the chords to be at the start of the bar.  When I run the piece
> through prepmx, I get the following error message:
> 
> C:> prepmx blame
> ==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
> Writing to blame.pmx
> In voice "Voice" near word 4:
>             V
>    Am: Chord word must start with note: ERROR on line 26
> | D
> 
[snip]
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From: Barry Gold <bdgold@mediaone.net>
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I seem to have forgotten the right way to code a key change.  I get the
following error message:

C:> mtx blame
==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
Writing to blame.pmx
PrePMX done.  Now run PMX.
 This is pmxab, version 2.2, 18 March 2000
 Opening blame.pmx

 Starting first PMX pass

  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10 
Bar
  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16  Bar 17  Bar 18  Bar 19  Bar 20
  Bar 21  Bar 22  Bar 23  Bar 24

 ERROR in line 113, bar 25 Transposition must be at top of first input
block
      v
 K-3+1 \zchar{10}{C}\ r8 ba8 ga8+ ga8 g4 ga8 ba8 | /
      ^
1

Source attached (ASCII text file).
--------------DFC6C6F9625D1C7DC346A71A
Content-Type: text/plain; charset=us-ascii;
 name="blame.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="blame.mtx"

Meter: 4/4
Flats: 2
Style: SINGER
Space: 8
% Bars/Line: 4
Pages: 2
Systems: 11

%% h9.8i
%% w7i
%% Ar K-2+0
% %% \\input bdgmusic\ 
% %% \\pageno=6\ 
%% \\hoffset=.05in\voffset=.05in\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm\bf{Chorus:}}\ 
%% \\headline{\twelverm XenoFilkia \#xx\hfill page XX}\ 
% %% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm I BLAME YOU\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1998 by Erica Neely\hfill}\ 
U:   Intro
U:   Am  D   | Dsus  D   | Am  G   |
@+7  r2b r2b   r2b   r2b   r2b r2b |
L:   

U: ~  Am                           | D
   r8 g8   g    g   [ g g ] g    g | a2 g2   |
L: ~  They said it   wasn't cost ef-fec-tive

U: Am                                 | G
   r8 g8   g    g   [ g f ]  e    f   | f2d   r4 |
L: ~  They said it  didn't   help the   poor.

U: Am                                    | D
   r8 g8   g      g     g     g  g   g   | a2    g   |
L: ~  They turned their backs on all the   dream-ers,

U: Am                                          |   F
   r8 g8   g      g     g     f    e      d    | ( c0 | c2 ) r4 f8 f     |
L: ~  They closed their eyes, they closed that     door.     ~  I  blame

U: Chorus:
U: Am                           |   D
   g4  r8 c8-  c    [ c c ] f   | ( f2 f8 ) c c4    |
L: you -- you  took   away  the     stars,  I blame

U: Am ~   ~  ~ D        | F     ~   ~  G
   g4  r8 g8  c4d-  c8  | e4    f8  e  d   c8d  c1 c8    |
L: you -- you stole our   brigh-ter to-mor-row, I  blame

U: Am                         | D        Dsus    D
   g4  r8 g8  c-   c  c    c  | f2       r8   c8 c4    |
L: you -- you made us what we   are,          I  blame

U: Am ~   ~  ~   D       | F   ~    ~  G   F
   g4  r8 g8  c4d-   c8  | e4  f8   e  d4  ( c   | c0 )
L: you -- you turned our   pro-mise to sor-row.

% Normal ending
U:
   V1 r0 |
L: 

% last ending
U:
   Vlast r2  r8 f8 f4   | Vx c0   |
L:       ~   ~  I blame      you.

%% L6
U: Break
U:       C                            |                            | Am
   K-3+1 r8 b8    g+  g g4   g8   b   | b4   b    b8    a  a   g   | g0    |
L:       There was a time when the   drea-mers spoke a-bout the   stars

U: F                                 | G
   a8   a    a    a    a   a      c4   b4d    b8   b4  a8     g  |
L: They said that some-day they'd go   there, some-day they'd go

U: C    | G                          | Am                  | C
   g0   | r8 f8  f    f   f  g4   a8 | g2 r8 e8  e     d   | c2   b+   |
L: far,      But that was so long a-go...    And where the   drea-mers

U: G           | F
   f    e4 d   | ( e0 | e0 ) |
L: went no one   knows.

U:                                  |          |
   r8 c8  c    c  c  c    c    c    | d2  c    | r8 c4  c8  c   b  g    e |
L:    Now tell me if your chil-dren   ask you,      How you let it slip a-

U:  
   f0   | r8 c+8  c    c  c   b   g    e   | f2   ( f8 e d4 ) |
L: way.      What kind of ans-wer will you   give them? - -

U:                                    |      | Chorus
U:                                    |   
   r8 g8  g     g   g   f   e    d    | c0   | ~
L:    What will you do, what will you   say?

--------------DFC6C6F9625D1C7DC346A71A--

From mutex-owner@mail.gmd.de  Tue May  2 08:09:49 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Key change problem
Date: Mon, 1 May 2000 22:52:22 -0700 
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In the PMX command e.g. "K-3+1" the "-3" is the transposition interval and
the second number is the new key.  And, just exactly like it says, you can't
transpose after the piece has started.  If you want the new key to be G you
enter "K+0+1".  Either Barry or M-Tx should RTFM.  

--Don Simons  

-----Original Message-----
From: Barry Gold
To: mutex@gmd.de
Sent: 5/1/00 9:25 PM
Subject: Key change problem

I seem to have forgotten the right way to code a key change.  I get the
following error message:

C:> mtx blame
==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
Writing to blame.pmx
PrePMX done.  Now run PMX.
 This is pmxab, version 2.2, 18 March 2000
 Opening blame.pmx

 Starting first PMX pass

  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7  Bar 8  Bar 9  Bar 10 
Bar
  Bar 12  Bar 13  Bar 14  Bar 15  Bar 16  Bar 17  Bar 18  Bar 19  Bar 20
  Bar 21  Bar 22  Bar 23  Bar 24

 ERROR in line 113, bar 25 Transposition must be at top of first input
block
      v
 K-3+1 \zchar{10}{C}\ r8 ba8 ga8+ ga8 g4 ga8 ba8 | /
      ^
1

Source attached (ASCII text file).
 <<blame.mtx>> 
From mutex-owner@mail.gmd.de  Tue May  2 14:34:33 2000
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Reply-To: <youngman@optushome.com.au>
From: "Jim Youngman" <youngman@optushome.com.au>
To: <mutex@gmd.de>
Subject: A beginner's question re triplets
Date: Tue, 2 May 2000 22:19:01 +1000
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I am new to MusiXTeX and have written code with the intention of producing
two triplets of quavers. In the second triplet, the beam is falling short of
the final note. Can someone tell me what is wrong with the following code:

\notesp\triolet j\isluru0j\ibl0h{-2}\qb0{ji}\tslur0h\tqb0h\en%
\notesp\ibsluru0g\Ibu0gi2\qb0g\butext0\qb0h\tdbslur0i\tqb0i\en%

-------------------------------------------------------------------------
Jim Youngman
19 Portsmouth Street, Heathmont  VIC  3135, Australia
Phone: +61 3 9893 1029 —— Fax: +61 3 9870 0636
mailto:youngman@optushome.com.au
-------------------------------------------------------------------------
teenei te tangata puuhuruhuru
-------------------------------------------------------------------------


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From mutex-owner@mail.gmd.de  Tue May  2 15:14:58 2000
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Date: Tue, 2 May 2000 14:51:12 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: A beginner's question re triplets
To: mutex@gmd.de, youngman@optushome.com.au
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> From: "Jim Youngman" <youngman@optushome.com.au>
> Date: Tue, 2 May 2000 22:19:01 +1000
> 
> I am new to MusiXTeX and have written code with the intention of producing
> two triplets of quavers. In the second triplet, the beam is falling short of
> the final note. Can someone tell me what is wrong with the following code:
> 
> \notesp\triolet j\isluru0j\ibl0h{-2}\qb0{ji}\tslur0h\tqb0h\en%
> \notesp\ibsluru0g\Ibu0gi2\qb0g\butext0\qb0h\tdbslur0i\tqb0i\en%

How does "\tqb" decide whether an upper beam or a lower is to be terminated?
If you terminate an upper beam with "\tbl" then the beam will be too short.

The easiest way to avoid such problems is to use PMX in front of MusiXTeX :-)

( c45x3 b a ) ( gx3n a b )  or maybe  ( c45x3 b a ) (u+6 gx3n a b )+6

-- Werner

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Subject: Re: Key change problem
To: DSimons@logicon.com (Simons, Don)
Date: Tue, 2 May 2000 17:39:08 +0200 (SAST)
Cc: mutex@gmd.de ('mutex@gmd.de')
In-Reply-To: <C3C53CB16C05D311B0CA00805FBBE428030C809E@xcgca040.sp.logicon.com> from "Simons, Don" at May 01, 2000 10:52:22 PM
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Simons, Don skryf:
> 
> In the PMX command e.g. "K-3+1" the "-3" is the transposition interval and
> the second number is the new key.  And, just exactly like it says, you can't
> transpose after the piece has started.  If you want the new key to be G you
> enter "K+0+1".  Either Barry or M-Tx should RTFM.  
> 
Grumpy, grumpy ...  Poor Barry did diffidently say
"I seem to have forgotten the right way to code a key change."

There are several ways to put uninterpreted PMX commands
into the .pmx file.  The correct way to put in transposition
is

PMX: Ar K-2+0 

in the preamble.  This puts the command in as early as possible.

Barry used 
%% Ar K-2+0
which puts the command in the current block, not good enough.

Dirk

From mutex-owner@mail.gmd.de  Tue May  2 18:39:58 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'Werner Icking'" <Werner.Icking@gmd.de>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Mysterious triangles in postscript output
Date: Tue, 2 May 2000 09:30:44 -0700 
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Werner wrote

>Does that mean, that the triangle didn't appear with gsview/ghostscript?
>And only on a PS-printer (and always the same PS-Printer)?

I think Werner may have figured out the source of the problem.  I too have
begun to think it is the particular printer, a Laserjet 4M.  In the most
recent example I have, the triangle did not appear in ghostview.  It is very
possible that the only times I have ever seen the mysterious triangles are
when sending the .ps directly to the LJ4M.  I'll do a few more tests and
report back (before sending out any files).

If that is the source of the triangles, is there any way to fix it???  Seems
like it would have to involve a ROM in the printer.

--Don Simons
From mutex-owner@mail.gmd.de  Tue May  2 19:26:26 2000
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Date: Tue, 02 May 2000 19:16:15 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Christian Mondrup wrote:
> 
> And here is another solution based on testing the value of the variable
> \folio and surrounding the copyright text with TeX infinitely
> stretchable and shrinkable glue (\hss) in order to get the text
> centered:
> 
> Style: solo
> Meter: C
> Pages: 2
> Systems: 10
> 
> %%\def\myfootline{CopyrightText}
> 
> %% h250m
> %%\\footline{\ifnum\folio=1\hss\myfootline\hss\fi}\
> c c c c | c c c c | c c c c | c c c c |
> ...
> 

Upon a private correspondance with Werner I would like to correct the
above mentioned solution:

%%\\footline{\hss\ifnum\pageno=1\myfootline\fi\hss}\


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: MusiXTeX error
Date: Tue, 2 May 2000 22:11:52 -0600
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This is a multi-part message in MIME format.

------=_NextPart_000_000A_01BFB483.6BB988E0
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	charset="iso-8859-1"
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I haven't used TeX/MusiXTeX for a few days, today I tried to TeX one of =
my scores, and I got the following message: "I can't find the default =
format file" but everything is installed, this just happened all of a =
sudden, A Windows message said:
=20
INITEXMF provocated an exception c06d007eH in the module INITEXMF.EXE of =
0257:00403bbf.
Registry
EAX=3D0063fae4 CS=3D0257 EIP=3D00403bbf EFLGS=3D00000246
EBX=3D00000000 SS=3D025f ESP=3D0063faa8 EBP=3D0063fad8
ECX=3Dc1752450 DS=3D025f ESI=3D00405d68 FS=3D46d7   =20
EDX=3D815d09d0 ES=3D025f EDI=3D00000000 GS=3D0000
=20
Bytes in CS:EIP:
,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x =
,02x ,02x=20
=20
As I had made some changes in my PMX file, I thought that was the cause, =
but I tried some other files, and I have the same problem.

Before sending this message I decided to reser my PC, but the problem =
persisted.

Can somebody help me?
=20
David                         =20

------=_NextPart_000_000A_01BFB483.6BB988E0
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type><!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 =
HTML//EN"><!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<META content=3D'"MSHTML 4.72.3110.7"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>I haven't used TeX/MusiXTeX for a few days, today I =
tried to=20
TeX one of my scores, and I got the following message: &quot;I can't =
find the=20
default format file&quot; but everything is installed, this just =
happened all of=20
a sudden, </FONT><FONT color=3D#000000 size=3D2>A Windows message =
said:</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>INITEXMF provocated an exception c06d007eH in the =
module=20
INITEXMF.EXE of 0257:00403bbf.<BR>Registry<BR>EAX=3D0063fae4 CS=3D0257 =
EIP=3D00403bbf=20
EFLGS=3D00000246<BR>EBX=3D00000000 SS=3D025f ESP=3D0063faa8 =
EBP=3D0063fad8<BR>ECX=3Dc1752450=20
DS=3D025f ESI=3D00405d68 FS=3D46d7&nbsp;&nbsp;&nbsp; <BR>EDX=3D815d09d0 =
ES=3D025f=20
EDI=3D00000000 GS=3D0000</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Bytes in CS:EIP:<BR>,02x ,02x ,02x ,02x ,02x ,02x =
,02x ,02x=20
,02x ,02x ,02x ,02x ,02x ,02x ,02x ,02x </FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>As I had made some changes in my PMX file, I thought =
that was=20
the cause, but I tried some other files, and I have the same=20
problem.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Before sending this message I decided to reser my =
PC, but the=20
problem persisted.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT size=3D2>Can somebody help me?</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT=20
size=3D2>David&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp=
;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=
&nbsp;&nbsp;&nbsp;&nbsp;</FONT></DIV></BODY></HTML>

------=_NextPart_000_000A_01BFB483.6BB988E0--

From mutex-owner@mail.gmd.de  Wed May  3 14:28:43 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>,
        "Mutex Mailing List" <mutex@gmd.de>
Subject: Re: MusiXTeX error (fixing my previous post)
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OOOOppppps.... I made an error in my last post... To check a format file,
you need to enter

> tex &plain,   NOT > tex plain ... as follows:

> tex &plain
This is emTeX (tex386), Version 3.14159 [4b] (no format preloaded)
**&plain

*\bye

No pages of output.
Transcript written on texput.log.

The proof that the format file can be found is the line **&plain, loaded
without problems.

For example, this is what you see if the format file can't be found...

> tex &fake
This is emTeX (tex386), Version 3.14159 [4b] (no format preloaded)
**&fake
Sorry, I can't find that format; will try PLAIN.

*\bye

No pages of output.
Transcript written on texput.log.

You should be able to enter "tex &musixtex" and see results similar to the
first example.

Joel Hunsberger


From mutex-owner@mail.gmd.de  Wed May  3 14:39:39 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX 2.2 - MIDI
To: mutex@gmd.de, howard.gilbert1@btinternet.com
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> Date: Fri, 28 Apr 2000 11:47:28 +0000
> From: HowardGilbert <howard.gilbert1@btinternet.com>

> I append a tested version based on your method in case anyone else is
> interested. 

That's fine. But I can't process it with PMX/MusiXTeX. MusiXTeX complains
about the voltas. This error disappears if I replace your "Rr V2" by "Rr V2x".
And then the MIDI-file is as expected, which solves your original problem.

But what is "It108ifr"? I'm astonished that PMX does not complain.

> Note that I put no thought into this composition except for ensuring a final
> cadence. It is a Unix version; I assume you would need to invert the slash in
> line 5 for Windoze. 

No. My "Windoze" is tolerant about that.

> The final dummy bar is something I sometimes need to add to get the last block
> to process in pmxab (the dummy bar itself does not process) don't know why it's
> needed. Any explanation will be welcomed.

I can process this without this dummy bar. I have no problems if I omit the
last two lines. Maybe it's a problems with your Un*x PMX-version. Another
possibility is, that you run an outdated MusiXTeX version. This can be the
reason, too, that you do not have the problems with the voltas, because
processing voltas has been made more secure in the newer MusiXTeX versions.

I run PMX "2.21, 3 April 2000" and MusiXTeX "T.98 <1 December 1999>".

-- Werner

> 1 1 1 4 0 6 0 0
> 1 4 20 0.07
> Horn
> t
> ./
> Tt
> Test Midi
> Tc
> Gilbert
> %AI0.7
> It108ifr 
> %bars0
> a43 /
> \\\advance\barno-1\
> %bars1-4
> IMR1 m4400 Rl b43 c d e | f24d g44 | a e d c | d24d f44 /
> %bars5-7
> d44 f a g | f24d e44 | d c b c /
> %bar8
> IM V1 d24d g43 /
> %bar16
> IMP1 Rr V2 e24d d44 /
> %bars17-20
> Vx e44 e d d | f f a a | b a g e | d24d c44 /
> %bars 21-24
> b43 c d e | f24d g44 | g f d b | c04 /  
> %dummy
> rb0 /

From mutex-owner@mail.gmd.de  Wed May  3 14:53:54 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>,
        "Mutex Mailing List" <mutex@gmd.de>
Subject: Re: MusiXTeX error
Date: Wed, 3 May 2000 08:03:54 -0400
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David González <dgonzal@sce.cnc.una.py>  wrote


>I haven't used TeX/MusiXTeX for a few days, today I tried to TeX one of >my
scores, and I got the following message: "I can't find the default >format
file" but everything is installed, this just happened all of a >sudden, A
Windows message said:
>
>INITEXMF provocated an exception c06d007eH in the module INITEXMF.EXE of
>0257:00403bbf.
>Registry
... snip ...
>
>
>As I had made some changes in my PMX file, I thought that was the cause,
>but I tried some other files, and I have the same problem.
>
>Before sending this message I decided to reser my PC, but the problem
>persisted.
>
>Can somebody help me?

David:

It is very unlikely that your musixtex has caused this.  From the error
message it is more likely that something got changed in your TeX setup.  The
first thing Tex does is to load a "format" file. (Often this is Plain.fmt
... I have EmTex installed.)

I suggest that you search your system for all *.Fmt files and assure that
they exist, then check environment variables to be sure they are still setup
correctly.  For example, in my EmTex installation, I need to have "SET
EMTEXDIR=C:\EMTEX" in the Autoexec.bat, or the environment setup in order
for TeX to find the format files.  Ultimately (to do musixtex), you need to
load musixtex.fmt, which is typically stored in the same place you Plain.fmt
file is found.

A final test, to see what is happening is to just enter TeX from the command
line....  When I do that, I see the following output.


> tex plain
This is emTeX (tex386), Version 3.14159 [4b] (no format preloaded)
**plain
(c:/emtex/texinput/etc/plain.tex Preloading the plain format: codes,
registers, parameters, fonts, more fonts, macros, math definitions,
output routines, hyphenation (c:/emtex/texinput/etc/hyphen.tex
! Patterns can be loaded only by INITEX.
l.2 \patterns
             { % just type <return> if you're not using INITEX
? x

No pages of output.
Transcript written on plain.log.

That way you can see whether TeX is finding the format file.

Joel Hunsberger

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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: "Simons, Don" <DSimons@logicon.com>, <mutex@gmd.de>
Subject: Re: Mysterious triangles in postscript output
Date: Wed, 3 May 2000 15:21:48 +0200
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I found a bug in the earlier HP LJ4 (postscript SIMM)
I do not know if this is the case but the error may be tested by this
postscriptprogramm (same as attach):

------- cut here ------
%!PS

72 300 div 72 300 div neg scale  300 -3000 translate  % set dvips coords

412 1000  moveto   /xxx1 currentpoint pop 100 string cvs def
 14    0 rmoveto   /xxx2 currentpoint pop 100 string cvs def
  2    0 rmoveto   /xxx3 currentpoint pop 100 string cvs def

/Courier findfont [ 50 0 0 -50 0 0 ] makefont setfont 300 1200
moveto xxx1 show ( ) show xxx2 show ( ) show xxx3 show (
\(should be 412 426 428\)) show

showpage

----- end cut ----

The results for my printer were:

      412.0   426.0   940.0   (should be 412   426   428)

Andre

-----Oorspronkelijk bericht-----
Van: Simons, Don <DSimons@logicon.com>
Aan: 'mutex@gmd.de' <mutex@gmd.de>
Datum: dinsdag 2 mei 2000 1:20
Onderwerp: Mysterious triangles in postscript output


>At times I have encountered a very wierd problem with postscript output.
>The problem always results in an unwanted solid triangle in printed
>postscript output.  The lower left corner of the triangle coincides with
the
>bottom of an intended note stem.  But the note stem itself is not visible.
>The triangle extends horizontally to the right some distance, then straight
>upward from that point by a distance exactly equal to the height of the
>missing notestem. The third side of the triangle returns diagonally to the
>bottom of the missing stem.  The triangle is filled in solid black.
>
>I think I've always been using dvips or dvips32 when this has occurred.  I
>would copy the postscript file directly to a printer.
>
>I've always been able to make the unwanted triangle disappear by creating a
>pdf file from the postscript, then printing out the pdf from within
Acrobat.
>
>
>It's not fatal but it sure is a nuisance, as it forces me have Acrobat
>Distiller available and to go through several extra steps to produce
printed
>output.
>
>Has anyone else ever run into this?
>
>--Don Simons
>

From mutex-owner@mail.gmd.de  Wed May  3 18:55:22 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Mysterious triangles in postscript output
Date: Wed, 3 May 2000 09:44:03 -0700 
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When I printed on the LJ4M I got the same results Andre did, i.e.,

 412.0   426.0   940.0   (should be 412   426   428)

But ghostview shows

411.999 425.999 427.999 (should be 412 426 428)

Does this mean my LJ4M has the error?  Does my ghostview have some other
error?

BTW, by printing the "Postscript Configuration Page" directly from the th
LJ4M, I see that the PostScript Version is 2011.110 .  I could not find any
other identifiers that seemed relevant.  What PS version do other LJ4M's
give?

--Don



> -----Original Message-----
> From:	Andre Van Ryckeghem [SMTP:andre.vanryckeghem@kh.khbo.be]
> Sent:	Wednesday, May 03, 2000 6:22 AM
> To:	Simons, Don; mutex@gmd.de
> Subject:	Re: Mysterious triangles in postscript output
> 
> I found a bug in the earlier HP LJ4 (postscript SIMM)
> I do not know if this is the case but the error may be tested by this
> postscriptprogramm (same as attach):
> 
> ------- cut here ------
> %!PS
> 
> 72 300 div 72 300 div neg scale  300 -3000 translate  % set dvips coords
> 
> 412 1000  moveto   /xxx1 currentpoint pop 100 string cvs def
>  14    0 rmoveto   /xxx2 currentpoint pop 100 string cvs def
>   2    0 rmoveto   /xxx3 currentpoint pop 100 string cvs def
> 
> /Courier findfont [ 50 0 0 -50 0 0 ] makefont setfont 300 1200
> moveto xxx1 show ( ) show xxx2 show ( ) show xxx3 show (
> \(should be 412 426 428\)) show
> 
> showpage
> 
> ----- end cut ----
> 
> The results for my printer were:
> 
>       412.0   426.0   940.0   (should be 412   426   428)
> 
> Andre
> 
> -----Oorspronkelijk bericht-----
> Van: Simons, Don <DSimons@logicon.com>
> Aan: 'mutex@gmd.de' <mutex@gmd.de>
> Datum: dinsdag 2 mei 2000 1:20
> Onderwerp: Mysterious triangles in postscript output
> 
> 
> >At times I have encountered a very wierd problem with postscript output.
> >The problem always results in an unwanted solid triangle in printed
> >postscript output.  The lower left corner of the triangle coincides with
> the
> >bottom of an intended note stem.  But the note stem itself is not
> visible.
> >The triangle extends horizontally to the right some distance, then
> straight
> >upward from that point by a distance exactly equal to the height of the
> >missing notestem. The third side of the triangle returns diagonally to
> the
> >bottom of the missing stem.  The triangle is filled in solid black.
> >
> >I think I've always been using dvips or dvips32 when this has occurred.
> I
> >would copy the postscript file directly to a printer.
> >
> >I've always been able to make the unwanted triangle disappear by creating
> a
> >pdf file from the postscript, then printing out the pdf from within
> Acrobat.
> >
> >
> >It's not fatal but it sure is a nuisance, as it forces me have Acrobat
> >Distiller available and to go through several extra steps to produce
> printed
> >output.
> >
> >Has anyone else ever run into this?
> >
> >--Don Simons
> >
From mutex-owner@mail.gmd.de  Wed May  3 23:40:21 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: RE: MusiXTeX error
Date: Wed, 3 May 2000 17:30:09 -0600
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Werner: 
Is not necessary to send you the source, because I've foud the
problem, Recently (thanks to Joel for reminding me this) I added some
fonts to my MiKTeX installation, and misterously, I didn't found plain.fmt
anymore, I reinstalled MiKTeX and now the problem is solved.

Thanks for your help

David


From mutex-owner@mail.gmd.de  Thu May  4 08:45:07 2000
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Date: Wed, 03 May 2000 23:41:53 -0700
From: Barry Gold <bdgold@mediaone.net>
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I've been using MusiXTeX (and M-Tx & PMX) to print ot the entire page
containing the music, including the headings and lyrics to additional
verses set as straight text after the score.

Now my editor would like to make the pages with music look more like the
rest of the magazine, which is built in (gag) Word/97.  She wants the
music output in a form she can import into a Word document.

So far the best idea I have is to display the output in Ghostview, copy
it to the clipboard, and paste it into a Paintbrush session.  Then trim
it and save it as a BMP file, and insert the graphic into the word doc.

Anybody else tried using MusiXTeX to produce partial pages for insertion
into another document?  Is there a better/more direct method?

Thanks...
From mutex-owner@mail.gmd.de  Thu May  4 09:42:33 2000
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Date: Thu, 04 May 2000 09:32:07 +0200
From: Frank Stefani <frank.stefani@ead-systeme.de>
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Hi Barry,

AFAIK you generate PostScript (PS, *.ps) with dvips or a similar
program.
*.ps kann usually be imported by layout programs. If *.ps does not
work, try to generate Encapsulated PostScript (EPS, *.eps), which is
also possible with dvips.

Good luck, HTH,
Frank


Barry Gold schrieb:
> 
> I've been using MusiXTeX (and M-Tx & PMX) to print ot the entire page
> containing the music, including the headings and lyrics to additional
> verses set as straight text after the score.
> 
> Now my editor would like to make the pages with music look more like the
> rest of the magazine, which is built in (gag) Word/97.  She wants the
> music output in a form she can import into a Word document.
> 
> So far the best idea I have is to display the output in Ghostview, copy
> it to the clipboard, and paste it into a Paintbrush session.  Then trim
> it and save it as a BMP file, and insert the graphic into the word doc.
> 
> Anybody else tried using MusiXTeX to produce partial pages for insertion
> into another document?  Is there a better/more direct method?
> 
> Thanks...

-- 
    ____   ___    ___    Frank Stefani    | frank.stefani@ead-systeme.de
   /      /  |   /   \   EAD-Systeme GmbH | www.ead-systeme.de
  /---   /---|  /    /   Nachfeldstr. 4   | Phone +49 8821 9623-0
 /____  /    | /____/    D-82490 Farchant | Fax   +49 8821 9623-20
From mutex-owner@mail.gmd.de  Thu May  4 10:00:22 2000
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Barry wrote

> I've been using MusiXTeX (and M-Tx & PMX) to print ot the entire page
> containing the music, including the headings and lyrics to additional
> verses set as straight text after the score.
>
> Now my editor would like to make the pages with music look more like the
> rest of the magazine, which is built in (gag) Word/97.  She wants the
> music output in a form she can import into a Word document.
>
> So far the best idea I have is to display the output in Ghostview, copy
> it to the clipboard, and paste it into a Paintbrush session.  Then trim
> it and save it as a BMP file, and insert the graphic into the word doc.
>
> Anybody else tried using MusiXTeX to produce partial pages for insertion
> into another document?  Is there a better/more direct method?

I'm not a msword expert but I think the program should be able to import
eps files (encapsulated postscript). You get the eps file by 

"dvips -E <name.dvi> -o <name.eps>"

You have to make sure that <name.dvi> contains only one page, otherwise
dvips will refuse to make an eps file (for dvi files with more than one
page you will have to use the options -p <n> -l <n> for each page you want
to convert). The resulting file will countain the smallest possible
rectangular which covers every non-white stuff on the input page.

Bernhard
            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/


From mutex-owner@mail.gmd.de  Thu May  4 10:31:45 2000
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Date: Wed, 03 May 2000 22:47:03 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Vince Del Vecchio <vince.delvecchio@analog.com>
CC: mutex@gmd.de
Subject: Re: Melisma varying by voice/verse and other M-Tx queries
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Vince Del Vecchio wrote:

> Actually, this seems to happen even if I use just "L:".  If I use the
> paragraph form, the hyphens come out but they're not lined up right--
> probably lined up for the next system.  Try this:
> --------------------
> SA: Voices S,A; Vocal; Clefs G
> Style: SA
> Meter: 6/4
> Bars/Line: 1
> 
> {lyr}
> Ah Oh-oh Ah.
> 
>    c0+        ( d4 e ) |
>  ( a2 g4 a )  ( b c )  |
> L: {lyr}
> 
> Space: 6
> 
>    d2 c0 ||
>    b2 c0 ||
> --------------------
> 
> [...]
> 
> Perhaps this is a musixlyr limitation/bug?


IMHO it isn't. The M-Tx output of the example contains the paragraph:

% Paragraph 5 line 15 bar 2
\\\staffbotmarg6\Interligne\
b2 c0 Rd
 //
d2 c0 /

This is translated into MusiXTeX input by PMX as:

\staffbotmarg6\Interligne%
% Bar count 2
\alaligne
...

No matter whether this is really intended, but the \staffbotmarg change
occurs before \alaligne, i.e. while the current system is still pending.
Since the call for musixlyr's hyphen rendering is buried inside
\alaligne -- and the vertical hyphen position under the first instrument
depends on \staffbotmarg --, the hyphens are aligned corresponding to
the "future" \staffbotmarg value. I'd therefore suggest that M-Tx delay
the \staffbotmarg change to the system break by means of \atnextline.
Since musixlyr cannot anticipate system breaks, it must rely on constant
margin and interinstrument values throughout a system.

Regards,

Rainer

From mutex-owner@mail.gmd.de  Thu May  4 12:16:08 2000
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On Thu, 4 May 2000, Bernhard Lang wrote:

> I'm not a msword expert but I think the program should be able to import
> eps files (encapsulated postscript). You get the eps file by 
> 
> "dvips -E <name.dvi> -o <name.eps>"
> 
> You have to make sure that <name.dvi> contains only one page, otherwise
> dvips will refuse to make an eps file (for dvi files with more than one
> page you will have to use the options -p <n> -l <n> for each page you want
> to convert). The resulting file will countain the smallest possible
> rectangular which covers every non-white stuff on the input page.

Output resolution may be a pitfall too, because the fonts with MusiXTeX
are read as bit images and not PS outline fonts. Resolution would be set
with the -D switch in dvips. My *guess* is that you'd want to match the
resolution of the final output device for the magazine. You'll need to
have PKs at that resolution already made; MiKTeX dvips doesn't invoke
Metafont, I've just learned.

Jerome S. Colburn
jscolbur@prairienet.org


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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Melisma varying by voice/verse and other M-Tx queries
To: rainer.dunker@ebe-online.de (Rainer Dunker)
Date: Thu, 4 May 2000 14:43:52 +0200 (SAST)
Cc: vince.delvecchio@analog.com (Vince Del Vecchio), mutex@gmd.de
In-Reply-To: <39109047.59BB77E0@ebe-online.de> from "Rainer Dunker" at May 03, 2000 10:47:03 PM
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Rainer Dunker skryf:
> 
> Vince Del Vecchio wrote:
> 
> > Actually, this seems to happen even if I use just "L:".  If I use the
> > paragraph form, the hyphens come out but they're not lined up right--
> > probably lined up for the next system.  Try this:
> > --------------------
> > SA: Voices S,A; Vocal; Clefs G
> > Style: SA
> > Meter: 6/4
> > Bars/Line: 1
> > 
> > {lyr}
> > Ah Oh-oh Ah.
> > 
> >    c0+        ( d4 e ) |
> >  ( a2 g4 a )  ( b c )  |
> > L: {lyr}
> > 
> > Space: 6
> > 
> >    d2 c0 ||
> >    b2 c0 ||
> > --------------------
> > 
> > [...]
> > 
> > Perhaps this is a musixlyr limitation/bug?
> 
> 
> IMHO it isn't. The M-Tx output of the example contains the paragraph:
> 
> % Paragraph 5 line 15 bar 2
> \\\staffbotmarg6\Interligne\
> b2 c0 Rd
>  //
> d2 c0 /
> 
> This is translated into MusiXTeX input by PMX as:
> 
> \staffbotmarg6\Interligne%
> % Bar count 2
> \alaligne
> ...
> 
> No matter whether this is really intended, but the \staffbotmarg change
> occurs before \alaligne, i.e. while the current system is still pending.
> Since the call for musixlyr's hyphen rendering is buried inside
> \alaligne -- and the vertical hyphen position under the first instrument
> depends on \staffbotmarg --, the hyphens are aligned corresponding to
> the "future" \staffbotmarg value. I'd therefore suggest that M-Tx delay
> the \staffbotmarg change to the system break by means of \atnextline.
> Since musixlyr cannot anticipate system breaks, it must rely on constant
> margin and interinstrument values throughout a system.
> 
Thanks -- this goes on the list.  

Dirk
From mutex-owner@mail.gmd.de  Thu May  4 18:29:08 2000
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Date: Thu, 4 May 2000 17:20:27 +0200 (CEST)
From: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
Reply-To: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
To: mutex list <mutex@gmd.de>
Subject: MuX2d 0.2.2
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Hi,

--- WHAT ---
This is the announcement for MuX2d 0.2.2 - a graphical editor for MusiXTeX
(a TeX macro package) using Qt 2.x.
For the edited score can be created a MusiXTeX file which will be
computed by TeX and musixflx and display by xdvi.

--- STATE ---
MuX2d is still in a alpha state. Features are planned in a roadmap. See
"To Do" on the website.

--- NEW ---
New in this version is the addition of text under each mote line. MuX2d
uses the MusiXTeX package musixlyr to write the text.

--- INFO ---
I want to invite you the a new MuX2d-list: mux2d-discuss
A discussion list for users (and hopfully some new developers) about
MuX2d. Go to http://lists.sourceforge.net/mailman/listinfo/mux2d-discuss
to become a member.

Please have a look at http://mux2d.sourceforge.net/

Yours,
Lukas


From mutex-owner@mail.gmd.de  Fri May  5 07:59:43 2000
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Date: Thu, 04 May 2000 22:30:06 -0700
From: Barry Gold <bdgold@mediaone.net>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: wrong key signature?
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This is a multi-part message in MIME format.
--------------4646E8B85C123BA0FDB22934
Content-Type: text/plain; charset=us-ascii
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I'm setting a piece that should be in the key of C - no flats or
sharps.  But my output has one flat, and I can't figure out where it's
coming from.

Source attached.
--------------4646E8B85C123BA0FDB22934
Content-Type: text/plain; charset=us-ascii;
 name="pills.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="pills.mtx"

Meter: 2/4
Flats: 1
Style: SINGER
% Bars/Line: 5
Space: 8
Pages: 1
Systems: 7
% PMX: h9.8i
% PMX: w7i
% % PMX: Ar

%% h9.8i
%% w7i
% %% Ar K+0+0
% %% \\input bdgmusic\ 
% %% \\pageno=6\ 
%% \\hoffset=.05in\voffset=.05in\nobarnumbers\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm\bf{Chorus:}}\ 
%% \\headline{\twelverm XenoFilkia \#71\hfill page 1424}\ 
% %% \\twolines\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
% %% Ar
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm I POP PILLS\hfill}\ 
%% \\line{\twelverm Words and Music \copyright~1987 by Nate Bucklin\hfill}\ 
U:             |  C                    | B7
@+9 r4 e8  g   |: c    c  c    c       | b   a  g      fs |
L:     All the    time my good friends   ask me what's my

U:   C              | Am             | Dm
      g   g   g  a  | e    r8 f   e  | f      f   f      g   |
L:    se-cret of suc-cess     of  my   health and wealth and

U:   F              | G              | G7
     a   g   f   e  | d    d   d   e | g    r8 g  a    |
L:   wis-dom and my   gen'-ral hap-pi-ness     Oh what

U: C             | B7                 | C
   c  c  c    c  | b   a     g   fs   | g  g  g      a  |
L: is it tips my   swi-tches and what   is it brings me

U: Am                   | Dm            | G7             | C
   e       r8 f    e    | d   d   e  f  | e   d    c b   | c2    |
L: thrills    Well I've   got one ea-sy   ans-wer: I pop   pills.

U:
   V1 r4 e8 g    :|
L:       I  take

%% L5
U:   Chorus:
 Vb2 r4 d8 e    |
L:      I  pop

U:    F                 | G7              | C                |
   Vx f     f  g    f   | e   d     c d   | e     e  e    f  |
L:    pills to make the   sun rise, I pop   pills to make it

U:               | Dm               | G7
   e    r8 d e   | f     f  g    f  | e   d  c d   |
L: rain    I pop   pills to make me   hap-py I pop

U: C                       |               | Gm                   |
      [ e8.d ]     e8   f  | g    r8 g a   | bf    b     b    b   |
L: pills\space{}to keep me   sane    I can   brave the   dark-est

U: C7             | F                   | Bb    ~  Ab
   a   g    f g   | a     a   a     f   | d     r8 c   d   |
L: tun-nels I can   climb the steep-est   hills    Peo-ple

U: C            | G7           | C
   e   e  e   f | e  d   c b   | c2    | r4 e8  g     
L: ask me how I   do it: I pop   pills      Peo-ple

--------------4646E8B85C123BA0FDB22934--

From mutex-owner@mail.gmd.de  Fri May  5 09:09:05 2000
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Date: Fri, 5 May 2000 08:47:54 +0200 (MEST)
From: Bernhard Lang <blang@ipmc.unil.ch>
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Barry wrote

> I'm setting a piece that should be in the key of C - no flats or
> sharps.  But my output has one flat, and I can't figure out where it's
> coming from.
> 
> Source attached.
>     [ Part 2: "Attached Text" ]
> 
> Meter: 2/4
> Flats: 1                <---- and what is that?
> Style: SINGER
> ...

Is this the answer to your question?

Bernhard


            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/


From mutex-owner@mail.gmd.de  Fri May  5 09:34:14 2000
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Date: Fri, 05 May 2000 08:53:04 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Barry Gold <bdgold@mediaone.net>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: wrong key signature?
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Barry Gold wrote:
> 
> I'm setting a piece that should be in the key of C - no flats or
> sharps.  But my output has one flat, and I can't figure out where it's
> coming from.

> Meter: 2/4
> Flats: 1

from here!!!

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri May  5 09:41:08 2000
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Date: Fri, 05 May 2000 09:20:03 +0200
From: Silvio Weiland <sw2@Rcs1.urz.tu-dresden.de>
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Subject: Question on Preamble command in MTX
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Hi mutex-world,

Could somebody explain the Preamble command "Space", because I don't
know how the settings for spacing exactly work. (The matter is
me...Sorry?) Also with a lot of trial and errors I cann't catch the
mechanism. Although with a little LUCK I got reasonable results, but
there's no sense. I think there's a logical prinzip, which I want to
understand. Don't give me the page numbers of the MTX-manual (I know
them, but I don't understand the chapter)....
Maybe it can be explaned on examples???

1. Space: 6 0 2  ==>       systems    |||||||||||||||||||||||||||||||

||                        ? (distance)

|||||||||||||||||||||||||||||||

? (distance)

|||||||||||||||||||||||||||||||

||                        ? (distance)

|||||||||||||||||||||||||||||||

2. Space: 10 8 4 2

A second question: The footline-definition in MTX (that was given in
this list) doesn't work.
                              I get the footline on the top of the
page????
                              Is there any other definition not
mentioned in the list??

Thanks for help

Silvio

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Subject: Re: wrong key signature?
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On Thu, 4 May 2000, Barry Gold wrote:

> I'm setting a piece that should be in the key of C - no flats or
> sharps.  But my output has one flat, and I can't figure out where it's
> coming from.
> 
Say Flats: 0, not Flats: 1 !!
Christof


From mutex-owner@mail.gmd.de  Fri May  5 16:05:31 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
Message-Id: <200005051347.PAA00863@calvyn.puk.ac.za>
Subject: Re: Question on Preamble command in MTX
To: Silvio.Weiland@mailbox.tu-dresden.de
Date: Fri, 5 May 2000 15:47:20 +0200 (SAST)
Cc: mutex@gmd.de
In-Reply-To: <39127623.3F65304E@rcs.urz.tu-dresden.de> from "Silvio Weiland" at May 05, 2000 09:20:03 AM
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Silvio Weiland skryf:
> 
> Hi mutex-world,
> 
> Could somebody explain the Preamble command "Space", because I don't
> know how the settings for spacing exactly work. (The matter is
> me...Sorry?) Also with a lot of trial and errors I cann't catch the
> mechanism. Although with a little LUCK I got reasonable results, but
> there's no sense. I think there's a logical prinzip, which I want to
> understand. 

It's like chess.  There is no LUCK, it is fully deterministic, but
it may be just too hard to work out, so it feels like LUCK.

PMX does many little adjustments to vertical spacing to compensate
for things that stick out from the staff.  Then it tells TeX to
\eject, which means that the difference between what has already
been set and the planned page height is distributed evenly on the
page.  (Exception: if the page is less than about half full, the
music remains at the exact height that it already has.)

You just can't predict manually what the exact distance between
staves will be.

The "Space" command does further little adjustments on top of what
PMX already has done, but the result is only predictable relative to
what would happen by default.  E.g. in style "SATB4" I sometimes put
Space: 1 1 1 -3
to get more space between the staves at the expense of the interstaff
distance.  

As long as the total adjustments add up to 0, you should get precisely 
what you asked for, relative to a score that uses "Space: 0".  You have
to take into account how many there are of each gap: in the above case
the total adjustment in fact adds up to 3 because the last -3 will be 
ignored (whitespace below the last staff).  If there are four systems
then
Space: 1 1 1 -4
adds to 0 over the whole page. 

If the adjustments do not add to 0, it becomes much trickier to say
exactly what will happen (but not impossible if you're good at math).  
If they add to more that the amount of whitespace available, you may even 
find that an extra page is made by MusiXTeX.  I get around this problem 
by supplying a larger \pageheight to MusiXTeX than what I tell PMX.

Hope (not very confidently) this helps.

Dirk
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Date: Fri, 05 May 2000 16:56:57 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Dirk Laurie <dirk@calvyn.puk.ac.za>
CC: Silvio.Weiland@mailbox.tu-dresden.de, mutex@gmd.de
Subject: Re: Question on Preamble command in MTX
References: <200005051347.PAA00863@calvyn.puk.ac.za>
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Dirk Laurie wrote:
> 
> Silvio Weiland skryf:
> >
> > Hi mutex-world,
> >
> > Could somebody explain the Preamble command "Space", because I don't
> > know how the settings for spacing exactly work. (The matter is
> > me...Sorry?) Also with a lot of trial and errors I cann't catch the
> > mechanism. Although with a little LUCK I got reasonable results, but
> > there's no sense. I think there's a logical prinzip, which I want to
> > understand.
> 
> It's like chess.  There is no LUCK, it is fully deterministic, but
> it may be just too hard to work out, so it feels like LUCK.
> 
> PMX does many little adjustments to vertical spacing to compensate
> for things that stick out from the staff.  Then it tells TeX to
> \eject, which means that the difference between what has already
> been set and the planned page height is distributed evenly on the
> page.  (Exception: if the page is less than about half full, the
> music remains at the exact height that it already has.)
> 
> You just can't predict manually what the exact distance between
> staves will be.
> 
> The "Space" command does further little adjustments on top of what
> PMX already has done, but the result is only predictable relative to
> what would happen by default.  E.g. in style "SATB4" I sometimes put
> Space: 1 1 1 -3
> to get more space between the staves at the expense of the interstaff
> distance.
> 
> As long as the total adjustments add up to 0, you should get precisely
> what you asked for, relative to a score that uses "Space: 0".  You have
> to take into account how many there are of each gap: in the above case
> the total adjustment in fact adds up to 3 because the last -3 will be
> ignored (whitespace below the last staff).  If there are four systems
> then
> Space: 1 1 1 -4
> adds to 0 over the whole page.
> 
> If the adjustments do not add to 0, it becomes much trickier to say
> exactly what will happen (but not impossible if you're good at math).
> If they add to more that the amount of whitespace available, you may even
> find that an extra page is made by MusiXTeX.  I get around this problem
> by supplying a larger \pageheight to MusiXTeX than what I tell PMX.
> 
> Hope (not very confidently) this helps.
> 
> Dirk

'With a little help from my friends' I found a way to get a little more
control over vertical spacings in my scores. The base trick is to add
something like this in a paragraph before the fist music paragraph

%% \raggedbottom
%% \parskip 3\Interligne plus 2\Interligne minus 2\Interligne

and then in the first music paragraph something like

%% \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\

Have a look at my typesettings, for example the madrigals by Mogens
Pedersøn and their M-Tx sources published in the GMD archive to see
examples of the coding and how the result looks.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Dear mutex subscribers.

For some time I have been preparing a M-Tx/pmx based modern edition of a
series of baroque sonatas for flauto traverso and basso continuo. My
co-editor and I have spent some time on looking at typesetting styles of
similar publications from quite a lot of publishers and have ended up
with an 'ideal' typesetting style: the solo part should be set in small
music size, the basso bart in normal size and the basso continuo
arrangement on a normal size staff, but with small note head sizes. The
style of the solo part is straightforward to achieve using
'\setsize2\smallvalue'. The difficult part is to get the style of the
right hand harpsichord part. Opposite to my typesetting of the
triosonata by Roman (published on the GMD archive) I want to have bar
lines drawn across the right hand harpsichord and the basso part which
means that these two parts should be one MusiXTeX instrument. One
*could* require \smallnotesize in the right hand staff but it will be a
hell of a task because it has to be done so frequently.

My MusiXTeX knowledge doesn't suffice to figure out how to do what I
want in a more generalized way and I hope that some of you could
possibly supply some helping hints.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Melisma varying by voice/verse and other M-Tx queries
Date: Fri, 5 May 2000 10:27:13 -0700 
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> Rainer Dunker wrote:
> 
> > 
>...I'd therefore suggest that M-Tx delay
> > the \staffbotmarg change to the system break by means of \atnextline.
> 
There is a potential difficulty with this approach.  PMX generates an
\atnextline command in some limited circumstances related to centered
headers.  My own coding is also at fault because I have not allowed for the
possibility that there was an in-line \atnextline that had been entered
prior to the PMX-generated one.  As it now stands, if M-Tx or the PMX user
inlines an \atnextline in the PMX file, I believe it will either supersede
the PMX-generated one or be ignored, depending on the relative locations in
the TeX file. Is there a general approach for both M-Tx and PMX that would
keep everyone happy?

BTW there are similar issues with \atnextbar, which PMX uses much more often
than \atnextline.

--Don Simons
From mutex-owner@mail.gmd.de  Fri May  5 22:42:41 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Christian Mondrup" <scancm@biobase.dk>, "mutex" <mutex@gmd.de>
Subject: RE: Changing note head size
Date: Fri, 5 May 2000 16:21:06 -0600
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>have ended up
>with an 'ideal' typesetting style: the solo part should be set in small
>music size, the basso bart in normal size and the basso continuo
>arrangement on a normal size staff, but with small note head sizes.

Actually the basso in normal size, and the realization in normal size staff,
but with small note head sizes, are very common in editions of all kind of
chamber music with BC

>One *could* require \smallnotesize in the right hand staff but it will be a
>hell of a task because it has to be done so frequently.
>

Question from a begginer:
                                             Why do you say it has to be
done so frequently? please read the excerpt below

(From MusiXTeX manual):
                                            "Ornaments and cadenzas usually
need to be written using smaller notes 28 . This can be done
everywhere by stating \smallnotesize or \tinynotesize. Normal note size is
restored by
\normalnotesize.
These macros only have a local scope. Thus, if these macros are invoked
outside the
\notes...\enotes pair, the change is valid for the REST OF THE PIECE unless
explicitely modiffied but, if they are invoked inside, their effect is local
to the current staff of the current \notes...\enotes pair."

hope this will help


David

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Date: Sat, 06 May 2000 11:55:46 +0100
From: HowardGilbert <howard.gilbert1@btinternet.com>
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To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: PMX 2.2 - MIDI
References: <200005031216.OAA17001@sunick.gmd.de>
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Hi Werner,

Werner Icking wrote (in reply to Howard Gilbert):

> > I append a tested version based on your method in case anyone else is
> > interested.
> 
> That's fine. But I can't process it with PMX/MusiXTeX. MusiXTeX complains
> about the voltas. This error disappears if I replace your "Rr V2" by "Rr V2x".
> And then the MIDI-file is as expected, which solves your original problem.

It processes fine for me as originally sent. I've always done it this way, 
my model being  Don Simons' "Most of the PMX Commands". I tried it your way 
and (for me) the 2nd time bar extends right to the end of the piece.

> 
> But what is "It108ifr"? I'm astonished that PMX does not complain.

"I" initiates MIDI, "t108" is metronome speed for playback and "ifr" is 
(french) horn (could use i61). This how I understood the PMX manual. What 
do you think I should be doing? Does this line fail to process under 
PMX on your system?

> 
> > Note that I put no thought into this composition except for ensuring a final
> > cadence. It is a Unix version; I assume you would need to invert the slash in
> > line 5 for Windoze.
> 
> No. My "Windoze" is tolerant about that.
> 
> > The final dummy bar is something I sometimes need to add to get the last block
> > to process in pmxab (the dummy bar itself does not process) don't know why it's
> > needed. Any explanation will be welcomed.
> 
> I can process this without this dummy bar. I have no problems if I omit the
> last two lines. Maybe it's a problems with your Un*x PMX-version. Another
> possibility is, that you run an outdated MusiXTeX version. This can be the
> reason, too, that you do not have the problems with the voltas, because
> processing voltas has been made more secure in the newer MusiXTeX versions.
> 
I've had this minor problem intermittently through 3 versions of PMX.

>I run PMX "2.21, 3 April 2000" and MusiXTeX "T.98 <1 December 1999>".

I run PMX 2.20, 18.3.2000 and MusiXTeX T.98, 1.12.99
> 
> -- Werner
> 
> > 1 1 1 4 0 6 0 0
> > 1 4 20 0.07
> > Horn
> > t
> > ./
> > Tt
> > Test Midi
> > Tc
> > Gilbert
> > %AI0.7
> > It108ifr
> > %bars0
> > a43 /
> > \\\advance\barno-1\
> > %bars1-4
> > IMR1 m4400 Rl b43 c d e | f24d g44 | a e d c | d24d f44 /
> > %bars5-7
> > d44 f a g | f24d e44 | d c b c /
> > %bar8
> > IM V1 d24d g43 /
> > %bar16
> > IMP1 Rr V2 e24d d44 /
> > %bars17-20
> > Vx e44 e d d | f f a a | b a g e | d24d c44 /
> > %bars 21-24
> > b43 c d e | f24d g44 | g f d b | c04 /
> > %dummy
> > rb0 /

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


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Dear mutex subscribers.

I think I ought to summarize the result of my request on the list for
methods to achieve \smallnotesize in the right hand staff of a piano
instrument.

Bob Tennent (rdt@cs.queensu.ca) came up with a very elegant solution. I
attach a sample mtx file making use of Bob's macro. Bob has pointed out
the the limitation with his code that in case of a score containing more
than one staff with multiple voices all those staves will be set with
\smallnotesize. For my purpose this doesn't matter because my
typesetting project encompasses solely sonatas for flauto traverso solo
and basso continuo.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
--------------B444D384F97DA269A1A2F38C
Content-Type: application/x-tex;
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\makeatletter%
\def\vnotes#1\elemskip#2|#3&#4\en{\noteskip#1\@l@mskip\@vnotes#2|\smallnotesize\relax#3&#4\enotes}%
\def\nextvoice{%
\@ndstaff\reflect\noport@@\advance\noport@@-1\beginstaff\noport@@\reflect\smallnotesize}%
\makeatother%

--------------B444D384F97DA269A1A2F38C
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% test.mtx

MyPiano: Voices Rh1,Rh2 Lh; Clefs G F; Continuo
Style: solo MyPiano
Meter: C

%%\\\input notesize\
c c c c | c c c c
g g g g | g g g g
c c c c | c c c c
c c c c | c c c c


--------------B444D384F97DA269A1A2F38C--

From mutex-owner@mail.gmd.de  Mon May  8 08:54:24 2000
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To: mutex@gmd.de
Subject: english/german music-dictionary/page?
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Date: Mon, 08 May 2000 08:42:32 +0200
From: Bernt Christandl <beb@MPA-Garching.MPG.DE>
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Hello,

i'm sorry, if this is considered off-topic, but i didn't found
a better place to ask...

Can someone please point me to a dictionary/table(?)
with german/english music-words? (E.g. instrument-names,
"Tonarten", "sheet-writing-words", ...)

Recently i couldn't answer whether a "Fagott" is a "bassoon" or 
a "basset horn" and what the other instrument is called in german...
And what's an "english horn"? An "Oboe"?

With regards,

Bernt Christandl    (beb@mpa-garching.mpg.de)


From mutex-owner@mail.gmd.de  Mon May  8 09:54:22 2000
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Date: Mon, 08 May 2000 09:45:45 +0200
From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex@gmd.de
Subject: Re: english/german music-dictionary/page?
References: <200005080642.IAA00878@sun-3.MPA-Garching.MPG.DE>
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Bernt Christandl wrote:
> 
> Hello,
> 
> i'm sorry, if this is considered off-topic, but i didn't found
> a better place to ask...
> 
> Can someone please point me to a dictionary/table(?)
> with german/english music-words? (E.g. instrument-names,
> "Tonarten", "sheet-writing-words", ...)
> 
> Recently i couldn't answer whether a "Fagott" is a "bassoon" or
> a "basset horn" and what the other instrument is called in german...
> And what's an "english horn"? An "Oboe"?
> 

On the GMD web archive you'll find a 'stand alone' copy
(ftp://ftp.gmd.de/music/lists/glossary/glossary.ps) of a musical terms
glossary which is part of the documentation for the GNU typesetting
utility Lilypond (http://www.cs.uu.nl/~hanwen/lilypond/). One of the
sources of this electronic glossary is a two volume 'Polyglottes
Wörterbuch der musikalisch Terminologie' published by the International
Society of Musicology (Bärenreiter Verlag, Kassel 1980).

> With regards,
> 
> Bernt Christandl    (beb@mpa-garching.mpg.de)

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon May  8 10:41:57 2000
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>, "Bernt Christandl" <beb@MPA-Garching.MPG.DE>
Subject: Re: english/german music-dictionary/page?
Date: Mon, 8 May 2000 10:25:13 +0200
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try also http://www.gmd.de/Misc/Music/Welcome.html   and search for
"glossary"
-----Oorspronkelijk bericht-----
Van: Bernt Christandl <beb@MPA-Garching.MPG.DE>
Aan: mutex@gmd.de <mutex@gmd.de>
Datum: maandag 8 mei 2000 9:32
Onderwerp: english/german music-dictionary/page?


>
>Hello,
>
>i'm sorry, if this is considered off-topic, but i didn't found
>a better place to ask...
>
>Can someone please point me to a dictionary/table(?)
>with german/english music-words? (E.g. instrument-names,
>"Tonarten", "sheet-writing-words", ...)
>
>Recently i couldn't answer whether a "Fagott" is a "bassoon" or
>a "basset horn" and what the other instrument is called in german...
>And what's an "english horn"? An "Oboe"?
>
>With regards,
>
>Bernt Christandl    (beb@mpa-garching.mpg.de)
>
>

From mutex-owner@mail.gmd.de  Mon May  8 10:54:44 2000
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To: Christian Mondrup <scancm@biobase.dk>
cc: Bernt Christandl <beb@MPA-Garching.MPG.DE>, mutex@gmd.de
Subject: Re: english/german music-dictionary/page? 
In-reply-to: Your message of "Mon, 08 May 2000 09:45:45 +0200."
             <391670A9.1D356442@biobase.dk> 
Date: Mon, 08 May 2000 09:41:01 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> On the GMD web archive you'll find a 'stand alone' copy
> (ftp://ftp.gmd.de/music/lists/glossary/glossary.ps) of a musical terms
> glossary which is part of the documentation for the GNU typesetting
> utility Lilypond (http://www.cs.uu.nl/~hanwen/lilypond/). 

anyone well enough acquainted with lilypond to know if there's an
easily available version on standard paper (this one is formatted for
letter paper, spit), or if the source is gettable-at?

robin

whose composer partner uses sibelius, and wanted just such a thing as
this a month back...
From mutex-owner@mail.gmd.de  Mon May  8 11:09:50 2000
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To: Bernt Christandl <beb@MPA-Garching.MPG.DE>
Cc: mutex@gmd.de
Subject: Re: english/german music-dictionary/page?
References: <200005080642.IAA00878@sun-3.MPA-Garching.MPG.DE>
From: Johann-Markus Batke <batke@ee.TU-Berlin.DE>
Date: 08 May 2000 10:30:22 +0200
In-Reply-To: Bernt Christandl's message of "Mon, 08 May 2000 08:42:32 +0200"
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Bernt Christandl <beb@MPA-Garching.MPG.DE> writes:

> Hello,
> 
> i'm sorry, if this is considered off-topic, but i didn't found
> a better place to ask...
> 
> Can someone please point me to a dictionary/table(?)
> with german/english music-words? (E.g. instrument-names,
> "Tonarten", "sheet-writing-words", ...)

Yes, look at

http://www.cs.uu.nl/people/hanwen/lilypond/Documentation/user/out-www/glossary.html

A dictionary can be found here:

http://dict.leo.org

> 
> Recently i couldn't answer whether a "Fagott" is a "bassoon" or 
> a "basset horn" and what the other instrument is called in german...
> And what's an "english horn"? An "Oboe"?

Hmm, yes... it works the same way, but sounds lower.
A basset horn is a clarinet.


Jan-Mark
-- 
_________________________________________________________

 Dipl.-Ing. Jan-Mark Batke
 
 Technische Universität Berlin          Fachgebiet 
 Institut für Nachrichtentechnik und    Fernmeldetechnik 
 Theoretische Elektrotechnik            Sekretariat FT 5
                                        
 Phone: ++49 30 314-2 45 78             Address:
 Fax:   ++49 30 314-2 25 14             Einsteinufer 25   
 mailto:Batke@ee.TU-Berlin.de           D-10587 Berlin    
 http://www-ft.ee.tu-berlin.de/~batke   Germany           
_________________________________________________________
From mutex-owner@mail.gmd.de  Mon May  8 11:24:26 2000
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Date: Mon, 08 May 2000 11:11:28 +0200
From: Christian Mondrup <scancm@biobase.dk>
Organization: Scandiatransplant
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To: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
CC: Bernt Christandl <beb@MPA-Garching.MPG.DE>, mutex@gmd.de
Subject: Re: english/german music-dictionary/page?
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Robin Fairbairns wrote:
> 
> > On the GMD web archive you'll find a 'stand alone' copy
> > (ftp://ftp.gmd.de/music/lists/glossary/glossary.ps) of a musical terms
> > glossary which is part of the documentation for the GNU typesetting
> > utility Lilypond (http://www.cs.uu.nl/~hanwen/lilypond/).
> 
> anyone well enough acquainted with lilypond to know if there's an
> easily available version on standard paper (this one is formatted for
> letter paper, spit), or if the source is gettable-at?
> 

As the author of the glossary I'm able to tell you that the letter
format is default format and has been kept unchanged primarily to the
benefit of us-american users of the GMD archive. There is no ready-made
a4 version available but the source (mudela-book) is part of the
lilypond source distribution as
lilypond-1.3.xx/Documentation/user/glossary.tely.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon May  8 12:40:16 2000
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> Christian Mondrup writes
>
> As the author of the glossary I'm able to tell you that the letter
> format is default format

Well, it depends mostly on where you live, what is supposed to be default. 

> There is no ready-made a4 version available but the source (mudela-book)
> is part of the lilypond source distribution as
> lilypond-1.3.xx/Documentation/user/glossary.tely.

I already printed this glossary on a printer which hasn't got any letter
paper. Nevertheless it worked just by telling the printer that it should
print it on A4 regardless what the file tells which format it wants to
have. Resp., many printers can manually be told something like "what you
have inside that cartridge is letter (or whatever)" independently from
what is in the cartridge in fact.

Bernhard

            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/


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From: Peter.Vanroose@esat.kuleuven.ac.be
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To: beb@MPA-Garching.MPG.DE, batke@ee.TU-Berlin.DE
Subject: Re: english/german music-dictionary/page?
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> > Recently i couldn't answer whether a "Fagott" is a "bassoon" or 
> > a "basset horn" and what the other instrument is called in german...
> > And what's an "english horn"? An "Oboe"?
> 
> Hmm, yes... it works the same way, but sounds lower.

It is also called "alto oboe"; it has a similar link to the oboe
as an alto clarinet to a clarinet, or an alto sax to a soprano sax.

The name "english horn" is actually an old (and meanwhile accepted)
wrong translation of the french "corps angl'e", which describes the
shape of the instrument: as compared to the "straight" oboe, it has
a bent shape.


B.t.w., I could not find "english horn" in any of the mentioned glossaries!


--                  Peter Vanroose
                    Electrotechnical Department (ESAT/PSI)
                    K.U. Leuven, Belgium.
                    Peter.Vanroose@esat.kuleuven.ac.be
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From: Laura Conrad <lconrad@world.std.com>
Date: 08 May 2000 07:11:56 -0400
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>>>>> "Bernhard" == Bernhard Lang <blang@ipmc.unil.ch> writes:

    Bernhard> I already printed this glossary on a printer which
    Bernhard> hasn't got any letter paper. Nevertheless it worked just
    Bernhard> by telling the printer that it should print it on A4
    Bernhard> regardless what the file tells which format it wants to
    Bernhard> have. Resp., many printers can manually be told
    Bernhard> something like "what you have inside that cartridge is
    Bernhard> letter (or whatever)" independently from what is in the
    Bernhard> cartridge in fact.

I find that when I use the "fit to page" option to acroread, I no
longer get A4 documents with their tops cut off, when I print them on
letter paper.  

I put some effort to making the margins on the documents I put on
the web large enough that they can be printed on either A4 or letter.


-- 
Laura (mailto:lconrad@world.std.com , http://www.world.std.com/~lconrad/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139
From mutex-owner@mail.gmd.de  Mon May  8 13:39:53 2000
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Date: Mon, 08 May 2000 13:29:56 +0200
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Bernhard Lang wrote:
> 
> > Christian Mondrup writes
> >
> > As the author of the glossary I'm able to tell you that the letter
> > format is default format
> 
> Well, it depends mostly on where you live, what is supposed to be default.
> 

Yes of course. For example in Denmark the standard format is the A
series (A4 etc). I should have written what I actually meant: letter is
default paper format for the Lilypond music typesetting utilities.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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> Yes of course. For example in Denmark the standard format is the A
> series (A4 etc). I should have written what I actually meant: letter is
> default paper format for the Lilypond music typesetting utilities.

Actually, A4 is default also for Lilypond, e.g. for ly2dvi. 
The letter size of the glossary is due to texi2dvi or dvips.

     /Mats


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Subject: multi-lingual music glossary
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From: Bernt Christandl <beb@MPA-Garching.MPG.DE>
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Hello,

this morning i've asked the list for an english/german
music-word translator/table/glossary and got several response.

In addition to the LEO-dictionary ( http://dict.leo.org/ ) and
the lilypond-glossary ( ftp://ftp.gmd.de/music/lists/glossary/glossary.ps )
i came over this URL:

   http://www.cadenza.org/glossary/

which acts similar to the leo-dictionary, but is specialized to music-terms.
It supports english, french, german and serbian up to now and they are
looking for volunteers to set it up for other languages.

This glossary, too, could not answer my original question "english horn",
so i made a suggestion to enter this term.

With regards,

Bernt Christandl   (beb@mpa-garching.mpg.de)

From mutex-owner@mail.gmd.de  Mon May  8 22:08:05 2000
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Date: Mon, 8 May 2000 22:03:08 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: Melisma varying by voice/verse and other M-Tx queries
To: mutex@gmd.de, dsimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Fri, 5 May 2000 10:27:13 -0700 

[... MTX usage of \atnextline ..]
> There is a potential difficulty with this approach.  PMX generates an
> \atnextline command in some limited circumstances related to centered
> headers.  My own coding is also at fault because I have not allowed for the
> possibility that there was an in-line \atnextline that had been entered
> prior to the PMX-generated one.  As it now stands, if M-Tx or the PMX user
> inlines an \atnextline in the PMX file, I believe it will either supersede
> the PMX-generated one or be ignored, depending on the relative locations in
> the TeX file. Is there a general approach for both M-Tx and PMX that would
> keep everyone happy?

Some time ago, I had a similar problem with my edition of Bach's Sonatas and
Partitas for Violin Solo. I had some macros which used \atnextline e.g. 
(shortened): \def\Taktc#1{\def\atnextline{\testbar}\bar}

Lateron I wanted to use \atnextline in open code, too, e.g. 
\def\atnextline{\vskip -2\Interligne}

So I invented the following two definitions

\def\nxtsav{\ifx\atnextlinesav\undefined\let\atnextlinesav\atnextline
  \else\message{Error ...}...\fi}
\def\nxtexe{\atnextlinesav\let\atnextlinesav\undefined}

and changed the definition of \Taktc etc. to

\def\Takt#1{\nxtsav\def\atnextline{\tstbar\nxtexe}\bar}

PMX could use this procedure in the same way if Type-1 (\gdef\atnextline...\}
and Type-3 {\\\def\atnexline...\} inline-TeX is execute before PMX uses
\nxtsav\def\atnextline{..PMX's code..\nxtexe}

I'm sure there are more elegant solutions and solution which allow a deeper stacking.
At least the names should be  \n@xtsav and \n@xtexe or similar.

If I made too many typos in this mail one can access the partial source of the 
above  mentioned edition. The solution is defined in spec1001.tex.


> BTW there are similar issues with \atnextbar, which PMX uses much more often
> than \atnextline.

"Same procedure as every year"

-- Werner

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On Mon, 8 May 2000, Bernt Christandl wrote:

> 
> This glossary, too, could not answer my original question "english horn",
> so i made a suggestion to enter this term.

Because this is an spelling that does not exist. Try `Englischhorn'
and you get the english translation `cor anglais' (actually French).
Christof

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Date: Tue, 09 May 2000 09:18:40 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: "Simons, Don" <DSimons@logicon.com>, mutex@gmd.de
Subject: Re: Melisma varying by voice/verse and other M-Tx queries
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"Simons, Don" wrote:
> 
> > Rainer Dunker wrote:
> >
> > >
> >...I'd therefore suggest that M-Tx delay
> > > the \staffbotmarg change to the system break by means of \atnextline.
> >
> There is a potential difficulty with this approach.  PMX generates an
> \atnextline command in some limited circumstances related to centered
> headers.  My own coding is also at fault because I have not allowed for the
> possibility that there was an in-line \atnextline that had been entered
> prior to the PMX-generated one.  As it now stands, if M-Tx or the PMX user
> inlines an \atnextline in the PMX file, I believe it will either supersede
> the PMX-generated one or be ignored, depending on the relative locations in
> the TeX file. Is there a general approach for both M-Tx and PMX that would
> keep everyone happy?
> 
> BTW there are similar issues with \atnextbar, which PMX uses much more often
> than \atnextline.

Yes, I remember having encountered this problem when trying to set a
bar-centered \duevolte over an invisible full-bar rest. IMHO the easiest
solution would be a minor change to PMX: Each time it utilizes
\atnextbar, let it write

  \let\atnextbarsav\atnextbar \def\atnextbar{\atnextbarsav something}%

instead of

  \def\atnextbar{something}%

into the MusiXTeX output (same for \atnextline). Moreover, PMX should
stick to issuing these commands immediately before \bar (or \alaligne
etc.) so that no user-driven \def\atnextbar can interfere (perhaps not
so easy?).

If M-Tx would do something similar, even the M-Tx user could use
\atnextbar inline. A more thorough and powerful solution, however, could
consist of a "cumulative" \atnextbar counterpart directly built into
MusiXTeX. Imagine, for example, you could write

  \addtonextbar{\a}%
  \addtonextbar{\b}%
  \addtonextbar{\c}%

and at the next bar \a\b\c would be executed. An implementation could
look like this:

  \makeatletter
    \newtoks\at@nextbar
    \def\addtonextbar#1{%
      \expandafter\at@nextbar\expandafter{\the\at@nextbar #1}}
    \def\exec@nextbar{\the\at@nextbar \at@nextbar={}}
  \makeatother

To make this an add-on to the existing MusiXTeX, add two more lines
before \makeatother:

  \let\n@wbarsav\n@wbar
  \def\n@wbar{\n@wbarsav\exec@nextbar}

But, of course, this would not avoid changing PMX in some way.


Best regards,

Rainer


P.S. A PMX command for setting a \duevolte (as a variant to "rbp") would
be very nice-to-have ... :-)
From mutex-owner@mail.gmd.de  Wed May 10 12:09:17 2000
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Date: Wed, 10 May 2000 12:02:49 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: problems with changecontext
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Hi!

This is my first mail in this list. 

I wrote a Qt based note editor for Linux:

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

which can export into MusiXTeX.

It works but the more elements I implement the greater
are the MuxiXTeX problems.

It is especially the problem of context change which causes
some serious problems. Please see the attachment! It consists
of 3 staffs and 8 measures. 

The problem is: After the 4rd measure the score changes. Every
staff gets a new clef and a new key signature. The problem
occurs if these elements are different per staff. In this
case the bar at the end of the line in which the change occurs
has no connection with the staff lines.

Perhaps the problem is known and someone knows the solution.

You can answer: "This does not occur! Use 'generalsignature'!".
Right! If I use "generalsignature" all works!

But different signatures may occur (and are the normal case) 
if some of the staffs are drum staffs. The notes of these staffs
mean drum elements. So it may occur the key signature of all instruments
but the drum staff changes.  

If you have the time please look at my "example7.not". It has
a lot of score changes. If you export this into MusiXTeX the
result look terrible.

		Thank you in advance!
 

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)



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From mutex-owner@mail.gmd.de  Wed May 10 14:14:58 2000
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From: Bernhard Lang <blang@ipmc.unil.ch>
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To: mutex <mutex@gmd.de>
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> Joerg Anders wrote
>
> The problem is: After the 4rd measure the score changes. Every
> staff gets a new clef and a new key signature. The problem
> occurs if these elements are different per staff. In this
> case the bar at the end of the line in which the change occurs
> has no connection with the staff lines.

Actually, this is not a problem of \changecontext but a problem of extra
space in your MusiXTeX file at the line ends. Line end characters are
translated into space characters by TeX. This may add some extra space
which is not visible to MusiXTeX/musixflx but is visible to TeX and
therefore messes up the spacing. You can get rid of this extra space if
you add a comment character '%' at the very end of each line, like
'...\en%'. This makes the end-of-line invisible to TeX. I tried this with
your TeX file and I think the TeX output looks like what you expected.

Bernhard

            _____________________________________________________________
           /                                                            /
          /    Bernhard Lang                                           /
         /                                                            /
        / Institut de Physique de la Matiere condensee,              /
       / Faculte des Sciences, BSP       / priv.:                   /
      / Universite de Lausanne,         / Av. du Denantou 21       / 
     / CH-1015 Lausanne, Switzerland   / CH-1006 Lausanne, Suisse /
    / Tel.:++(41) 21 / 692 36-77 /-21 / Tel./Fax.:               /
   / Fax:++(41) 21 / 692 36-35       / ++(41) 21 / 601 36 57    / 
  /                                                            /
 / e-mail: b.lang@gmx.net                                     /
/____________________________________________________________/



From mutex-owner@mail.gmd.de  Wed May 10 14:38:17 2000
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Date: Wed, 10 May 2000 14:34:08 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: problems with changecontext
To: mutex@gmd.de
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> Date: Wed, 10 May 2000 14:05:25 +0200 (MEST)
> From: Bernhard Lang <blang@ipmc.unil.ch>

[...]
> Actually, this is not a problem of \changecontext but a problem of extra
> space in your MusiXTeX file at the line ends. Line end characters are
> translated into space characters by TeX. This may add some extra space
> which is not visible to MusiXTeX/musixflx but is visible to TeX and
> therefore messes up the spacing. You can get rid of this extra space if
> you add a comment character '%' at the very end of each line, 

That very ok, up to here :-)

> [...] like
> '...\en%'. This makes the end-of-line invisible to TeX. 

But this example isn't good. If a line ends with a simple TeX-
token then it's not neccessary to end the line with "%" because
the TeX-token eats already all successive white space.

So the error occured in lines like

\setclef{3}{6}

which have to be written

\setclef{3}{6}%

if within \startpiece...\stoppiece

-- Werner

From mutex-owner@mail.gmd.de  Wed May 10 15:24:30 2000
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Date: Wed, 10 May 2000 15:02:42 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: b.lang@gmx.net
cc: mutex <mutex@gmd.de>
Subject: Re: problems with changecontext
In-Reply-To: <Pine.LNX.4.05.10005101356120.19908-100000@pcipmc428a.unil.ch>
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On Wed, 10 May 2000, Bernhard Lang wrote:

> Actually, this is not a problem of \changecontext but a problem of extra
> space in your MusiXTeX file at the line ends. Line end characters are
> translated into space characters by TeX. This may add some extra space
> which is not visible to MusiXTeX/musixflx but is visible to TeX and
> therefore messes up the spacing. You can get rid of this extra space if
> you add a comment character '%' at the very end of each line, like
> '...\en%'. This makes the end-of-line invisible to TeX. I tried this with
> your TeX file and I think the TeX output looks like what you expected.
> 

Thank you for your fast answer. The '...\en%' didn't help but your
hint was right: I tried 'setclef{...}%' and this worked.

I implemented this change in noteedit-1.4.3 and now all examples look
well!

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Wed May 17 16:27:57 2000
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Musixtex'" <Mutex@gmd.de>
Subject: Score Order
Date: Wed, 17 May 2000 16:09:40 +0200
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Hello MusixTeXers,

This is not purely a MusixTeX question; however, here goes.


Typically, scores of SATB with piano puts the SATB above the piano. What about the addition of other instruments? Where would you put things like solo flutes or violins, or percussion. What about a comination of instruments such as SATB with a Marimba set?

Happy MusixTeXing,
MK
              | ===================================|
             | Mthimkhulu Molekwa				            |
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From mutex-owner@mail.gmd.de  Wed May 17 18:18:40 2000
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Date: Wed, 17 May 2000 17:54:57 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
CC: "'Musixtex'" <Mutex@gmd.de>
Subject: Re: Score Order
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Mthimkhulu Molekwa wrote:
> 
> Hello MusixTeXers,
> 
> This is not purely a MusixTeX question; however, here goes.
> 
> Typically, scores of SATB with piano puts the SATB above the piano. What about the addition of other instruments? Where would you put things like solo flutes or violins, or percussion. What about a comination of instruments such as SATB with a Marimba set?
> 

In the case of orchestral scores choral staves typically go immediately
above the double bass- and violoncello parts followed by the remaining
strings. Then follows the non-pitched percussion-, the pitched
percussion-, the brass- and in the top the woodwind section. An
orchestral score with piano puts the piano above the strings. As I have
no orchestral score at hand having both a choir and a piano section, for
example that of the "Frühlingsphantasie" by N. W. Gade I can't tell the
order of that combination.

I'm not sure whether there is a similar convention for chorus with piano
plus other instruments. I would, however, attempt to follow the above
described order. If there are no strings I would consider placing the
piano in the bottom of the score.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Christof Biebricher <cbiebri@gwdg.de>
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To: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
cc: "'Musixtex'" <Mutex@gmd.de>
Subject: Re: Score Order
In-Reply-To: <01BFC01A.53F34DC0@mmolekwa.rrs.co.za>
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On Wed, 17 May 2000, Mthimkhulu Molekwa wrote:

> 
> Typically, scores of SATB with piano puts the SATB above 
> the piano. What about the addition of other instruments? 
> Where would you put things like solo flutes or violins, 
> or percussion. What about a comination of instruments such 
> as SATB with a Marimba set?
> 
The convention you mention stems from the baroque time
where the lowest line was reserved for the basso continuo.
Accompagnato was noted by one line and ciphers, but obligato required
two staves for the keyboard at bottom.
Upwards then follow the vocals (SATB or soloists), then
the strings, then the woods and the brass. Percussion 
(at that time timpani) were noted with the brass. Later
percussion came above the brass. In later times keyboard instruments
were no longer an obligatory constituent of an orchestra but rather
a solo instrument. I do not know how the conventions are nowadays.
> Happy MusixTeXing,
                     Christof

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Date: Thu, 18 May 2000 12:01:52 +0200
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To: Christof Biebricher <cbiebri@gwdg.de>
CC: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>, "'Musixtex'" <Mutex@gmd.de>
Subject: Re: Score Order
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Christof Biebricher wrote:
> 
> On Wed, 17 May 2000, Mthimkhulu Molekwa wrote:
> 
> >
> > Typically, scores of SATB with piano puts the SATB above
> > the piano. What about the addition of other instruments?
> > Where would you put things like solo flutes or violins,
> > or percussion. What about a comination of instruments such
> > as SATB with a Marimba set?
> >
> The convention you mention stems from the baroque time
> where the lowest line was reserved for the basso continuo.

That convention was followed in later periods too, for example is my
pocket orchestral score of Don Giovanni (Edition Peters) ordered that
way.

> Accompagnato was noted by one line and ciphers, but obligato required
> two staves for the keyboard at bottom.
> Upwards then follow the vocals (SATB or soloists), then
> the strings, then the woods and the brass. Percussion
> (at that time timpani) were noted with the brass. Later
> percussion came above the brass. In later times keyboard instruments
> were no longer an obligatory constituent of an orchestra but rather
> a solo instrument. I do not know how the conventions are nowadays.
> > Happy MusixTeXing,
>                      Christof

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu May 18 13:15:10 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
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Subject: Re: Score Order
To: MMolekwa@rrs.co.za (Mthimkhulu Molekwa)
Date: Thu, 18 May 2000 12:44:42 +0200 (SAST)
Cc: Mutex@gmd.de ('Musixtex')
In-Reply-To: <01BFC01A.53F34DC0@mmolekwa.rrs.co.za> from "Mthimkhulu Molekwa" at May 17, 2000 04:09:40 PM
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Mthimkhulu Molekwa skryf:
> 
> Typically, scores of SATB with piano puts the SATB above the piano. What
> about the addition of other instruments? Where would you put things
> like solo flutes or violins, or percussion. What about a comination of
> instruments such as SATB with a Marimba set?  
>
The closest approximation of such a score that I have seen is
a piano-and-percussion version of 'Misa Criolla' by Ariel Ramirez.
The soloists were at the top, SATB next, then the guitar or banjo,
then the percussion, then the piano.

Dirk
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Date: Sat, 20 May 2000 03:14:29 -0400
From: Sebastien <sebperezd@iname.com>
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Subject: Compiling M-Tx from the C sources
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Hello,

I've just installed Linux and have tried to install M-Tx, however I have
not succeeded in compiling the C files :(

Has anyone done this before, and if so how ? is a Makefile available ?

Thanks for your help !

	Sebastian
From mutex-owner@mail.gmd.de  Sat May 20 13:40:32 2000
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Subject: Re: Compiling M-Tx from the C sources
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> I've just installed Linux and have tried to install M-Tx, however I have
> not succeeded in compiling the C files :(
> 
> Has anyone done this before, and if so how ? is a Makefile available ?

Yes, I did. It was straight forward and I didn't need a makefile. So, tell
us, what did you do and what did you get?

The normal procedure is as follows (see the file README in the mtx zip
file): Unzip mtx (the version I've got is mtx052), go into the directory
prepmx/p2c and type the command "cc *.c -o prepmx". Thats all. I used gcc
version 2.95.2 and it worked without problems.

Bernhard

From mutex-owner@mail.gmd.de  Sat May 20 20:41:42 2000
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Date: Sat, 20 May 2000 14:23:45 -0400
From: Sebastien Perez-Duarte <sebperezd@iname.com>
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I wrote:
> 
> > I've just installed Linux and have tried to install M-Tx, however I have
> > not succeeded in compiling the C files :(
> >
> > Has anyone done this before, and if so how ? is a Makefile available ?
> 


Thanks a lot for your answers, just after sending my email I noticed the
README. I feel so ashamed...

This is what happens when you install an OS that actually works !

Thanks again !

	Sebastian
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On Sat, 20 May 2000, Sebastien wrote:

> Hello,
> 
> I've just installed Linux and have tried to install M-Tx, however I have
> not succeeded in compiling the C files :(
> 
> Has anyone done this before, and if so how ? is a Makefile available ?
> 
There is no need for a Makefile since there is only one c-file (you write
c-fileS?).
Just run it through gcc and you get your binary.
Christof

From mutex-owner@mail.gmd.de  Thu May 25 00:59:47 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Margins
Date: Wed, 24 May 2000 18:33:50 -0300
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------=_NextPart_000_0012_01BFC5AE.9BAAB2E0
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How can I define margins? for example, I wan't 1.7 cm on the right, =
left, upper and lower margins. How can I get that?

Thank you=20

David

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<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Thank you </FONT></DIV>
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From mutex-owner@mail.gmd.de  Thu May 25 12:35:10 2000
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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: Margins
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> From: "David González" <dgonzal@sce.cnc.una.py>
> Date: Wed, 24 May 2000 18:33:50 -0300
> 
> How can I define margins? for example, I wan't 1.7 cm on the right,
> left, upper and lower margins. How can I get that?

e.g. for A4-size paper (210mm x 297mm):

\hsize 210mm\advance\hsize -34mm\hoffset -1in\advance\hoffset 17mm
\vsize 297mm\advance\vsize -34mm\voffset -1in\advance\voffset 17mm

For a test add:

\stafftopmarg 0pt\staffbotmarg 0pt\nopagenumbers\def\atnextline{\vfill}
\startpiece\NOTEs\qa{eeee}\en\alaligne\NOTEs\qa{eeee}\en\endpiece\eject\bye

If you want to have a standard footline omit "\nopagenumbers" and add
"\advance\vsize 24pt" behind the definition of the page.

If you use PMX the solution would be:

w176m \\hoffset -1in\advance\hoffset 17mm\
h263m \\voffset -1in\advance\voffset 17mm\

If you use scor2prt then it may help to code the PMX-comands and the
in-line TeX on seperate lines.

-- Werner

PS: DVI-drivers have a standard margin of 1 inch. Therefore \hoffset -1in
    means a zero margin.
PPS: Because music needs much space I prefer 10mm margins
PPPS: For a universal paper format I start with "\hsize 210mm" and
      "\vsize 11in" which makes the output useable as well on A4-size
      paper as on letter-size paper.

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Margins
To: mutex@gmd.de, dgonzal@sce.cnc.una.py
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> Date: Thu, 25 May 2000 12:18:36 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>

[...]
> If you want to have a standard footline omit "\nopagenumbers" and add
> "\advance\vsize 24pt" behind the definition of the page.
                 ^^^
  "\advance\vsize -24pt"
  
Adding a footline makes the page's key shorter :-)         -- Werner

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To: mutex@gmd.de
Subject: Triplet
Date: Sun, 28 May 2000 11:40:37 +0900
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I have a question about PMX.


How should I write a source in PMX to put a triplet 2:1
like this ?

\uptrio o16\ql l\cl n

Masashi Idogawa
E-Mail: idogawa@sapmed.ac.jp
From mutex-owner@mail.gmd.de  Tue May 30 00:28:12 2000
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From: "Rev. David Morris" <RevDave@pionet.net>
To: <mutex@gmd.de>
Subject: Guitar Split chord notation
Date: Mon, 29 May 2000 17:15:38 -0500
Organization: Wesley UMC
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I want to be able to provide lead sheets with lyrics, a melody line and
chord notation. I have it working using the U: uptext line, however, when
the chord is split with a bass note under the root, I want it to place the
two chords one on top of the other, like so:

    A7
    ---
     D

Only have it together as a math formulation (using something like \over). I
looked at musixgui for guitar notation, but 1) don't want the actual barre
chord graphic. I also tried to modify musixgui to figure out a way to do
that. but since I don't know TeX too well (LaTeX is what I know) I didn't
get it to work. and 2) I am not sure how to do that with M-Tex and PMX
preprocessing the .mtx file.

I have searched the mutex archives and found a few questions about guitar
chords, but haven't found anything along the lines of an answer for what I
want.

Has anyone done anything like that? Thank you.
David
----
Rev. David Morris
Wesley UMC, Sioux City, IA
"Celebrating Life,
      and Love
            in Jesus Christ."

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Triplet
To: mutex@gmd.de, idogawa@sapmed.ac.jp
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> From: idogawa@sapmed.ac.jp
> Date: Sun, 28 May 2000 11:40:37 +0900

> I have a question about PMX.

> How should I write a source in PMX to put a triplet 2:1
> like this ?
> 
> \uptrio o16\ql l\cl n

PMX doesn't support that up to now. So you may overfool PMX
using in-line TeX, by knowing the code PMX generates. The
PMX code is  something like

    ( e45x3 e ) g     the slur helps for correct midi output :-)
    
The generated code is something like:

  \ibl...\qb..\qb..\tbl\qb..
  
So you may code the following near the beginning of the PMX-file:

\\let\iblsav\ibl\
\\let\qbsav\qb\
\\let\tblsav\tbl\
\\def\pitch#1{\zcharnote{#1}{}}\
\\def\qlasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\
  \\def\qb##1##2{\let\qb\qbsav\ql{##2}}}\
\\def\skasqb{\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}\
\\def\clastblqb{\def\tbl##1{\let\tbl\tblsav}\
  \\def\qb##1##2{\let\qb\qbsav\cl{##2}}}\
  
Now the PMX code for the notes is:

  ( \qlasiblqb\ e45x3 \skasqb\ e \clastblqb\ g
  
It's late and I typed the above from memory. It's untested :-)

Feel free to complain if it doesn't work.  -- Werner

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Date: Mon, 29 May 2000 19:03:30 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: "Rev. David Morris" <RevDave@pionet.net>
cc: mutex@gmd.de
Subject: Re: Guitar Split chord notation
In-Reply-To: <006b01bfc9bb$6cd48e80$bf160e3f@daveshope>
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On Mon, 29 May 2000, Rev. David Morris wrote:

> I want to be able to provide lead sheets with lyrics, a melody line and
> chord notation. I have it working using the U: uptext line, however, when
> the chord is split with a bass note under the root, I want it to place the
> two chords one on top of the other, like so:
> 
>     A7
>     ---
>      D

Try

	${\hbox{A7}\over\hbox{D}}$

on the uptext line. You will probably need to tweak the position to make it
look nice.

HTH,
	Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: Triplet
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At first, it didn't work.
But, I have noticed that } is missing at the end of line 7.

It works well now.

Thank you very much.


Masashi Idogawa
E-Mail: idogawa@sapmed.ac.jp
From mutex-owner@mail.gmd.de  Tue May 30 10:17:32 2000
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To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
CC: "Rev. David Morris" <RevDave@pionet.net>, mutex@gmd.de
Subject: Re: Guitar Split chord notation
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"Eric Petersen [Aero]" wrote:
> 
> On Mon, 29 May 2000, Rev. David Morris wrote:
> 
> > I want to be able to provide lead sheets with lyrics, a melody line and
> > chord notation. I have it working using the U: uptext line, however, when
> > the chord is split with a bass note under the root, I want it to place the
> > two chords one on top of the other, like so:
> >
> >     A7
> >     ---
> >      D
> 
> Try
> 
>         ${\hbox{A7}\over\hbox{D}}$
> 

Here is another solution. A drawback is that the chord symbols are not
upwards vertically aligned.

Sharps: 2
Meter: C
Style: Solo

%% \def\bn#1#2{\vbox{\hbox{\underbar{#1}}\hbox{#2}}}

U: \bn{A}{D} ~ A7
f+ f e e | d0

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue May 30 12:43:04 2000
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: b stem up
Date: Tue, 30 May 2000 12:10:15 +0200
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Hello,
the following M-Tx -code

( c4d [ b1 af ] )

looks very ugly to me. Is ther a possibility to force the stem of the b and
a to go down?

Thanks, Michael

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: b stem up
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> From: "Michael König" <Michael.Koenig@ms-koenig.de>
> Date: Tue, 30 May 2000 12:10:15 +0200

> ( c4d [ b1 af ] )
> 
> looks very ugly to me. Is ther a possibility to force the stem of the b and
> a to go down?

With PMX you may use   ( c4d [ b1l afl ] )
or                     ( c4d [ b1 af ] )+6   (your mileage may vary)

-- Werner

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Date: Tue, 30 May 2000 16:57:57 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: =?iso-8859-1?Q?Michael_K=F6nig?= <Michael.Koenig@ms-koenig.de>
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Subject: Re: b stem up
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In-Reply-To: <001a01bfca1f$5b0f75c0$88019c3e@0009737768363200998994760001>; from Michael.Koenig@ms-koenig.de on Tue, May 30, 2000 at 12:10:15PM +0200
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Michael König skryf:
> Hello,
> the following M-Tx -code
> 
> ( c4d [ b1 af ] )
> 
> looks very ugly to me. Is ther a possibility to force the stem of the b and
> a to go down?
> 
M-Tx User's Manual, p16, near the middle.  (I refer you there instead
of directly answering the question because that part of the manual also
contains the answers to the other questions you are burning to ask.)

Dirk
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Subject: Re: b stem up
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On Tue, 30 May 2000, Michael König wrote:

> the following M-Tx -code
> 
> ( c4d [l b1 af ] )
         ^
         

From mutex-owner@mail.gmd.de  Tue May 30 18:12:53 2000
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From: "Rev. David Morris" <RevDave@pionet.net>
To: <mutex@gmd.de>
References: <Pine.SGI.4.10.10005291859520.165026-100000@ir7.msi.umn.edu> <393374C1.4B3D0FA8@biobase.dk>
Subject: Re: Guitar Split chord notation
Date: Tue, 30 May 2000 10:31:28 -0500
Organization: Wesley UMC
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Thanks to both Christian and Eric for pieces to the solution.

To Christian for the way to define a new macro in the mtx file and to Eric
for the formula to apply. (I tried them both and liked the centered look of
the math one)

To summarize:

%%\def\gn#1#2{${\hbox{#1}\over\hbox{#2}}$}

Then in the uptext line it is a simple
U: \gn{Fmaj7}{D}

I have a template file that all my music mtx files begin with and that is
there, so I start off on the right foot. (I did try modifying musixgui.tex
but realized that it wold disappear whenever musixtex was modified.

Now the fun can really begin.
David
----
Rev. David Morris
Wesley UMC, Sioux City, IA
"Celebrating Life,
      and Love
            in Jesus Christ."

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Date: Wed, 31 May 2000 10:00:41 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: Guitar Split chord notation
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"Rev. David Morris" wrote:
> 
> Thanks to both Christian and Eric for pieces to the solution.
> 
> To Christian for the way to define a new macro in the mtx file and to Eric
> for the formula to apply. (I tried them both and liked the centered look of
> the math one)
> 
> To summarize:
> 
> %%\def\gn#1#2{${\hbox{#1}\over\hbox{#2}}$}
> 

%% \def\gn#1#2#3{\raise #3pt\hbox{${\hbox{#1}\over\hbox{#2}}$}}

I would suggest something like this in order to avoid chord symbols
clashing with note heads on the upper note line.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Wed, 31 May 2000 20:57:46 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Qt based note editor with midi import
Message-ID: <Pine.LNX.4.05.10005312055330.3574-100000@wicht.informatik.tu-chemnitz.de>
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Version 1.5.0 of the  note editor on Linux (GPL, beta) is ready:

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

New feature
============

- Import Midi

Because "noteedit" can export MusiXTeX this gives the MusiXTeX users the
possibility to convert midi into MusiXTeX. Problem:
Many midi files have more than 6/9 staffs. (Beethoven's 5th symphonie: 15
staffs :-(

There are still some restrictions but I imported from Classical
Midi Archive (http://prs.net/midi.html)

 + the 1st movement of Beethoven's 5th symphonie 
       (http://prs.net/cgi-bin/n.cgi/acb/1/gmb5m1.mid)
 + Rimsky-Korsakov's "Flight of the Bumblebee" (very lazy to see it playing)
      (http://prs.net/cgi-bin/n.cgi/acb/7/bumble.mid)

The result looks as if a musician could play this. One restriction:
"noteedit" does still not recognize the correct key signature. This will
be. So long you can try to insert the key signature.


Other Properties
=================

   * insertion/deletion/modification of notes, rests, dotted notes, slured
     notes, clefs (with/without octave shift), time signatures,
     key signatures, beamed notes, triplets on different staffs;
   * building accords, undo, block copy, block delete,multi staff block copy, 
     multi staff block delete;
   * program (instrument) change
   * playing on /dev/sequencer (if correctly configured) whereby:
        o giving each staff a different voice;
        o giving each staff a different channel;
        o highlighting the played notes;
        o setting midi tempo;
   * export MusiXTeX
   * export Midi
   * saving an restoring the files. The file format is similarily to the
     format of the music publication program (MUP):
	http://www.arkkra.com
     So you if you are a MUP user you have the possibility to convert 
     the files into Midi and Postscript.

Because it is a Qt program I plan to transform it into a KDE
application (if ther is enough interest).

Planned
=======

*transpose
*mute

Conditions
==========

The program is tested on S.u.S.E.-Linux 6.2, Qt-2.0.2-13, and sound card
AWE-64. I used egcs-2.91.66.

You need the following packages:

   * g++ compiler
   * X11 (include and libraries)
   * Qt-2 (include and libraries)
   * the TSE3 library version 0.0.3
        (a powerful sequencer library by Pete Goodliffe
          <pete.goodliffe@pace.co.uk>)

likewise:

   * LibKMid; see http://www.arrakis.es/~rlarrosa/libkmid.html

	(not all features are available in this case)

You can compile the program without any library. But in this case an

	#include /usr/src/linux/include/linux/soundcard.h

occurs which can cause a lot of machine/sound card depencies. Therefore if
your sound doesn't work and you are sure Midi works on your machine (you use
KMid successfully) then try compilation one of the library.

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

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Date: Wed, 31 May 2000 15:43:02 -0700
From: Karen Bruner <kmbruner@earthlink.net>
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Subject: mixing pmx, musixlyr, and tabdefs?
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I've been able to successfully marry pmx and musixlyr, but now I want to
add guitar tablature to my scores.  Is there a way to put in tablature
in the .pmx file?  I've looked at the tabdefs.tex macros, but I'm not
sure about sticking them into a pmx file with a regular score.

It's not major.  For now I can just add a another staff, using the
string position as that note's "lyric."
As in, E3 A2 D0, etc.

-Karen

From mutex-owner@mail.gmd.de  Thu Jun  1 18:52:49 2000
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Date: Thu, 01 Jun 2000 18:30:55 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Karen Bruner <kmbruner@earthlink.net>
CC: mutex@gmd.de
Subject: Re: mixing pmx, musixlyr, and tabdefs?
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Karen Bruner wrote:
> 
> I've been able to successfully marry pmx and musixlyr, but now I want to
> add guitar tablature to my scores.  Is there a way to put in tablature
> in the .pmx file?  I've looked at the tabdefs.tex macros, but I'm not
> sure about sticking them into a pmx file with a regular score.
> 
> It's not major.  For now I can just add a another staff, using the
> string position as that note's "lyric."
> As in, E3 A2 D0, etc.

By adding a little in-line musixtex it is possible to get something like
tabdefs.tex within mtx/pmx, for example:

Meter: C
MyStyle: Voices V1,V2 V3; Choral; Clefs G8 G
Style: MyStyle
Space: 2 0

%% \def\gf#1#2{\lower 1\internote\hbox{\zcharnote{#1}{#2}}}

%% \\setlines{1}{6}\setsize{1}\largevalue\setclefsymbol1\empty\
e4 g b e | 
rpb |
U: @+2 Em C G C
\gf42\ r4b \gf60\ rb \gf80\ rb \gf{10}0\ rb | 

d c b ds | 
rpb | 
U: G C D7 ~ 
\gf83\ rb \gf81\ rb \gf80\ rb \gf84\ rb | 

e0 zb zg
e0-
U: Em
\gf{10}0\gf80\gf60\gf00\ rb0

There are some unsolved problems, however, in this example. For example
an appropriate vertical offset of the commom meter symbol and the
suppression of key signatures in the "tablature" staff. I deliberately
omitted the single sharp belonging to key in this example, e minor.
Maybe some of the MusixTex wizzards in this audience will come up with
solutions:-)

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: mutex <mutex@gmd.de>
CC: Karen Bruner <kmbruner@earthlink.net>
Subject: [Fwd: mixing pmx, musixlyr, and tabdefs?]
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Christian Mondrup wrote:
> 
> Meter: C
> MyStyle: Voices V1,V2 V3; Choral; Clefs G8 G
> Style: MyStyle
> Space: 2 0
> 
> %% \def\gf#1#2{\lower 1\internote\hbox{\zcharnote{#1}{#2}}}
> 
> %% \\setlines{1}{6}\setsize{1}\largevalue\setclefsymbol1\empty\
> e4 g b e |
> rpb |
> U: @+2 Em C G C
> \gf42\ r4b \gf60\ rb \gf80\ rb \gf{10}0\ rb |
> 
> d c b ds |
> rpb |
> U: G C D7 ~

sorry - should of course be:
  G Am Em B7

> \gf83\ rb \gf81\ rb \gf80\ rb \gf84\ rb |
> 
> e0 zb zg
> e0-
> U: Em
> \gf{10}0\gf80\gf60\gf00\ rb0
> 

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Jun  2 13:24:26 2000
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From: Karen Bruner <kmbruner@earthlink.net>
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Subject: pmx, musixlyr, verses trouble
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I am using PMX and musixlyr.  I've used the combo to typeset simple
songs, but now I want to typeset a song with three verses with different
lyrics, all of which go into the same lyrics for the chorus, and then
extra lyrics after the last chorus for the coda.  I have two staffs.
The beginmel and endmel commands work when I only have one staff, but
not when I have two.  The lyrics are just attached to one staff.  I've
been using the setup shown in auxl-exa.pmx, but with two staffs, the
\EM\ and \BM\ directives are completely ignored.

So basically, what I want lyrics-wise looks something like this:

This is verse 1 blah blah blah
This is verse 2 blah blah blah  Here's the same chorus for all three
This is verse 3 blah blah blah

So, in the --- section at the top, I have

\assignlyrics1{verse1,verse2,verse3}

Later I want to change it to

\assignlyrics1{chorus}

or

\assignlyrics{verse1} % verse 1 only!

if I stick the new line

\\assignlyrics1{chorus}\

at the appropriate bar in the middle of the PMX code, it just ignores
the previous assignment, ignoring
verse1,2,3 and just tried to start the chorus lyrics from the start.

Help!

-Karen

From mutex-owner@mail.gmd.de  Fri Jun  2 14:43:14 2000
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Date: Fri, 02 Jun 2000 14:21:39 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Karen Bruner <kmbruner@earthlink.net>
CC: mutex@gmd.de
Subject: Re: pmx, musixlyr, verses trouble
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Karen Bruner wrote:
> 
> I am using PMX and musixlyr.  I've used the combo to typeset simple
> songs, but now I want to typeset a song with three verses with different
> lyrics, all of which go into the same lyrics for the chorus, and then
> extra lyrics after the last chorus for the coda.  I have two staffs.
> The beginmel and endmel commands work when I only have one staff, but
> not when I have two.  The lyrics are just attached to one staff.  I've
> been using the setup shown in auxl-exa.pmx, but with two staffs, the
> \EM\ and \BM\ directives are completely ignored.

Could you please provide some example, showing the unexpected result,
for analysis?

> So, in the --- section at the top, I have
> 
> \assignlyrics1{verse1,verse2,verse3}
> 
> Later I want to change it to
> 
> \assignlyrics1{chorus}
> 
> or
> 
> \assignlyrics{verse1} % verse 1 only!
> 
> if I stick the new line
> 
> \\assignlyrics1{chorus}\
> 
> at the appropriate bar in the middle of the PMX code, it just ignores
> the previous assignment, ignoring
> verse1,2,3 and just tried to start the chorus lyrics from the start.

Please try

\\\assignlyrics1{chorus}\

instead of

\\assignlyrics1{chorus}\

- this should direct the assignment change to the right place.


Regards,

Rainer
From mutex-owner@mail.gmd.de  Fri Jun  2 14:55:43 2000
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Date: Fri, 02 Jun 2000 14:30:56 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Karen Bruner <kmbruner@earthlink.net>
CC: mutex@gmd.de
Subject: Re: pmx, musixlyr, verses trouble
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Karen Bruner wrote:
> 
> I am using PMX and musixlyr.  I've used the combo to typeset simple
> songs, but now I want to typeset a song with three verses with different
> lyrics, all of which go into the same lyrics for the chorus, and then
> extra lyrics after the last chorus for the coda.  I have two staffs.
> The beginmel and endmel commands work when I only have one staff, but
> not when I have two.  The lyrics are just attached to one staff.  I've
> been using the setup shown in auxl-exa.pmx, but with two staffs, the
> \EM\ and \BM\ directives are completely ignored.
> 
> So basically, what I want lyrics-wise looks something like this:
> 
> This is verse 1 blah blah blah
> This is verse 2 blah blah blah  Here's the same chorus for all three
> This is verse 3 blah blah blah
> 
> So, in the --- section at the top, I have
> 
> \assignlyrics1{verse1,verse2,verse3}
> 
> Later I want to change it to
> 
> \assignlyrics1{chorus}
> 
> or
> 
> \assignlyrics{verse1} % verse 1 only!
> 
> if I stick the new line
> 
> \\assignlyrics1{chorus}\
> 
> at the appropriate bar in the middle of the PMX code, it just ignores
> the previous assignment, ignoring
> verse1,2,3 and just tried to start the chorus lyrics from the start.
> 

Why do you make music typesetting life that complicated:-?

The pmx preprocessor mtx is designed specifically for handling the
cooperation of pmx and musixlyr. Here is what you ask for as mtx code:

Meter: C
Style: SATB
Pages: 1
Systems: 2
Space: 2 0

c4+ c c c | c2 c4 c |
e4 e e e | e2 e4 e |
L: ly-rics for the first sec-tion
L: ly-rics for the first sec-tion
L: ly-rics for the first sec-tion
g4 g g g | g2 g4 g |
c4 c c c | c2 c4 c |

b b b b | b b b b | 
d d d d | d d d d | 
L: ly-rics for the midd-le sec-tion
g g g g | g g g g | 
g g g g | g g g g | 

c c c c | c2 c4 c
e e e e | e2 e4 e
L: ly-rics for the last sec-tion
L: ly-rics for the last sec-tion
L: ly-rics for the last sec-tion
g g g g | g2 g4 g
c c c c | c2 c4 c

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Jun  2 21:28:12 2000
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Date: Fri, 02 Jun 2000 12:12:24 -0700
From: Karen Bruner <kmbruner@earthlink.net>
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To: Rainer Dunker <rainer.dunker@ebe-online.de>
CC: mutex@gmd.de
Subject: Re: pmx, musixlyr, verses trouble
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> Please try
>
> \\\assignlyrics1{chorus}\
>
> instead of
>
> \\assignlyrics1{chorus}\
>
> - this should direct the assignment change to the right place.
>
> Regards,
>
> Rainer

That worked!  Thank you.

-Karen

From mutex-owner@mail.gmd.de  Sat Jun  3 10:17:04 2000
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From: "Luc Saffre" <luc.saffre@pacsystems.be>
To: <mutex@gmd.de>
Subject: "no music paragraphs" on sample mtx files (first-time user)
Date: Sat, 3 Jun 2000 10:12:37 +0200
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Hello,

I am trying to start using m-tx. I think that I have installed alle the
necessary packages as required. But I receive the following error message
when I try to translate any of the sample files from M-Tx.

D:\m-tx\source>prepmx loofnou
==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
Writing to loofnou.pmx
No music paragraphs!: ERROR on line 1

Is there somebody who can give me a hint?

TIA,

Luc

From mutex-owner@mail.gmd.de  Sat Jun  3 10:47:06 2000
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From: "Luc Saffre" <luc.saffre@pacsystems.be>
To: <mutex@gmd.de>
Subject: Re: "no music paragraphs" on sample mtx files (first-time user)
Date: Sat, 3 Jun 2000 10:46:55 +0200
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 Sorry, I did not read question 16 of the FAQ:

Q16. The examples supplied don't work.
A16. Did you convert the text files to your system's format?  See A12.

Luc

From mutex-owner@mail.gmd.de  Tue Jun  6 17:27:19 2000
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: vertikally streched space
Date: Tue, 6 Jun 2000 16:43:47 +0200
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Hello,
when I use pmx or mtx and have more the x systems, the space between the
systems will be streched vertically.
I know this is a feature and not abug, but I don't like this behaviour and
think it is very annoying.

Is there a possibility to stop this "buggy.feature"?

Thakns, Michael

PS: By the way, I think mtx and pmx are great.


From mutex-owner@mail.gmd.de  Tue Jun  6 18:35:04 2000
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Date: Tue, 6 Jun 2000 18:17:05 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: vertikally streched space
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael König" <Michael.Koenig@ms-koenig.de>
> Date: Tue, 6 Jun 2000 16:43:47 +0200

> when I use pmx or mtx and have more the x systems, the space between the
> systems will be streched vertically.
> I know this is a feature and not abug, but I don't like this behaviour and
> think it is very annoying.

You may control it partially by the A-command (Ai...???), totally by

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\

That's the pmx-version. This clobbers pmx usage of \interstaff and
enables you to use \\interstaffsav{...}\ or \\\interstaffsav{...}\ or
\gdef\atnextline{\interstaffsav{...}}\ or ...

It may be that this works only when there is more than one instrument.
If there is only one instrument have a look at the PMX-generated
MusiXTex code - or ask again.

> Is there a possibility to stop this "buggy.feature"?

Yes - as usual using in-line TeX :-)

> PS: By the way, I think mtx and pmx are great.

M-Tx and PMX are nothing -- without MusiXTeX :-)


PS: IIRC this could have been found already in the archive of
    this mailing list. (I know it's hard to search if you do
    not know what to look for).

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Date: Wed, 07 Jun 2000 17:49:21 +0200
From: Daniel Taupin <taupin@lps.u-psud.fr>
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Subject: MusixTeX T.99
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Subject: MusiXTeX version T.99

New version T.99 of MusiXTeX available at anonymous ftp:
  ftp://ftp.lps.u-psud.fr
  individual files in directory pub/musixtex
  zipped distrib in ftp://ftp.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.99  \stemlength works also for "flagged notes". Bug corrected in
musixadd/musixmad
 - T.98  \hidebarrules, \showbarrules implemented
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many
bugs
 - T.95  (working version, unpublished)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and
\liftpausep

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83


Daniel Taupin



--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



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Date: Wed, 07 Jun 2000 17:50:56 +0200
From: Daniel Taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.99

New version T.99 of MusiXTeX available at anonymous ftp:
  ftp.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://ftp.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.99  \stemlength works also for "flagged notes". Bug corrected in
musixadd/musixmad
 - T.98  \hidebarrules, \showbarrules implemented
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many
bugs
 - T.95  (working version, unpublished)
 - T.94  (unfrequent) bug in \tbb* commande patched
 - T.93  manual corrected and enhanced, corrections in musixsty.tex
 - T.92  corrections in musixbm and musixbbm
 - T.90  dotted slur fonts updated, introduced \lifthpausep and
\liftpausep

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83


Daniel Taupin



--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail.gmd.de  Wed Jun  7 19:30:53 2000
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Date: Wed, 7 Jun 2000 19:18:44 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: MusiXTeX T.99
To: mutex@gmd.de
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> Date: Wed, 07 Jun 2000 17:50:56 +0200
> From: Daniel Taupin <taupin@lps.u-psud.fr>

> New version T.99 of MusiXTeX available [...]

Thanks Daniel! Esp. for \stemlength now working for flagged notes, too.

As usual the new version is on GMD's music archive

   ftp://ftp.gmd.de/music/musixtex/musixtex.zip
or http://www.gmd.de/Misc/Music/musixtex/musixtex.zip
 
from where it will be mirrored to CTAN soon.

To save bandwidth (~160K vs. ~590K) one can fetch

   ftp://ftp.gmd.de/music/musixtex/diff-files/musixtex.T98-T99.zip

which contains only what is changed or new in musixtex.zip

  MUSIXDOC.TEX, MUSIXADD.TEX, MUSIXTEX.TEX, MUSIXMAD.TEX, MUSIXBAR.TEX
  
plus some small files useful for processing musixdoc.tex, which is
needed, because musixdoc.dvi is not in this smaller file.

There is no diff-file for the extended examples file:

   ftp://ftp.gmd.de/music/musixtex/musixexa.zip

tar-lovers find as usual:

   ftp://ftp.gmd.de/music/musixtex/musixtex-T99.tar.gz
   ftp://ftp.gmd.de/music/musixtex/musixexa-T99.tar.gz

I'm happy that there now is an "official" version of Rainer Dunker's
\akkoladen integrated into musixtex.tex.

-- Werner

From mutex-owner@mail.gmd.de  Wed Jun  7 19:45:51 2000
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Date: Wed, 7 Jun 2000 19:32:38 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex list <mutex@gmd.de>
Subject: problems with PMX
In-Reply-To: <393E6F60.BC4C6EA4@lps.u-psud.fr>
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I wrote a note editor which exports MusiXTeX 
(http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html)

Now I was asked to implement PMX export because of better
readability. I made some attempts but I haven't the impression
PMX (2.2.0) works.

See attachment: It has 4 identical measures. But if I pmx this:

 $ pmxab w1.pmx
 This is pmxab, version 2.2, 18 March 2000
 Opening w1.pmx                     

 Starting first PMX pass

 nsyst,ibarcnt: 1 0
 There are more systems than bars.
 STOP 1 statement executed

According to PMX there are 0 bars. Of course, this is less than
the specified number of systems (1). But how does PMX compute this?

But more surprising: If I delete one of the (absolute identical)
measures all works:

 $ pmxab w1.pmx
 This is pmxab, version 2.2, 18 March 2000
 Opening w1.pmx                     

 Starting first PMX pass

  Bar 1  Bar 2  Bar 3
 Done with first pass


 Starting second PMX pass


  Bar 1  Bar 2  Bar 3
 Writing ./w1.tex
 Done with second PMX pass.

And if you look at the result: It is nothing spectacular. (?)

Is it my error?

If so: Are there still other MuxiXTeX/PMX users who wish
a PMX export?


-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

--1837553856-158006996-960399158=:7521
Content-Type: TEXT/PLAIN; charset=US-ASCII; name="w1.pmx"
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JSBudixub2luc3QsbXRybnVtbCxtdHJkZW5sLG10cm51bXAsbXRyZGVucCx4
bXRybnVtMCxpc2lnLA0KICAgMSAgICAxICAgICAgNCAgICAgIDQgICAgICAg
IDQgICAgICA0ICAgICAgICAwICAgICAgMA0KJSBucGFnZXMsbnN5c3QsbXVz
aWNzaXplLGZyYWNpbmRlbnQNCiAgICAxICAgIDEgICAgICAyMCAgICAgICAw
LjA3DQolDQoNCnQNCi4vDQpjMjQgczAgemU0IHpnNCB6YzUgYzI0IHMwIHpl
IHpnIHpjIHwgYzI0IHMwIHplNCB6ZzQgemM1IGMyNCBzMCB6ZSB6ZyB6YyB8
IGMyNCBzMCB6ZTQgemc0IHpjNSBjMjQgczAgemUgemcgemMgfCBjMjQgczAg
emU0IHpnNCB6YzUgYzI0IHMwIHplIHpnIHpjIC8NCg==
--1837553856-158006996-960399158=:7521--
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Date: Wed, 7 Jun 2000 20:18:27 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: problems with PMX
To: mutex@gmd.de, J.Anders@Informatik.TU-Chemnitz.DE
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> Date: Wed, 7 Jun 2000 19:32:38 +0200 (MEST)
> From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>

>  There are more systems than bars.
[...]
> But more surprising: If I delete one of the (absolute identical)
> measures all works:
[...]
> Is it my error?

Yes and no. PMX does not like input lines longer that 128 characters.
If I break your music input into two lines everything works ok.
Otherwise PMX complains "last input character is "z" not "/" or "%""
That's the Fortran/DOS-version.

> If so: Are there still other MuxiXTeX/PMX users who wish
> a PMX export?

If something can be done with "MusiXTeX" or "PMX on top of MusiXTeX",
then it should be done (imho) with PMX, because it's really better
readable. On the other hand there are limits with PMX which can
be overcome using MusiXTeX directly.

-- Werner

PS: Für Haltebögen solltest Du "st" benutzen, nicht "s".
    Und "s0", wenn auch "s" reicht, ist schlecht, weil solche
    Bögen nicht im Midi-File berücksichtigt werden. Aber MIDI
    ist vermutlich gar nicht Dein Problem :-)


From mutex-owner@mail.gmd.de  Thu Jun  8 19:46:00 2000
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From: "=?iso-8859-1?Q?David_Gonz=E1lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex Mailing List" <mutex@gmd.de>
Subject: Graphical Editors
Date: Thu, 8 Jun 2000 13:08:22 -0300
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Hello people,=20
                   Since I joined to this list, I've heard about many =
interesting graphical editors for MusiXTeX, however, they're all for =
Unix, Linux, VMS, etc. And some of them need of compilers, libraries, =
and others, there is something for DOS or Win32? something ready to =
install an use around there?

Thank you,

David

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<DIV><FONT color=3D#000000 size=3D2>Hello people, </FONT></DIV>
<DIV><FONT color=3D#000000=20
size=3D2>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
Since I joined to this list, I've heard about many interesting graphical =
editors=20
for MusiXTeX, however, they're all for Unix, Linux, VMS, etc. And some =
of them=20
need of compilers, libraries, and others, there is something for DOS or =
Win32?=20
something ready to install an use around there?</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>Thank you,</FONT></DIV>
<DIV><FONT color=3D#000000 size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT color=3D#000000 size=3D2>David</FONT></DIV></BODY></HTML>

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Date: Thu, 08 Jun 2000 09:12:19 +0100
From: HowardGilbert <howard.gilbert1@btinternet.com>
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To: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>,
        mutex list <mutex@gmd.de>
Subject: Re: problems with PMX
References: <Pine.LNX.4.05.10006071920290.7521-200000@wicht.informatik.tu-chemnitz.de>
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Hi Joerg,

I found that your attached .pmx file worked fine (using the Linux version of
PMX). This rather surprised me 'cos there is a 128 character per line limitation
for PMX (see manual). If I get an error message in PMX which doesn't make sense
I always check that I haven't exceeded this limitation; I very often find it to
be the cause of the problem. The error is usually thrown in the line after the
too large one so I guess your code worked for me  'cos there was no next line.

I think PMX is great an would strongly urge that you export to it. 

I have used Rosegarden to import MIDI files and then exported from there to PMX.
It works for less than 7 staffs but there are often problems with the resultant
.pmx file. I think that if the .mid file is accurate in note timings then all is
OK but if someone has made the file by playing in from a MIDI keyboard and
failed to be absolutely accurate the .pmx file throws up so many errors that
life is made difficult. Grace note, in particular, give a real problem.  

Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


Joerg Anders wrote:
> 
> I wrote a note editor which exports MusiXTeX
> (http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html)
> 
> Now I was asked to implement PMX export because of better
> readability. I made some attempts but I haven't the impression
> PMX (2.2.0) works.
> 
> See attachment: It has 4 identical measures. But if I pmx this:
> 
>  $ pmxab w1.pmx
>  This is pmxab, version 2.2, 18 March 2000
>  Opening w1.pmx
> 
>  Starting first PMX pass
> 
>  nsyst,ibarcnt: 1 0
>  There are more systems than bars.
>  STOP 1 statement executed
> 
> According to PMX there are 0 bars. Of course, this is less than
> the specified number of systems (1). But how does PMX compute this?
> 
> But more surprising: If I delete one of the (absolute identical)
> measures all works:
> 
>  $ pmxab w1.pmx
>  This is pmxab, version 2.2, 18 March 2000
>  Opening w1.pmx
> 
>  Starting first PMX pass
> 
>   Bar 1  Bar 2  Bar 3
>  Done with first pass
> 
>  Starting second PMX pass
> 
>   Bar 1  Bar 2  Bar 3
>  Writing ./w1.tex
>  Done with second PMX pass.
> 
> And if you look at the result: It is nothing spectacular. (?)
> 
> Is it my error?
> 
> If so: Are there still other MuxiXTeX/PMX users who wish
> a PMX export?
> 
> --
> J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)
> 
>   --------------------------------------------------------------------------------
>              Name: w1.pmx
>    w1.pmx    Type: Plain Text (TEXT/PLAIN)
>          Encoding: BASE64

--

From mutex-owner@mail.gmd.de  Fri Jun  9 09:45:48 2000
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Subject: converting scanned music to pmx?
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Hello all

Does any one of you know a program that can convert scanned music
(whatever graphics format) into some finally to pmx convertible format? I
envisage a project of new editing some music being available only in old,
out-dated editions. But it would be a great simplification if I had not to
retype everything.

thanks
  Bernhard

From mutex-owner@mail.gmd.de  Fri Jun  9 10:06:29 2000
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Date: Fri, 09 Jun 2000 09:33:24 +0200 (CEST)
Organization: Vivarium
From: Guido Milanese <gmilanese@mclink.it>
To: Mutex Mailing List <mutex@gmd.de>
Subject: Internet Resources
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Dear all,

I wished to inform listmembers that I wrote a page called
"Internet Resources for Choral Music". It is a commented list of
links, and a good amount of space is devoted to software,
particularly to the Open source community. I offer both an
italian and an English version: those who find mistakes and
omissions, besides barbarisms in my english style (!) will
kindly drop me a line suggesting additions and modifications.
The page is being updated monthly -- I did not inform on earlier
versions because I was offering only the Italian version of the
page.

Best regards,
GM

-------------------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Homepage: http://fly.to/arsantiqua
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Date: Fri, 9 Jun 2000 09:26:07 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Ack: problems with PMX
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On Wed, 7 Jun 2000, Werner Icking wrote:

> > Is it my error?
> 
> Yes and no. PMX does not like input lines longer that 128 characters.

So simple! Thank you for this hint!

> 
> If something can be done with "MusiXTeX" or "PMX on top of MusiXTeX",
> then it should be done (imho) with PMX, because it's really better
> readable. On the other hand there are limits with PMX which can
> be overcome using MusiXTeX directly.

Yes, for instance such triplets (see attachment!) Or does anyboy 
know a PMX representation ?


-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

--1837553856-1161778045-960535567=:321
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XGRvY3VtZW50Y2xhc3N7YXJ0aWNsZX0NClx1c2VwYWNrYWdle211c2l4dGV4
fQ0KDQpcc2V0bGVuZ3Roe1x0ZXh0d2lkdGh9ezE3MG1tfQ0KXHNldGxlbmd0
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--1837553856-1161778045-960535567=:321--
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Date: Fri, 9 Jun 2000 10:07:59 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex list <mutex@gmd.de>
Subject: Ack: problems with PMX
In-Reply-To: <393F5563.74A2FA6B@btinternet.com>
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On Thu, 8 Jun 2000, HowardGilbert wrote:

> I found that your attached .pmx file worked fine (using the Linux version of
> PMX). This rather surprised me 'cos there is a 128 character per line limitation
> for PMX (see manual).

Ok! I didn't read it correctly! Thank you for this!
> 
> I think PMX is great an would strongly urge that you export to it. 
>

... OK! is now on my TODO list!
 
> I have used Rosegarden to import MIDI files and then exported from there to PMX.
> It works for less than 7 staffs but there are often problems with the resultant
> .pmx file. I think that if the .mid file is accurate in note timings then all is
> OK but if someone has made the file by playing in from a MIDI keyboard and
> failed to be absolutely accurate the .pmx file throws up so many errors that
> life is made difficult. Grace note, in particular, give a real problem.  
>

Perhaps you know I work together with Pete Goodliffe
<pete.goodliffe@pace.co.uk> and use his TSE3 sequencer engine. He offers a
special Midi Event Filter which can deal with such situations. Version
1.5.5 already offers (a small) subset of the filter possibilities. There
will be more. I cannot guaranty it will always lead to a good score. But
perhaps in combination with some corrections by hand it works.

Pete Goodliffe is a very accurate implementor but (see the 128 line
restiction) I'm a very bad manual reader. Nevertheless I hope, I can offer
the "noteedit" users the TSE3 filter possibilities correctly.

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Sat Jun 10 10:39:23 2000
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To: b.lang@gmx.net, mutex <mutex@gmd.de>
Subject: Re: converting scanned music to pmx?
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Hello Bernhard,

I think this would not be easy to do. Because of variations in scores it could
become
nearly as complex as handwriting recognition. I think you'd have to do it in
some Artificial Intelligence based way. Even to get a scanned piece of text from 
the scanned image format to an ascii text file, software tends to make mistakes
(eg
if there happens to be some italic text). 

Bernhard Lang wrote:
> 
> Does any one of you know a program that can convert scanned music
> (whatever graphics format) into some finally to pmx convertible format? I
> envisage a project of new editing some music being available only in old,
> out-dated editions. But it would be a great simplification if I had not to
> retype everything.


-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Sat Jun 10 12:08:05 2000
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To: HowardGilbert <howard.gilbert1@btinternet.com>
cc: b.lang@gmx.net, mutex <mutex@gmd.de>
Subject: Re: converting scanned music to pmx? 
In-Reply-To: Your message of "Sat, 10 Jun 2000 09:27:06 BST."
             <3941FBDA.41EA29CC@btinternet.com> 
Date: Sat, 10 Jun 2000 11:02:36 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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howard gilbert writes:

> I think this would not be easy to do. Because of variations in
> scores it could become nearly as complex as handwriting
> recognition. I think you'd have to do it in some Artificial
> Intelligence based way. Even to get a scanned piece of text from the
> scanned image format to an ascii text file, software tends to make
> mistakes (eg if there happens to be some italic text).

it may not be easy, but it can be done, in relatively cheap software.

my partner composes using sibelius for windoze (really good software,
despite the platform it runs on), and that comes with a score-reading
package which she says is pretty acceptable.

i believe it _is_ possible to convert sibelius into other formats, but
i've never seen it actually done.

robin
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "mutex" <mutex@gmd.de>
Subject: Re: converting scanned music to pmx?
Date: Sat, 10 Jun 2000 06:22:44 -0400
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Greetings!

You might want to take a look at SharpEye, found at

http://www.visiv.co.uk/

This program does Optical Character Recognition on scanned sheet music
images, and (in my opinion) a decent job making the interpretation to...
MIDI Format.

The program is provided for a 30 day demo, and otherwise is not too
expensive.  After having tried the demo, all I am waiting for is the
software to convert MIDI to PMX... (I prefer M-Tx, actually, so words could
be simply added.)  The MIDI to M-Tx should not be that hard (I dream...),
but then just never have time to start the project :-(...

I know you would enjoy a look at this one, however.

Regards,
Joel Hunsberger
jhunsberger@i2k.com

HowardGilbert <howard.gilbert1@btinternet.com> wrote:


>Hello Bernhard,
>
>I think this would not be easy to do. Because of variations in scores it
could
>become
>nearly as complex as handwriting recognition. I think you'd have to do it
in
>some Artificial Intelligence based way. Even to get a scanned piece of text
from
>the scanned image format to an ascii text file, software tends to make
mistakes
>(eg
>if there happens to be some italic text).
>
>Bernhard Lang wrote:
>>
>> Does any one of you know a program that can convert scanned music
>> (whatever graphics format) into some finally to pmx convertible format? I
>> envisage a project of new editing some music being available only in old,
>> out-dated editions. But it would be a great simplification if I had not
to
>> retype everything.
>
>
>--
>Best wishes,
>Howard.
>(A.H.Gilbert, Thornaby, North Yorkshire)
>

From mutex-owner@mail.gmd.de  Sat Jun 10 14:07:08 2000
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Message-ID: <002501bfd2d4$95d00180$3500a8c0@pacsys>
From: "Luc Saffre" <luc.saffre@pacsystems.be>
To: "mutex mailing list" <mutex@gmd.de>
Subject: alignment of text in psalms
Date: Sat, 10 Jun 2000 14:08:26 +0200
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Hello,

I am trying to typeset my first piece using M-Tx & Co.

It  is a psalm where the different verses have a variable number of
syllables to be sung on the same note.
In Musixtex this should be typeset using a \zwq - not with a \wh as I did.

If you are interested in this problem, I hope that you can compile the
following code (if not, I can send you a dvi or ps file).

Unfortunately for me (and this psalm), pmx and thus mtx do not know the
concept of a note which can have any number of syllables. So I used an "a0".
The text to come below this note is one single word for pmx because I used
"~" instead of spaces. This trick works fine... except for the alignment
(and the missing vertical bars around \zwq which is only a \wh)

I tried to put \leftlyrtrue and \llyr at different places in this code, but
without visible results.

Do you have an idea?


------ begin of .mtx source
Title: Litanei nach dem Hymnus Akathistos
% Composer: m\"undl. \"uberliefert
Style: SATB
Meter: 0/4
Sharps: 1
Space: 4
Pages: 1
Systems: 5
Size: 16
% % \leftlyrtrue\

b0                           \caesura\ b0         c4 d2 c4 b a2
g0                           \caesura\ g0         a4 b2 a4 g f2
L: 1. Sei~gegr\"u{\ss}t,~Herr~Jesus,     der~Tag~oh-ne A-bend bist du,
L: 2. sei~gegr\"u{\ss}t,~Herr~Jesus,     die~Mitte des Welt-alls bist du,
L: 3. sei~gegr\"u{\ss}t,~Herr~Jesus,     du~bist~un-ser al-ler-{} Freund,
L: 4. sei~gegr\"u{\ss}t,~Herr~Jesus,     der~einer der uns-ri-gen ward,
L: 5. sei~gegr\"u{\ss}t,~Herr~Jesus,     du~gibst~unseren~Herz-en Klar-heit
und Licht
b0                           \caesura\ b0        c4 d2 c4 b a2
g0                           \caesura\ g0        g4 g2 f4 g d2


a0                       \caesura\  a0    b4    c2    b4 a4  b2
f0                       \caesura\  f0    g4    a2    g4 f4  g2
L: 1. sei~gegr\"u{\ss}t,            alles durch-dring-en-des Licht,
L: 2. sei~gegr\"u{\ss}t,            du~verleihst~allem Ge-schaf-fen-en Sinn,
L: 3. sei~gegr\"u{\ss}t,            du~gehst~dem Ver-lo-re-nen nach,
L: 4. sei~gegr\"u{\ss}t,            der~du~uns-er Schick-sal ge-teilt,
L: 5. sei~gegr\"u{\ss}t,            du~f\"uhrst~uns her-aus aus der Nacht,
a0                       \caesura\  a0    b4    c2    b4 a4  b2
d0                       \caesura\  d0    d4    d2    d4 d4  g2

g0                       \caesura\  g0    a4    b2    a4 g4  f2
e0                       \caesura\  e0    f4    g2    f4 e4  d2s
L: 1. sei~gegr\"u{\ss}t,            der~den~Irren-den Hei-ma-t gibt,
L: 2. sei~gegr\"u{\ss}t,            du~verbindest die Mensch-heit mit dir,
L: 3. sei~gegr\"u{\ss}t,            du~h\"orst~unse-ren bit-ten-den Ruf,
L: 4. sei~gegr\"u{\ss}t,            der~darnieder ge-wor-fen-{} ward,
L: 5. sei~gegr\"u{\ss}t,            du~bist die Kraft auf dem Weg,
g0                       \caesura\  g0    a4    b2    a4 g4  f2
e0                       \caesura\  e0    e4    e2    c4s e4  b2

f0                       \caesura\  f0    g4    a2    g4 f4  g2  a2 :|
d0                       \caesura\  d0    e4    f2    e4 d4s e2  f2 :|
L: 1. sei~gegr\"u{\ss}t,            du~leuchten-der Stern in der Nacht-{},
L: 2. sei~gegr\"u{\ss}t,            aus~dir~str\"omt die Quel-le des
Le-bens,
L: 3. sei~gegr\"u{\ss}t,            der~sich~f\"ur die an-dern ver-zehr-te,
L: 4. sei~gegr\"u{\ss}t,            du~trittst bei Gott f\"ur uns ein-{},
L: 5. sei~gegr\"u{\ss}t,            du~gehst~selber an uns-er-er Sei-te,
f0                       \caesura\  f0    g4    a2    g4 f4  g2  a2 :|
b0                       \caesura\  b0    b4    b2    b4 b4  e2  d2 :|

b4 c ( d2 c b a ) \caesura\ a c b a g f  g0 |]
g4 a ( b2 a g f ) \caesura\ f a g f e ds e0
L: 5. sei ge-gr\"u{\ss}t, Herr Je-sus, er-bar-me dich!
b4 c ( d2 c b a ) \caesura\ a c b a g f  g0
g4 g ( g2 f g d ) \caesura\ d d g d e b  e0

------ end of .mtx source



From mutex-owner@mail.gmd.de  Sat Jun 10 15:29:29 2000
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Date: Sat, 10 Jun 2000 15:06:13 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Luc Saffre <luc.saffre@pacsystems.be>, mutex <mutex@gmd.de>
Subject: Re: alignment of text in psalms
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Luc Saffre wrote:
> 
> Hello,
> 
> I am trying to typeset my first piece using M-Tx & Co.
> 
> It  is a psalm where the different verses have a variable number of
> syllables to be sung on the same note.
> In Musixtex this should be typeset using a \zwq - not with a \wh as I did.
> 
> If you are interested in this problem, I hope that you can compile the
> following code (if not, I can send you a dvi or ps file).
> 
> Unfortunately for me (and this psalm), pmx and thus mtx do not know the
> concept of a note which can have any number of syllables. So I used an "a0".
> The text to come below this note is one single word for pmx because I used
> "~" instead of spaces. This trick works fine... except for the alignment
> (and the missing vertical bars around \zwq which is only a \wh)
> 
> I tried to put \leftlyrtrue and \llyr at different places in this code, but
> without visible results.
> 
> Do you have an idea?
> 

Add the \leftlyrtrue statement as a type 2 musixtex string at the start
of the first
mtx paragraph

%% \\leftlyrtrue\
b9                           \caesura\ b9         c4 d2 c4 b a2
....

You might replace the whole notes with breves which IMHO denote variable
duration better than whole notes do. If the hymn is to be sung for male
voices (its title suggests to me that its origin is Greek orthodox
church music) then you should consider changing the mtx style slightly:

MyChoral: Voices V1,V2 V3,V4; Choral; Clefs G8 F
Style: MyChoral

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sun Jun 11 16:24:17 2000
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From: Neil Killeen <Neil.Killeen@atnf.csiro.au>
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Date: Mon, 12 Jun 2000 00:18:26 +1000 (EST)
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To: mutex@gmd.de
Subject: Formatting with beams trouble
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Hi all

below is a fragment from an MTX file.  I am simply trying to format two
beamed (octave) quavers.  No matter how I try to do it, the output is
poor.  I have tried all 4 combinations with the upper or lower note of
the octave the anchor of the chord.  In each case the stem is not long
enough on one or both of the octave chords.  Since PMX does not allow me
to force the direction of a beamed-note stem, the only other thing I can
do to make this acceptable to is to inhibit the beams (I actually want
to format this sequence with a dotted quaver - semi quaver rythm so this
will be tolerable). 

Any advice how I can straightforwardly work around this ?

thanks
Neil


Style: Piano
Meter: 4/4
Size: 20
Bars/line: 4

e0                    |  e0                   | e0                    | e0
e-8 ze+ d- zd+ e2 e4  | e8 ze- d+ zd- e2+ e4  | e-8 ze+ d8 zd- e+2 e4 | e-8 ze+ d- zd+ e2 e4 | 
% E up  D down        | E Up   D up           | E down  D up          | E down  D down

From mutex-owner@mail.gmd.de  Sun Jun 11 18:45:46 2000
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Date: Sun, 11 Jun 2000 18:31:55 +0200
From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: Re: Formatting with beams trouble
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> Since PMX does not allow me to force the direction of a
> beamed-note stem...

Actually PMX allows control over about anything concerning beams
and stems. Try connecting the chords using [ and ] and adjusting the
stem length by a value of say 5\internotes. You might also want to
change stem directions using e.g. [l ... ]

e0 | e0 |
[+5 e-8 ze+ d- zd+ ] e2 e4 | [l+2 e-8 ze+ d- zd+ ] e2 e4 |

For more details have a look at the PMX manual.


-- 
Andreas Kurth    Mannheim, Germany

From mutex-owner@mail.gmd.de  Sun Jun 11 23:26:55 2000
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To: "mutex" <mutex@gmd.de>
Subject: Re: converting scanned music to pmx? 
In-reply-to: Your message of Sat, 10 Jun 2000 06:22:44 EDT.
             <000601bfd2c5$d65a5de0$b10f5e3f@default> 
Date: Sun, 11 Jun 2000 23:15:16 +0200
From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
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Another commersial program of reasonable cost is 
Capella-scan from WHC Musiksoftware, www.whc.de.
I haven't tried it, though.

Apparantly there is some free OCR software available,
who would be willing to start a project for music
recognition?

    /Mats


> Greetings!
> 
> You might want to take a look at SharpEye, found at
> 
> http://www.visiv.co.uk/
> 
> This program does Optical Character Recognition on scanned sheet music
> images, and (in my opinion) a decent job making the interpretation to...
> MIDI Format.
> 
> The program is provided for a 30 day demo, and otherwise is not too
> expensive.  After having tried the demo, all I am waiting for is the
> software to convert MIDI to PMX... (I prefer M-Tx, actually, so words could
> be simply added.)  The MIDI to M-Tx should not be that hard (I dream...),
> but then just never have time to start the project :-(...
> 
> I know you would enjoy a look at this one, however.
> 
> Regards,
> Joel Hunsberger
> jhunsberger@i2k.com
> 
> HowardGilbert <howard.gilbert1@btinternet.com> wrote:
> 
> 
> >Hello Bernhard,
> >
> >I think this would not be easy to do. Because of variations in scores it
> could
> >become
> >nearly as complex as handwriting recognition. I think you'd have to do it
> in
> >some Artificial Intelligence based way. Even to get a scanned piece of text
> from
> >the scanned image format to an ascii text file, software tends to make
> mistakes
> >(eg
> >if there happens to be some italic text).
> >
> >Bernhard Lang wrote:
> >>
> >> Does any one of you know a program that can convert scanned music
> >> (whatever graphics format) into some finally to pmx convertible format? I
> >> envisage a project of new editing some music being available only in old,
> >> out-dated editions. But it would be a great simplification if I had not
> to
> >> retype everything.
> >
> >
> >--
> >Best wishes,
> >Howard.
> >(A.H.Gilbert, Thornaby, North Yorkshire)
> >
> 
> 

From mutex-owner@mail.gmd.de  Mon Jun 12 11:10:41 2000
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Subject: Re: converting scanned music to pmx?
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Bernhard Lang pise:
> Hello all
> 
> Does any one of you know a program that can convert scanned music
> (whatever graphics format) into some finally to pmx convertible format? I
> envisage a project of new editing some music being available only in old,
> out-dated editions. But it would be a great simplification if I had not to
> retype everything.
	Midiscan for windows and its light version pianoscan does the OCR
for music and converts into midi. Unfornately it is not freeware nor free
software.
http://www.musitek.com/

-- 

--Zdenek <pytela@phil.muni.cz>

From mutex-owner@mail.gmd.de  Mon Jun 12 20:10:33 2000
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From: Christian Mondrup <scancm@biobase.dk>
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To: Neil Killeen <Neil.Killeen@atnf.csiro.au>, mutex <mutex@gmd.de>
Subject: Re: Formatting with beams trouble
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Neil Killeen wrote:
> 
> Hi all
> 
> below is a fragment from an MTX file.  I am simply trying to format two
> beamed (octave) quavers.  No matter how I try to do it, the output is
> poor.  I have tried all 4 combinations with the upper or lower note of
> the octave the anchor of the chord.  In each case the stem is not long
> enough on one or both of the octave chords.  Since PMX does not allow me
> to force the direction of a beamed-note stem,

pmx *does* permit forcing stem direction of beamed notes, see below.

> the only other thing I can
> do to make this acceptable to is to inhibit the beams (I actually want
> to format this sequence with a dotted quaver - semi quaver rythm so this
> will be tolerable).
> 
> Any advice how I can straightforwardly work around this ?
> 

the rememedy for your problems is the pmx forced beams directive. As
described in the pmx documentation this directive gives you a high level
of control over the appearance of the beams:

e0                   
[+6-1 e-8 ze+ d- zd+ ] e2 e4 

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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thanks for the advice for my 'problem'.  i suspect
i have come up with the same solution
in the past but seem to have forgotten
between PMX bouts !

thanks
neil
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: repeat query
Date: Wed, 14 Jun 2000 13:22:31 +0200
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Hello,

I have the follwoing problem:

When I have a flats-change (1 flats to 0 flats) directly after a repeat
sign, the horicontal space between the
repeat-sign and the neutral-sign is to small. see the example: Any ideas?

Thanks, Michael

----------------------------
Meter: C
Flats: 1

a4 a a a | a a a a | a a a a | a a a a :|:

%%K+0+0
a a a a | a a a a | a a a a | a a a a



From mutex-owner@mail.gmd.de  Wed Jun 14 15:18:46 2000
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Date: Wed, 14 Jun 2000 14:58:20 +0200 (CEST)
From: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
Reply-To: Lukas Gruetzmacher <lukas.gruetzmacher@iname.com>
To: MuX2d announce list <mux2d-announce@lists.sourceforge.net>
cc: mutex list <mutex@gmd.de>, Qt list <qt-interest@trolltech.com>
Subject: MuX2d 0.2.3
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--- WHAT ---
This is the announcement for MuX2d 0.2.3 - a graphical editor for MusiXTeX
(a TeX macro package) using Qt 2.x.
For the edited score can be created a MusiXTeX file which will be
computed by TeX and musixflx and display by xdvi.

--- STATE ---
MuX2d is still in a alpha state. Features are planned in a roadmap. See
"To Do" on the website http://mux2d.sourceforge.net.

--- NEW ---
New in this version is the support of more than one staffs per instrument.
So you can edit up to 4 staffs per up to 6 (later 12) instruments.

--- REQUIREMENTS ---
Qt 2.x (tested with 2.0.2)
musixtex (tested with T.98)
musixflx (tested with 0.83/T.63dt+jh.2)
MusiXLYRics (tested with 1.1)

If you (want|need) to patch the configure script:
autoconf (tested with 2.13)

--- DOWNLOAD ---
http://sourceforge.net/project/filelist.php?group_id=1144
http://sourceforge.net/cvs/?group_id=1144

--- INFO ---
I want to invite you the a new MuX2d-list: mux2d-discuss
A discussion list for users (and hopfully some new developers) about
MuX2d. Go to http://lists.sourceforge.net/mailman/listinfo/mux2d-discuss
to become a member.

Please have a look at http://mux2d.sourceforge.net/

Yours,
Lukas



From mutex-owner@mail.gmd.de  Wed Jun 14 19:14:32 2000
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Date: Wed, 14 Jun 2000 18:51:37 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: repeat query
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael König" <Michael.Koenig@ms-koenig.de>
> Date: Wed, 14 Jun 2000 13:22:31 +0200

> When I have a flats-change (1 flats to 0 flats) directly after a repeat
> sign, the horicontal space between the
> repeat-sign and the neutral-sign is to small. see the example: Any ideas?

In this case PMX clobbers a little bit too much space. The following
example demonstrates that better if one uses only four bars. I added
a line which locally corrects the problem using in-line TeX.

> ----------------------------
> Meter: C
> Flats: 1
> 
> a4 a a a | a a a a | a a a a | a a a a :|:
> 
> %%K+0+0
  %%\\\let\xbarsav\xbar\def\xbar{\let\xbar\xbarsav\xbar\addspace{\afterruleskip}}\
> a a a a | a a a a | a a a a | a a a a

You can get more or less space by adding a factor to \afterruleskip e.g.
0.5\afterruleskip

Hope this hilft -- Werner

From mutex-owner@mail.gmd.de  Wed Jun 14 21:11:54 2000
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Date: Wed, 14 Jun 2000 21:02:51 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: complex n-tuplets with PMX
To: mutex@gmd.de, J.Anders@Informatik.TU-Chemnitz.DE
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> Date: Fri, 9 Jun 2000 09:26:07 +0200 (MEST)
> From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>

> On Wed, 7 Jun 2000, Werner Icking wrote:

[...]
> > If something can be done with "MusiXTeX" or "PMX on top of MusiXTeX",
> > then it should be done (imho) with PMX, because it's really better
> > readable. On the other hand there are limits with PMX which can
> > be overcome using MusiXTeX directly.
> 
> Yes, for instance such triplets (see attachment!) Or does anyboy 
> know a PMX representation ?

Up to now PMX does not support triplets which contain a quadruplet
for one of the three notes of the triplet. But: in the year 2525 ...

Nevertheless in-line TeX makes it possible and the spacing of the
solution is better than that of your attachment:

1 1 4 4 0 0 0 0 1 1 20 0

t
./

\\let\ibbbusav\ibbbu\
\\let\qbsav\qb\
\\let\tbusav\tbu\

\\def\ibuasibbbu{\def\ibbbu##1##2##3{\let\ibbbu\ibbbusav\ibu{##1}{##2}{##3}}}\
\\def\nbbbuqbasqb{\def\qb##1##2{\nbbbu##1\let\qb\qbsav\qb{##1}{##2}}}\
\\def\offasqb{\def\qb##1##2{\let\qb\qbsav\pitch{##2}\off{.3\noteskip}}}\
\\def\offastbuqb{\def\tbu##1{\let\tbu\tbusav}\
 \\def\qb##1##2{\let\qb\qbsav\pitch{##2}\off{.3\noteskip}}}\
\\def\pitch#1{\zcharnote{#1}{}}\
\\def\tbbuqbasqb{\def\qb##1##2{\tbbu##1\let\qb\qbsav\qb{##1}{##2}}}\
\\def\tbuqbasqb{\def\qb##1##2{\tbu##1\let\qb\qbsav\qb{##1}{##2}}}\

\\def\myxnum#1#2#3{{\xnum{#1}{#2}{#3}}}\

\myxnum{3.5}{!c}3\ibuasibbbu\ g44x12n \offasqb\ g \offasqb\ g \offasqb\ g
 \nbbbuqbasqb\ g g g \tbbuqbasqb\ g
 \tbuqbasqb\ g \offasqb\ g \offasqb\ g \offastbuqb\ g
 g g g /
\myxnum{3.5}{!c}3\ibuasibbbu\ g44x12n \offasqb\ g \offasqb\ g \offasqb\ g
 \nbbbuqbasqb\ g g g \tbbuqbasqb\ g
 \tbuqbasqb\ g \offasqb\ g \offasqb\ g \offastbuqb\ g
 g g g /
\myxnum{3.5}{!c}3\ibuasibbbu\ g44x12n \offasqb\ g \offasqb\ g \offasqb\ g
 \nbbbuqbasqb\ g g g \tbbuqbasqb\ g
 \tbuqbasqb\ g \offasqb\ g \offasqb\ g \offastbuqb\ g
 g g g /


And for me it's readable :-)

And maybe better readable than your MusiXTeX solution if that is
modified to ensure correct spacing.

-- Werner

PS: Your attachment was LaTeX plus MusiXTeX. If LaTeX isn't really
    neccessary for the music then I would drop LaTeX to avoid
    trouble when e.g. musixmad.tex is required.

From mutex-owner@mail.gmd.de  Thu Jun 15 12:08:39 2000
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Message-ID: <000401bfd6b1$b2acfca0$3500a8c0@pacsys>
From: "Luc Saffre" <luc.saffre@pacsystems.be>
To: "Christian Mondrup" <scancm@biobase.dk>, "mutex" <mutex@gmd.de>
References: <002501bfd2d4$95d00180$3500a8c0@pacsys> <39423D45.4FF15CC@biobase.dk>
Subject: Re: alignment of text in psalms
Date: Wed, 14 Jun 2000 20:31:46 +0200
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----- Original Message -----
From: Christian Mondrup <scancm@biobase.dk>
To: Luc Saffre <luc.saffre@pacsystems.be>; mutex <mutex@gmd.de>
Sent: Saturday, June 10, 2000 3:06 PM
Subject: Re: alignment of text in psalms


> Add the \leftlyrtrue statement as a type 2 musixtex string at the start
> of the first mtx paragraph

Ha! a double backslash... sorry I missed to observe this in the examples

> You might replace the whole notes with breves which IMHO denote
> variable duration better than whole notes do.

Good! ... how did you know that a duration of 9 means a breve? And is there
perhaps another possibility to get a "real" \zwq ?

> If the hymn is to be sung for male
> voices (its title suggests to me that its origin is Greek orthodox
> church music) then you should consider changing the mtx style slightly:
>
> MyChoral: Voices V1,V2 V3,V4; Choral; Clefs G8 F
> Style: MyChoral

This sheet is intended for an SATB quatuor. I copied it from a hand-written
paper which had three voices, all three written on the same staff. This was
not very readable. The tenor of "my" edition sings in fact the same as the
soprano. I think that now it is more easy to read. The drawback of this is
that now it is rather hidden that T and S are singing the same voice. I hope
that I do not violate some ancient orthodox music setting tradition.

One "important" problem remains with this sheet: the \caesura is placed in
the middle between the two breves. But I want it to be just in front of the
second breve. Any idea?

In any case: thanks!

Luc


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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: \caesura (was: alignment of text in psalms)
To: mutex@gmd.de, luc.saffre@pacsystems.be
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> From: "Luc Saffre" <luc.saffre@pacsystems.be>
> Date: Wed, 14 Jun 2000 20:31:46 +0200

[...]
> One "important" problem remains with this sheet: the \caesura is placed in
> the middle between the two breves. But I want it to be just in front of the
> second breve. Any idea?

The MusiXTeX-definition of \caesura is to place it half \noteskip
behind the current note. So I often use \Caesura defined as

\def\Caesura{\off{1.5\noteskip}\loffset{2.0}{\caesura}\off{-1.5\noteskip}}

_and_

\def\hrCaesura{\off{1.5\noteskip}\loffset{1.5}{\caesura}\off{-1.5\noteskip}}
\def\hlCaesura{\off{1.5\noteskip}\loffset{2.5}{\caesura}\off{-1.5\noteskip}}

reminding on \hroff and \hlroff. So I could think too about

\def\rCaesura{\off{1.5\noteskip}\loffset{1.0}{\caesura}\off{-1.5\noteskip}}
\def\lCaesura{\off{1.5\noteskip}\loffset{3.0}{\caesura}\off{-1.5\noteskip}}

Fabrik und Gegenfabrik :-)   (factory and anti-factory).

With PMX "\\def\...}}\", with M-Tx "%%\\def\...}}\"

Hope this hilft -- Werner


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From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex <mutex@gmd.de>
Subject: Re: alignment of text in psalms
References: <002501bfd2d4$95d00180$3500a8c0@pacsys> <39423D45.4FF15CC@biobase.dk> <000401bfd6b1$b2acfca0$3500a8c0@pacsys>
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Luc Saffre wrote:
> 
> ----- Original Message -----
> From: Christian Mondrup <scancm@biobase.dk>
> To: Luc Saffre <luc.saffre@pacsystems.be>; mutex <mutex@gmd.de>
> Sent: Saturday, June 10, 2000 3:06 PM
> Subject: Re: alignment of text in psalms
> 
> > Add the \leftlyrtrue statement as a type 2 musixtex string at the start
> > of the first mtx paragraph
> 
> Ha! a double backslash... sorry I missed to observe this in the examples
>

see below
 
> > You might replace the whole notes with breves which IMHO denote
> > variable duration better than whole notes do.
> 
> Good! ... how did you know that a duration of 9 means a breve? 

You should bear in mind that mtx is a pmx preprocessor and that you
therefore need to study the pmx documentation carefully. There you'll
find the description of '9' as the way to achieve a breve note value.

> And is there
> perhaps another possibility to get a "real" \zwq ?
> 

yes, be replacing \wh (or \breve) by \wq - see below.

> > If the hymn is to be sung for male
> > voices (its title suggests to me that its origin is Greek orthodox
> > church music) then you should consider changing the mtx style slightly:
> >
> > MyChoral: Voices V1,V2 V3,V4; Choral; Clefs G8 F
> > Style: MyChoral
> 
> This sheet is intended for an SATB quatuor. I copied it from a hand-written
> paper which had three voices, all three written on the same staff. This was
> not very readable. The tenor of "my" edition sings in fact the same as the
> soprano. I think that now it is more easy to read. The drawback of this is
> that now it is rather hidden that T and S are singing the same voice. I hope
> that I do not violate some ancient orthodox music setting tradition.
> 

I would suggest making the score for 3 parts and then in the part titles
indicating that the tenor should perform the treble part.

> One "important" problem remains with this sheet: the \caesura is placed in
> the middle between the two breves. But I want it to be just in front of the
> second breve. Any idea?
> 

Werner has taken care of that problem by suggesting a replacement of the
"ordinary" \caesura with an adapted version. In my preparation of the
suggestions below I didn't get the \Caesura macro to function right away
but hat to move it front of the preceding note. 

Here is my suggestion for a typesetting of the hymn:

Title: Litanei nach dem Hymnus Akathistos
% Composer: m\"undl. \"uberliefert
SAB: Voices V1,V2 V3; Choral; Clefs G F
Style: SAB
Meter: 0/4
Sharps: 1
Name: \ustaff \lstaff
Indent: 0.04

Space: 4
Pages: 1
Systems: 5
Size: 16

%% \font\names = cmr10
%% \def\ustaff{\kern -5mm\names\vbox{\rlap{S/T}\rlap{A}}}
%% \def\lstaff{\kern -5mm\names\vbox{\rlap{B}}}

%% \def\breve#1{\wq{#1}}
%%
\def\Caesura{\off{1.5\noteskip}\loffset{2.0}{\caesura}\off{-1.5\noteskip}}

% % \\leftlyrtrue\
\llyr\lyroffset{-1}\Caesura\ g9 \llyr\ g9 a4 b2 a4 g f2
L: 1. Sei~gegr\"u{\ss}t,~Herr~Jesus, der~Tag~oh-ne A-bend bist du,
L: 2. sei~gegr\"u{\ss}t,~Herr~Jesus, die~Mitte des Welt-alls bist du,
L: 3. sei~gegr\"u{\ss}t,~Herr~Jesus, du~bist~un-ser al-ler-{} Freund,
L: 4. sei~gegr\"u{\ss}t,~Herr~Jesus, der~einer der uns-ri-gen ward,
L: 5. sei~gegr\"u{\ss}t,~Herr~Jesus, du~gibst~unseren~Herz-en Klar-heit
und Licht
b9 b9 c4 d2 c4 b a2
\Caesura\ g9 g9 g4 g2 f4 g d2

...

In stead of globally requesting left alignment of the lyrics I propose
using the idea described in section 2.2 of the mtx documentation. This
allows you to have the stanza numbers placed to the left of the
"ordinary" lyrics.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Andre Van Ryckeghem" <andre.vanryckeghem@kh.khbo.be>
To: <mutex@gmd.de>
Subject: Re: \caesura (was: alignment of text in psalms)
Date: Thu, 15 Jun 2000 16:36:17 +0200
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I use:

\def\abr{\bsk\hsk\zbreath\hsk}%

is this right?

Andre


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Date: Thu, 15 Jun 2000 18:04:15 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: alignment of text in psalms
To: luc.saffre@pacsystems.be, scancm@biobase.dk
Cc: mutex@gmd.de
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> Date: Thu, 15 Jun 2000 16:27:23 +0200
> From: Christian Mondrup <scancm@biobase.dk>

[...]
> Here is my suggestion for a typesetting of the hymn:
> 
> Title: Litanei nach dem Hymnus Akathistos
> % Composer: m\"undl. \"uberliefert
> SAB: Voices V1,V2 V3; Choral; Clefs G F

... and when can I store it into http://www.gmd.de/Misc/Music/scores/ ?

:-)

Please upload.

-- Werner

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Date: Thu, 15 Jun 2000 18:16:47 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Andre Van Ryckeghem wrote:
> 
> I use:
> 
> \def\abr{\bsk\hsk\zbreath\hsk}%
> 
> is this right?
> 

For the score in question it doesn't work very well. The breathing point
symbol is too much to the left of the following note. But actually I
like the 'comma' symbol better than that used in \caesura. So if you
could come up with a solution combing "the best of two worlds" ... :-)

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Jun 19 14:57:23 2000
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From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
cc: J.Anders@Informatik.TU-Chemnitz.DE
Subject: noteedit exports PMX (was Re:complex n-tuplets with PMX)
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On Wed, 14 Jun 2000, Werner Icking wrote:

> Nevertheless in-line TeX makes it possible and the spacing of the
> solution is better than that of your attachment:
> 

....
\myxnum{3.5}{!c}3\ibuasibbbu\ g44x12n \offasqb\ g \offasqb\ g \offasqb\ g
 \nbbbuqbasqb\ g g g \tbbuqbasqb\ g
 \tbuqbasqb\ g \offasqb\ g \offasqb\ g \offastbuqb\ g
 g g g /
\myxnum{3.5}{!c}3\ibuasibbbu\ g44x12n \offasqb\ g \offasqb\ g \offasqb\ g
 \nbbbuqbasqb\ g g g \tbbuqbasqb\ g
 \tbuqbasqb\ g \offasqb\ g \offasqb\ g \offastbuqb\ g
 g g g /


> And for me it's readable :-)

Hmm! First of all: Thank you for your answer! I implemented the
PMX export in noteedit V-1.5.7. 
(http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html)

I have a different "solution": Others than 3-note-triplets cause
fatal errors! The same holds for triplets ending with a rest.

I think those users who want the PMX export don't know about these
restrictions otherwises they wouln't wish it.

And who needs other triplets can use the direct MusiXTeX export.
  

> -- Werner
> 
> PS: Your attachment was LaTeX plus MusiXTeX. If LaTeX isn't really
>     neccessary for the music then I would drop LaTeX to avoid
>     trouble when e.g. musixmad.tex is required.

The reason for LaTeX is the possibility to enhance the music with
some music theoretical or historical texts. In my opinion there
are more LaTeX than TeX users.(?)

And If I understand this right "musixadd.tex" can be used 
with LaTeX.(?)
 
-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)



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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Prepmx, version for scores having > 9 staves.
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Dear mutex subscribers.

A version of prepmx adapted for handling scores with more than 9 staves
is now available from the GMD software archive
(ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052_patch.zip). The zip
file contains a win9x DOS binary while un*x users should compile the c
sources themselves. Unfortunately I'm not able to provide binaries for
OS/2 and Mac OS.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Jun 19 21:08:18 2000
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Date: Mon, 19 Jun 2000 13:51:08 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex <mutex@gmd.de>
cc: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Prepmx, version for scores having > 9 staves.
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On Mon, 19 Jun 2000, Christian Mondrup wrote:

> Unfortunately I'm not able to provide binaries for OS/2 and Mac OS.

Fortunately others can!  Christian's patch may be downloaded from the M-Tx
page of

<http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/>

and should also show up on <http://www.gmd.de/Misc/Music/>
shortly.  (Werner, this is your notice!)

Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Tue Jun 20 10:54:25 2000
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From: "Henk Metselaar" <h.metselaar@wb.utwente.nl>
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Hello,

I installed MusixTeX and am impressed both by the output and by 
the amount of work you have to go through.
I understand a preprocessor can assist me here. Currently I just 
want to write out sheet music for my instrument, trumpet. Which 
pp should I use, then and where can I get it?
TIA,
Henk
From mutex-owner@mail.gmd.de  Tue Jun 20 13:54:57 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Where to get preprocessor?
To: mutex@gmd.de, h.metselaar@wb.utwente.nl
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> From: "Henk Metselaar" <h.metselaar@wb.utwente.nl>
> Date: Tue, 20 Jun 2000 10:39:15 +0200

[...]
> I understand a preprocessor can assist me here. Currently I just 
> want to write out sheet music for my instrument, trumpet. Which 
> pp should I use, then and where can I get it?

http://www.gmd.de/Misc/Music/  offers MusiXTeX and related software,
  some add-ons, and other related material

http://www.gmd.de/Misc/Music/scores/ offers a lot of sheet music most
  generated with MusiXTeX, often with PMX or M-Tx and PMX as preprocessor;
  I mention this because often the source is part of the distribution
  and can be used to see how others use these packages
    
The most often used pre-processors for MusiXTeX are PMX by Don Simons
and M-Tx by Dirk Laurie. M-Tx produces PMX code; M-Tx is based upon
Rainer Dunker's MusiXLyr; so M-Tx's power is esp. in choral music and
music for singers.

All this software and packages are mirrored from GMD's music archive to
the CTAN-servers.

You can find a lot of hints in the archive of this mailing list.

One name is missing in the above list: let's thank again Daniel Taupin,
because his MusicTeX was the first really useful TeX-based music 
typesetting package after the first steps with MuTeX.

Hope this hilft -- Werner

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Hi,

I appologise if mentioning Lilypond on this list is heresy.

I'd be most interested to hear from anyone who's tried it (preferably using
unix/Linux OS) giving a brief outline of it's pros & cons versus PMX - MusiXTeX.

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


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Hi,

I appologise if mentioning Lilypond on this list is heresy.

I'd be most interested to hear from anyone who's tried it (preferably using
unix/Linux OS) giving a brief outline of it's pros & cons versus PMX - MusiXTeX.

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)


From mutex-owner@mail.gmd.de  Thu Jun 22 00:22:03 2000
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From: HowardGilbert <howard.gilbert1@btinternet.com>
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Hi,

To write dynamics in PMX I use the following MusiXTeX defs based on \zcharnote:

\\def\Dpp#1{\zcharnote #1{\pp}}\
\\def\Dp#1{\zcharnote #1{\p}}\
\\def\Dmp#1{\zcharnote #1{\mp}}\
\\def\Dmf#1{\zcharnote #1{\mf}}\
\\def\Df#1{\zcharnote #1{\f}}\
\\def\Dff#1{\zcharnote #1{\ff}}\
\\def\Dpp#1{\zcharnote #1{\pp}}\
\\def\Dicr{\icresc}\
\\def\Dtcr#1{\zcharnote #1{\tcresc}}\
\\def\Dtdecr#1{\zcharnote #1{\tdecresc}}\
\\def\Dtxt#1#2{\zcharnote #1{\it{#2}}}\

My skill in MusiXTeX is not great but from reading the manual I would expect
that, using for argument #1, "J to a" for treble(G) clef voices and "A to C" 
for bass(F) clef voices would put the dynamics at the correct vertical level 
in a multipart score. 

I find this works fine for simple dynamics "pp - ff" but gives problems with 
hairpins. When I write (for a treble clef voice) something like:-

"\Dicr\ some notes \Dtcr M\ more notes /" or
"\Dicr\ some notes \Dtdecr M\ more notes /"

the hairpin does not always go where I'd expect. 

Sometimes I think the hairpin position is being set taking the argument #1 
as relative to the notes in the current bar but I'm not convinced of this.

Please, what am I doing wrong?   

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)
From mutex-owner@mail.gmd.de  Thu Jun 22 01:07:00 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX - \zcharnote
Date: Wed, 21 Jun 2000 15:59:04 -0700
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Can't say much about hairpins except that I looked into implementing them at
one time and got completely stuck due to some limitations of MusiXTeX
itself.  I can't recall the exact details but I think it was impossible to
specify the symbol terms of its starting and ending positions; instead it
would have been necessary to calculate the length of each hairpin and enter
it at the start of the symbol and I found the "look-ahead" requirement led
to horrible programming difficulties.

I will mention, however, that there are some undocumented simple dynamic
marks in PMX.  The command is "D" followed by one of the following:
"pppp","ppp","pp","p","mp","mf","f","fp","sf","ff","fff","ffff",
followed by optional signed vertical (integer) and horizontal (decimal)
shifts.  Use at your own risk, and your mileage may vary.

I could possibly be influenced to add up to three other combinations of up
to four letters each.  I don't want to try dealing with hairpins until and
if it becomes possible to specify one in each line of music, indexed to its
starting and ending notes (like is now possible with slurs and beams).

--Don Simons


> -----Original Message-----
> From:	HowardGilbert [SMTP:howard.gilbert1@btinternet.com]
> Sent:	Wednesday, June 21, 2000 2:45 PM
> To:	mutex@gmd.de
> Subject:	PMX - \zcharnote
> 
> Hi,
> 
> To write dynamics in PMX I use the following MusiXTeX defs based on
> \zcharnote:
> 
> \\def\Dpp#1{\zcharnote #1{\pp}}\
> \\def\Dp#1{\zcharnote #1{\p}}\
> \\def\Dmp#1{\zcharnote #1{\mp}}\
> \\def\Dmf#1{\zcharnote #1{\mf}}\
> \\def\Df#1{\zcharnote #1{\f}}\
> \\def\Dff#1{\zcharnote #1{\ff}}\
> \\def\Dpp#1{\zcharnote #1{\pp}}\
> \\def\Dicr{\icresc}\
> \\def\Dtcr#1{\zcharnote #1{\tcresc}}\
> \\def\Dtdecr#1{\zcharnote #1{\tdecresc}}\
> \\def\Dtxt#1#2{\zcharnote #1{\it{#2}}}\
> 
> My skill in MusiXTeX is not great but from reading the manual I would
> expect
> that, using for argument #1, "J to a" for treble(G) clef voices and "A to
> C" 
> for bass(F) clef voices would put the dynamics at the correct vertical
> level 
> in a multipart score. 
> 
> I find this works fine for simple dynamics "pp - ff" but gives problems
> with 
> hairpins. When I write (for a treble clef voice) something like:-
> 
> "\Dicr\ some notes \Dtcr M\ more notes /" or
> "\Dicr\ some notes \Dtdecr M\ more notes /"
> 
> the hairpin does not always go where I'd expect. 
> 
> Sometimes I think the hairpin position is being set taking the argument #1
> 
> as relative to the notes in the current bar but I'm not convinced of this.
> 
> Please, what am I doing wrong?   
> 
> -- 
> Best wishes,
> Howard.
> (A.H.Gilbert, Thornaby, North Yorkshire)
From mutex-owner@mail.gmd.de  Thu Jun 22 09:07:25 2000
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From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex@gmd.de
Subject: Re: Lilypond?
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HowardGilbert wrote:
> 
> Hi,
> 
> I appologise if mentioning Lilypond on this list is heresy.
> 
> I'd be most interested to hear from anyone who's tried it (preferably using
> unix/Linux OS) giving a brief outline of it's pros & cons versus PMX - MusiXTeX.

My lilypond experience doesn't exceed my activity as the maintainer of
the lilypond musical terms glossary and the typesetting of a few scores.
I would tend to conclude that among the pros are the independency of
some MusiXTeX and/or pmx limitations (e.g. max number of staves per
score and xtuplets with equal length notes only). Among the cons are
very limited typesetter influence on number of pages/staves and
linebreaks. An important difference is that while musixtex and friends
are relatively stable and reliable lilypond for a long time has been
under heavy development. That is not said to blame lilypond the scope of
which is broader than the typesetting aspect. Personally I find the
scripting of a lilypond score much more complicated than that of a
mtx/pmx score. To me an mtx source file is much 'closer' to the
resulting score than a lilypond ditto and thus more easy to proof read
and correct.

When it comes to evaluating the quality of the typesetting result I
don't think it would be fair to state pros and cons because that depends
on your personal taste. Personally I like the overall graphic look of
MusiXTeX/pmx a little better than that of lilypond.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Jun 22 10:56:01 2000
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To: "Simons, Don" <DSimons@logicon.com>
CC: mutex@gmd.de
Subject: Re: PMX - \zcharnote
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"Simons, Don" wrote:
> 
> Can't say much about hairpins except that I looked into implementing them at
> one time and got completely stuck due to some limitations of MusiXTeX
> itself.  I can't recall the exact details but I think it was impossible to
> specify the symbol terms of its starting and ending positions; instead it
> would have been necessary to calculate the length of each hairpin and enter
> it at the start of the symbol and I found the "look-ahead" requirement led
> to horrible programming difficulties.
> 
> I will mention, however, that there are some undocumented simple dynamic
> marks in PMX.  The command is "D" followed by one of the following:
> "pppp","ppp","pp","p","mp","mf","f","fp","sf","ff","fff","ffff",
> followed by optional signed vertical (integer) and horizontal (decimal)
> shifts.  Use at your own risk, and your mileage may vary.
>

nice feature as evaluated by a quick test :-)
 
> I could possibly be influenced to add up to three other combinations of up
> to four letters each.  I don't want to try dealing with hairpins until and
> if it becomes possible to specify one in each line of music, indexed to its
> starting and ending notes (like is now possible with slurs and beams).
> 

Mtx has implemented crescendos and decrescendos as uptext. One of the
two methods described in the mtx documentation allows individual
hairpins per staff.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Jun 22 13:54:01 2000
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From: Johan Tufvesson <tuben@lysator.liu.se>
To: mutex-mailinglist <mutex@gmd.de>
Subject: Re: PMX - \zcharnote
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On Thu, 22 Jun 2000, Christian Mondrup wrote:

"Simons, Don" wrote:

> I will mention, however, that there are some undocumented simple dynamic
> marks in PMX.  The command is "D" followed by one of the following:
> "pppp","ppp","pp","p","mp","mf","f","fp","sf","ff","fff","ffff",
> followed by optional signed vertical (integer) and horizontal (decimal)
> shifts.  Use at your own risk, and your mileage may vary.
> I could possibly be influenced to add up to three other combinations of up
> to four letters each.  I don't want to try dealing with hairpins until and
> if it becomes possible to specify one in each line of music, indexed to its
> starting and ending notes (like is now possible with slurs and beams).

I suggest, instead of hardcoding any more examples, something like the
Pc"insert text here" feature. D"cresc poco a poco" would print the text
using the \ppff font.

/Johan Tufvesson

From mutex-owner@mail.gmd.de  Thu Jun 22 14:08:11 2000
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To: HowardGilbert <howard.gilbert1@btinternet.com>, mutex@gmd.de
Subject: Re: Lilypond? 
In-reply-to: Your message of Thu, 22 Jun 2000 09:00:21 +0200.
             <3951B985.5EFD35CE@biobase.dk> 
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> HowardGilbert wrote:
> > 
> > Hi,
> > 
> > I appologise if mentioning Lilypond on this list is heresy.
> > 
> > I'd be most interested to hear from anyone who's tried it (preferably using
> > unix/Linux OS) giving a brief outline of it's pros & cons versus PMX - MusiXTeX.
> 
> My lilypond experience doesn't exceed my activity as the maintainer of
> the lilypond musical terms glossary and the typesetting of a few scores.
> I would tend to conclude that among the pros are the independency of
> some MusiXTeX and/or pmx limitations (e.g. max number of staves per
> score and xtuplets with equal length notes only). Among the cons are
> very limited typesetter influence on number of pages/staves and
> linebreaks. An important difference is that while musixtex and friends
> are relatively stable and reliable lilypond for a long time has been
> under heavy development. That is not said to blame lilypond the scope of
> which is broader than the typesetting aspect. Personally I find the
> scripting of a lilypond score much more complicated than that of a
> mtx/pmx score. To me an mtx source file is much 'closer' to the
> resulting score than a lilypond ditto and thus more easy to proof read
> and correct.
> 
> When it comes to evaluating the quality of the typesetting result I
> don't think it would be fair to state pros and cons because that depends
> on your personal taste. Personally I like the overall graphic look of
> MusiXTeX/pmx a little better than that of lilypond.
> -- 
> Christian Mondrup, Computer Programmer
> Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
> Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
> Phone: +45 89 49 53 01

I'm biased the other way. I have used Lilypond quite much
but several years have passed since I used MusiXTeX the 
last time. However, I do follow the mutex list and have
at least gathered some idea of the capabilities of the
MusiXTeX family of tools.

Adding to Christian's answer, you can insert line breaks
in a Lilypond wherever you wish, but by default, Lilypond
will determine the number of bars per line automatically
to give the best possible note spacing. What you cannot
do in Lilypond is to specify the total number of output
lines. 
When it comes to the input syntax, I like the Lilypond
idea of writing each part separately, instead of 
PMX and M-Tx syntax where you specify all parts
jointly for a block of bars. This also means that it's
easier to typeset the same music in different versions, 
not only extracting separate parts of a score but, e.g. 
to change the order of some parts, to write a clarinet
part as it sounds in the score but as it's played in the
parts. For proof reading, it's often most useful to 
listen to a MIDI file which can easily be generated with
Lilypond, but that feature has recently been added also 
to PMX. However, the basic idea of describing music in
an ASCII format is very similar in for all the tools, 
you have to get used to the details of the syntax, but
then it's no major problem whichever system you chose.

For the output quality, take a look at some MusiXTeX
scores at http://www.gmd.de/Misc/Music/scores/Welcome.html
and compare to some Lilypond scores at 
http://sca.uwaterloo.ca/Mutopia/ (look at the more recent
contributions, the layout has changed somewhat between the
different Lilypond versions). The fonts are different, but
I think both Lilypond and MusixTeX offer nicer fonts than
many commercial programs. For songs, Lilypond calculates the 
exact length of each syllable and adjusts the note spacing
accordingly.

When it comes to flexibility, MusixTeX gives (in principle)
full flexibility to fine-tune the output, even though this
may require some inline TeX code in you preprocessor file
or even a manual edition of the generated MusiXTeX code.
Also, this may require good knowledge about TeX.
For Lilypond, the idea is that you should describe the 
music, not the exact layout. Of course, in some situations
you do want to change the default layout. Many things
can be changed with different property settings and in
recent versions, there's also a possibility to manually
affect the exact position of almost any graphical object, 
but that should only be used in exceptional cases. 

When it comes to support, the documentation of Lilypond
is not always up to date, but there's a large set of 
example files which illustrate most of the features. 
For all the programs, you have very helpful mailing
lists that can provide tips and tricks. Also, you
can often get a new feature implemented within a 
week or two, both for the MusiXTeX tools and Lilypond.


    /Mats


From mutex-owner@mail.gmd.de  Thu Jun 22 16:23:02 2000
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CC: mutex-mailinglist <mutex@gmd.de>
Subject: Re: PMX - \zcharnote
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Johan Tufvesson wrote:
> 
> On Thu, 22 Jun 2000, Christian Mondrup wrote:
> 
> "Simons, Don" wrote:
> 
> > I will mention, however, that there are some undocumented simple dynamic
> > marks in PMX.  The command is "D" followed by one of the following:
> > "pppp","ppp","pp","p","mp","mf","f","fp","sf","ff","fff","ffff",
> > followed by optional signed vertical (integer) and horizontal (decimal)
> > shifts.  Use at your own risk, and your mileage may vary.
> > I could possibly be influenced to add up to three other combinations of up
> > to four letters each.  I don't want to try dealing with hairpins until and
> > if it becomes possible to specify one in each line of music, indexed to its
> > starting and ending notes (like is now possible with slurs and beams).
> 
> I suggest, instead of hardcoding any more examples, something like the
> Pc"insert text here" feature. D"cresc poco a poco" would print the text
> using the \ppff font.
> 

I like the idea of "insert text" very much. However it should be
separate from the D command because the \ppff font would not be what you
want for performance indications like those quoted. For those you would
most often use a "non-bold" italic or slanted font.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Jun 22 22:25:56 2000
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Date: Thu, 22 Jun 2000 22:13:41 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: noteedit can record directly from MIDI keyboard
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Version 1.6.0 of the Qt-based note editor "noteedit" is now able to record the
music directly from MIDI keyboard. This is assisted by one of the MIDI event filters
offered by Pete Goodliffe's TSE3 library. This gives you the possibility 
to deal with some dirty effects in human played files.

MusiXTeX, PMX and MUP users have so the possibility to create the score directly
from MIDI keyboard.

See: http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

New is also: 
	- muting staffs during replay
	- export PMX
	- determine pitch by means of a MIDI keyboard


Other properties:

   * insertion/deletion/modification of notes, rests, dotted notes, slured
     notes, clefs, time signatures and key signatures on different staffs;
   * building chords;
   * playing on /dev/sequencer (if correctly configured) whereby:
        o giving each staff a different voice;
        o giving each staff a different channel;
        o highlighting the played notes;
        o setting MIDI tempo;
   * export MusiXTeX;
   * export MIDI;
   * import MIDI;
   * read from MIDI keyboard

Planned

If there is enougth interest I plan to transform the program into a KDE
application.

Furthermore:

   * More edit features: transpose 
   * More music elements: lyrics ...


-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Thu Jun 22 23:58:37 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: A small flaw in MusiXTeX?
Date: Thu, 22 Jun 2000 14:37:21 -0700
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Im editing some music for publication I just noticed what appears to be a
small but persistent flaw in MusiXTeX.  When a slur extends over a line
break, its starting point (before the line break) seems to be shifted a
little bit to the left from where it ought to be.  The following pmx input
illustrates this:

===============
1 1 2 4 2 4 0 0
1 2 20 0

t
./
f25u s | fu s | fu s | fu s | fu s | fu s /
================

The start of the slur in bar 1 is fine, using the PMX-generated horizontal
offset of 0.8 notehead widths.  But in bar 3, the start of the second slur
is shifted enough to crash into the stem, even though the same horizontal
offset was requested.

?

--Don Simons
From mutex-owner@mail.gmd.de  Sat Jun 24 02:34:47 2000
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Date: Sat, 24 Jun 2000 01:19:45 +0100
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Hi,

"Simons, Don" wrote:
> 
> Can't say much about hairpins except that I looked into implementing them at
> one time and got completely stuck due to some limitations of MusiXTeX
> itself.  I can't recall the exact details but I think it was impossible to
> specify the symbol terms of its starting and ending positions; instead it
> would have been necessary to calculate the length of each hairpin and enter
> it at the start of the symbol and I found the "look-ahead" requirement led
> to horrible programming difficulties.

Over the next few days I'll do some tests comparing my \\defs for hairpins and
what they produce in the .tex file and compare with doing  hairpins in MusixTeX 
based on \zcharnote. When I did that before I discovered the joys of PMX I don't
remember anything odd happening to the haipin placement.

> 
> I will mention, however, that there are some undocumented simple dynamic
> marks in PMX.  The command is "D" followed by one of the following:
> "pppp","ppp","pp","p","mp","mf","f","fp","sf","ff","fff","ffff",
> followed by optional signed vertical (integer) and horizontal (decimal)
> shifts.  Use at your own risk, and your mileage may vary.

I'm quite happy with my \\defs for simple dynamics they work well and allow
some adjustment of verticality.
> 
> I could possibly be influenced to add up to three other combinations of up
> to four letters each.  I don't want to try dealing with hairpins until and
> if it becomes possible to specify one in each line of music, indexed to its
> starting and ending notes (like is now possible with slurs and beams).

It seems to me that the MusixTeX \icr some notes \zcharnote x{\tcresc} in effect
does
link to starting and ending notes. I just can't fathom why I can't make it work
from PMX.
-

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

> > -----Original Message-----
> > From: HowardGilbert [SMTP:howard.gilbert1@btinternet.com]
> > Sent: Wednesday, June 21, 2000 2:45 PM
> > To:   mutex@gmd.de
> > Subject:      PMX - \zcharnote
> >
> > Hi,
> >
> > To write dynamics in PMX I use the following MusiXTeX defs based on
> > \zcharnote:
> >
> > \\def\Dpp#1{\zcharnote #1{\pp}}\
> > \\def\Dp#1{\zcharnote #1{\p}}\
> > \\def\Dmp#1{\zcharnote #1{\mp}}\
> > \\def\Dmf#1{\zcharnote #1{\mf}}\
> > \\def\Df#1{\zcharnote #1{\f}}\
> > \\def\Dff#1{\zcharnote #1{\ff}}\
> > \\def\Dpp#1{\zcharnote #1{\pp}}\
> > \\def\Dicr{\icresc}\
> > \\def\Dtcr#1{\zcharnote #1{\tcresc}}\
> > \\def\Dtdecr#1{\zcharnote #1{\tdecresc}}\
> > \\def\Dtxt#1#2{\zcharnote #1{\it{#2}}}\
> >
> > My skill in MusiXTeX is not great but from reading the manual I would
> > expect
> > that, using for argument #1, "J to a" for treble(G) clef voices and "A to
> > C"
> > for bass(F) clef voices would put the dynamics at the correct vertical
> > level
> > in a multipart score.
> >
> > I find this works fine for simple dynamics "pp - ff" but gives problems
> > with
> > hairpins. When I write (for a treble clef voice) something like:-
> >
> > "\Dicr\ some notes \Dtcr M\ more notes /" or
> > "\Dicr\ some notes \Dtdecr M\ more notes /"
> >
> > the hairpin does not always go where I'd expect.
> >
> > Sometimes I think the hairpin position is being set taking the argument #1
> >
> > as relative to the notes in the current bar but I'm not convinced of this.
> >
> > Please, what am I doing wrong?
> >
> > --
> > Best wishes,
> > Howard.
> > (A.H.Gilbert, Thornaby, North Yorkshire)


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Date: Sat, 24 Jun 2000 01:20:52 +0100
From: HowardGilbert <howard.gilbert1@btinternet.com>
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Subject: Re: PMX - \zcharnote
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Christian Mondrup wrote:
> 
> Johan Tufvesson wrote:
> >
> > On Thu, 22 Jun 2000, Christian Mondrup wrote:

> > I suggest, instead of hardcoding any more examples, something like the
> > Pc"insert text here" feature. D"cresc poco a poco" would print the text
> > using the \ppff font.
> >
> 
> I like the idea of "insert text" very much. However it should be
> separate from the D command because the \ppff font would not be what you
> want for performance indications like those quoted. For those you would
> most often use a "non-bold" italic or slanted font.
> --
>
I don,t know how "Pc insert text" works but this seems to be similar to the 
intent of my \\def:-

\\def\Dtxt#1#2{\zcharnote #1{\it{#2}}}\

which I could use to do:-

some notes \Dtxt M{cresc poco a poco}\ more notes

which would put "cresc poco a poco" in italic at about the position of
f3 below the treble clef. 



-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

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From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: Re: vertically streched space
Message-ID: <20000622133708.A4543@wam56.rhein-neckar.de>
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Werner Icking wrote:

> > when I use pmx or mtx and have more than x systems, the space between the
> > systems will be streched vertically.
> > I know this is a feature and not a bug, but I don't like this behaviour and
> > think it is very annoying.
> 
> You may control it partially by the A-command (Ai...???), totally by
> 
> \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\
> 
> It may be that this works only when there is more than one instrument.
> If there is only one instrument have a look at the PMX-generated
> MusiXTex code - or ask again.

I still don't get it. The above solution will let me change spacing
within systems, with other words between connected staves. But I have
not found a way to control spacing between systems of staves yet.
Plain TeX commands like \vskip dont't work at all.


-- 
Andreas Kurth
Mannheim, Germany
http://www.rhein-neckar.de/~wam56

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From: Christian Mondrup <scancm@biobase.dk>
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Andreas Kurth wrote:
> 
> Werner Icking wrote:
> 
> > > when I use pmx or mtx and have more than x systems, the space between the
> > > systems will be streched vertically.
> > > I know this is a feature and not a bug, but I don't like this behaviour and
> > > think it is very annoying.
> >
> > You may control it partially by the A-command (Ai...???), totally by
> >
> > \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\
> >
> > It may be that this works only when there is more than one instrument.
> > If there is only one instrument have a look at the PMX-generated
> > MusiXTex code - or ask again.
> 
> I still don't get it. The above solution will let me change spacing
> within systems, with other words between connected staves. But I have
> not found a way to control spacing between systems of staves yet.
> Plain TeX commands like \vskip dont't work at all.
> 

You may overrule the pmx stretching and get controll over the spacing
*between* systems by combining the \interstaff method and the mtx
'space' preamble clause (or the corresponding \setinterinstrument and
\staffbotmarg statements) with the below TeX statements (an advice I
once got from Werner). You should adapt the \Interligne factors to your
needs. I use that method in almost all of my scores published at the GMD
archive.

%% \raggedbottom
%% \parskip 3\Interligne plus 2\Interligne minus 2\Interligne

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: M-Tx: different number of syllables in verses
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Hi,

I've recently ran into two problems while coding some vocal music
using M-Tx.

1)
Different verses may have different numbers of syllables, which
may require a different rhythm, too. I solved this problem using
two voices throughout the whole piece, but found it a not so
convenient way, especially if the score would consist of voices
S1S2A1A2T1T2B1B2, which I reduced to S1,S2 for this short example.
Is there a more elegant way to handle this case?

---------------------------------------------------------------
Mystyle: voices S1,S2; choral; clefs G
Style: Mystyle
Meter: 3/4
Flats: 4
Pages: 1
Systems: 1
Size: 20

{Verse1}
Wenn ich ein V{\"o}-glein w{\"a}r'
und {} auch zwei Fl{\"u}g-lein h{\"a}tt',

{Verse2}
Bin ich gleich weit von dir,
bin ich doch im Traum bei dir

%%\\def\lbra{\loffset{1.5}{\zcharnote{+4}{(}}}\
%%\\def\rbra{\roffset{2}{\zcharnote{+4}{)}}}\
a4 a a | cd b8 a4 | \lbra\ c8u \rbra\ cu c4l cl | edl d8l c4l
L: {Verse1,Verse2}
rpb | rpb | c+4l r2b | rpb
---------------------------------------------------------------


2)
For a related problem please see my second example. I'm wondering
how to code the long underscore which belongs to the word Gott. Also
I'm not shure whether there are typographical conventions in such a
case at all. Is it correct to have beamed and unbeamed stems
simultaneously?

---------------------------------------------------------------
Mystyle: voices S1,S2; choral; clefs G
Style: Mystyle
Meter: 3/4
Flats: 1
Pages: 1
Systems: 1

{Verse1}
Der Mai ist ge-kom-men,
die B{\"a}u-me schla-gen aus.

{Verse2}
Herr Va-ter, Frau Mut-ter,
da{\ss} Gott {} euch be-h{\"u}t!

(l f8 g ) | a4 a4d b8 | [l ( d c ) ] c4l a | c8 b b4l c4l | a2
L: {Verse1,Verse2}
r4b | rpb | rpb | (l c8+ b ) r2b | rb
---------------------------------------------------------------


Thanks in advance for any hints.


-- 
Andreas Kurth
Mannheim, Germany
http://www.rhein-neckar.de/~wam56

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From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: M-Tx: different number of syllables in verses
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Andreas Kurth wrote:
> 
> Hi,
> 
> I've recently ran into two problems while coding some vocal music
> using M-Tx.
> 
> 1)
> Different verses may have different numbers of syllables, which
> may require a different rhythm, too. I solved this problem using
> two voices throughout the whole piece, but found it a not so
> convenient way, especially if the score would consist of voices
> S1S2A1A2T1T2B1B2, which I reduced to S1,S2 for this short example.
> Is there a more elegant way to handle this case?
> 
> ---------------------------------------------------------------
> Mystyle: voices S1,S2; choral; clefs G
> Style: Mystyle
> Meter: 3/4
> Flats: 4
> Pages: 1
> Systems: 1
> Size: 20
> 
> {Verse1}
> Wenn ich ein V{\"o}-glein w{\"a}r'
> und {} auch zwei Fl{\"u}g-lein h{\"a}tt',
> 
> {Verse2}
> Bin ich gleich weit von dir,
> bin ich doch im Traum bei dir
> 
> %%\\def\lbra{\loffset{1.5}{\zcharnote{+4}{(}}}\
> %%\\def\rbra{\roffset{2}{\zcharnote{+4}{)}}}\
> a4 a a | cd b8 a4 | \lbra\ c8u \rbra\ cu c4l cl | edl d8l c4l
> L: {Verse1,Verse2}
> rpb | rpb | c+4l r2b | rpb
> ---------------------------------------------------------------
> 

Bear in mind that mtx is a pmx preprocessor and that pmx has its own
method of separating two voices within a shared staff. You may utilize
that to locally assign two voices. The method is briefly described in
the mtx documentation, section 1.2

Mystyle: voices S1; choral; clefs G
...
a4 a a | cd b8 a4 | \lbra\ c8u \rbra\ cu c4l cl // c4l r2b | edl d8l c4l
...

> 2)
> For a related problem please see my second example. I'm wondering
> how to code the long underscore which belongs to the word Gott. Also
> I'm not shure whether there are typographical conventions in such a
> case at all. Is it correct to have beamed and unbeamed stems
> simultaneously?
> 
> ---------------------------------------------------------------
> Mystyle: voices S1,S2; choral; clefs G
> Style: Mystyle
> Meter: 3/4
> Flats: 1
> Pages: 1
> Systems: 1
> 
> {Verse1}
> Der Mai ist ge-kom-men,
> die B{\"a}u-me schla-gen aus.
> 
> {Verse2}
> Herr Va-ter, Frau Mut-ter,
> da{\ss} Gott {} euch be-h{\"u}t!
> 
> (l f8 g ) | a4 a4d b8 | [l ( d c ) ] c4l a | c8 b b4l c4l | a2
> L: {Verse1,Verse2}
> r4b | rpb | rpb | (l c8+ b ) r2b | rb
> ---------------------------------------------------------------
> 

Undoubtedly standard typesetting convention is to beam only melismatic
phrazes. However I very seldom apply that convention to my own
typesettings but instead utilize the mtx 'always-beam' option with the
special mtx non-melismatic beams and slurs and dashed slurs. If you
don't like that I would suggest combined beamed and unbeamed notes as in
the previous example. The lacking continuation lines may be compensated
for by inserting a suitable number of em-dashes (TeXBook chapter 2) into
the lyrics. 

%% \def\dash{---}
%% \def\Ld{\dash\dash\dash}

{Verse1}
Der Mai ist ge-kom-men,
die B{\"a}u-me schla-gen aus.

{Verse2}
Herr Va-ter, Frau Mut-ter,
da{\ss} Gott-\Ld{} euch be-h{\"u}t!

(l f8 g ) | a4 a4d b8 | [[ ( d c ) ] c4l a | [[ ((b c8 b ) ] b4l c4l |
a2
L: {Verse1,Verse2}

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Sun, 25 Jun 2000 16:08:36 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Andreas Kurth <akurth@wam56.rhein-neckar.de>, mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
References: <20000625115928.A9257@wam56.rhein-neckar.de> <3955F379.A6C22A5B@biobase.dk>
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Christian Mondrup wrote:
> 
> The lacking continuation lines may be compensated
> for by inserting a suitable number of em-dashes (TeXBook chapter 2) into
> the lyrics.
> 
> %% \def\dash{---}
> %% \def\Ld{\dash\dash\dash}
> 

Another method is to explicitly draw the continuation line

%% \def\cnln#1{\vrule height.4pt width #1pt}

{Verse1}
Der Mai ist ge-kom-men,
die B{\"a}u-me schla-gen aus.

{Verse2}
Herr Va-ter, Frau Mut-ter,
da{\ss} Gott \cnln{20} euch be-h{\"u}t!

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Sun, 25 Jun 2000 18:13:21 +0200
From: Andreas Kurth <akurth@wam56.rhein-neckar.de>
To: mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
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Christian Mondrup wrote:

> Another method is to explicitly draw the continuation line
> 
> %% \def\cnln#1{\vrule height.4pt width #1pt}

Thanks, I finally did it that way (with slight modifications).

-------------------------------------------------------
{Verse2}
Herr Va-ter, Frau Mut-ter,
da{\ss} Gott \loffset{.5}{\cnln{7}} euch be-h{\"u}t!

%%\\def\cnln#1{\vrule height .4pt width #1\Internote}\
-------------------------------------------------------

-- 
Andreas Kurth
Mannheim, Germany
http://www.rhein-neckar.de/~wam56

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CC: mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
References: <20000625115928.A9257@wam56.rhein-neckar.de> <3955F379.A6C22A5B@biobase.dk> <39561264.B86A8297@biobase.dk> <20000625181321.A12192@wam56.rhein-neckar.de>
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Andreas Kurth wrote:
> 
> Christian Mondrup wrote:
> 
> > Another method is to explicitly draw the continuation line
> >
> > %% \def\cnln#1{\vrule height.4pt width #1pt}
> 
> Thanks, I finally did it that way (with slight modifications).
> 
> -------------------------------------------------------
> {Verse2}
> Herr Va-ter, Frau Mut-ter,
> da{\ss} Gott \loffset{.5}{\cnln{7}} euch be-h{\"u}t!
> 
> %%\\def\cnln#1{\vrule height .4pt width #1\Internote}\

Why not making also the offset "user configurable"?

%% \def\cnln#1#2{\loffset{#1}{\vrule height .4pt width #2\Internote}}

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Jun 26 15:00:43 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: vertically streched space
To: mutex@gmd.de, akurth@wam56.rhein-neckar.de
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> Date: Thu, 22 Jun 2000 13:37:08 +0200
> From: Andreas Kurth <akurth@wam56.rhein-neckar.de>

> Werner Icking wrote:

> > \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\

> I still don't get it. The above solution will let me change spacing
> within systems, with other words between connected staves. But I have
> not found a way to control spacing between systems of staves yet.

You are right. The above "patch" disables PMX to put the space between
the instruments. The rest is done automatically by MusiXTeX (or TeX)
which puts the combined staffs equally spaced on the page - if there
is more than one combined staff. This may be partially controlled by 
\stafftopmarg and \staffbotmarg. In addition PMX adds some space at
the end of a page. Up to now I didn't find a way to suppress that.

> Plain TeX commands like \vskip dont't work at all.

They work if applied at the correct location. As usual with
MusiXTeX (and PMX) you may use \vskip under control of
\atnextline. So following MusiXTeX source may make sense:

\def\atnextline{\vskip -2\Interligne}\alaligne

or as complete PMX-source

1 1 8 4 8 4 0 0
1 5 20 0

t
./

h140m
w100m

\\nobarnumbers\
\\headline{\hss top of page\hss}\
\\footline{\hss bottom of page\hss}\
\\def\NLvskip#1{\def\atnextline{\vskip #1\Interligne}}\
\\musicparskip\

MR1 c44 c c c c c c c M /
L2 \\\NLvskip{12}\ MP1 /
MP1 /
L4 \\\NLvskip{-12}\ MP1 /
MP1 /

The distance to line 2 is increased by 12\Interligne,
the distance to line 3 is normal (as result of TeX's filling the page),
the distance to line 4 is reduced by 12\Interligne,
the distance to line 5 is quite normal.

\musicparskip is used to allow a wider range of \parskip so
that the "underfull vbox" messages disappear.

Look into the resulting MusiXTeX-input to see how it works.

Hope this hilft -- Werner

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Date: Mon, 26 Jun 2000 14:57:03 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: A small flaw in MusiXTeX?
To: mutex@gmd.de, dsimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Thu, 22 Jun 2000 14:37:21 -0700
> 
> Im editing some music for publication I just noticed what appears to be a
> small but persistent flaw in MusiXTeX.  When a slur extends over a line
> break, its starting point (before the line break) seems to be shifted a
> little bit to the left from where it ought to be. [...]

Imho this has nothing to do with the line break. It's just normal
operation of MusiXTeX. There is only a limited number of slurs
available. So MusiXTeX looks for the best fit and the best position
depending on \islur and \tslur (or the end of the line).

Insert X.5, X1, X1.5, ... before the 3rd note and see what happens.

I detected this as real problem with my edition of Bach's Kunst der
Fuge where often two short notes are tied together. If there is not
much space between the notes then the shortest slur is too long. Then
I have to correct the end position of the slur so that it look nicer
e.g. "(t c3 c )t+0+.5" in PMX or as MusiXTeX something like:
\notes...\isluru0c....\roffset{.5}{\tslur0c}...\en

It's so nice that one can move anything anywhere with MusiXTeX and
often with PMX, too :-)

-- Werner

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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: run-time error with m-Tx
Date: Mon, 26 Jun 2000 17:17:22 +0200
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Hello,
when I use the [ ] -brackets m-Tx crashes with a runtime error shown below.
I have added a little example. By the way, I use  M-Tx 0.52 (Music from
TeXt) <29 October 1998>

Title: Test
Style: Singer
Meter: C

% los geht's
b2 g4 b b [ a8 g ]
L: la la la la la


PREPMX verursachte einen Teilungsfehler in Modul PREPMX.EXE bei
014f:00407901.
Register:
EAX=00000255 CS=014f EIP=00407901 EFLGS=00010202
EBX=00550000 SS=0157 ESP=0255ebb0 EBP=0255ebd8
ECX=00000000 DS=0157 ESI=8166746c FS=4527
EDX=00000000 ES=0157 EDI=816678d8 GS=0000
Bytes bei CS:EIP:
f7 f9 83 f8 0f 7e 12 83 c4 f8 6a 01 68 a0 77 40
Stapelwerte:
00550000 8166746c 0255ebd8 004039ba 00000061 00413228 0255f138 00407d67
8166746c 0255f008 0255f138 00407ff1 0255f008 0255ebf8 0000007c 00000000


From mutex-owner@mail.gmd.de  Mon Jun 26 18:18:15 2000
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Date: Mon, 26 Jun 2000 18:03:46 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX - \zcharnote
To: mutex@gmd.de
Cc: howard.gilbert1@btinternet.com
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--Pace_of_Asses_776_000
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> Date: Thu, 22 Jun 2000 16:11:36 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> I like the idea of "insert text" very much. However it should be

me too :-)

> separate from the D command because the \ppff font would not be what you
> want for performance indications like those quoted. For those you would
> most often use a "non-bold" italic or slanted font.

I use \medtype\it for \normalmusicsize and \normtype\it for
\smallmusicsize.

Concerning the original problem I do not use \zcharnote with some
letter as pitch because this is dependent on the clef. Instead I
use numbers e.g. \zcharnote{-5} or \zcharnote{13}. In reality I
have two macros \text and \Text. They are defined so that \text0
is immediately below the current staff and \Text0 is immediately
above the current staff. The bigger the first parameter the lower
or higher the text is positioned. For details see mymusic.tex which
is part of any of my sources on http://www.gmd.de/Misc/Music/scores/

Concerning hairpins one problem is that MusiXTeX only provides hairpins
up to a very limited length. In addition there is no automatic line
breaking as it is for e.g. slurs or "octlines". I do not use \icresc
\tcresc because there is only one such thing for all instruments (if
I understood the feature correctly). Instead I use the "symbols" with
the length parameter in combination with the text-macros mentioned above.
There I detected that the cresc- and decresc symbols are positioned a
little bit higher than normal text. So following is standard for me:
\text2{\pp}\text1{\cresc...}

Within PMX I use \elemskip as unit for length because this is stable
for different linebreakings. So I have typical macros:

\def\cresc#1#2{\text{#1}{\crescendo{#2\elemskip}}}
\def\crescs#1#2{\ifnum\nbinstruments>1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\crescp#1#2{\ifnum\nbinstruments=1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\crescsp#1#2#3{\ifnum\nbinstruments>1\text{#1}{\crescendo{#2\elemskip}}
                   \else\text{#1}{\crescendo{#3\elemskip}}\fi}
\def\Cresc#1#2{\Text{#1}{\crescendo{#2\elemskip}}}
...

defining a crescendo hairpin of lenght #2\elemskip which is #1\noteskip 
below the staff; a crescendo only in the score; only in the part; in
score with length #2, in the part with length #3; above the staff ...

As time goes by I got a good feeling what length specification is
neccessary. Otherwise you need some iterations.

I hope it disturbs nobody if I append two hacks I use for all
composition "(mymusix.tex") and that ("irpmx.tex") I use for the
compositions by Heinz Irsen which can be found on my sheet music
archive. Within the years they have grown and demonstrate my limited
TeX-knowledge :-)

-- Werner

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\ifx\undefined\nofs \else \endinput \fi

\immediate\write10{MyMusiX(c) \mxversion\space<\mxdate>}%

\tracingstats=3D1

\edef\catcodeat{\the\catcode`\@}\catcode`\@=3D11

\newcount\nick@i

\ifx\undefined\sevenrm
\iflongDCfontnames
  \font\sevenrm=3D\fontid r0700
  \font\sevenbf=3D\fontid bx0700
  \font\sevenit=3D\fontid ti0700
\else\iflongECfontnames =20
  \font\sevenrm=3D\fontid rm0700
  \font\sevenbf=3D\fontid bx0700
  \font\sevenit=3D\fontid ti0700
\else
  \font\sevenrm=3D\fontid r7
  \font\sevenbf=3D\fontid bx7
  \font\sevenit=3D\fontid ti7
\fi =20
\fi
\fi

% Fingers=E4tze =FCber (\FS) oder unter (\fS) dem System
%             auch mit Tonh=F6henangabe \Fs, \fs
% ohne \kern aktueller Zeichensatz f=FCr Musikzeichen wie z.B. \upbow: \FSn=
 \fSn \Fsn \fsn
%
% Transposition etc. dringt nicht nach au=DFen, damit das Verhalten bei
% \yesfs und \nofs gleichbleibt; dasselbe gilt f=FCr durch \isfs und
% \isnotfs eingeschlossene Sequenzen. \isFS und \isnotFS hingegen lassen
% alles nach au=DFen heraus.
% =20
\newif\iffinger
\newdimen\fingerkern
% das m=FC=DFte wohl auch einfacher gehen (? \uplap}
\def\vbox@u#1#2#3#4#5+{\setbox\toks@box\vbox to  3\internote{\baselineskip =
3\internote\hbox{#1}\vss}%
 \if #2\relax     \else\setbox\toks@box\vbox to  6\internote{\baselineskip =
3\internote\hbox{#2}\hbox{#1}\vss}\fi
 \if #3\relax     \else\setbox\toks@box\vbox to  9\internote{\baselineskip =
3\internote\hbox{#3}\hbox{#2}\hbox{#1}\vss}\fi
 \if #4\relax     \else\setbox\toks@box\vbox to 12\internote{\baselineskip =
3\internote\hbox{#4}\hbox{#3}\hbox{#2}\hbox{#1}\vss}\fi
 \raise 2\internote\vbox{\unvbox\toks@box}%
}%
\def\vbox@l#1#2#3#4#5+{\nick@i4
 \if #2\relax\else\nick@i7\fi
 \if #3\relax\else\nick@i10\fi
 \if #4\relax\else\nick@i13\fi
  \setbox\toks@box\vbox{\baselineskip 3\internote\hbox{#4}\hbox{#3}\hbox{#2=
}\hbox{#1}}%
  \lower \nick@i\internote\vbox{\unvbox\toks@box}%
}%
\def\Fu#1#2{\iffinger%
 {\zcharnote{#2}%
 {\fingerfont\kern 0.5\qn@width\kern \fingerkern%
 \t@c{#1\relax\relax\relax}\expandafter\expandafter\expandafter{\expandafte=
r\vbox@u\the\t@c+}%
 }}\fi}%
\def\FU#1{\Fu{#1}7}
\def\Fl#1#2{\iffinger%
 {\zcharnote{#2}%
 {\fingerfont\kern 0.5\qn@width\kern \fingerkern%
 \t@c{#1\relax\relax\relax}\expandafter\expandafter\expandafter{\expandafte=
r\vbox@l\the\t@c+}%
 }}\fi}%
\def\FL#1{\Fl{#1}1}
\def\isfs#1{\iffinger {#1}\fi}
\def\isFS#1{\iffinger #1\fi}
\def\isnotfs#1{\iffinger\else {#1}\fi}
\def\isnotFS#1{\iffinger\else #1\fi}

\def\computefingerfont{\let\fingerfont\undefinded
       \ifnum\musicsize=3D\sixt@@n \let\fingerfont\sevenbf
% \else\ifnum\musicsize=3D\@xxiv   \let\fingerfont\tenbf
% \else\ifnum\musicsize=3D\@xxix   \let\fingerfont\twelvebf
% \else\ifnum\musicsize=3D\tw@nty  \let\fingerfont\eightbf
  \else\ifnum\musicsize=3D\@xxiv   \def\fingerfont{\normtype\bf}%
  \else\ifnum\musicsize=3D\@xxix   \def\fingerfont{\medtype\bf}%
  \else\ifnum\musicsize=3D\tw@nty  \def\fingerfont{\smalltype\bf}%
  \fi\fi\fi\fi
  \setbox0\hbox{\fingerfont 1}\fingerkern-0.5\wd0%\advance\fingerkern0.5\qn=
@width
  }%
% Fingers=E4tze AUS:
\def\nofs{%
\global\def\Fs##1##2{}\global\def\fs##1##2{}
\global\def\Fsn##1##2{}\global\def\fsn##1##2{}
%\global\def\isfs##1{}\global\def\isFS##1{}
%\global\def\isnotfs##1{{##1}}\global\def\isnotFS##1{##1}
\global\fingerfalse}
% Fingers=E4tze EIN:
\def\yesfs{
\global\def\Fs##1##2{{\advance\transpose by  2\zcharnote{##2}{\kern 0.75pt =
\hbox{\smalltype\bf ##1}}}}
\global\def\FS##1{{\Fs{##1}9}}
\global\def\fs##1##2{{\advance\transpose by -4\zcharnote{##2}{\kern 0.75pt =
\hbox{\smalltype\bf ##1}}}}
\global\def\fS##1{{\fs{##1}{-3}}}
\global\def\Fsn##1##2{{\advance\transpose by  2\zcharnote{##2}{##1}}}
\global\def\FSn##1{{\Fsn{##1}9}}
\global\def\fsn##1##2{{\advance\transpose by -4\zcharnote{##2}{##1}}}
\global\def\fSn##1{{\fsn{##1}{-3}}}
%\global\def\isfs##1{{##1}}\global\def\isFS##1{##1}
%\global\def\isnotfs##1{}\global\def\isnotFS##1{}
\global\fingertrue\computefingerfont}
\yesfs

% F=FCr Streicher: Aufstrich, Abstrich
%
% jetzt als \input musixstr
%
\def\AB{\hbox{\lower 1.5pt \hbox{\downbow}}}
\def\AUF{\hbox{\lower 1.5pt \hbox{\upbow}}}
\def\Ab{\vbox{\hbox{\kern -0.10\qn@width \downbow}\kern -0.8\internote}}
\def\Auf{\vbox{\hbox{\kern -0.10\qn@width \upbow}\kern -0.7\internote}}

\def\TR#1{\zcharnote{#1}{\it tr}}%
\def\hold#1{\raise \Internote \vbox{\hrule width #1\noteskip}}

% Texte relativ =FCber oder unter dem Notensystem \Text{n}{...} \text{n}{..=
.}
% (n =3D 0, 1, ...)
%\def\Text#1#2{\nick@i#1\advance\nick@i\@ight\raise\nick@i\internote\rlap{#=
2}}
%\def\text#1#2{\nick@i#1\advance\nick@i\thr@@\lower\nick@i\internote\rlap{#=
2}}
\def\Text#1#2{\raise 8\internote\hbox{\raise #1\internote\rlap{#2}}}
\def\text#1#2{\lower 3\internote\hbox{\lower #1\internote\rlap{#2}}}

\let\forte\f
\let\fforte\ff
\let\ffforte\fff
\let\fffforte\ffff
\let\piano\p
\let\ppiano\pp
\let\pppiano\ppp
\let\ppppiano\pppp
\let\mforte\mf
\let\mpiano\mp@
\def\sforzato{{\ppff s\p@kern\f@kern\forte}}%

% Platz f=FCr Vorzeichen innerhalb von \notes, wenn man \bigaccid verwenden
% m=F6chte; \bigaccid ... \notes\ibbu0d3\qb0{d}\ask\qb0{e^f}\tqh0g\enotes
%\def\ask{\off{0.35\noteskip}}        % space for accidental during \notes
%\def\ask{\off{0.6\qn@width}}
%\def\ask{\off{0.5\elemskip}}
% und dies und anderes auch r=FCckw=E4rts
%\def\asK{\off{-0.5\elemskip}}
\def\qsk{\off{1\qn@width}}\def\qsK{\off{-1\qn@width}}
\def\Qsk#1{\off{0.#1\qn@width}}\def\QsK#1{\off{-0.#1\qn@width}}
\def\sK{\off{-1\noteskip}}
\def\Sk#1{\off{0.#1\noteskip}}\def\SK#1{\off{-0.#1\noteskip}}
\def\Bsk#1{\off{-#1\noteskip}}
\def\ek{\off{1\elemskip}}\def\eK{\off{-1\elemskip}}
\def\Ek#1{\off{0.#1\elemskip}}\def\EK#1{\off{-0.#1\elemskip}}
\def\ask{\Ek5}\def\asK{\EK5}
%\def\hsK{\off{-1\hn@width}}
\let\hsK\qsK

% "dotted" slurs
%-\def\blur#1#2#3#4{\slur{#1}{#2}#3#4}
%-\def\blur#1#2#3#4{%
%- \if #3u\raise  1.5\Internote\hbox{\loffset{0.4}{\zcharnote{#1}{\fiverm (=
}}%
%-                  \off{#4\noteskip}\roffset{1.0}{\zcharnote{#2}{\fiverm )=
}}\off{-#4\noteskip}}%
%-   \else\raise -2.5\Internote\hbox{\loffset{0.4}{\zcharnote{#1}{\fiverm (=
}}%
%-                  \off{#4\noteskip}\roffset{1.0}{\zcharnote{#2}{\fiverm )=
}}\off{-#4\noteskip}}%
%-   \fi\slur{#1}{#2}#3{#4}}
%-
%-\def\ibluru#1#2{%
%-   \raise  1.5\Internote\hbox{\loffset{0.4}{\zcharnote{#2}{\fiverm (}}}%
%-   \isluru{#1}{#2}}
%-
%-\def\iblurd#1#2{%
%-   \raise -2.5\Internote\hbox{\loffset{0.4}{\zcharnote{#2}{\fiverm (}}}%
%-   \islurd{#1}{#2}}
%-
%-\def\tblur#1#2{\s@l@ctslur#1\relax \def\@sense{\the\s@s}%
%-  \if u\@sense
%-=09\raise  1.5\Internote\hbox{\roffset{1.0}{\zcharnote{#2}{\fiverm )}}}%
%-   \else\raise -2.5\Internote\hbox{\roffset{1.0}{\zcharnote{#2}{\fiverm )=
}}}%
%-   \fi\tslur{#1}{#2}}

% raiseable pauses
\def\Hp#1{\raise #1\Interligne\hp}
\def\Qp#1{\raise #1\Interligne\qp}
\def\Ds#1{\raise #1\Interligne\ds}
\def\Qs#1{\raise #1\Interligne\qs}

% oct-line without ending
\def\octlineup{\n@v\@xxiii\C@ol}
\def\octlinedown{\n@v\@xxv\C@ol}
\def\C@ol#1#2{\y@v#2\noteskip\zcharnote{#1}{\hbox\@to\y@v{%
  \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\raise 3pt\hbox{\dots}}}}
% \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\char\n@v}}}


% short chord stems & normal stems
\def\chordstems{\stemlength{3.5}}\def\normalstems{\stemlength{4.66}}

\def\barmessages{\let\no@b\empty}
\def\linemessages{\let\no@l\empty}

% Ak=FC
%\newcount\nick@i
\def\ttqb#1#2{\nick@i\transpose\tslur{#1}{#2}\transpose\nick@i\tqb{#1}{#2}}
\def\ttqh#1#2{\nick@i\transpose\tslur{#1}{#2}\transpose\nick@i\tqh{#1}{#2}}
\def\qap#1{\nick@i\transpose\pt{#1}\transpose\nick@i\qa{#1}}
\def\hap#1{\nick@i\transpose\pt{#1}\transpose\nick@i\ha{#1}}
% small and tiny chord notes and non-spacing notes in combination with norm=
al notes
\def\szq#1{\off{\qn@width}\smallnotesize\off{-\qn@width}\zq{#1}\off{\qn@wid=
th}\normalnotesize\off{-\qn@width}}
\def\szqp#1{\off{\qn@width}\smallnotesize\off{-\qn@width}\zqp{#1}\off{\qn@w=
idth}\normalnotesize\off{-\qn@width}}
\def\szh#1{\off{\qn@width}\smallnotesize\off{-\qn@width}\zh{#1}\off{\qn@wid=
th}\normalnotesize\off{-\qn@width}}
%\def\szhp#1{\off{\qn@width}\smallnotesize\off{-\qn@width}\zhp{#1}\off{\qn@=
width}\normalnotesize\off{-\qn@width}}
\def\tzq#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zq{#1}\off{\qn@widt=
h}\normalnotesize\off{-\qn@width}}
\def\tzqp#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zqp{#1}\off{\qn@wi=
dth}\normalnotesize\off{-\qn@width}}
\def\tzh#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zh{#1}\off{\qn@widt=
h}\normalnotesize\off{-\qn@width}}
%\def\tzhp#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zhp{#1}\off{\qn@w=
idth}\normalnotesize\off{-\qn@width}}
\def\tzcu#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zcu{#1}\off{\qn@wi=
dth}\normalnotesize\off{-\qn@width}}
\def\tzqu#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zqu{#1}\off{\qn@wi=
dth}\normalnotesize\off{-\qn@width}}
\def\tzqup#1{\off{\qn@width}\tinynotesize\off{-\qn@width}\zqup{#1}\off{\qn@=
width}\normalnotesize\off{-\qn@width}}

\def\Takt#1{\bar}\def\takt#1{\xbar}

\let\ni\nextinstrument

\def\myfootline#1{%
\def\crtextde{Nicht-kommerzielle Vervielf\"altigung erw\"unscht.}%
\def\crtexten{Non-commercial copying welcome.}%
\def\cryear{#1}\setfootline}

\def\draftfootline#1{%
\def\crtextde{Entwurf (\number\year\number\month\number\day\the\time) -- Bi=
tte nicht weitergeben.}%
\def\crtexten{Draft (\number\year\number\month\number\day\the\time) -- plea=
se don't distribute.}%
\def\cryear{#1}\setfootline}

\def\snailaddr{Werner Icking, D-53721 Siegburg, Farnweg 28}
\def\mailaddr{Werner.Icking@gmd.de}
\def\httpURL{http://www.gmd.de/Misc/Music/}
\def\ftpURL{ftp://ftp.gmd.de/music/scores/}

\def\setfootline{\footline=3D{\ifodd\pageno%
{\rlap{\sevenrm\copyright~\cryear, \snailaddr}%
 \hfill\folio\hfill
 \llap{\sevenrm\crtextde}}%
\else
{\rlap{\sevenrm\copyright~\cryear, \mailaddr}%
 \hfill\folio\hfill
 \llap{\sevenrm\crtexten}}%
\fi}}

\def\emptypage{\centerline{This page intentionally left quiet.}\vfill\eject=
}
\def\oddempty{\ifodd\pageno\emptypage\fi}
\def\evenempty{\ifodd\pageno\relax\else\emptypage\fi}

\def\Metron#1#2{{\tinynotesize\stemlength3#1=3D #2}}% \Metron{\zqu1~~}{78}
                                                  % \Metron{\zqup1~~~}{\zqu=
1~~}
\newdimen\curlen
\def\getcurlen{\getcurpos\curlen\y@v
               \advance\curlen\sign@skip
               \advance\curlen\clef@skip
             % \advance\curlen\s@indent
               }
%---- =C4nderungen in MusixTeX fuer \writezbar ----------------------------=
--
\def\barnotrue{\let\z@sw\empty}
\def\barnofalse{\let\z@sw\@ne}

%\def\barnumbers{\let\lin@bar\empty \let\freqbarno\normalstaff }
%\def\systemnumbers{\let\freqbarno\maxdimen \let\lin@bar\@ne }
%\def\nobarnumbers{\let\freqbarno\maxdimen \let\lin@bar\empty }
%\barnumbers

%\def\xbar{\gluebrule\global\advance\barno\@ne \barvrule\addspace\afterrule=
skip}%

%\def\zleftrightrepeat{\T@bil \leftrightrepeatsymbol%
%  \else\rightrepeatsymbol\z@LeftRp\fi}
%\def\z@LeftRp{\addspace{-\afterruleskip}\zstoppiec@%
%  \contpiece\addspace{\h@lf\afterruleskip}%
%  \kern-\afterruleskip\l@eftrepeat\kern\afterruleskip}

\def\zleftrightrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \leftrightrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}
\def\zrightrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \rightrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}
\def\zleftrepeat{\global\advance\barno-1 \def\barnoadd{\writezbarno}%
 \leftrepeat \def\barnoadd{\ifx\z@sw\@ne \writezbarno\fi}}

\def\ende{\Endpiece}

%-----Nachbesserungen
\let\startnewline\alaligne
\let\zstartnewline\zalaligne

\let\barnofont\undefinded
\ifnum\musicsize=3D\sixt@@n \let\barnofont\sevenbf
\else\ifnum\musicsize=3D\tw@nty  \def\barnofont{\smalltype\bf}%
\else\ifnum\musicsize=3D\@xxiv   \def\barnofont{\normtype\bf}%
\else\ifnum\musicsize=3D\@xxix   \def\barnofont{\medtype\bf}%
\fi\fi\fi\fi

\def\mywritebarno{\ifnum\barno>1 \relax
=09\ifdim\clef@skip=3D\z@\relax \y@=3D16pt \else\y@\clef@skip\relax \fi=20
=09\hbox to \y@{\hss\barnofont\the\barno\barnoadd\hss}\fi}

\newcount\linenumber
\def\linenumbers{%
\def\lineset##1##2##3##4##5{\ifx\no@l\empty \message{<##1>}\fi
\linenumber##1%
\maxbarsinlin@##2%
\@l@mskip##3%
\elemskip\@l@mskip%
\afterruleskip##4%
\beforeruleskip##5}%
\def\everystaff{\znotes\lcharnote3{\the\linenumber~~~~~}\en}%
}%

%\def\voltadot{.}%
%\def\writ@volta{%
%  \ifx\v@sw\@ne
%    \y@v\lin@pos \advance\y@v-\i@v
%    \global\advance\cut@v\lthick \advance\y@v-\cut@v \global\advance\cut@v=
\lthick
%    \y@\altplancher \advance\y@\systemheight
%    \advance\y@\raisevolta
%%    \advance\y@\f@ur\internote
%    % compute the height of the "volta" box
%    \setbox\writ@volta@box\rlap{\ifx\ov@sw\empty
%                                   \vrule %   \musixfont\sixt@@n
%                                \fi
%                                \rm~\vphantom{\^{\tx@V}\strut gq}\tx@V\vol=
tadot}%
%      \xdef\thevolta@boxheight{\the\ht\writ@volta@box}%
%      \xdef\thevolta@boxdepth{\the\dp\writ@volta@box}%
%    \raise\y@\llap{%
%      \copy\writ@volta@box
%      \ifx\ov@sw\empty \let\ov@sw\@ne \fi
%      \raise\thevolta@boxheight
%%      \hbox{\vrule\@height\z@\@depth\lthick\@width\y@v\clos@volta}\kern\c=
ut@v}%
%      \hbox{\vrule\@height\z@\@depth\lthick\@width\y@v
%      \clos@volta}\kern\cut@v}%
%    \let\clos@volta\empty \global\cut@v\z@ \let\v@sw\empty \let\pv@sw\empt=
y
%  \fi}

% old spacings

\def\oldnormal{\elemskip=3D4\Internote \scale{1.00}%
 \def\tnotes{\vnotes0.7\elemskip}% tiny notes, grace notes
  \def\notes{\vnotes1.0\elemskip}% double croches
 \def\notesp{\vnotes1.2\elemskip}%
  \def\Notes{\vnotes1.4\elemskip}% croches
 \def\Notesp{\vnotes1.7\elemskip}%
  \def\NOtes{\vnotes2.0\elemskip}% croches pointees
 \def\NOtesp{\vnotes2.4\elemskip}%
  \def\NOTes{\vnotes2.8\elemskip}% noires
 \def\NOTesp{\vnotes3.4\elemskip}%
  \def\NOTEs{\vnotes4.0\elemskip}%
 \def\NOTEsp{\vnotes4.8\elemskip}%
  \def\NOTES{\vnotes5.6\elemskip}%
 \def\NOTESp{\vnotes6.8\elemskip}}

\def\normal{\elemskip\tw@\fontdimen\si@\musicnorfont \scale{1.00}%
 \def\tnotes{\vnotes0.7\elemskip}% tiny notes, grace notes
  \def\notes{\vnotes1.0\elemskip}% double croches
 \def\notesp{\vnotes1.19\elemskip}%
  \def\Notes{\vnotes1.415\elemskip}% croches
 \def\Notesp{\vnotes1.68\elemskip}%
  \def\NOtes{\vnotes2.0\elemskip}% croches pointees
 \def\NOtesp{\vnotes2.38\elemskip}%
  \def\NOTes{\vnotes2.83\elemskip}% noires
 \def\NOTesp{\vnotes3.36\elemskip}%
  \def\NOTEs{\vnotes4.0\elemskip}%
 \def\NOTEsp{\vnotes4.76\elemskip}%
  \def\NOTES{\vnotes5.66\elemskip}%
 \def\NOTESp{\vnotes6.72\elemskip}}

\def\gomberg{
\def\tnotes{\vnotes1\h@lf\elemskip}% tiny notes, grace notes
 \arithmeticskipscale
\def\NOTEsp{\vnotes6\h@lf\elemskip}% 1th point
 \def\NOTES{\vnotes7\elemskip}%
\def\NOTESp{\vnotes7\h@lf\elemskip}}


%-----Nachbesserungen

%\parskip 0pt plus5\Interligne minus\Interligne
\musicparskip

\def\resetbreakslur#1{\n@i#1\advance\n@i\@ne \global\csname s@z\roman@n@i\m=
axdimen}

\catcode`\@=3D\catcodeat

\ifx\undefined\large
\iflongDCfontnames
 \font\large=3D\fontid r1700 scaled \magstep1
 \font\Large=3D\fontid r1700 scaled \magstep2
 \font\LArge=3D\fontid r1700 scaled \magstep3
 \font\LARge=3D\fontid r1700 scaled \magstep4
 \font\LARGe=3D\fontid r1700 scaled \magstep5
\else\iflongECfontnames
 \font\large=3D\fontid rm1700 scaled \magstep1
 \font\Large=3D\fontid rm1700 scaled \magstep2
 \font\LArge=3D\fontid rm1700 scaled \magstep3
 \font\LARge=3D\fontid rm1700 scaled \magstep4
 \font\LARGe=3D\fontid rm1700 scaled \magstep5
\else
 \font\large=3D\fontid r17 scaled \magstep1
 \font\Large=3D\fontid r17 scaled \magstep2
 \font\LArge=3D\fontid r17 scaled \magstep3
 \font\LARge=3D\fontid r17 scaled \magstep4
 \font\LARGe=3D\fontid r17 scaled \magstep5
\fi =20
\fi
\fi

--Pace_of_Asses_776_000
Content-Type: TEXT/plain; name="irpmx.tex"; charset=us-ascii; x-unix-mode=0644
Content-Description: irpmx.tex
Content-MD5: JdFDESoKa2Y5KOTIU1pf6g==

\input mypmx 
%
\hoffset=-15.4mm\voffset=-15.4mm
%
\def\irfootline{%
\let\snailaddr\mailaddr
\def\mailaddr{Heinz Irsen}%
\let\crtextensav\crtexten
\let\crtexten\crtextde
\let\crtextde\crtextensav}%
\let\myfootlinesav\myfootline
\let\draftfootlinesav\draftfootline
\def\myfootline#1{\myfootlinesav{#1}\irfootline}
\def\draftfootline#1{\draftfootlinesav{#1}\irfootline}
\let\writebarno\mywritebarno
\def\mycomposer#1{\mbf Heinz Irsen, #1}
%
\ifx\undefined\sevenit
\iflongDCfontnames     \font\sevenit=\fontid ti0700
\else\iflongECfontnames\font\sevenit=\fontid ti0700
\else                  \font\sevenit=\fontid ti7\fi\fi\fi
\def\xnum#1#2#3{\off{#1\elemskip}%
\ifx\musixfont\musicsixteen\zcharnote{#2}{\sevenit #3}%
\else\zcharnote{#2}{\eightit #3}\fi\off{-#1\elemskip}}
%
\def\z{}
\def\pitch#1{\zcharnote{#1}{~}}
\def\tnz{\tinynotesize}
\def\nnz{\normalnotesize}
%
\def\mit{\medtype\it}
\def\mbf{\medtype\bf}
\def\mrm{\medtype\rm}
\def\mit{\ifnum\musicsize=16\normtype\it\else\medtype\it\fi}
\def\mbf{\ifnum\musicsize=16\normtype\bf\else\medtype\bf\fi}
\def\mrm{\ifnum\musicsize=16\normtype\rm\else\medtype\rm\fi}
\def\Sit{\Smalltype\it}
\let\nnz\normalnotesize
\let\snz\smallnotesize
%
\makeatletter
\def\Forte#1{\text{#1}{\forte}}
\def\piuF#1{\text{#1}{\mit pi\`u$\,$\forte}}
\def\Fff#1{\text{#1}{\kernm.5\qn@width\fff\kern.5\qn@width}}
\def\Ff#1{\text{#1}{\kernm.5\qn@width\ff\kern.5\qn@width}}
\def\Fp#1{\text{#1}{\kernm.5\qn@width\fp\kern.5\qn@width}}
\def\Pf#1{\text{#1}{\kernm.5\qn@width\piano\forte\kern.5\qn@width}}
\def\Pffp#1{\text{#1}{\kernm.5\qn@width\ifnum\nbinstruments>1\piano\forte\else\fp\fi\kern.5\qn@width}}
\def\Sf#1{\text{#1}{\kernm.5\qn@width\sF\kern.5\qn@width}}
\def\Sfz#1{\text{#1}{\kernm.5\qn@width\it s\ppff\p@kern f\f@kern z\kern.5\qn@width}}
\def\Piano#1{\text{#1}{\piano}}
\def\PIano#1{\Text{#1}{\piano}}
\def\Pp#1{\text{#1}{\kernm.5\qn@width\pp\kern.5\qn@width}}
\def\PP#1{\Text{#1}{\kernm.5\qn@width\pp\kern.5\qn@width}}
\def\Mp#1{\text{#1}{\kernm.5\qn@width\mp\kern.5\qn@width}}
\def\MP#1{\Text{#1}{\kernm.5\qn@width\mp\kern.5\qn@width}}
\def\Mf#1{\text{#1}{\kernm.5\qn@width\mf\kern.5\qn@width}}
\def\MF#1{\Text{#1}{\kernm.5\qn@width\mf\kern.5\qn@width}}
\makeatother
\def\rH{\Sit\kern1.3pt r}
\def\lH{\Sit\kern1.3pt l}
\def\ped#1{\def\raiseped{-#1}\sPED}
\def\dep#1{\def\raiseped{-#1}\sDEP}
%
\def\tobar#1{\off{-\afterruleskip}#1\off{\afterruleskip}}
\makeatletter
\def\tobarmeter#1{\off{-\meterskip}\tobar{#1}\off{\meterskip}}
\def\tobarmeter#1{\off{-10pt}\tobar{#1}\off{10pt}}
\makeatother
%
\def\a#1{\text{#1}{\mit a}}
\def\Allegretto#1{\Text{#1}{\mbf Allegretto}}
\def\Apocorall#1{\Text{#1}{\mit a poco rall.}}
\def\arco#1{\text{#1}{\mrm arco}}
\def\Arco#1{\Text{#1}{\mrm arco}}\def\rArco#1{\roff{\Arco{#1}}}\def\rrrArco#1{\roffset3{\Arco{#1}}}
\def\atempo#1{\text{#1}{\mit a tempo}}
\def\Atempo#1{\Text{#1}{\mit a tempo}}\def\rAtempo#1{\roff{\Atempo{#1}}}\def\rrAtempo#1{\roffset2{\Atempo{#1}}}\def\rrrAtempo#1{\roffset3{\Atempo{#1}}}
\def\Ausdrucksvollhervorheben#1{\Text{#1}{\mit ausdrucksvoll hervorheben}}\def\rAusdrucksvollhervorheben#1{\roff{\Ausdrucksvollhervorheben{#1}}}
\def\ausdrucksvollhervorheben#1{\text{#1}{\mit ausdrucksvoll hervorheben}}
\def\barsegno{\sk\off{\beforeruleskip}\loffset{.4}{{\smallnotesize\segno9}}\off{-\beforeruleskip}\bsk}
\def\barcoda{\sk\off{\beforeruleskip}\off{\afterruleskip}\roffset{.1}{\coda9}\off{-\afterruleskip}\off{-\beforeruleskip}\bsk}
\def\Beleben#1{\Text#1{\mit beleben \dots}}
\def\Bewegter#1{\Text{#1}{\mbf Bewegter}}
\def\Bewegterstraff#1{\off{-\afterruleskip}\Text{#1}{\mbf Bewegter (straff)}\off{\afterruleskip}}
\def\Breiter#1{\Text#1{\mit Breiter}}
\def\Breiterwerden#1{\Text#1{\mit Breiter werden}}
\def\Breiterwerdend#1{\Text#1{\mit Breiter werden \dots}}
\def\Codaruhiger#1{\Text{#1}{\bigtype Coda -- \mbf ruhiger}}
\def\crestring#1{\text{#1}{\mit cresc. e string.}}
\def\cresceaccell#1{\text{#1}{\mit cresc. ~ e ~ accell.}}
\def\Dblslsh#1{\loffset{#1}{\Text{-1}{\doubleslash}}}
\def\DCalc#1{\Text{#1}{\mrm D.C. al \kern 14pt\coda{-1}\kern-14pt}}
\def\dim#1{\text{#1}{\mit dim.}}
\def\dimerit#1{\text{#1}{\mit dim. e rit.}}
\def\eaccell#1{\text{#1}{\mit e ~ accell.}}
\def\Einleitendots#1{\Text{#1}{\mit einleiten \dots~\dots}}
\def\Einwenigruhiger#1{\Text#1{\mbf Ein wenig ruhiger}}
\def\Etwasbewegter#1{\Text{#1}{\mbf Etwas bewegter}}\def\rEtwasbewegter#1{\roff{\Etwasbewegter{#1}}}\def\rrEtwasbewegter#1{\roffset2{\Etwasbewegter{#1}}}
\def\Etwasdrangen#1{\off{-\afterruleskip}\Text#1{\mit Etwas dr\"angen}\off{\afterruleskip}}
\def\Etwaslangsamer#1{\Text#1{\mbf Etwas langsamer}}\def\rEtwaslangsamer#1{\roff{\Etwaslangsamer{#1}}}\def\rrEtwaslangsamer#1{\roffset2{\Etwaslangsamer{#1}}}
\def\Etwaslangsamerimmerbreiterwerden#1{\Text#1{\mit Etwas langsamer, immer breiter werden \dots}}
\def\Etwasruhigergesanglich#1{\off{-\afterruleskip}\Text#1{\mbf Etwas ruhiger (gesanglich)}\off{\afterruleskip}}
\def\Etwasschneller#1{\Text#1{\mbf Etwas schneller}}\def\rEtwasschneller#1{\roff{\Etwasschneller{#1}}}\def\rrEtwasschneller#1{\roffset2{\Etwasschneller{#1}}}\def\rrrEtwasschneller#1{\roffset3{\Etwasschneller{#1}}}
\def\Etwasschnellerbnunlw#1{\off{-\afterruleskip}\Text#1{\mit Etwas schneller beginnen, nach und nach langsamer werden.}\off{\afterruleskip}}
\def\etwasschnellerbnunlw#1{\text#1{\mit Etwas schneller beginnen, nach und nach langsamer werden.}}
\def\etwasschnellerbnunlwv#1{\text#1{\mit\vbox{\hbox{Etwas schneller beginnen, nach}\hbox{und nach langsamer werden.}}}}
\def\Etwaswenigerlebhaft#1{\Text#1{\mbf Etwas weniger lebhaft}}
\def\Fermata{\sk\loffset{.5}{\fermataup7}\bsk}
\def\fermata{\sk\loffset{.5}{\fermatadown0}\bsk}
\def\Fine#1{\sk\Text{#1}{\llap{\mit Fine.}}\bsk}
\def\GP#1{\off{.4\noteskip}\Text{#1}{\mbf\lrlap{GP}}\off{-.4\noteskip}}
\def\ImIZeitmass#1{\Text{#1}{\mbf Im I. Zeitma{\ss}}}\def\rImIZeitmass#1{\roff{\ImIZeitmass{#1}}}\def\rrImIZeitmass#1{\roffset2{\ImIZeitmass{#1}}}\def\rrrImIZeitmass#1{\roffset3{\ImIZeitmass{#1}}}
\def\Immerbreiterwerden#1{\Text#1{\mit immer breiter werden \dots}}
\def\Lebhaft#1{\Text{#1}{\mbf Lebhaft}}
\def\Lebhaftstraff#1{\Text{#1}{\mbf Lebhaft, straff}}
\def\Langsam#1{\Text{#1}{\mbf Langsam}}\def\rLangsam#1{\roff{\Langsam{#1}}}\def\rrLangsam#1{\roffset2{\Langsam{#1}}}
\def\Langsamer#1{\Text{#1}{\mbf Langsamer}}
\def\Langsamerausdrucksvoll#1{\Text{#1}{\mbf Langsamer, ausdrucksvoll}}\def\rLangsamerausdrucksvoll#1{\roff{\Langsamerausdrucksvoll{#1}}}
\def\Langsamundausdrucksvoll#1{\Text{#1}{\mbf Langsam und ausdrucksvoll}}
\def\Langsamundausdrucksvolls#1{\Text{#1}{\mbf\vbox{\hbox{Langsam}\hbox{~und ausdrucksvoll}}}}
\def\lrarco#1{\text{#1}{\lrlap{\mrm arco}}}
\def\lrarcokl#1{\text{#1}{\lrlap{\mrm (arco)}}}
\def\lrArco#1{\Text{#1}{\lrlap{\mrm arco}}}
\def\lrArcokl#1{\Text{#1}{\lrlap{\mrm (arco)}}}
\def\lrpizz#1{\text{#1}{\lrlap{\mrm pizz.}}}
\def\lrpizzkl#1{\text{#1}{\lrlap{\mrm (pizz.)}}}
\def\lrPizz#1{\Text{#1}{\lrlap{\mrm pizz.}}}
\def\lrRit#1{\Text{#1}{\lrlap{\mit rit.}}}
\def\lmeno#1{\text{#1}{\llap{\mit meno~}}}
\def\molto#1{\text{#1}{\mit molto}}
\def\nonrit#1{\text{#1}{\mit (non rit.)}}
\def\Nachundnlw#1{\Text#1{\mit nach und nach langsamer werden.}}
\def\Nachundnbdnsswv#1{\Text#1{\mit nach und nach beleben \dots{} doch nicht so schnell wie vorher.}}\def\rNachundnbdnsswv#1{\roff{\Nachundnbdnsswv{#1}}}\def\rrNachundnbdnsswv#1{\roffset2{\Nachundnbdnsswv{#1}}}
\def\Nachundn#1{\Text#1{\mit nach und nach}}\def\rNachundn#1{\roff{\Nachundn{#1}}}
\def\Nlvsk#1{\gdef\atnextline{\parindent0pt\vskip #1\Interligne}}
\def\Bdnsswv#1{\Text#1{\mit beleben \dots doch nicht so schnell wie vorher.}}
\def\pizz#1{\text{#1}{\mrm pizz.}}
\def\pizzkl#1{\text{#1}{\mrm (pizz.)}}
\def\Pizz#1{\Text{#1}{\mrm pizz.}}
\def\poco#1{\text{#1}{\mit poco}}
\def\Poco#1{\Text{#1}{\mit poco}}
\def\Pocoapocorall#1{\Text{#1}{\mit poco a poco rall.}}
\def\pocoapococresceaccel#1{\text{#1}{\mit poco a poco cresc. e accel.}}
\def\pocoa#1{\text{#1}{\mit poco a}}
\def\pococresceaccel#1{\text{#1}{\mit poco cresc. e accel.}}
\def\pocodimerit#1{\text{#1}{\mit poco dim. e rit.}}
\def\Pocorit#1{\Text{#1}{\mit poco rit.}}
\def\Pocorits#1{\Text{#1}{\mit\vbox{\hbox{poco}\hbox{rit.}}}}
\def\Rit#1{\Text{#1}{\mit rit.}}
\def\rit#1{\text{#1}{\mit rit.}}
\def\Ruhigsingend#1{\Text{#1}{\mbf Ruhig, singend}}\def\rRuhigsingend#1{\roff{\Ruhigsingend{#1}}}\def\rrRuhigsingend#1{\roffset2{\Ruhigsingend{#1}}}\def\rrrRuhigsingend#1{\roffset3{\Ruhigsingend{#1}}}
\def\scherzoDC#1{\text{#1}{\mrm\vbox{\hbox{Scherzo}\hbox{D.C. al~ {\smallnotesize\segno{-1}}}\hbox{dann Coda}}}}
\def\ScherzoSehrlebhaft#1{\Text{#1}{\bigtype Scherzo -- \mbf Sehr lebhaft}}
\def\Scherzoziemlichschnell#1{\Text{#1}{\bigtype Scherzo \mbf -- ziemlich schnell}}
\def\Sehrlebhaft#1{\Text{#1}{\mbf Sehr lebhaft}}
\def\Sehrlebhaft#1{\Text{#1}{\mbf Sehr lebhaft}}
\def\Sehrschnell#1{\Text{#1}{\mbf Sehr schnell}}\def\rSehrschnell#1{\roff{\Sehrschnell{#1}}}
\def\sul#1#2#3{\gdef\octnumber{\raise 0\Interligne\hbox{\Smalltype sul #3}}{\Ioctfinup{#1}{#2}}}
\def\lus#1{\hroff{\Toctfin{#1}}}
\def\Sul#1#2{\Text{#1}{\mrm sul #2 \mxsps\char 23~\char 23~\char 23~}}
\def\SuL#1{\roffset{1.5}{\Text{#1}{\llap{\mxsps\char 23~\char 23~\char 23~\char 24}}}}
\def\TempoI#1{\Text{#1}{\mbf Tempo I}}\def\rTempoI#1{\roff{\TempoI{#1}}}\def\rrTempoI#1{\roffset2{\TempoI{#1}}}\def\rrrTempoI#1{\roffset3{\TempoI{#1}}}
\def\TempoIScherzo#1{\Text{#1}{\mbf Tempo I (Scherzo)}}
\def\Triovielruhiger#1{\Text{#1}{\bigtype Trio -- \mbf (Viel ruhiger)}}
\def\Uebno#1#2{\off{-\afterruleskip}\Text#1{\lrlap{\boxit{\mbf #2}}}\off{\afterruleskip}}\def\rUebno#1#2{\roff{\Uebno{#1}{#2}}}\def\rrUebno#1#2{\roffset2{\Uebno{#1}{#2}}}\def\rrrUebno#1#2{\roffset3{\Uebno{#1}{#2}}}
\def\Viellangsamer#1{\Text{#1}{\mbf Viel langsamer}}\def\rViellangsamer#1{\roff{\Viellangsamer{#1}}}\def\rrViellangsamer#1{\roffset2{\Viellangsamer{#1}}}\def\rrrViellangsamer#1{\roffset3{\Viellangsamer{#1}}}
\def\Vielruhiger#1{\Text{#1}{\mbf Viel ruhiger}}\def\rVielruhiger#1{\roff{\Vielruhiger{#1}}}\def\rrVielruhiger#1{\roffset2{\Vielruhiger{#1}}}\def\rrrVielruhiger#1{\roffset3{\Vielruhiger{#1}}}
\def\Vorangehen#1{\Text{#1}{\mit Vorangehen!}}
\def\Wiederruhig#1{\Text#1{\mbf Wieder ruhig}}
\def\Wiederruhigerwerden#1{\Text#1{\mit Wieder ruhiger werden}}
%
\def\Strich#1#2{\off{#1\elemskip}\zcharnote{#2}{\bf ,}\off{-#1\elemskip}}
\def\strich#1#2{\off{-#1\elemskip}\zcharnote{#2}{\bf ,}\off{#1\elemskip}}
%
\def\ek#1{\off{#1\elemskip}}
\def\eks#1{\ifnum\nbinstruments>1\off{#1\elemskip}\fi}
\def\ekp#1{\ifnum\nbinstruments=1\off{#1\elemskip}\fi}
\def\eksp#1#2{\ifnum\nbinstruments>1\off{#1\elemskip}\else\off{#2\elemskip}\fi}
\def\bek#1{\ek{-#1}}
\def\beks#1{\eks{-#1}}
\def\bekp#1{\ekp{-#1}}
\def\beksp#1#2{\eksp{-#1}{-#2}}
%
\def\cre#1{\text{#1}{\mit cresc.}}
\def\cresc#1#2{\text{#1}{\crescendo{#2\elemskip}}}
\def\crescs#1#2{\ifnum\nbinstruments>1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\crescp#1#2{\ifnum\nbinstruments=1\text{#1}{\crescendo{#2\elemskip}}\fi}
\def\crescsp#1#2#3{\ifnum\nbinstruments>1\text{#1}{\crescendo{#2\elemskip}}\else\text{#1}{\crescendo{#3\elemskip}}\fi}
\def\Cresc#1#2{\Text{#1}{\crescendo{#2\elemskip}}}
\def\decre#1#2{\text{#1}{\decrescendo{#2\elemskip}}}
\def\decres#1#2{\ifnum\nbinstruments>1\text{#1}{\decrescendo{#2\elemskip}}\fi}
\def\decrep#1#2{\ifnum\nbinstruments=1\text{#1}{\decrescendo{#2\elemskip}}\fi}
\def\decresp#1#2#3{\ifnum\nbinstruments>1\text{#1}{\decrescendo{#2\elemskip}}\else\text{#1}{\decrescendo{#3\elemskip}}\fi}
%
\def\Lsh#1{\z{\loff{\sh{#1}}}}
\def\Lfl#1{\z{\loff{\fl{#1}}}}
\def\Lna#1{\z{\loff{\na{#1}}}}
\def\Llsh#1{\z{\loff{\lsh{#1}}}}
\def\Llfl#1{\z{\loff{\lfl{#1}}}}
\def\Llna#1{\z{\loff{\lna{#1}}}}
\def\llfl#1{\z{\loffset{.3}{\fl{#1}}}}
\def\lllfl#1{\z{\loffset{.6}{\fl{#1}}}}
\def\llna#1{\z{\loffset{.3}{\na{#1}}}}
\def\rcna#1#2{\raise #1\internote\hbox{{\roffset{1.3}{\cna{#2}}}}}
%
\def\bhsk{\off{-.5\noteskip}}
%
\def\doubleslash{\char47\kern-.3em\char47}
\def\qlqq{,\kern-.08em,\kern.03em}
%
\let\alalignesav\alaligne
\let\arpeggiosav\arpeggio
\let\bigshsav\bigsh
\let\cclsav\ccl
\let\ccusav\ccu
\let\clsav\cl
\let\cusav\cu
\let\dssav\ds
\let\Endpiecesav\Endpiece
\let\grcusav\grcu
\let\hlsav\hl
\let\ibbusav\ibbu
\let\ibblsav\ibbl
\let\iblsav\ibl
\let\ibusav\ibu
\let\islurdsav\islurd
\let\islurusav\isluru
\let\lpzsav\lpz
\let\normalnotesizesav\normalnotesize
\let\pmxclefsav\pmxclef
\let\qbsav\qb
\let\qlpsav\qlp
\let\qlsav\ql
\let\qupsav\qup
\let\qusav\qu
\let\raisearpsav\raisearp
\let\segnosav\segno
\let\shlftsav\shlft
\let\shsav\sh
\let\tblsav\tbl
\let\tbusav\tbu
\let\tslursav\tslur
\let\unbktsav\unbkt
\let\upzsav\upz
\let\whsav\wh
\let\xbarsav\xbar
%
\makeatletter
\newcount\nick@ii
\newcount\slurno
\def\bbl#1#2{{\advance\transpose3\hloff{\ibbl0{#2}9}\hroff{\tbl0}}#1}
\def\bbu#1#2{{\advance\transpose-4\hloff{\ibbu0{#2}9}\hroff{\tbu0}}#1}
\def\Bbql{\def\ql##1{\let\ql\qlsav\bbl{\ql{##1}}{14}}}
\def\bbql{\def\ql##1{\let\ql\qlsav\bbl{\ql{##1}}{##1}}}
\def\bbqu{\def\qu##1{\let\qu\qusav\bbu{\qu{##1}}{##1}}}
\def\bbbl#1#2{{\advance\transpose3\hloff{\ibbbl0{#2}9}\hroff{\tbl0}}#1}
\def\bbbu#1#2{{\advance\transpose-4\hloff{\ibbbu0{#2}9}\hroff{\tbu0}}#1}
\def\bbbcl{\def\cl##1{\let\cl\clsav\bbbl{\stemlength{6.66}\cl{##1}}{##1}}}
\def\bbbcu{\def\cu##1{\let\cu\cusav\bbbu{\stemlength{6.66}\cu{##1}}{##1}}}
\def\bbbhl{\def\hl##1{\let\hl\hlsav\bbbl{\hl{##1}}{##1}}}
\def\bbbql{\def\ql##1{\let\ql\qlsav\bbbl{\stemlength{5.33}\ql{##1}}{##1}}}
\def\bbbqlp{\def\qlp##1{\let\qlp\qlpsav\bbbl{\stemlength{5.33}\qlp{##1}}{##1}}}
\def\bbbqup{\def\qup##1{\let\qup\qupsav\bbbu{\stemlength{5.33}\qup{##1}}{##1}}}
\def\bbblqb{\def\qb##1##2{\let\qb\qbsav\bbbl{\qb{##1}{##2}}{##2}}}
\def\bbbuqb{\def\qb##1##2{\let\qb\qbsav\bbbu{\qb{##1}{##2}}{##2}}}
\def\beamnofortbl{\def\tbl##1{\let\tbl\tblsav\global\nick@i##1}}
\def\breakLiftslur#1#2{%
 \def\isluru##1##2{\restslur\isluru{##1}{##2}{\breakslur{##1}{#1}}\ifnum#2=0\else\gdef\atnextline{\Liftslur{##1}{#2}}\fi}%
 \def\islurd##1##2{\restslur\islurd{##1}{##2}{\breakslur{##1}{#1}}\ifnum#2=0\else\gdef\atnextline{\Liftslur{##1}{#2}}\fi}}%
\def\bskibuskasibu{\def\ibu##1##2##3{\let\ibu\ibusav\bsk\ibu{##1}{##2}{##3}\sk}}
\def\ccqu#1{{\advance\transpose-3\hloff{\ibbu0{#1}9}\hroff{\tbu0}}\qu#1}
\def\ccquasqu{\def\qu##1{\let\qu\qusav\ccqu{##1}}}
\def\ccql#1{{\advance\transpose+2\hloff{\ibbl0{#1}9}\hroff{\tbl0}}\ql#1}
\def\ccqlasql{\def\ql##1{\let\ql\qlsav\ccql{##1}}}
\def\cccwh#1{{\advance\transpose-4\loff{\ibbbu0{#1}9}\roffset{.25}{\tbu0}}\wh#1}
\def\cccwhaswh{\def\wh##1{\let\wh\whsav\cccwh{##1}}}
\def\clasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\cl{##2}}}
\def\clastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\cl{##2}}}
\def\clastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\cl{##2}}}
\def\cuasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\cu{##2}}}
\def\cuastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\cu{##2}}}
\def\cuastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\cu{##2}}}
\def\dsasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\nick@i=##3\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\ds}}
\def\dsasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\nick@i=##3\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\ds}}
\def\dsastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\ds}}
\def\falsebarno{%
  \def\xbar{\let\xbar\xbarsav\let\alaligne\alalignesav\xbar}%
  \def\alaligne{\let\xbar\xbarsav\let\alaligne\alalignesav\stoppiece\barnofalse\contpiece}}
\def\getslurno{\def\isluru##1##2{\let\islurd\islurdsav\let\isluru\islurusav\global\slurno##1\isluru{##1}{##2}}\def\islurd##1##2{\let\islurd\islurdsav\let\isluru\islurusav\global\slurno##1\islurd{##1}{##2}}}
\def\grcuupz#1{\def\grcu##1{\let\grcu\grcusav{\upz{#1}}\grcu{##1}}}
\def\grcuzqasgrcu#1{\def\grcu##1{\let\grcu\grcusav{\zq{#1}}\grcu{##1}}}
\def\huasqu{\def\qu##1{\hu{##1}\let\qu\qusav}}
\def\ibblqbbfastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav{\ibbl{##1}{##2}{-2}}\qb{##1}{##2}\Ek1\tbl{##1}\qb{##1}{_b}}}
\def\ibbltbblqbasccl#1#2#3{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{#2}{#3}}\roff{\tbbl{#1}}\qb{#1}{##1}}}
\def\ibblqbasccl#1#2#3{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{#2}{#3}}\qb{#1}{##1}}}
\def\ibblqbtblasccl#1{\def\ccl##1{\let\ccl\cclsav{\ibbl{#1}{##1}0}\qb{#1}{##1}\tbl{#1}}}
\def\ibblroffsettblasibbl#1{\def\ibbl##1##2##3{\let\ibbl\ibblsav\ibbl{##1}{##2}{##3}\roffset{#1}{\tbl{##1}}}}
\def\ibbuqbaastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav{\ibbu{##1}{##2}{-2}}\qb{##1}{##2}\EK3\tbu{##1}\qb{##1}a}}
\def\ibbuzero#1{\def\ibbu##1##2##3{\let\ibbu\ibbusav\global\nick@ii#1\ibbu{#1}{##2}0}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\iblEk#1{\def\ibl##1##2##3{\let\ibl\iblsav\Ek{#1}\ibl{##1}{##2}{##3}}}
\def\iblqbascl#1{\def\cl##1{\let\cl\clsav{\ibl{#1}{##1}0}\qb{#1}{##1}}}
\def\iblsktblbskqbascl#1{\def\cl##1{\let\cl\clsav{\ibl{#1}{##1}0}\sk\tbl{#1}\bsk\qb{#1}{##1}}}
\def\Iblqbascl#1#2#3{\def\cl##1{\let\cl\clsav{\ibl{#1}{#2}{#3}}\qb{#1}{##1}}}
\def\iblqbasqb{\def\qb##1##2{\let\qb\qbsav{\ibl##1{##2}{\the\nick@i}}\qb##1{##2}}}
\def\Iblqbasqb#1{\def\qb##1##2{\let\qb\qbsav{\ibl##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibutbu{\def\tbu##1{\let\tbu\tbusav\ibu{##1}6{-9}\tbu{##1}}}
\def\ibuqbascu#1#2{\def\cu##1{{\let\cu\cusav\ibu{#1}{##1}{#2}}{\qb{#1}{##1}}}}
\def\ibuqbasibuqb#1#2{\def\ibu##1##2##3{\let\ibu\ibusav{\ibu#1{#2}5}\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\ibuqbasqb{\def\qb##1##2{\let\qb\qbsav{\ibu##1{##2}{\the\nick@i}}\qb##1{##2}}}
\def\Ibuqbasqb#1{\def\qb##1##2{\let\qb\qbsav{\ibu##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibuqbasqbi#1{\def\qb##1##2{\let\qb\qbsav{\ibu##1{#1}{\the\nick@i}}\qb##1{##2}}}
\def\ibuqbastbuqb#1{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav{\ibu{#1}{##2}0}\qb{#1}{##2}}}
\def\ibuqblofftbuascu#1{\def\cu##1{\let\cu\cusav\ibu{#1}{##1}0\qb{#1}{##1}\loff{\tbu{#1}}}}
\def\ibuqbsklofftbubskascu#1{\def\cu##1{\let\cu\cusav\ibu{#1}{##1}0\qb{#1}{##1}\sk\loff{\tbu{#1}\bsk}}}
\def\ibusklofftbubskqbascu#1{\def\cu##1{\let\cu\cusav{\ibu{#1}{##1}0}\sk\loff{\tbu{#1}}\bsk\qb{#1}{##1}}}
\def\Larpeggio#1{\def\arpeggio##1##2{\let\arpeggio\arpeggiosav\loffset{#1}{\arpeggio{##1}{##2}}}}
\def\loffsetibbltblasttbl#1#2#3{\def\tbl##1{\let\tbl\tblsav\loffset{#1}{{\ibl{##1}{#2}{#3}}}\tbl{##1}}}
\def\loffsetibltblqbascl#1#2{\def\cl##1{\let\cl\clsav\loffset{#1}{{\ibl{#2}{##1}0}}\tbl{#2}\qb{#2}{##1}}}
\def\loffsetibutbuqbascu#1#2{\def\cu##1{\let\cu\cusav\loffset{#1}{{\ibu{#2}{##1}0}}\tbu{#2}\qb{#2}{##1}}}
\def\loffsettwoibblasibbl{\def\ibbl##1##2##3{\let\ibbl\ibblsav\loffset2{\ibbl{##1}{##2}{##3}}}}
\def\loffsettwoibutbuqbascu#1{\def\cu##1{\let\cu\cusav\loffset2{\ibu{#1}{##1}0}\tbu{#1}\qb{#1}{##1}}}
\def\lpmxclef#1{\def\pmxclef##1##2{\global\let\pmxclef\pmxclefsav\loffset{#1}{\pmxclef{##1}{##2}}}}
\def\lpzstaslpz{\def\lpz##1{\lpzst{##1}\let\lpz\lpzsav}}
\def\Lraisearp#1{\def\raisearp##1##2{\let\raisearp\raisearpsav\loffset{#1}{\raisearp{##1}{##2}}}}
\def\noibl{\def\ibl##1##2##3{\pitch{##2}\let\ibl\iblsav}}
\def\noibbl{\def\ibbl##1##2##3{\pitch{##2}\let\ibbl\ibblsav}}
\def\nosh{\def\sh##1{\pitch{##1}\let\bigsh\bigshsav\let\sh\shsav}\def\bigsh##1{\pitch{##1}\let\bigsh\bigshsav\let\sh\shsav}}
\def\notbl{\def\tbl##1{\let\tbl\tblsav}}
\def\pitchasibbl{\def\ibbl##1##2##3{\let\ibbl\ibblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qb{##1}{##2}}}
\def\pitchqbasibblqb#1{\def\ibbl##1##2##3{\let\ibbl\ibblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\pitchqbasiblqb#1{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\pzstaspz{\def\lpz##1{\lpzst{##1}\let\lpz\lpzsav\let\upz\upzsav}\def\upz##1{\upzst{##1}\let\lpz\lpzsav\let\upz\upzsav}}
\def\qbascl#1{\def\cl##1{\let\cl\clsav\qb{#1}{##1}}}
\def\qbasqb#1{\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\qbtbuasqb{\def\qb##1##2{\let\qb\qbsav\qb{##1}{##2}\tbu{##1}}}
\def\qbtblasqbtbl#1{\def\tbl##1{\let\tbl\tblsav\tbl{#1}}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\qlasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\ql{##2}}}
\def\qlasqb{\def\qb##1##2{\let\qb\qbsav\ql{##2}}}
\def\qlppasqlp{\def\qlp##1{\let\qlp\qlpsav\qlpp{##1}}}
\def\qpasds{\def\ds{\qp\let\ds\dssav}}
\def\qpasqb{\def\qb##1##2{\let\qb\qbsav\qp\pitch{##2}}}
\def\quasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qu{##2}}}
\def\quasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\qu{##2}}}
\def\quasql{\def\ql##1{\let\ql\qlsav\qu{##1}}}
\def\quppasqup{\def\qup##1{\let\qup\qupsav\qupp{##1}}}
\def\restslur{\let\islurd\islurdsav\let\isluru\islurusav}
\def\shlftmore#1{\def\shlft##1##2{\let\shlft\shlftsav\off{-#1\elemskip}\shlft{##1}{##2}\off{#1\elemskip}}}
\def\skasiblqb{\def\ibl##1##2##3{\let\ibl\iblsav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\skasibuqb{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\skasqb{\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\skastblqb{\def\tbl##1{\let\tbl\tblsav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\skastbuqb{\def\tbu##1{\let\tbu\tbusav}\def\qb##1##2{\let\qb\qbsav\pitch{##2}\sk}}
\def\sklofftbubskastbu{\def\tbu##1{\let\tbu\tbusav\sk\loff{\tbu{##1}}\bsk}}
\def\smallnormal{\def\normalnotesize{\let\normalnotesize\normalnotesizesav\smallnotesize}}
\def\tbbuastbu{\def\tbu##1{\let\tbu\tbusav\tbbu{\the\nick@ii}}\def\qb##1##2{\let\qb\qbsav\qb{\the\nick@ii}{##2}}}
\def\tbbuqbasccu#1{\let\ccu\ccusav\def\ccu##1{\lower2\interbeam\hbox{\tbbu{#1}}\tbu{#1}\qb{#1}{##1}}}
\def\tblqbascl#1{\def\cl##1{\tbl{#1}\let\cl\clsav\qb{#1}{##1}}}
\def\tblqbascu{\def\cu##1{\let\cusav\cu\tbl{\the\nick@i}\qb{\the\nick@i}{##1}}}
\def\tblqbasqb{\def\qb##1##2{\tbl{##1}\let\qb\qbsav\qb{##1}{##2}}}
\def\tblqbastblqb#1{\def\tbl##1{\let\tbl\tblsav\tbl{#1}}\def\qb##1##2{\let\qb\qbsav\qb{#1}{##2}}}
\def\tbuqbascl{\def\cl##1{\let\cl\clsav\message{\the\nick@ii}\tbu{\the\nick@ii}\qb{\the\nick@ii}{##1}}}
\def\tbuqbascu#1{\def\cu##1{\tbu{#1}\let\cu\cusav\qb{#1}{##1}}}
\def\tbuqbasibuqb#1{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}\def\qb##1##2{\let\qb\qbsav\tbu{#1}\qb{#1}{##2}}}
\def\tslurfastslur{\def\tslur##1##2{\let\tslur\tslursav\tslur{##1}{!f}\pitch{##2}}}
\def\unbktz{\def\unbkt##1##2##3{\let\unbkt\unbktsav\unbkt{##1}{##2}0}}
\def\upzstasupz{\def\upz##1{\let\upz\upzsav\upzst{##1}}}
\def\zastbu{\def\tbu##1{\let\tbu\tbusav}}
\def\zasibu{\def\ibu##1##2##3{\let\ibu\ibusav\pitch{##2}}}
\makeatother


--Pace_of_Asses_776_000--
From mutex-owner@mail.gmd.de  Tue Jun 27 10:59:59 2000
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: 2 rests
Date: Tue, 27 Jun 2000 10:41:00 +0200
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Hello,
thanks for the answers about my runtime error. Reinstalling mtx fixed the
problem.

Now I have another question. I have the following

f8 f r f f // a8+ f r c+ za a

In my opinion the two rests (on over the other) look ugly. Is there any
possibility to have only on rest?

Any help?
Michael

From mutex-owner@mail.gmd.de  Tue Jun 27 12:00:33 2000
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Date: Tue, 27 Jun 2000 11:36:43 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: 2 rests
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael König" <Michael.Koenig@ms-koenig.de>
> Date: Tue, 27 Jun 2000 10:41:00 +0200

> Now I have another question. I have the following
> 
> f8 f r f f // a8+ f r c+ za a
> 
> In my opinion the two rests (one over the other) look ugly. Is there any
> possibility to have only one rest?

PMX offers non-printing (blank) rests and positioning of rests.
Using PMX-syntax following should work with M-Tx too:

     f8 f rb  f f // a8+ f r+0 c+ za a
           ^                ^^
or:  f8 f r+0 f f // a8+ f r+0 c+ za a     :-)

With instrumental music I've often seen two or more rest one over
the other if there are two or more voices in one staff. It may look
ugly but it describes very well what's going on.

Because M-Tx's syntax is highly dependant on PMX's syntax any
M-Tx user should at least know PMX's excellent reference table.
It's either  ref220.ps  or  ref220.tex or

 ftp://ftp.gmd.de/music/musixtex/software/pmx/ref220.ps
 
-- Werner

From mutex-owner@mail.gmd.de  Tue Jun 27 12:51:17 2000
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Date: Tue, 27 Jun 2000 12:33:29 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@ms-koenig.de>
CC: MusixTeX <mutex@gmd.de>
Subject: Re: 2 rests
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Michael König wrote:
> 
> Hello,
> thanks for the answers about my runtime error. Reinstalling mtx fixed the
> problem.
> 
> Now I have another question. I have the following
> 
> f8 f r f f // a8+ f r c+ za a
> 
> In my opinion the two rests (on over the other) look ugly. Is there any
> possibility to have only on rest?
> 
> Any help?

Make one of the rests silent and correct the vertical posistion of the
other. If your score generally has thwo voices on the same staff you
should use an mtx style definition preamble clause to define that. You
should use the pmx voice separation mechanism directly only if two
voices occur locally in a few measures.

Meter: 5/8/0/0
MyStyle: Voices V1,V2; Clefs G
Style: MyStyle

a8 f r8-.2 c+ za a
f8 f rb f f

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Jun 27 20:03:25 2000
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From: Christian Mondrup <scancm@biobase.dk>
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Dear mutex subscribers.

It appears that the dos binary of my patched verion of mtx until now
stored at the GMD archive suffered from run time errors due, as it
seems, to the mingw32 compiler used. I don't get these errors when I
replace the exe file with one compiled with cygwin gcc. I have therefore
replaced the old binary with the cygwin compiled version. This
unfortunately implies that you must also download and install
cygwin1.dll. Both files are in the zip distribution archive.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Wed Jun 28 09:34:39 2000
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: triolet
Date: Wed, 28 Jun 2000 09:12:10 +0200
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Hello,
I need triolets in my piece written in mtx, but in can make it.
I looked at the musixtex-manual and found the correct syntx on page 57, but
I tried for hours to make this in mtx, with no success.
Could anybody give me a short example?

Thanks, Michael


From mutex-owner@mail.gmd.de  Wed Jun 28 11:03:12 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: triolet
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael König" <Michael.Koenig@ms-koenig.de>
> Date: Wed, 28 Jun 2000 09:12:10 +0200

> I need triolets in my piece written in mtx, but in can make it.

PMX-syntax for a quarter note divided into three is:

 c4x3 c c
 
More details on n-tuplets can be found in the PMX documentation and
in the PMX quick-reference which I recommended already earlier:

  ftp://ftp.gmd.de/music/musixtex/software/pmx/pmx220.ps
  ftp://ftp.gmd.de/music/musixtex/software/pmx/ref220.ps

Both files should be locally avaiable after installing PMX.

-- Werner

From mutex-owner@mail.gmd.de  Thu Jun 29 00:12:11 2000
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Date: Wed, 28 Jun 2000 23:12:00 +0100
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Hi,

I've incorporated ideas from Don and Werner into my hairpin \\defs and have 
shortened & redefined them as:-

\\def\<{icresc}\
\\def\+>{\zcharnote{-5}{\tcresc}}\ 
\\def\->{\zcharnote{-5}{\tdecresc}}\ 

Now by writing:-

some notes \<\ more notes \+>\ yet more notes

or

some notes \<\ more notes \->\ yet more notes

I can get hairpins pretty much as I want them. It is necessary to do this for
every 
instrument in the score but OK I can live with that.  

I have to admit, however, I've not explored this with line breaks yet. 

---
Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)
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Date: Wed, 28 Jun 2000 23:35:29 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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CC: mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
References: <20000625115928.A9257@wam56.rhein-neckar.de> <3955F379.A6C22A5B@biobase.dk> <39561264.B86A8297@biobase.dk>
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Christian Mondrup wrote:
> 
> [...]
> Another method is to explicitly draw the continuation line
> 
> %% \def\cnln#1{\vrule height.4pt width #1pt}
> 
> {Verse1}
> Der Mai ist ge-kom-men,
> die B{\"a}u-me schla-gen aus.
> 
> {Verse2}
> Herr Va-ter, Frau Mut-ter,
> da{\ss} Gott \cnln{20} euch be-h{\"u}t!

>From the musixlyr point of view, it would be more straightforward to
make clear that the 2nd verse has a melisma here. This does not only
draw a proper continuation line but also left-justifies the affected
syllable:

{Verse2}
Herr Va-ter, Frau Mut-ter,
da{\ss} Gott euch be-h{\"u}t!

%% \\def\BM{\verses{,\beginmel}}\
%% \\def\EM{\verses{,\endmel}}\
(l f8 g ) | a4 a4d b8 | [l ( d c ) ] c4l a | \BM\ c8 \EM\ b b4l c4l | a2
L: {Verse1,Verse2}
r4b | rpb | rpb | (l c8+ b ) r2b | rb

Regards,

Rainer

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CC: Andreas Kurth <akurth@wam56.rhein-neckar.de>, mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
References: <20000625115928.A9257@wam56.rhein-neckar.de> <3955F379.A6C22A5B@biobase.dk> <39561264.B86A8297@biobase.dk> <395A6FA1.8AF9D007@ebe-online.de>
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Rainer Dunker wrote:
> 
> Christian Mondrup wrote:
> >
> > [...]
> > Another method is to explicitly draw the continuation line
> >
> > %% \def\cnln#1{\vrule height.4pt width #1pt}
> >
> > {Verse1}
> > Der Mai ist ge-kom-men,
> > die B{\"a}u-me schla-gen aus.
> >
> > {Verse2}
> > Herr Va-ter, Frau Mut-ter,
> > da{\ss} Gott \cnln{20} euch be-h{\"u}t!
> 
> >>From the musixlyr point of view, it would be more straightforward to
> make clear that the 2nd verse has a melisma here. This does not only
> draw a proper continuation line but also left-justifies the affected
> syllable:
> 
> {Verse2}
> Herr Va-ter, Frau Mut-ter,
> da{\ss} Gott euch be-h{\"u}t!
> 
> %% \\def\BM{\verses{,\beginmel}}\
> %% \\def\EM{\verses{,\endmel}}\

Thank you for the tip. Works perfectly with this little correction:

%% \\def\BM{\verses{,,\beginmel}}\
%% \\def\EM{\verses{,,\endmel}}\

> (l f8 g ) | a4 a4d b8 | [l ( d c ) ] c4l a | \BM\ c8 \EM\ b b4l c4l | a2
> L: {Verse1,Verse2}
> r4b | rpb | rpb | (l c8+ b ) r2b | rb
> 
> Regards,
> 
> Rainer

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Thu, 29 Jun 2000 11:37:55 +0200
From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex@gmd.de
Subject: Re: M-Tx: different number of syllables in verses
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Christian Mondrup wrote:

> > %% \\def\BM{\verses{,\beginmel}}\
> > %% \\def\EM{\verses{,\endmel}}\
> 
> Thank you for the tip. Works perfectly with this little correction:
> 
> %% \\def\BM{\verses{,,\beginmel}}\
> %% \\def\EM{\verses{,,\endmel}}\


Oops? This won't draw the continuation line after "Gott".


BTW, CC:-ing get's a little excessive IMHO. Could we keep it to the
mutex list?


-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Thu Jun 29 19:24:11 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX - hairpins - \zcharnote
To: Mutex@gmd.de
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> Date: Wed, 28 Jun 2000 23:12:00 +0100
> From: HowardGilbert <howard.gilbert1@btinternet.com>

> I have to admit, however, I've not explored this with line breaks yet. 

Up to now, MusiXTeX does not support line breaking of hairpins.
And hairpins are only available up to a length of about 7 cm.

-- Werner

PS: It's a pity that \varline is not flexible enough for hairpins.

1 1 4 4 4 4 0 0
1 2 20 0

t
./

\\let\ns\noteskip\
\\let\af\afterruleskip\
\\let\vl\varline\

\vl{-3}{1.5\ns}1\off{-1.5\ns}\vl{-3}{1.5\ns}{-1}\off{-1.5\ns}\ f44 f f
\vl{-3}{1.0\ns}1\off{-1.0\ns}\vl{-3}{1.0\ns}{-1}\off{-1.0\ns}\  f /
\off{-\af}\vl{-3}{2.0\ns}1\off{-2.0\ns}\vl{-4}{2.0\ns}{-1}\off{-2.0\ns}\
\off{\af}\ f44 f f f /

But a TeX-based plot package could do the job :-)

How did Lilypond solve that problem? Using Postscript?

From mutex-owner@mail.gmd.de  Thu Jun 29 19:35:22 2000
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From: "luc.saffre" <luc.saffre@pacsystems.be>
To: "Werner Icking" <Werner.Icking@gmd.de>, <scancm@biobase.dk>
Cc: <mutex@gmd.de>
References: <200006151604.SAA09660@sunick.gmd.de>
Subject: Re: alignment of text in psalms
Date: Thu, 29 Jun 2000 18:06:21 +0200
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Thank you for all your ideas. It was not easy for me to make your
suggestions work... (\def\Caesura...) because I never used neither plain TeX
nor MusiXTeX. But now I have what I wanted: a usable sheet.

Werner, of course you can store this source to your site at gmd.
I did not modify the version which I originally posted (except for the
suggestions made in this mailing list). So I think that you don't need my
help to store it?

Luc

----- Original Message -----
From: Werner Icking <Werner.Icking@gmd.de>
To: <luc.saffre@pacsystems.be>; <scancm@biobase.dk>
Cc: <mutex@gmd.de>
Sent: Thursday, June 15, 2000 6:04 PM
Subject: Re: alignment of text in psalms


> > Date: Thu, 15 Jun 2000 16:27:23 +0200
> > From: Christian Mondrup <scancm@biobase.dk>
>
> [...]
> > Here is my suggestion for a typesetting of the hymn:
> >
> > Title: Litanei nach dem Hymnus Akathistos
> > % Composer: m\"undl. \"uberliefert
> > SAB: Voices V1,V2 V3; Choral; Clefs G F
>
> ... and when can I store it into http://www.gmd.de/Misc/Music/scores/ ?
>
> :-)
>
> Please upload.
>
> -- Werner
>

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Andreas Kurth wrote:
> 
> Christian Mondrup wrote:
> 
> > > %% \\def\BM{\verses{,\beginmel}}\
> > > %% \\def\EM{\verses{,\endmel}}\
> >
> > Thank you for the tip. Works perfectly with this little correction:
> >
> > %% \\def\BM{\verses{,,\beginmel}}\
> > %% \\def\EM{\verses{,,\endmel}}\
> 
> Oops? This won't draw the continuation line after "Gott".
> 

mea culpa :-( In my testing of Rainer Dunker's \def I didn't remove my
own in-line MusiXTeX continuation line drawing code from the lyrics
paragraph. Rainer's code is to the point!

> BTW, CC:-ing get's a little excessive IMHO. Could we keep it to the
> mutex list?
> 

I agree. But at least with netscape which I'm using I have to remember
to activate the reply-all function in order to not post to the original
sender *only*. But with reply-all I automatically get the original
sender at the to: label and the mutex maillist address at the cc: label
and therefore must also remember to empty the address at the to: label.
Could something possibly be done from the web master to force the mutex
address into the primary from: clause of the messages?
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Maurizio Codogno <mau@beatles.cselt.it>
Reply-To: Maurizio Codogno <mau@beatles.cselt.it>
Subject: M-Tx and location of number in triplets
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Is there a way to specify that the number "3" in triplets must be
put over or below the triplet? AFAIK, I may only hide it (with n).

ciao, .mau.

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From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex@gmd.de
Subject: Re: M-Tx and location of number in triplets
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Maurizio Codogno wrote:

> Is there a way to specify that the number "3" in triplets must be
> put over or below the triplet? AFAIK, I may only hide it (with n).

nf will flip the number vertically from its default position.
Moreover you may use the options n+x and n-x to horizontally and
vertically adjust the position of xtuplet numbers.

For more info see the PMX manual.


-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Fri Jun 30 18:51:55 2000
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Date: Fri, 30 Jun 2000 18:41:17 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: Mutex@gmd.de
Subject: "noteedit" and lyrics
Message-ID: <Pine.LNX.4.05.10006301839020.1492-100000@wicht.informatik.tu-chemnitz.de>
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Version 1.6.4 of the Qt-based note editor "noteedit" can bow deal with lyrics. 
This feature is still experimental and only one lyrics line per staff is 
supported (more are expected). The lyrics are exported into MusiXTeX and MIDI
(and implicitely into MUP). Unfortunately not PMX.

See: http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

New is also: 
	- setting the staff geometry

Other properties:

   * insertion/deletion/modification of notes, rests, dotted notes/rests, slured notes, clefs with/without shift,
     time signatures, key signatures, volume signatures, tempo signatures, triplets,
     repeat groups with/without special ending and instrument changes on different staffs; 
   * building chords;
   * building groups of beamed notes;
   * determine pitch by means of a MIDI keyboard;
   * record from MIDI keyboard;
   * playing on /dev/sequencer (if correctly configured) whereby:
        o giving each staff a different voice;
        o giving each staff a different channel;
        o highlighting the played notes;
        o muting staffs
        o setting MIDI tempo;
   * export MusiXTeX;
   * export MIDI;
   * export PMX;
   * import MIDI;
   * read from MIDI keyboard

Planned

If there is enougth interest I plan to transform the program into a KDE
application.

Furthermore:

   * More edit features: transpose 
   * More music elements: crescendo, ...


-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Sat Jul  1 01:48:39 2000
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Date: Fri, 30 Jun 2000 10:12:58 +0100
From: HowardGilbert <howard.gilbert1@btinternet.com>
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To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de
Subject: Re: PMX - hairpins - \zcharnote
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Werner Icking wrote:
> 
> > Date: Wed, 28 Jun 2000 23:12:00 +0100

> Up to now, MusiXTeX does not support line breaking of hairpins.
> And hairpins are only available up to a length of about 7 cm.
> 
> -- Werner
> 
> PS: It's a pity that \varline is not flexible enough for hairpins.
> 
> 1 1 4 4 4 4 0 0
> 1 2 20 0
> 
> t
> ./
> 
> \\let\ns\noteskip\
> \\let\af\afterruleskip\
> \\let\vl\varline\
> 
> \vl{-3}{1.5\ns}1\off{-1.5\ns}\vl{-3}{1.5\ns}{-1}\off{-1.5\ns}\ f44 f f
> \vl{-3}{1.0\ns}1\off{-1.0\ns}\vl{-3}{1.0\ns}{-1}\off{-1.0\ns}\  f /
> \off{-\af}\vl{-3}{2.0\ns}1\off{-2.0\ns}\vl{-4}{2.0\ns}{-1}\off{-2.0\ns}\
> \off{\af}\ f44 f f f /
> 
 
Very ingenious, but a bit tedious to do for each instrument in a score!

What we seem to need are two markers in each intrument line and a (pre-PMX
scan?) routine to calculate the distance between them and then apply the first
part off your method.  Or, if a line break occurs,calculate two separate
distances and apply the second part of your method, (I guess this would have to
be done at the tex stage). I think I'd be reasonably happy to just to restart
another hairpin after the line break rather than the extra complication of the
slightly open start hairpin which you use.

Best wishes,
Howard.
(A.H.Gilbert, Thornaby, North Yorkshire)

From mutex-owner@mail.gmd.de  Sat Jul  1 02:33:26 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: PMX - hairpins - \zcharnote
Date: Fri, 30 Jun 2000 17:15:01 -0700
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In a private email, Werner suggested "setting" such a marker within PMX at
the start, "measuring" the distance to the end, and then inserting the
hairpin starting at the end point:
\zcharnote{[level]}{\kern-[distance]\hairpin{[distance]}\kern[distance]} .
I'll be looking at that possibility over the upcoming 4th of July
weekend...Howard, that's when we Yanks celebrate our independence from
you-know-who :-) .

--Don Simons

> -----Original Message-----
> From:	HowardGilbert [SMTP:howard.gilbert1@btinternet.com]
> Sent:	Friday, June 30, 2000 2:13 AM
> To:	Werner Icking; mutex@gmd.de
> Subject:	Re: PMX - hairpins - \zcharnote
> 
> 
> Werner Icking wrote:
> > 
> > > Date: Wed, 28 Jun 2000 23:12:00 +0100
> 
> > Up to now, MusiXTeX does not support line breaking of hairpins.
> > And hairpins are only available up to a length of about 7 cm.
> > 
> > -- Werner
> > 
> > PS: It's a pity that \varline is not flexible enough for hairpins.
> > 
> > 1 1 4 4 4 4 0 0
> > 1 2 20 0
> > 
> > t
> > ./
> > 
> > \\let\ns\noteskip\
> > \\let\af\afterruleskip\
> > \\let\vl\varline\
> > 
> > \vl{-3}{1.5\ns}1\off{-1.5\ns}\vl{-3}{1.5\ns}{-1}\off{-1.5\ns}\ f44 f f
> > \vl{-3}{1.0\ns}1\off{-1.0\ns}\vl{-3}{1.0\ns}{-1}\off{-1.0\ns}\  f /
> > \off{-\af}\vl{-3}{2.0\ns}1\off{-2.0\ns}\vl{-4}{2.0\ns}{-1}\off{-2.0\ns}\
> > \off{\af}\ f44 f f f /
> > 
>  
> Very ingenious, but a bit tedious to do for each instrument in a score!
> 
> What we seem to need are two markers in each intrument line and a (pre-PMX
> scan?) routine to calculate the distance between them and then apply the
> first
> part off your method.  Or, if a line break occurs,calculate two separate
> distances and apply the second part of your method, (I guess this would
> have to
> be done at the tex stage). I think I'd be reasonably happy to just to
> restart
> another hairpin after the line break rather than the extra complication of
> the
> slightly open start hairpin which you use.
> 
> Best wishes,
> Howard.
> (A.H.Gilbert, Thornaby, North Yorkshire)
From mutex-owner@mail.gmd.de  Sun Jul  2 20:20:45 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Your chance to influence dynamics in PMX
Date: Sun, 2 Jul 2000 10:59:21 -0700 
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Since there is so much interest in dynamic markings among the post-baroque
PMX users, I'm working on implementing them.  Here are some issues I'm
facing.  I'll gladly consider any feedback, the sooner the better.

There will be two classes of marks, letter-groups (e.g., pppp, mf) and
hairpins. Each letter-groups is associated with a single note. Each hairpin
is associated with two notes, a starting note and an ending note. PMX will
calculate default positions for all, below the staff, but these can be
overridden.

1. For letter groups, should default horizontal position be
centered (\ccharnote) or left-justified (\zcharnote)?  Should it be tweaked
depending on stem direction, so that for up-stems it is indexed to the
middle of the notehead while for down-stems it is indexed to the stem
itself?

2. All the same questions apply for hairpin starts and hairpin endings.

3. If there is both a letter-group and a hairpin start or stop on the same
note, should the position of one and/or the other be automagically tweaked
to avoid a crash? If so, which, the hairpin, or the letter-group? Should the
tweak be horizontal or vertical?

4. If there is both a letter-group and a hairpin start or stop on the same
note, should the vertical positions be made the same by default?  Without
any special checks, they could come out differently if the hairpin's
vertical position is controlled by the note at the other end of the hairpin.

5. Syntax for hairpins.  I am now using "D<" and "D>".  They act as toggles:
the first one starts it, and the next one in the same line of music ends it.
There is a slight incompatibility with this use of ">" and "<".  They have
already been used to trigger horizontal tweaks of accidentals. (But ">" is
also used as an ornament.) It would be possible to use "c" and "d" instead
of or in addition to "<" and ">" 

6. I'm certain to use the default position as the reference point for
user-defined vertical and horizontal tweaks, since that's the way it is with
ornaments.  But I could allow the user to give an absolute position.  For
example "Dp-2-1" will mean to move the "p" down 2\internote and left one
notehead width from the default position.  But "Dp=-2-1" could mean to
position the letter 2\internote below the bottom staff line and one notehead
width to the left of the left edge of the note.  Then "Dp=" would be
equivalent to "Dp=+0+0".  Would that option be useful enough to put it in?  

7. Some may want symbols vertically centered between staves using \zmidstaff
etc. I could make it an option to switch the vertical default to this.  Is
this worth it?  Possible syntax "Dp*" and "Dp*-2-1".  Should it be possible
to make this the global default, e.g. with "AD*" or maybe just "A*"?

Comments?

--Don Simons
From mutex-owner@mail.gmd.de  Mon Jul  3 00:18:49 2000
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Date: Mon, 03 Jul 2000 00:05:50 +0200
From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex <mutex@gmd.de>
Subject: Re: Your chance to influence dynamics in PMX
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"Simons, Don" wrote:
> 
> 1. For letter groups, should default horizontal position be
> centered (\ccharnote) or left-justified (\zcharnote)? 

my immediate answer is centered position. A check in some printed scores
confirms that.

> Should it be tweaked
> depending on stem direction, so that for up-stems it is indexed to the
> middle of the notehead while for down-stems it is indexed to the stem
> itself?
> 

I vote for the last solution. The above mentioned printed scores seem to
behave like that.

> 2. All the same questions apply for hairpin starts and hairpin endings.
> 

The Henle (*) urtext edition of the piano works by Robert Schumann has
hairpin stats left aligned while the endings mostly are right aligned.
For both apply the reservation: unless a clash with other symols occurs.

> 3. If there is both a letter-group and a hairpin start or stop on the same
> note, should the position of one and/or the other be automagically tweaked
> to avoid a crash? If so, which, the hairpin, or the letter-group? Should the
> tweak be horizontal or vertical?
> 

I looked at some Brahms urtext editions from Henle. They have a
preceding letter-group left aligned with the starting note and a few
milimeter's space between the letter-group and the start of the hairpin.
The opposite case is not very common. But when it occurs an ending
letter-group is right aligned.

> 4. If there is both a letter-group and a hairpin start or stop on the same
> note, should the vertical positions be made the same by default?  Without
> any special checks, they could come out differently if the hairpin's
> vertical position is controlled by the note at the other end of the hairpin.
> 

The Henle editions seem to clearly favour vertically alignment of a
leading letter-group and the following start of the hairpin. But for
"leaping" music like that of Brahms and Schumann many exceptions are
necessary. 

> 5. Syntax for hairpins.  I am now using "D<" and "D>".  They act as toggles:
> the first one starts it, and the next one in the same line of music ends it.
> There is a slight incompatibility with this use of ">" and "<".  They have
> already been used to trigger horizontal tweaks of accidentals. (But ">" is
> also used as an ornament.) It would be possible to use "c" and "d" instead
> of or in addition to "<" and ">"
> 

If the highly intuitive symbols "<" and ">" can't be mixed op with the
other uses of these symbols (and how could they when preceded by the
keyword D?) I don't see any reason to take "c" and "d" into use. 

> 6. I'm certain to use the default position as the reference point for
> user-defined vertical and horizontal tweaks, since that's the way it is with
> ornaments.  But I could allow the user to give an absolute position.  For
> example "Dp-2-1" will mean to move the "p" down 2\internote and left one
> notehead width from the default position.  But "Dp=-2-1" could mean to
> position the letter 2\internote below the bottom staff line and one notehead
> width to the left of the left edge of the note.  Then "Dp=" would be
> equivalent to "Dp=+0+0".  Would that option be useful enough to put it in?
> 

If the *relative* positioning is influenced by transposing the score
then I guess a fixed vertical position might be quite useful in some
cases.

> 7. Some may want symbols vertically centered between staves using \zmidstaff
> etc. I could make it an option to switch the vertical default to this.  Is
> this worth it? 

When I look at the above mentioned piano music scores I find this an
obvious option in such cases.

> Possible syntax "Dp*" and "Dp*-2-1".  Should it be possible
> to make this the global default, e.g. with "AD*" or maybe just "A*"?
> 

Yes, for the same reasons.

> Comments?

In the preceding mutex discussion expression indications like
"ritardando", "più lento" etc. printed within the score have also been
drawn into the picture. In the Brahms and Schumann piano scores they
often occur in combination with hairpins in a way that would justify a
separate option for those. I suggest using the keyword "E", for example
"E'una corda'". They should be treated in the same way as the dynamics
letter-group with respect to positioning but printed with a smaller
non-bold italic or slanted font.

(*) IMHO Henle scores are suitable references for typesetting standard.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Jul  3 04:03:54 2000
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From: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@sce.cnc.una.py>
To: <Mutex@gmd.de>
Subject: Midi2TeX and Opus TeX
Date: Sun, 2 Jul 2000 19:54:50 -0300
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Hello people,
                        Is there a newer version of the Midi2TeX at GMD?
that is for MusicTeX, there's one for MusiXTeX or PMX?
                        What is Opus TeX? it is a music typesetter? Where I
can get it?

Regards,

David

From mutex-owner@mail.gmd.de  Mon Jul  3 08:33:44 2000
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To: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@sce.cnc.una.py>
cc: Mutex@gmd.de
Subject: Re: Midi2TeX and Opus TeX 
In-Reply-To: Your message of "Sun, 02 Jul 2000 19:54:50 -0300."
             <000301bfe487$cc6433a0$a1e40ac8@usuario-part.> 
Date: Mon, 03 Jul 2000 07:27:23 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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>                         Is there a newer version of the Midi2TeX at GMD?
> that is for MusicTeX, there's one for MusiXTeX or PMX?

i've not heard of any development of midi2tex for ages upon ages (iirc
the first version i heard of was in 1994: the one on our archive is
from 1995).

>                         What is Opus TeX? it is a music typesetter? Where I
> can get it?

it's andreas egler's proposed replacement for musixtex.  you can get
it from

  ftp://cam.ctan.org/incoming/opustex/atwork

there's also

  ftp://cam.ctan.org/incoming/opustex/grego

which is a version (i think andreas said) for gregorian chant.

i don't like keeping things on a ctan incoming directory: they don't
get replicated, and i dislike telling people to download from there.
but andreas is insistent...

Robin Fairbairns

For the CTAN team
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Date: Mon, 3 Jul 2000 14:43:04 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Your chance to influence dynamics in PMX
To: mutex@gmd.de, dsimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Sun, 2 Jul 2000 10:59:21 -0700

Hello Don,

> Since there is so much interest in dynamic markings among the post-baroque
> PMX users, I'm working on implementing them.  Here are some issues I'm
> facing.  I'll gladly consider any feedback, the sooner the better.

Does that mean that it will be implemented already in 2xxx? :-)

> 1. For letter groups, should default horizontal position be
> centered (\ccharnote) or left-justified (\zcharnote)?  Should it be tweaked
> depending on stem direction, so that for up-stems it is indexed to the
> middle of the notehead while for down-stems it is indexed to the stem
> itself?

It depends :-( 

f for forte is so much slanted that it looks moved to the right 
compared e.g. against p for piano. Combined texts like ffff or mf or
fp or sfz look so different so that it doesn't matter whether to
use \ccahrnote or \zcharnote. I would prefer \zcharnote and following
proposal: Dxxx produces a MusiXTeX input with \zcharnote with "correct"
pitch and some tweaking which refers to a TeX-Macro \xxx. The user may
then provide something like \def\f{\kern-0.5pt\ppff f\kern 0.5pt} or
\def\p{\ppff p} or to meet some baroque usage e.g. by Bach:

\\def\pia{\ppff pia.}\
...

... a8 Dpia b ... 

If I look at some old editions I have the impression that there was
no fixed rule for positionig the dynamics. Instead it was highly 
dependent on the surrounding.

For a specific edition I asked some players. Some of them voted for
something like \hloff{\zcharnote....} to see the dynamic a little bit
earlier than the note.

> 2. All the same questions apply for hairpin starts and hairpin endings.

\zcharnote + tweaking
 
> 3. If there is both a letter-group and a hairpin start or stop on the same
> note, should the position of one and/or the other be automagically tweaked
> to avoid a crash? If so, which, the hairpin, or the letter-group? Should the
> tweak be horizontal or vertical?

Yes, please. Horizontal.

But there is conflict with my answer to 1., because PMX cannot know the
width of \xxx. The conflict could be partially solved by the assumption
that \xyz has the width of \ppff xyz or maybe simply 3*\qn@width. Fine
tuning is possible by tweaking
 
> 4. If there is both a letter-group and a hairpin start or stop on the same
> note, should the vertical positions be made the same by default?  Without
> any special checks, they could come out differently if the hairpin's
> vertical position is controlled by the note at the other end of the hairpin.

Like with figures there could be a common height for all dynamic indications
of one staff.

The base-line for letters and hairpins should be the same. AFAIK this 
requires that letters are typeset one pitch lower than hairpins.

There should be an option that dynamics for some voices should be typeset
above the staff e.g. for a singer's staff. A tweaking option like n-tuplet's
f could be used to flip the dynamics.


> 5. Syntax for hairpins.  I am now using "D<" and "D>".  They act as toggles:
> the first one starts it, and the next one in the same line of music ends it.
> There is a slight incompatibility with this use of ">" and "<".  They have
> already been used to trigger horizontal tweaks of accidentals. (But ">" is
> also used as an ornament.) It would be possible to use "c" and "d" instead
> of or in addition to "<" and ">" 

Like with beams I would prefer something which switches on and off. This
allows early error reporting.
 
> 6. I'm certain to use the default position as the reference point for
> user-defined vertical and horizontal tweaks, since that's the way it is with
> ornaments.  But I could allow the user to give an absolute position.  For
> example "Dp-2-1" will mean to move the "p" down 2\internote and left one
> notehead width from the default position.  But "Dp=-2-1" could mean to
> position the letter 2\internote below the bottom staff line and one notehead
> width to the left of the left edge of the note.  Then "Dp=" would be
> equivalent to "Dp=+0+0".  Would that option be useful enough to put it in? 

Yes. But think about a common height for all dynamics of one staff.
(And then it's usefull, too[*]).

  
> 7. Some may want symbols vertically centered between staves using \zmidstaff
> etc. I could make it an option to switch the vertical default to this.  Is
> this worth it?  Possible syntax "Dp*" and "Dp*-2-1".  Should it be possible
> to make this the global default, e.g. with "AD*" or maybe just "A*"?

If you do not choose a common height for all dynamics of one staff then
the default should be just below the staff or just above the staff.
For certain instruments it would be nice to change that to something
like \zmidstaff.

> Comments?

Following my syntax proposal there would be

Dxxx    resulting in ...\xxx...
D>, D<  resulting in ...\crescendo...  or ...\decrescendo...

May I add

D"blabla" resulting in ...\medtype\it blabla... for 20pt music and
                       ...\normtype\it blabla... for 16pt music.
                       
That's useful e.g. for   D"cresc." or D"dim." or D"moriendo".

The same could be done with D'...' omitting "\it", e.g. D'pizz.' or
D'arco' or D'rit.'


Because MusiXTeX does not provide hairpins longer than 68mm and because
there is no line breaking for hairpins, PMX could do the job partially.
hairpins longer that 68mm are used as is, i.e. generating max. length
hairpins. Line breaking could be supervised by PMX breaking hairpins
into multiple (two?) hairpins, one that ends with the line and one
which starts with the new line.

Happy programming!

-- Werner

[*] "Dp=..." reminds me that I always wanted to have something like
    that for slurs and beams. If I generate beams or slurs with different
    clefs in score and parts then it may happen that there is e.g.
    an up-slur in the score and a down-slur in the part. If such
    a slur ends at a note with e.g. a sharp then for an up-slur I use
    "(+1 .... )+1" whilst the down-slur needs "(-1 ... )-1". So if
    PMX would be re-invented I would propose that a lot of tweakings
    should depend on the direction of the object. But as PMX is already
    invented I would like to have a syntactical specification for
    relative vertical tweakings. Same applies to x-tuplets and maybe
    other objects.

From mutex-owner@mail.gmd.de  Wed Jul  5 00:56:24 2000
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From: "Jan de Groot" <grootde.j@wolmail.nl>
To: mutex@gmd.de
Date: Wed, 5 Jul 2000 00:39:38 +0200
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One of these days, somebody from France has asked me about my
source(s) for the suite by this composer I posted on the gmd-site.
Unfortunately, for technical reasons his message (and his address) 
got lost.
Could he please contact me again (grootde.j@wolmail.nl)?
From mutex-owner@mail.gmd.de  Wed Jul  5 04:41:21 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'Mutex@gmd.de'" <Mutex@gmd.de>
Subject: Beta-test version PMX 2.24
Date: Tue, 4 Jul 2000 19:24:32 -0700 
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I just sent Werner a beta version of upgrade 2.24.  It has these new
goodies:

1. MIDI-only (non-printing) accidentals

2. Dynamics: letter-groups and limited hairpins.

3. Extended rhythmic shortcut syntax: "." and "," now can be used even if
the first member has a separate-symbol-modifier such as a slur or ornament. 

There will be a link "test" in the PMX section of
http://www.gmd.de/Misc/Music/ .  Don't forget to install the new pmx.tex .

I'd like to hear people's comments about the dynamic mark default
positioning.  Process dyntest.pmx to see most of the possibile situations
and combinations.  There are lots of possible sets of rules and I
picked/invented one with some feedback from the list.  For the future I'm
thinking about an option to set the reference height for all dynamics to a
fixed level relative to the staff.

--Don Simons  

From mutex-owner@mail.gmd.de  Thu Jul  6 05:19:15 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Alternate alignment of dynamics in PMX
Date: Wed, 5 Jul 2000 20:00:35 -0700 
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All--

I would be willing to program up a complete alternate alignment system if I
knew how it should operate in all situations.  The object types are
word-group (wg), hairpin-start (h1), and hairpin-stop (h2).  The only
possible combinations are wg, h1, h2, wg+h1, h2+wg, h2+h1, and h2+wg+h1.
For each object type in every possible sequence I need to know the
justification method (left, centered, or right) and the reference point on
the note (left-edge, center, stem)     

For example, one person suggested left-justifying everything (but left the
reference point unspecified). Another wanted hairpins and text-hairpin-text
combinations to be left-and-right justified.  These are both possible but
incompatible.  

Some of the same comments apply to vertical alignment, but not all.  In
particular some have asked for a common baseline for all marks in a system
(like figures).  If that line is indexed to the lowest note, it will be hard
to program; if its the bottom line of the staff or the centerline between
two staves it's not so hard.

If people have a particular preference it would be very useful if they would
send an edited copy of dyntest.pmx, containing user-defined tweaks that make
the output look the way they want.  I think the file has just about all
possible combinations.  Verbal descriptions would also be helpful.

--Don Simons
From mutex-owner@mail.gmd.de  Thu Jul  6 17:19:10 2000
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Date: Thu, 6 Jul 2000 16:51:06 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
cc: "Dr. Joerg Anders" <J.Anders@Informatik.TU-Chemnitz.DE>
Subject: "noteedit": 5 lyrics lines
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Version 1.7.1 of "noteedit" can now deal with up to 5 lyrics lines.

(see: http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html)

Perhaps a MusiXTeX guru could have a look at the exported TeX source in
case of more than 1 lyrics line. I'm not quite sure whether I find a good
solution. My target was to avoid another TeX package. So I 
introduce some complicated TeX macros to solve the multi lyrics
line problem.

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Thu Jul  6 23:18:42 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Vacation from July 14th to August 13th
To: mutex@gmd.de
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Dear subscribers of the MuTeX mailing list,
 
from from July 14th to August 13th this list will run unattended. From 
my experience up to now this should be possible without any problems.
 
Nevertheless some actions require my approval e.g. removal requests from
an address different from the subscription address, or subscription
requests sent to mutex@gmd.de instead of mutex-request@gmd.de, or mails
to the list from non-members of the list or mails which look like 
administrative request (don't start Subject: with majordomo commands 
like "help", "who", "[un]subscribe", ...)

These approvals will be delayed.
 
If there seem to be major problems with the list, please inform
listmaster@gmd.de or postmaster@gmd.de

Regards, Werner Icking <mutex-owner@gmd.de>
 
PS: In the same way the music archive http://www.gmd.de/Misc/Music/
    runs unattended. That means that new versions of e.g. MusiXTeX
    or PMX will not automatically be distributed as far as they are 
    mirrored from ftp.gmd.de. Files uploaded to /incoming/music/ may
    get lost.

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To: mutex@gmd.de
Subject: Guitar clef in PMX?
Date: Fri, 14 Jul 2000 15:16:11 +0200
Reply-To: evita.j@magnet.at
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Hello all,

having just begun experimenting with PMX (version 2.2), I was
wondering how to specify a guitar clef (i.e. one with a subscript 8).
Is it possible to do so in the PMX source, or does one need to add the
MusiXTeX command \settrebleclefsymbol{1}{\treblelowoct} to the
PMX-generated tex file?

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Fri Jul 14 17:39:19 2000
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Date: Fri, 14 Jul 2000 10:27:47 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: evita.j@magnet.at
cc: mutex@gmd.de
Subject: Re: Guitar clef in PMX?
In-Reply-To: <nb4umso663f0brlql65buhebrt7n2d1tgk@4ax.com>
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On Fri, 14 Jul 2000 evita.j@magnet.at wrote:

> Is it possible to do so in the PMX source, or does one need to add the
> MusiXTeX command \settrebleclefsymbol{1}{\treblelowoct} to the
> PMX-generated tex file?

Use

\\settrebleclefsymbol{1}\treblelowoct\

in the PMX source before the music starts, and

%%\\settrebleclefsymbol{1}\treblelowoct\

at the top of the first music paragraph in M-Tx.

HTH,
	Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Sat Jul 15 21:12:43 2000
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Date: Sat, 15 Jul 2000 20:42:47 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
CC: evita.j@magnet.at, mutex@gmd.de
Subject: Re: Guitar clef in PMX?
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"Eric Petersen [Aero]" wrote:
> 
> On Fri, 14 Jul 2000 evita.j@magnet.at wrote:
> 
> > Is it possible to do so in the PMX source, or does one need to add the
> > MusiXTeX command \settrebleclefsymbol{1}{\treblelowoct} to the
> > PMX-generated tex file?
> 
> Use
> 
> \\settrebleclefsymbol{1}\treblelowoct\
> 
> in the PMX source before the music starts, and
> 
> %%\\settrebleclefsymbol{1}\treblelowoct\
> 
> at the top of the first music paragraph in M-Tx.
> 

If you choose to use pmx through mtx the above is made as simple as
requesting G8 within a Clefs preamble clause.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sat Jul 15 23:35:03 2000
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Date: Sat, 15 Jul 2000 23:21:42 +0200
From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex@gmd.de
Subject: PMX-2.2.4-test c-port
Message-ID: <20000715232142.A14093@wam56.inka.de>
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For those of you who would like to try out the PMX 2.2.4 test
release on a Linux/Unix machine but are unable to compile the
fortran code I have prepared an update package 2.2.0 ---> 2.2.4-test
including the c code for pmxab and the new pmx.tex.

Note that this is just an interim release until an official new PMX
version will be released. This package is heavily based on the
pmx-unix-2.20 c-port by Stefan Evert.

Requirements:

* version 2.2.0 of pmx already installed
* any current mainstream Unix flavour
* standard C compiler (as always, GCC is the safest bet)


Feel free to download it from

        http://sites.inka.de/wam56/files/pmx-2.2.4-test.tgz



Regards, Andreas.

-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Mon Jul 17 05:10:24 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "Brent Peter Falcon" <ninoyf@yahoo.com>
Cc: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: Re: csdpmi*b.zip
Date: Sun, 16 Jul 2000 22:30:37 -0400
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-----Original Message-----
From: Brent Peter Falcon <ninoyf@yahoo.com>
To: jhunsberger@i2k.com <jhunsberger@i2k.com>
Date: Saturday, July 15, 2000 11:06 PM
Subject: RE: csdpmi*b.zip


Brent Peter Falcon wrote:

>I need csdpmi*b.zip. Please!!!!!!
This I don't understand ^^^

Have you ever communicated to me before?... When have I suggested that you
need csdpmi??  And, have you done any research on the net, where you can
easily find this kind of thing?  This looks as though I had denied you
access to it, or provision of it, somehow? :-((  (See below)

Without knowing any better, I suspect that you are trying to get something
like MusixTex running, possibly without having a valid (working?)
installation of TeX running.  Csdpmi would probably not be needed if you had
a working installation of Tex.

The need for csdpmi appears when you try to run Musicflx.exe out of context.
Of course, all I ever did was to make a few code changes to Musixflx.  I am
BY NO MEANS an expert in the fine points of GNU code ported to PC platforms,
and the general operating system necessary to support it.  For that matter,
musixflx can be compiled and run by any number of free C compilers that
don't automatically require csdpmi.

(Csdpmi is a memory manager that allows a PC memory to be treated as a 'flat
model,' and therefore gets called in when some GCC code is run, such as the
distribution of musixflx.  (By the way, the distribution code is compiled by
GCC and produced by the MusixTex primary author - D. Taupin.)

Well, in case you really know what you are doing, and just having csdpmi
available on your machine will do the trick, see the links below... However,
I rather doubt that that alone will get you up and running...

To run MusixTex you need a valid, working installation of TeX (of which
there are a few...)  The one I use is EmTex.  Consequently, (because EmTex
also provides RSX, an alternative to csdpmi) I don't even have csdpmi
installed on my system.

Here is one link you might want to explore...

EmTex Distribution
http://www.wfu.edu/Academicdepartments/Economics/ftp/getit.htm

Next, you need to have MusixTex, possibly PMX and M-Tex installed... Here is
the archive where you can get that...

GMD MusixTex Archive:
ftp://ftp.gmd.de/music/README.html

If you get that far, you might not need csdpmi after all.  But, if you do,
it can be found on the SimTel archive...

http://www.simtel.net/simtel.net/msdos.html

  Filename      Date   Size                   Description
============= ======== =====  ==============================================
csdpmi3b.zip  19960827   40K  Charles Sandmann's DPMI provider, binaries
csdpmi3s.zip  19960827   73K  Charles Sandmann's DPMI provider, source code

The specific links are:

http://www.simtel.net/pub/simtelnet/msdos/sysutl/csdpmi3b.zip
http://www.simtel.net/pub/simtelnet/msdos/sysutl/csdpmi3s.zip

However, (in conclusion), sensing your impatience and possible lack of
willingness to do the research on your own, it is very likely that MusiXTex
is not the package for you... (The difficulties are just beginning!)

You might want to try CakeWalk, or Finale, or other Windows packages that
pretend to produce music score... On the other hand, since your message to
me was so brief and 'out of contenxt' I really have no idea what you might
need csdpmi for.

Hope this helps, at least to make you a better web researcher.

Joel Hunsberger

From mutex-owner@mail.gmd.de  Thu Jul 20 11:37:45 2000
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
Subject: pmx -movement break - instrument with two staffs problem
Date: Thu, 20 Jul 2000 11:06:06 +0200
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I have a problem with a movement break on a new page  and an upper
instrument with 2 staffs:

The upperstaffs on the systems at page 2 are shifted up and have no =
notes.

What am i doing wrong?

Thanks for helping me.

Andre

this is the code withe the problem:
-------cut here-------
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    7    -6 1 2 1 1 1 1    4    4   0   6   0  1
% npages,nsyst,musicsize,fracindent
   2  4   20  .03
1
2
3
4
5
6
bttbttt
./
Arbd
%Incrementing the number of staffs:
%start with 7 staffs, throw away the 1st page and go to 3 staffs
%(With the help of Werner Icking and Don Simons)
r0 r0 r0 r0 /
r0 r0 r0 r0 //
r0 r0 r0 r0 /
r0 r0 r0 r0 /
r0 r0 r0 r0 /
r0 r0 r0 r0 /
r0 r0 r0 r0 /
r0 r0 r0 r0 /
Tt
title
h
title2
% change to 3 staffs
L3P2Mr+n212btt
%L3P2Mr+n3134btt
g42 r4 r8 d8+ g a /
r2+0 r8+0 f84 g f /
r8 d84 g a b1 a g a b c b c /
%2
b8 c d d- g a b b- /
g4d f8 st f st e4 d8s /
d1 g f e d c b c b e d c b a g a /
---------


------=_NextPart_000_000B_01BFF23A.806E4B00
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial>I have a problem with a movement break on a new =
page&nbsp;=20
and an upper<BR>instrument with 2 staffs:</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>The upperstaffs on the systems at page 2 are =
shifted up=20
and have no notes.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>What am i doing wrong?</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>Thanks for helping me.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>Andre<BR></FONT></DIV>
<DIV><FONT face=3DArial>this is the code withe the problem:</FONT></DIV>
<DIV><FONT face=3DArial>-------cut here-------</FONT></DIV>
<DIV><FONT face=3DArial>%=20
nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,<BR>&nbsp;&nbsp;&=
nbsp;=20
7&nbsp;&nbsp;&nbsp; -6 1 2 1 1 1 1&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp;&nbsp; =

4&nbsp;&nbsp; 0&nbsp;&nbsp; 6&nbsp;&nbsp; 0&nbsp; 1<BR>%=20
npages,nsyst,musicsize,fracindent<BR>&nbsp;&nbsp; 2&nbsp; 4&nbsp;&nbsp; =
20&nbsp;=20
.03<BR>1<BR>2<BR>3<BR>4<BR>5<BR>6<BR>bttbttt<BR>./<BR>Arbd<BR>%Incrementi=
ng the=20
number of staffs:<BR>%start with 7 staffs, throw away the 1st page and =
go to 3=20
staffs<BR>%(With the help of Werner Icking and Don Simons)<BR>r0 r0 r0 =
r0=20
/<BR>r0 r0 r0 r0 //<BR>r0 r0 r0 r0 /<BR>r0 r0 r0 r0 /<BR>r0 r0 r0 r0 =
/<BR>r0 r0=20
r0 r0 /<BR>r0 r0 r0 r0 /<BR>r0 r0 r0 r0 =
/<BR>Tt<BR>title<BR>h<BR>title2<BR>%=20
change to 3 staffs<BR>L3P2Mr+n212btt<BR>%L3P2Mr+n3134btt<BR>g42 r4 r8 =
d8+ g a=20
/<BR>r2+0 r8+0 f84 g f /<BR>r8 d84 g a b1 a g a b c b c /<BR>%2<BR>b8 c =
d d- g a=20
b b- /<BR>g4d f8 st f st e4 d8s /<BR>d1 g f e d c b c b e d c b a g a=20
/</FONT></DIV>
<DIV><FONT face=3DArial>---------<BR></DIV></FONT></BODY></HTML>

------=_NextPart_000_000B_01BFF23A.806E4B00--

From mutex-owner@mail.gmd.de  Mon Jul 24 17:02:37 2000
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Date: Mon, 24 Jul 2000 16:49:58 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
cc: J.Anders@Informatik.TU-Chemnitz.DE
Subject: "noteedit": PMX lyrics export
Message-ID: <Pine.LNX.4.05.10007241645150.651-100000@wicht.informatik.tu-chemnitz.de>
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Version 1.7.5 of the Qt based note editor "noteedit" is now
able to export the lyrics into PMX (with a small problem;
please follow the link to "PMX export discussion page"!):

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Tue Jul 25 15:50:50 2000
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From: "=?iso-8859-1?Q?Michael_K=F6nig?=" <Michael.Koenig@ms-koenig.de>
To: "MusixTeX" <mutex@gmd.de>
Subject: space between title and music
Date: Tue, 25 Jul 2000 15:30:52 +0200
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Hello,
I use M-Tx
Is there any possibility to decrease the space between the title made by
Title: XXX
and the first line of music? I would like to set music using DIN A5 paper
and the mentioned space is much to big in my opinion.

Thanks, Michael

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Michael König wrote:
> 
> Hello,
> I use M-Tx
> Is there any possibility to decrease the space between the title made by
> Title: XXX
> and the first line of music? I would like to set music using DIN A5 paper
> and the mentioned space is much to big in my opinion.
> 
> Thanks, Michael

Hello,

You can ommit (or comment) the lines "Title:" and "Composer:" in your
preamble, and define your own title. An example :

%Title: Net soos ek is
%Composer: Charlotte Elliott
Style: SATB
Sharps: 2
Meter: 3/4
Space: 9

%
=========================================================================
% The macros \Interligne, \BIGtype and \smalltype are defined by
MusixTeX.
%
%%\def\mytitle{%
%%\centerline{\BIGtype Net soos ek is}%
%%\vskip 2\Interligne% 
%%\rightline{\smalltype Charlotte Elliott}%
%%}
%
% Don't forget the blank line below : this comment must be in a bloc
before
% your first music one.
%
=========================================================================

%%\\mytitle\ 
f f f | e2s e4  | f2 b4 | a2d | g4 g g | f2 f4  | g2 c4n | b2d  |
d d d | d2r d4r | d2 d4 | d2d | e4 e e | d2s d4 | e2 f4  | f2d  |
L: Net soos ek is, geen hulp na-by, al-leen U bloed ge-stort vir my,
L: Net soos ek is, nooi U vir my, ver-ge-we, rei-nig en be-vry.
L: Net soos ek is, U lief-de teer werp al-le hin-der-pa-le neer.
a a a | g2s g4  | a2 g4 | a2d | b4 b b | c2n c4 | b2 e4  | ds2d |
d d d | d2 d4   | d2 g4 | f2d | e4 e e | a2 a4  | g2 g4  | b2d  |
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From: "J.A. van de Griend" <vdgriend@math.leidenuniv.nl>
To: mutex@gmd.de
Subject: test; don't read
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test; don't read.

From mutex-owner@mail.gmd.de  Sat Jul 29 09:20:01 2000
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Date: Sat, 29 Jul 2000 08:51:34 +0200
From: taupin <taupin@lps.u-psud.fr>
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To: Hunsbergers <jhunsberger@i2k.com>
CC: Brent Peter Falcon <ninoyf@yahoo.com>,
        MusiXTex Mailing List <mutex@gmd.de>
Subject: Re: csdpmi*b.zip
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cwsdpmi is needed ONLY if you run under native DOS, i.e. NOT in the DOS
window of Win9x or WinNT.
In case of (you have a 386 under native DOS), cwsdpmi.exe (to be put in
the path) is provided at ftp://ftp.lps.u-psud.fr/musixtex/musixflx (or
in that neighbourhood).

But the musixflx.exe provided requires the math coprocessor. Does not
work without.

Hunsbergers wrote:
> 
> -----Original Message-----
> From: Brent Peter Falcon <ninoyf@yahoo.com>
> To: jhunsberger@i2k.com <jhunsberger@i2k.com>
> Date: Saturday, July 15, 2000 11:06 PM
> Subject: RE: csdpmi*b.zip
> 
> Brent Peter Falcon wrote:
> 
> >I need csdpmi*b.zip. Please!!!!!!
> This I don't understand ^^^
> 
> Have you ever communicated to me before?... When have I suggested that you
> need csdpmi??  And, have you done any research on the net, where you can
> easily find this kind of thing?  This looks as though I had denied you
> access to it, or provision of it, somehow? :-((  (See below)
> 
> Without knowing any better, I suspect that you are trying to get something
> like MusixTex running, possibly without having a valid (working?)
> installation of TeX running.  Csdpmi would probably not be needed if you had
> a working installation of Tex.
> 
> The need for csdpmi appears when you try to run Musicflx.exe out of context.
> Of course, all I ever did was to make a few code changes to Musixflx.  I am
> BY NO MEANS an expert in the fine points of GNU code ported to PC platforms,
> and the general operating system necessary to support it.  For that matter,
> musixflx can be compiled and run by any number of free C compilers that
> don't automatically require csdpmi.
> 
> (Csdpmi is a memory manager that allows a PC memory to be treated as a 'flat
> model,' and therefore gets called in when some GCC code is run, such as the
> distribution of musixflx.  (By the way, the distribution code is compiled by
> GCC and produced by the MusixTex primary author - D. Taupin.)
> 
> Well, in case you really know what you are doing, and just having csdpmi
> available on your machine will do the trick, see the links below... However,
> I rather doubt that that alone will get you up and running...
> 
> To run MusixTex you need a valid, working installation of TeX (of which
> there are a few...)  The one I use is EmTex.  Consequently, (because EmTex
> also provides RSX, an alternative to csdpmi) I don't even have csdpmi
> installed on my system.
> 
> Here is one link you might want to explore...
> 
> EmTex Distribution
> http://www.wfu.edu/Academicdepartments/Economics/ftp/getit.htm
> 
> Next, you need to have MusixTex, possibly PMX and M-Tex installed... Here is
> the archive where you can get that...
> 
> GMD MusixTex Archive:
> ftp://ftp.gmd.de/music/README.html
> 
> If you get that far, you might not need csdpmi after all.  But, if you do,
> it can be found on the SimTel archive...
> 
> http://www.simtel.net/simtel.net/msdos.html
> 
>   Filename      Date   Size                   Description
> ============= ======== =====  ==============================================
> csdpmi3b.zip  19960827   40K  Charles Sandmann's DPMI provider, binaries
> csdpmi3s.zip  19960827   73K  Charles Sandmann's DPMI provider, source code
> 
> The specific links are:
> 
> http://www.simtel.net/pub/simtelnet/msdos/sysutl/csdpmi3b.zip
> http://www.simtel.net/pub/simtelnet/msdos/sysutl/csdpmi3s.zip
> 
> However, (in conclusion), sensing your impatience and possible lack of
> willingness to do the research on your own, it is very likely that MusiXTex
> is not the package for you... (The difficulties are just beginning!)
> 
> You might want to try CakeWalk, or Finale, or other Windows packages that
> pretend to produce music score... On the other hand, since your message to
> me was so brief and 'out of contenxt' I really have no idea what you might
> need csdpmi for.
> 
> Hope this helps, at least to make you a better web researcher.
> 
> Joel Hunsberger

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
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To: Michael =?iso-8859-1?Q?K=F6nig?= <Michael.Koenig@ms-koenig.de>
CC: MusixTeX <mutex@gmd.de>
Subject: Re: space between title and music
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Michael König wrote:
> 
> Hello,
> I use M-Tx
> Is there any possibility to decrease the space between the title made by
> Title: XXX
> and the first line of music? I would like to set music using DIN A5 paper
> and the mentioned space is much to big in my opinion.
> 
> Thanks, Michael

Mtx title and composer/poet name(s) are handled by pmx through a macro
\titles in pmx.tex. A way to achieving influence on the vertical
spacings around these names is to overrule the pmx generated spacings by
defining you own \titles macro:

\edef\catcodeat{\the\catcode`\@}\catcode`\@=11
%
\def\titles#1#2#3#4#5#6#7{\kern-\lin@pos%
\kern-3.2\Interligne\kern-\parindent\kern-\afterruleskip%
\kern-\sign@skip%
%
% Distance before title section
%
\vbox{\vskip 0\Interligne
\ifx\relax#2\relax\else\leftline{\Bigtype #2}\fi\vskip #3\Interligne%
\ifx\relax#4\relax\else\centerline{\BIGtype #4}\fi
%
% Distance before composer and poet 
%
\vskip 0\Interligne%
\ifx\relax#6\relax\else\rightline{\Bigtype #6}\fi
%
% Distance after composer and poet 
%
\vskip 0\Interligne}}%
%
\catcode`\@=\catcodeat

In the above version of the macro the distances used for the mtx title
and composer/poet names are neutralized by replacing the parameterized
\Interligne factors (#1 #5 and #7) by fixed zero values. 

Now in the mtx source file you may include a file containing this macro
with the above mentioned fixed \Interligne factors adapted for your
needs, for example:

%% \input pmxtitles

Meter: C
Style: Solo
Title: Title
Composer: Composer
Poet: Poet

g4 g g g | g g g g | g g g g | g0

Maybe some some pmx/MusixTex-ian might come up with a more simpel
solution:-)
 
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Aug  8 05:14:51 2000
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Illegal character in slur symbol
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This is a multi-part message in MIME format.
--------------FB72444457F0732A4F99F520
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I originally set this piece with "normal" ties and slurs, and of course
it printed with dashes to extend the syllables over the tied notes.  I
don't like that, so I decided to use the (( and )) symbols instead and
create null syllables {} to put under the second and succeeding notes of
the slurs & ties.

The input passes through prepmx without problems, but I'm getting the
following error message from PMX:

 Starting first PMX pass

  Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7

 ERROR in line 46, bar 9 Illegal character in slur symbol
      v
 b2d s) | /
      ^
1

Thanks for any help you can give.

I'm attaching the source.
--------------FB72444457F0732A4F99F520
Content-Type: text/plain; charset=us-ascii;
 name="ghost.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="ghost.mtx"

Meter: 3/4
Style: SINGER
Space: 1
% Bars/Line: 6
Pages: 1
Systems: 8
% PMX: h9.8i
% PMX: w7i
% PMX: Ar

%% \\let\endpiecesav\endpiece\ 
%% \\def\endpiece{\endpiecesav\vfill\ 
%% h9.8i
%% w7i
% % %% Ar K+0+0
% %% \\input bdgmusic\ 
% %% \\pageno=6\ 
%% \\hoffset=.05in\voffset=.3in\nobarnumbers\ 
%% \\font\twelverm=cmr12\ 
%% \\font\sevtrm=cmr17\ 
%% \\def\emdash{\thinspace---\thinspace}\ 
%% \\def\hy{\thinspace-}\ 
%% \\def\chorus{\sevtrm\bf{Release:}}\ 
% %% \\headline{\twelverm XenoFilkia \#71\hfill page 1424}\ 
% %% \\line{\twelverm ~\hfill}\ 
% %% \\line{\twelverm ~\hfill}\ 
% %% Ar
% %% \\line{\twelverm ~\hfill}\ 
% %% \\line{\twelverm GHOST WALTZ\hfill}\ 
% %% \\line{\twelverm Words and Music \copyright~by Dave Luckett\hfill}\ 
U: @+1 Em       |              | C
   @-3 e2  f4   | g2     a4    | b2 c4  | d2   c4 |
L:     Sha-dows   slide, where   fi-res   died in

U: Am       | C      |   Em
   b2 a4    | g2 a4  | (( b2d    | b2d )) |
L: si-lent,   em-pty      rooms.   {}

U: Em      |           | C
   e2- f4  | g2    a4  | b2 c4  | d2   c4 |
L: Sil-ken   soft, the   ee-rie   waft of

U: Am        | D        |   G
   b2 a4     | g2  a4 | (( b2d | bd )) | 
L: Li-lith's   own per-fume.     {}

U:   C  |      |   G  |      |   Am |          |   Em
   (( ed | ed )) | (( bd | bd )) | (( ed | e4 f e )) | (( b2d | bd )) |
L:    Ai,  {}         me!  {}         Ai,  {} {} {}       me!   {}

U: Am        | C         | Am    | C
   b2    c4  | d2     c4 | b2 a4 | g2     a4  |
L: Round and   round, for-e-ver    bound, The

U: Am       | D      |   Em
   b2  a4   | g2 f4  | (( e2d   |  ed )) |
L: dan-cers   in the      gloom.   {}

U: C
   e+d | ed    | e4 f    g  | f2    e4   |
L: Some-times,   e-choes of   laugh-ter,

U: G
   e (( b2 | bd )) | b4 a  g   | b     a  g  |
L: spil-ling {}      in-to the   night {} And

U: Am  |     | C       | D         |   Em
   a2d | ad  | c4 d  e | d2   c4   | (( b2d | bd )) |
L: chil-ling   in-to a   slee-ping      ear.  {}

U: C  |     |                |         | Am
   ed | ed  | e4     f  g    | f2   e4 | e2d |
L: Lis-ten!   You'll al-most   hear it.  (No,

U:
   e2d | e4    f  g   | f2   e4   |
L: not   quite do you   hear it!) 

U: D   |     |              |       |   F#m | F#
   f2d | f2d | f4    g  a   | g2 f4 | (( f2d    | fd ))
L:   Ne-ver    quite do you   e-ver      hear.... {}

--------------FB72444457F0732A4F99F520--

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Date: Mon, 07 Aug 2000 21:31:00 -0700
From: Barry Gold <bdgold@mediaone.net>
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Subject: multiple uptext lines?
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Can I put multiple lines of uptext on a single voice?
I'm using M-Tx.

I want to put guitar chords (Am, C, etc.) above the staff, then put
annotations like tempi and "chorus" above those.  So the output looks
something like:

        slow waltz
           Em
|------------------|
|              |   |
|-c-------|----|---|
| l  3    |    |   |
|-e-------|----|---|
| f  4    |    |   |
|---------|----|---|
|         |   .|   |
|--------O|--------|

         Sha-dows
From mutex-owner@mail.gmd.de  Tue Aug  8 08:13:44 2000
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Date: Tue, 8 Aug 2000 07:56:18 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Barry Gold <bdgold@mediaone.net>
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: Illegal character in slur symbol
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Barry Gold skryf:
> 
> The input passes through prepmx without problems, but I'm getting the
> following error message from PMX:
> 
prepmx isn't very strict on checking input syntax.  It assumes that
whenever you do something it does not know, presumably it is some
PMX feature for which you take the responsibility.

In this case:

>    b2 a4    | g2 a4  | (( b2d    | b2d )) |
                         ^^              ^^
is illegal.  If you want a tie, use

              (t b2d | b2d )t

Dirk
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Barry Gold <bdgold@mediaone.net>
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: multiple uptext lines?
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Barry Gold skryf:
> Can I put multiple lines of uptext on a single voice?
> I'm using M-Tx.
> 
> I want to put guitar chords (Am, C, etc.) above the staff, then put
> annotations like tempi and "chorus" above those.  So the output looks
> something like:
> 
>         slow waltz
>            Em
> |------------------|
> |              |   |
> |-c-------|----|---|
> | l  3    |    |   |
> |-e-------|----|---|
> | f  4    |    |   |
> |---------|----|---|
> |         |   .|   |
> |--------O|--------|
> 
>          Sha-dows

You'll have to define a TeX macro that assembles that whole thing
and then use the macro in the uptext.

Dirk
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On Mon, 7 Aug 2000, Barry Gold wrote:

> Can I put multiple lines of uptext on a single voice?
> I'm using M-Tx.
> 
> I want to put guitar chords (Am, C, etc.) above the staff, then put
> annotations like tempi and "chorus" above those.  So the output looks
> something like:
> 
>         slow waltz
>            Em
> |------------------|
> |              |   |
> |-c-------|----|---|
> | l  3    |    |   |
> |-e-------|----|---|
> | f  4    |    |   |
> |---------|----|---|
> |         |   .|   |
> |--------O|--------|
> 
>          Sha-dows
> 
The U: line translates to \zchar{height}{stuff}. Therefore, with inline
TeX you can add more \zchar stuff to your liking.
Christof
-- 
Prof. Dr. Christof Biebricher
Max-Planck-Institute for Biophysical Chemistry
D-37070 Göttingen
Tel: +49 (551) 201 1442
FAX: +49 (551) 201 1435
email: cbiebri@gwdg.de

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From: Christian Mondrup <scancm@biobase.dk>
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To: Barry Gold <bdgold@mediaone.net>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: Illegal character in slur symbol
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Barry Gold wrote:
> 
> I originally set this piece with "normal" ties and slurs, and of course
> it printed with dashes to extend the syllables over the tied notes.  I
> don't like that, so I decided to use the (( and )) symbols instead and
> create null syllables {} to put under the second and succeeding notes of
> the slurs & ties.
> 
> The input passes through prepmx without problems, but I'm getting the
> following error message from PMX:
> 
>  Starting first PMX pass
> 
>   Bar 1  Bar 2  Bar 3  Bar 4  Bar 5  Bar 6  Bar 7
> 
>  ERROR in line 46, bar 9 Illegal character in slur symbol
>       v
>  b2d s) | /
>       ^

You should use double parentheses only at the start of the slur/tie (see
mtx docs 1.3). Apparingly prepmx happily parses your ending double
parentheses - and thereby causes the pmx errors you've encountered:-(

I would recommend using ties in the case of consecutive equal pitches,
for example in measure 6.

BTW you're missing an ending brace in your \def\endpiece statement and
you're also missing a sharp signature on f since the key of your tune is
e minor.

Meter: 3/4
Sharps: 1
...
%% \\let\endpiecesav\endpiece\ 
%% \\def\endpiece{\endpiecesav\vfill}\ 
...

U: Am       | C      |   Em
   b2 a4    | g2 a4  | ((t b2d    | b2d ) |
L: si-lent,   em-pty      rooms.   {}


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Aug  8 10:11:06 2000
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Date: Tue, 08 Aug 2000 09:51:49 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Barry Gold <bdgold@mediaone.net>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: multiple uptext lines?
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Barry Gold wrote:
> 
> Can I put multiple lines of uptext on a single voice?
> I'm using M-Tx.
> 
> I want to put guitar chords (Am, C, etc.) above the staff, then put
> annotations like tempi and "chorus" above those.

How about some construction like this:

\uptext{\vbox{\hbox{upper}\hbox{lower}}}

To ensure proper horizontal alignment in case of differently high upper
and lower boxes, you may include \strut in the \hboxes.


Regards,

Rainer
From mutex-owner@mail.gmd.de  Tue Aug  8 11:12:33 2000
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Date: Tue, 08 Aug 2000 10:57:18 +0200 (MET DST)
From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Subject: \interstaff=3cm ?
In-reply-to: <398FBC15.26145B97@ebe-online.de>
To: "mutex@gmd.de" <mutex@gmd.de>
Reply-to: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
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Hello,

I'm very pleased with the results I got out of musixtex (T.90). One problem
is still there: In the piano notes (one instr.,  2 staffs) at one place the
bass notes get quite high and intrude in the treble staff. 
My T.89 manual suggests \interstaff=.... for that. But every try to use an
\interstaff just leads to completely collapsed staff systems where the
2 lines overlap. 

Any Hint to get it right? It would be enough to enlarge the space at that
one line, but I've enough space to Do it everywhere I think, then it would
look the same on all lines.

Thanks,

K.-H.


------------------------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de> 
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Sent: 08-Aug-00, 10:52:49
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From mutex-owner@mail.gmd.de  Tue Aug  8 21:05:16 2000
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
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Subject: Re: \interstaff=3cm ?
Date: Tue, 8 Aug 2000 20:40:52 +0200
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Things as

\def\atnextline{\interstaff{30}}

works for me

Andre

----- Original Message -----
From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
To: <mutex@gmd.de>
Sent: Tuesday, August 08, 2000 10:57 AM
Subject: \interstaff=3cm ?


> Hello,
>
> I'm very pleased with the results I got out of musixtex (T.90). One
problem
> is still there: In the piano notes (one instr.,  2 staffs) at one place
the
> bass notes get quite high and intrude in the treble staff.
> My T.89 manual suggests \interstaff=.... for that. But every try to use an
> \interstaff just leads to completely collapsed staff systems where the
> 2 lines overlap.
>
> Any Hint to get it right? It would be enough to enlarge the space at that
> one line, but I've enough space to Do it everywhere I think, then it would
> look the same on all lines.
>
> Thanks,
>
> K.-H.
>
>
> ------------------------------------------------------------------------
> E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
> http://www.kfa-juelich.de/icg/icg7/FestFluGre/transport/khh/general.html
> Sent: 08-Aug-00, 10:52:49
> ------------------------------------------------------------------------
>

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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: space between title and music
Date: Wed, 9 Aug 2000 17:18:15 -0700 
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> Michael König wrote:
> > 
> > Hello,
> > I use M-Tx
> > Is there any possibility to decrease the space between the title made by
> > Title: XXX
> > and the first line of music? I would like to set music using DIN A5
> paper
> > and the mentioned space is much to big in my opinion.
> > 
> > Thanks, Michael
> 
to which Christian Mondrup replied

>Mtx title and composer/poet name(s) are handled by pmx through a macro
>\titles in pmx.tex. A way to achieving influence on the vertical
>spacings around these names is to overrule the pmx generated spacings by
>defining you own \titles macro: ...

There is a way of tweaking this space directly in PMX.  You can use for
example

Tt-3
This is the Title

to decrease the space between the title and the first staff by 3 units
(sorry I forget what the units are).  There are a few restrictions when this
is combined with Tc and Ti; please check the PMX manual.

--Don Simons
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Date: Thu, 10 Aug 2000 13:52:34 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Simons, Don" <DSimons@logicon.com>
CC: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: space between title and music
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"Simons, Don" wrote:
> 
> > Michael König wrote:
> > >
> > > Hello,
> > > I use M-Tx
> > > Is there any possibility to decrease the space between the title made by
> > > Title: XXX
> > > and the first line of music? I would like to set music using DIN A5
> > paper
> > > and the mentioned space is much to big in my opinion.
> > >
> > > Thanks, Michael
> >
> to which Christian Mondrup replied
> 
> >Mtx title and composer/poet name(s) are handled by pmx through a macro
> >\titles in pmx.tex. A way to achieving influence on the vertical
> >spacings around these names is to overrule the pmx generated spacings by
> >defining you own \titles macro: ...
> 
> There is a way of tweaking this space directly in PMX.  You can use for
> example
> 
> Tt-3
> This is the Title
> 
> to decrease the space between the title and the first staff by 3 units
> (sorry I forget what the units are).  There are a few restrictions when this
> is combined with Tc and Ti; please check the PMX manual.
> 
> --Don Simons

I'm puzzled!

Whatever values I put after Tt in a test pmx source

...
Tt12
Title
g44 g4 g4 g4 | /
...

I invariably get this in the resulting musixtex file:

\znotes\zcharnote{16}{\titles{2.0}{}{0}%
{Title}{2.0}{}{0}}\en%
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Aug 14 19:18:09 2000
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Date: Mon, 14 Aug 2000 18:46:55 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: noteedit-1.8.0 available
Message-ID: <Pine.LNX.4.05.10008141846290.1094-100000@wicht.informatik.tu-chemnitz.de>
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The Qt-based note editor "noteedit" version 1.8.0 is available.

New features:
     - Stem Up / stem down 
     - Staff naming 
     - keyboard insertion mode 
     - insert according to key 
     - reverbation, chorus, stereo position 
     - general properties menu 
     - staff properties menu 

Futhermore: MusiXTeX export crash bug fixed

Other features:

     - insertion/deletion/modification of notes, rests, dotted notes/rests, slured notes,
       clefs with/without shift, time signatures, key signatures,
       volume signatures, tempo signatures, triplets, repeat groups with/without special ending and
       instrument changes on different staffs; 
     - building chords; 
     - building groups of beamed notes; 
     - playing on /dev/sequencer (if correctly configured) whereby: 
         giving each staff a different voice; 
         giving each staff a different channel; 
         highlighting the played notes; 
         muting staffs; 
     - lyrics 
     - export MusiXTeX; 
     - export PMX; 
     - export MIDI; 
     - import MIDI; 
     - read from MIDI keyboard; 
     - Application of MIDI event filters to eliminate some dirty effects (especially on human played MIDI files); 
       only with TSE3 record from MIDI keyboard; 

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Mon Aug 14 19:20:09 2000
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Date: Mon, 14 Aug 2000 19:01:25 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: URL for noteedit-1.8.0
Message-ID: <Pine.LNX.4.05.10008141901050.1094-100000@wicht.informatik.tu-chemnitz.de>
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The URL for noteedit-1.8.0 is: 

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Thu Aug 17 13:11:39 2000
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From: david@graffias.demon.co.uk
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Subject: Continuous and separate bar lines
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----- Forwarded message (env-from david) -----

From david Thu Aug 17 11:21:26 2000
Subject: Continuous and separate bar lines
To: mutex
Date: Thu, 17 Aug 2000 11:21:26 +0100 (BST)
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Hello,

I've just started expirimenting with Musixtex and thus far am very impressed.

I have taken on a challenging project to learn Musixtex, namely typsetting a score. Everything is okay so far but I have come across on slight 'problem':

The score requires both instruments and voices, 4 of each. Thus I have include \musixadd and \instrumentnumber{8}. However I need the bar lines to be continuous across the 4 instrument parts, then break and then be continuous across the 4 voices. All that seems to be possible however is to have the bar lines across all 8 parts or (using \sepbarrules) seperate for each of the 8 parts. I have grouped the instruments and voices using \grouptop and \groupbottom but this doesn't appear to make any difference to the bar lines. Is there anyway of having bar lines continuous for seperare groups of instruments in a score (this is quite common practice in scores I believe)?

I also have a secondary problem as I would like one heavy brace joining the voices and another joining both the instruments and voices. However the smller brace is 'overlaid' by the longerbrace and it is almost impossible to tell that there are two braces - is there any way of ofsetting the bracess horizantoally so they are not superimposed?

Thanks in anticipation of someone's help.

David Elsdon.

PS: I haven't got that far yet so attach my source tex file.
Content-Description: /home/david/doc/tex/musix/esm/esm.tex

[Attachment, skipping...]

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Subject: Musixtex and the rivals
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----- Forwarded message (env-from david) -----

From david Thu Aug 17 11:39:20 2000
Subject: Musixtex and the rivals
To: mutex
Date: Thu, 17 Aug 2000 11:39:20 +0100 (BST)
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Hello,

I have an idea to try a cottage industry publishing music, i.e. offering a music typesetting service to local composers etc.

I am very impressed with Musixtex especially as it runs on Linux and this would appear to be a suitable tool for typesetting musically on a professional basis. However I don't know any of the other tools - I've heard of Sibelius and a quick look on the web for people offering a music typesetting service revealed that they seemed to use Fidelio 2000. I guess both of these are MS windows based (a big down side from my point of view) and both WYSIWIG (I'm happier working in TeX). My main questions are:

i) How does Musixtex compare with the likes of Fidelio when it comes to publishing music professionally, e.g. are there any things Fidelio etc. can do, and which are necessary for a professional result, which Musixtex can't do? 

ii) Once I am familiar with Musixtex and can code reasonably quickly - will this be quick enough for a professional service, i.e. cost will be based on the time it takes to typeset a manuscript? Is Fidelio 2000 etc. significanlty faster.

iii) What other professional typesetting packages are there, esp. on Unix/Linux?

iii) Can Musixtex be used with midi files, i.e. producing music automatically?

I am a capable C/C++ programmer so, time permitting, perhaps I could contribute to the project, e.g. see my previous e-mail regarding bar lines? I would need some guidance on where to start etc.

Thanks in anticipation of your time,

David Elsdon.

----- End of forwarded message (env-from david) -----
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Musixtex'" <Mutex@gmd.de>
Subject: RE: Continuous and separate bar lines
Date: Thu, 17 Aug 2000 15:49:14 +0200
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Hello David and all,

Solution to your primary problem: With the latest release of MusiXTeX 
(T.99) comes an extension package 'musixbar.tex' which provides macros that 
do exactly what you require. Section 2.13.4 p.47 of the manual describes 
the macros.

Here's another example, an excerpt from "The Marriage of Figaro":

I don't have a solution to your secondary problem. I'll be thinking about 
it in the meantime...

Regards,
eMKay

========= Snip here ====================================

%%%%% Extensions
\input musixadd
\input musixfll
\input musixbar
\input musixlyr
%%%%% Pre-amble
\instrumentnumber7
\setstaffs32
\setclef1\bass
\setclef2\alto
\setclef6\bass
\generalsignature{0}
\generalmeter{\meterfrac24}
\songbottom1\songtop3
\groupbottom25\grouptop25
\groupbottom36\grouptop37
\setname1{\vbox{\hbox{\bf Cello \&}\hbox{D. Bass}}}
\setname2{\bf Viola}
\setname3{\vbox{\hbox{\bf Violin I}\vskip9\Interligne\hbox{\bf Violin II}}}
\setname4{\bf Soprano}
\setname5{\vbox{\hbox{\bf 2 Horn}\hbox{\bf ~~~in C}}}
\setname6{\bf 2 Bassoon}
\setname7{\bf 2 Oboe}
%%%%% This is where the bar lines are set
%%%%% This is where the bar lines are set
%%%%% This is where the bar lines are set
\indivbarrules
\sepbarrule4\sepbarrule5\sepbarrule6
%%%%% This is where the bar lines are set
%%%%% This is where the bar lines are set
%%%%% This is where the bar lines are set
\systemnumbers\relativeaccid

%%%%% Spacing
\parindent20mm
\beforeruleskip=0.5\afterruleskip
\interstaff{10}
\stafftopmarg=10\Interligne
\interinstrument=2\Interligne
\staffbotmarg=4\Interligne

%%%%% Macros
\let\ctp\centerpause
\let\ni\nextinstrument
\let\ns\nextstaff
\let\b\beginmel
\let\e\endmel
\def\mss{\multnoteskip\smallvalue\smallnotesize}
\def\MM#1{\multnoteskip{#1}}
\def\qap#1{\qa{.#1}}
\def\lift#1{\raise #1\Internote}
\def\snotes{\vnotes1.41\elemskip}        % geometric
\def\gnotes{\vnotes1.29\elemskip}        % geometric Grace notes
\def\Ctp{\centerbar{\liftpause{-2}}}
\def\ctphbo{\def\atnextbar{\znotes\ni\ni\ni\ni\ctp\ni\ctp\ni\ctp\en}}
\def\ctphBO{\def\atnextbar{\znotes\ni\ni\ni\ni\ctp\ni\Ctp\ni\Ctp\en}}
\def\ctpBO{\def\atnextbar{\znotes\ni\ni\ni\ni\ni\Ctp\ni\Ctp\en}}
\def\ctphbO{\def\atnextbar{\znotes\ni\ni\ni\ni\ctp\ni\ctp\ni\Ctp\en}}
\def\ctph{\def\atnextbar{\znotes\ni\ni\ni\ni\ctp\en}}
%####
\def\Idyn#1{\loffset{1.5}{\zchar{-12}{\ppff{#1}}}}
\def\idyn#1{\loffset{1.5}{\zchar{-8}{\ppff{#1}}}}
\def\iDyn#1{\loffset{1.5}{\zchar{12}{\ppff{#1}}}}
\def\IDyn#1{\loffset{1.5}{\zchar{16}{\ppff{#1}}}}
%####
\def\dyn#1{\loffset{1.5}{\zchar{11}{\ppff{#1}}}}
%####
\def\go#1{\golyr{jump#1}}
\def\Lcf{\lyrnop\lyrpt,}

%%%%% Title
\fulltitle{Dove sono}
\subtitle{from: Le Nozze di Figaro.}
\shorttitle{Dove sono}
\author{W A Mozart (1756--1791)}
\shortauthor{Mozart}
\maketitle

%%%%% Lyrics ###########################################################
\setlyrics{solo}{\llabel{jump0}Do-ve so-no i bei mo-men-ti, di
dol-cez-za e di pia-cer, do-ve\lyrlink an do-ro i giu-ra-men-ti
\llabel{jump1}di quel lab-bro men-zo-gner!}%
%####
\assignlyrics4{solo}%
%####
\setsongraise4{1\Interligne}%
%%%%% Lyrics ###########################################################

%%%%% Music
\startpiece\addspace\afterruleskip
%\linegoal=2%
\znotes\ni\ni\ni\ni\ni\ni
  \loffset{3.5}{\zchar{16}{\medtype\bf Andantino}}\en
% bar 1
\Notes\idyn\p\ca J\er\ni
  \er\idyn\p\ca L\ni
  \er\idyn\p\ca N\ns\er\idyn\p\ca c\ni
  \qap j\en
\Notes\ca M\er\ni
  \er\ca M\ni
  \er\ca a\ns\er\ca d\ni
  \sk\ca k\en\ctphbo\bar
% bar 2
\Notes\ca N\er\ni
  \Ibu0LK1\islurd0L\qb0L\tslur0K\tqh0K\ni
  \islurd1N\qa N\ns\Ibu1cb1\islurd2c\qb1c\tslur2b\tqh1b\ni
  \Ibl2ji1\b\isluru3j\qb2j\e\tslur3i\tqb2i\ni\ni
  \lift6\qr\ni
  \lift6\qr\en
\Notes\ca J\er\ni
  \ca L\er\ni
  \tslur1N\ca N\er\ns\ca c\er\ni
  \ca j\er\ni\ni
  \IDyn\p\Ibu0Nb1\ibsluru0N\qb0N\tbsluru0b\tqh0b\ni
  \IDyn\p\Ibu1jk1\ibsluru1j\qb1j\tbsluru1k\tqh1k\en\ctphBO\bar
% bar 3
\Notes\ca c\er\ni
  \er\ca N\ni
  \er\ca c\ns\er\ca e\ni
  \ca l\qa l\ni\ni
  \cu c\lift6\er\ni
  \cu l\lift6\er\en
\Notes\ca M\er\ni
  \er\ca a\ni
  \er\ca d\ns\er\ca f\ni
  \sk\ca m\ni\ni
  \lift6\qr\ni
  \lift6\qr\en\ctphBO\bar
% bar 4
\Notes\ca N\er\ni
  \islurd0N\qa N\ni
  \Ibu0cb1\islurd1c\qb0c\tslur1b\tqh0b\ns
    \Ibu1ed1\islurd2e\qb1e\tslur2d\tqh1e\ni
  \Ibl2lk1\b\isluru3l\qb2l\e\tslur3k\tqb2k\ni\ni
  \lift6\qr\ni
  \lift6\qr\en
\Notes\ca J\er\ni
  \tslur0N\ca N\er\ni
  \ca c\er\ns\ca e\er\ni
  \ca l\er\ni\ni
  \Ibu0cd1\ibsluru0c\qb0c\tbsluru0d\tqh0d\ni
  \Ibu1lm1\ibsluru1l\qb1l\tbsluru1m\tqh1m\en\ctphBO\bar
% bar 5
\setemptybar\stoppiece
\bye

======== Snip here ====================================

-----Original Message-----
From:	david@graffias.demon.co.uk [SMTP:david@graffias.demon.co.uk]
Sent:	Thursday, August 17, 2000 12:47
To:	Mutex
Subject:	Continuous and separate bar lines

----- Forwarded message (env-from david) -----

>From david Thu Aug 17 11:21:26 2000
Subject: Continuous and separate bar lines
To: mutex
Date: Thu, 17 Aug 2000 11:21:26 +0100 (BST)
X-Mailer: ELM [version 2.4ME+ PL47 (25)]
Content-Length:  1466

Hello,

I've just started expirimenting with Musixtex and thus far am very 
impressed.

I have taken on a challenging project to learn Musixtex, namely typsetting 
a score. Everything is okay so far but I have come across on slight 
'problem':

The score requires both instruments and voices, 4 of each. Thus I have 
include \musixadd and \instrumentnumber{8}. However I need the bar lines to 
be continuous across the 4 instrument parts, then break and then be 
continuous across the 4 voices. All that seems to be possible however is to 
have the bar lines across all 8 parts or (using \sepbarrules) seperate for 
each of the 8 parts. I have grouped the instruments and voices using 
\grouptop and \groupbottom but this doesn't appear to make any difference 
to the bar lines. Is there anyway of having bar lines continuous for 
seperare groups of instruments in a score (this is quite common practice in 
scores I believe)?

I also have a secondary problem as I would like one heavy brace joining the 
voices and another joining both the instruments and voices. However the 
smller brace is 'overlaid' by the longerbrace and it is almost impossible 
to tell that there are two braces - is there any way of ofsetting the 
bracess horizantoally so they are not superimposed?

Thanks in anticipation of someone's help.

David Elsdon.

PS: I haven't got that far yet so attach my source tex file.
Content-Description: /home/david/doc/tex/musix/esm/esm.tex

[Attachment, skipping...]

----- End of forwarded message (env-from david) -----

From mutex-owner@mail.gmd.de  Thu Aug 17 19:02:04 2000
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Date: Thu, 17 Aug 2000 18:37:54 +0200 (MET DST)
From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Subject: RE: Musixtex and the rivals
In-reply-to: <200008171046.LAA01146@graffias.demon.co.uk>
To: david@graffias.demon.co.uk
Cc: mutex@gmd.de (Mutex)
Reply-to: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
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Hi,

I find MusixTeX quite impressive myself -- and could always find the features
I needed (though I'm not in professional score setting).


On 17-Aug-00 david@graffias.demon.co.uk wrote:
> iii) Can Musixtex be used with midi files, i.e. producing music
> automatically?

There is rosegarde -- a Grafical Program (WYS is similar to waht you get)
which can read midi-files (up to a limit voice number) and show the notes --
then export as MusixTeX code. 
http://www.bath.ac.uk/~masjpf/rose.html

And have a look at the Preprocessors available for MusixTeX.
http://www.gmd.de/Misc/Music/


One Problem I can see is: If somebody would like you to typeset the notes but
would like the data-file as well -- not only the printout. 
You would not be able to convert it to anything editable easily. ps and pdf
are of course no problem, but that's not editable.



K.-H.


------------------------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de> 
http://www.kfa-juelich.de/icg/icg7/FestFluGre/transport/khh/general.html
Sent: 17-Aug-00, 18:23:37
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From: Alexander Jolk <jolk@aph505z.physik.uni-karlsruhe.de>
To: mutex@gmd.de
Subject: PMX: \caesura\ gets lost at bar end
Date: Thu, 17 Aug 2000 17:08:23 +0200 (CEST)
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Hello,

I'm currently typesetting a modern choral piece and I noted that PMX
embedded TeX strings get lost when they are at the end of a bar.  I'm
using M-Tx 0.52, PMX 2.2.0 and MusixTeX 0.98 under Linux 2.2/Debian
2.2.

When I observed that same problem about a year ago, I was able to work
around it using \atnextbar\caesura\ *before* the last note in the
bar.  This doesn't work any longer with my current versions, so I
kludged around this problem by redefining \grcu and \grcl (MusixTeX's
grace note macros) to give a \caesura.  Code snippet follows:

---
% dirty trick: instead of grace notes, give me a caesura
%% \def\grcu#1{\normalnotesize\caesura}\let\grcl\grcu

e0 o_+10 \caesura\ GWxe | e4 o_+10 e4 o_+10 e4 o_+10 e4 o_+10 | e2 e2 |
---

As you can see, the \caesura\ gets completely dropped from PMX output,
but the Gx results in either \grcu or \grcl.  (And the W option puts
it exactly where I want it, which makes this workaround even better
than patching the tex source. :-) )  (Oh, and sticky ornaments don't
work for me.)

The PMX doc states that this type of TeX string will be posted `right
before the command for the next note'.  Could this be changed to
`right before the next note or bar line'?  Or would a command to be
posted `right after the preceding note' be more helpful?  In my
opinion, dropping the string is never what I intended...

Alex

PS.  Thanks to Werner Icking for privately suggesting a different
workaround, namely

 >     \sk\caesura\bsk\ e0 |

Haven't tried that yet.

-- 
Alexander Jolk * Alexander.Jolk@phys.uni-karlsruhe.de * +49-721-608-3572
From mutex-owner@mail.gmd.de  Thu Aug 17 21:30:43 2000
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To: mutex <mutex@gmd.de>, david@graffias.demon.co.uk
Subject: Re: Musixtex and the rivals
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> wrote:
>
> ii) Once I am familiar with Musixtex and can code reasonably quickly -
> will this be quick enough for a professional service, i.e. cost will
> be based on the time it takes to typeset a manuscript? Is Fidelio 2000
> etc. significanlty faster.

Did you already try PMX and/or M-TX? These preprocessors fasten up the 
typing quite a lot.

Bernhard


From mutex-owner@mail.gmd.de  Thu Aug 17 23:37:36 2000
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To: david@graffias.demon.co.uk
cc: mutex@gmd.de (Mutex)
Subject: Re: Musixtex and the rivals 
In-reply-to: Your message of "Thu, 17 Aug 2000 11:46:56 BST."
             <200008171046.LAA01146@graffias.demon.co.uk> 
Date: Thu, 17 Aug 2000 23:01:13 +0200
From: Jan Nieuwenhuizen <janneke@gnu.org>
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On Thursday, 17 August 2000, david@graffias.demon.co.uk writes:

> iii) What other professional typesetting packages are there, esp. on Unix/Lin
    + ux?

Google is your friend.  You should also have a look at LilyPond, and
the various preprocessors for MusiXTeX.

Greetings,

Jan.

-- 
Jan Nieuwenhuizen <janneke@gnu.org> | GNU LilyPond - The music typesetter
http://www.xs4all.nl/~jantien       | http://www.lilypond.org
From mutex-owner@mail.gmd.de  Fri Aug 18 16:43:45 2000
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Subject: Re: Musixtex and the rivals
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On Thu, 17 Aug 2000 david@graffias.demon.co.uk wrote:

> I have an idea to try a cottage industry publishing music, i.e. 
> offering a music typesetting service to local composers etc.
> 
> I am very impressed with Musixtex especially as it runs on 
> Linux and this would appear to be a suitable tool for typesetting 
> musically on a professional basis. However I don't know any of 
> the other tools - I've heard of Sibelius and a quick look on the 
> web for people offering a music typesetting service revealed that 
> they seemed to use Fidelio 2000. I guess both of these are MS 
> windows based (a big down side from my point of view) and both 
> WYSIWIG (I'm happier working in TeX). My main questions are:
> 
> i) How does Musixtex compare with the likes of Fidelio when it 
> ii) Once I am familiar with Musixtex and can code reasonably quickly 
> - will this be quick enough for a professional service, i.e. cost 
> will be based on the time it takes to typeset a manuscript? > 

It is difficult to find somebody who can compare all the 
typesetting programs. Some cheaper commercial ones I tried 
are no comparison to Musixtex, but I cannot tell about the
professional typesetting ones. These will be very expensive.
Regarding speed: if you use a preprocessor like PMX and
a pre-preprocessor like M-Tx, then typesetting Musixtex is 
very fast. The preprocessors do not cover the full
repertoire of Musixtex; however, inline Musixtex commands are
permitted. Preprocessors as well as Musixtex run in Windows
and in Linux; I have both but prefer Linux because you can
write nice Scripts.
> 
> iii) Can Musixtex be used with midi files, i.e. producing music 
> automatically?
There are programs that can import midi, but I have no experience
and they seem in an early development stage. Exporting midi for
checking is possible with the PMX preprocessor. Again the full
repertoire is not covered.
> 
> I am a capable C/C++ programmer so, time permitting, perhaps 
> I could contribute to the project, e.g. see my previous e-mail
> regarding bar lines? I would need some guidance on where to start etc.
What do you want to program with C? A postprocessor? The bar line
problem has to be solved with TeX macros and you could make an add-on
solving that.

Happy musixtexing,
                    Christof

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Date: Fri, 18 Aug 2000 17:05:49 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: Christof Biebricher <cbiebri@gwdg.de>
cc: david@graffias.demon.co.uk, Mutex <mutex@gmd.de>
Subject: Re: Musixtex and the rivals
In-Reply-To: <Pine.LNX.4.21.0008181605090.22164-100000@fredi.mpibpc.gwdg.de>
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On Fri, 18 Aug 2000, Christof Biebricher wrote:

> On Thu, 17 Aug 2000 david@graffias.demon.co.uk wrote:
> > iii) Can Musixtex be used with midi files, i.e. producing music 
> > automatically?

Try noteedit:

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

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Date: Sat, 19 Aug 2000 09:56:37 +0200
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: r+0 with fermata in PMX
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Hi all,

PMX print an error message when I put a fermata on a rest vertically
adjusted (like "r8+0 of").
This happen, for istance, in the following bar

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
3 2 2 4 2 4  0.00000 1 0 4 16 0


600
./
% bar 1
b42n zbn+ r8 of r8 /
r2b //
a43f zd zfn r8+0 of r8+0 /
fa84n fa8 r8 of fa8 /
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

What is wrong?

Luigi

From mutex-owner@mail.gmd.de  Sat Aug 19 12:59:01 2000
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Date: Sat, 19 Aug 2000 12:31:26 +0200
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: r+0 with fermata in PMX
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Hi all,

PMX print an error message when I put a fermata on a rest vertically
adjusted (like "r8+0 of").
This happen, for istance, in the following bar

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
3 2 2 4 2 4  0.00000 1 0 4 16 0


600
./
% bar 1
b42n zbn+ r8 of r8 /
r2b //
a43f zd zfn r8+0 of r8+0 /
fa84n fa8 r8 of fa8 /
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

What is wrong?

Luigi


From mutex-owner@mail.gmd.de  Sat Aug 19 15:13:49 2000
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
References: <3.0.6.32.20000819123126.007c9760@box1.tin.it>
Subject: Re: r+0 with fermata in PMX
Date: Sat, 19 Aug 2000 14:47:23 +0200
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it looks for me like a little bug
a way around is:

----
%3 2 2 4 2 4  0.00000 1 0 4 16 0
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    3   2    2    4   2   4   0  1
% npages,nsyst,musicsize,fracindent
  1   1  16  .0


600
./
% bar 1
b42n zbn+ r8 of r8 / 
r4b r8b of rb // 
a43f zd zfn r8-0 r+0 / 
fa84n fa8 r8 of fa8 /
------

Andre

----- Original Message ----- 
From: Luigi Cataldi <luicatal@tin.it>
To: <mutex@gmd.de>
Sent: Saturday, August 19, 2000 12:31 PM
Subject: r+0 with fermata in PMX


> Hi all,
> 
> PMX print an error message when I put a fermata on a rest vertically
> adjusted (like "r8+0 of").
> This happen, for istance, in the following bar
> 
> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
> 3 2 2 4 2 4  0.00000 1 0 4 16 0
> 
> 
> 600
> ./
> % bar 1
> b42n zbn+ r8 of r8 /
> r2b //
> a43f zd zfn r8+0 of r8+0 /
> fa84n fa8 r8 of fa8 /
> %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
> 
> What is wrong?
> 
> Luigi
> 
> 


From mutex-owner@mail.gmd.de  Mon Aug 21 02:12:37 2000
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From: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@sce.cnc.una.py>
To: "Mutex List" <mutex@gmd.de>
Subject: Bach sonata for flute and cembalo obligato
Date: Sun, 20 Aug 2000 19:18:13 -0300
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Hi, I'm transcribing the mentioned sonata by Bach, using as source a medium
resolution facsimile, there are many ambiguous cases, and I would like to
know if there's anyone who could send me a MIDI until I get a better source
for checking

Regards

David

From mutex-owner@mail.gmd.de  Mon Aug 21 06:28:52 2000
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From: =?utf-7?Q?Simons=2C_Don?= <DSimons@logicon.com>
To: =?utf-7?Q?=27mutex+AEA-gmd=2Ede=27?= <mutex@gmd.de>
Subject: =?utf-7?Q?RE=3A_Bach_sonata_for_flute_and_cembalo_obligato?=
Date: Sun, 20 Aug 2000 21:15:17 -0700
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There are three such sonatas, in b minor, E flat, and A.

There are lots of MIDI files out there.  Try 
http://www.prs.net/bach.html 

--Don Simons

-----Original Message-----
From: David Gonz+AOE-lez
To: Mutex List
Sent: 8/20/00 3:18 PM
Subject: Bach sonata for flute and cembalo obligato

Hi, I'm transcribing the mentioned sonata by Bach, using as source a
medium
resolution facsimile, there are many ambiguous cases, and I would like
to
know if there's anyone who could send me a MIDI until I get a better
source
for checking

Regards

David
From mutex-owner@mail.gmd.de  Mon Aug 21 08:29:26 2000
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Date: Mon, 21 Aug 2000 08:13:23 +0200
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: Bach sonata for flute and cembalo obligato
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At 19.18 20/08/00 -0300, you wrote:
>Hi, I'm transcribing the mentioned sonata by Bach, using as source a medium
>resolution facsimile, there are many ambiguous cases, and I would like to
>know if there's anyone who could send me a MIDI until I get a better source
>for checking
>
>Regards
>
>David
>
>
Try this site

http://www.jsbach.org/

Luigi

From mutex-owner@mail.gmd.de  Mon Aug 21 08:44:12 2000
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From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: Christof Biebricher <cbiebri@gwdg.de>
cc: david@graffias.demon.co.uk, Mutex <mutex@gmd.de>
Subject: Re: Musixtex and the rivals
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On Fri, 18 Aug 2000, Christof Biebricher wrote:

> > 
> > iii) Can Musixtex be used with midi files, i.e. producing music 
> > automatically?
> There are programs that can import midi, but I have no experience
> and they seem in an early development stage. Exporting midi for
> checking is possible with the PMX preprocessor. Again the full
> repertoire is not covered.


If you are a Linux user try "noteedit". It can import MIDI
and output MusiXTeX. I tried the 1st movement of
Beethoven's 5th symphony  (http://prs.net/cgi-bin/n.cgi/acb/1/gmb5m1.mid)
and Korsakov's "Flight of the Bumblebee" 
(http://prs.net/cgi-bin/n.cgi/acb/7/bumble.mid)
and the result looks as if a musician could play this.

Presently "noteedit" cannot recognize triplets. I'm working on it.

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html



-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)



From mutex-owner@mail.gmd.de  Tue Aug 22 08:53:29 2000
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From: Mthimkhulu Molekwa <MMolekwa@rrs.co.za>
To: "'Christian Mondrup'" <scancm@biobase.dk>
Cc: "'Musixtex'" <Mutex@gmd.de>
Subject: RE: Continuous and separate bar lines
Date: Tue, 22 Aug 2000 08:32:44 +0200
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You're missing the extension file: musixeng.tex. I usually include it in my format file whenever I download a new MusiXTeX  distribution.

        | ===================================|
       | Mthimkhulu Molekwa				       |
      | Design Engineer			                      |
     | Tel office:	+27 21 880 1150			     |
    | Fax office:	+27 21 880 1153			    |
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-----Original Message-----
From:	Christian Mondrup [SMTP:scancm@biobase.dk]
Sent:	Monday, August 21, 2000 20:10
To:	Mthimkhulu Molekwa
Subject:	Re: Continuous and separate bar lines

Mthimkhulu Molekwa wrote:
> 
> Hello David and all,
> 
> Solution to your primary problem: With the latest release of MusiXTeX
> (T.99) comes an extension package 'musixbar.tex' which provides macros that
> do exactly what you require. Section 2.13.4 p.47 of the manual describes
> the macros.
> 
> Here's another example, an excerpt from "The Marriage of Figaro":
> 

Allthough the problem you're reacting on is not mine I nevertheless
found your example interesting in itself and therefore have tried to
process the musixtex code. Unfortunately I didn't suceed, even after
having explicitly included musixtex musixsty in the preamble of the
example in order to cope with other musixtex processing errors.

I use TeTeX within Redhat 6.2 linux. 

I get these message and am not able to finish the musixtex processing

This is TeX, Version 3.14159 (Web2C 7.3.1)
(figaro.tex
(/usr/share/texmf/tex/generic/local_texmf/musixtex/musixtex.tex
MusiXTeX(c) T.99 <6 June 2000>
) (/usr/share/texmf/tex/generic/local_texmf/musixtex/musixsty.tex
MusiXtextSTYle T.94 <11 May 1999>
) (/usr/share/texmf/tex/generic/local_texmf/musixtex/musixadd.tex
MusiXADDitional instruments T.99 <24 March 2000>
) (/usr/share/texmf/tex/generic/local_texmf/musixtex/musixfll.tex
MusiXFormerLedgerLines T.74 <06 April 1997>
) (/usr/share/texmf/tex/generic/local_texmf/musixtex/musixbar.tex
MusiXBAR printing or hiding seperate bar lines 1.01 <23 Februar 2000>
) (/usr/share/texmf/tex/generic/local_texmf/MusiXLyr/musixlyr.tex
MusiXLYRics 1.1 <18 December 1997>
)
\startmuflex launched by \startpiece 
! Undefined control sequence.
l.97 \Notes\idyn\p\ca J\er
                          \ni

Do I possibly miss something in my setup ?
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01

From mutex-owner@mail.gmd.de  Thu Aug 24 14:29:04 2000
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To: mutex@gmd.de
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Subject: music in tex -- faq entry
Date: Thu, 24 Aug 2000 13:06:09 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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Jan Nieuwenhuizen points out that the uk tug faq entry for music
typesetting is lamentably out of date.  my problem with updating it is
that i hardly ever typeset music any more (there are two music
examples in one document i occasionally update, and that's it).

my own view is that we could presumably drop reference to andreas
egler's musixtex, but the way that the faq is structured prevents me
from making a `normal' reference to his opustex.  i would like to add
reference to current preprocessors-of-choice (it only references
abc2mtex at present), and the (at least two) graphical music editors
that speak tex.

sadly, i'm incompetent to write any of the text required: hence this
message asking for help.

so anyone who would like to offer a replacement entry, or would like
to offer bits of text describing things omitted, is urged to send
stuff along to me (best at uktug-faq@tex.ac.uk, which filters off into
the right area for response).

the present entry may be seen at

http://www.tex.ac.uk/cgi-bin/texfaq2html?keyword=&question=82

yes, i know it's wrong in several respects ... not least, simply
because it's so old (it looks, from the changelog, as if i last worked
on that question in june 1995!).

the source is in latex, so html additions create trouble for me --
please don't do that if you want to speed things up ;-)

robin

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From: "Sesterhenn, Andreas" <Andreas.Sesterhenn@cgtec.sema.de>
To: mutex@gmd.de
Subject: Midi -> *** -> Musixtex
Date: Thu, 24 Aug 2000 15:19:27 +0200
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Hi,

is there any (easy) way to import a midi-file and export
(mayby via different other formats) into musixtex?

I read about noteedit, but I have no Linux at hand.

Thanks in advance

Andreas

Andreas Sesterhenn
Sema Group CGTec GmbH
e-mail: andreas.sesterhenn@cgtec.sema.de


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<TITLE>Midi -&gt; *** -&gt; Musixtex</TITLE>
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<P><FONT SIZE=2 FACE="Arial">Hi,</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">is there any (easy) way to import a midi-file and export</FONT>
<BR><FONT SIZE=2 FACE="Arial">(mayby via different other formats) into musixtex?</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">I read about noteedit, but I have no Linux at hand.</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">Thanks in advance</FONT>
</P>

<P><FONT SIZE=2 FACE="Arial">Andreas</FONT>
</P>

<P><FONT SIZE=2 FACE="Tahoma">Andreas Sesterhenn</FONT>
<BR><FONT SIZE=2 FACE="Tahoma">Sema Group CGTec GmbH</FONT>
<BR><FONT SIZE=2 FACE="Tahoma">e-mail: andreas.sesterhenn@cgtec.sema.de</FONT>
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From mutex-owner@mail.gmd.de  Thu Aug 24 19:16:27 2000
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Date: Thu, 24 Aug 2000 18:57:57 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Re: Midi -> *** -> Musixtex
In-Reply-To: <61FAF089A85FD311899C00104B8FE72F42689A@c222.cgtec-mainz.de>
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On Thu, 24 Aug 2000, Sesterhenn, Andreas wrote:

> is there any (easy) way to import a midi-file and export
> (mayby via different other formats) into musixtex?
> 
> I read about noteedit, but I have no Linux at hand.

Bad!

I don't know what you target is: MusiXTeX or any printable output.
In the latter case I recommend on Windows a sharware called
"Note Worthy Composer":

	http://www.ntworthy.com

The non-licensed version has very fair restrictions. The license
costs US $39

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Thu Aug 24 19:31:33 2000
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Date: Thu, 24 Aug 2000 19:10:01 +0200 (DFT)
From: Lukas Gruetzmacher <lukas-mailinglists@gmx.net>
To: MuX2d announce list <mux2d-announce@lists.sourceforge.net>
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Subject: MuX2d 0.2.4
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--- WHAT ---
This is the announcement for MuX2d 0.2.4 - a graphical editor for MusiXTeX
(a TeX macro package) using Qt 2.x.
For the edited score can be created a MusiXTeX file which will be
computed by TeX and musixflx and display by xdvi.

--- STATE ---
MuX2d is still in a alpha state. Features are planned in a roadmap. See
"To Do" on the website http://mux2d.sourceforge.net.

--- NEW ---
New in this version is the support beams. They will be rendered
automaticly on screen an in the same measure in the TeX file.
For large score it's now possible to scroll the viewport.

--- REQUIREMENTS ---
Qt 2.x (tested with 2.0.2)
musixtex (tested with T.98)
musixflx (tested with 0.83/T.63dt+jh.2)
MusiXLYRics (tested with 1.1)

If you (want|need) to patch the configure script:
autoconf (tested with 2.13)

--- DOWNLOAD ---
http://sourceforge.net/project/showfiles.php?group_id=1144
http://sourceforge.net/cvs/?group_id=1144

--- INFO ---
I want to invite you the a new MuX2d-list: mux2d-discuss
A discussion list for users (and hopfully some new developers) about
MuX2d.
http://sourceforge.net/mail/?group_id=1144

Please have a look at http://mux2d.sourceforge.net/

Yours,
Lukas

From mutex-owner@mail.gmd.de  Wed Aug 30 20:32:25 2000
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Message-ID: <39AD4EA3.CC1ABBF5@quasar.ipa.nw.ru>
Date: Wed, 30 Aug 2000 11:12:51 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: \csh, \cfl, \cna in M-Tx/PMX
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Hi All,

I've come across a real example, which contains an accidental in
parenthesis (don't know [the English for] its musical name). I use M-Tx,
which is great for the type of music (vocal) which I type. But I failed
to find a proper notation for the type of accidental, which in MusiXTeX
is expressed by \cna and friends. I found a hack, which temporarily
turns a (half) note to a zbreve, but it didn't help me in the described
case.

May I ask somebody to help me write one or two macros which I would use,
this way, for example:

| .....  \bignameanscna\ d8n ..... |

or
| .....  \bignameanscna\ d8n \bignameansbigna\ ..... |

Thank you in advance

Alexander


From mutex-owner@mail.gmd.de  Wed Aug 30 21:15:47 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: \csh, \cfl, \cna in M-Tx/PMX
Date: Wed, 30 Aug 2000 12:03:16 -0700
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> Alexander V. Voinov [SMTP:avv@quasar.ipa.nw.ru] wrote
> 
>I've come across a real example, which contains an accidental in
>parenthesis (don't know [the English for] its musical name). 

cautionary accidental

>I found a hack, which temporarily
>turns a (half) note to a zbreve, 

!?  how did \zbreve enter the picture???

>May I ask somebody to help me write one or two macros which I would use,

Suppose (in PMX syntax) you have the input "cn44" and you want to convert
the natural to a cautionary natural.  First you ought to look in the
unaltered TeX source to check which MusiXTeX command is being used to place
the original natural.  Suppose it's \bigna{...} .  Then to replace the
natural by a cautionary natural you would use (again, in PMX syntax)

"\let\bignat\bigna\def\bigna#1{\cna{#1}\let\bigna\bignat}\ cn44"

If you want to define a macro, you could use

"\\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}\"

at the top of the input file, then

"\cautna\ cn44"

in the body.  I haven't tested any of these but I think they'll be OK.
There could still be problems with horizontal spacing if the line is
crowded, because PMX will think there's a natural there, and \cna might be a
little bit wider.  In that case you would need to insert extra horizontal
space with X...

--Don Simons


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Date: Wed, 30 Aug 2000 21:12:02 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \csh, \cfl, \cna in M-Tx/PMX
To: mutex@gmd.de, avv@quasar.ipa.nw.ru
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> Date: Wed, 30 Aug 2000 11:12:51 -0700
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

> I've come across a real example, which contains an accidental in
> parenthesis (don't know [the English for] its musical name). I use M-Tx,

cautionary accidental

> which is great for the type of music (vocal) which I type. But I failed
> to find a proper notation for the type of accidental, which in MusiXTeX
> is expressed by \cna and friends. [...]

The PMX equivalent is "oen"/"oes"/"oef" as "ornament". This display the 
cautionary accidental on top of the note or on top of the staff whatever
ist higher.

> May I ask somebody to help me write one or two macros which I would use,
> this way, for example:
> 
> | .....  \bignameanscna\ d8n ..... |
> 
> or
> | .....  \bignameanscna\ d8n \bignameansbigna\ ..... |

I'm not sure whether I correctly understand what you want, but maybe
the following PMX-code may help you (I'm not so used to M-Tx).
It defines a TeX-Macro \cntry\ which make the next PMX-generated
accidental into a cautionary accidental. I'm not sure whether it
works with grace notes and it will not work with chords if there
is more than one note with an accidental. And if you use PMX to
generate Midi then the sound may be other than printed.

1 1 3 4 3 4 0 -2
1 2 20 0

t
./

Abr

\\let\bignasav\bigna\
\\let\bigshsav\bigsh\
\\let\bigflsav\bigfl\
\\let\nasav\na\
\\let\shsav\sh\
\\let\flsav\fl\

\\def\ctnrest{\let\bigna\bignasav\let\bigsh\bigshsav\let\bigfl\bigflsav\
 \\let\na\nasav\let\sh\shsav\let\fl\flsav}\
\\def\ctnry{\
\\def\bigna##1{\ctnrest\cna{##1}}\
\\def\bigsh##1{\ctnrest\csh{##1}}\
\\def\bigfl##1{\ctnrest\cfl{##1}}\
\\def\na##1{\ctnrest\cna{##1}}\
\\def\sh##1{\ctnrest\csh{##1}}\
\\def\fl##1{\ctnrest\cfl{##1}}}\

    d45s dn df \ctnry\ ds \ctnry\ dn \ctnry\ df ds dn df /
L2M e45s en ef \ctnry\ es \ctnry\ en \ctnry\ ef es en ef /


The 2nd line shows that \cfl does not work correctly with
relative accidentals if the flat is turned into a double flat.

Daniel, do you hear me?

  \cdfl generates correctly:  (bb)
  If \cfl together with \relativeaccid has to generate something like
  \cdfl then the result looks bad:  (b)b
  
Here's the test case:

\generalsignature{-2}
\startextract\NOtes\cdfl e\qa e\en\endextract
\relativeaccid
\startextract\NOtes\cfl e\qa e\en\endextract
\bye
\generalsignature{-2}
\startextract\NOtes\cdfl e\qa e\en
\generalsignature1\changecontext
\Notes\cdsh f\qa f\en\endextract
\relativeaccid
\generalsignature{-2}
\startextract\NOtes\cfl e\qa e\en
\generalsignature{1}\changecontext
\Notes\csh f\qa f\en\endextract
\bye

-- Werner

From mutex-owner@mail.gmd.de  Wed Aug 30 22:44:22 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: \csh, \cfl, \cna in M-Tx/PMX
Date: Wed, 30 Aug 2000 13:21:26 -0700
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Werner Icking [SMTP:Werner.Icking@gmd.de] wrote

>The PMX equivalent is "oen"/"oes"/"oef" as "ornament". This display the 
>cautionary accidental on top of the note or on top of the staff whatever
>ist higher.

As I use the terms, there is a difference between cautionary accidentals and
editorial accidentals.  The pmx commands "oen", "oen?", etc are editorial
accidentals, which are placed above the staff, without parentheses, and with
or without a "?".  A cautionary accidental is placed in the staff with
parentheses, and never includes a "?".  There is no PMX command for
cautionary accidentals (although there probably should be one :)) The
posting I just made shows how I would write a general macro to replace an
ordinary accidental with a cautionary one.  

Again, as *I* use the terms, there is a very clear difference between
editorial and cautionary accidentals.  Editorial ones are where the editor
is convinced that the composer did not enter an accidental where he should
have, or entered one where he shouldn't have.  The "?" may be appended to
the editorial accidental if the editor is not quite 100% certain that the
composer made a mistake.

On the other hand, cautionary accidentals never affect whether an accidental
should or should not be played.  They are simply warnings to the player to
be careful and follow the usual rules.  If all players always followed the
usual rules then cautionary accidentals would be unnecessary.  

The PMX MIDI file generator ignores all inline TeX and it ignores all
editorial accidentals.  If cautionary accidentals are entered using the
macro I defined in my earlier posting, the MIDI will observe the accidental
because PMX will see it as an ordinary accidental.  But according to what I
wrote in the previous paragraph, the note should already have an "inherited"
accidental from earlier in the bar, so even without any explicit accidental
the MIDI processor--which does know the usual rules--would handle it
properly.

Finally, let me mention that I recently introduced a "MIDI-only" accidental
into PMX.  One situation this is good for is where an editor has inserted an
editorial accidental and wants it to be observed in the MIDI file.  In order
to get the MIDI processor to include the accidental, you could code for
example "cni44 oen".  The natural would not be printed beside the note,
would appear above the note, and would be observed in the MIDI.

--Don Simons
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Date: Wed, 30 Aug 2000 22:21:29 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: musixflx and the last incomplete system
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Hi All,

1. Is there a manual on musixflx, and are there command line options for
it at all?

2. Is there a way not to spread the last incomplete system, which may
contain one or two notes, over the entire staff width?

Yes, I understand that I can rearrange previous systems to incorporate
these two notes into them, but suppose it's impossible.

Thank you in advance

(The TeX fed to musixflx comes from PMX, I _have_ to pass it to
musixflx, right?)
From mutex-owner@mail.gmd.de  Thu Aug 31 11:49:29 2000
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Date: Thu, 31 Aug 2000 11:19:26 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: musixflx and the last incomplete system
To: mutex@gmd.de, avv@quasar.ipa.nw.ru
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> Date: Wed, 30 Aug 2000 22:21:29 -0700
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

> 1. Is there a manual on musixflx, and are there command line options for
> it at all?

Jein - that's German slang for yes and no. There is no manual on musixflx
but the command line options to make musixflx verbose and printing are
described in the MusiXTeX manual.

> 2. Is there a way not to spread the last incomplete system, which may
> contain one or two notes, over the entire staff width?

More than one as you can see e.g. in my edition of BWV1001, the source
of which is on my server.

[...]
> (The TeX fed to musixflx comes from PMX, I _have_ to pass it to
> musixflx, right?)

Opposite to standard musixtex/musixflx PMX determines the line
breaking by using \xbar*...\alaligne instead of \bar. Nevertheless
musixflx is to be used to compute e.g. that \elemskip which will
really fill the corresponding staff-line.

Back to the real problem: I've used two solutions, one which draws the
staff but does not expand the bars to full length. This can be done
with MusiXTeX using some empty bars at the end of the piece. The 
other wich shortens the staff to the required length. There are
several possibilities to do so.

The same can be applied to PMX. It depends highly on the code
generated by PMX. So for your case you must possibly intercept
other code than my examples do. The principle is always the 
same.

I append both solutions.

-- Werner

MusiXTeX solution:

\hsize 190mm\hoffset-15.4mm\vsize 277mm\voffset-15.4mm
\nopagenumbers\nobarnumbers\smallmusicsize%\musicparskip
\def\Bar{\Notes%
 \ifx\TXT\empty\else\uptext{\TXT}\global\let\TXT\empty\fi\qu{cccc}\en}
\def\BAr{\Bar\bar}
\def\BAR{\BAr\BAr\BAr\BAr\BAr\BAr\BAr\BAr\BAr\BAr\BAr\Bar}
\systemnumbers

\def\TXT{Standard}\generalsignature 2\generalmeter{\meterfrac44}
\linegoal 2\startpiece\addspace\afterruleskip\BAR\alaligne
\BAr\Bar\Stoppiece

\def\TXT{modifying hsize}\generalsignature 2\generalmeter{\meterC}
\linegoal 2\startpiece\addspace\afterruleskip\BAR\stoppiece
\hsize 7cm\startbarno\barno\startpiece\addspace\afterruleskip
\BAr\Bar\Stoppiece\hsize 18cm\startbarno1

\def\TXT{using startextract/endextract and leftline as extracline}
\generalsignature 2\generalmeter{\meterC}
\linegoal 2\startpiece\addspace\afterruleskip\BAR\stoppiece
\let\extractline\leftline\startbarno\barno
\startextract\BAr\Bar\setdoubleBAR\endextract\startbarno1

\def\TXT{using dummy bar at the end}\generalsignature 2\generalmeter{\meterC}
\linegoal 2\startpiece\addspace\afterruleskip\BAR\alaligne
\BAr\Bar\setdoubleBAR\bar
\NOTEs\off{8\noteskip}\en\zstoppiece

\def\TXT{using raggedstoppiece}\generalsignature 2\generalmeter{\meterC}
\input musixext
\elemskip 7pt % used for last ragged line
\linegoal 2\startpiece\addspace\afterruleskip\BAR\alaligne
\BAr\Bar\setdoubleBAR\raggedstoppiece

\bye


PMX solution:

1 1 4 4 0 6 0 2
1 12 16 0

t
./

w190m

\\let\alalignesav\alaligne\
\\let\Endpiecesav\Endpiece\

MS1 c44 c c c | c c c c | c c c c | c c c c | c c c c | c c c c |
 c c c c | c c c c | c c c c | c c c c | c c c c | c c c c M /
MS2 c44 c c c | c c c M /

MP1 /
L3 MP2 c /

L4M+12 MP1 /
L6 MP2 c /
\\\def\alaligne{\let\alaligne\alalignesav\
 \\\makeatletter\let\barrul@\empty\makeatother\alaligne}\
RD X60 r0b Rb /


L7M+12 MP1 /
\\\def\alaligne{\let\alaligne\alalignesav\
 \\\stoppiece\hsize 70mm\startbarno\barno\startpiece}\
L9 MP2
\gdef\alaligne{\let\alaligne\alalignesav\
 \stoppiece\hsize 190mm\startbarno 1\contpiece}\
c /

L10M+12
MP1 /
\\\def\alaligne{\let\alaligne\alalignesav\
 \\\stoppiece\hsize 70mm\startbarno\barno\startpiece}\
\\\def\Endpiece{\let\Endpiece\Endpiecesav\Endpiece\hsize 190mm\startbarno 1}\
L12 MP2 c /


From mutex-owner@mail.gmd.de  Thu Aug 31 13:24:54 2000
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Date: Thu, 31 Aug 2000 12:26:09 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: mutex@gmd.de
Subject: Re: Cautionary accidentals (was: \csh, \cfl, \cna in M-Tx/PMX)
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[The contribution below is a little off-topic and may be ignored
 if you are not in the mood for chatting.]

Simons, Don skryf:
> 
> On the other hand, cautionary accidentals never affect whether an accidental
> should or should not be played.  They are simply warnings to the player to
> be careful and follow the usual rules.  If all players always followed the
> usual rules then cautionary accidentals would be unnecessary.  
> 

What does get my goat are scores containing cautionary accidentals that
are not marked as such.  We are at present rehearsing Messiah from the
Novello edition (for the Voices for Hospice day, October 14) and it is
full of accidentals that are in the key signature too, but happen to
have been overridden as many as three bars ago.  In one particularly
bizarre case, the offending accidental belongs to the first note in the
first bar of a new even-numbered page.  I.e. you have just turned the
page when you see it -- the previous accidental is not even in sight.
Approximately 2mm separates it from its companion on the same line in the
key signature.  You can't blame a middle-aged tenor, peering guiltily
though his bifocals instead of staring intently at the conductor, for 
sight-reading it wrong.

Dirk
From mutex-owner@mail.gmd.de  Thu Aug 31 14:42:56 2000
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <mutex@gmd.de>
Subject: 6-lined staves?
Date: Thu, 31 Aug 2000 13:20:11 +0200
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I'm a relatively new LaTeX user and was excited to find out about TeX's
music notating capabilities. I've read some of the documentation supplied
with MusicTeX, but before I go any further learning a given package, I'd
like to ask you experienced folk a question or two.

My main interest in typesetting music is for the guitar and voice. As many
of you are no doubt aware, music written for guitar is only useful to a
large number of guitarists if it is provided in tablature. Tablature is a
notational system for those with insufficient classical music training,
wherein a six-lined staff system that replaces notes with numbers is
employed, in order to directly represent the notes as fingering positions on
the guitar fretboard. In most publications this six-lined staff is attached
below a treble staff with standard notation. My questions:

1) Does anyone out there use or are any of you aware of someone who uses TeX
to create such standard/tablature notational mix?

2) If so, which program (MusicTeX, MuTeX, etc., or perhaps a specific
package?) is best to use?

3) If not, what tricks could be used to create the six-lined staff, or might
I be better off purchasing a tablature software?

Sincere thanks,
Mike Chapman
Zurich, Switzerland

From mutex-owner@mail.gmd.de  Thu Aug 31 14:48:38 2000
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Date: Thu, 31 Aug 2000 13:28:37 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: \csh, \cfl, \cna in M-Tx/PMX
To: mutex@gmd.de
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Wed, 30 Aug 2000 13:21:26 -0700
> 
> Werner Icking [SMTP:Werner.Icking@gmd.de] wrote
> 
> >The PMX equivalent is "oen"/"oes"/"oef" as "ornament". This display the 
> >cautionary accidental on top of the note or on top of the staff whatever
> >ist higher.
> 
> As I use the terms, there is a difference between cautionary accidentals and
> editorial accidentals. [...]

Just after hitting "Send" I noticed, that I should had written:

 This displays an editorial accidental ... which can be interpreted like
 a cautionary accidental.

And I really used editorial accidentals this way, because it's better
readable in my opinion than cautionary accidentals.

In the meantime I detected that the solution in my previous mail is incomplete.
To have a general conversion for any single accidental into a cautionary
accidental using my macro \ctnry this macro has to be extended to deal
with \smallna, \smallsh and \smallfl in the same way as with \bigna, ...

And in addition all doublesharps and doubleflats may be included.

Both extensions can be a nice excercise for the interested reader :-)

-- Werner

From mutex-owner@mail.gmd.de  Thu Aug 31 15:19:37 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: 6-lined staves?
To: mutex@gmd.de, chapman@eeh.ee.ethz.ch
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Hello Mike,

did you look up the mailing list's archive for tabulature?
You find it at http://www.gmd.de/Mail/mutex-archive/

Did you see that there is something about tabulature on
http://www.gmd.de/Misc/Music/ under MusiXTeX add-ons?

MuTeX was the first package for typesetting music with TeX
and it's completely out-of-date. MusiXTeX is the successor 
of MusicTeX. So the right choice is MusiXTeX and maybe
PMX as preprocessor.

There is a little bit about tabulature in MusiXTeX's
documentation. IIRC it's not much.

Six lined staff is easy: \setlines16  It adds one line on
top of the five lined staff. The rest isn't as easy.

-- Werner

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Date: Thu, 31 Aug 2000 15:25:45 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Dirk Laurie <dirk@calvyn.puk.ac.za>
CC: mutex@gmd.de
Subject: Re: Cautionary accidentals (was: \csh, \cfl, \cna in M-Tx/PMX)
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Dirk Laurie wrote:
> 
> [The contribution below is a little off-topic and may be ignored
>  if you are not in the mood for chatting.]
> 
> What does get my goat are scores containing cautionary accidentals that
> are not marked as such.  We are at present rehearsing Messiah from the
> Novello edition (for the Voices for Hospice day, October 14) and it is
> full of accidentals that are in the key signature too, but happen to
> have been overridden as many as three bars ago.  In one particularly
> bizarre case, the offending accidental belongs to the first note in the
> first bar of a new even-numbered page.  I.e. you have just turned the
> page when you see it -- the previous accidental is not even in sight.
> Approximately 2mm separates it from its companion on the same line in the
> key signature.  You can't blame a middle-aged tenor, peering guiltily
> though his bifocals instead of staring intently at the conductor, for
> sight-reading it wrong.
> 

OK, let me contribute a little to the chatting. In the notation of
'classic' dodechaphonic music (Schönberg, Webern, Berg, Eisler ...) a
rather special useage of 'accidentals' has been established: each new
note is prefixed with an accidental, i.e. a sharp, a flat or a natural
in order to make sure exactly which pitch is meant. Of course it belongs
to the picture that this kind of music can't be said to be in any 'key'.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: "M. Chapman" <chapman@eeh.ee.ethz.ch>
CC: mutex@gmd.de
Subject: Re: 6-lined staves?
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"M. Chapman" wrote:
> 
> I'm a relatively new LaTeX user and was excited to find out about TeX's
> music notating capabilities. I've read some of the documentation supplied
> with MusicTeX, but before I go any further learning a given package, I'd
> like to ask you experienced folk a question or two.
> 
> My main interest in typesetting music is for the guitar and voice. As many
> of you are no doubt aware, music written for guitar is only useful to a
> large number of guitarists if it is provided in tablature. Tablature is a
> notational system for those with insufficient classical music training,
> wherein a six-lined staff system that replaces notes with numbers is
> employed, in order to directly represent the notes as fingering positions on
> the guitar fretboard. In most publications this six-lined staff is attached
> below a treble staff with standard notation. My questions:
> 
> 1) Does anyone out there use or are any of you aware of someone who uses TeX
> to create such standard/tablature notational mix?
> 
> 2) If so, which program (MusicTeX, MuTeX, etc., or perhaps a specific
> package?) is best to use?
> 
> 3) If not, what tricks could be used to create the six-lined staff, or might
> I be better off purchasing a tablature software?
> 

Sometime ago a similar question was raised. Here is my slightly revised
proposal for - to a certain degree - meet demands for a guitar tablature
with mtx/pmx:

Meter: C
MyStyle: Voices V1,V2 V3; Choral; Clefs G8 G
Style: MyStyle
Space: 2 0

%% \def\gf#1#2{\lower 1\internote\hbox{\zcharnote{#1}{#2}}}

%% \\setlines{1}{6}\setsize{1}\largevalue\setclefsymbol1\empty\
e4 g b e | 
rpb |
U: @+2 Em C G C
\gf42\ r4b \gf60\ rb \gf80\ rb \gf{10}0\ rb | 

d c b ds | 
rpb | 
U: G Am Em B7
\gf83\ rb \gf81\ rb \gf80\ rb \gf84\ rb | 

e0 zb zg
e0-
U: Em
\gf{10}0\gf80\gf60\gf00\ rb0

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Thu, 31 Aug 2000 09:54:19 -0400
To: chapman@eeh.ee.ethz.ch, mutex@gmd.de
Subject: Re: 6-lined staves?
Message-ID: <39AE638B.nailBGP1F4AYL@linus.cs.queensu.ca>
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 > 3) If not, what tricks could be used to create the six-lined staff, or might
 > I be better off purchasing a tablature software?
 >
Six-lined staffs are easy in musixtex using \setlines but, according to
the manual, tablature macros are not yet ready for use.  (The manual also
says "real guitar players hate tablature"; I wonder what the author
thinks of "real" lutenists?)

Bob T.
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To: "Simons, Don" <DSimons@logicon.com>
cc: mutex@gmd.de
Subject: RE: \csh, \cfl, \cna in M-Tx/PMX
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On Wed, 30 Aug 2000, Simons, Don wrote:

> 
> As I use the terms, there is a difference between cautionary accidentals and
> editorial accidentals.  The pmx commands "oen", "oen?", etc are editorial
> accidentals, which are placed above the staff, without parentheses, and with
> or without a "?".  A cautionary accidental is placed in the staff with
> parentheses, and never includes a "?".  There is no PMX command for
> cautionary accidentals (although there probably should be one :)) The
>
I agree with Dirk that the bad habit of cautionary accidentals, often enough
without parenthesis, produce more errors than they prevent. I am happy
that pmx does NOT have such a macro. Everything unnecessary detracts.

Christof

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To: "Simons, Don" <DSimons@logicon.com>, mutex <mutex@gmd.de>
Subject: Re: \csh, \cfl, \cna in M-Tx/PMX
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"Simons, Don" wrote:
> 
> "\\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}\"
> 

Even if Christof Biebricher earlier today condemned cautionary
accidentals as 'bad habit' your nice little macro (including its
counterparts for sharps and flats) have come in just in time for my
current composing project. There I practice another 'bad habit' of
frequently changing keys and thus at some places want to remind the
performers of an accidental introduced earlier in a bar. And I *dont*
want to use editorial accidentals in that case because they, at least to
me, signify something different. For example in my editions of
renaissance music (Ravenscroft, Pedersøn etc.) I insert editorial
accidentals where the original source for some reason don't have them
but where I - as an editor - think they ought to be.

By experiment I realized that the results of \cautna and friends even
get horizontally offset when I apply a pmx offset suffix on the
'ordinary' accidentals:-)
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Message-ID: <39AEDD9F.BDBD358D@quasar.ipa.nw.ru>
Date: Thu, 31 Aug 2000 15:35:11 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: bar-less music in M-Tx (and thnx for \cautna)
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Hi All,

I'm typing bar-less music in M-Tx (i.e. the concept of meter is usually
not applicable). With the current setup of the support for this in M-Tx,
if I choose bar-less meter, I have no longer a way to set a bar in any
place. I can however set 'decorative' bars (e.g. double bar) anywhere I
like. My proposal is to handle single bars in the case of the barless
music in the same way as double bars are handled currently. That is, to
allow them to appear anywhere and do not count them in any meter
calculations, like with the double bars, instead of prohibiting them.

Alexander


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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx (and thnx for \cautna)
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On Thu, 31 Aug 2000, Alexander V. Voinov wrote:

> 
> I'm typing bar-less music in M-Tx (i.e. the concept of meter is usually
> not applicable). With the current setup of the support for this in M-Tx,
> if I choose bar-less meter, I have no longer a way to set a bar in any
> place. I can however set 'decorative' bars (e.g. double bar) anywhere I
> like. My proposal is to handle single bars in the case of the barless
> music in the same way as double bars are handled currently. That is, to
> allow them to appear anywhere and do not count them in any meter
> calculations, like with the double bars, instead of prohibiting them.
> 
I often typeset bar-less vocal music. M-Tx produces bar lines at the end
of a block. This can be easily used to insert bar lines where you want
them, e.g., to emphasize a rhyme.
Christof


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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx (and thnx for \cautna)
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> I'm typing bar-less music in M-Tx (i.e. the concept of meter is usually
> not applicable). With the current setup of the support for this in M-Tx,
> if I choose bar-less meter, I have no longer a way to set a bar in any
> place. I can however set 'decorative' bars (e.g. double bar) anywhere I
> like. My proposal is to handle single bars in the case of the barless
> music in the same way as double bars are handled currently. That is, to
> allow them to appear anywhere and do not count them in any meter
> calculations, like with the double bars, instead of prohibiting them.

The below example, an excerpt from Michael Praetorius, Musae Sioniae
(1609), CLXXX,
demonstrates how to redefine \doublebar to draw a single barrule

Meter: 0/2
Style: SATB4
Space: 2 0 2 0

%% \makeatletter\let\doublebar\@bar\makeatother

{c1}{t1}
Ge-be-ne-deit sei Gott der Herr des Is-ra-els der h\"o{}ch-ste

{c2}{t2}
der hat be-sucht und gschik-ket her da\ss{} er sein Volk er-l\"o{}-ste

%% \\\stdbarrules\
d0 a2+ a g0 d+ c2 b a0 || c a2 g f d ( f e ) d0 :|
L: {c1,c2}
a0- a2 d b0 b e2 e cs0 || e d2 b a d0 cs2 d0 :|
f0 e2 f g0 fs2 (~ g2d a2 )~ gs4 a0 || a f2 g c b a0 a :|
L: {t1,t2}
d0 cs2 d e0 b c2 e a0- || X2 a d2 e f g a0 d- :|

- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sat Sep  2 08:53:34 2000
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Message-ID: <39B09BC9.CDF44CB6@quasar.ipa.nw.ru>
Date: Fri, 01 Sep 2000 23:18:49 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx (and thnx for \cautna)
References: <Pine.LNX.4.21.0009010933330.30816-100000@fredi.mpibpc.gwdg.de>
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Hi

Christof Biebricher wrote:
> 
> On Thu, 31 Aug 2000, Alexander V. Voinov wrote:
> 
> >
> > I'm typing bar-less music in M-Tx (i.e. the concept of meter is usually
> > not applicable). With the current setup of the support for this in M-Tx,
> > if I choose bar-less meter, I have no longer a way to set a bar in any
> > place. I can however set 'decorative' bars (e.g. double bar) anywhere I
> > like. My proposal is to handle single bars in the case of the barless
> > music in the same way as double bars are handled currently. That is, to
> > allow them to appear anywhere and do not count them in any meter
> > calculations, like with the double bars, instead of prohibiting them.
> >
> I often typeset bar-less vocal music. M-Tx produces bar lines at the end
> of a block. This can be easily used to insert bar lines where you want
> them, e.g., to emphasize a rhyme.

I'm sorry, I didn't understand this. How can it be used to insert bar lines? I have tried to split
one of the blocks, where I'd like to see a bar. It merrily glued one of them with _the other_
(third) block, and I see no way to control this. Please explain me, what did you mean?

Alexander
From mutex-owner@mail.gmd.de  Mon Sep  4 05:46:21 2000
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Message-ID: <39B3179C.419D71E4@quasar.ipa.nw.ru>
Date: Sun, 03 Sep 2000 20:31:40 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: A Choral (Vocal) example in M-Tx is beamed by default
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Hi All,

\subject, while the doc says that M-Tx observes Choral and Vocal styles
so that it beams only what was forced-beamed. See however an example
where it breaks (attached here).

It's checked with SATB, SATB4 and my own style (defined in the example).

What's wrong?

Thank you in advance

Alexander
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From mutex-owner@mail.gmd.de  Mon Sep  4 10:10:18 2000
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Date: Mon, 04 Sep 2000 09:52:05 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: A Choral (Vocal) example in M-Tx is beamed by default
References: <39B3179C.419D71E4@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> \subject, while the doc says that M-Tx observes Choral and Vocal styles
> so that it beams only what was forced-beamed. See however an example
> where it breaks (attached here).
> 
> It's checked with SATB, SATB4 and my own style (defined in the example).
> 
> What's wrong?

In vocal/choral styles beaming is applied only on melismas which must be
indicated by some kind of slur. In your example mtx source you need only
the slurs while the explicit beamings are superfluous. You may achieve
beams having no visible slurs through melismatic slurs, for example  (~
d8d c1 )~

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx 
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On Fri, 1 Sep 2000, Alexander V. Voinov wrote:

> 
> Christof Biebricher wrote:
> > 
> > I often typeset bar-less vocal music. M-Tx produces bar lines at the end
> > of a block. This can be easily used to insert bar lines where you want
> > them, e.g., to emphasize a rhyme.
> 
> I'm sorry, I didn't understand this. How can it be used to insert bar lines? 
>
Just try the following example and it should show (if we use the
same program versions):
******************
Title: Psalm 105: Nun danket Gott, erhebt und preiset 
Composer: Claude Goudimel
Style: SATB
Sharps: 2
Space: 6 3
Meter: 0/2
Pages: 1
Systems: 3
Size: 20

%%h210m w185m
%%\\hoffset=-15.4mm\voffset=-15.4mm\
%%\\vsize=270truemm\
%%\\headline={\tempo\folio\hfil Nun danket Gott, erhebt und preiset\hfil}\
%%\\footline={Psalm 105\hfill EG 290\hfill Claude Goudimel}\
f2 d4 e f2 a a4 a2 g4s a2 r
a2- b4 b d2 f e4 f e2 e r
L: 1.~Nun dan-ket Gott, er-hebt und prei-set
L: 2.~Fragt nach dem Herrn und sei-ner St\"ar-ke;
L: 3.~O Is-ra-el, Gott herrscht auf Er-den.
d2 f4 g a2 d c4 d b2 a r
Arb K+2-1 d2 b4 e d2 d a4+ d- e2 a- r
U: ~~~c.f.

f2 a4 a g2 e d4 d2 c4 d2 r
d2 f4 e e2 c b4 f a2 a r
L: die Gna-den, die er euch er-wei-set,
L: der Herr ist gro{\ss} in sei-nem Wer-ke.
L: er will von dir ver-herr-licht wer-den;
a2 d4 c b2 a f4 d e2 d r
d2 d4 a e2+ a- b4 b a2 d r

b2+ a4 g f g f2 e e r
d2 d4 b d d d2 b c r
L: und zei-get al-len V\"ol-kern an
L: Such doch sein freund-lich An-ge-sicht:
L: er den-ket e-wig sei-nes Bunds
g2 f4 g a b2 a g4s a2 r
g2- d4+ e d g- d2+ e a- r

f2 a4 g f g f2 e e r
d2 d4 b d d d2 b c r
L: die Wun-der, die der Herr ge-tan.
L: dem, der ihn sucht, ver-l\"asst er nicht.
L: und der Ver-hei-{\ss}ung sei-nes Munds,
a2 f4 g a b2 a g4s a2 r
d2 d4 e d g- d2+ e a- r

f2 a4 a g f2 e d4s e2 r
d2 f4 e d d b2 b b r
L: O Volk des Herrn, sein Ei-gen-tum,
L: Denkt an die Wun-der, die er tat,
L: die er dem V\"a-tern kund-ge-tan:
a2 d4 c b a g2 f e r
d2 d4 a b d e2 b e r

f2 a4 g f e2 d c4 d2 r ||
d2 d4 d d b2 a4 a2 a r ||
L: be-sin-ge dei-nes Got-tes Ruhm.
L: und was sein Mund ver-spro-chen hat.
L: Ich lass euch er-ben Ka-na-an!
a2 f4 b a g f2 e d r ||
d2 d4 g- d+ e ( b8 c d4 ) a2 d r ||


From mutex-owner@mail.gmd.de  Mon Sep  4 13:13:01 2000
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Date: Mon, 04 Sep 2000 12:59:27 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Christof Biebricher <cbiebri@gwdg.de>
CC: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>,
        "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx
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Christof Biebricher wrote:
> 
> On Fri, 1 Sep 2000, Alexander V. Voinov wrote:
> 
> >
> > Christof Biebricher wrote:
> > >
> > > I often typeset bar-less vocal music. M-Tx produces bar lines at the end
> > > of a block. This can be easily used to insert bar lines where you want
> > > them, e.g., to emphasize a rhyme.
> >
> > I'm sorry, I didn't understand this. How can it be used to insert bar lines?
> >
> Just try the following example and it should show (if we use the
> same program versions):
> ******************

> Title: Psalm 105: Nun danket Gott, erhebt und preiset
....
> a2- b4 b d2 f e4 f e2 e r
> L: 1.~Nun dan-ket Gott, er-hebt und prei-set
> L: 2.~Fragt nach dem Herrn und sei-ner St\"ar-ke;
> L: 3.~O Is-ra-el, Gott herrscht auf Er-den.

Since you publish an example with numbered lyrics lines I allow myself a
digression from the discussion thread in order to suggest an improved
method of handling stanza numbers: 

\llyr\lyroffset{-1}\ a2- b4 b d2 f e4 f e2 e r
L: 1. Nun dan-ket Gott, er-hebt und prei-set
L: 2. Fragt nach dem Herrn und sei-ner St\"ar-ke;
L: 3. O Is-ra-el, Gott herrscht auf Er-den.

The method is discussed in the mtx documentation, section 2.2

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Sep  4 16:50:39 2000
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Date: Mon, 4 Sep 2000 16:26:44 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Linux: Qt-based note editor 1.9.0: ties/slures
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The Qt-based note editor "noteedit" version 1.9.0 is available:

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

New features:
     - distinction between ties and slurs 
     - alto clef; 
     - average volume during MIDI import; 
     - dynamic clipping during MIDI import; 
     - Tool: Reduce accidentals 

Other features:
     - insertion/deletion/modification of notes, rests, dotted notes/rests, slured notes,
       clefs with/without shift, time signatures, key signatures,
       volume signatures, tempo signatures, triplets, repeat groups with/without special ending and
       instrument changes on different staffs; 
     - building chords; 
     - insert according to key
     - building groups of beamed notes; 
     - playing on /dev/sequencer (if correctly configured) whereby: 
         giving each staff a different voice; 
         giving each staff a different channel; 
	 giving each staff a different chorus and reverbation;
         highlighting the played notes; 
         muting staffs; 
     - lyrics 
     - export MusiXTeX; 
     - export PMX; 
     - export MIDI; 
     - import MIDI; 
     - read from MIDI keyboard; 
     - Application of MIDI event filters to eliminate some dirty effects (especially on human played MIDI files); 
       only with TSE3 record from MIDI keyboard; 

-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Tue Sep  5 03:01:49 2000
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Date: Mon, 04 Sep 2000 17:51:04 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: Re: A Choral (Vocal) example in M-Tx is beamed by default
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Hi

Thank you for the reply.

I'm very sorry, my message was probably a bit confusing. I _didn't want_
any beams in that example, except those, which are specified explicitly.
Does it have something to do with the _meter_ of the example, which may
be quite unusual for a choral music (8ths and 16ths instead of 4ths and
8ths)?

In any case, is there a way (in M-Tx) to prevent beams which otherwise
would appear automatically?

Alexander


Christian Mondrup wrote:
> 
> "Alexander V. Voinov" wrote:
> >
> > Hi All,
> >
> > \subject, while the doc says that M-Tx observes Choral and Vocal styles
> > so that it beams only what was forced-beamed. See however an example
> > where it breaks (attached here).
> >
> > It's checked with SATB, SATB4 and my own style (defined in the example).
> >
> > What's wrong?
> 
> In vocal/choral styles beaming is applied only on melismas which must be
> indicated by some kind of slur. In your example mtx source you need only
> the slurs while the explicit beamings are superfluous. You may achieve
> beams having no visible slurs through melismatic slurs, for example  (~
> d8d c1 )~
> 
> --
> Christian Mondrup, Computer Programmer
> Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
> Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
> Phone: +45 89 49 53 01
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: Re: A Choral (Vocal) example in M-Tx is beamed by default
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"Alexander V. Voinov" wrote:
> 
> Hi
> 
> Thank you for the reply.
> 
> I'm very sorry, my message was probably a bit confusing. I _didn't want_
> any beams in that example, except those, which are specified explicitly.
> Does it have something to do with the _meter_ of the example, which may
> be quite unusual for a choral music (8ths and 16ths instead of 4ths and
> 8ths)?
> 
> In any case, is there a way (in M-Tx) to prevent beams which otherwise
> would appear automatically?
> 

There certainly is, offered by pmx: add an 'a' to one or more notes in
the group that would otherwise be beamed, for example (from your
example)

@-2   f8 f1 f1 f8 g8 | ( aa8d b1 ) f8 r8 | g8 g1 g1 g8 a8 | ( ba8d a1 )
b8 r8 |
L: Ut-ren-nyu-et bo duh moj, ut-ren-nyu-et bo duh moj

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi All,

Is it possible to draw this? Some our singers just got used to, it's
more visual that two or more bars spanning only their respective staves.

Alexander
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Subject: Re: bar-less music in M-Tx (and thnx for \cautna)
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Hi Christian et al.,

Is it possible to do this redefinition only for one particular system,
then roll back?

Alexander

Christian Mondrup wrote:
> demonstrates how to redefine \doublebar to draw a single barrule
> 
> Meter: 0/2
> Style: SATB4
> Space: 2 0 2 0
> 
> %% \makeatletter\let\doublebar\@bar\makeatother

And what is the meaning of stdbarrules here?

> %% \\\stdbarrules\
> d0 a2+ a g0 d+ c2 b a0 || c a2 g f d ( f e ) d0 :|
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Date: Tue, 05 Sep 2000 09:59:20 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: a bar line through the entire system
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> Is it possible to draw this? Some our singers just got used to, it's
> more visual that two or more bars spanning only their respective staves.
> 
> Alexander

Add 

%% \\\stdbarrules\

At the top of the first music paragraph
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Tue, 5 Sep 2000 10:13:16 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: a bar line through the entire system
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Alexander V. Voinov skryf:
> 
> Is it possible to draw this? Some our singers just got used to, it's
> more visual that two or more bars spanning only their respective staves.
> 

M-Tx User's Manual, Index says:

  bar lines
       solid, 18

On page 18, it says:
   \stdbarrules  This will cause bar lines to be drawn solidly from 
  the top to the bottom of each system, maybe cutting through lyrics 
  in the process.

I can recommend the M-Tx User's Manual, especially when browsed via
its index, to any serious M-Tx user.

Dirk
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: bar-less music in M-Tx (and thnx for \cautna)
References: <39AEDD9F.BDBD358D@quasar.ipa.nw.ru> <39AF6607.D5D03D15@biobase.dk> <39B4A148.4C85337D@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi Christian et al.,
> 
> Is it possible to do this redefinition only for one particular system,
> then roll back?
> 

The example below based on my Praetorious example with a dummy paragraph
added sets a lokal definition of \doublebar for the first paragraph and
restores the original defintion in the the subsequent dummy paragraph

Meter: 0/2
Style: SATB4
Space: 2 0 2 0

%% \let\doublebarsav\doublebar

{c1}{t1}
Ge-be-ne-deit sei Gott der Herr des Is-ra-els der h\"o{}ch-ste

{c2}{t2}
der hat be-sucht und gschik-ket her da\ss{} er sein Volk er-l\"o{}-ste

%% \\\stdbarrules\
%% \\\makeatletter\let\doublebar\@bar\makeatother\
d0 a2+ a g0 d+ c2 b a0 || c a2 g f d ( f e ) d0 :|
L: {c1,c2}
a0- a2 d b0 b e2 e cs0 || e d2 b a d0 cs2 d0 :|
f0 e2 f g0 fs2 (~ g2d a2 )~ gs4 a0 || a f2 g c b a0 a :|
L: {t1,t2}
d0 cs2 d e0 b c2 e a0- || X2 a d2 e f g a0 d- :|

%% \\\let\doublebar\doublebarsav\
a0 a a a || a a a a
a0 a a a || a a a a
a0 a a a || a a a a
a0 a a a || a a a a

> And what is the meaning of stdbarrules here?
> 
> > %% \\\stdbarrules\
> > d0 a2+ a g0 d+ c2 b a0 || c a2 g f d ( f e ) d0 :|

M-Tx sets \sepbarrules as default for vocal styles. \stdbarrules
overrules that. See the MusiXTeX documentation section 2.13.3

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi

Dirk Laurie wrote:

>    \stdbarrules  This will cause bar lines to be drawn solidly from
>   the top to the bottom of each system, maybe cutting through lyrics
>   in the process.
>
> I can recommend the M-Tx User's Manual, especially when browsed via
> its index, to any serious M-Tx user.

I'm _very_ sorry, I must have read this.

Alexander


From mutex-owner@mail.gmd.de  Wed Sep  6 16:14:37 2000
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <mutex@gmd.de>
Subject: DVI/PS problems (long post)
Date: Wed, 6 Sep 2000 16:02:45 +0200
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Yes, I appear to be stupid ... and since I am, would someone be so kind as
to help me get started printing the nice pretty music to dvi (or even just
ps)? I can't even get past the first steps. <Sigh.>

I'm using MikTeX, and I've installed the .pk (both 300dpi and 600dpi) and
.tfm fonts in my localtexmf under \fonts\pk\MusiXTeX\300dpi and ...\600dpi
respectively. I've reconfigured, and I've updated the file namebase. Yet Yap
tells me it can't find musixspx.pk or musix20.pk, and PostScript that it
can't find musixspx.pk.

What's curious is that my dvips execution gives me the following:

makepk: warning: specified BDPI <8000> doesn't match ljfour resolution <600>

then it goes on to try and make the file musixspx with makemf, ttf2pk, and
hbf2hf using the 8000 parameter, and finally decides it doesn't know how to
make it. Where is it coming up with this 8000 dpi parameter? It should be
able to just use the 600 or 300 dpi musixspx.pk, no? Is there some parameter
I'm missing when


Yap is a somewhat different story. To save myself the pain, I'll just
include the (long) log file:

Making PK font musixspx...
start: C:\PROGRA~1\office\latex\texmf\miktex\bin\makepk.exe --verbose
musixspx 600 600 magstep(0.0) ljfour
name: musixspx, dpi=600, bdpi=600, mag=magstep(0.0), mode=ljfour
makemf --verbose musixspx
cannot find musixspx source file.
ttf2pk -q -n musixspx 600
hbf2gf -q -p musixspx 600
Consulting C:\program
files\office\latex\texmf\miktex\config\config.makepk...
Consulting C:\program files\office\latex\texmf\dvips\config\config.ps...
makepk: don't know how to make musixspx.pk!

Loading page 1...
Error: Cannot create font musixspx.
musixspx not loadable - loading cmr10 instead!
musixspx: designsize mismatch
musixspx: checksum mismatch
Making PK font musix20...
start: C:\PROGRA~1\office\latex\texmf\miktex\bin\makepk.exe --verbose
musix20 600 600 magstep(0.0) ljfour
name: musix20, dpi=600, bdpi=600, mag=magstep(0.0), mode=ljfour
makemf --verbose musix20
cannot find musix source file.
ttf2pk -q -n musix20 600
hbf2gf -q -p musix20 600
Consulting C:\program
files\office\latex\texmf\miktex\config\config.makepk...
Consulting C:\program files\office\latex\texmf\dvips\config\config.ps...
makepk: don't know how to make musix20.pk!

Error: Cannot create font musix20.
musix20 not loadable - loading cmr10 instead!
musix20: designsize mismatch
musix20: checksum mismatch

From mutex-owner@mail.gmd.de  Wed Sep  6 19:03:36 2000
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <mutex@gmd.de>
Subject: Apologies about DVI/PS problem
Date: Wed, 6 Sep 2000 18:51:30 +0200
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Hi folks,

After looking in the archives and finding numerous (84) entries about *.pk
and other font file problems, I followed a few suggestions and discovered
that I had not placed the source files (*.mf) in the appropriate directory.

I should have gone to the archives first before bothering everybody with
long descriptions about what Yap and dvips were giving me. I apologize.

My output still looks much other than what I'd hoped, but I am now
definitely getting nice-looking, recognizable musical symbols on (or near :)
a staff.

Now back to those notes.

Thanks,
Mike

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Message-ID: <39B68355.A49C9A6D@quasar.ipa.nw.ru>
Date: Wed, 06 Sep 2000 10:48:05 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi All,

I tried to convert some of my dvi's and ps's to pdf, first with Adobe
Distiller, next with pdftex. As I understand, when I use cm fonts, they
get rasterized when used for final output, both for the screen and for
the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
look not very great on the screen (in acroread). I know (I hope) I can
use ps fonts for the text (most notably lyrics) in my music. But is
there any ps equivalent of the music fonts (used to depict notes, slurs,
...)?

Thank you in advance

Alexander


From mutex-owner@mail.gmd.de  Wed Sep  6 20:51:34 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: scalable PDF with scores
Date: Wed, 6 Sep 2000 11:26:20 -0700 
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Alexander--

We've been through this before...search the list archives for the
discussions.  There are no ps versions of the MusiXTeX fonts.  There
apparently is some expensive software that could be used to convert them.
It's apparently a hands-on operation, and there are dozens of fonts that
need to be dealt with.  I could not get any of the pdftex gurus to take the
bait, mainly because of the large number of fonts.  I gave up, but you are
welcome to pursue this.  Although it would seem an obvious task since both
.mf's and Postscript fonts are initially defined as vector fonts, the
attempt to write a public-domain mf-to-ps automatic converter sometime
within the last decade never got to the stage where it was usable.

--Don Simons



> -----Original Message-----
> From:	Alexander V. Voinov [SMTP:avv@quasar.ipa.nw.ru]
> Sent:	Wednesday, September 06, 2000 10:48 AM
> To:	mutex@gmd.de
> Subject:	scalable PDF with scores
> 
> Hi All,
> 
> I tried to convert some of my dvi's and ps's to pdf, first with Adobe
> Distiller, next with pdftex. As I understand, when I use cm fonts, they
> get rasterized when used for final output, both for the screen and for
> the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
> look not very great on the screen (in acroread). I know (I hope) I can
> use ps fonts for the text (most notably lyrics) in my music. But is
> there any ps equivalent of the music fonts (used to depict notes, slurs,
> ...)?
> 
> Thank you in advance
> 
> Alexander
> 
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Date: Wed, 06 Sep 2000 20:46:44 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: scalable PDF with scores
References: <39B68355.A49C9A6D@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> I tried to convert some of my dvi's and ps's to pdf, first with Adobe
> Distiller, next with pdftex. As I understand, when I use cm fonts, they
> get rasterized when used for final output, both for the screen and for
> the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
> look not very great on the screen (in acroread). I know (I hope) I can
> use ps fonts for the text (most notably lyrics) in my music. But is
> there any ps equivalent of the music fonts (used to depict notes, slurs,
> ...)?

there isn't :-(

But you may improve the screen rendering of your pdf files by using the
utility dvipdfm (converting from dvi to pdf): 

http://gaspra.kettering.edu/dvipdfm/

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Wed Sep  6 21:46:36 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Wed, 06 Sep 2000 15:06:39 -0400
To: avv@quasar.ipa.nw.ru, mutex@gmd.de
Subject: Re: scalable PDF with scores
Message-ID: <39B695BF.nailY011PRT9@linus.cs.queensu.ca>
References: <39B68355.A49C9A6D@quasar.ipa.nw.ru>
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 > I tried to convert some of my dvi's and ps's to pdf, first with Adobe
 > Distiller, next with pdftex. As I understand, when I use cm fonts, they
 > get rasterized when used for final output, both for the screen and for
 > the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
 > look not very great on the screen (in acroread). I know (I hope) I can
 > use ps fonts for the text (most notably lyrics) in my music. But is
 > there any ps equivalent of the music fonts (used to depict notes, slurs,
 > ...)?

There are type 1 ("Postscript") versions of the CM fonts if you want.
And there is a commercial Adobe music font (Sonata) in type 1 format, but
there aren't AFAIK type 1 versions of the musixtex fonts.  I once
did some work on this with Richard Kinch's help, but the technology to
do it automatically from the Metafont sources isn't yet available; perhaps 
some day.  You might want to try dvipdfm as an alternative way of 
producing pdf, but the results will not be significantly better than 
with pdftex.

Bob T.

From mutex-owner@mail.gmd.de  Thu Sep  7 00:31:40 2000
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: scalable PDF with scores 
In-Reply-To: Your message of "Wed, 06 Sep 2000 10:48:05 PDT."
             <39B68355.A49C9A6D@quasar.ipa.nw.ru> 
Date: Wed, 06 Sep 2000 23:10:56 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> I tried to convert some of my dvi's and ps's to pdf, first with Adobe
> Distiller, next with pdftex. As I understand, when I use cm fonts, they
> get rasterized when used for final output, both for the screen and for
> the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
> look not very great on the screen (in acroread). I know (I hope) I can
> use ps fonts for the text (most notably lyrics) in my music. But is
> there any ps equivalent of the music fonts (used to depict notes, slurs,
> ...)?

no.  and there's little prospect of it that i can detect.  the only
public-spirited person who's done this in the recent past is taco
hoekwater, and he's currently got his hands full with a set of fonts
for the stix project -- unicode maths, that is.

there is talk in cyrtug of doing the conversion using a new approach,
but there are more new problems being found than solutions just now.

sasha berdnikov gave a presentation of the project at tug2000.

From mutex-owner@mail.gmd.de  Thu Sep  7 09:15:07 2000
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>, <mutex@gmd.de>
Subject: AW: scalable PDF with scores
Date: Thu, 7 Sep 2000 09:00:30 +0200
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We here at my lab have had problems with scalable fonts when using just dvi
to pdf writer, so we use dvips but with the following (already supported,
don't know ver. number) batch file code, then use Adobe Distiller on the ps
file to get a pdf file. The dvips version is

@ECHO OFF
ECHO dvips optimized for pdf distiller (M. Steurer)
rem DVIPS.EXE -j0 -Pcmz -Pamz %1 %2 %3 %4 %5 %6 %7 %8 %9
DVIPS.EXE -Ppdf %1 %2 %3 %4 %5 %6 %7 %8 %9
pause

Hope it helps...
Mike

> -----Ursprungliche Nachricht-----
> Von: owner-mutex@gmd.de [mailto:owner-mutex@gmd.de]Im Auftrag von
> Alexander V. Voinov
> Gesendet: Mittwoch, 6. September 2000 19:48
> An: mutex@gmd.de
> Betreff: scalable PDF with scores
>
>
> Hi All,
>
> I tried to convert some of my dvi's and ps's to pdf, first with Adobe
> Distiller, next with pdftex. As I understand, when I use cm fonts, they
> get rasterized when used for final output, both for the screen and for
> the printer. Therefore my ps and pdf's, prepared with 600dpi in mind
> look not very great on the screen (in acroread). I know (I hope) I can
> use ps fonts for the text (most notably lyrics) in my music. But is
> there any ps equivalent of the music fonts (used to depict notes, slurs,
> ...)?
>
> Thank you in advance
>
> Alexander
>
>

From mutex-owner@mail.gmd.de  Thu Sep  7 11:01:33 2000
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To: "M. Chapman" <chapman@eeh.ee.ethz.ch>
cc: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>, mutex@gmd.de
Subject: Re: AW: scalable PDF with scores 
In-Reply-To: Your message of "Thu, 07 Sep 2000 09:00:30 +0200."
             <NBBBLIHGKKEJMEAOINDNGEKECCAA.chapman@eeh.ee.ethz.ch> 
Date: Thu, 07 Sep 2000 09:37:49 +0100
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> We here at my lab have had problems with scalable fonts when using just dvi
> to pdf writer, so we use dvips but with the following (already supported,
> don't know ver. number) batch file code, then use Adobe Distiller on the ps
> file to get a pdf file. The dvips version is
> [...]
> DVIPS.EXE -Ppdf %1 %2 %3 %4 %5 %6 %7 %8 %9

this does indeed optimise for text fonts: the issue is the music
fonts, unfortunately.
From mutex-owner@mail.gmd.de  Thu Sep  7 22:20:31 2000
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Message-ID: <39B7F168.81360406@biobase.dk>
Date: Thu, 07 Sep 2000 21:50:00 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: Typesetting of guitar fingering
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Dear fellow mutex subscribers.

I allow myself to draw your attention to a few scores published on the
GMD archive today, ftp://ftp.gmd.de/music/scores/mondrup/aakjguit.ps.
The scores in question are arrangements of some Danish dialect language
songs for solo voice with guitar accompaniment made in collaboration
with Eva Jaksh. I specially encourage you to have a look at the
collection of guitar fingering macros following with the mtx sources.
Most of the macros have been contributed by Eva and should make it
possible to meet most guitar fingering needs.

Enjoy
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Sep 12 18:32:35 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: PMX 2.27
Date: Tue, 12 Sep 2000 08:56:30 -0700
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There is a new test version of PMX available at

  ftp://ftp.gmd.de/music/musixtex/software/pmx/pmxtest.zip  or
  ftp://ftp.gmd.de/music/musixtex/software/pmx/pmx227.zip
  
It is an incremental upgrade to PMX version 2.2.  

Here are the most important changes since version 2.2.  A more complete list
is in the readme.

1. There is a new version of pmx.tex, which must be placed somewhere where
your TeX processor can find it. 

2. MIDI-only accidental.  Activate by putting "i" anywhere in the
symbol for the note containing the accidental.  This will cause PMX to 
ignore the accidental during typesetting but honor it when making a MIDI
file. 

3. Continued rhythmic shortcuts: Up to now, to use "." or "," the two
affected
notes could not be separated, so the first of the two could not have any
modifiers such as slurs or accidentals.  Now that restriction is removed.
A note-symbol can start with "[blank]." or "[blank]," and will be treated as
if it were the the second member of the pair in the old syntax. The basic
note 
value will be held at that of the prior note.  

4. Dynamics: 
Process the file "dyntest.pmx"to see all the available letter-groups and 
hairpins.  To use, after the affected note, enter "D" followed by one of the

following
"pppp","ppp","pp","p","ffff","fff","ff","f","mf","mp","fp","sfz",">",
or "<" .  The last two are diminuendo and crescendo, and they are
toggles...the 
first one of each starts the symbol and the next one ends it.  You can also 
enter position shifts, vertical as a signed integer representing
the number of \internotes, then horizontal as a signed number representing 
number of notehead widths.  

There is also a "Literal dynamics" option.  In place of one the 12 letter 
groups, enter any text surrounded by double quotes.  The text will be
literally
used as the argument of a \zcharnote command.  If not a TeX macro, it will
be
printed in italics. 

--Don Simons
  dsimons@logicon.com
From mutex-owner@mail.gmd.de  Tue Sep 12 19:18:30 2000
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Date: Tue, 12 Sep 2000 18:40:05 +0200 (MEST)
From: Joerg Anders <J.Anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Linux: noteedit-1.9.1: transpose
Message-ID: <Pine.LNX.4.05.10009121839280.16811-100000@wicht.informatik.tu-chemnitz.de>
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The Qt-based note editor "noteedit" version 1.9.1 is available:

http://rnvs.informatik.tu-chemnitz.de/~ja/noteedit/noteedit.html

New features:
	- transposition
	- play transposed (this is usefull if you wrote an instrument in F major (or so...)
	- merging staffs before MIDI import (there are MIDI files with a piano spread over 5(!) tracks)

Other features:
     - insertion/deletion/modification of notes, rests, dotted notes/rests, tied/slured notes,
       clefs with/without shift, time signatures, key signatures,
       volume signatures, tempo signatures, triplets, repeat groups with/without special ending and
       instrument changes on different staffs; 
     - building chords; 
     - insert according to key
     - building groups of beamed notes; 
     - playing on /dev/sequencer (if correctly configured) whereby: 
         giving each staff a different voice; 
         giving each staff a different channel; 
	 giving each staff a different chorus and reverbation;
         highlighting the played notes; 
         muting staffs; 
     - lyrics 
     - export MusiXTeX; 
     - export PMX; 
     - export MIDI; 
     - import MIDI; 
     - read from MIDI keyboard; 
     - Application of MIDI event filters to eliminate some dirty effects (especially on human played MIDI files); 
       only with TSE3 record from MIDI keyboard; 
-- 
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Tue Sep 12 20:30:51 2000
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Date: Tue, 12 Sep 2000 20:00:52 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: PMX 2.27, generating linux binaries
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Christian Mondrup wrote:
> 
> Copy the pmx fortran code file pmx227.for to pmx227.f and in that file
> replace the two instances of 'call getarg' with the commented out
> alternative line below.
> 
> Perform the fortran->c code conversion: f2c pmx227.f -Nn802 -Nx400
> 
> Compile the converted c code: gcc pmx227.c -lf2c -lm -o pmxab
> 
> Copy the new binary to where you use to store the pmx binary and replace
> pmx.tex with the previous version.
> 

OOPS! of course you should do the opposite: replace the previous pmx.tex
with the new one.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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"Simons, Don" wrote:
> 
> There is a new test version of PMX available at
> 
>   ftp://ftp.gmd.de/music/musixtex/software/pmx/pmxtest.zip  or
>   ftp://ftp.gmd.de/music/musixtex/software/pmx/pmx227.zip
> 
> It is an incremental upgrade to PMX version 2.2.
>

Here is how I successfully and rather simply got this and the previous
pmx test release compiled for my linux station. You need
 
gcc, the GNU c compiler, probably installed on most linux stations

f2c, a fortran->c source code converter. For linux users using rpm
packages a rpm distribution is found within the redhat 6.2 power tools
collection.

Copy the pmx fortran code file pmx227.for to pmx227.f and in that file
replace the two instances of 'call getarg' with the commented out
alternative line below.

Perform the fortran->c code conversion: f2c pmx227.f -Nn802 -Nx400

Compile the converted c code: gcc pmx227.c -lf2c -lm -o pmxab

Copy the new binary to where you use to store the pmx binary and replace
pmx.tex with the previous version. 

That should be all. At least it works for me.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Reinhard Katzmann <reinhard@suamor.de>
To: Christian Mondrup <scancm@biobase.dk>
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Hi Christian!

> 
> Here is how I successfully and rather simply got this and the previous
> pmx test release compiled for my linux station. You need

It's much simpler possible: Grab the archive and the src rpm and rebuilt
it (you have to adapt the version number in the spec file but that's
probably about it. As soon as I have possibility I will rebuild pmx and
noteedit and upload pmx to musixtex archive.

> f2c, a fortran->c source code converter. For linux users using rpm
> packages a rpm distribution is found within the redhat 6.2 power tools
> collection.

Best is to fetch the current version from RedHat7 Beta and recompile it
(but you need to have rpm 3.0.5 installed which recognizes the new rpm format)
If someone is interested I can upload f2c binaries for rpm 3.x somewhere
as well.

Best regards,

Reinhard Katzmann
--
E-Mail: reinhard@suamor.de
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
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Subject: extended cut time measures
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Do any of you know the sign used for alla breve if I want more than four
beats, say eight instead? I guess that would be the equivalent of 8/4 time
in place of 4/4...

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On Wed, 13 Sep 2000, M. Chapman wrote:

> Do any of you know the sign used for alla breve if I want more than four
> beats, say eight instead? I guess that would be the equivalent of 8/4 time
> in place of 4/4...
> 
If it is old music you can use the same sign (\allabreve). It applies
for any `tempus imperfectum' (twofold symmetry). However, the sign
for allabreve `tempus perfectum' (full circle with vertical slash)
is missing in Musixtex. If it changes often between the two
(Schütz, Frescobaldi), then 4/2 and 3/2 (or 3/1) is more consistent.
Christof

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Christof Biebricher wrote:
> 
> On Wed, 13 Sep 2000, M. Chapman wrote:
> 
> > Do any of you know the sign used for alla breve if I want more than four
> > beats, say eight instead? I guess that would be the equivalent of 8/4 time
> > in place of 4/4...
> >
> If it is old music you can use the same sign (\allabreve). It applies
> for any `tempus imperfectum' (twofold symmetry). However, the sign
> for allabreve `tempus perfectum' (full circle with vertical slash)
> is missing in Musixtex.

For my modern editions of renaissance music I've some time ago got
assistance from Mats Bengtsson (one of the Lilypond wizzards) to add a
tempus perfectum symbol together with other white mensural music
notation symbols to the Lilypond feta font. A 'frozen' version of this
font together with a collection of musixtex macros making use of these
symbols is separately available with my Thomas Ravenscroft editions,
ftp://ftp.gmd.de/music/scores/ravenscroft/common.zip. To use them with
pmx/mtx you must manually insert them into the score by means of a blind
rest combined with one of the macros.

> If it changes often between the two
> (Schütz, Frescobaldi), then 4/2 and 3/2 (or 3/1) is more consistent.
> Christof

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sun Sep 17 13:25:00 2000
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To: mutex@gmd.de
Subject: Guitar notation: sustained barre chords
Date: Sun, 17 Sep 2000 13:19:47 +0200
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Hello everyone,

I have a question for the MusiXTeX-perts.

In fingering classical guitar music, one very often needs a way to
indicate how long a barre chord must be sustained. This is commonly
notated by a horizontal line above the staff that terminates in a
downward hook where the barre ends.

Presently, I create the Barre symbol (C with vertical slash, followed
by Roman numeral for fret number and Arabic subscript indicating the
minimum number of strings under the barre), by the following:

\def\fr#1#2{\smalltype C\kern -4pt$\mid$\hskip1pt{#1}{$_#2$}}%

This is positioned using \zcharnote:

\def\cfr#1#2#3{\zcharnote{#1}{\fr{#2}{#3}}}%

And a horizontal line comes into being thusly (courtesy of Christian
Mondrup):

\def\holdc#1{\hbox{\raise \Internote \vbox{\hrule width%
#1\noteskip}}\vrule height \Internote}%

Combined into one command, this results:

\def\cfrh#1#2#3#4{\zcharnote{#1}{\fr{#2}{#3}\holdc{#4}}}

The problem with all this is that the horizontal line ignores line
breaks, so that much manual tweaking is necessary.

Werner Icking has suggested that MusixTeX's \Ioctfinup \Ioctfindown
macros might lend themselves to adaptation to handle the line break
issue. So my question is as follows:

How would one adapt those macros to produce a solid line rather than a
dashed one and to follow after my \cfr symbol rather than the
octaviation symbol?

Thanks in advance for any solutions
Eva
--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Mon Sep 18 12:47:50 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Guitar notation: sustained barre chords
To: mutex@gmd.de, evita.j@magnet.at
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> From: evita.j@magnet.at
> Date: Sun, 17 Sep 2000 13:19:47 +0200

> In fingering classical guitar music, one very often needs a way to
> indicate how long a barre chord must be sustained. This is commonly
> notated by a horizontal line above the staff that terminates in a
> downward hook where the barre ends.

> Werner Icking has suggested that MusixTeX's \Ioctfinup \Ioctfindown
> macros might lend themselves to adaptation to handle the line break
> issue. So my question is as follows:
> 
> How would one adapt those macros to produce a solid line rather than a
> dashed one and to follow after my \cfr symbol rather than the
> octaviation symbol?

Here's is a bad solution which destroys the normal functionality of 
\Ioctfin...\Toctfin by modifying \C@TO, \I/Toctfin's base construct.


% This is the original C@TO for comparison
%\def\C@TO{%
%  \ifnum \@ne=\the\o@sw
%    \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
%  \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
%  \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox\@to\y@v{%
%  \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\T@ii\n@ii}}%

\nobarnumbers
\def\BB{\NOtes\qa{cccc}\en\bar}

\startpiece\addspace\afterruleskip
\BB\Ioctfinup2{12}\BB\BB\BB\BB\BB\BB\BB\NOtes\qa{cc}\Toctfin2\qa{cc}\en\bar
\BB\Ioctfinup2{12}\BB\NOtes\qa{cc}\Toctfin2\qa{cc}\en
\linegoal4\Endpiece

% Now redefine C@TO to meet chord barre notation for guitar
\makeatletter
\def\C@TO{%
  \ifnum \@ne=\the\o@sw
    \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
  \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
  \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox{\raise\Internote\hbox\@to\y@v{%
  \lower\Internote\hbox{\octnumber}\hrulefill}\vrule height\Internote}}%
\makeatother

\def\fr#1#2{\smalltype C\kern -4pt$\mid$\hskip1pt{#1}{$_#2$}}
\def\Ifr#1#2#3#4{\gdef\octnumber{\fr{#3}{#4}}\Ioctfinup{#1}{#2}}
\let\Tfr\Toctfin

\startpiece\addspace\afterruleskip
\BB\Ifr2{12}I2\BB\BB\BB\BB\BB\BB\BB\NOtes\qa{cc}\Tfr2\qa{cc}\en\bar
\BB\Ifr2{12}{II}4\BB\NOtes\qa{cc}\Tfr2\qa{cc}\en
\linegoal4\Endpiece

\endmuflex\bye

IMHO the usage of \Internote (copied from \holdc) isn't good. I would
prefer something else e.g. 0.5\Interligne. I understand \Internote
as "horizontal" dimension, whilst \Interligne is a "vertical" dimension.

Nevertheless it makes no sense to use the one or the other unless \fr
uses a musicsize specific font, too.

-- Werner

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Subject: Re: Guitar notation: sustained barre chords
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Werner Icking wrote:
> 
> > From: evita.j@magnet.at
> > Date: Sun, 17 Sep 2000 13:19:47 +0200
> 
> > In fingering classical guitar music, one very often needs a way to
> > indicate how long a barre chord must be sustained. This is commonly
> > notated by a horizontal line above the staff that terminates in a
> > downward hook where the barre ends.
> 
> > Werner Icking has suggested that MusixTeX's \Ioctfinup \Ioctfindown
> > macros might lend themselves to adaptation to handle the line break
> > issue. So my question is as follows:
> >
> > How would one adapt those macros to produce a solid line rather than a
> > dashed one and to follow after my \cfr symbol rather than the
> > octaviation symbol?
> 
> Here's is a bad solution which destroys the normal functionality of
> \Ioctfin...\Toctfin by modifying \C@TO, \I/Toctfin's base construct.
> 
> % This is the original C@TO for comparison
> %\def\C@TO{%
> %  \ifnum \@ne=\the\o@sw
> %    \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
> %  \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
> %  \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox\@to\y@v{%
> %  \octnumber\mxsps\xleaders\hbox{\char\n@v}\hfill\T@ii\n@ii}}%
> 
> \nobarnumbers
> \def\BB{\NOtes\qa{cccc}\en\bar}
> 
> \startpiece\addspace\afterruleskip
> \BB\Ioctfinup2{12}\BB\BB\BB\BB\BB\BB\BB\NOtes\qa{cc}\Toctfin2\qa{cc}\en\bar
> \BB\Ioctfinup2{12}\BB\NOtes\qa{cc}\Toctfin2\qa{cc}\en
> \linegoal4\Endpiece
> 
> % Now redefine C@TO to meet chord barre notation for guitar
> \makeatletter
> \def\C@TO{%
>   \ifnum \@ne=\the\o@sw
>     \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
>   \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
>   \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox{\raise\Internote\hbox\@to\y@v{%
>   \lower\Internote\hbox{\octnumber}\hrulefill}\vrule height\Internote}}%
> \makeatother
> 
> \def\fr#1#2{\smalltype C\kern -4pt$\mid$\hskip1pt{#1}{$_#2$}}
> \def\Ifr#1#2#3#4{\gdef\octnumber{\fr{#3}{#4}}\Ioctfinup{#1}{#2}}
> \let\Tfr\Toctfin
> 
> \startpiece\addspace\afterruleskip
> \BB\Ifr2{12}I2\BB\BB\BB\BB\BB\BB\BB\NOtes\qa{cc}\Tfr2\qa{cc}\en\bar
> \BB\Ifr2{12}{II}4\BB\NOtes\qa{cc}\Tfr2\qa{cc}\en
> \linegoal4\Endpiece
> 
> \endmuflex\bye
> 

As far as I can see with my limited guitar knowledge this solution
suffers, in the case of hold lines extending over line breaks, from a)
the ending vertical line being applied before the line break and b) the
string number/number of strings indications being repeated after the
line break.

> IMHO the usage of \Internote (copied from \holdc) isn't good. I would
> prefer something else e.g. 0.5\Interligne. 

which is the case with the version of \holdc used with the guitar
accompaniment version of my Aakjær songs recently published.

> I understand \Internote
> as "horizontal" dimension, whilst \Interligne is a "vertical" dimension.
> 
> Nevertheless it makes no sense to use the one or the other unless \fr
> uses a musicsize specific font, too.
> 
> -- Werner

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Mon, 18 Sep 2000 15:21:34 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Guitar notation: sustained barre chords
To: scancm@biobase.dk
Cc: mutex@gmd.de, evita.j@magnet.at
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> Date: Mon, 18 Sep 2000 14:21:25 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> Werner Icking wrote:
[...] 
> > % Now redefine C@TO to meet chord barre notation for guitar
> > \makeatletter
> > \def\C@TO{%
> >   \ifnum \@ne=\the\o@sw
> >     \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
> >   \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
> >   \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox{\raise\Internote\hbox\@to\y@v{%
> >   \lower\Internote\hbox{\octnumber}\hrulefill}\vrule height\Internote}}%
> > \makeatother

[...]
> As far as I can see with my limited guitar knowledge this solution
> suffers, in the case of hold lines extending over line breaks, from a)
> the ending vertical line being applied before the line break and b) the
> string number/number of strings indications being repeated after the
> line break.

Erwischt :-)

Here's the next try - but I do not understand why it doesn't matter 
whether the first two lines of the definition are commented out
or not although \n@ii is involved and lateron is compared against
\T@ii :-(

This solves a).

% Now redefine C@TO to meet chord barre notation for guitar
\makeatletter
\def\C@TO{%
% \ifnum \@ne=\the\o@sw
%   \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
  \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
  \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox{%
  \raise\h@lf\Interligne\hbox\@to\y@v{%
  \lower\Internote\hbox{\octnumber}\hrulefill}%
  \ifx\T@ii\n@ii \else\vrule height\h@lf\Interligne\fi}}%
\makeatother

b) can be solved similar; but maybe the repetition of the
   meaning could be useful.

Werner

-- 
Einstein has not only invented Relativitätstheorie,
he was quite a good musician, too:   E = Fb

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CC: mutex@gmd.de, evita.j@magnet.at
Subject: Re: Guitar notation: sustained barre chords
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Werner Icking wrote:
> 
> > Date: Mon, 18 Sep 2000 14:21:25 +0200
> > From: Christian Mondrup <scancm@biobase.dk>
> 
> > Werner Icking wrote:
> [...]
> > As far as I can see with my limited guitar knowledge this solution
> > suffers, in the case of hold lines extending over line breaks, from a)
> > the ending vertical line being applied before the line break and b) the
> > string number/number of strings indications being repeated after the
> > line break.
> 
> Erwischt :-)
> 
> Here's the next try - but I do not understand why it doesn't matter
> whether the first two lines of the definition are commented out
> or not although \n@ii is involved and lateron is compared against
> \T@ii :-(
> 
> This solves a).
>

excellent:-)
 
> % Now redefine C@TO to meet chord barre notation for guitar
> \makeatletter
> \def\C@TO{%
> % \ifnum \@ne=\the\o@sw
> %   \n@v\@xxiii \n@ii\@xxiv \else \n@v\@xxv \n@ii\@xxvi \fi
>   \ifx\T@ii\n@ii \y@v\lin@pos \else \getcurpos \fi
>   \advance\y@v-\o@x \kernm\y@v \raise\o@y\hbox{%
>   \raise\h@lf\Interligne\hbox\@to\y@v{%
>   \lower\Internote\hbox{\octnumber}\hrulefill}%
>   \ifx\T@ii\n@ii \else\vrule height\h@lf\Interligne\fi}}%
> \makeatother
> 
> b) can be solved similar; but maybe the repetition of the
>    meaning could be useful.

If it happens to be not useful then how can b) be solved - I can't :-(
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: Guitar notation: sustained barre chords
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On Mon, 18 Sep 2000 15:21:34 +0200 (MET DST), Werner Icking
<Werner.Icking@gmd.de> wrote:

>b) can be solved similar; but maybe the repetition of the
>   meaning could be useful.
It's more likely to be confusing -- it's rather difficult to forget
what position your current barre is in when your finger's there
holding it down. <grin>

There is one other problem with your solution, and that's the
termination. Is there a way to terminate the line just after the last
note to fall under the barre, or even in mid-notehead? As it stands
it's confusing and leads one to think initially that the barre needs
to extend for one note longer than it actually does.

Werner, thanks a million for working out the solution -- I have been
sorely missing an elegant way to indicate barres in MusiXTeX.

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
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Date: Mon, 18 Sep 2000 17:00:04 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Guitar notation: sustained barre chords
To: mutex@gmd.de, evita.j@magnet.at
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> From: evita.j@magnet.at
> Date: Mon, 18 Sep 2000 16:12:11 +0200
> 
> On Mon, 18 Sep 2000 15:21:34 +0200 (MET DST), Werner Icking
> <Werner.Icking@gmd.de> wrote:
> 
> >b) can be solved similar; but maybe the repetition of the
> >   meaning could be useful.
> It's more likely to be confusing -- it's rather difficult to forget
> what position your current barre is in when your finger's there
> holding it down. <grin>

Whenever I try it my finger can't hold so many strings down :-(
Maybe therefore I have to play violin.

As I wrote already in a private reply to Evita and Christian
following extension can be made - but the solution is getting
worse and worse:

Because "\ifx\T@ii\n@ii" seems to determine whether the line will
be continued or not, one may change:

     \ifx\T@ii\n@ii \else\vrule height\h@lf\Interligne\fi}}%
To:  \ifx\T@ii\n@ii
        \global\let\octnumb@rsav\octnumber\global\let\octnumber\empty
       \else
        \global\let\octnumber\octnumb@rsav\vrule height\h@lf\Interligne
       \fi}}%
       
So a line to be continued saves the definition of \octnumber and makes
it \empty; the last line restores \octnumber at the end.

With this I detected that MusiXTeX has up to \maxinstruments (?) 
octaviation lines, but only one \octnumber. So if the \octnumber is
changed for a 2nd octaviation line while the first is not closed, 
then the 1st will get the \octnumber of the 2nd.

> There is one other problem with your solution, and that's the
> termination. Is there a way to terminate the line just after the last
> note to fall under the barre, or even in mid-notehead? As it stands
> it's confusing and leads one to think initially that the barre needs
> to extend for one note longer than it actually does.

It depends where you want to post \Tfr. If you want to post it like
accidentals or dots or ... before coding the note you could define
e.g. \def\Tfr#{\roff{\Toctfin{#1}}} instead of the previous 
\let\Tfr\Toctfin

Instead of \roff you may use \hroff or \roffset{1.5} or ...

> Werner, thanks a million for working out the solution -- I have been
> sorely missing an elegant way to indicate barres in MusiXTeX.

It's a hack, not a solution.

-- Werner

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Subject: Re: Guitar notation: sustained barre chords
Date: Mon, 18 Sep 2000 17:51:11 +0200
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On Mon, 18 Sep 2000 17:00:04 +0200 (MET DST), Werner Icking
<Werner.Icking@gmd.de> wrote:

>> Werner, thanks a million for working out the solution -- I have been
>> sorely missing an elegant way to indicate barres in MusiXTeX.
>
>It's a hack, not a solution.
>
Perfectionist. I'm glad to have it just the same! <grin>

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
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Date: Mon, 18 Sep 2000 11:13:39 -0500
To: mutex@gmd.de
From: Michael <piper@midwest.midwestnet.com>
Subject: How do I batch dump 80 DVI pages?
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I just updated to MiK TeX and in came with YAP as the DVI viewer. Before I 
used a DOS batch file 'prthplj'  (version 1.4d) to print DVI files. I 
created a batch file to call this for every page in the music book.

Is there a way to do this now? I have upgraded printers a few years ago and 
am still printing 300 DPI, because that is how it was set up. I would be 
happy with the old way of printing if I could set it for 600 or 1200 DPI.

Thanks for any help.

Michael
From mutex-owner@mail.gmd.de  Tue Sep 19 15:44:26 2000
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <mutex@gmd.de>
Subject: tablature and PMX
Date: Tue, 19 Sep 2000 15:22:17 +0200
Message-ID: <NBBBLIHGKKEJMEAOINDNIENECCAA.chapman@eeh.ee.ethz.ch>
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Hi all,

This message is long. If you don't have a couple of minutes, don't start
reading. You've been warned. :)

Before I get into the main topic, can someone tell me how to modify
variables of length in TeX, e.g., \staffbotmarg? Apparantly \setlength is a
LaTeX macro, and until my copy of "The TeXbook" comes in, I'm left with
abusing my email solicitation privileges.

Down to business. I have found PMX to be a valuable improvement over
MusiXTeX in terms of time-efficiency, which after all is designed to be one
of its features. A major drawback for me has been a seeming incompatibility
with the macros defined for tablature by the package tabdefs.tex, which
works well but was originally designed for MusiXTeX.

The basic question is one of finding a way to enforce organized horizontal
spacing for non-note entries in the staves using existing commands. I would
not ask that PMX be edited to accomodate any changes. I've already spoken
with Don Simons and he's been most informative, but from here I'd prefer to
find a solution without having to consult him too heavily.

Those macros defined in tabdefs which make the necessary instrument
declarations can certainly be implemented through the PMX code. The problem
lies in placing the actual numbers on the bars. The problem is due to the
fact that PMX enforces a (very useful) logical metering by assigning each
note or rest a basic time value. The macros for placing numbers on the
tablature's six-lined staff are mainly \tab and \chotab, which of course can
be implemented into the .pmx file as a Type 1 command (see p. 15 of the PMX
manual). In MusiXTeX, these macros can be entered in the same vertical plane
as the notes in the instruments that come above, so the horizontal spacing
follows naturally. For example, the \tab macro might be used in conjunction
with a quarter note on the next instrument as follows:

\notesp\tab40&\ql d\en

and a chord (using \chotab, which provides a non-spacing number, in
conjunction with \tab) may be written as follows:

\notesp\chotab40\chotab25\tab18&\zql d\zqp l\qup q\en

The problem I see with PMX's format for input is that there is no way to
specify the horizontal spacing of the numbers on the tab staff inside of a
PMX block, that is, to associate a basic time value with the numbers on the
staff (be they representative of notes or representative of chords).

So, does anyone see any ideas about getting around this? Or a way to get
started thinking about it? Keep in mind that the goal is to retain PMX's
time-saving capabilities while integrating these macros, so

On a personal note, tablature for notatiting my own music is redundant. If
I'm able to notate the song, I already know how to play it. It serves
instead to facilitate reading of the music for others, and in fact to
facilitate the piece being used at all in many cases, since by my
observation a great many guitar players depend heavily on tablature,
especially for complicated pieces. Hey, we're only human, folks. :-)

Thanks for your time,
Mike
chapman@eeh.ee.ethz.ch

From mutex-owner@mail.gmd.de  Wed Sep 20 14:34:33 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: tablature and PMX
To: mutex@gmd.de
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> From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
> Date: Tue, 19 Sep 2000 15:22:17 +0200

> This message is long. [...]

To make a long story short: PMX's blank rests solve the problem as
I discussed it with Mike.

Instead of MusiXTeX and tabdef.tex

  > \notesp\tab40&\ql d\en
  > \notesp\chotab40\chotab25\tab18&\zql d\zqp l\qup q\en

you may write with PMX:

  \tab40\bsk\ r4b \chotab40\chotab25\tab18\bsk\ rdb /
  d44 d r8b //
  r4b e45d zc+ /

With following redefinition:

  \\let\tabsav\tab\
  \\def\tab#1#2{\tabsav{##1}{##2}\bsk}\

the PMX input may look nicer and more as used with tabdef.tex:

  \tab40\ r4b \chotab40\chotab25\tab18\ rdb /
  d44 d r8b //
  r4b e45d zc+ /

-- Werner

PS: There can be vertical spacing problems because PMX does not know
    of the 6-lines-staff. But this can be circumvented as usual
    with e.g. "Ai..." or stealing \interstaff and doing the vertical
    spacing "manually".

From mutex-owner@mail.gmd.de  Wed Sep 20 20:39:38 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: tablature and PMX
To: mutex@gmd.de
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> Date: Wed, 20 Sep 2000 14:17:08 +0200 (MET DST)
> From: Werner Icking <Werner.Icking@gmd.de>

I'm sorry about a two typos in my previous mail. Instead of
"\tabsav{##1}{##2}" please read "\tabsav{#1}{#2}":

> With following redefinition:
> 
>   \\let\tabsav\tab\
>   \\def\tab#1#2{\tabsav{#1}{#2}\bsk}\
> 
> the PMX input may look nicer and more as used with tabdefs.tex:
> 
>   \tab40\ r4b \chotab40\chotab25\tab18\ rdb /
>   d44 d r8b //
>   r4b e45d zc+ /

-- Werner

From mutex-owner@mail.gmd.de  Sat Sep 23 21:42:37 2000
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Date: Sat, 23 Sep 2000 12:23:14 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi All,

I have just found that this character, when encountered in a MusixTeX
source, gets mapped to the currency unit sign. This character normally
represents some Russian letter and is displayed ok in plain plain TeX.
If this code is reserved in MusixTex (Musixlyr), is there a way to
remove this assignment of move to another code?

You may experiment with this just by specifying \char'0237 somewhere in
your text. If you cannot reproduce the reported phenomenon, please let
me know ASAP because this may indicate that I have corrupted my local
installation.

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Sat Sep 23 21:57:39 2000
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Date: Sat, 23 Sep 2000 12:34:21 -0700
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Subject: Re: A character with the code '0237
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Hi All,

I'm very sorry, I found the change which proved to be more global than I
expected ;-).

Please forget my previous message.

Alexander

"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> I have just found that this character, when encountered in a MusixTeX
> source, gets mapped to the currency unit sign. This character normally
> represents some Russian letter and is displayed ok in plain plain TeX.
> If this code is reserved in MusixTex (Musixlyr), is there a way to
> remove this assignment of move to another code?
> 
> You may experiment with this just by specifying \char'0237 somewhere in
> your text. If you cannot reproduce the reported phenomenon, please let
> me know ASAP because this may indicate that I have corrupted my local
> installation.
> 
> Thank you in advance
> 
> Alexander
From mutex-owner@mail.gmd.de  Mon Sep 25 12:29:52 2000
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Date: Mon, 25 Sep 2000 11:49:16 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: RPMS for Linux:  musixtex-T99, pmx-2.27
To: mutex@gmd.de, suamor@gmx.net
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> Date: Sun, 24 Sep 2000 11:24:29 +0200
> From: Reinhard Katzmann <suamor@gmx.net>

> I uploaded new RPMS (Binaries and Sources) for Linux and
> all other Systems supporting the RPM package format. The
> binaries are for Pentium Class (i586 and higher) Systems
> (currently at ftp://ftp.gmd.de/music/incoming).

Please note, that to avoid misuse of our server as relay for
non-free software and other dubious files the incoming 
directories are write-only from outside GMD. So you can't
read there from outside GMD.

I've installed the RPMs for MusiXTeX at the usual places (rf.
http://www.gmd.de/Misc/Music/) but didn't install the 2.27 
version of PMX because it's a test-version "only" and because
in a previous mail to this list Christian Mondrup demonstrated
how easy it is to make a test version out of pmxtest.zip.

I hope that's ok. Otherwise complain. -- Werner

From mutex-owner@mail.gmd.de  Mon Sep 25 12:31:21 2000
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Date: Mon, 25 Sep 2000 11:53:45 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RPMS for Linux:  musixtex-T99, pmx-2.27
To: mutex@gmd.de, suamor@gmx.net
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> Date: Sun, 24 Sep 2000 11:24:29 +0200
> From: Reinhard Katzmann <suamor@gmx.net>

Dear list members,

If you are astonished about my previous mail because you didn't
see the original, that's no wonder, because it didn't make it
to the list, because Reinhard Katzmann posted it using an
email account not subscribed to the list. So here is the
original announcement I replied to:

> Hi Musixtexers! 
> 
> I uploaded new RPMS (Binaries and Sources) for Linux and
> all other Systems supporting the RPM package format. The
> binaries are for Pentium Class (i586 and higher) Systems
> (currently at ftp://ftp.gmd.de/music/incoming).
> 
> If you wish to rebuild them you need a rpm Version of 3.0.5
> or higher. I recommand the version from mandrake. If you
> can't do it for some reason I can rebuild for older the
> architecture as well (but not for systems like sparc/alpha).
> 
> The pmx 2.27 RPM contains the full package of pmx contrary to
> the zip file which contains only the necessary upgrade files.
> Also the binary is not called pmx227 but pmxab as before.
> The binaries seem to run on my system though I did not stress
> test them. 
> 
> One more thing: I have also (new) RPMs for noteedit and tse which 
> can not yet be found anywhere on the net.
> Have fun with the new stuff!
> 
> Best regards,
> 
> Reinhard Katzmann
> --
> E-Mail: reinhard@suamor.de

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To: mutex@gmd.de
Date: Tue, 26 Sep 2000 01:52:49 +0200
Subject: Horizontal adjustment of a single note
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I'd like to do a slight horizontal shift of a single note, but I found no 
solution how to do it in PMX.

The context is a quarter note chord with a harmonical movement within the 
chord noted with eights. I want to note the chord with down-stem quarter 
notes and two notes within the chord with up-stem eight notes. The first 
eight note must be shifted sligthly to the right, otherwise the upward stem 
goes through the quarter notes.

The example below illustrates the issue. Look at the Em7b5 chord at the 
second beat.

1 1 4 4 0 6 0 -1
0 4 20 0

b
./

e82 g+ e4 zd+ a8- g+ b a //
rb4 b83 a rb4 cs /

-- 
This is a signature. Read it carefully.

-- 
This is a signature. Read it carefully.
From mutex-owner@mail.gmd.de  Tue Sep 26 03:31:52 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Horizontal adjustment of a single note
Date: Mon, 25 Sep 2000 18:12:51 -0700
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Can't think of an easy way.  Here's a hard way using advanced in-line TeX.
Be sure the long TeX string is all on one line...it may get folded by the
email system.  I also corrected the crash between the B and C# on the 7th
8th note...that one you can fix within PMX.

--Don Simons

=============
1 1 4 4 0 6 0 -1
0 4 20 0

b
./

%e82 g+ e4 zd+ a8- g+ b a //
e82 g+ e4 zd+ a8- g+ br a //
rb4
\let\ibut\ibu\def\ibu#1#2#3{\off{2pt}\ibut{#1}{#2}{#3}\let\ibu\ibut}\let\qbt
\qb\\def\qb#1#2{\qbt{#1}{#2}\off{-2pt}\let\qb\qbt}\
b83 a rb4 cs /



> -----Original Message-----
> From:	stefan@kristnet.org [SMTP:stefan@kristnet.org]
> Sent:	Monday, September 25, 2000 4:53 PM
> To:	mutex@gmd.de
> Subject:	Horizontal adjustment of a single note
> 
> I'd like to do a slight horizontal shift of a single note, but I found no 
> solution how to do it in PMX.
> 
> The context is a quarter note chord with a harmonical movement within the 
> chord noted with eights. I want to note the chord with down-stem quarter 
> notes and two notes within the chord with up-stem eight notes. The first 
> eight note must be shifted sligthly to the right, otherwise the upward
> stem 
> goes through the quarter notes.
> 
> The example below illustrates the issue. Look at the Em7b5 chord at the 
> second beat.
> 
> 1 1 4 4 0 6 0 -1
> 0 4 20 0
> 
> b
> ./
> 
> e82 g+ e4 zd+ a8- g+ b a //
> rb4 b83 a rb4 cs /
> 
> -- 
> This is a signature. Read it carefully.
> 
> -- 
> This is a signature. Read it carefully.
From mutex-owner@mail.gmd.de  Tue Sep 26 15:02:40 2000
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
References: <39430000.969925969@localhost>
Subject: Re: Horizontal adjustment of a single note
Date: Tue, 26 Sep 2000 11:15:00 +0200
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This could be an other solution

--------
1 1 4 4 0 6 0 -1
0 4 20 0

b
./

e82 g+ e4 zd+ a8- g+ b a //
rb4 XS.3 b83 a rb4 cse /
--------

Andre


From mutex-owner@mail.gmd.de  Tue Sep 26 15:04:37 2000
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Date: Tue, 26 Sep 2000 10:41:30 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: "Simons, Don" <DSimons@logicon.com>
CC: mutex@gmd.de
Subject: Re: Horizontal adjustment of a single note
References: <C3C53CB16C05D311B0CA00805FBBE428030C8298@xcgca040.sp.logicon.com>
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"Simons, Don" wrote:
> 
> Can't think of an easy way.  Here's a hard way using advanced in-line TeX.
> Be sure the long TeX string is all on one line...it may get folded by the
> email system.  I also corrected the crash between the B and C# on the 7th
> 8th note...that one you can fix within PMX.
> 
> --Don Simons
> 
> =============
> 1 1 4 4 0 6 0 -1
> 0 4 20 0
> 
> b
> ./
> 
> %e82 g+ e4 zd+ a8- g+ b a //
> e82 g+ e4 zd+ a8- g+ br a //
> rb4
> \let\ibut\ibu\def\ibu#1#2#3{\off{2pt}\ibut{#1}{#2}{#3}\let\ibu\ibut}\let\qbt
> \qb\\def\qb#1#2{\qbt{#1}{#2}\off{-2pt}\let\qb\qbt}\
> b83 a rb4 cs /
> 

What's wrong with the pmx single note offset feature?

e82 g+ e4 zd+ a8- g+ X1S b a //
rb4 X.5S b83 a rb4 cs /

I often encounter this situation with basso continuo realizations and
use to handle it thus.

You may need to change the spacing value when more measures have been
added to the score.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Sep 26 18:49:23 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: Horizontal adjustment of a single note
Date: Tue, 26 Sep 2000 09:19:59 -0700
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I guess it's getting to the point where other people know PMX better than I
do!  I just momentarily forgot that the single-note offset command was in
there.  Sorry about that (about forgetting, not about putting in the
command!). If I keep zapping neurons at this rate, pretty soon I'll be
posting queries to the list about how to do this or that in PMX. :-)

--Don Simons

> -----Original Message-----
> From:	Van Ryckeghem Andre [SMTP:andre.van.ryckeghem@pandora.be]
> Sent:	Tuesday, September 26, 2000 2:15 AM
> To:	mutex@gmd.de
> Subject:	Re: Horizontal adjustment of a single note
> 
> This could be an other solution
> 
> --------
> 1 1 4 4 0 6 0 -1
> 0 4 20 0
> 
> b
> ./
> 
> e82 g+ e4 zd+ a8- g+ b a //
> rb4 XS.3 b83 a rb4 cse /
> --------
> 
> Andre
> 
From mutex-owner@mail.gmd.de  Tue Sep 26 19:25:16 2000
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Date: Tue, 26 Sep 2000 18:59:48 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: Horizontal adjustment of a single note
To: mutex@gmd.de, dsimons@logicon.com
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Tue, 26 Sep 2000 09:19:59 -0700

> [...] If I keep zapping neurons at this rate, pretty soon I'll be
> posting queries to the list about how to do this or that in PMX. :-)

A good counter-measure is brain training e.g. inventing in-line TeX where
it isn't neccessary :-)

-- Werner

From mutex-owner@mail.gmd.de  Wed Sep 27 12:23:14 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: *.ex files in LaTeX
Date: Wed, 27 Sep 2000 11:53:41 +0200
Organization: Ostravska Univerzita
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I work with MikTeX 1.20e under WinNT and with the latest version of
MusiXTeX, PMX and MTx.

I have a big unlogical problem, please help me. I have LaTeX document
with packages musixtex and mtxdoc. In body of document are several
(about 40) blocks of code as:

----------------------------------------------------------
\begin{mus}
  \input song1.ex
\end{mus}

\begin{mus}
  \input song2.ex
\end{mus}
---------------------------------------------------------

...etc. The *.ex files I get by standard way from *.mtx source. Script
is:

----------------------------------------------------------
prepmx %1.mtx
pmxab %1.pmx
tex2ex %1
----------------------------------------------------------

Script for LaTeX translation:

----------------------------------------------------------
if exist %1.mx1 del %1.mx1
if exist %1.mx2 del %1.mx2
tex --fmt=latex %1 %2 %3 %4 %5 %6 %7 %8 %9
if errorlevel 1 goto end
musixflx %1
tex --fmt=latex %1 %2 %3 %4 %5 %6 %7 %8 %9
if errorlevel 1 goto end
:end
----------------------------------------------------------

If I include about 6 files into LaTeX document then translation by TeX
is O.K. If I include next song (the order of files does not matter) then
during second pass through TeX I obtain challenge (from *.log file):

----------------------------------------------------------
[5] (Prizri.ex bar 0
Underfull \hbox (badness 10000) in paragraph at lines 23--31
[][] [][][][][]

\hbox(94.59998+0.0)x739.77165, glue set 724.28833 []

\inline=
----------------------------------------------------------

I detect that during first pass through TeX I haven't complette file
*.mx1. Informations about the last *.ex file are missing in *.mx1. The
informations appears in *.log file!? In *.log file I have something as:

----------------------------------------------------------
[4] (OMaMaBoz.ex bar 1 bar 2 bar 3 bar 4 bar 5 bar 6 bar 7 bar 8 bar 9
bar 10
bar 11 bar 12 bar 13 bar 14 bar 15 bar 16 bar 17 bar 18 bar 19 bar 20)
Overfull \hbox (497.92323pt too wide) in paragraph at lines 56--56
[][]$[]$

\hbox(148.09998+143.09998)x241.84842 []

[5] (Prizri.ex
S
739.77165pt
0.0pt
0.0pt
1.0pt
1.0pt
12.80003pt
1.59998pt
0 0 12.48335pt
0 1 1.0pt
0 1 0.0pt
0 0 6.40005pt
b 0
bar 0
L 6.40005pt
1 1 9.49pt
1 1 0.0pt
1 0 0.4pt
b 1
bar 1
1 1 9.49pt
1 1 0.0pt
1 0 0.4pt
b 2
bar 2
1 1 10.66pt
1 1 0.0pt
1 0 0.4pt
b 3
bar 3
* 0 0
)
Overfull \hbox (497.92323pt too wide) in paragraph at lines 59--59
[][]$[]$

\hbox(140.79999+135.79999)x241.84842 []
----------------------------------------------------------

I don't understand!? Everything is good until including 6-7th *.ex file.
Please, send me some advice.

Thank You,
                        Petr Felzmann.

From mutex-owner@mail.gmd.de  Wed Sep 27 13:00:28 2000
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Date: Wed, 27 Sep 2000 12:48:14 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: *.ex files in LaTeX
To: mutex@gmd.de, Felzmann@osu.cz
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> From: "Petr Felzmann" <Felzmann@osu.cz>
> Date: Wed, 27 Sep 2000 11:53:41 +0200

[... from the log-file ...]
> Underfull \hbox (badness 10000) in paragraph at lines 23--31
> [][] [][][][][]
> 
> \hbox(94.59998+0.0)x739.77165, glue set 724.28833 []
> 
> \inline=
> ----------------------------------------------------------
> 
> I detect that during first pass through TeX I haven't complette file
> *.mx1. Informations about the last *.ex file are missing in *.mx1. The
> informations appears in *.log file!? In *.log file I have something as:
> 
> ----------------------------------------------------------

Did you erase/delete/remove the .mx1 file before the first TeX pass?
If not, do so.

Did the first TeX pass complete normally? There are cases where the
first TeX-pass stops without completing the .mx1-file, whilst the
2nd pass after musixflx does not stop for the same reason.

In rare cases \endmuflex my be missing.

-- Werner

From mutex-owner@mail.gmd.de  Fri Sep 29 08:50:03 2000
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
Subject: pmx - getting the beams right that cross staffs
Date: Fri, 29 Sep 2000 08:14:00 +0200
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Who is willing to help me?
(my pmx version is 2.27)

-----cut here----
    2    1    4    4   0   6   0  2
    1   1  20  .00

tt
./
[u d85 b ]j rb rb f+ e d c /
r8b rb [j b85 c ] d c b a /
% swapping the staffs
r8b rb [j b85 c ] d c b a /
[l d85 b ]j rb rb f+ e d c /
----------

Andre
(trying it 2 days now)

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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4134.600" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Who is willing to help me?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>(my pmx version is 2.27)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>-----cut here----</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;&nbsp; 2&nbsp;&nbsp;&nbsp;=20
1&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp; 0&nbsp;&nbsp;=20
6&nbsp;&nbsp; 0&nbsp; 2<BR>&nbsp;&nbsp;&nbsp; 1&nbsp;&nbsp; 1&nbsp; =
20&nbsp;=20
.00</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>tt<BR>./<BR>[u d85 b ]j rb rb f+ e d c =
/<BR>r8b rb=20
[j b85 c ] d c b a /<BR>% swapping the staffs<BR>r8b rb [j b85 c ] d c b =
a=20
/<BR>[l d85 b ]j rb rb f+ e d c /<BR>----------</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Andre</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>(trying it 2 days =
now)</FONT></DIV></BODY></HTML>

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From mutex-owner@mail.gmd.de  Fri Sep 29 12:42:51 2000
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Date: Fri, 29 Sep 2000 03:04:48 -0700
From: Barry Gold <bdgold@mediaone.net>
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Subject: missing syllable in lyrics
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In the following piece, the word "mind" appears under the quarter note
at the end of its bar, instead of under the dotted half note where it
should appear.  The next word, "It", completely disappears.

Can anyone help?

 	--- maker.mtx ---
Meter: 4/4
Style: SINGER
Space: 6
Sharps: 2
% Bars/Line: 5
Pages: 1
Systems: 7
PMX: h9.8i
PMX: w7i
% % PMX: Ar K+0+1

% %% h9.8i
% %% w6.75i
% %% \\pageno=6\ 
%% \\input bdgmusic\ 
%% \\input nofill\ 
%% \\headline{\twelverm Xenofilkia \#73\hfill page 1460}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm ~\hfill}\ 
%% \\line{\twelverm A POET IS A MAKER\hfill}\ 
%% \\line{\twelverm lyrics by Lee Gold (September 23, 2000; Saturday
morning of Conchord)\hfill}\ 
%% \\line{\twelverm music by Cat Faber, Fred Capp and members of the
Lindberg Room Mob\hfill}\ 
U: @+2 ~  ~    A          | G               | D
  @+6 c+4 c  | e  e2 e8 e | g4 g2    g4     | ad   a8  a4    f    |
L:    Oh, a    po-et is a   ma-ker:  that's   what the Greek word  

U: A          |                   | D               | G
   e2d    c4  | c    c   cd   c8  | d4 d dd     d8  | g4   g  f  d |
L: means. And   when God made the   u-ni-verse, He    sang it in-to

U: A         |                | G            | D              | A
   e2d    e4 | e    e  e  e   | g  g   g  g  | a   a   a  f   | e2d  c4
|
L: being. He   made us in His   im-age so we   all are po-ets   too. We

U: D                  | A             | G             | A
   c     c   c     c  | d    d2  d4   | gd g8  g4  a  | a2d e4  |
L: shape the world we   live in, with   ev-ery act we   do. And

U: G                | D                | G                  | A
   g    f  d    d   | f    e  c   c    | g+d   g8 g4    a   | a2d   e4 |
L: when we hear the   Word of God that   rings in heart and | mind, It

U: G                  | A                 | D           |   A
   d      d   d    d  | e    c2 c8   c    | d4 c ad  a8 | ( a0 | a2d )
c4   |
L: should-n't much sur-prise us that it's   po-e-try we   find.      
(Six)

%% L6
U: G               | D                   | G                  | A
   g+   f  d    d  | f    d   cd    c8   | g4+  g    g    a   | a2d   
e4   |
L: when we seek to   find the Truth with   scal-pel, lens and   flask,
Then

U: G                 | A                  | D            |   A
   d   d    d   d    | e  c   cd       c8 | d c a2  a4   | ( a0 | a2 )
c4 c
L: Sci-ence ans-wers   ev-ery-thing... ex-per-i-ment can   ask.       
Oh a

	--- bdgmusic.tex ---

\hoffset=-.5in\voffset=.3in\nobarnumbers
\font\twelverm=cmr12
\font\sevtrm=cmr17
\def\emdash{\thinspace---\thinspace}
\def\hy{\thinspace-}

	--- nofill.tex ---

\let\endpiecesav\endpiece
\def\endpiece{\endpiecesav\vfill}
\let\Endpiecesav\Endpiece
\def\Endpiece{\Endpiecesav\vfill}
From mutex-owner@mail.gmd.de  Fri Sep 29 15:17:03 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>, "Werner Icking" <Werner.Icking@gmd.de>
References: <200009271048.MAA22912@sunick.gmd.de>
Subject: Re: *.ex files in LaTeX
Date: Fri, 29 Sep 2000 14:48:52 +0200
Organization: Ostravska Univerzita
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> > From: "Petr Felzmann" <Felzmann@osu.cz>
> > Date: Wed, 27 Sep 2000 11:53:41 +0200
>
> [... from the log-file ...]
> > Underfull \hbox (badness 10000) in paragraph at lines 23--31
> > [][] [][][][][]
> >
> > \hbox(94.59998+0.0)x739.77165, glue set 724.28833 []
> >
> > \inline=
> > ----------------------------------------------------------
> >
> > I detect that during first pass through TeX I haven't complette file
> > *.mx1. Informations about the last *.ex file are missing in *.mx1.
The
> > informations appears in *.log file!? In *.log file I have something
as:
> >
> > ----------------------------------------------------------
>
> Did you erase/delete/remove the .mx1 file before the first TeX pass?
> If not, do so.

Of course :-) In batch file:
if exist %1.mx1 del %1.mx1

> Did the first TeX pass complete normally? There are cases where the
> first TeX-pass stops without completing the .mx1-file, whilst the
> 2nd pass after musixflx does not stop for the same reason.

First TeX-pass is without error, but in *.mx1-file are missing info
about the last inserted *.ex-file. In *.mx1-file I have info about first
cca 6 *.ex-files, but about the 7th is info in *.log-file!?? Therefore
during the second TeX-pass arise the error above. I don't know why TeX
write info, which must be in *.mx1-file, into the *.log-file during the
first TeX-pass???

> In rare cases \endmuflex my be missing.

Where?

Thank You for your help,
Petr Felzmann.

From mutex-owner@mail.gmd.de  Fri Sep 29 16:07:45 2000
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To: Barry Gold <bdgold@mediaone.net>
cc: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: missing syllable in lyrics
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On Fri, 29 Sep 2000, Barry Gold wrote:

> In the following piece, the word "mind" appears under the quarter note
> at the end of its bar, instead of under the dotted half note where it
> should appear.  The next word, "It", completely disappears.
> 
> Can anyone help?
> 
>    g    f  d    d   | f    e  c   c    | g+d   g8 g4    a   | a2d   e4 |
> L: when we hear the   Word of God that   rings in heart and | mind, It
                                                              ^
>                                                             ^
                                                              ^
                                                              !

From mutex-owner@mail.gmd.de  Sat Sep 30 10:44:04 2000
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Date: Sat, 30 Sep 2000 10:26:11 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Van Ryckeghem Andre <andre.van.ryckeghem@pandora.be>
CC: mutex@gmd.de
Subject: Re: pmx - getting the beams right that cross staffs
References: <006401c029dc$767077c0$306ae0d5@pandora.be>
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> Van Ryckeghem Andre wrote:
> 
> Who is willing to help me?
> (my pmx version is 2.27)
> 
> -----cut here----
>     2    1    4    4   0   6   0  2
>     1   1  20  .00
> 
> tt
> ./
> [u d85 b ]j rb rb f+ e d c /
> r8b rb [j b85 c ] d c b a /
> % swapping the staffs
> r8b rb [j b85 c ] d c b a /
> [l d85 b ]j rb rb f+ e d c /
> ----------
> 
> Andre
> (trying it 2 days now)

The problem is a conflict of beam-ID's in the generated MusiXTeX code.
Hence the problem can be solved by forcing a change of beam ID. One way
to do that is to split the beaming groups among separate voices. 

r2b f85 e d c //
[u+0+4 d85 b ]j rb rb r2b /
r8b rb [uj b85 c ] d c b a /
% swapping the staffs
r8b rb [j b85 c ] d c b a /
[l d85 b ]j rb rb f+ e d c /

Another might be to give the pmx typesetters access to beam ID's
analogously to the slur/tie ID's - Don ?

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sat Sep 30 18:42:42 2000
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From: "Don Simons" <donaldsimons@hotmail.com>
To: mutex@gmd.de
Subject: Question for TeXperts: equal line spacing
Date: Sat, 30 Sep 2000 09:34:18 PDT
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I'm looking for a general way in MusiXTeX to force equal
spacing between the bottom line of each system and the top
line of the next.  The example PMX below shows how to do it
as long as there is plenty of vertical space. But for vertically
crowded pages I would like to force the lowest item in one system
to go below the highest one in the next.  In other words, in the
example I'd like to force MusiXTeX to let the bottom of the p's
be below the top of the bar number box in the following line.
TeX is obviously drawing a rectangle around EVERYTHING associated
with each system, then stacking them up, either with or without
extra equal vertical spaces depending on whether there is a \vfill
or not.  What I'd like to have is a way to get TeX to ignore
certain things (in this case the dynamic mark) when it constructs
these boxes.  I think what I'm asking for is a vertical analog
of \rlap.

--Don Simons

----------------------
1 1 4 4 4 4 0 0
6 72 20 0

t
./
\\def\bs{{\tt\char'134}}\
\\def\addstruts#1{\znotes\zcharnote{-#1}{~}\en}\
\\let\alat\alaligne\def\starteq#1{\def\alaligne{\addstruts#1\alat}}\
\\def\endeq{\let\alaligne\alat}\
h
This page ends with \bs eject (PMX default)
c05 c c c c c c c c c c c /
%
L13P2
h
This page ends with \bs vfill\bs eject
c05 c c c c c c c c c c /
\\\let\ejt\eject\def\eject{\vfill\ejt\let\eject\ejt}\
c05 /
%
L25P3
h
This page ends with \bs eject (PMX default)
c05 c c c Dpppp c c c c c c c c /
%
L37P4
h
This page ends with \bs vfill\bs eject
c05 c c c Dpppp c c c c c c c /
\\\let\ejt\eject\def\eject{\vfill\ejt\let\eject\ejt}\
c05 /
%
L49P5
h
This page has a strut below every staff and no vfill
\\\starteq7\
c05 c c c Dpppp c c c c c c c c /
%
L61P6
h
This page has a strut below every staff and vfill
c05 c c c Dpppp c c c c c c c /
\\\let\ejt\eject\def\eject{\vfill\ejt\let\eject\ejt}\
c05 /

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Date: Sun, 01 Oct 2000 12:43:01 +0200
From: thierry baertschiger <tibaer@infomaniak.ch>
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Hello !

I'm a new MusiXTeX user and i've got problem with compilation. The dvi
file is at the good size (a4) but  there is at each line an empty bar to
fill the line:

(here is a line)
 ________________________________________________________________
|_________________________________________|______________________
|_________________________________________|______________________
|_________________________________________|______________________
|_________________________________________|______________________

<-----------------------------------------><--------------------->
	here it's perfect !			here it's an 
						empty bar to 
						fill the line


In the exemples given with musixtex and which are already compiled it's
not like this. But if i compile an exemple by myself i get these empty
bars !!! what am i supposed to do to avoid this thing and get nice bars
that fit the line perfectly like in the exemples.


thanks !!


thierry

From mutex-owner@mail.gmd.de  Mon Oct  2 09:49:12 2000
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Subject: Re: *.ex files in LaTeX
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> [... from the log-file ...]
> > Underfull \hbox (badness 10000) in paragraph at lines 23--31
> > [][] [][][][][]
> >
> > \hbox(94.59998+0.0)x739.77165, glue set 724.28833 []
> >
> > \inline=

> > Did you erase/delete/remove the .mx1 file before the first TeX pass?
> > If not, do so.

> > Did the first TeX pass complete normally? There are cases where the
> > first TeX-pass stops without completing the .mx1-file, whilst the
> > 2nd pass after musixflx does not stop for the same reason.
> 
> First TeX-pass is without error, but in *.mx1-file are missing info
> about the last inserted *.ex-file. In *.mx1-file I have info about first
> cca 6 *.ex-files, but about the 7th is info in *.log-file!?? Therefore
> during the second TeX-pass arise the error above. I don't know why TeX
> write info, which must be in *.mx1-file, into the *.log-file during the
> first TeX-pass???

Also delete .mx2 Sometimes musixtex crashes when it finds more music than
indicated by musixflx (in .mx2) in a previous run (where you had perhaps
included some songs less in trying out). And this ends not in a TeX error
in the first run, but in weired output to .mx1 and a TeX crash in the
second run.

> > In rare cases \endmuflex my be missing.

Or there is one superfluous, e.g. one in the 'master' file and one in a
file which is included from that. This happend to me once and the result
was exactly the one you described

best regards
Bernhard

From mutex-owner@mail.gmd.de  Mon Oct  2 10:04:06 2000
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> But if i compile an exemple by myself i get these empty bars !!! what
> am i supposed to do to avoid this thing and get nice bars that fit the
> line perfectly like in the exemples.

There might be several reasons for it. Did you use the three pass system
with musixflx? Did all three stages run without error? Is the paper size
within your TeX/LaTeX document (outside musixTeX) changed using tricky
things? In cases rare a problem with LaTeX's \parindent may occure...

If these hints do not help you, you should perhaps tell us a bit more
detailed, what you exactly did when recompiling the examples.

regards
  Bernhard

From mutex-owner@mail.gmd.de  Mon Oct  2 12:02:57 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
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Subject: Re: *.ex files in LaTeX
Date: Mon, 2 Oct 2000 11:46:07 +0200
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> > > In rare cases \endmuflex my be missing.
>
> Or there is one superfluous, e.g. one in the 'master' file and one in
a
> file which is included from that. This happend to me once and the
result
> was exactly the one you described

Program tex2ex generate this line at the end of the *.ex-file:

...
\pnotes{2.83}\qp\en%
\Endpiece
\vskip1.6\Interligne\eject\endmuflex

If I comment the last line:

%\vskip1.6\Interligne\eject\endmuflex

then everything is O.K.!!! Why???

But this line isn't appear in every file!? Why - every *.mtx-file has
the same structure???

Petr Felzmann.

From mutex-owner@mail.gmd.de  Mon Oct  2 13:17:18 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Petr Felzmann <Felzmann@osu.cz>
Cc: mutex@gmd.de
Subject: Re: *.ex files in LaTeX
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Petr Felzmann skryf:
> 
> Program tex2ex generate this line at the end of the *.ex-file:
> 
> ...
> \pnotes{2.83}\qp\en%
> \Endpiece
> \vskip1.6\Interligne\eject\endmuflex
> 
> If I comment the last line:
> 
> %\vskip1.6\Interligne\eject\endmuflex
> 
> then everything is O.K.!!! Why???
> 
> But this line isn't appear in every file!? Why - every *.mtx-file has
> the same structure???
> 

tex2ex is a very primitive program with no intelligence.  It looks for
certain patterns and deletes or edits lines when they are found.  These
patterns in turn depend on exactly how PMX translates its input to TeX,
which is undocumented and therefore not guaranteed always to be the same.

On the basis of samples available I guessed that "\vfill\eject" appears
at the end of a typical .tex file generated by PMX.  Such lines are
deleted by tex2ex.  In this case PMX has not generated \vfill and the
line is not deleted.  I don't know whether it has always been possible
that PMX could do so or whether only the more recent PMX versions do it.

If you use the tex2ex.sh version of tex2ex, it is easy to change its
behaviour.  Where you see the string "\\vfill\\eject" change it to
"\\eject".  If you have a C compiler, a similar change is possible.

Dirk
From mutex-owner@mail.gmd.de  Mon Oct  2 16:03:12 2000
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Subject: MusiXTeX symbols in a text paragraph?
Date: Mon, 02 Oct 2000 15:46:05 +0200
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Hello everyone,

I'm preparing a set of teaching notes for a beginning pupil and would
like to be able to do things like include a note or a sharp or flat
sign in a paragraph of normal text (Along the lines of: "The sharp
sign (#) raises the pitch of the following note by a semitone" or "A
dotted minim [note goes here] has the same duration as three crotchets
[three crotchets go here].

I'm using raw MusiXTeX (no preprocessors) and raw TeX (no LaTeX vel
sim.)

Can anyone tell me how to go about this?

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Mon Oct  2 17:03:02 2000
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Date: Mon, 02 Oct 2000 16:44:55 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Don Simons <donaldsimons@hotmail.com>
CC: mutex@gmd.de
Subject: Re: Question for TeXperts: equal line spacing
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Don Simons wrote:
> 
> I'm looking for a general way in MusiXTeX to force equal
> spacing between the bottom line of each system and the top
> line of the next.  The example PMX below shows how to do it
> as long as there is plenty of vertical space. But for vertically
> crowded pages I would like to force the lowest item in one system
> to go below the highest one in the next.  In other words, in the
> example I'd like to force MusiXTeX to let the bottom of the p's
> be below the top of the bar number box in the following line.
> TeX is obviously drawing a rectangle around EVERYTHING associated
> with each system, then stacking them up, either with or without
> extra equal vertical spaces depending on whether there is a \vfill
> or not.  What I'd like to have is a way to get TeX to ignore
> certain things (in this case the dynamic mark) when it constructs
> these boxes.  I think what I'm asking for is a vertical analog
> of \rlap.

Well, since \rlap is defined as "\hbox to 0pt{#1\hss}" (or somewhat
similar), how about:

\def\toplap#1{\vbox to 0pt{\vss\hbox{#1}}}
\def\botlap#1{\vbox to 0pt{\hbox{#1}\vss}}

This works for gadgets with zero depth; I've not yet found out how to
make it work also for "deeper" boxes.

Regards,

Rainer
From mutex-owner@mail.gmd.de  Mon Oct  2 20:04:19 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: pmx - getting the beams right that cross staffs
Date: Mon, 2 Oct 2000 10:51:09 -0700 
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>> Van Ryckeghem Andre wrote:
>> 
>> Who is willing to help me?

and Christian Mondrup wrote

>The problem is a conflict of beam-ID's in the generated MusiXTeX code.
>Hence the problem can be solved by forcing a change of beam ID. One way
>to do that is to split the beaming groups among separate voices. 
>...
>Another might be to give the pmx typesetters access to beam ID's
>analogously to the slur/tie ID's - Don ?

and a third would be to fix the bug that's causing this in the first place.
I had broken this feature when I did that major overhaul of the horizontal
spacing (2.1?).  Some of my own old sources didn't even work right.  So I
worked on it over the weekend and I think I have the beam numbering
straightened out.  However, as it now stands the up-downness of beam
termination is not always right, leading to a horizontal gap or overlap. But
this can be changed by the user assigning an up-downness to the last segment
of the staff-jumping beam.  I'm considering two possible levels of
automation here, one an option to simply *flip* the up-downness from
whatever PMX does (fairly easy to program but still requires user
intervention); the other to detect the height of the beam termination
relative to the notehead and set the up-downness accordingly (no user
intervention, but very tricky to program).

Stay tuned.

--Don Simons
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Hello,

in LaTeX I have setting the size of page on A6 (105mm x 148.5mm). In
every *.mtx-file in preamble I have

PMX: w85m h128.5m

In LaTeX document I include *.ex-files, which I obtain from mtx-source:

\begin{mus}
\input song1.ex
\end{mus}

But the page break don't make inside the songs. The songs have behavior
like floating environments. How TeX coerce to page break if it is
needed?

Thank you,
Petr Felzmann.

From mutex-owner@mail.gmd.de  Tue Oct  3 10:33:47 2000
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From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: Re: MusiXTeX symbols in a text paragraph?
Date: Tue, 3 Oct 2000 10:09:58 +0200
Organization: Ostravska Univerzita
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> like to be able to do things like include a note or a sharp or flat
> sign in a paragraph of normal text (Along the lines of: "The sharp
> sign (#) raises the pitch of the following note by a semitone" or "A

\font\music = musix20
\def\sharp{{\music\char52}}
\def\flat{{\music\char50}}

The sharp sign \sharp{} raises the pitch of the following note by a
semitone.

Petr Felzmann.


From mutex-owner@mail.gmd.de  Tue Oct  3 10:43:54 2000
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From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: \metron in mtx-source
Date: Tue, 3 Oct 2000 10:32:50 +0200
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Hello,

I have next problem. :-( In *.mtx-file I use

U: \metron{\qu}{100}
c2 d |
L: A-men

The letter A is into the stave, not under the stave. How use right the
\metron?

Thank You,

Petr Felzmann.

From mutex-owner@mail.gmd.de  Tue Oct  3 11:58:51 2000
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Petr Felzmann <Felzmann@osu.cz>
Cc: MusiXTeX <mutex@gmd.de>
Subject: Re: Page break in *.ex-files
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Petr Felzmann skryf:
> Hello,
> 
> in LaTeX I have setting the size of page on A6 (105mm x 148.5mm). In
> every *.mtx-file in preamble I have
> 
> PMX: w85m h128.5m
> 
> In LaTeX document I include *.ex-files, which I obtain from mtx-source:
> 
> \begin{mus}
> \input song1.ex
> \end{mus}
> 
> But the page break don't make inside the songs. The songs have behavior
> like floating environments. How TeX coerce to page break if it is
> needed?
> 
.ex (stands for 'excerpt') is designed for short snippets of music inside
a LaTeX text document.  It is not intended for longer pieces that need
page breaks.  For that you will need to edit the .tex file produced by PMX
by hand.  Use 'diff' or similar utility to see what tex2ex has done.
You will be able to work out what was right and what was wrong in the
multipage case.

Dirk
From mutex-owner@mail.gmd.de  Tue Oct  3 16:34:05 2000
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Subject: Re: MusiXTeX symbols in a text paragraph?
Date: Tue, 03 Oct 2000 16:19:45 +0200
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A warm "thank you" to everyone who responded, on-list and off, to my
query about inserting MusiXTeX symbols in a text paragraph. 

One problem down, umpteen to go... <grin>

Eva
--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Wed Oct  4 10:25:09 2000
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To: mutex@gmd.de
Cc: evita.j@magnet.at
Date: Tue, 03 Oct 2000 17:53:08 +0200
Subject: Re: MusiXTeX symbols in a text paragraph?
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Hi Eva!

> I'm preparing a set of teaching notes for a beginning pupil and would
> like to be able to do things like include a note or a sharp or flat
> sign in a paragraph of normal text (Along the lines of: "The sharp
> sign (#) raises the pitch of the following note by a semitone" or "A
> dotted minim [note goes here] has the same duration as three crotchets
> [three crotchets go here].

I have done a similar thing when I wanted to write chord symbols and 
include special musical signs (particulary sharp and flat signs). I don't 
know much about TeX, actually, but I managed to get it work anyway.

Look below, particulary the "Symbols" section. The \small macro is replaced 
with the \up macro. To use the chords in PMX, i do inline-TeX-things like 
\uc{D\up{7\flt9}}\ for a D7b9 chord.

Stefan

% $Id: chords.tex,v 1.3 2000/04/27 09:11:24 stsven Exp $
%
% MusiXTeX macros for writing chords
%
% Chord fonts
%
\font\musixsymbol=musix11
\font\symbol=psyr
\font\ChordFont=cmr12
\font\ChordFontBig=cmr12
\font\ChordFontSmall=cmr10
\font\ChordSymbol=musix16
\font\ChordSymbolSmall=musix13
\font\ChordSymbolBig=musix24
%
% Chord macros
%
\def\chord#1{\ChordFont #1}
\def\CHORD#1{\ChordFontBig #1}
\def\small#1{\raise 4pt\hbox{\ChordFontSmall #1}}
\def\up#1{\raise 4pt\hbox{\ChordFontSmall #1}}
\def\UP#1{\raise 7pt\hbox{\ChordFont #1}}
\def\uc#1{\zchar{12}{\chord{#1}}}
\def\uuc#1{\zchar{15}{\chord{#1}}}
\def\MC#1{\zchar{1}{\CHORD#1}}
%
% Symbols
%
\def\shp{\raise 3pt\hbox{\ChordSymbolSmall\char52}}
\def\sharp{\raise 4pt\hbox{\ChordSymbol\char52}}
\def\SHARP{\raise 6pt\hbox{\ChordSymbolBig\char52}}
\def\flt{\raise 1.7pt\hbox{\ChordSymbolSmall\char50}}
\def\flat{\raise 2pt\hbox{\ChordSymbol\char50}}
\def\FLAT{\raise 3.5pt\hbox{\ChordSymbolBig\char50}}
\def\dim{\char23}
\def\maj{\char1}
%
% Aliases
%
\def\ss{\flat}
\def\iss{\sharp}
%
% Common chords
%
\def\ad#1{\small{ad#1}}
\def\sep{\small7}
\def\sus{\small{sus}}
\def\suss{\small{sus7}}
\def\plse{\small{9\sharp11}}
\def\plsf{\small{7\sharp5}}
\def\hdim{m\small{7\flat5}}
From mutex-owner@mail.gmd.de  Wed Oct  4 11:55:20 2000
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Subject: MusiXTeX symbols in a text paragraph -- the simplest solution
Date: Wed, 04 Oct 2000 11:43:57 +0200
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Hello everyone,

As the responses still seem to be trickling in, let me just note that
Daniel Taupin wrote to me off-list with the easiest solution of the
lot:

\sh1, \fl1, \qu1 etc. etc. inserted anywhere in the text will do the
job without requiring lots of elaborate \def-ing beforehand. For best
results, \tinynotesize should be specified, and in the case of notes,
the non-spacing varieties (with interpolated \qsk as necessary)
produce the most visually pleasing result.

I assume this presupposes that \input musixtex has been stated at the
start of the file; in the document I'm producing this is the case
anyway as it's mostly music.

Thanks again to Daniel, and thanks to everyone else who took the time
to respond.

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
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CC: MusiXTeX <mutex@gmd.de>
Subject: Re: \metron in mtx-source
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Petr Felzmann wrote:
> 
> Hello,
> 
> I have next problem. :-( In *.mtx-file I use
> 
> U: \metron{\qu}{100}
> c2 d |
> L: A-men
> 
> The letter A is into the stave, not under the stave. How use right the
> \metron?
> 

One of the arguments to \metron is a note symbol and therefore you need
to locally disable lyrics:

%% \def\mymetron#1#2{\lyricsoff\smallnotesize\metron{#1}{#2}\lyricson}

U: \mymetron{\qu}{100}
c2 d |
L: A-men

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Christian Mondrup wrote:

> [...]
> > U: \metron{\qu}{100}
> > c2 d |
> > L: A-men
> >
> > The letter A is into the stave, not under the stave. How use right the
> > \metron?
> >
> 
> One of the arguments to \metron is a note symbol and therefore you need
> to locally disable lyrics:
> 
> %% \def\mymetron#1#2{\lyricsoff\smallnotesize\metron{#1}{#2}\lyricson}

Ah - since musixlyr is involved, may I suggest a slightly easier
solution:

U: \metron{\nolyr\qu}{100}


Regards,

Rainer
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From: Laura Conrad <lconrad@world.std.com>
Date: 05 Oct 2000 10:19:38 -0400
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Is anyone using the Rosegarden feature to export Musictex or pmx?  I
tried it once and got an error (from MusiXTeX), but could persevere
longer if anyone says they've been successful.  I have a lot of stuff
I've notated in ABC (which gives me MIDI) and would like to try with
MusiXTeX.

-- 
Laura (mailto:lconrad@world.std.com , http://www.world.std.com/~lconrad/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139

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Date: Thu, 05 Oct 2000 17:29:29 +0200 (MET DST)
From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
Subject: RE: Rosegarden export features
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On 05-Oct-00 Laura Conrad wrote:
> Is anyone using the Rosegarden feature to export Musictex or pmx?  I
> tried it once and got an error (from MusiXTeX), but could persevere
> longer if anyone says they've been successful.  I have a lot of stuff
> I've notated in ABC (which gives me MIDI) and would like to try with
> MusiXTeX.

Hi,

I tried and was successful after changing some of the includes. Rosegarden
isn't updated for quite some time and it expect a very ancient version of
MusiXTeX. Have a close look at the error and what you would put normally in
the header.... 

Let's see, I have:

\input musixtex
\input musixsty

instead of:

\input musicnft
\input musictex



K.-H.


------------------------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de> 
http://www.kfa-juelich.de/icg/icg7/FestFluGre/transport/khh/general.html
Sent: 05-Oct-00, 17:17:28
------------------------------------------------------------------------
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: Rosegarden export features
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> Date: Thu, 05 Oct 2000 17:29:29 +0200 (MET DST)
> From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>

> Let's see, I have:
> 
> \input musixtex
> \input musixsty
> 
> instead of:
> 
> \input musicnft
> \input musictex

The last two lines look like Rosegarden expects Musi_c_TeX and not 
Musi_X_TeX. It's possible that the replacement should be:

\input musixtex
\input musixcpt  % compatibility MusicTeX --> MusiXTeX

musixsty is something like a "private" style-file for Daniel Taupin.
It replaces e.g. TeX's standard output routine.

-- Werner

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Date: Thu, 05 Oct 2000 06:37:20 +0200
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: Rosegarden export features
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At 10.19 05/10/00 -0400, you wrote:
>
>Is anyone using the Rosegarden feature to export Musictex or pmx?  I
>tried it once and got an error (from MusiXTeX), but could persevere
>longer if anyone says they've been successful.  I have a lot of stuff
>I've notated in ABC (which gives me MIDI) and would like to try with
>MusiXTeX.
>

Sometimes I've used Rosegarden for to generate the PMX code (the better
solution to export printable file with Rosegarden), but, please, do not
expect a faultless page lay-out. Rosegarden often crashes and doesn't
understand well the triplet nor other irregular rithm.
Nevertheless this is the better way that I know for to the MIDI to PMX
conversion (but I haven't try to use NOTEEDIT). It's useful for to generate
a draft PMX code.

Luigi Cataldi


From mutex-owner@mail.gmd.de  Fri Oct  6 13:25:32 2000
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Date: Fri, 6 Oct 2000 02:52:11 -0500 (CDT)
From: "Jerome S. Colburn" <jscolbur@prairienet.org>
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To: Laura Conrad <lconrad@world.std.com>
cc: mutex@GMD.de
Subject: Re: Rosegarden export features
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On 5 Oct 2000, Laura Conrad wrote:

> I have a lot of stuff
> I've notated in ABC (which gives me MIDI) and would like to try with
> MusiXTeX.

If you have it in ABC, why not use abc2mtex to get MusiXTeX instead?
http://www.gre.ac.uk/~c.walshaw/abc/

See the documentation for how to select MusiXTeX vs. MusicTeX output.

Jerome S. and Jeannette E. H. Colburn
jscolbur@prairienet.org


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Date: Fri, 06 Oct 2000 12:17:50 +0100 (BST)
From: Derek Gardiner <dgardiner@cwcom.net>
To: Laura Conrad <lconrad@world.std.com>
Subject: RE: Rosegarden export features
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On 05-Oct-00 Laura Conrad wrote:
> 
> Is anyone using the Rosegarden feature to export Musictex or pmx?  I
> tried it once and got an error (from MusiXTeX), but could persevere
> longer if anyone says they've been successful.  I have a lot of stuff
> I've notated in ABC (which gives me MIDI) and would like to try with
> MusiXTeX.
> 
> -- 
I have had some success with the Rosegarden export features, however the
program is so old that it's MusicTeX output needs to be edited as follows:

        replace \input musicnft
                \input musictex

        with    \input musixtex
                \input musixsty

This sometimes provides a file which TeX can handle without further editing, if
further editing is required it is usually a major task:-(

Pmx output works a bit better and because pmx is more like abc it is much
easier to edit the output from Rosegarden.

As the printed output from TeX is IMO better than that produced by abc2ps,
abcm2ps or yaps I have been toying with idea of writing an abc2pmx conversion
program, if I take the idea any further I will let you know.

Regards

----------------------------------
E-Mail: Derek Gardiner <dgardiner@cwcom.net>
Date: 06-Oct-00
Time: 11:57:38
----------------------------------
From mutex-owner@mail.gmd.de  Fri Oct  6 14:34:24 2000
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Date: Fri, 06 Oct 2000 14:10:00 +0200
From: Stanislav Kneifl <standa@hiero.cz>
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Subject: Re: Question for TeXperts: equal line spacing
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> I'm looking for a general way in MusiXTeX to force equal
> spacing between the bottom line of each system and the top
> line of the next.  The example PMX below shows how to do it
> as long as there is plenty of vertical space. But for vertically
> crowded pages I would like to force the lowest item in one system
> to go below the highest one in the next.  In other words, in the
> example I'd like to force MusiXTeX to let the bottom of the p's
> be below the top of the bar number box in the following line.
> TeX is obviously drawing a rectangle around EVERYTHING associated
> with each system, then stacking them up, either with or without
> extra equal vertical spaces depending on whether there is a \vfill
> or not.  What I'd like to have is a way to get TeX to ignore
> certain things (in this case the dynamic mark) when it constructs
> these boxes.  I think what I'm asking for is a vertical analog
> of \rlap.

It should not be very hard to find the point where the box containing
the whole system is completed. And it should be much easier to put at
this point something like \dp\systembox=0 and \ht\systembox="height of
the system". This _should_ do the thing. However, some vertical space
will be necessary afterwards.

Regards,

Stanislav Kneifl.
From mutex-owner@mail.gmd.de  Sat Oct  7 21:00:15 2000
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Date: Sat, 07 Oct 2000 20:36:29 +0200
From: "Ing. Zdenko =?iso-8859-1?Q?Podobn=FD?=" <zdpo@post.sk>
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Subject: Problems with \centerpause
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I rewrote a song where are a lof of pauses. Everything worked Ok until I
wanted them in the center of bars. I used example of it in documentation:
\def\atnextbar{\znotes\centerpause\en}
But it looks musixflx has a problem with it, because when it create
any.mx2 notes are off stave.

What I need to change it? I tried to change values at any.mx2 but it
doesn't look like a good idea.

Zdeno
Here is my song:
-----------------

\documentclass{article}
\usepackage{musixtex,a4wide}
\input musixsty
\input musixcho
\input musixtex
\input musixlyr
%
\def\oneversespace{\par\vspace*{13mm}}
\setlength{\textwidth}{180mm}
\setlength{\oddsidemargin}{-5mm}
\hsize=185mm\vsize=255mm
%
\smallmusicsize
\sepbarrules
\oneversespace
\begin{document}
%
\instrumentnumber{2}
\setclef{1}{6}
\staffbotmarg=3mm%
\setsign{1}{-1}
\setname1{}
\setmeter{1}{{\meterfrac{4}{4}}}\relax
\setinterinstrument1{3ex}
%
\setclef{2}{0}
\setsign{2}{-1}
\setmeter{2}{{\meterfrac{4}{4}}}
%
\staffbotmarg5.5\Interligne
\stafftopmarg5\Interligne
%\def\znotes{\vnotes{5}\elemskip}
%
\parindent0pt
\startpiece\addspace\afterruleskip
%\resetlyrics\small
%
\Notes&\nolyr\Uptext{\it Predohra}\ds\en
\Notes&\nolyr\Ibu0cg{1}\qb0 c\en
\Notes&\nolyr\tbu0\qb0 g\en
\Notes&\nolyr\itied0g\Ibu0gg{1}\qb0 g\en
\Notes&\nolyr\ttie0\tbu0\qb0 g\en
\Notes&\nolyr\cu h\en
\NOtes&\nolyr\itied0f\qu f\en
\def\atnextbar{\znotes\centerpause\en}\bar % 2
\Notes&\nolyr\ttie0\Ibu0fc{1}\qb0 f\en
\Notes&\nolyr\tbu0\qb0 c\en
\Notes&\nolyr\Ibu0gg{1}\qb0 g\en
\Notes&\nolyr\itied0g\tbu0\qb0 g\en
\Notes&\nolyr\ttie0\Ibu0gh{1}\qb0 g\en
\Notes&\nolyr\tbu0\qb0 h\en
\NOtes&\nolyr\qu f\en
\def\atnextbar{\znotes\centerpause\en}\bar % 3
\Notes&\Ibu0hh{1}\Uptext{\it Sólo}\qb0 h\en
\Notes&\tbu0\qb0 h\en
\Notes&\Ibu0hh{1}\qb0 h\en
\Notes&\llyr\itied0h\tbu0\qb0 h\en
\Notes&\nolyr\ttie0\Ibu0hi{1}\qb0 h\en
\Notes&\tbu0\qb0 i\en
\Notes&\Ibu0jj{1}\qb0 j\en
\Notes&\beginmel\itied0j\tbu0\qb0 j\en
\def\atnextbar{\znotes\centerpause\en}\bar % 4
\NOTes&\ttie0\endmel\hl {.j}\en
\Notes&\qp\en
\def\atnextbar{\znotes\centerpause\en}\bar % 5
\Notes&\Ibu0gg{1}\qb0 g\en
\Notes&\tbu0\qb0 g\en
\Notes&\Ibu0gg{1}\qb0 g\en
\Notes&\llyr\itied0g\tbu0\qb0 g\en
\Notes&\nolyr\ttie0\Ibu0gh{1}\qb0 g\en
\Notes&\tbu0\qb0 h\en
\Notes&\llyr\isluru0j\Ibl0ji{1}\qb0 j\en
\Notes&\nolyr\tslur0i\tbl0\qb0 i\en
\def\atnextbar{\znotes\centerpause\en}\bar % 6
\NOTEs&\hl {.i}\en
\Notes&\ds\en
\Notes&\cu f\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 7
\Notes&\Ibl0ii{1}\qb0 i\en
\Notes&\tbl0\qb0 i\en
\Notes&\Ibl0ih{1}\qb0 i\en
\Notes&\llyr\itieu0h\tbl0\qb0 h\en
\Notes&\nolyr\ttie0\Ibl0hg{1}\qb0 h\en
\Notesp&\llyr\itieu0g\tbl0\qb0 g\en
\Notes&\nolyr\ttie0\Ibl0gf{1}\qb0 g\en
\Notes&\tbl0\qb0 f\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 8
\Notesp&\Ibl0hi{1}\qb0 h\en
\Notesp&\tbl0\qb0 i\en
\Notesp&\Ibl0jf{1}\qb0 j\en
\Notesp&\llyr\itieu0f\tbl0\beginmel\qb0 f\en
\NOTesp&\nolyr\endmel\ttie0\hl f\en
\def\atnextbar{\znotes\centerpause\en}
\alaligne%\bar % 9
\NOTes&\qu g\en
\Notes&\Ibu0hi{1}\qb0 h\en
\Notes&\beginmel\llyr\islurd0i\tbu0\qb0 i\en
\Notes&\nolyr\tslur0i\cu i\en
\NOtes&\endmel\islurd0k\qu k\en
\Notes&\tslur0j\beginmel\cu j\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 10
\NOTEs&\endmel\hl {.j}\en
\NOtes&\qp\en
\def\atnextbar{\znotes\centerpause\en}
\doublebar % 11
\Notes&\Ibu0hh{1}\Uptext{\it Duet}\zq{f}\qb0 h\en
\Notes&\tbu0\zq{f}\qb0 h\en
\Notes&\Ibu0hh{1}\zq{f}\qb0 h\en
\Notes&\llyr\itied0f\itieu1h\tbu0\zq{f}\qb0 h\en
\Notes&\nolyr\ttie0\ttie1\Ibu0hi{1}\zq{f}\qb0 h\en
\Notes&\tbu0\zq{g}\qb0 i\en
\Notes&\Ibu0jj{1}\zq{h}\qb0 j\en
\Notes&\llyr\beginmel\itied0g\itieu1j\tbu0\zq{g}\qb0 j\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 12
\NOTEs&\nolyr\endmel\ttie0\ttie1\zh{.g}\hu {.j}\en
\NOtes&\qp\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 13
\Notes&\Ibu0gg{1}\fl e\zq{e}\qb0 g\en
\Notes&\tbu0\zq{e}\qb0 g\en
\Notes&\Ibu0gg{1}\zq{e}\qb0 g\en
\Notes&\llyr\itied0e\itieu1g\tbu0\zq{e}\qb0 g\en
\Notes&\nolyr\ttie0\ttie1\Ibu0gh{1}\zq{e}\qb0 g\en
\Notes&\tbu0\zq{f}\qb0 h\en
\Notes&\llyr\islurd0g\Ibu0ji{1}\zq{g}\qb0 j\en
\Notes&\nolyr\tslur0f\tbu0\zq{f}\qb0 i\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 14
\NOTEs&\zh{.f}\hu {.i}\en
\Notes&\ds\en
\Notes&\fl d\zq{d}\cu f\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 15
\Notes&\Ibu0ii{1}\fl d\zq{d}\qb0 i\en
\Notes&\tbu0\zq{d}\qb0 i\en
\Notes&\Ibu0ih{1}\zq{d}\qb0 i\en
\Notes&\llyr\itied0c\itieu1h\tbu0\zq{c}\qb0 h\en
\Notes&\nolyr\ttie0\ttie1\Ibu0hg{1}\zq{c}\qb0 h\en
\Notes&\llyr\itied0d\itieu1g\tbu0\zq{d}\qb0 g\en
\Notes&\nolyr\ttie0\ttie1\Ibu0gf{1}\zq{d}\qb0 g\en
\Notes&\tbu0\zq{d}\qb0 f\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 16
\Notes&\Ibu0gi{1}\fl e\zq{e}\qb0 g\en
\Notes&\tbu0\zq{g}\qb0 i\en
\Notes&\Ibu0jf{1}\zq{h}\qb0 j\en
\Notes&\llyr\itied0d\itieu1f\tbu0\zq{d}\qb0 f\en
\NOTes&\nolyr\ttie0\ttie1\zh{d}\hu f\en
\def\atnextbar{\znotes\centerpause\en}
\bar % 17
\NOTEs&\qu g\en
\Notes&\Ibl0hi{1}\qb0 h\en
\Notes&\llyr\beginmel\isluru0i\tbl0\qb0 i\en
\Notes&\nolyr\tslur0i\Ibl0ik{1}\qb0 i\en
\Notes&\itieu0k\isluru1k\tbl0\qb0 k\en
\Notes&\endmel\ttie0\Ibl0kj{1}\qb0 k\en
\Notes&\beginmel\tslur1j\tbl0\qb0 j\en
\def\atnextbar{\znotes\centerpause\en}
\doublebar % 18
\NOTEs\qp&\endmel\Uptext{\it Refrén (Zbor)}\hl {.j}\en
\NOTes\hpause&\en
\Notes\Ibl1NN{1}\qb1 N&\Ibu0ee{1}\qb0 e\en
\Notes\tbl1\qb1 N&\tbu0\qb0 e\en
\bar % 19
\NOtes\isluru0N\ql N&\beginmel\islurd1e\qu e\en
\Notes\tslur0O\Ibl1OO{1}\qb1 O&\endmel\tslur1f\Ibu0ff{1}\qb0 f\en
\Notes\tbl1\qb1 O&\tbu0\qb0 f\en
\NOtes\qp&\qp\en
\Notes\Ibl1OO{1}\qb1 O&\Ibu0ff{1}\qb0 f\en
\Notes\tbl1\qb1 O&\tbu0\qb0 f\en
\bar % 20
\NOtes\isluru0O\ql O&\beginmel\islurd1f\qu f\en
\Notes\tslur0P\Ibl1PP{1}\qb1 P&\endmel\tslur1g\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\NOtes\qp&\qp\en
\Notes\Ibl1Pd{1}\qb1 P&\Ibl0gi{1}\qb0 g\en
\Notes\tbl1\qb1 d&\tbl0\qb0 i\en
\bar % 21
\NOtes\isluru0c\ql c&\beginmel\islurd1h\qu h\en
\NOtes\ql P&\qu g\en
\NOtes\ql P&\qu g\en
\NOtes\tslur0O\ql O&\endmel\tslur1f\sh f\qu f\en
\bar % 22
\NOTes\hl P&\hu g\en
\NOTes\hpause&\qp\en
\NOtes&\qu f\en
\bar % 23
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\NOTes&\qu e\en
\Notes&\Ibu0dd{1}\qb0 d\en
\Notes&\llyr\itied0d\tbu0\qb0 d\en
\Notes&\nolyr\ttie0\Ibu0dd{1}\qb0 d\en
\Notes&\tbu0\qb0 d\en
\Notes&\Ibu0fg{1}\qb0 f\en
\Notes&\tbu0\qb0 g\en
\bar % 24
\NOTes\hpause&\qu f\en
\Notes&\Ibu0ef{1}\qb0 e\en
\Notes&\llyr\itied0f\tbu0\qb0 f\en
\NOTes\qp&\nolyr\ttie0\qu f\en
\Notesp\Ibl1OO{1}\qb1 O&\Ibu0de{1}\qb0 d\en
\Notes\tbl1\qb1 O&\tbu0\qb0 e\en
\bar % 25
\Notes\Ibl1PP{1}\qb1 P&\Ibu0fg{1}\qb0 f\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\Notes\Ibl1Pc{1}\qb1 P&\Ibu0fh{1}\qb0 f\en
\Notes\itieu0c\tbl1\qb1 c&\llyr\itied1h\tbu0\qb0 h\en
\Notes\ttie0\Ibl1cc{1}\qb1 c&\nolyr\ttie1\Ibu0hh{1}\qb0 h\en
\Notes\tbl1\qb1 c&\tbu0\qb0 h\en
\NOtes\ql P&\qu g\en
\bar % 26
\Notesp\ccharnote{-8}{na -}\Ibl1OP{1}\qb1 O&\beginmel\itied0f\wh f\en
\Notes\ccharnote{-8}{ro -}\tbl1\qb1 P&\en
\Notesp\ccharnote{-8}{dil}\Ibl1ON{1}\qb1 O&\en
\Notes\zcharnote{-8}{spa -}\itieu1N\tbl1\qb1 N&\en
\Notes\ttie1\Ibl1NO{1}\qb1 N&\en
\Notes\ccharnote{-8}{si -}\tbl1\qb1 O&\en
\NOtes\ccharnote{-8}{teµ}\ql P&\en
\bar % 27
\NOTes\ccharnote{-8}{nám}\hl O&\endmel\ttie0\hu f\en
\NOtes\hpause&\Uptext{\it Medzihra}\hpause\en
\bar % 28
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 29
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 30
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 31
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 32
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 33
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 34
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOtes&\relax\en
\bar % 35
\NOtes\hpause&\Uptext{\it Refrén (Zbor)}\hpause\en
\NOtes\qp&\qp\en
\Notes\Ibl1NN{1}\qb1 N&\Ibu0ee{1}\qb0 e\en
\Notes\tbl1\qb1 N&\tbu0\qb0 e\en
\bar % 36
\NOtes\isluru0N\ql N&\beginmel\islurd1e\qu e\en
\Notes\tslur0O\Ibl1OO{1}\qb1 O&\endmel\tslur1f\Ibu0ff{1}\qb0 f\en
\Notes\tbl1\qb1 O&\tbu0\qb0 f\en
\NOtes\qp&\qp\en
\Notes\Ibl1OO{1}\qb1 O&\Ibu0ff{1}\qb0 f\en
\Notes\tbl1\qb1 O&\tbu0\qb0 f\en
\bar % 37
\NOtes\isluru0O\ql O&\beginmel\islurd1f\qu f\en
\Notes\tslur0P\Ibl1PP{1}\qb1 P&\endmel\tslur1g\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\NOtes\qp&\qp\en
\Notes\Ibl1Pd{1}\qb1 P&\Ibl0gi{1}\qb0 g\en
\Notes\tbl1\qb1 d&\tbl0\qb0 i\en
\bar % 38
\NOtes\isluru0c\ql c&\beginmel\islurd1h\qu h\en
\Notesp\ql P&\qu g\en
\Notesp\ql P&\qu g\en
\Notesp\tslur0O\ql O&\endmel\tslur1f\sh f\qu f\en
\bar % 39
\NOtesp\hl P&\hu g\en
\NOtes\hpause&\qp\en
\NOtes&\qu f\en
\bar % 40
\def\atnextbar{\znotes\centerbar{\pause}&\centerbar{\pause}\en}
\NOTes&\qu e\en
\Notes&\Ibu0dd{1}\qb0 d\en
\Notes&\llyr\itied0d\tbu0\qb0 d\en
\Notes&\nolyr\ttie0\Ibu0dd{1}\qb0 d\en
\Notes&\tbu0\qb0 d\en
\Notes&\Ibu0fg{1}\qb0 f\en
\Notes&\tbu0\qb0 g\en
\bar % 41
\NOTes\hpause&\qu f\en
\Notes&\Ibu0ef{1}\qb0 e\en
\Notes&\llyr\itied0f\tbu0\qb0 f\en
\NOTes\qp&\nolyr\ttie0\qu f\en
\Notesp\Ibl1OO{1}\qb1 O&\Ibu0de{1}\qb0 d\en
\Notes\tbl1\qb1 O&\tbu0\qb0 e\en
\bar % 42
\Notes\Ibl1PP{1}\qb1 P&\Ibu0fg{1}\qb0 f\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\Notes\Ibl1Pc{1}\qb1 P&\Ibu0fh{1}\qb0 f\en
\Notes\itieu0c\tbl1\qb1 c&\llyr\itied1h\tbu0\qb0 h\en
\Notes\ttie0\Ibl1cc{1}\qb1 c&\nolyr\ttie1\Ibu0hh{1}\qb0 h\en
\Notes\tbl1\qb1 c&\tbu0\qb0 h\en
\NOtes\ql P&\qu g\en
\bar % 43
\NOtesp\hl O&\hu f\en
\NOtesp\hpause&\hpause\en
%
\addspace{-\afterruleskip}\generalsignature{1}%
\doublebar
%\bar% 44
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\Notes&\Uptext{\it Sólo (Unisono)}\Ibl0ii{1}\qb0 i\en
\Notes&\tbl0\qb0 i\en
\Notes&\Ibl0ii{1}\qb0 i\en
\Notes&\llyr\itieu0i\tbl0\qb0 i\en
\Notes&\nolyr\ttie0\Ibl0ij{1}\qb0 i\en
\Notes&\tbl0\qb0 j\en
\Notes&\Ibl0kk{1}\qb0 k\en
\Notes&\beginmel\itieu0k\tbl0\qb0 k\en
\bar % 45
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\NOTEs&\endmel\ttie0\hl {.k}\en
\NOtes&\qp\en
\bar % 46
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\Notes&\Ibu0hh{1}\qb0 h\en
\Notes&\tbu0\qb0 h\en
\Notes&\Ibu0hh{1}\qb0 h\en
\Notes&\llyr\itied0h\tbu0\qb0 h\en
\Notes&\nolyr\ttie0\Ibl0hi{1}\qb0 h\en
\Notes&\tbl0\qb0 i\en
\Notes&\llyr\isluru0k\Ibl0kj{1}\qb0 k\en
\Notes&\nolyr\tslur0j\tbl0\qb0 j\en
\bar % 47
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\NOTEs&\hl {.j}\en
\Notes&\ds\en
\Notes&\cu g\en
\bar % 48
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\Notes&\Ibl0jj{1}\qb0 j\en
\Notes&\tbl0\qb0 j\en
\Notes&\Ibl0ji{1}\qb0 j\en
\Notes&\llyr\itieu0i\tbl0\qb0 i\en
\Notes&\nolyr\ttie0\Ibl0ih{1}\qb0 i\en
\Notes&\llyr\itieu0h\tbl0\qb0 h\en
\Notes&\nolyr\ttie0\Ibl0hg{1}\qb0 h\en
\Notes&\tbl0\qb0 g\en
\bar % 49
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\Notes&\Ibl0ij{1}\qb0 i\en
\Notes&\tbl0\qb0 j\en
\Notes&\Ibl0kg{1}\qb0 k\en
\Notes&\llyr\itieu0g\tbl0\qb0 g\en
\NOTes&\nolyr\ttie0\hl g\en
\bar % 50
\NOtes\ql c&\zq{f}\qu h\en
\Notes\Ibl1Pc{1}\qb1 P&\Ibu0ij{1}\zq{g}\qb0 i\en
\Notes\itieu0c\tbl1\qb1 c&\beginmel\itied1h\itieu2j\tbu0\zq{h}\qb0 j\en
\Notes\ttie0\Ibl1cc{1}\qb1 c&\ttie1\ttie2\Ibu0jl{1}\zq{h}\qb0 j\en
\Notes\itieu0c\tbl1\qb1 c&\itied1h\itieu2l\tbu0\zq{h}\qb0 l\en
\Notes\ttie0\isluru0c\Ibl1cd{1}\qb1
c&\endmel\ttie1\ttie2\islurd1h\Ibu0lk{1}\zq{h}\qb0 l\en
\Notes\tslur0d\tbl1\qb1 d&\beginmel\tslur1h\tbu0\zq{h}\qb0 k\en
\bar % 51
\NOTes\hl d&\endmel\zh{h}\hu k\en
\NOtes\qp&\qp\en
\Notes\Ibl1OO{1}\qb1 O&\Ibu0ff{1}\qb0 f\en
\Notes\tbl1\qb1 O&\tbu0\qb0 f\en
\bar % 52
\NOtes\isluru0O\ql O&\beginmel\islurd1f\qu f\en
\Notes\tslur0P\Ibl1PP{1}\qb1 P&\endmel\tslur1g\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\NOtes\qp&\qp\en
\Notes\Ibl1PP{1}\qb1 P&\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 P&\tbu0\qb0 g\en
\bar % 53
\NOtes\isluru0P\ql P&\beginmel\islurd1g\qu g\en
\Notes\tslur0c\Ibl1cc{1}\qb1 c&\endmel\tslur1h\Ibu0hh{1}\qb0 h\en
\Notes\tbl1\qb1 c&\tbu0\qb0 h\en
\NOtes\qp&\qp\en
\Notes\Ibl1ce{1}\qb1 c&\Ibl0hj{1}\qb0 h\en
\Notes\tbl1\qb1 e&\tbl0\qb0 j\en
\bar % 54
\NOtes\isluru0d\ql d&\beginmel\islurd1i\ql i\en
\NOtes\ql c&\qu h\en
\NOtes\ql c&\qu h\en
\NOtes\tslur0P\ql P&\endmel\tslur1g\sh g\qu g\en
\bar % 55
\NOTes\hl c&\hu h\en
\NOTes\hpause&\qp\en
\NOtes&\qu g\en
\bar % 56
\def\atnextbar{\znotes\centerbar{\pause}&\en}
\NOTes&\qu f\en
\Notes&\cu e\en
\NOtes&\qu e\en
\Notes&\Ibu0eg{1}\qb0 e\en
\Notes&\tbu0\qb0 g\en
\Notes&\cu h\en
\bar % 57
\NOTes\hpause&\qu g\en
\Notes&\Ibu0fg{1}\qb0 f\en
\Notes&\llyr\itied0g\tbu0\qb0 g\en
\NOTes\qp&\nolyr\ttie0\qu g\en
\Notesp\Ibl1PP{1}\qb1 P&\Ibu0ef{1}\qb0 e\en
\Notes\tbl1\qb1 P&\tbu0\qb0 f\en
\bar % 58
\Notes\Ibl1cc{1}\qb1 c&\Ibu0gh{1}\qb0 g\en
\Notes\tbl1\qb1 c&\tbu0\qb0 h\en
\Notes\Ibl1cd{1}\qb1 c&\Ibl0gi{1}\qb0 g\en
\Notes\itieu0d\tbl1\qb1 d&\llyr\itieu1i\tbl0\qb0 i\en
\Notes\ttie0\Ibl1dd{1}\qb1 d&\nolyr\ttie1\Ibl0ii{1}\qb0 i\en
\Notes\tbl1\qb1 d&\tbl0\qb0 i\en
\NOtes\ql c&\ql h\en
\bar % 59
\NOTEs\hl {.P}&\hu {.g}\en
\Notes\Ibl1NN{1}\qb1 N&\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 N&\tbu0\qb0 g\en
\bar % 60
\Notes\Ibl1NO{1}\qb1 N&\Ibu0gh{1}\qb0 g\en
\Notes\tbl1\qb1 O&\tbu0\qb0 h\en
\Notes\Ibl1Nd{1}\qb1 N&\Ibu0gi{1}\qb0 g\en
\Notes\itieu0d\tbl1\qb1 d&\llyr\itied1g\itieu2i\tbu0\zq{g}\qb0 i\en
\Notes\ttie0\Ibl1dd{1}\qb1 d&\nolyr\ttie1\ttie2\Ibu0ii{1}\zq{g}\qb0 i\en
\Notes\tbl1\qb1 d&\tbu0\zq{g}\qb0 i\en
\NOtes\ql c&\zq{f}\qu h\en
\bar % 61
\NOTes\hl P&\zh{d}\hu g\en
\NOtes\qp&\qp\en
\Notes\Ibl1NN{1}\qb1 N&\Ibu0gg{1}\qb0 g\en
\Notes\tbl1\qb1 N&\tbu0\qb0 g\en
\bar % 62
\Notes\Ibl1NO{1}\qb1 N&\Ibu0gh{1}\qb0 g\en
\Notes\tbl1\qb1 O&\tbu0\qb0 h\en
\Notes\Ibl1Nd{1}\qb1 N&\Ibu0gi{1}\qb0 g\en
\Notes\itieu0d\tbl1\qb1 d&\llyr\itied1g\itieu2i\tbu0\zq{g}\qb0 i\en
\Notes\ttie0\Ibl1dd{1}\qb1 d&\nolyr\ttie1\ttie2\Ibu0ii{1}\zq{g}\qb0 i\en
\Notes\tbl1\qb1 d&\tbu0\zq{g}\qb0 i\en
\NOtes\ql c&\zq{f}\qu h\en
\bar % 63
\NOtes\qp&\qp\en
\NOTEs\hl {.P}&\zh{.d}\hu {.g}\en
\znotes\lcharnote{-16}{\it Slovenský text: R.Rausz \bf IX.90}&\relax\en
\Endpiece
\end{document}


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From: Bernhard Lang <blang@ipmc.unil.ch>
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Subject: Re: Problems with \centerpause
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> I rewrote a song where are a lof of pauses. Everything worked Ok until
> I wanted them in the center of bars. I used example of it in
> documentation: \def\atnextbar{\znotes\centerpause\en} But it looks
> musixflx has a problem with it, because when it create any.mx2 notes
> are off stave.

First of all, you should try yourself to isolate the problem a bit more.
Is it really necessary to post more than 400 lines of source code to the
mailing list?


The problem is here:

\def\atnextbar{\znotes\centerpause\en}
\bar % 7                              ^^^

musixTeX interprets this open line end as a blank character which adds
superfluent space to the music. Whenever you get music extending the line
you should first look for these sort of things :-)

Bernhard

From mutex-owner@mail.gmd.de  Mon Oct  9 11:48:25 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Problems with \centerpause
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> Date: Sun, 8 Oct 2000 09:36:09 +0200 (MEST)
> From: Bernhard Lang <blang@ipmc.unil.ch>

> > I rewrote a song where are a lof of pauses. Everything worked Ok until
> > I wanted them in the center of bars. [...]
> The problem is here:
> 
> \def\atnextbar{\znotes\centerpause\en}
> \bar % 7                              ^^^
> 
> musixTeX interprets this open line end as a blank character which adds
> superfluent space to the music. Whenever you get music extending the line
> you should first look for these sort of things :-)

... or - maybe - use PMX or M-Tx/PMX/MusiXTeX which have already solved
such problems.

-- Werner

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(CDT)"
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>>>>> "Jerome" == Jerome S Colburn <jscolbur@prairienet.org> writes:

    Jerome> On 5 Oct 2000, Laura Conrad wrote:
    >> I have a lot of stuff
    >> I've notated in ABC (which gives me MIDI) and would like to try with
    >> MusiXTeX.

    Jerome> If you have it in ABC, why not use abc2mtex to get
    Jerome> MusiXTeX instead?  http://www.gre.ac.uk/~c.walshaw/abc/

Because it's in modern ABC, and abc2mtex is an old program that
doesn't know how to deal with lyrics or multiple voices.



-- 
Laura (mailto:lconrad@laymusic.org , http://www.laymusic.org/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139

------------- End Forwarded Message -------------



From mutex-owner@mail.gmd.de  Tue Oct 10 21:51:40 2000
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First of all I do apologize I sent it all source code, but I was not able to
for a long time.
I  looked again at souce code and I found that there is not problem with
blank characters at the end of line. That command should be put this way:
\def\atnextbar{\znotes\centerpause\en}\bar %7

If you write:
\def\atnextbar{\znotes\centerpause\en}
\bar % 7
you have a problem. Thats all. Thanks for help.

Zdeno


Bernhard Lang wrote:

> First of all, you should try yourself to isolate the problem a bit more. Is
> it really necessary to post more than 400 lines of source code to the
> mailing list?
>
> The problem is here:
>
> \def\atnextbar{\znotes\centerpause\en}
> \bar % 7                              ^^^
>
> musixTeX interprets this open line end as a blank character which adds
> superfluent space to the music. Whenever you get music extending the line
> you should first look for these sort of things :-)
>
> Bernhard



From mutex-owner@mail.gmd.de  Wed Oct 11 09:58:10 2000
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Subject: Re: Problems with \centerpause
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> I  looked again at souce code and I found that there is not problem with
> blank characters at the end of line. That command should be put this way:
> \def\atnextbar{\znotes\centerpause\en}\bar %7
> 
> If you write:
> \def\atnextbar{\znotes\centerpause\en}
> \bar % 7
> you have a problem.

Which is indeed a problem of a 'bare' line end. My mail might have been
missleading, sorry. The problem is not, that you have a real blank (' ')
before the line end. TeX (and therefore also musixTeX) interprets *the
line end character itself* as a blank character, if it doesn't directly
follow a control sequence like \en or \bar. So each line has to end either
with a command sequence or with a comment character ('%') in order to
make the line end character invisible to musixTeX.

\def\atnextbar{...}%
                   ^^
(cf. also p. 13 in MUSIXDOC.DVI)

Bernhard

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From: =?iso-8859-1?Q?Michael_K=F6nig?= <Michael.Koenig@ms-koenig.de>
To: <mutex@gmd.de>
References: <Pine.GSO.4.10.10010060247300.3690-100000@bluestem>
Subject: Trouble with music16 for bubblejet
Date: Wed, 11 Oct 2000 14:34:38 +0100
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Hello,
I have trouble to generate the musix16.pk -fonts for the
bubblejet 200ex using the following:

c:\texmf\miktex\bin\makepk.exe --verbose musix16 360 360 magstep(0.0)
bjtzzex
(all in one line)

I get the following error. Any idea hwo to solve this. I tried it with other
printers and I found out, that this problem is not present anymore when
using printers with higher solutions like the ljfour.

Thanks, Michael


[...]
<repeat symbols> [55] [78] [85] [105] [86] [110]
<trills> [67] [68] [87] [88] [89] [119] [106] [107] [108] [109] [69]
[70]
<pedal signs> [33] [104]
> 0 SSE SSW WSW WNW NNW 1 NNE ENE 2 3 ESE SSE 4 SSW 5 WSW WNW NNW 6 (WNW
 WSW) SSW 7 SSE ESE ENE 8 NNE NNW WNW 9 WSW 10 11 SSW SSE ESE 12 ENE NNE
 NNW 13 0 (NNE ENE ESE)
! Strange path (turning number is zero).
<to be read again>
                   ;
l.1453 ...z7e..z8e..z9e..z10e..z11e..z12e;

[34] [35]
<beam elements> [128] [192] [129] [193] [130] [194] [131] [195] [132]
[196] [133] [197] [134] [198] [135] [199] [136] [200] [137] [201]
[138] [202] [139] [203] [140] [204] [141] [205] [142] [206] [143]
[...]

From mutex-owner@mail.gmd.de  Wed Oct 11 17:04:40 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: \csh in MTx
Date: Wed, 11 Oct 2000 16:32:15 +0200
Organization: Ostravska Univerzita
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Hello,

could I obtain sharp in parenthesis before note in MTx notation? In
MusiXTeX is statement \csh, but I don't know how its used in MTx.

Thank You, Petr Felzmann.

From mutex-owner@mail.gmd.de  Thu Oct 12 09:54:00 2000
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Date: Thu, 12 Oct 2000 09:38:29 +0200
From: Christian Mondrup <scancm@biobase.dk>
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Dear mutex subscribers.

I recently ran into problems with the M-Tx handling of xtuplets and have
therefore published a set of patched source files as
ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052_patch.zip 

The zip file also contains a DOS binary compiled with cygwin gcc. As
with my previous patch no binaries for Macintosh and OS2 are available.
I suppose that'll be taken care of:-)

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \csh in MTx
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> From: "Petr Felzmann" <Felzmann@osu.cz>
> Date: Wed, 11 Oct 2000 16:32:15 +0200

> could I obtain sharp in parenthesis before note in MTx notation? In
> MusiXTeX is statement \csh, but I don't know how its used in MTx.

I searched the mailing list's archive[*] for "\csh M-Tx" [using M-Tx's
correct spelling and leaving out "in" from your subject] and found
on 6th position my previous answer on the same problem

 http://www.gmd.de/Mail/mutex-archive/3357.html

In rare cases it may be useful to add some PMX-space before \ctnry
e.g. "X.2 \ctnry\ ds"

The paragraph starting "The PMX equivalent is ..." should be read "I 
sometimes use ... instead of cautionary accidental. This has been 
discussed controversarily (sp?) in the list. So use \ctnry.

-- Werner

[*] search form on http://www.gmd.de/Mail/mutex-archive/

From mutex-owner@mail.gmd.de  Thu Oct 12 12:33:17 2000
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Date: Thu, 12 Oct 2000 12:12:10 +0200
From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex@gmd.de, Felzmann@osu.cz
Subject: Re: \csh in MTx
References: <200010120847.KAA00346@sunick.gmd.de>
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Werner Icking wrote:
> 
> > From: "Petr Felzmann" <Felzmann@osu.cz>
> > Date: Wed, 11 Oct 2000 16:32:15 +0200
> 
> > could I obtain sharp in parenthesis before note in MTx notation? In
> > MusiXTeX is statement \csh, but I don't know how its used in MTx.
> 
> I searched the mailing list's archive[*] for "\csh M-Tx" [using M-Tx's
> correct spelling and leaving out "in" from your subject] and found
> on 6th position my previous answer on the same problem
> 
>  http://www.gmd.de/Mail/mutex-archive/3357.html

I had a few problems with this solution and ended up with another one
provided during that discussion thread by Don Simons. Here is a short
example:

Meter: C
Style: Solo

%%\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}
%%\def\cautsh{\let\bigshp\bigsh\def\bigsh##1{\csh{##1}\let\bigsh\bigshp}}
%%\def\cautfl{\let\bigflt\bigfl\def\bigfl##1{\cfl{##1}\let\bigfl\bigflt}}

g4 g g g | \cautsh\ fs \cautna\ fn \cautfl\ bf a | g0


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Oct 12 13:05:23 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \csh in MTx
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> Date: Thu, 12 Oct 2000 12:12:10 +0200
> From: Christian Mondrup <scancm@biobase.dk>

> Werner Icking wrote:

> >  http://www.gmd.de/Mail/mutex-archive/3357.html
> 
> I had a few problems with this solution and ended up with another one
> provided during that discussion thread by Don Simons. [...]

> %%\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}

Yes, something was not perfect. Do you remember what is was?

But the above isn't perfect, too, because it assumes, that PMX only uses
\big.. e.g. \bigna. AFAIK PMX uses as well \na, \bigna, \smallna so a
complete solution has to obey all theses cases. My example ignores
this because I always use PMX's "Arb".

My proposal of \ctnry\ has the advantage, that it works with relative
accidentals, too, without having to think about whether e.g. "ff"
generates a natural or a flat or whether e.g. "fs" generates a sharp or a
natural.

-- Werner


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Date: Thu, 12 Oct 2000 14:15:21 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Werner Icking <Werner.Icking@gmd.de>
CC: mutex@gmd.de
Subject: Re: \csh in MTx
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Werner Icking wrote:
> 
> > Date: Thu, 12 Oct 2000 12:12:10 +0200
> > From: Christian Mondrup <scancm@biobase.dk>
> 
> > Werner Icking wrote:
> 
> > >  http://www.gmd.de/Mail/mutex-archive/3357.html
> >
> > I had a few problems with this solution and ended up with another one
> > provided during that discussion thread by Don Simons. [...]
> 
> > %%\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}
> 
> Yes, something was not perfect. Do you remember what is was?
>

unfortunately not:-(
 
> But the above isn't perfect, too, because it assumes, that PMX only uses
> \big.. e.g. \bigna. AFAIK PMX uses as well \na, \bigna, \smallna so a
> complete solution has to obey all theses cases. My example ignores
> this because I always use PMX's "Arb".
>

I do too and thus may use the \caut... macros without worrying

> My proposal of \ctnry\ has the advantage, that it works with relative
> accidentals, too, without having to think about whether e.g. "ff"
> generates a natural or a flat or whether e.g. "fs" generates a sharp or a
> natural.

The below example demonstrates that Don's macros *do* support relative
accidentals 
which I always use.

Meter: C
Flats: 1
Style: Solo

%%\def\cautna{\let\bignat\bigna\def\bigna##1{\cna{##1}\let\bigna\bignat}}
%%\def\cautsh{\let\bigshp\bigsh\def\bigsh##1{\csh{##1}\let\bigsh\bigshp}}
%%\def\cautfl{\let\bigflt\bigfl\def\bigfl##1{\cfl{##1}\let\bigfl\bigflt}}

%% Abr
f4 | a b c d | c \cautsh\ bs c2

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Oct 12 15:07:47 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: \csh in MTx
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> Date: Thu, 12 Oct 2000 14:15:21 +0200
> From: Christian Mondrup <scancm@biobase.dk>

[... I wrote ...]
> > My proposal of \ctnry\ has the advantage, that it works with relative
> > accidentals, too, without having to think about whether e.g. "ff"
> > generates a natural or a flat or whether e.g. "fs" generates a sharp or a
> > natural.
> 
> The below example demonstrates that Don's macros *do* support relative
> accidentals which I always use.

I didn't say that Don's solution does not support relative accidentals.
The advantage of my solution is that for all cases you write \ctnry\ 
without thinking about which accidental is requested at all :-)

-- Werner

From mutex-owner@mail.gmd.de  Thu Oct 12 17:53:08 2000
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Date: Thu, 12 Oct 2000 10:15:56 -0500
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Latest PrePMX patch available for MacOS
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Greetings,

Christian Mondrup's latest patch for Mac OS is available at GMD.

<ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052-patch.sit.hqx>

Thanks Werner.
	Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
Subject: lost endbar with new movement 
Date: Sun, 15 Oct 2000 10:21:21 +0200
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This is a multi-part message in MIME format.

------=_NextPart_000_0009_01C03691.A9FF1BC0
Content-Type: text/plain;
	charset="iso-8859-1"
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This is the example.
The endbar is missing in staff 2 on the 1st system.
If you remove the \\sepbarrules\ or the new movement, then the the bar =
is there.

I suppose i am doing something wrong
I humbly ask for help.

Andre

-----
    5   4    3    4   3   4   0  -1
  1   2  20  .0




btttt
./
Arbd
\\sepbarrules\
a83 g f4 e /
c85 b a4 g /
e84 g  c4  c- /
c84 b  a4  g /
a84 g  f4  e /
L2M+7n234tt
m2222
a24 a /
a24 a /
-----

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Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4134.600" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>This is the example.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The endbar is missing in staff 2 on the =
1st=20
system.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>If you remove the <A=20
href=3D"file://\\sepbarrules\">\\sepbarrules\</A>&nbsp;or the new =
movement, then=20
the the bar is there.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I suppose i am doing something =
wrong</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>I humbly ask for help.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Andre</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>-----</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;&nbsp; 5&nbsp;&nbsp;=20
4&nbsp;&nbsp;&nbsp; 3&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp; 3&nbsp;&nbsp;=20
4&nbsp;&nbsp; 0&nbsp; -1<BR>&nbsp; 1&nbsp;&nbsp; 2&nbsp; 20&nbsp;=20
.0</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><BR>btttt<BR>./<BR>Arbd<BR><A=20
href=3D"file://\\sepbarrules\">\\sepbarrules\</A><BR>a83 g f4 e /<BR>c85 =
b a4 g=20
/<BR>e84 g&nbsp; c4&nbsp; c- /<BR>c84 b&nbsp; a4&nbsp; g /<BR>a84 =
g&nbsp;=20
f4&nbsp; e /<BR>L2M+7n234tt<BR>m2222<BR>a24 a /<BR>a24 a=20
/<BR>-----</FONT></DIV></BODY></HTML>

------=_NextPart_000_0009_01C03691.A9FF1BC0--

From mutex-owner@mail.gmd.de  Sun Oct 15 19:21:46 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: RE: lost endbar with new movement 
Date: Sun, 15 Oct 2000 10:09:15 -0700
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This looks pretty deep, and I don't have a quick solution.  It's either a
problem with MusiXTeX, or (more likely) with something PMX does at the
movement break involving the macros \newnoi or \newmovement (in pmx.tex).
It would be great if some of the TeXperts weighed in here.  Is there a way
to modify either of those macros to solve the problem?

--Don Simons

-----Original Message-----
From: Van Ryckeghem Andre
To: mutex@gmd.de
Sent: 10/15/00 1:21 AM
Subject: lost endbar with new movement 

This is the example.
The endbar is missing in staff 2 on the 1st system.
If you remove the \\sepbarrules\ <file://\\sepbarrules\>  or the new
movement, then the the bar is there.
 
I suppose i am doing something wrong
I humbly ask for help.
 
Andre
 
-----
    5   4    3    4   3   4   0  -1
  1   2  20  .0
 
 
 

btttt
./
Arbd
\\sepbarrules\ <file://\\sepbarrules\> 
a83 g f4 e /
c85 b a4 g /
e84 g  c4  c- /
c84 b  a4  g /
a84 g  f4  e /
L2M+7n234tt
m2222
a24 a /
a24 a /
-----
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Date: Sun, 15 Oct 2000 23:39:03 +0200
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: "'mutex@gmd.de '" <mutex@gmd.de>
Subject: Re: lost endbar with new movement
References: <C3C53CB16C05D311B0CA00805FBBE428030C82D2@xcgca040.sp.logicon.com>
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"Simons, Don" wrote:
> 
> This looks pretty deep, and I don't have a quick solution.  It's either a
> problem with MusiXTeX, or (more likely) with something PMX does at the
> movement break involving the macros \newnoi or \newmovement (in pmx.tex).
> [...]
> This is the example.
> The endbar is missing in staff 2 on the 1st system.
> If you remove the \\sepbarrules\ <file://\\sepbarrules\>  or the new
> movement, then the the bar is there.
> [...]
> -----
>     5   4    3    4   3   4   0  -1
>   1   2  20  .0
> 
> 
> 
> 
> btttt
> ./
> Arbd
> \\sepbarrules\ <file://\\sepbarrules\>
> a83 g f4 e /
> c85 b a4 g /
> e84 g  c4  c- /
> c84 b  a4  g /
> a84 g  f4  e /
> L2M+7n234tt
> m2222
> a24 a /
> a24 a /
> -----


Indeed - the problem seems to be missing synchronization of system break
and staff number change. The switch of instrument 1 from 2 staves to 1
staff becomes effective before the system is finished, therefore the
system-finishing routines ignore the 2nd staff.

Here's a fragment of the resulting TeX input file:

\newnoi{2}%
\setstaffs11%
...
% Bar count 2
\newmovement70%
\generalmeter{\meterfrac{2}{2}}%
\alaligne

If you change this to:

\newnoi{2}%
%\setstaffs11%
...
% Bar count 2
\newmovement70%
\generalmeter{\meterfrac{2}{2}}%
\stoppiece\setstaffs11\contpiece

the phenomenon vanishes.

Considering similar problems which have been discussed on the mailing
list, I'd suggest to generally enclose all stuff that affects
system-related properties in \stoppiece...\contpiece or some related
construct.

Regards,

Rainer

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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: Chordal notes with slur in MTx
Date: Mon, 16 Oct 2000 10:08:16 +0200
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Hello,

how can put the slurs between chordal notes? In the following MTx-source
I need 3 slurs, not only one:

Style: Singer
Meter: 3/4

( g b ) b
C: c-e c-e c-e

Thank You,

Petr Felzmann.

From mutex-owner@mail.gmd.de  Mon Oct 16 11:24:32 2000
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Date: Mon, 16 Oct 2000 11:06:11 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Petr Felzmann <Felzmann@osu.cz>
Cc: mutex@gmd.de
Subject: Re: Chordal notes with slur in MTx
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Petr Felzmann skryf:
> 
> how can put the slurs between chordal notes? In the following MTx-source
> I need 3 slurs, not only one:
> 
There is no neat M-Tx construct for this, but you can use PMX slurs
directly.  A very simple example occurs in Appendix C.5 of the M-Tx
User's Guide.

Dirk
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CC: MusiXTeX <mutex@gmd.de>
Subject: Re: Chordal notes with slur in MTx
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Petr Felzmann wrote:
> 
> Hello,
> 
> how can put the slurs between chordal notes? In the following MTx-source
> I need 3 slurs, not only one:
> 
> Style: Singer
> Meter: 3/4
> 
> ( g b ) b
> C: c-e c-e c-e
> 

use pmx syntax:

g4 sAu ze sBu zc sCl b+ sA ze- sB zc sC b+ ze- zc

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Mon, 16 Oct 2000 16:15:35 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: lost endbar with new movement 
To: mutex@gmd.de, dsimons@logicon.com
Cc: rainer.dunker@ebe-online.de, andre.van.ryckeghem@pandora.be
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Sun, 15 Oct 2000 10:09:15 -0700
> 
> This looks pretty deep, and I don't have a quick solution.  It's either a
> problem with MusiXTeX, or (more likely) with something PMX does at the
> movement break involving the macros \newnoi or \newmovement (in pmx.tex).
> It would be great if some of the TeXperts weighed in here.  Is there a way
> to modify either of those macros to solve the problem?

As Rainer Dunker tells in a later mail the problem is that PMX changes
score attributes before issuing \stoppiece. \newnoi changes number
of instruments in a very complicated way just after the last bar, but
before \stoppiece. Next \setstaffs is used, too, before \stoppiece.
All this is incompatible with proper MusiXTeX usage and works well
only sometimes. In the specific case and maybe in some others, too
following circumvention may help. A real solution has to be done
in pmxab.exe to generate the code where it has to be generated.

Here's my dirty circumvention which is based on TeX's excellent
pattern matching to change \newnoi[...]\newmovement so that
"\newnoi[...]" is executed just before \startpiece within
\newmovement :-(

5 4 3 4 3 4 0 -1
1 2 20 .0




btttt
./
Arbd
\\sepbarrules\
\\let\startpiecePMX\startpiece\
\\def\newnoi#1#2\newmovement#3#4{\
 \\def\startpiece{\def\nbinstruments{#1}#2\
 \\let\startpiece\startpiecePMX\startpiece}\newmovement{#3}{#4}}\
a83 g f4 e /
c85 b a4 g /
e84 g c4 c- /
c84 b a4 g /
a84 g f4 e /
L2M+7n234tt
m2222
a24 a /
a24 a /


-- Werner

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From: "Simons, Don" <DSimons@logicon.com>
To: MusiXTeX <mutex@gmd.de>
Subject: RE: Chordal notes with slur in MTx
Date: Mon, 16 Oct 2000 08:52:23 -0700
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Christian M. wrote

>use pmx syntax:
>
>g4 sAu ze sBu zc sCl b+ sA ze- sB zc sC b+ ze- zc

You might want to use "tie" positioning on the inner slur, which moves it
inboard and vertically toward the horizontal centerline: 

>g4 sAu ze sBut zc sCl b+ sA ze- sBt zc sC b+ ze- zc

--Don Simons
From mutex-owner@mail.gmd.de  Wed Oct 18 10:17:50 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: Staves grouped by bracket 
Date: Wed, 18 Oct 2000 09:49:05 +0200
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Hello,

how define my style in M-Tx so that first stave isn't in bracket of
choral and second with third stave are in bracket?

Thank You,

Petr Felzmann.

P.S. The M-Tx, PMX and MusiXTeX are great! Thank You.

From mutex-owner@mail.gmd.de  Wed Oct 18 12:08:33 2000
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Date: Wed, 18 Oct 2000 11:30:35 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Petr Felzmann <Felzmann@osu.cz>
Cc: mutex@gmd.de
Subject: Re: Staves grouped by bracket
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Petr Felzmann skryf:
> 
> how define my style in M-Tx so that first stave isn't in bracket of
> choral and second with third stave are in bracket?
> 

Style: Singer SATB4

will give you one solo voice above a four-voice, two-stave choir.

In general, you can have several style elements, and the staves in
each element are bracketed if you specified `Group' or `Choral'
when defining them.

Dirk
From mutex-owner@mail.gmd.de  Fri Oct 20 11:26:22 2000
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Reply-To: "Petr Felzmann" <Felzmann@osu.cz>
From: "Petr Felzmann" <Felzmann@osu.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: Different number of staves
Date: Fri, 20 Oct 2000 10:57:37 +0200
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Hello,

I have the song such that have 4 voices in 4 staves for the strophe. But
the refrain have 3 voices in 2 staves.

The second song have a solo voice. But somewhere are vocal voices (like
"aaa", "hmm").

Can I make this two songs by M-Tx or will I must write this songs in PMX
or MusiXTeX?

Thank You,

Petr Felzmann.

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From: HEINECKE Johannes FTRD/DMI/LAN
	 <johannes.heinecke@rd.francetelecom.fr>
To: "'mutex'" <mutex@gmd.de>
Subject: Tenor octave
Date: Fri, 20 Oct 2000 13:58:28 +0200
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Hi there,

I have a little problem concerning PMX and Midi:
I want to write vocal music (SATB). Usually the Tenor
staff has a treble clef with 8 underneath, so it
is sung one octave below than actually written.
But naturally Midi ignores the clef and in the
Midi-files generated the Tenor is always one octave too high.
Is there a possibility to have the Tenor staff transposed
one octave for Midi only?

Thanks
Johannes


-- 
Johannes Heinecke
Email: johannes.heinecke@rd.francetelecom.fr
From mutex-owner@mail.gmd.de  Fri Oct 20 20:01:19 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex'" <mutex@gmd.de>
Subject: RE: Tenor octave
Date: Fri, 20 Oct 2000 10:41:25 -0700
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PMX cannot do that now.  Over the weekend I'll see how much effort would be
required to make this an option in PMX, then decide where to put it on the
priority list.

Meanwhile two general hands-on approaches you could experiment with:

1. Maybe there's a way with inline TeX to transpose one voice by an octave.
If so, you could make an alternate PMX input file for MIDI use only.

2. I'm pretty sure there are MIDI processors that allow you to transpose
just one voice (e.g., MidiNotate).

--Don Simons

> -----Original Message-----
> From:	HEINECKE Johannes FTRD/DMI/LAN
> [SMTP:johannes.heinecke@rd.francetelecom.fr]
> Sent:	Friday, October 20, 2000 4:58 AM
> To:	'mutex'
> Subject:	Tenor octave
> 
> Hi there,
> 
> I have a little problem concerning PMX and Midi:
> I want to write vocal music (SATB). Usually the Tenor
> staff has a treble clef with 8 underneath, so it
> is sung one octave below than actually written.
> But naturally Midi ignores the clef and in the
> Midi-files generated the Tenor is always one octave too high.
> Is there a possibility to have the Tenor staff transposed
> one octave for Midi only?
> 
> Thanks
> Johannes
> 
> 
> -- 
> Johannes Heinecke
> Email: johannes.heinecke@rd.francetelecom.fr
From mutex-owner@mail.gmd.de  Fri Oct 20 21:17:24 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Fri, 20 Oct 2000 14:56:15 -0400
To: DSimons@logicon.com, mutex@gmd.de
Subject: Re: Tenor octave
Message-ID: <39F0954F.nailH5E1G91OE@linus.cs.queensu.ca>
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 > 1. Maybe there's a way with inline TeX to transpose one voice by an octave.

There is.  Here's the basic idea; this will transpose the second of two
voices down an octave. (Assumes use of \en to terminate \notes etc.)

\makeatletter
\def\vnotes#1\elemskip#2&#3\en%
{\noteskip#1\@l@mskip\@vnotes#2&\transpose=-7\relax#3\enotes}%
\makeatother

Bob T.

From mutex-owner@mail.gmd.de  Sat Oct 21 18:21:37 2000
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Date: Sat, 21 Oct 2000 18:07:33 +0200
From: Christian Mondrup <scancm@biobase.dk>
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To: Petr Felzmann <Felzmann@osu.cz>
CC: MusiXTeX <mutex@gmd.de>
Subject: Re: Different number of staves
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Petr Felzmann wrote:
> 
> Hello,
> 
> I have the song such that have 4 voices in 4 staves for the strophe. But
> the refrain have 3 voices in 2 staves.
> 
> The second song have a solo voice. But somewhere are vocal voices (like
> "aaa", "hmm").
> 
> Can I make this two songs by M-Tx or will I must write this songs in PMX
> or MusiXTeX?

M-Tx doesn't support the pmx movement break used for changing number of
staves. But by splitting up your M-Tx source into files corresponding to
the sections having different number of staves and then afterwards
assembling the resulting MusiXTeX files by means of a master file you
should be able to achieve what you want. When M-Tx code sections belong
to one piece you'll a.o. need to adjust the bar numbers in the M-Tx
sources following the first one (\barno=<some number>).

In the GMD sheet note archive there are a couple of examples of chaining
separate M-Tx generated MusiXTeX files, for example my modern edition of
the music from Ravenscroft's 'A Briefe Discourse'.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: Tenor octave
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Bob Tennent wrote:
> 
>  > 1. Maybe there's a way with inline TeX to transpose one voice by an octave.
> 
> There is.  Here's the basic idea; this will transpose the second of two
> voices down an octave. (Assumes use of \en to terminate \notes etc.)
> 
> \makeatletter
> \def\vnotes#1\elemskip#2&#3\en%
> {\noteskip#1\@l@mskip\@vnotes#2&\transpose=-7\relax#3\enotes}%
> \makeatother

As stated this code transposes the notes of a voice an octave down which
is done at the MusiXTeX level. It has no effect on the MIDI output
generated at the pmx level.

Until now my own workaround for the missing MIDI octaviation feature has
been to duplicate the initial lines(s) of corresponding voice(s) needing
the transposition and then comment out the transposed version when I'm
producing note graphics. For example

MyStyle: Voices V1 V2; Clefs G G8
Style: MyStyle
Meter: C

g4+ g g g 
g4+ g g g
% g4 g g g

In this context it is especially advantageous that M-Tx doesn't allow
the pmx absolute octaviation syntax but forces you to use the +/-
relative octaviation. An octaviation change at the first note will be in
effect for the whole score. Pmx users should be able to do that too by
avoiding any other absolute octaviation than that of the leading note.

Regards 
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Van Ryckeghem Andre" <andre.van.ryckeghem@pandora.be>
To: <mutex@gmd.de>
Subject: Re: different number of staves
Date: Mon, 23 Oct 2000 06:18:47 +0200
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------=_NextPart_000_002D_01C03CB9.1A2F55E0
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	charset="iso-8859-1"
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This is a pmx example (attention: lines can be broken in the mail)
Andre
--------cut here-----------
---
%
\input musixtex
\input pmx
\input musixlyr
\input musixcho
%
\setlyrics{voice1}{1voice one}
\setlyrics{voice2}{2voice two}
\setlyrics{voice3}{3voice three}
\setlyrics{voice4}{4voice four}
\setlyrics{ref1}{1ref}
\setlyrics{ref2}{2ref}
\setlyrics{ref3}{3ref}
---
%
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    4   4    4    4   4   4   0  0
% npages,nsyst,musicsize,fracindent
  1   2  20  .04
B
T
A
S
bttt
./
Arbd
\\\songtop4\songbottom1\
\\\assignlyrics1{voice1}\assignlyrics2{voice2}\
\\\assignlyrics3{voice3}\assignlyrics4{voice4}\
\\\setsongraise1{1\Interligne}\
Tt
song title
h
subtitle
a42 a a a | a a a a /
a44 b a a | a a a a /
a44 c a a | a a a a /
a44 d a a | a a a a /
L2M+10i.09n212bt
\\\assignlyrics1{ref1}\assignlyrics2{ref2}\
\\\enableauxlyrics\auxlyr{\assignlyrics2{ref3}}
\\\auxsetsongraise2{10\Interligne}\
\\\songtop2\songbottom1\
\\\setsongraise2{-1\Interligne}\
\\\setname2{\vbox{\hsize\parindent\centerline{Soprano}\centerline{Alto}}}=
\
\\\setname1{Bass}\
b42 b b b | b b b b /
d44 e d d | d d d d //
b44 d b b | b \cchar{17}{hmm}\ b b b /
 --------cut here -------

> Hello,
>
> I have the song such that have 4 voices in 4 staves for the strophe. =
But
> the refrain have 3 voices in 2 staves.
>
> The second song have a solo voice. But somewhere are vocal voices =
(like
> "aaa", "hmm").
>
> Can I make this two songs by M-Tx or will I must write this songs in =
PMX
> or MusiXTeX?
>
> Thank You,
>
> Petr Felzmann.



------=_NextPart_000_002D_01C03CB9.1A2F55E0
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	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4134.600" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman" =
size=3D3>This is a pmx=20
example (attention: lines can be broken in the =
mail)<BR>Andre<BR>--------cut=20
here-----------<BR>---<BR>%<BR>\input musixtex<BR>\input pmx<BR>\input=20
musixlyr<BR>\input musixcho<BR>%<BR>\setlyrics{voice1}{1voice=20
one}<BR>\setlyrics{voice2}{2voice two}<BR>\setlyrics{voice3}{3voice=20
three}<BR>\setlyrics{voice4}{4voice=20
four}<BR>\setlyrics{ref1}{1ref}<BR>\setlyrics{ref2}{2ref}<BR>\setlyrics{r=
ef3}{3ref}<BR>---<BR>%<BR>%=20
nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,<BR>&nbsp;&nbsp;&=
nbsp;=20
4&nbsp;&nbsp; 4&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp;&nbsp; 4&nbsp;&nbsp;=20
4&nbsp;&nbsp; 4&nbsp;&nbsp; 0&nbsp; 0<BR>%=20
npages,nsyst,musicsize,fracindent<BR>&nbsp; 1&nbsp;&nbsp; 2&nbsp; =
20&nbsp;=20
.04<BR>B<BR>T<BR>A<BR>S<BR>bttt<BR>./<BR>Arbd<BR></FONT><A><FONT=20
face=3D"Times New Roman" =
size=3D3>\\\songtop4\songbottom1\</FONT></A><BR><A><FONT=20
face=3D"Times New Roman"=20
size=3D3>\\\assignlyrics1{voice1}\assignlyrics2{voice2}\</FONT></A><BR><A=
><FONT=20
face=3D"Times New Roman"=20
size=3D3>\\\assignlyrics3{voice3}\assignlyrics4{voice4}\</FONT></A><BR><A=
><FONT=20
face=3D"Times New Roman"=20
size=3D3>\\\setsongraise1{1\Interligne}\</FONT></A><BR><FONT=20
face=3D"Times New Roman" size=3D3>Tt<BR>song =
title<BR>h<BR>subtitle<BR>a42 a a a | a=20
a a a /<BR>a44 b a a | a a a a /<BR>a44 c a a | a a a a /<BR>a44 d a a | =
a a a a=20
/<BR>L2M+10i.09n212bt<BR></FONT><A><FONT face=3D"Times New Roman"=20
size=3D3>\\\assignlyrics1{ref1}\assignlyrics2{ref2}\</FONT></A><BR><A><FO=
NT=20
face=3D"Times New Roman"=20
size=3D3><A>\\\enableauxlyrics\auxlyr{\assignlyrics2{ref3}}</A></FONT></A=
></FONT></DIV>
<DIV><FONT face=3DArial size=3D2><FONT face=3D"Times New Roman"=20
size=3D3>\\\auxsetsongraise2{10\Interlig</FONT><FONT face=3D"Times New =
Roman"=20
size=3D3>ne}\<BR></FONT><A><FONT face=3D"Times New Roman"=20
size=3D3>\\\songtop2\songbottom1\</FONT></A><BR><A><FONT face=3D"Times =
New Roman"=20
size=3D3>\\\setsongraise2{-1\Interligne}\</FONT></A><BR><A><FONT=20
face=3D"Times New Roman"=20
size=3D3>\\\setname2{\vbox{\hsize\parindent\centerline{Soprano}\centerlin=
e{Alto}}}\</FONT></A><BR><A><FONT=20
face=3D"Times New Roman" size=3D3>\\\setname1{Bass}\</FONT></A><BR><FONT =

face=3D"Times New Roman" size=3D3>b42 b b b | b b b b /<BR>d44 e d d | d =
d d d=20
//<BR>b44 d b b | b \cchar{17}{hmm}\ b b b /<BR>&nbsp;--------cut here=20
-------<BR><BR>&gt; Hello,<BR>&gt;<BR>&gt; I have the song such that =
have 4=20
voices in 4 staves for the strophe. But<BR>&gt; the refrain have 3 =
voices in 2=20
staves.<BR>&gt;<BR>&gt; The second song have a solo voice. But somewhere =
are=20
vocal voices (like<BR>&gt; "aaa", "hmm").<BR>&gt;<BR>&gt; Can I make =
this two=20
songs by M-Tx or will I must write this songs in PMX<BR>&gt; or=20
MusiXTeX?<BR>&gt;<BR>&gt; Thank You,<BR>&gt;<BR>&gt; Petr=20
Felzmann.</FONT><BR><BR></DIV></FONT></BODY></HTML>

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From: Werner Icking <Werner.Icking@gmd.de>
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Subject: Re: Tenor octave
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> From: Bob Tennent <rdt@cs.queensu.ca>
> Date: Fri, 20 Oct 2000 14:56:15 -0400

>  > 1. Maybe there's a way with inline TeX to transpose one voice by an octave.
> 
> There is.  Here's the basic idea; this will transpose the second of two
> voices down an octave. (Assumes use of \en to terminate \notes etc.)
> 
> \makeatletter
> \def\vnotes#1\elemskip#2&#3\en%
> {\noteskip#1\@l@mskip\@vnotes#2&\transpose=-7\relax#3\enotes}%
> \makeatother

That's an elegant trick :-)

Nevertheless it does not work with PMX, because PMX has already
computed up- and down-stems, beam-directions, slur-directions, ... 

We have discussed the problem earlier. Imho the solution was that
it would be best if PMX would learn some more clefs or maybe at least
some clef-modifiers (e.g. Ct-8, CT, or Ct+8 ...).

In addition it would be nice to have Midi octavation with PMX to enable
in-line TeX usage of \octline. A nice implementation would require
such command at note level not at input block level.

(20) 42. "In the year 25 25 ..."

-- Werner

From mutex-owner@mail.gmd.de  Mon Oct 23 18:14:39 2000
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From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: MIDI & PMX [was Re: Tenor octave]
In-Reply-To: <200010231239.OAA14119@sunick.gmd.de>
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On Mon, 23 Oct 2000, Werner Icking wrote (in part):

> In addition it would be nice to have Midi octavation with PMX to enable
> in-line TeX usage of \octline. A nice implementation would require
> such command at note level not at input block level.

This is one of the ideas Don and I discussed some time ago (last
spring?). The upshot of our conversation was that I volunteered to take a
crack at improving the MIDI capabilities of PMX. The caveat was that I
needed to finish my Ph.D. first; well, my final exam has been scheduled, so
I might start on this soon, no hard and fast promises of results however.

Eric
+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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From: "Simons, Don" <DSimons@logicon.com>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Equal vertical spacing: progress report
Date: Mon, 23 Oct 2000 18:13:36 -0700
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Thanks to all the suggestions from list members, I've hacked an option (Ae)
into PMX to enforce equal vertical spacing between the bottom of every
system and the top of the next.  The idea I used has two steps: (1) put one
blank character far above and below each system, thereby making every system
look very tall and the same as all the others; and (2) redefine the glue
between staves to allow essentially infinite vertical overlap.  One detail I
had to deal with was to be sure not to insert these "struts" above the first
system and below the last system on a page.  I also included in pmx.tex a
\spread macro that lets you insert a \vskip (which still works!) if you do
want a gap wider than the default.  

The new option has the advantage that it makes it impossible to have systems
spill from one page to another.  If there isn't enough vertical space to fit
them all, they'll come out overlapping.  And that's the disadvantage...you
have to look at avery inter-system gap to be sure there are no crashes.

All in all I'm very pleased with the results.  Soon I'll post the revised
code.  Meanwhile, here's a 2-page pdf with a "before-and-after" example of
the case that really got me going on this.  It's from an upcoming
publication of Nicola Matteis' "Ayres for the Violin: The Third Part."
(apologies for the large size of the file and the crummy appearance due to a
well-known Acrobat deficiency...it's much better if you print it out.  Also,
if you should get a blank screen when clicking on the link, try hitting
"reload")

http://www.dslnorthwest.net/~dons/musixtex/Vert_Example.pdf

--Don Simons
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From: Werner Icking <Werner.Icking@GMD.de>
Reply-To: Werner Icking <Werner.Icking@GMD.de>
Subject: Re: Equal vertical spacing: progress report
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> From: "Simons, Don" <DSimons@logicon.com>
> Date: Mon, 23 Oct 2000 18:13:36 -0700

[...]
> The new option has the advantage that it makes it impossible to have systems
> spill from one page to another.  If there isn't enough vertical space to fit
> them all, they'll come out overlapping.  And that's the disadvantage...you
> have to look at avery inter-system gap to be sure there are no crashes.

And if there are crashes you can solve them sometimes by e.g.:

[\\]\gdef\atnextline{\vskip .5\Interligne}\  % your mileage may vary

or

\\def\NLvskip#1{\gdef\atnextline{\vskip #1\Interligne}}\  as global definition and

[\\]\Nlvskip{..}\  before, but near the line break in question.

This may lead to a crash between other systems :-( It's a pity that it seems
to be very hard to detect whether negative glue really results in a crash.
There is a crash if very low notes (or other symbols) in one staff are there
where the next staff has very high notes (or other symbols); but that's not
the only possibility.

I've used this "\atnextline\vskip" already without PMX's new option, because
most of my  editions use already \musicparskip which allows "negative" glue
so that consecutive staffs may overlap (and crash).

Up to now I'm not sure why \NLvskip{.0}\ sometimes works, too. It must have to
do something with the way TeX inserts (positive or negative) glue between
the lines.

> All in all I'm very pleased with the results.  Soon I'll post the revised
> code.  Meanwhile, here's a 2-page pdf with a "before-and-after" example of
> the case that really got me going on this. [...]

Nice example! If there is enough vertical space then equal distance staffs
look very well. I had already earlier thought about that, but never really
implemented it. So it's wonderful, that PMX will support this feature!

-- Werner

From mutex-owner@mail.gmd.de  Thu Oct 26 14:48:55 2000
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From: HEINECKE Johannes FTRD/DMI/LAN
	 <johannes.heinecke@rd.francetelecom.fr>
To: "'mutex'" <mutex@gmd.de>
Subject: maximal beam length
Date: Thu, 26 Oct 2000 14:04:35 +0200
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Hello again,

I havw got another pmx/m-tx related question.
Is there a possibility to determine generally how many
8th (16th etc) are under one beam? I think for the
time being this is detemined by the meter. But I have
a case, where I would like to have a beem over maximally 
2 8th (or 4 16th, i.e. the equivalent of a 4th note)
in a piece using 4/4 meter?

thanks for any hint
Johannes

From mutex-owner@mail.gmd.de  Thu Oct 26 15:37:40 2000
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Date: Thu, 26 Oct 2000 15:06:23 +0200 (MET DST)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: maximal beam length
To: mutex@gmd.de, johannes.heinecke@rd.francetelecom.fr
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> From: HEINECKE Johannes FTRD/DMI/LAN <johannes.heinecke@rd.francetelecom.fr>
> Date: Thu, 26 Oct 2000 14:04:35 +0200

> Is there a possibility to determine generally how many
> 8th (16th etc) are under one beam? I think for the
> time being this is detemined by the meter. But I have

Yes - and only Don knows how it is determined :-)

> a case, where I would like to have a beem over maximally 
> 2 8th (or 4 16th, i.e. the equivalent of a 4th note)
> in a piece using 4/4 meter?

The safest way it to use explicit beaming with "[", "]" and "][" e.g.

m3434
[ c8 c ] [ c c ] [ c c ] |
% which may be equivalent to
c8 c [ c c ] c c |
% And "][" can increase readability
[ c3 c c c ][ c c c c ] c4 c /

-- Werner

PS: In the early days of PMX there was a PMX-external pattern,
    which could be modified to influence beaming. IIRC this
    was proposed to Don by a non-musician who is mentioned
    at the end of the PMX-documentation.

From mutex-owner@mail.gmd.de  Thu Oct 26 19:42:23 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: maximal beam length
Date: Thu, 26 Oct 2000 10:07:31 -0700
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Werner wrote

>PS: In the early days of PMX there was a PMX-external pattern,
>    which could be modified to influence beaming. IIRC this
>    was proposed to Don by a non-musician who is mentioned
>    at the end of the PMX-documentation.

As years go by, it gets harder and harder to remember what happened X years
ago.  Two reason: (1) even healthy memories fade, and (2) we get older and
our memory stops working so well.  Here, X is about 7, but strangely enough
I do remember pretty clearly what happened with beams.  Werner is close but
not exactly right.  The general approach that my friend John Di Pol
suggested back then is still in place.  It depends on having a table of
binary numbers (masks).  Each bit represents the span of a 32nd note and
each number represents a longer span of time which may be a full bar, a half
of a bar, or a third of a bar, depending on the meter.  Consecutive strings
of 1's represent spans of time which--if filled up with beamable notes--will
be beamed.  When I first implemented this I worked out the default sets of
masks but I allowed the user to change the defaults if he wanted to.  By
giving the user this override capability, I obligated myself to explain the
whole mess in the manual.  It took up lots of space in the manual, it
complicated the coding somewhat, and no one ever asked me anything about it
so I assume no one ever used the override option.  So I quickly took out the
option, but left the basic scheme intact, always using the default set of
masks. At the same time, I introduced the forced-beam commands "[", "]" .

--Don Simons
From mutex-owner@mail.gmd.de  Fri Oct 27 11:52:31 2000
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From: HEINECKE Johannes FTRD/DMI/LAN
	 <johannes.heinecke@rd.francetelecom.fr>
To: "'mutex'" <mutex@gmd.de>
Subject: RE: maximal beam length
Date: Fri, 27 Oct 2000 11:35:11 +0200
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Don wrote:
> By
> giving the user this override capability, I obligated myself 
> to explain the
> whole mess in the manual.  It took up lots of space in the manual, it
> complicated the coding somewhat, and no one ever asked me 
> anything about it
> so I assume no one ever used the override option.  So I 
> quickly took out the
> option, but left the basic scheme intact, always using the 
> default set of masks. 
So I could use this messy option :-)
how do I activate it?

Johannes
From mutex-owner@mail.gmd.de  Fri Oct 27 17:24:27 2000
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From: Pantelis Andreou <pan@mathstat.dal.ca>
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Reply-To: Pantelis Andreou <pan@mathstat.dal.ca>
To: mutex@gmd.de
Subject: A better way for 3 vs 2, or 4 vs 6 etc. ?
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Hello everyone,
There has to be a better way to write the following code with
musixtex,  using a triolet indication and a bracket.


\startpiece
\Notes\sk\uptext{\kern .6in \raise -.7in \hbox{4}}%
\unbkt{a}70\isluru0{''f}\roff{\triolet
{e}}\zql{`b}\qu{d}\roff{\qu{e}}\ql{^c}\tslur0{'f}\qu{`d}\sk%
\isluru0{'g}\roff{\triolet
{e}}\zql{`b}\qu{e}\roff{\qu{d}}\ql{c}\tslur0{'g}\qu{`e}%
\en\rightrepeat
\Notes\uptext{\kern .6in \raise .3in \hbox{4}}%
\ovbkt{''g}70\loff{\islurd0{```g}}\roff{\triolet
{f}}\zql{''b}\qu{d}\roff{\ql{c}}\qu{e}\tslur0{``g}%
\ql{''b}\sk%
\loff{\islurd0{``f}}\roff{\triolet{f}}\lqu{''d}\ql{c}\roff{\ql{b}}%
\qu{e}\tslur0{``f}\ql{''c}%     
\en\rightrepeat
\Notes\zhl{'b}\hl{d}\hpause\en
\Endpiece 

Regards,
Pantelis

From mutex-owner@mail.gmd.de  Fri Oct 27 19:27:58 2000
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From: "Simons, Don" <DSimons@logicon.com>
To: mutex@gmd.de
Subject: RE: A better way for 3 vs 2, or 4 vs 6 etc. ?
Date: Fri, 27 Oct 2000 09:56:13 -0700
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Pantelis wrote

>Hello everyone,
>There has to be a better way to write the following code with
>musixtex,  using a triolet indication and a bracket.
>...
>

There is!  Use PMX:

b04x4 cs b c //
d25x3nf e d e2x3 d e /
Rr
b2rx3 c b crx3 b c //
c0x4 e d e /
Rr
d2 zb r2 /

To tell the truth, this example exposed a PMX-bug: There should be no need
to "flip" the bracket and number in the first triplet in the upper line of
music.  I'll have to look into fixing that.  Also, if you really want
slur-like marks instead of brackets over the triplets, you'll have to
suppress the PMX-number and bracket using the "n" option on the xtuplet, and
then insert explicit PMX-slurs and in-line-TeX numbers.

BUT, please notice the mathematically precise horizontal positioning that
was automagically derived by PMX.

--Don Simons
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To: "Pantelis Andreou" <pan@mathstat.dal.ca>, <mutex@gmd.de>
References: <Pine.GSO.3.96.1001027115847.729B-100000@chase>
Subject: Re: A better way for 3 vs 2, or 4 vs 6 etc. ?
Date: Fri, 27 Oct 2000 19:32:45 +0200
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This is a pmx example:

---cut----
  1  1    4    4   0   0   0  0
  1  1  20  .04

t
./
b44 b b b Rr //
d25x3nf e d e2x3 d e /
b2x3 c b crx3 b c Rr //
d4 e d e /
b2 r+0 //
d2 rb /

--------

Andre


From mutex-owner@mail.gmd.de  Tue Oct 31 12:33:35 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: A better way for 3 vs 2, or 4 vs 6 etc. ?
To: mutex@gmd.de, pan@mathstat.dal.ca
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> Date: Fri, 27 Oct 2000 12:02:25 -0300 (ADT)
> From: Pantelis Andreou <pan@mathstat.dal.ca>

> Hello everyone,
> There has to be a better way to write the following code with
> musixtex,  using a triolet indication and a bracket.

> \startpiece
> \Notes\sk\uptext{\kern .6in \raise -.7in \hbox{4}}%

Instead of \kern use \off{...\noteskip}...\off{-...\noteskip},
instead of \uptext{... \raise...} use \zcharnote{<pitch}{...}
to use more MusiXTeX-ical terms.

But in reality Don's advice is better: it's already solved
in PMX. If you do not want to use PMX as input language,
you may at least use \xnum out of PMX's pmx.tex

-- Werner





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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: RE: maximal beam length
To: mutex@gmd.de, johannes.heinecke@rd.francetelecom.fr
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> From: HEINECKE Johannes FTRD/DMI/LAN <johannes.heinecke@rd.francetelecom.fr>
> Date: Fri, 27 Oct 2000 11:35:11 +0200

> Don wrote:
> > By giving the user this override capability, I obligated myself 
> > to explain the whole mess in the manual. [...]

> So I could use this messy option :-)
> how do I activate it?

It's activated, but the data is constant in the FORTRAN source code.

So look at the source code, move the set of masks to an external file
e.g. pmx.msk. Modify the source code such a way, that <pmx-name>.msk
is read, if it exists, otherwise pmx.msk. <pmx-name> is the name of
the pmx-source file without ".pmx".

Up to here it's easy.

Now document the feature :-(

-- Werner

PS: The next step is to exchange the mask on the fly if it's requested
    at the very beginning of an input block.
PPS: ... very beginning of a bar
PPPS: ... anywhere :-)

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From: Pantelis Andreou <pan@mathstat.dal.ca>
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Hello everyone,
I use miktex and need some help to setup pmx.
I tried and were successful in creating barsant.tex.
when I try to execute the tex file there is a referrence to musixmad.tex
which I can't find anywhere. 
Can anyone help?
Regards,
Pantelis

From mutex-owner@mail.gmd.de  Tue Oct 31 15:49:14 2000
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From: Pantelis Andreou <pan@mathstat.dal.ca>
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Hello everyone,
I use miktex so maybe this is the problem.
In order to built the barsant.dvi file I need to put the 
following files in my working directory:
pmx.tex
musixtex.tex
musixmad.tex
musixadd.tex
and all the above files are mentioned somewhere in barsant.tex.

If I just put the pmx.tex file in the musixtex directory and just run

	tex "&musixtex" barsant

then I get all kinds of errors.
Can an other miktex user help me?
Regards,
Pantelis

From mutex-owner@mail.gmd.de  Tue Oct 31 16:04:03 2000
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Date: Tue, 31 Oct 2000 15:37:50 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx setup
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> Date: Tue, 31 Oct 2000 09:48:27 -0400 (AST)
> From: Pantelis Andreou <pan@mathstat.dal.ca>

> when I try to execute the tex file there is a referrence to musixmad.tex
> which I can't find anywhere. 

musixmad.tex is part of standard MusiXTeX ... IIRC since it's very 
beginning. So it should be there where musixtex.tex is too.

-- Werner

From mutex-owner@mail.gmd.de  Tue Oct 31 17:01:54 2000
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Subject: Re: pmx setup
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On Tue, 31 Oct 2000, Pantelis Andreou wrote:

> Hello everyone,
> I use miktex so maybe this is the problem.
> In order to built the barsant.dvi file I need to put the 
> following files in my working directory:
> pmx.tex
> musixtex.tex
> musixmad.tex
> musixadd.tex
> and all the above files are mentioned somewhere in barsant.tex.
> 
> If I just put the pmx.tex file in the musixtex directory and just run
> 
> 	tex "&musixtex" barsant
> 
> then I get all kinds of errors.
> Can an other miktex user help me?
>
Apparently you forgot to update the Tex-macro database 
<initexmf --verbose --update>;  then miktex
can not find the mentioned files. There is no need to use a musixtex format
file; you can use plain TeX; neither do you have to copy the musixtex macros
to your working directory if miktex has them in its database.

Christof

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Date: Tue, 31 Oct 2000 17:20:12 +0100
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Pantelis Andreou <pan@mathstat.dal.ca>
CC: mutex@gmd.de
Subject: Re: pmx setup
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Pantelis Andreou wrote:
> 
> Hello everyone,
> I use miktex and need some help to setup pmx.
> I tried and were successful in creating barsant.tex.
> when I try to execute the tex file there is a referrence to musixmad.tex
> which I can't find anywhere.


It seems that you have not yet configured MiKTeX in a way that it
searches for tex input files in your MusiXTeX directory. To do so, you
should create a personal MIKTeX ini file with appropriate entries; I'll
append my own one as a template at the end of this text. After this, run
the command

initexmf.exe --reconfigure --personal=<your_miktex_ini_file>

from your texmf\miktex\bin directory; this will establish the required
file search behaviour.

Here's my ini file; I leave it up to you to walk through it and replace
the MusiXTeX-related paths with your ones. (Beware of broken lines due
to mail transmission.)

8<----------------------------------------------------------------------------
[METAFONT]
;; Where METAFONT searches for input files.
Input
Dirs=.;d:\rainer\software\TeX\MusiXTeX;%R\metafont//;%R\fonts\source//

[MiKTeX]
;; The trace is written on stderr unless you specify a trace file.
TraceFile=

;; General Search Paths
;;
;; Note: A search path specification can be extended in the respective
;; app section.
;; `%ENV%' is a placeholder for the value of environment variable ENV.
;;
;; `//' in a search path implies recursive search.
;;
;; `%R' is a place holder for the list of TeXMF root directories that
;; where specified with option --remote-directories (-r).
;;
;; For example: if you have two TeXMF root directories, say C:\TEXMF
;; and \\SERVER\TEXMF, then "%R\tex//" will eventually be expanded to
;; "C:\TEXMF\tex//;\\SERVER\TEXMF\tex//"

[MiKTeX]
;; Where MiKTeX searches for .tfm files.
TFMPath=.;d:\rainer\software\TeX\MusiXTeX;%R\fonts\tfm//

;; Where MiKTeX searches for .fmt files.
FMTPath=.;d:\rainer\software\sgml\jadetex//;%R\miktex\fmt//

;; Where MiKTeX searches for .pk files.
;; %m is a place holder for the current METAFONT mode (e.g. 'ljfour').
;; %d is a place holder for the horizontal resolution in dots per inch.
PKPath=.;%R\fonts\pk\%m//dpi%d

[TeX]
;; Where TeX looks for input files.
Input
Dirs=.;d:\rainer\config\texinput//;d:\rainer\software\tex//;%R\tex\plain//;%R\tex\generic//;%R\tex//
8<----------------------------------------------------------------------------


Regards,

Rainer
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From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Subject: Couldn't get volta in M-Tx
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Hi All,

I couldn't get it. Please take a look at the attached example, which I
tried to write according to the example in the M-Tx documentation.

Thank you in advance

Alexander
--------------8036676B23EE0AA884606EA8
Content-Type: text/plain; charset=koi8-r;
 name="test.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="test.mtx"

Title: Edinorodnyj Syne
Composer: Sergej Ryabchenko
Style: SATB
Space: 8 5
Meter: 0/8
Flats: 1
Systems: 2
Pages: 1
PMX: h10i w7i

   r0         || r2 r4  a4 || ( d2d c4 ) || b2d d4
   ( a2d g4 ) || f2d f4 || ( f2 f2s ) || g2d zd b4+
L: si nas, spa-si nas, spa-
   ( d2+ c2s ) || a2d d4 || ( b2 a2 ) || g2d f4+
   ( f2 e2  ) || d2d r4 || r0        || r2 r4 g4

   c2d c4 |: ( c2 b2 ) || a0 :| ( c2 e2 ) || f0 of
   a2d a4 |: V1     g0      || f0 :|     ( g2 b2 ) || a0
L: si spa-si nas si nas.
   f2d f4 |: V1     e0      || c0 :|    ( e2 g2 ) || f0
   ( c2 a4 ) V1 f4 |: c0     || f0 :|     ( c2 c2+ zc- ) || c0+ zf- ofd


--------------8036676B23EE0AA884606EA8--

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Date: Wed, 01 Nov 2000 09:23:25 +0100
From: Christian Mondrup <scancm@biobase.dk>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> I couldn't get it. Please take a look at the attached example, which I
> tried to write according to the example in the M-Tx documentation.
> 
> Thank you in advance
> 
> Alexander
> 
>
------------------------------------------------------------------------
> Title: Edinorodnyj Syne
> Composer: Sergej Ryabchenko
> Style: SATB
> Space: 8 5
> Meter: 0/8
> Flats: 1
> Systems: 2
> Pages: 1
> PMX: h10i w7i
> 
>    r0         || r2 r4  a4 || ( d2d c4 ) || b2d d4
>    ( a2d g4 ) || f2d f4 || ( f2 f2s ) || g2d zd b4+
> L: si nas, spa-si nas, spa-
>    ( d2+ c2s ) || a2d d4 || ( b2 a2 ) || g2d f4+
>    ( f2 e2  ) || d2d r4 || r0        || r2 r4 g4
> 
>    c2d c4 |: ( c2 b2 ) || a0 :| ( c2 e2 ) || f0 of
>    a2d a4 |: V1     g0      || f0 :|     ( g2 b2 ) || a0
> L: si spa-si nas si nas.
>    f2d f4 |: V1     e0      || c0 :|    ( e2 g2 ) || f0
>    ( c2 a4 ) V1 f4 |: c0     || f0 :|     ( c2 c2+ zc- ) || c0+ zf- ofd


Your problems are due to the barless meter. As your score is strictly
metric I guess you've chosen that only to get the leading meter
suppressed. But that may be achieved my using the pmx meter change
syntax as value for the Meter preamble clause. 

Do you really want to have double bars between the measures?

Here is a slightly modified version of your M-tx code:

Title: Edinorodnyj Syne
Composer: Sergej Ryabchenko
Style: SATB
Space: 8 5
Meter: m4/4/0/0
Flats: 1
Systems: 2
Pages: 1
PMX: h10i w7i

   r0         || r2 r4  a4 || ( d2d c4 ) || b2d d4
   ( a2d g4 ) || f2d f4 || ( f2 f2s ) || g2d zd b4+
L: si nas, spa-si nas, spa-
   ( d2+ c2s ) || a2d d4 || ( b2 a2 ) || g2d f4+
   ( f2 e2  ) || d2d r4 || r0        || r2 r4 g4

   c2d c4 |: ( c2 b2 ) || a0 :| ( c2 e2 ) || f0 of
   a2d a4 |:      g0      || f0 :|     ( g2 b2 ) || a0
L: si spa-si nas si nas.
   f2d f4 |:      e0      || c0 :|    ( e2 g2 ) || f0
   ( c2 a4 ) f4 |: V1 c0    || f0 :| V2b ( c2 c2+ zc- ) || c0+ zf- ofd


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Date: Fri, 10 Nov 2000 21:59:53 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Subject: pickup in the middle of the piece
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Hi All,

How would I do a pickup in the middle of the piece, when an explicit
meter change in also required in this same bar? Please see the
attachment: 11th bar of it should not contain any pause but be a pickup
instead.

Thank you

Alexander
--------------67EE9AA76AD4EB73882AA37C
Content-Type: text/plain; charset=koi8-r;
 name="test10.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: inline;
 filename="test10.mtx"

Title: Milost' mira
Composer: Sergej Rjabchenko
SATB3: Voices S,A T B; Choral; Clefs G G8 F
Style: SATB
Space: 8 5
Meter: C
Sharps: 1
Systems: 3
Pages: 1
PMX: h10i w7i It120ifrtr Aa2

% bar 01
U: @+3 mf
   b4 b b b |
@+2   g4 g g g |
L: Mi-lost' mi-ra,
   d4+ d d d |
   g4 g g d |

% bar 02
   g2 a4 a4 |
   e2 f4 f4 |
L: zhert-vu khva-
   b2 d4 d4 |
   e2 d4 d4

% bar 03
U: < <.
   b2 c2 |
   g2 g2 |
L: le-ni-
   d2 ( c4 e4 ) |
   ( g4 f4n ) ( e4 c4 )

% bar 04
U: >4
   b0 ||
   g0 ||
L: ja.
   d0 ||
   g0+ zg- ||

%L2
% bar 05
   g2 f2 |
   e2 d2s |
L: I so
   b2 b2 |
   e2+ b2 

% bar 06
   ( g4 a4 ) b4 c4 |
   ( e4 f4 ) g4 f4 |
L: du-khom Tvo-
   ( b4 d4 ) d4 d4 |
   ( e4 d4 ) g4 a4

% bar 07
   d0 ||
   g0 ||
L: im.
   d0 ||
   b0 ||

% bar 08
   d4 d4 d4 d4 |
   g4 g4 g4 g4 |
L: I-ma-my ko 
   b4 c4 d4 [ c8 b8 ] |
   g4 a4 b4 [ a8 g8 ] |

% bar 09
   (+3 e4 d4 c4 )+2 [ c8 b8 ] |
   ( g2    a4 ) [ a8 g8 ] |
L: Go-spo-
   ( c4 d4 e4 )   e4      |
   (-2 c4 zc- b4+ zb- a4+ za- )-2 a4+ za- |

% bar 10
   a0 ||
   f0 ||
L: du.
   d0 ||
   d0 ||

% bar 11
m4444 r2 r4 [ b8 c8 ] |
      r2 r4  g4      |
L: Do-
      r2 r4  d4      |
      r2 r4 [ g8 a8 ] |

% bar 12
   ( d4 c4 ) b4 a4 |
   ( g4 f4 ) g4 f4 |
L: stoj-no i
     d2      d4 d4 |
   ( b4 a4 ) g4 d4

--------------67EE9AA76AD4EB73882AA37C--

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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: pickup in the middle of the piece
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> How would I do a pickup in the middle of the piece, when an explicit
> meter change in also required in this same bar? Please see the
> attachment: 11th bar of it should not contain any pause but be a pickup
> instead.
> 

The solution is to make use of the ability of the pmx meter change to
distinct between the actual and the written meter. Change the meter in
the pickup measure to 1/4 notated as 4/4 and use a 'silent' change to
4/4 in the following measure:

% bar 11
m1/4/4/4 [ b8 c8 ] |
m1/4/4/4 g4 |
L: Do-
m1/4/4/4 d4 |
m1/4/4/4 [ g8 a8 ] |

% bar 12
m4/4/0/0 ( d4 c4 ) b4 a4 |
m4/4/0/0 ( g4 f4 ) g4 f4 |
L: stoj-no i
m4/4/0/0 d2 d4 d4 |
m4/4/0/0 ( b4 a4 ) g4 d4 |

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: "Petr Felzmann" <felzmann@datis.cdrail.cz>
To: "MusiXTeX" <mutex@gmd.de>
Subject: One and two lyrics lines
Date: Mon, 13 Nov 2000 11:13:07 -0000
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Hello,

in M-Tx source:

c4 ( c c ) c |
L: first second third
L: ~     ~      sixth

I want to have the melisma in second syllable, but I don't want to have the
melisma in fifth syllable in second lyrics line.

Maybe more generally: Begin with one lyrics line and inside a bar (not at
the begining) change number of lyrics lines to two.

How can I make it? Thank You,
                                Petr Felzmann.


From mutex-owner@mail.gmd.de  Mon Nov 13 13:37:16 2000
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From: Arjen Bax <arjen.bax@cmg.nl>
To: MusiXTeX <mutex@gmd.de>
Subject: U: line in M-Tx causes L: text shift
Date: Mon, 13 Nov 2000 13:16:52 +0100
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Aloha,

Fragment 1 below is the M-Tx source for the first line of a song. Output
is beautiful. However, adding a U: line to provide a metronome
indication (see fragment 2) causes the verse number and the first word
of the line to be shifted up and written through the g8 of the upbeat.
Moreover, the syllables of the second word (o-ren) are squashed
together, causing a missing syllable on the last note.
How do I prevent this?

Thanks in advance,
Arjen Bax.

<fragment1>
Style: Singer
Meter: C/
Size: 16
Systems: 1
Pages: 1

%%\\nobarnumbers\
%%w89m
@+4 g8 | g4 g g g | [ ( g8 f ) ] [ ( g a ) ] b2 \caesura\ |
L: 1. Wie o-ren om te ho-ren heeft,
</fragment1>

<fragment2>
Style: Singer
Meter: C/
Size: 16
Systems: 1
Pages: 1

%%\\nobarnumbers\
%%w89m
U: {\metron{\qu}{120}} |
@+4 g8 | g4 g g g | [ ( g8 f ) ] [ ( g a ) ] b2 \caesura\ |
L: 1. Wie o-ren om te ho-ren heeft,
</fragment2>

-- 
CMG Noord-Nederland B.V.
Sector Telecommunications & Utilities
Postbus 70237, 9704 AE  Groningen
Tel. (050)52 19 500, Fax (050)52 19 504
<http://www.cmg.nl> <http://www.cmg.com>

Left to themselves, things tend to go from bad to worse.
From mutex-owner@mail.gmd.de  Mon Nov 13 14:22:17 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: U: line in M-Tx causes L: text shift
To: mutex@gmd.de, arjen.bax@cmg.nl
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> From: Arjen Bax <arjen.bax@cmg.nl>
> Date: Mon, 13 Nov 2000 13:16:52 +0100

[...M-Tx/PMX...]
> is beautiful. However, adding a U: line to provide a metronome
> indication (see fragment 2) causes the verse number and the first word
> of the line to be shifted up [...]

> <fragment2>
> [...]
> U: {\metron{\qu}{120}} |

\qu is a spacing quarter note, \zqu is a non-spacing quarter note.

This may be(!) the cause. I didn't test it.

-- Werner

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References: <69E2FE062AA0D411BE9B00306E00E1520CB99A@NL-GRH-MAIL01>
Subject: Re: line in M-Tx causes L: text shift
Date: Mon, 13 Nov 2000 14:40:55 -0000
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> U: {\metron{\nolyr\qu}{120}} |
                       ^^^^^

Petr Felzmann.

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Date: Mon, 13 Nov 2000 15:45:01 +0100
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CC: mutex@gmd.de, arjen.bax@cmg.nl
Subject: Re: U: line in M-Tx causes L: text shift
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Werner Icking wrote:
> 
> > From: Arjen Bax <arjen.bax@cmg.nl>
> > Date: Mon, 13 Nov 2000 13:16:52 +0100
> 
> [...M-Tx/PMX...]
> > is beautiful. However, adding a U: line to provide a metronome
> > indication (see fragment 2) causes the verse number and the first word
> > of the line to be shifted up [...]
> 
> > <fragment2>
> > [...]
> > U: {\metron{\qu}{120}} |
> 
> \qu is a spacing quarter note, \zqu is a non-spacing quarter note.
> 
> This may be(!) the cause. I didn't test it.

The problem is rather due to '\metron{\qu}{120}' interfering with
musixlyr. Thus a working solution would be something like:

\lyricsoff\metron{\qu}{120}\lyricson

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Nov 13 17:04:46 2000
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From: Arjen Bax <arjen.bax@cmg.nl>
To: MusiXTeX <mutex@gmd.de>
Subject: RE: U: line in M-Tx causes L: text shift (follow-up)
Date: Mon, 13 Nov 2000 16:28:09 +0100
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Aloha,

Regarding my former question:

> [...] adding a U: line to provide a metronome
> indication (see fragment 2) causes the verse number and the 
> first word of the line to be shifted up [...]

Werner Icking [mailto:Werner.Icking@gmd.de] answered:

> \qu is a spacing quarter note, \zqu is a non-spacing quarter note.
> This may be(!) the cause. I didn't test it.

Andre Van Ryckeghem [mailto:avr@pandora.be] suggested in a private e-mail:

> use \nolyr in the metron
> U: {\metron{\nolyr\qu}{120}} |

Both solutions work, but the former has the disadvantage that the '='
sign is squashed against the quarter note (because of the non-spacing).

The latter solution causes two warnings from M-Tx:

    Note under beam has length 1/4 or more: WARNING on line 10
    @+4 g8 | g4 g4 g4 g4 | [ ( g8
    Note under beam has length 1/4 or more: WARNING on line 10
    @+4 g8 | g4 g4 g4 g4 | [ ( g8 f8 ) ] [ ( g8

but the output looks fine.

Thank you all.
Arjen Bax
-- 
CMG Noord-Nederland B.V.
Sector Telecommunications & Utilities
Postbus 70237, 9704 AE  Groningen
Tel. (050)52 19 500, Fax (050)52 19 504
<http://www.cmg.nl> <http://www.cmg.com>

Left to themselves, things tend to go from bad to worse.
From mutex-owner@mail.gmd.de  Mon Nov 13 17:08:09 2000
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From: Arjen Bax <arjen.bax@cmg.nl>
To: MusiXTeX <mutex@gmd.de>
Subject: majordomo
Date: Mon, 13 Nov 2000 16:38:28 +0100
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Aloha,

I received my own question 7 times from the list. Is there something wring
with my mail agent (M$ Outlook) or with the list agent at gmd.de?

Arjen Bax
-- 
CMG Noord-Nederland B.V.
Sector Telecommunications & Utilities
Postbus 70237, 9704 AE  Groningen
Tel. (050)52 19 500, Fax (050)52 19 504
<http://www.cmg.nl> <http://www.cmg.com>

Left to themselves, things tend to go from bad to worse.
From mutex-owner@mail.gmd.de  Mon Nov 13 18:45:26 2000
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Date: Mon, 13 Nov 2000 18:36:59 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: majordomo
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> From: Arjen Bax <arjen.bax@cmg.nl>
> Date: Mon, 13 Nov 2000 16:38:28 +0100

> I received my own question 7 times from the list. Is there something wring
> with my mail agent (M$ Outlook) or with the list agent at gmd.de?

There are email addresses on the list which cannot be reached either
temporarily or forever. Is it possible that you got 7 error reports?
[As "mutex-owner@gmd.de" I get as many reports or more :-(]

I normally hesitate before removing an address from the list. But
maybe it's time to clean up the list.


1) Since long I get error messages for
  shira@cho1-ei.eng.hokudai.ac.jp
but this address is not member of the list. It's possible that
  shira@cho1.hudk.hokudai.ac.jp
causes the error. But whenever I sent a mail to this address I
didn't get a bounce message nor a reply that the mail reached
the person in question. So I tell here: I will remove

  shira@cho1-ei.eng.hokudai.ac.jp

from the list unless someone tells me not to do so.


2) The case is easier with following addresses which all bounced many,
many times. I'll remove unless asked to keep them because of this mail:

 crowdyd@upng.ac.pg
 hooft@prl.philips.nl
 mst@mhcnet.micro.lucent.com
 post@howard.gilbert1.uklinux.net
 simandj@ece.orst.edu
 u3906020@student.chula.ac.th
 web@kenll.com
 Andreas.Ehler@rz.ruhr-uni-bochum.de
 

3) Following addresses bounced but I will keep them because the cause
may be temporary. So if you owned that address and if it is no
longer valid, please let me know:

 hendrix@dt.navy.mil
 HDKarras@aol.com
 rbastianex@estelfree.net
 watto@geocities.com
 wlother@saunalahti.fi
 
4) Following email addresses have/had sporadic bounces:

 flamenco@www.gcn.net.tw
 gaia@gaia.pp.sci.fi
 zimmermm@rz.uni-duesseldorf.de

I'll keep that addresses but the owners should be aware, that not
all list mails reached them. What a pity!

I'll wait until next Monday for reactions.

-- Werner

From mutex-owner@mail.gmd.de  Tue Nov 14 18:03:09 2000
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Date: Tue, 14 Nov 2000 17:36:08 +0100
From: Daniel Taupin <taupin@lps.u-psud.fr>
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 My encyclopaedia confirms what I always expected to know: a metric
indication such a <whole-note>=60 means that a whole note should have a
duration of 1/60 minute, i.e. 1 second.

 However, when looking at scores made at the beginning of the 20th
century I often find scores with a metronomic specification such as

<quarter-note> = 100 (up to 132) although this piece has a nearly
continuous flow of 16th notes. This means, in the intermediate case of a
quarter note equal to 120, that the music player should play 120*4 notes
= 480 notes/min, that is 8 notes per second.

 This happens with the set of piano exercises by Czerny, in the Organ
Toccata by Boëllman, and others. Such a speed seems extremely difficult,
not only to lay but also to listen to. And also, musix CDs I have of
some of these works are really played much slower that posted.

 My interpretation is that a mechanic metronome set to 60 sounds one
beat each second, but since it is a pendulum, it sounds alternatingly

 tip - top - tip - top - tip - top etc.

Thus I'm afraid that    some people understtod the <quarter-notes>=60
specification to result in quarter notes starting, not on each beat, but
on each "tip" (or "top"), so that (perhaps?) <quarter-note>=60 would
mean... 60 quarter notes in TWO minutes.

 I'm I right?


--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail.gmd.de  Tue Nov 14 20:30:38 2000
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From: Christian Mondrup <scancm@biobase.dk>
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Daniel Taupin wrote:
> 
>  My encyclopaedia confirms what I always expected to know: a metric
> indication such a <whole-note>=60 means that a whole note should have a
> duration of 1/60 minute, i.e. 1 second.
> 
>  However, when looking at scores made at the beginning of the 20th
> century I often find scores with a metronomic specification such as
> 
> <quarter-note> = 100 (up to 132) although this piece has a nearly
> continuous flow of 16th notes. This means, in the intermediate case of a
> quarter note equal to 120, that the music player should play 120*4 notes
> = 480 notes/min, that is 8 notes per second.
> 
>  This happens with the set of piano exercises by Czerny, in the Organ
> Toccata by Boëllman, and others. Such a speed seems extremely difficult,
> not only to lay but also to listen to. And also, musix CDs I have of
> some of these works are really played much slower that posted.
> 
>  My interpretation is that a mechanic metronome set to 60 sounds one
> beat each second, but since it is a pendulum, it sounds alternatingly
> 
>  tip - top - tip - top - tip - top etc.
> 
> Thus I'm afraid that    some people understtod the <quarter-notes>=60
> specification to result in quarter notes starting, not on each beat, but
> on each "tip" (or "top"), so that (perhaps?) <quarter-note>=60 would
> mean... 60 quarter notes in TWO minutes.
> 
>  I'm I right?
> 

No, '<quarter-note> = 100' beyond despute indicates a metronome tempo of
100 per quarter note. 'Fastness' is always something relative, for
example you wouldn't normally characterize a piano andante by - say
Chopin - containing long chains of grace notes as fast even if the
performance of the piece might require rapid finger movements from the
player. Hence without knowing the mentioned Czerny etudes you're
referring to I can't say whether a metronome indication might seem
unnaturally high. Also with organ music one may be prepared for a
certain level of virtuosity. You'll meet that in baroque organ music
written for the often 'slim' and transparent sound of the instruments of
that time. But even with music written for early 20th century 'heavy'
organs, for example those of Cavallier-Colle (hopefully correctly
spelled) rapid notes may be used as a kind of sound texture.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: mutex <mutex@gmd.de>, Daniel Taupin <taupin@lps.u-psud.fr>
Subject: Re: Metronomic specifications
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I can confirm what Christian Mondrup writes.  As far as I know the general
question is out of doubt. A metric indication <whole-note>=60 means indeed
sixty whole notes per minute.

However, if you listen to old recordings from the years 1890-1940, you
find that (at least some) people played with incredible high virtousity
and that they often played even *faster* than what was given by the
composers (obviously and confirmed by recordings where the composer play
themselves, the metric indication whas supposed to give only an average
measure which you get when you measure the temporal duration of the whole
piece and divide by the number of beats). The main difference to our days
is perhaps that we are used to "perfect" performance in a sense that top
law is "no wrong notes at all". In former days people might have seen that
a bit more relaxed because, in difference to us, they normally didn't know
the peaces in advance when they went to a concert. That's my I guess. But
nevertheless among these recordings I mentioned are quite a lot where you
can't hear any wrong notes at all. So, that's quite impressive...

Bernhard





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Subject: Re: Metronomic specifications
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On Tue, 14 Nov 2000, Daniel Taupin wrote:

> 
>  However, when looking at scores made at the beginning of the 20th
> century I often find scores with a metronomic specification such as
> <quarter-note> = 100 (up to 132) although this piece has a nearly
> continuous flow of 16th notes. This means, in the intermediate case of a
> quarter note equal to 120, that the music player should play 120*4 notes
> = 480 notes/min, that is 8 notes per second.
> 
>  This happens with the set of piano exercises by Czerny, in the Organ
> Toccata by Boëllman, and others. Such a speed seems extremely difficult,
> not only to lay but also to listen to. And also, musix CDs I have of
> some of these works are really played much slower that posted.
> 
>  My interpretation is that a mechanic metronome set to 60 sounds one
> beat each second, but since it is a pendulum, it sounds alternatingly
> 
>  tip - top - tip - top - tip - top etc.
> 
> Thus I'm afraid that    some people understtod the <quarter-notes>=60
> specification to result in quarter notes starting, not on each beat, but
> on each "tip" (or "top"), so that (perhaps?) <quarter-note>=60 would
> mean... 60 quarter notes in TWO minutes.
> 
The definition is clear, each beat of pendulum, no matter whether to the right
or to the left, counts. On better metronoms you only see a difference,
but do not hear it. However, it is obviously correct that the metronom settings
prescribed by the composers are often exaggerated. Many historians assume
that Beethoven's metronom was defect. However, there are also other examples
of exaggerations. Reger's organ pieces are not sounding good at all if
one takes his tempi and his dynamics seriously. Reger's friend and interpret
of his Organ piece, Straube, explained it: the composers make only their intention clear;
Reger wanted a `beseeltes', highly emotional play and not a dull, 
`feierliches' one as most organists of his time used to play. I assume 
that Boëllman's intention were the same. Straube said that taking Reger's
instructions precisely would make his compositions totally unclear.
A high setting of the metronom should thus mean that the tempo has to be at the
upper limit of the performer's and the instrument's possibilities.
Czerny obviously wanted that his eleves go their absolute maximum of
`Geläufigkeit'. That most of them were unable to reach that speed should
be for them a steady incent to improve it.
As you know, for organ music the acoustic properties of the hall have to 
be taken into account, and a rapid prelude played on a small organ in a
small church with a lucid accoustic would form an unstructered and
indigestable sound mass if played with the same tempo on the full organ
in a cathedral. I think to chose the right tempo is an art that belongs
to the interpret, and all interprets agree that it is a quite difficult task.

Christof

From mutex-owner@mail.gmd.de  Wed Nov 15 12:24:33 2000
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cbiebri@gwdg.de said:
>  Many historians assume that Beethoven's metronom was defect.

I have read somewhere that the metronomic indications by Schumann
have also caused controversy. Does anyone know the details?

Best regards,
Miguel Filgueiras




From mutex-owner@mail.gmd.de  Wed Nov 15 13:39:34 2000
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Another psychological reason for high metronome specifications 
could be that you often tend to use a higher tempo when you 
just imagine the music in your head, than when you actually 
play it.

     /Mats


From mutex-owner@mail.gmd.de  Wed Nov 15 16:19:54 2000
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Date: Wed, 15 Nov 2000 15:48:43 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Metronomic specifications 
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> Date: Wed, 15 Nov 2000 10:54:48 +0000
> From: Miguel Filgueiras <mig@ncc.up.pt>

> I have read somewhere that the metronomic indications by Schumann
> have also caused controversy. Does anyone know the details?

Searching "metronom schumann" with http://google.com resulted in
http://www.edition-peters.com/urtext/schumann/album_jugend_kinder/nachwort.html

<extract>
Interessant ist, daß Johannes Brahms in einem Brief
an Clara Schumann im April 1879, in der Zeit der
Vorbereitung der Neuausgabe bei Breitkopf & Härtel,
schreibt: "Notiere doch auch Härtels, daß die Pedal- und
Metronombezeichnung in den Kinderszenen zu bleiben hat.
Aus dem mitgeschickten Band sehe ich nämlich, daß
Schumann solche Exemplare gehabt und einbinden hat
lassen."7)Dementsprechend finden sich im Erstdruck
(Deutsche Staatsbibliothek Berlin, Mus. 18227) keine
Metronomangaben. Vom Erstbesitzer dieses Bandes, Otto
Böhme, stammen Eintragungen zum Erscheinungsdatum
(März 1839), Quellenangaben zu Rezensionen, Kritiken etc.
und vor allem eine bemerkenswerte Notiz auf der ersten
Notendruckseite: "Die Metronomisierung der Kinderszenen
ist nicht nur nicht von Schumann, sondern überhaupt ohne
sein Mitwissen, ohne seine Zuziehung gemacht, und einem
späteren Abzuge (A bdrucke) des Werkes, aus weichem ich
mir diese kopiert habe, beigegeben worden. Ich erfahre dies
am 13.9.46 vom Musikalienhändler Fliedrich Whistling aus
Leipzig, der es eben von Schumann selbst, den er besucht
hat, erfahren." Dennoch bleibt es Tatsache, daß der oben
behandelte spätere Druck wichtige musikalische
Verbesserungen erfährt, so daß die darin zu findenden
Metronomangaben immerhin Schumanns stillschweigende
Zustimmung gefunden haben müssen, sofern sie nicht doch,
entgegen der überlieferten Meinung Whistlings, auf Bitten
des Herausgebers von Schumann selbst fixiert worden sind.
Die im allgemeinen uns zu schnell erscheinenden Tempi
wirken nicht so befremdlich, wenn die Stücke auf einem
historischen Instrument gespielt werden, und sie können bei
der oben skizzierten Spielweise auch auf dem modernen
Flügel als Richtwert konzertmäßigen Vortrags gelten.
</extract>

<partial very free translation>
Johannes Brahms wrote to Clara Schumann, that metronom
indications should be kept for a edition of Schumann's
"Kinderszenen" by Härtel, whilst others told, that
the indications were not by Schumann. On the other
hand it is assumed that Schumann gave his "tacit
agreement" when revising the new edition.

Nowadays these indications appear as too fast. This can 
be explained when the composition are played on historical
instruments.
</partial very free translation>

-- Werner



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From: "Simons, Don" <DSimons@logicon.com>
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Subject: RE: Metronomic specifications
Date: Wed, 15 Nov 2000 10:19:21 -0800
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> Daniel Taupin wrote:
>...
> > specification to result in quarter notes starting, not on each beat, but
> > on each "tip" (or "top"), so that (perhaps?) <quarter-note>=60 would
> > mean... 60 quarter notes in TWO minutes.
> > 
 Jed Wentz is an expatriate American baroque flutist (fabulous!) who lives
in Amsterdam and leads the group Musica Ad Rhenum.  Several years ago while
attending the International Baroque Institue at Longy (Cambridge, MA, USA) I
heard him give a lecture about tempo in the 17th century and earlier.  Until
Maezel's metronome in 1815, tempo indications were far from precise.  They
relied on various a combinations of words (e.g., presto, adagio) and time
signatures, but no numbers.  This clearly leaves no way at all for us to
know exactly what the tempi were.  The first known attempt at a metronome
was by Loulie in 1696 (see http://www.franzmfg.com/history.htm).  Jed had
built a model according to Loulie's description.  It was simply a pendulum
with a calibrated and adjustable length of string.  As best I recall, it was
not intended to be used directly to give a custom tempo for a particular
piece, but rather to establish a baseline for the verbal tempo indications
so people at that time would be able to know exactly what the words meant.  

Now the point that relates to Daniel's comment is this: Even though there
was a written description of how to build and use this device, the
description was ambiguous as to whether the time interval of interest was a
one-way swing or a round trip.  This led to a factor of two ucertainty, at
least to modern scholars, as to what tempo was really being indicated. 

--Don Simons

From mutex-owner@mail.gmd.de  Wed Nov 15 20:37:14 2000
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I wrote:
>> I have read somewhere that the metronomic indications by Schumann
>> have also caused controversy. Does anyone know the details?

and Werner Icking (hi!) replied:
> Searching "metronom schumann" with http://google.com resulted in
> http://www.edition-peters.com/urtext/schumann/
> album_jugend_kinder/nachwort.html

Now that you mention Urtext, I think the place I read about that
was in a preface of a Henle volume of Schumann's music. I will
try to find it out again because there was some reference to an
article or book on the subject.

Miguel


From mutex-owner@mail.gmd.de  Thu Nov 16 06:07:00 2000
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From: "Hunsbergers" <jhunsberger@i2k.com>
To: "MusiXTex Mailing List" <mutex@gmd.de>
Subject: M-Tx - Fails on triplet with r, followed by accidental.
Date: Wed, 15 Nov 2000 23:23:31 -0500
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Greetings!

This may be an M-Tx  bug, or I may have missed something, but I do not
understand what I should do in the third measure ( r2x3 fs g ) to succeed.
If one changes the fs to just f, then it passes okay, just like the second
measure.  Any hints?

See the test snipped below, and the error message produced...

Joel Hunsberger

-----------  File:  test.mtx ----------
Title:  Test Triplets
Meter:  2/4
Bars/Line:  4
Style:  SOLO

 g4 g | r2x3 f g | r2x3 fs g | g2 |]

--------- end of file, start DOS screen messages.....

==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
Writing to Test.pmx
In voice "V" near word 10:
                             V
   M-Tx system error: resetDuration: ERROR on line 6
g4 g4 | r2x3 f g | r2x3 fs g | g2 |]
Press any key to continue . . .



From mutex-owner@mail.gmd.de  Thu Nov 16 14:16:39 2000
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Date: Thu, 16 Nov 2000 13:32:39 +0100
From: Christian Mondrup <scancm@biobase.dk>
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CC: MusiXTex Mailing List <mutex@gmd.de>
Subject: Re: M-Tx - Fails on triplet with r, followed by accidental.
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Hunsbergers wrote:
> 
> Greetings!
> 
> This may be an M-Tx  bug, or I may have missed something, but I do not
> understand what I should do in the third measure ( r2x3 fs g ) to succeed.
> If one changes the fs to just f, then it passes okay, just like the second
> measure.  Any hints?
> 

I'm able to reproduce the problem. However, when I replace the rest in
the third measure with a note there is no error. As I was able to
re-introduce the rest in the M-Tx generated pmx source and compile the
pmx source successfully there is IMHO no doubt that we've met an M-Tx
bug:-(

> See the test snipped below, and the error message produced...
> 
> Joel Hunsberger
> 
> -----------  File:  test.mtx ----------
> Title:  Test Triplets
> Meter:  2/4
> Bars/Line:  4
> Style:  SOLO
> 
>  g4 g | r2x3 f g | r2x3 fs g | g2 |]
> 
> --------- end of file, start DOS screen messages.....
> 
> ==> This is M-Tx 0.52 (Music from TeXt) <29 October 1998>
> Writing to Test.pmx
> In voice "V" near word 10:
>                              V
>    M-Tx system error: resetDuration: ERROR on line 6
> g4 g4 | r2x3 f g | r2x3 fs g | g2 |]
> Press any key to continue . . .

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Nov 17 01:13:56 2000
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To: mutex@gmd.de
From: Jan de Groot <grootdej@cistron.nl>
Subject: metronomic specifications
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In the 18th century there were mechanical devices, like little organs.
Composers such as Haydn and Mozart have composed for them.
Some of these devices still exist and give us some idea of
the tempi probably intended by the composer.
But, of course, we do not know the metronomic numbers associated
to the pieces.

From mutex-owner@mail.gmd.de  Fri Nov 17 11:00:22 2000
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Subject: Re: Metronomic specifications 
In-Reply-To: Your message of "Wed, 15 Nov 2000 15:48:43 +0100."
             <200011151448.PAA07084@sunick.gmd.de> 
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Here is the mention I wrote about in my last message:

"With regard to the controversial issue resulting from Schumann's
metronome directions, the player is referred to D. Kamper's
essay in Archiv fuer Musikvissenschaft XXI, 1964 pp 141 ff."

from the preface of "Klavierwerke" by Wolfgang Boetticher,
Henle Verlag.

Has anyone access to that essay?

Miguel


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[Daniel Taupin]

> This happens with the set of piano exercises by Czerny, in the Organ
> Toccata by Boëllman, and others.  Such a speed seems extremely difficult,
> not only to lay but also to listen to.

Czerny is far from easy to play, the speed is not surprising.  I do not
remember Czerny as difficult to listen to, when played at the piano.
As for Boëllman's Toccata, it is usually interpreted very fast.  It was
written for organs having pneumatically assisted tractions, so it is indeed
playable at high speed.  Of course, one has to significantly slow down into
rooms having a lot of reverberation.  Or when using big mechanical tractions!

-- 
François Pinard   http://www.iro.umontreal.ca/~pinard
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[François Pinard]

> organs having pneumatically assisted tractions [...] mechanical tractions!

I'm not sure of the word "traction" in English.  We say "action" in French...

-- 
François Pinard   http://www.iro.umontreal.ca/~pinard
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> [François Pinard]
> 
> > organs having pneumatically assisted tractions [...] mechanical tractions!
> 
> I'm not sure of the word "traction" in English.  We say "action" in French...

If it may be useful, in Italian we say "trasmissione" (literally
transmission, like in an engine)

ciao, .mau.
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From: Laura Conrad <lconrad@laymusic.org>
Date: 18 Nov 2000 07:26:32 -0500
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>>>>> "mau" == mau  <mau@beatles.cselt.it> writes:

    >> [François Pinard]
    >> 

    >> > organs having pneumatically assisted tractions [...]
    >> > mechanical tractions!
    >> 
    >> I'm not sure of the word "traction" in English.  We say
    >> "action" in French...

    mau> If it may be useful, in Italian we say "trasmissione" (literally
    mau> transmission, like in an engine)

In English, I think the general word is action, but I think the
specific kind that François is talking about  is called a "Tracker
action", or more often tracker for short.  


-- 
Laura (mailto:lconrad@laymusic.org , http://www.laymusic.org/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139
From mutex-owner@mail.gmd.de  Mon Nov 20 12:06:07 2000
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Date: Mon, 20 Nov 2000 11:40:03 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Metronomic specifications
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When I was trying to specify appropriate metronomic specifications
for my edition of Bach's Suites for Cello solo, I measured some
recordings, e.g. by Schiff, Yo-Yo Ma, Maisky and others. I observed
deviations from factor 1.3 up to factor 2.2 for a single movement.
This is more than 2!

And if a whole suite is played by one player faster than by another
player then this does not mean, that all movements are played
faster by the first player. I measured e.g. following for Suite 2
"+" marking the fastest and "-" the slowest performance

Schiff    65+  60-  89   39+ 120+  62 
Yo-Yo Ma  47   88+ 107+  36  120+  67+
Maisky    42-  76   73-  29-  92-  49-

-- Werner

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On 18 Nov 2000, Laura Conrad wrote:

>     >> 
> 
>     >> > organs having pneumatically assisted tractions [...]
>     >> > mechanical tractions!
>     >> 
>     >> I'm not sure of the word "traction" in English.  We say
>     >> "action" in French...
> 
>     mau> If it may be useful, in Italian we say "trasmissione" (literally
>     mau> transmission, like in an engine)
> 
> In English, I think the general word is action, but I think the
> specific kind that François is talking about  is called a "Tracker
> action", or more often tracker for short.  
> 
The German expression is ``Traktur''.

Christof

From mutex-owner@mail.gmd.de  Mon Nov 20 18:08:49 2000
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From: "M. Lazanowski" <lazanows@stud.uni-frankfurt.de>
To: mutex <mutex@gmd.de>
Subject: GMX-question about triplets
Date: Mon, 20 Nov 2000 17:45:42 +0100
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Hi,

is it possible to code something like

   3
 _____
|_|_|_|
| |_| |
| | | |
| | | |
 x x x x

, which should be a triplet with different notelengths, in GMX (hope it is
readable, at least with a fixed font)?


Thanks in advance!

Markus

From mutex-owner@mail.gmd.de  Mon Nov 20 19:52:30 2000
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Date: Mon, 20 Nov 2000 19:26:52 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: GMX-question about triplets
To: mutex@gmd.de, lazanows@stud.uni-frankfurt.de
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> From: "M. Lazanowski" <lazanows@stud.uni-frankfurt.de>
> Date: Mon, 20 Nov 2000 17:45:42 +0100

> is it possible to code something like

With MusiXTeX everything is possible :-)
With PMX and MusiXTeX's help  everything is possible :-)

>    3
>  _____
> |_|_|_|
> | |_| |
> | | | |
> | | | |
>  x x x x
> 
> , which should be a triplet with different notelengths, in GMX (hope it is
> readable, at least with a fixed font)?

GMX? GMD's PMX :-)

If I were you I would have looked up the archive of this mailing list.
For me it's easier to re-do the solution.

"The re-invention of the wheel procceed with more ease and speed if
 a model of the wheel already exists" (I don't know the author).

Here is a model of the wheel:

<snip>
1 1 1 4 0 0 0 0 1 1 20 0

t
./
w70m Arb

\\let\qbsav\qb\
\\def\nbbuqbtbbuqbforqb#1{\
 \\def\qb##1##2{\let\qb\qbsav\nbbu{##1}{\zqb{##1}{#1}}\off{.7\noteskip}\
  \\tbbu{##1}\zqb{##1}{##2}\off{.7\noteskip}}}\

c44x3nf e f /
c44x3nf \nbbuqbtbbuqbforqb{!d}\ e f /
</snip>

\nnbuqb....#1 intercepts the next usage of \qb. It redefines MusiXTeX's \qb
so that it 

 \let\qb\qbsav     restores the original
 \nbbu{##1}        increases the beam multiplicity
 {\zqb{##1}{#1}}   adds a note with given pitch to the beam without spacing;
                   it's put in a group to keep all pitch changes local
 \off{.7\noteskip} adds an appropriate amount of space
 \tbbu{##1}        decreases the beam multiplicity
 \zqb{##1}{##2}    adds the originally requested note to the beam
 \off{.7\noteskip} adds an appropriate amount of space

Now feel free to invent as many wheels as neccessary. With some experience
this can be done faster than making ASCII-images of beamed notes.

Good luck -- Werner

From mutex-owner@mail.gmd.de  Wed Nov 22 21:43:30 2000
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Date: Wed, 22 Nov 2000 21:01:17 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: update of tabulature macros
To: mutex@gmd.de
Cc: gelten@wish.net
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Ronald Gelten asked me to forward following to the list:

 Hello all,

 For those among you who write guitar music: I have updated my MusixTeX macro
 definitions for guitar tabulature. The new version is available at the MuTeX
 webpages. There's a file "tabdefs.tex", containing the tabulature definitions,
 and a small explanatory document, tabxampl.ps.

 I hope it will be of help to some of you.
 Regards,
 Ronald Gelten
 
You find the announced add-ons to MusiXTeX at

 http://www.gmd.de/Misc/Music/   Look under MusiXTeX Add-ons.
 
Thanks Ronald!
 
-- Werner Icking

From mutex-owner@mail.gmd.de  Sat Nov 25 10:39:07 2000
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From: David Purton <dcpurton@chariot.net.au>
To: Mutex Mailing List <mutex@gmd.de>
Subject: Movement breaks in PMX
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Hello,

I a newbie with musixtex etc and I have a few questions regarding movement
breaks in pmx.


I'm setting a four part choral piece with keyboard accompanient.

For half the piece the keyboard does not play and I would like to have
just the vocal parts showing eg:


Stanza

1	soprano
	alto
	tenor
	bass
	keyboardright
	keyboardleft

	\\\settrebleclefsymbol{2}\treblelowoct\
	\\\grouptop14\groupbottom11\
	L2Mcn42345btttr-

2	soprano
	alto
	tenor
	bass

	{page break}

3	soprono
	alto
	tenor
	bass

	\\\settrebleclefsymbol{3}\treblelowoct\
	\\\grouptop15\groupbottom12\
	L4Mcn512345btbtttr-

4	soprano
	alto
	tenor
	bass
	keyboardright
	keyboardleft



Some probs I've run into are:

1.

The bar lines at the end of movements seem to behave strangly.  At the end
of stanza 1 there is a bar line only on the left hand keyboard line not
one going across both keyboard lines of music. Then at the end of stanza 3
there is a tall bar line spanning the tenor and bass parts instead of two
single ones.

2.

Above stanza 3 there is a large vertical space (which looks about large
enough to contain another line of music.  ie the sporano line on stanza
3 is at the same height as the alto line in stanza 1).  This has the side
affect of pushing stanza 4 onto the next page.

3.

I'm using a treble clef with an 8 under it (whatever the technical term
is) for the tenor part.  after the first movement break, pmx moves this
tenor treble clef to the alto line, hence the \\settrebleclefsymbol
statement.  But I can'y get rid of the wrong clef in the alto
part.  Inserting a \\\resetclefsymbols seems to completly stuff up the bar
lines at the end of the movements - puts a thick line from top to bottom
and thick lines at the end of each line. 


Any help would be appreciated.

cheers

--------------------------------------------------------
Today people in droves hurry up past Heumoz to Villars 
on the road to the ski hills, so they can rush down them
as fast as possible, so they can hurry up again in order
to rush down again.  In a way this is funny,...

			Francis A Schaeffer

David Purton

http://www.chariot.net.au/~dcpurton/
dcpurton@chariot.net.au

From mutex-owner@mail.gmd.de  Sun Nov 26 21:11:40 2000
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From: "Andre Van Ryckeghem" <avr@pandora.be>
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        "Mutex Mailing List" <mutex@gmd.de>
References: <Pine.LNX.4.21.0011251830170.2185-100000@twoflower.net.au>
Subject: Re: Movement breaks in PMX
Date: Sun, 26 Nov 2000 19:18:20 +0100
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Sorry,  but this is the best i can .

- make the first page a dummy ( my pmx is sensitive to page 2 (L2P2 does not
works, but L4P3 does)
- A little bit tex commands at the beginning (learned from W. Icking) and
the space between the systems vanish (try it out by making comments of the
texcommands)
- play with the \setinterinstrument5{4\Interligne}.... for adapting the
space

Andre

----- Original Message -----
From: "David Purton" <dcpurton@chariot.net.au>
To: "Mutex Mailing List" <mutex@gmd.de>
Sent: Saturday, November 25, 2000 10:09 AM
Subject: Movement breaks in PMX


>
> Hello,
>
> I a newbie with musixtex etc and I have a few questions regarding movement
> breaks in pmx.
>
>
> I'm setting a four part choral piece with keyboard accompanient.
>
> For half the piece the keyboard does not play and I would like to have
> just the vocal parts showing eg:
>
>
> Stanza
>
> 1 soprano
> alto
> tenor
> bass
> keyboardright
> keyboardleft
>
> \\\settrebleclefsymbol{2}\treblelowoct\
> \\\grouptop14\groupbottom11\
> L2Mcn42345btttr-
>
> 2 soprano
> alto
> tenor
> bass
>
> {page break}
>
> 3 soprono
> alto
> tenor
> bass
>
> \\\settrebleclefsymbol{3}\treblelowoct\
> \\\grouptop15\groupbottom12\
> L4Mcn512345btbtttr-
>
> 4 soprano
> alto
> tenor
> bass
> keyboardright
> keyboardleft
>
>
>
> Some probs I've run into are:
>
> 1.
>
> The bar lines at the end of movements seem to behave strangly.  At the end
> of stanza 1 there is a bar line only on the left hand keyboard line not
> one going across both keyboard lines of music. Then at the end of stanza 3
> there is a tall bar line spanning the tenor and bass parts instead of two
> single ones.
>
> 2.
>
> Above stanza 3 there is a large vertical space (which looks about large
> enough to contain another line of music.  ie the sporano line on stanza
> 3 is at the same height as the alto line in stanza 1).  This has the side
> affect of pushing stanza 4 onto the next page.
>
> 3.
>
> I'm using a treble clef with an 8 under it (whatever the technical term
> is) for the tenor part.  after the first movement break, pmx moves this
> tenor treble clef to the alto line, hence the \\settrebleclefsymbol
> statement.  But I can'y get rid of the wrong clef in the alto
> part.  Inserting a \\\resetclefsymbols seems to completly stuff up the bar
> lines at the end of the movements - puts a thick line from top to bottom
> and thick lines at the end of each line.
>
>
> Any help would be appreciated.
>
> cheers
>
> --------------------------------------------------------
> Today people in droves hurry up past Heumoz to Villars
> on the road to the ski hills, so they can rush down them
> as fast as possible, so they can hurry up again in order
> to rush down again.  In a way this is funny,...
>
> Francis A Schaeffer
>
> David Purton
>
> http://www.chariot.net.au/~dcpurton/
> dcpurton@chariot.net.au
>
>

------=_NextPart_000_0008_01C057DD.A36A1040
Content-Type: application/octet-stream;
	name="testmov.pmx"
Content-Transfer-Encoding: quoted-printable
Content-Disposition: attachment;
	filename="testmov.pmx"

---
%
\input musixtex
\input pmx
\input musixlyr
\input musixcho
%
---
%
% nv,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
    6    -5 2 1 1 1 1    3    4   3   4   0  1
% npages,nsyst,musicsize,fracindent
   5  5   20  .03
k
B
T
A
S
btbttt
./
Arbd
%\\input mypmxdef\
\\let\startpiecePMX\startpiece\
\\def\newnoi#1#2\newmovement#3#4{\
\\def\startpiece{\def\nbinstruments{#1}#2\
\\let\startpiece\startpiecePMX\startpiece}\newmovement{#3}{#4}}\
\\def\everystaff{\znotes\nextinstrument\nextinstrument\zchar{-6}{\normtyp=
e \kern -2\Interligne 8}\en}\
\\setinterinstrument2{4\Interligne}\setinterinstrument1{4\Interligne}\
\\setinterinstrument3{4\Interligne}\setinterinstrument4{4\Interligne}\
\\setinterinstrument5{4\Interligne}\interstaff{11}\
rp /
rp /
rp /
rp /
rp /
rp /
L2P2
P1
rp rp /
rp rp /
rp rp /
rp rp /
rp rp /
rp rp /
\\\def\everystaff{\znotes\nextinstrument\zchar{-6}{\normtype \kern =
-2\Interligne 8}\en}\
L3Mi.09cr-n42345bttt
K+0+2
\\\setname4{Soprano}\setname2{Tenor}\setname3{Alto}\setname1{Bass}\
\\\songtop4\songbottom1\
rp rp /
rp rp /
rp rp /
rp rp /
L4P3
%\\\setinterinstrument2{1\Interligne}\setinterinstrument1{1\Interligne}\
%\\\setinterinstrument3{1\Interligne}\setinterinstrument4{1\Interligne}\
rp rp /
rp rp /
rp rp /
rp rp /
\\\def\everystaff{\znotes\nextinstrument\nextinstrument\zchar{-6}{\normty=
pe \kern -2\Interligne 8}\en}\
L5Mi.09cn512345btbttt
\\\setname5{}\
\\\songtop5\songbottom2\
rp rp /
rp rp /
rp rp /
rp rp /
rp rp /
rp rp /

------=_NextPart_000_0008_01C057DD.A36A1040--

From mutex-owner@mail.gmd.de  Mon Nov 27 11:01:58 2000
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Date: Mon, 27 Nov 2000 10:36:29 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Movement breaks in PMX
To: mutex@gmd.de, dcpurton@chariot.net.au
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> Date: Sat, 25 Nov 2000 19:39:25 +1030 (CST)
> From: David Purton <dcpurton@chariot.net.au>

> 	\\\settrebleclefsymbol{2}\treblelowoct\
> 	\\\grouptop14\groupbottom11\
> 	L2Mcn42345btttr-

[...]
> I'm using a treble clef with an 8 under it (whatever the technical term
> is) for the tenor part.  after the first movement break, pmx moves this
> tenor treble clef to the alto line, hence the \\settrebleclefsymbol
> statement. [...]

Part of the problem can be that PMX posts "\\\...\"  a little bit too
early in case of movement breaks. It's posted before the previous
movement is closed - something like:

  \Notes...\en
  \settrebleclefsymbol...
  \grouptop ...
  \stoppiece
  ...
  \startpiece
  
IIRC I could solve such problem by intercepting \startpiece. Following
may help - from memory, untested:

\\\let\startpiecesav\startpiece\
\\\def\startpiece{\let\startpiece\startpiecesav\
 \\\settrebleclefsymbol{2}\treblelowoct\
 \\\grouptop14\groupbottom11\
 \\\startpiece}\

Complain if it doesn't work. I remember that there were problems,
because PMX's \newmovement macro itself intercepts some standard
musixtex macros. At the moment I'm too lazy to look were I used
this. One possibility is my contribution to André Van Ryckeghem's
collection of canons which is at http://www.gmd.de/Misc/Music/scores/
under "misc.". In the source it is "canonick.pmx".

-- Werner

PS: If you know some copyright-free canons which are not in André's
    collection up to now, please contribute them!

From mutex-owner@mail.gmd.de  Tue Nov 28 19:28:57 2000
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From: "Andre Van Ryckeghem" <avr@pandora.be>
To: <mutex@gmd.de>
References: <200011270936.KAA21445@sunick.gmd.de>
Subject: clef change and beam problem
Date: Tue, 28 Nov 2000 17:17:33 +0100
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dear all,
Propably not worth to mention, but i am curious.

following beam comes to short if he is lowered ( [uh-5 .... )
this is a example that shows the effect:

------ cut-----
    1    1    3    4   3  4   0  0
    1   1  20  .0

b
./
Abrd
r8 Cb [uh e83 a Ct c84 e a ] | 
r8 Cb [uh-4 e83 a Ct c84 e a ] | 
r8 Cb [uh-5 e83 a Ct c84 e a ] /
----------

Thanks for looking at it

Andre

A computer, to print out a fact,
Will divide, multiply, and subtract.
But its output can be
No more than debris,
If the input was short of exact.


From mutex-owner@mail.gmd.de  Wed Nov 29 02:45:27 2000
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From: Howard Gilbert <post@howard-gilbert.uklinux.net>
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Subject: PMX - staccato rests
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Hi,

Very often I find I want to write (accompanying) parts with staccato notes
alternating with rests. Is there a way to do something like:-

a o.: r a r | a r a r | a r a o: r / 

without getting staccatos under the rests?

Thanks &,
Best wishes,
Howard.
(Dr A.H.Gilbert, Thornaby-on-Tees, Nth Yorkshire.)





From mutex-owner@mail.gmd.de  Wed Nov 29 10:30:41 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: clef change and beam problem
To: mutex@gmd.de, avr@pandora.be
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> From: "Andre Van Ryckeghem" <avr@pandora.be>
> Date: Tue, 28 Nov 2000 17:17:33 +0100

[...]
> Propably not worth to mention, but i am curious.

The explanation is easy. PMX does not know that
clef changes change the position of the notes :-)

Process your example without the C-command. You can then
see that the 3rd beam ends below the note head so that
PMX selects now \tbl instead of \tbu.

A circumvention is easy. In the case of error, change
"Ct c84 e a" into "Ct c84 e \let\tbl\tbu\ a". No further
changes have to be made in this case, because the
assignment of \tbu to \tbl is local within \Notes...\en
because the series of same length notes within the
current bar ends just after the change. Otherwise you
should use something like:

... e \let\tblsav\tbl\let\tbl\tbu\ a \let\tbl\tblsav\ ...

or more general:

\\let\tblsav\tbu\
\\def\tbufortbl{\def\tbl##1{\let\tbl\tblsav\tbu{##1}}}\
...
...
... e \tbufortbl\ a ...

Hope this hilft -- Werner


From mutex-owner@mail.gmd.de  Wed Nov 29 10:54:36 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX - staccato rests
To: post@howard-gilbert.uklinux.net
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> Date: Wed, 29 Nov 2000 02:32:11 +0000 (GMT)
> From: Howard Gilbert <post@howard-gilbert.uklinux.net>

> Very often I find I want to write (accompanying) parts with staccato notes
> alternating with rests. Is there a way to do something like:-
> 
> a o.: r a r | a r a r | a r a o: r / 
> 
> without getting staccatos under the rests?

No.

Yes:

MR1 a o. r a o. r | M MP1 MP1 /

It's 5 characters shorter :-)

-- Werner

PS: a o. r a o. r | D"simile" a r a r | a r a r | a r a r ...
    Maybe that this requires the pre-released test-version of PMX.
PPS: "segue" is shorter than "simile" :-)

From mutex-owner@mail.gmd.de  Thu Nov 30 13:12:24 2000
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From: David Purton <dcpurton@chariot.net.au>
To: Mutex Mailing List <mutex@gmd.de>
Subject: multibar rests in MTX
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Hi,

Do multibar rests work in mtx?

a bar containing

	| rm4 |

causes mtx to complain that there is an empty bar.

by substituting rp and then altering the pmx code I can make it work, but
ths is a litle inconvenient :)

cheers

--------------------------------------------------------
Today people in droves hurry up past Heumoz to Villars 
on the road to the ski hills, so they can rush down them
as fast as possible, so they can hurry up again in order
to rush down again.  In a way this is funny,...

			Francis A Schaeffer

David Purton

http://www.chariot.net.au/~dcpurton/
dcpurton@chariot.net.au

From mutex-owner@mail.gmd.de  Thu Nov 30 14:33:03 2000
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Subject: Re: multibar rests in MTX
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David Purton wrote:
> 
> Hi,
> 
> Do multibar rests work in mtx?
> 
> a bar containing
> 
>         | rm4 |
> 
> causes mtx to complain that there is an empty bar.
> 
> by substituting rp and then altering the pmx code I can make it work, but
> ths is a litle inconvenient :)
> 

place the multibar rest in an mtx paragraph of its own and without
surrounding bar line tokens.

That's what I do when I'm preparing separate parts from mtx sources
where scor2prt won't work - for example if lyrics are implied.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Nov 30 15:16:38 2000
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Date: Thu, 30 Nov 2000 14:39:46 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: multibar rests in MTX
To: mutex@gmd.de, dcpurton@chariot.net.au
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> Date: Thu, 30 Nov 2000 22:09:05 +1030 (CST)
> From: David Purton <dcpurton@chariot.net.au>

[... no "rm4" with M-tx ...]
> by substituting rp and then altering the pmx code I can make it work, but
> ths is a litle inconvenient :)

Without knowing M-Tx in detail may I propose:

%%rm4
%%MS1
rp rp rp rp
%%M

or maybe:

%%rm4
MS1 rp rp rp rp M

Or are that tricks too dirty :-))

-- Werner

From mutex-owner@mail.gmd.de  Thu Nov 30 17:51:56 2000
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To: Werner Icking <Werner.Icking@gmd.de>
CC: mutex@gmd.de, dcpurton@chariot.net.au
Subject: Re: multibar rests in MTX
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Werner Icking wrote:
> 
> > Date: Thu, 30 Nov 2000 22:09:05 +1030 (CST)
> > From: David Purton <dcpurton@chariot.net.au>
> 
> [... no "rm4" with M-tx ...]
> > by substituting rp and then altering the pmx code I can make it work, but
> > ths is a litle inconvenient :)
> 
> Without knowing M-Tx in detail may I propose:
> 
> %%rm4
> %%MS1
> rp rp rp rp
> %%M
> 
> or maybe:
> 
> %%rm4
> MS1 rp rp rp rp M
> 
> Or are that tricks too dirty :-))
> 

Not particularily, but they are otherwise interesting! On one side M-Tx
does not support pmx macros but on the other side it delivers lines
preceded with %% unchanged to pmx. Hence the last proposal won't work
but the first will. Actually I don't understand the purpose of adding
saved-only macros in this connection. But that example demonstrates that
by replacing MS1 with MR1 and then in a later mtx paragraph prepend
%%MP1 you'll actually manage to get a macro recorded and played
afterwards - within an M-Tx source!
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Nov 30 23:40:25 2000
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Date: Thu, 30 Nov 2000 13:57:23 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Another question on rests in M-Tx
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Hi All,

I'm writing choral music, where soprano and alto are on the same staff.
When I enter a rest for one voice, I have to enter aligned same one for
another. People compain that it's redundant: in 'paper' scores usually
there is only one rest symbol for the both voice on that staff. Can I
merge them somehow in M-Tx?

Thank you in advance

Alexander
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Date: Fri, 01 Dec 2000 00:39:46 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: Another question on rests in M-Tx
References: <Pine.LNX.4.21.0011302207050.1231-100000@twoflower.net.au> <3A26CD43.6EF8DB92@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> I'm writing choral music, where soprano and alto are on the same staff.
> When I enter a rest for one voice, I have to enter aligned same one for
> another. People compain that it's redundant: in 'paper' scores usually
> there is only one rest symbol for the both voice on that staff. Can I
> merge them somehow in M-Tx?
> 
> Thank you in advance

Style: SATB
Meter: C

g4 r4+0 a b | c0
e4 rb f f | g0
c4+ r4+0 c d | e0
c4 rb f d | c0

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Dec  1 02:50:40 2000
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: Another question on rests in M-Tx
References: <Pine.LNX.4.21.0011302207050.1231-100000@twoflower.net.au> <3A26CD43.6EF8DB92@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> I'm writing choral music, where soprano and alto are on the same staff.
> When I enter a rest for one voice, I have to enter aligned same one for
> another. People compain that it's redundant: in 'paper' scores usually
> there is only one rest symbol for the both voice on that staff. Can I
> merge them somehow in M-Tx?

In PMX, there is a blank rest, which acts just like a rest but is
invisible, for example rb2 .  You could use this in one line of music on
the staff.  In the other line, if you use the normal rest r2, by default
it will be moved up or down from the vertical center depending whether
it is in the upper or lower line of music in the staff.  You can alter
its vertical position by appending a signed integer.  The integer
represents the vertical offset from the normal (single-line-per-staff)
default position. So to get it centered vertically you would use r2+0.

I don't know if this translates directly into M-Tx or not.

--Don Simons
From mutex-owner@mail.gmd.de  Fri Dec  1 10:14:45 2000
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From: Bernhard Lang <blang@ipmc.unil.ch>
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Subject: Question on rests in
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Hi all

I have another question on rests. This time in pmx: In the example given
below there are two voices per stave. In the upper stave the rests (r9,
length of a brevis) do not get placed above each other. Why? Did I make
something wrong?

By the way, there is an other problem in this example: in the second bar
the first two notes, which fall on top, do not get fully separated by the
'r' option (marked in the example). Moving the 'r' to the other of the two
notes doesn't improve. Is there a way to solve this problem?

Thanks in advance
  Bernhard

-------

2 2 8 4 0 5 0 0
0 3 20 0.1
Bassus/Tenor.
Altus/Cantus.
bt
./

b93 | e-r | b0.e | //
%       ^
rb9 | e03 r2 b+ | b.c d b | /
%
r9 | r9 | r9 | //
%
r9 | r9 | r9 | /
%

From mutex-owner@mail.gmd.de  Fri Dec  1 18:47:12 2000
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Date: Fri, 01 Dec 2000 09:07:49 -0800
From: Don Simons <dons@dslnorthwest.net>
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To: mutex <mutex@gmd.de>
Subject: Re: Question on rests in PMX
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Bernhard Lang wrote:
> In the upper stave the rests (r9,
> length of a brevis) do not get placed above each other. Why? Did I make
> something wrong?
> 
You did nothing wrong.  You exposed a bug (thanks!) that I'll fix when I
get a chance.  Meanwhile I would suggest recoding as follows:

b93 | e-r | b0.e | //
%       ^
rb9 | e03 r2 b+ | b.c d b | /
%
\\\let\lft\liftPAuse\def\liftPAuse#1{\rlap{\lft{-2}}\
\\\lft1\let\liftPAuse\lft}\
r9+1 | r9+1 | r9+1 | /

> in the second bar
> the first two notes, which fall on top, do not get fully separated by the
> 'r' option (marked in the example). Moving the 'r' to the other of the two
> notes doesn't improve. Is there a way to solve this problem?
> 
It looks like "r" is acting as it should, that is, it simply moves a
note by the width of a quarter note.  If you had not entered "r" the two
notes would be on top of each other.  You could move the other note to
the left one notehead width with "e", or you could move either or both
notes by an arbitrary amount with XS.

--Don Simons
From mutex-owner@mail.gmd.de  Sat Dec  2 04:32:37 2000
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Date: Fri, 01 Dec 2000 19:05:13 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Running PMX on a network drive
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Hi All,

I have run pmx on a source which occurred on a network drive, and just
what I got:

forrtl: The mounted file system does not support extended attributes.

forrtl: severe (38): error during write, unit 19, file
v:\tex\mtx\pmxaerr.dat


It's absolutely no problem for me, I have enough local drives (and
what's even better, CVS), but FYI.

With my best regards

Alexander
From mutex-owner@mail.gmd.de  Mon Dec  4 15:58:30 2000
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Date: Mon, 4 Dec 2000 15:33:14 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Running PMX on a network drive
To: mutex@gmd.de, avv@quasar.ipa.nw.ru
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> Date: Fri, 01 Dec 2000 19:05:13 -0800
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

[...]
> I have run pmx on a source which occurred on a network drive, and just
> what I got:
> 
> forrtl: The mounted file system does not support extended attributes.

I copied xyz.pmx to h:\ which is a network drive. When I tried to
pmx the file from e:\pmx this didn't work, because e:\pmx\h:xyz.tex
could not be written. Similar problems arose when I tried to
pmx \\digger\archive\xyz.pmx. But processing it from h:\ as working
directory didn't make any problem (using MS-Windows 98 as base using
network drive on MS-Windows NT 4).

-- Werner

From mutex-owner@mail.gmd.de  Tue Dec  5 04:04:28 2000
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Date: Mon, 04 Dec 2000 18:47:48 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi Werner,

Werner Icking wrote:
> 
> > Date: Fri, 01 Dec 2000 19:05:13 -0800
> > From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
> 
> [...]
> > I have run pmx on a source which occurred on a network drive, and just
> > what I got:
> >
> > forrtl: The mounted file system does not support extended attributes.
> 
> I copied xyz.pmx to h:\ which is a network drive. When I tried to
> pmx the file from e:\pmx this didn't work, because e:\pmx\h:xyz.tex
> could not be written. 

In my case write permission was granted.

Alexander
From mutex-owner@mail.gmd.de  Sat Dec  9 23:01:48 2000
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Date: Sat, 09 Dec 2000 23:43:57 +0100
From: Klaus Priechenfried <k.priechenfried@netway.at>
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Hello!
I'm new to MusicTex and to this list. I'm running SuSE-Linux 7.0 and
Latex works well. After the download of the tar file of MusicTex and
unzipping, I don't really know where to transfer all these files. The
Readme file says, that it depends to my Tex-installation, well, I found
a directory called /usr/shared/texmf/fonts/pk where I copied the
*.pk-files, but I don't really know what to do with the rest. Trying to
open the musicTex.dvi-file caused an error in kde2, the system didn#t
react anymore and I had to reboot the whole Linux
Could anybody please give me a hint what to do?
Thanks
Klaus
From mutex-owner@mail.gmd.de  Sun Dec 10 01:17:54 2000
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Message-ID: <01C061F9.A5C86AA0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: Running PMX on a network drive
Date: Sat, 9 Dec 2000 16:04:01 -0800
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I'm sorry, but PMX will not work reliably if the jobname (entered on 
the command line or at the prompt) includes a path.  To be safe you 
should always run PMX from the same directory as the input file 
(*.pmx).  The output file (*.tex) can reliably be written to any 
directory you specify in the input file. Of course you must have 
write permission there.  You also must have write permission in your 
working directory even if you sent the output elsewhere, because PMX 
writes the log file *.pml and the error line number file pmaxerr.dat 
in the working directory.


On Monday, December 04, 2000 6:48 PM, Alexander V. Voinov 
[SMTP:avv@quasar.ipa.nw.ru] wrote:
> Hi Werner,
>
> Werner Icking wrote:
> >
> > > Date: Fri, 01 Dec 2000 19:05:13 -0800
> > > From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
> >
> > [...]
> > > I have run pmx on a source which occurred on a network drive,
> > > and just
> > > what I got:
> > >
> > > forrtl: The mounted file system does not support extended
> > > attributes.
> >
> > I copied xyz.pmx to h:\ which is a network drive. When I tried to
> > pmx the file from e:\pmx this didn't work, because e:\pmx
> > \h:xyz.tex
> > could not be written.
>
> In my case write permission was granted.
>
> Alexander
From mutex-owner@mail.gmd.de  Sun Dec 10 13:15:35 2000
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Klaus Priechenfried wrote:
> 
> Hello!
> I'm new to MusicTex and to this list. I'm running SuSE-Linux 7.0 and
> Latex works well. After the download of the tar file of MusicTex and
> unzipping, I don't really know where to transfer all these files. The
> Readme file says, that it depends to my Tex-installation, well, I found
> a directory called /usr/shared/texmf/fonts/pk where I copied the
> *.pk-files, but I don't really know what to do with the rest. Trying to
> open the musicTex.dvi-file caused an error in kde2, the system didn#t
> react anymore and I had to reboot the whole Linux
> Could anybody please give me a hint what to do?

I presume that by musicTex you actually mean MusiXTeX (a successor of
MusicTeX).

On my redhat 6.2 linux station having TeTeX installed I have stored the
MusiXTeX fonts .mf files in a subdirectory of
/usr/share/texmf/fonts/source/public and the MusiXTeX macros in a
subdirectory of /usr/share/texmf/tex/generic and afterwards run texhash
as root.

I'm sure there are other ways to manage to inclusion of the musixtex
files into the TeX environment. But this works for me.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sun Dec 10 13:31:37 2000
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> I'm new to MusicTex and to this list. I'm running SuSE-Linux 7.0 After
> the download of the tar file of MusicTex and unzipping, I don't really
> know where to transfer all these files.

First of all: MusicTex is the ancestor of the newer MusiXTeX. You should
better use that. It's much better. You should find it on your SuSE CD :-)

In my system the *.mf files are placed in
/usr/share/texmf/fonts/source/public/musixtex/ 
and the *.tex and *.sty files are to be found in
/usr/share/texmf/tex/generic/musixtex/

The rest should be done automatically. But if you copy something into the
TeX file tree: don't forget to run texconfig (I presume you are using the
teTeX distribution, which is more or less standard under unix) in order to
make the files visible to teTeX's file searching tool.

> Trying to open the musicTex.dvi-file caused an error in kde2, the
> system didn#t react anymore and I had to reboot the whole Linux

This sounds strange to me, like a major configuration problem or a problem
with the still quite new kde2 :-(

Bernhard

From mutex-owner@mail.gmd.de  Mon Dec 11 09:42:27 2000
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On Sat, 9 Dec 2000, Klaus Priechenfried wrote:

> I'm new to MusicTex and to this list. I'm running SuSE-Linux 7.0 and
> Latex works well. After the download of the tar file of MusicTex and
I also use SuSE-Linux 7.0. Are you sure that MusicTex is the thing you
want? It has been replaced some years ago by MusixTeX which has many
advantages and has many tools like preprocessors (PMX, M-Tx) which work
very well under Linux.
> unzipping, I don't really know where to transfer all these files. The
> Readme file says, that it depends to my Tex-installation, well, I found
> a directory called /usr/shared/texmf/fonts/pk where I copied the
> *.pk-files, but I don't really know what to do with the rest. 
Have a look into the TeX configuration file (usually /etc/texmf/texmf.cnf);
it tells you were TeX expects files to be in. The easiest way is to
load MusixTeX from your SuSE distribution (Yes, it is CONTAINED in SuSE 7.0) 
from Yast and everything is done automatically. Or you load it yourself; then
I would recommend a local installation in $HOME/texmf. The .tex and .sty-
files go into $HOME/texmf/tex/generic/musictex (or musixtex), the font
.mf into $HOME/texmf/fonts/source/public/musixtex, the .tfm files into
$HOME/texmf/fonts/tfm and so on. Have a look at the different source-files
in http://www.gmd.de/Misc/Music, it gives you an idea how difficult it
is to code music. Look especially at the preprocessors which speed up
coding by a large factor. These you have to load and compile yourself;
they come with a README file that describes exactly how. You can put
the executables of these into /usr/local/bin or $HOME/bin. After everything
is installed, rebuild the TeX data base by running texhash. That is all.
Have fun,
          Christof


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On Sat, 9 Dec 2000, Klaus Priechenfried wrote:

> Trying to
> open the musicTex.dvi-file caused an error in kde2, the system didn#t
> react anymore and I had to reboot the whole Linux
I forgot to answer that. Apparently you overlooked some basic advantages
of Linux. You can kill any process WITHOUT re-booting. Shed the bad
Windoze habits! If anything freezes, open a new console, e.g. by Ctl-Alt-F1,
log in and look for your processes running by typing ps. It shows you a list
of the processes with a process identification number. You kill the process
by kill <number> or kill -9 <number>, return to your original console
and continue to work. However, I never had anything frozen in TeX. Are you sure that
the program did not expect another information or key stroke? The separate
error window should tell you. However, I do not use kde and can not help you 
with that. Making yourself familiar with the basic things of the Linux
system is a prerequisite to have fun with Linux. The SuSE handbook or other
Linux operation booklet are quite good for beginners. Linux is NOT a better
Windows; it is totally different (and much more stable) operation system.
Rebooting (in Windoze: you have pressed a key: please reboot the computer)
simply should not be necessary.
Christof

From mutex-owner@mail.gmd.de  Tue Dec 12 19:45:25 2000
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Message-ID: <3A366B99.68178D86@quasar.ipa.nw.ru>
Date: Tue, 12 Dec 2000 10:16:57 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi All,

Is anybody in this list aware of this TeX distribution? It looks like
they provide MusixTeX fonts in Type 1. As I recall most of the system
can be downloaded for free, but the font package costs about $30.

Alexander

-------- Original Message --------
Subject: CTAN submission -- BaKoMa TeX 3.10
Date: Tue, 12 Dec 2000 11:37:04 +0100
From: Reinhard Zierke <zierke@DANTE.DE>
Reply-To: ctan@DANTE.DE
Organization: Johannes Gutenberg-Universitaet Mainz, Germany
Newsgroups: comp.text.tex

----- Forwarded message from "Basil K. Malyshev" <malyshev@mx.ihep.su>
-----
I have uploaded to ftp.dante.de/incoming/bakoma directory
update for BaKoMa TeX 3.10.
Downloaded files must replace files in 'CTAN:systems/win32/bakoma'
directory.

--------------- About BaKoMa TeX 3.10 ----------------------
....
BaKoMa TeX is a complete TeX system for Microsoft Windows 95/98/NT/2000.
...
HIGHLIGHTS

 * PostScript enabled TeX system.
....
The system includes about *1500* typefaces in PostScript Type 1
and Type 3 font format including the following fonts:
....
 * timing, MusiXTeX, Chess/CChess, Go, Backgammon, Dingbats/NiceFrame.
etc.
From mutex-owner@mail.gmd.de  Tue Dec 12 23:43:21 2000
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From: Klaus Priechenfried <k.priechenfried@netway.at>
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Date: Wed, 13 Dec 2000 00:18:04 +0100
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Thank You all!
I am really fascinated about your quick response to my problem with the fonts!
A little bit feeling guilty for using your attendance, but really fond of the 
outcome. I loaded musixtex as rpm (it was not on my SuSE-7.0, maybe because I 
have the cheaper one). The crash of kde2 was - this to Christof - not to be 
repaired by changing the console with Alt Ctrl F2 because this did not 
respond anymore - but well, I think its will not be easy, but I like the 
quality of Latex Documents, so I will try my best to have a good quality for 
printed music-lines!
From mutex-owner@mail.gmd.de  Thu Dec 14 05:18:04 2000
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: MusixTeX in Shareware?????
Date: Wed, 13 Dec 2000 19:58:44 -0800
Organization: PCH Publishing
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On Tuesday, December 12, 2000 10:17 AM, Alexander V. Voinov 
[SMTP:avv@quasar.ipa.nw.ru] wrote:
> Hi All,
>
> Is anybody in this list aware of this TeX distribution? It looks
> like
> they provide MusixTeX fonts in Type 1. As I recall most of the
> system
> can be downloaded for free, but the font package costs about $30.
>

I'm not sure who created the musixtex fonts but I'm sure it was not 
the person who is selling this distribution.  Has he gotten 
permission from anyone to do this?

--Don Simons


From mutex-owner@mail.gmd.de  Thu Dec 14 07:20:49 2000
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Date: Wed, 13 Dec 2000 21:41:28 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi

Don Simons wrote:
> > Is anybody in this list aware of this TeX distribution? It looks
> > like
> > they provide MusixTeX fonts in Type 1. As I recall most of the
> > system
> > can be downloaded for free, but the font package costs about $30.
> >
> 
> I'm not sure who created the musixtex fonts but I'm sure it was not
> the person who is selling this distribution.  Has he gotten
> permission from anyone to do this?

I browsed pages at:

http://www.ctan.org/tex-archive/systems/win32/bakoma/

I failed to figure out if MusixTeX fonts are really available as Type 1.
In all places where they are mentioned, they are mentioned only as Type
3, which may provide only a _theoretical_ interest for most of us. In
addition, [it seems that] I learned that only some particular font
packages are not free, and MusixTeX is not among them.

With my best regards

Alexander
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: mutex@gmd.de
Subject: pmx problem
Date: Thu, 14 Dec 2000 15:33:17 +0100
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Hello experts!
After using pmx for several years on dos and later on dosemu, I installed the 
unix version. I have the following problem. At musixtex compilation stage, 
the compiler complains as in this instance:

MusiXMore ADditional instruments T.99 <24 March 2000>
) (nove.mx2) < 1>
! Undefined control sequence.
l.28 \setlyrics

In fact the preamble dose not say

\input musixlyr

as in my old Dos-compiled files. I added this line by hand in the tex file, 
but the result was a file correctly compiled but with no text.

Can you kindly tell me what i am doing wrong?
thanks,
guido (italy)

PS In the page I ,aintain called "internet resources for choral music" I list 
musixtex, pmx, mtx as excellent software for music writing. The page is 
popular in Italy, so I hope it's a service to this community!

----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------
From mutex-owner@mail.gmd.de  Thu Dec 14 17:23:32 2000
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx problem
To: mutex@gmd.de, gmilanese@mclink.it
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> From: Guido Milanese <gmilanese@mclink.it>
> Date: Thu, 14 Dec 2000 15:33:17 +0100
 
[...]
> In fact the preamble dose not say
> 
> \input musixlyr
> 
> as in my old Dos-compiled files. I added this line by hand in the tex file, 
> but the result was a file correctly compiled but with no text.

It would be good to know the pmx-file you used. PMX with lyrics is
normally generated using M-Tx. Nevertheless you can do it yourself
using only PMX - as I did it sometimes. As a model you can look
at André Van Ryckghem's collection of Canons which was mentioned
just a few day ago in this list. You find it at
http://www.gmd.de/Misc/Music/scores/Welcome.html#AndreVanRyckeghem
and the source directly at
ftp://ftp.gmd.de/music/scores/misc/Ryckeghem/canons.zip

[And don't forget to sent Italian canons to André!]

Typically it looks this way:

<PMX-source>
---
\input musixtex
\input pmx
\input musixlyr

\setlyrics{...}{...}
...
---
1 1 4 4 0 2 0 1

... standard PMX
...
/
</PMX-source>

PMX copies all between "---" and "---" directly into the generated
MusiXTeX-source.

> PS In the page I ,aintain called "internet resources for choral music" I list 
> musixtex, pmx, mtx as excellent software for music writing. The page is 
> popular in Italy, so I hope it's a service to this community!

Is it http://www.mclink.it/personal/MH9543/risorse.html ?

-- Werner


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On Thu, 14 Dec 2000, Guido Milanese wrote:

> Hello experts!
> After using pmx for several years on dos and later on dosemu, I installed the 
> unix version. I have the following problem. At musixtex compilation stage, 
> the compiler complains as in this instance:
> 
> \input musixlyr
> 
> as in my old Dos-compiled files. I added this line by hand in the tex file, 
> but the result was a file correctly compiled but with no text.
> 
\input musixlyr should come after pmx. You may add \enableauxlyrics
Make sure that musixlyr is in a texinput search directory,
e.g., $HOME/texmf/tex/generic/musixtex/.
Furthermore, when you use lyrics, mtx has some advantages.
There are no differences between Linux and DOS output of musixtex and
friends, I use both on different computers. I hope you have teTeX as your
Unix TeX version.

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From: Christian Mondrup <scancm@biobase.dk>
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Christof Biebricher wrote:
> 
> On Thu, 14 Dec 2000, Guido Milanese wrote:
> 
> > Hello experts!
> > After using pmx for several years on dos and later on dosemu, I installed the
> > unix version. I have the following problem. At musixtex compilation stage,
> > the compiler complains as in this instance:
> >
> > \input musixlyr
> >
> > as in my old Dos-compiled files. I added this line by hand in the tex file,
> > but the result was a file correctly compiled but with no text.
> >
> \input musixlyr should come after pmx. You may add \enableauxlyrics
> Make sure that musixlyr is in a texinput search directory,
> e.g., $HOME/texmf/tex/generic/musixtex/.
> Furthermore, when you use lyrics, mtx has some advantages.
> There are no differences between Linux and DOS output of musixtex and
> friends,

true for MusiXTeX but not necessarily for 'friends'. An mtx source file
created and edited under DOS will cause paragraph length errors when
compiled with prepmx under *nix due to differing end-of-line formats
between DOS and *nix. I'm hit by this minor problem myself every now and
then as my pc is able to boot win98 as well as linux. The simplest
remedy under *nix is the GNU utility recode ('recode ibmpc').

> I use both on different computers. I hope you have teTeX as your
> Unix TeX version.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Dec 14 20:05:52 2000
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Thu, 14 Dec 2000 13:25:55 -0500
To: avv@quasar.ipa.nw.ru, mutex@gmd.de
Subject: Re: [Fwd: Re: MusixTeX in Shareware?????]
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 > I failed to figure out if MusixTeX fonts are really available as Type 1.
 > In all places where they are mentioned, they are mentioned only as Type
 > 3, which may provide only a _theoretical_ interest for most of us. In
 > addition, [it seems that] I learned that only some particular font
 > packages are not free, and MusixTeX is not among them.

Type 3 fonts (but not type 1) are available, and only on a Windows platform.

Bob T.
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Hi All,

Bob Tennent wrote:
> 
>  > I failed to figure out if MusixTeX fonts are really available as Type 1.
>  > In all places where they are mentioned, they are mentioned only as Type
>  > 3, which may provide only a _theoretical_ interest for most of us. In
>  > addition, [it seems that] I learned that only some particular font
>  > packages are not free, and MusixTeX is not among them.
> 
> Type 3 fonts (but not type 1) are available, and only on a Windows platform.

And the author says that according to his experiments Type 3 looks
better both on the screen and on the printer than Type 1. For me it
sounds at least surprising. Can one comment this?

Alexander
From mutex-owner@mail.gmd.de  Thu Dec 14 23:19:14 2000
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: Christof Biebricher <cbiebri@gwdg.de>
Subject: Re: pmx problem
Date: Thu, 14 Dec 2000 18:59:07 +0100
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Die  14 dic 2000, Christof Biebricher haec scripsit:

> \input musixlyr should come after pmx. You may add \enableauxlyrics
Did it. No change.

> Make sure that musixlyr is in a texinput search directory,
> e.g., $HOME/texmf/tex/generic/musixtex/.
Yes, sure.

> Furthermore, when you use lyrics, mtx has some advantages.
> There are no differences between Linux and DOS output of musixtex and
> friends, I use both on different computers. I hope you have teTeX as your
> Unix TeX version.

yes, I am using teTeX.

Thanks a lot,
g.

 
----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: Christian Mondrup <scancm@biobase.dk>
Subject: Re: pmx problem
Date: Thu, 14 Dec 2000 23:11:51 +0100
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Die 14 dec 2000, Christian Mondrup haec scripsit:
> > There are no differences between Linux and DOS output of musixtex and
> > friends,
>
> true for MusiXTeX but not necessarily for 'friends'. 

yes, I use recode all the time... a question: is MTX available for Unix? I 
use Linux (Mandrake 7.2).

thanks,
gm

----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------
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Hi 

Guido Milanese wrote:
> 
> Die 14 dec 2000, Christian Mondrup haec scripsit:
> > > There are no differences between Linux and DOS output of musixtex and
> > > friends,
> >
> > true for MusiXTeX but not necessarily for 'friends'.
> 
> yes, I use recode all the time... a question: is MTX available for Unix? I
> use Linux (Mandrake 7.2).

I compiled it without problems. I may send you the binary.

Alexander
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Subject: Re: pmx problem
Date: Fri, 15 Dec 2000 10:07:19 +0100
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Die  15 dic 2000, Alexander V. Voinov haec scripsit:

> > a question: is MTX available for Unix?


> I compiled it without problems. I may send you the binary.

Thank you! But could you also upload it to GMD, in order to make it available 
to all *nix users?

Thanks again,
gm
 
----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
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Date: Fri, 15 Dec 2000 09:57:21 +0100
From: Christian Mondrup <scancm@biobase.dk>
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CC: mutex@gmd.de
Subject: Re: pmx problem
References: <Pine.LNX.4.21.0012141723140.15748-100000@fredi.mpibpc.gwdg.de> <3A390707.F3D0C9FC@biobase.dk> <00121423115100.01209@vivarium.localhost>
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Guido Milanese wrote:
> 
> Die 14 dec 2000, Christian Mondrup haec scripsit:
> > > There are no differences between Linux and DOS output of musixtex and
> > > friends,
> >
> > true for MusiXTeX but not necessarily for 'friends'.
> 
> yes, I use recode all the time... a question: is MTX available for Unix? I
> use Linux (Mandrake 7.2).

In the GMD archive you'll find c sources, the 'official release' and a
version patched by me to solve a few problems. The official distribution
contains an explanation on how to compile the sources with the GNU c
compiler gcc which should be in any linux distribution.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: pmx problem
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On Thu, 14 Dec 2000, Christian Mondrup wrote:

> Christof Biebricher wrote:
> > 
> > On Thu, 14 Dec 2000, Guido Milanese wrote:
> > 
> 
> true for MusiXTeX but not necessarily for 'friends'. An mtx source file
> created and edited under DOS will cause paragraph length errors when
> compiled with prepmx under *nix due to differing end-of-line formats
> between DOS and *nix. I'm hit by this minor problem myself every now and
> then as my pc is able to boot win98 as well as linux. The simplest
> remedy under *nix is the GNU utility recode ('recode ibmpc').
I also can boot both systems but have only one directory for both
systems where the source files go. But my editors are configured
that they open the file regardless of the encoding and save it in the
correct format. And since I naturally have to edit the mtx-file when I
work on the music file, I never had this problem. It is certainly valuable
to have it in mind.
Christof

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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: mutex@gmd.de
Subject: Text fonts
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I have a little question: how can I set a font as text font for a MusiXTeX 
file? I like bigger fonts, so I add \medtype as explained at 2.17.2 of the 
manual. But if I want to typeset all the text (i.e. lyrics) for example in 
palatino or times, what can I do?

you understand that I am not familiar with "plain" TeX -- I normally use 
LaTeX.

thanks,
guido, italy
 
----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: Christian Mondrup <scancm@biobase.dk>, gmilanese@mclink.it
Subject: Re: pmx problem
Date: Fri, 15 Dec 2000 10:51:01 +0100
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Die 15 dic 2000, Christian Mondrup haec scripsit:

> In the GMD archive you'll find c sources, the 'official release' and a
> version patched by me to solve a few problems. The official distribution
> contains an explanation on how to compile the sources with the GNU c
> compiler gcc which should be in any linux distribution.

This was simply to thank you for making the sources available and for making 
the compilation/installation process so easy. I installed MTX in less than 
two minutes!

Many thanks again,
gm
 
----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
+ + + + + + NON NOBIS DOMINE + + + + + + +
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Guido Milanese wrote:
> 
> I have a little question: how can I set a font as text font for a MusiXTeX
> file? I like bigger fonts, so I add \medtype as explained at 2.17.2 of the
> manual. But if I want to typeset all the text (i.e. lyrics) for example in
> palatino or times, what can I do?
> 
> you understand that I am not familiar with "plain" TeX -- I normally use
> LaTeX.

In the directory source/contrib of the mtx distribution you'll find an
example of changing to another font (erlebach.mtx). In the /source
directory you'll find Dirk's own mtx source of Palestrina's Sicut Cervus
containing a more elaborate example.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Cc: mutex@gmd.de
Subject: Re: [Fwd: Re: MusixTeX in Shareware?????]
References: <3A385D88.29E020DA@quasar.ipa.nw.ru>
	<3A3910B3.nailCB515GNKV@linus.cs.queensu.ca>
	<3A3914B6.C47FB41E@quasar.ipa.nw.ru>
From: JVromans@squirrel.nl (Johan Vromans)
Organisation: Squirrel Consultancy, Haarlem, The Netherlands
Date: 15 Dec 2000 18:38:57 +0100
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"Alexander V. Voinov" <avv@quasar.ipa.nw.ru> writes:

> And the author says that according to his experiments Type 3 looks
> better both on the screen and on the printer than Type 1. For me it
> sounds at least surprising. Can one comment this?

A lousy Type1 font rendering engine (e.g. one that ignores hints)?

-- Johan
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Date: Fri, 15 Dec 2000 17:16:22 -0800
From: Don Simons <dons@dslnorthwest.net>
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Subject: Re: MusixTeX in Shareware?????
References: <3A385D88.29E020DA@quasar.ipa.nw.ru>
		<3A3910B3.nailCB515GNKV@linus.cs.queensu.ca>
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On further research, it appears that Type 3 scalable versions of
MusiXTeX fonts are available in the following directory:

ftp://ctan.tug.org/tex-archive/systems/win32/bakoma/contrib/

The corresponding directory does not appear in very many of the CTAN
mirror sites. 

They are probably free but I still haven't verified that: read on to see
why not. 

According to games.html, the fonts are contained in the package
games.exe .  Even after virus-checking, I'm always leery of running
automatic installation programs for fear of corruption of my existing
setup.  But overwhelmed with curiosity, I downloaded games.exe and ran
it.  All I got for my effort was a message that I needed to install
BaKoMa TeX first.  Ugh!!!  I don't need another TeX system!

Could someone out there figure out how to get just the Type 3 MusiXTeX
fonts, without the excess baggage?

--Don Simons

PS: In case anyone is wondering, AFAIK the main reason for getting these
scalable versions of the fonts would be to enable you to make PDF files
that look presentable on screen.  Screen views of PDFs made with
bitmapped fonts look really crummy.  Using them could also eliminate the
need for directories full of bitmaps in lots of different resolutions,
but that's not such a big deal any more now that disk space is so cheap.

--Don Simons
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To: Don Simons <dons@dslnorthwest.net>
cc: Johan Vromans <JVromans@squirrel.nl>, mutex@gmd.de
Subject: Re: MusixTeX in Shareware????? 
In-Reply-To: Your message of "Fri, 15 Dec 2000 17:16:22 PST."
             <3A3AC266.D2840895@dslnorthwest.net> 
Date: Sat, 16 Dec 2000 12:39:13 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Message-Id: <E147GcV-0002w1-00@wisbech.cl.cam.ac.uk>
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> On further research, it appears that Type 3 scalable versions of
> MusiXTeX fonts are available in the following directory:
> 
> ftp://ctan.tug.org/tex-archive/systems/win32/bakoma/contrib/
> 
> The corresponding directory does not appear in very many of the CTAN
> mirror sites. 

because systems/win32/bakoma is merely a link to
nonfree/systems/win32/bakoma (precisely because it's shareware) and
not all mirrors seem to honour the links or to take the nonfree tree

the tree will be on all the main ctan sites ({cam,dante,tug}.ctan.org)
whatever else it may be missing from.
From mutex-owner@mail.gmd.de  Sat Dec 16 18:04:22 2000
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Message-ID: <01C0673D.5A805640.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: MusixTeX in Shareware?????
Date: Sat, 16 Dec 2000 08:51:17 -0800
Organization: PCH Publishing
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On Friday, December 15, 2000 6:09 PM, Alexander V. Voinov 
[SMTP:avv@quasar.ipa.nw.ru] wrote:
> Hi
>
> Don Simons wrote:
> >
> > On further research, it appears that Type 3 scalable versions of
> > MusiXTeX fonts are available in the following directory:
>
> Please explain me: is Type 3 really scalable? Author confirmed that
> it
> really looks better than Type 1, but... with his distribution.
>

http://www.adobe.com/support/techdocs/543e.htm contains the statement
"PostScript Type 3 fonts can be described as either 
resolution-specific bitmaps or scalable outlines."

The mystery continues.

>Free beer for which you have to buy special glass...

True and current: The Subway franchise has an ongoing pomotion where 
after you buy 8 sandwiches you get one "free" WITH THE PURCHASE OF A 
GIGANTIC SOFT DRINK AT THE USUAL INFLATED PRICE.  Big deal!

But with respect to this font question, it's still not clear what 
investment is needed to get these fonts, since no one on the list has 
yet reported trying to install them (after installing BaKoMa TeX). 
 And until someone does install them, we won't know for sure whether 
they work any better than our old faithful bitmaps do in PDF files.

--Don Simons




From mutex-owner@mail.gmd.de  Sat Dec 16 19:31:44 2000
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To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: MusixTeX in Shareware?????
References: <01C0673D.5A805640.dons@dslnorthwest.net>
From: JVromans@squirrel.nl (Johan Vromans)
Organisation: Squirrel Consultancy, Haarlem, The Netherlands
Date: 16 Dec 2000 18:55:29 +0100
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Don Simons <dons@dslnorthwest.net> writes:

> On Friday, December 15, 2000 6:09 PM, Alexander V. Voinov 
> http://www.adobe.com/support/techdocs/543e.htm contains the statement
> "PostScript Type 3 fonts can be described as either 
> resolution-specific bitmaps or scalable outlines."
> 
> The mystery continues.

PostScript Type 3 fonts use real PostScript programs to render the
glyphs. These programs can describe outlines, but are also suitable to
render images (bitmaps).
Type 1 can only describe outlines, using a special sub-programming
language.

-- Johan
From mutex-owner@mail.gmd.de  Sun Dec 17 23:48:15 2000
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Date: Sun, 17 Dec 2000 14:26:37 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: More than two voices on a stave in M-Tx.
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Hi All,

I'd to have $subject. I fuzzily recall that there were some messages and
announcements close in meaning to this. Or I'm wrong and what I want is
impossible?

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Mon Dec 18 01:33:14 2000
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Message-ID: <01C06844.2EA05C20.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: More than two voices on a stave in M-Tx.
Date: Sun, 17 Dec 2000 16:12:41 -0800
Organization: PCH Publishing
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In PMX, two lines of music per staff is the maximum, unless you use 
in-line TeX.  The notes in each line may have chords with as many 
notes as you like, but there can only be two sets of stems and beams.

--Don Simons


On Sunday, December 17, 2000 2:27 PM, Alexander V. Voinov 
[SMTP:avv@quasar.ipa.nw.ru] wrote:
> Hi All,
>
> I'd to have $subject. I fuzzily recall that there were some 
messages
> and
> announcements close in meaning to this. Or I'm wrong and what I 
want
> is
> impossible?
>
> Thank you in advance
>
> Alexander
From mutex-owner@mail.gmd.de  Mon Dec 18 09:44:26 2000
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Date: Mon, 18 Dec 2000 09:30:33 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: pmx problem
To: avv@quasar.ipa.nw.ru, gmilanese@mclink.it
Cc: mutex@gmd.de
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> From: Guido Milanese <gmilanese@mclink.it>
> Date: Fri, 15 Dec 2000 10:07:19 +0100

> Die  15 dic 2000, Alexander V. Voinov haec scripsit:

> > I compiled it without problems. I may send you the binary.
> 
> Thank you! But could you also upload it to GMD, in order to make it available 
> to all *nix users?

It would not help Un*x users, but only those with Linux and Intel processors.

AFAIK a C-source is available and it should be no real problem for
a Un*x user to simply compile the source because it's normal for
most Un*x systems to offer C-compiler.

-- Werner

From mutex-owner@mail.gmd.de  Tue Dec 19 11:05:50 2000
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Date: Tue, 19 Dec 2000 10:45:09 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: MusiXTeX fonts type 3
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On a pc else not used for MusiXTeX'ing I've downloaded and installed the
bakoma tex system including the type 3 MusiXTeX fonts and saved the
MusiXTeX .psf files in order to try them under linux/tetex. But actually
I have not the faintest idea of *how* to make use of the type 3 fonts.
Could someone please enlighten me and other mutex subscribers interested
in that matter?

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Dec 19 20:01:06 2000
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Date: Tue, 19 Dec 2000 18:54:26 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: New patch-version for M-Tx 0.52 concerning sol-fa translation
To: mutex@gmd.de
Cc: scancm@biobase.dk, szazs@mm.bme.hu, dirk@calvyn.puk.ac.za
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Dear M-Tx users,

Szabo Zsolt developed a patch for M-Tx 0.52 which catches a bug that
the sol-fa translation of M-Tx was wrong. The patch is "approved" by
Dirk Laurie. Christian Mondrup helped to compile the DOS-Exe.

Thanks to all!

See: http://www.gmd.de/Misc/Music/musixtex/software/mtx/patch.readme
     ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052_patch.zip
     
I'm pretty sure the Mac-variant will come soon :-)

-- Werner

From mutex-owner@mail.gmd.de  Wed Dec 20 01:26:39 2000
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Vivarium
To: Werner Icking <Werner.Icking@gmd.de>, avv@quasar.ipa.nw.ru,
        gmilanese@mclink.it
Subject: Re: pmx problem
Date: Wed, 20 Dec 2000 00:32:08 +0100
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Die  18 dic 2000, Werner Icking haec scripsit:
> > From: Guido Milanese <gmilanese@mclink.it>
> > Date: Fri, 15 Dec 2000 10:07:19 +0100
> >
> > Die  15 dic 2000, Alexander V. Voinov haec scripsit:
> > > I compiled it without problems. I may send you the binary.
> >
> > Thank you! But could you also upload it to GMD, in order to make it
> > available to all *nix users?
>
> It would not help Un*x users, but only those with Linux and Intel
> processors.
>
> AFAIK a C-source is available and it should be no real problem for
> a Un*x user to simply compile the source because it's normal for
> most Un*x systems to offer C-compiler.

You are absolutely right. In fact compilation was extremely easy, a matter of 
two minutes. i am sorry for having sent a wrong suggestion: but sometimes 
compilation of programs on Linux is a real nuisance!

gm
 
----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://fly.to/arsantiqua
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------
From mutex-owner@mail.gmd.de  Tue Dec 26 21:33:33 2000
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From: stefan@kristnet.org
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Date: Tue, 26 Dec 2000 13:16:31 +0100
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Hi there,

yesterday I took the time to read through all messages I have missed in
the MuTeX maling list. I must say it was a good way to start the day. I
read a very interesting discussion on metronomes and learnt some new PMX
tricks. And, most of all, I really enjoy the atmosphere of this mailing
list. You're all nice guys, and I whish you a Merry Christmas and a
Happy New Year!

Stefan

PS: This mail is resent, since I had the wrong destination address in my
original mail. That's why my christmas greetings comes when the
christmas is over... :-)

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Date: Mon, 01 Jan 2001 20:07:10 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: accents (lsf, usf) in M-Tx/PMX
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Hi and Happy New Year, wherever applicable, All!

How could I do $Subject?! Really I can, modifying one of the hints I got
here for the cautionary accidentals. But in Choral music flags on the
notes are upwards for the upper voice and downwards for the lower voice
on the same staff. In these cases accent symbols (>) intersect flags.
And I see no parameter which would allow to raise them or lower above or
below the entire note with its flag.

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Tue Jan  2 14:23:59 2001
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From: evita.j@magnet.at
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To: mutex@gmd.de
Subject: Re: Equal spacing between systems in MusiXTeX?
Date: Mon, 01 Jan 2001 16:27:14 +0100
Reply-To: evita.j@magnet.at
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On Sat, 30 Dec 2000 09:46:02 -0800, Don Simons <dons@dslnorthwest.net>
wrote:

>1. \parskip is adjusted to include a very large negative tolerance; 
>e.g.,
>\parskip 0pt plus 12\Interligne minus 99\Interligne
>
>2. "struts" are defined:
>\def\upamt{27}\def\dnamt{-20}
>\def\dnstrut{\znotes\zcharnote{\dnamt}{~}\en}
>\def\upstrut{\znotes\zcharnote{\upamt}{~}\en}
>
>3. An upstrut and downstrut are placed respectively in the uppermost 
>and lowermost staves of every interior system; a downstrut in the 
>bottom staff of the top system and an upstrut in the top staff of the 
>bottom system.
>
>4. Each page is terminated with \eject .

Don, thanks a million. With a judicious \vskip value specified before
\eject to keep a three-line piecelet from spreading out all over the
page, this is exactly what I was looking for. :)

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Tue Jan  2 14:27:44 2001
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To: <evita.j@magnet.at>, <mutex@gmd.de>
References: <2tnr4tclp12j7uu22i55c8539mhrhb1hru@4ax.com>
Subject: Re: Equal spacing between systems in MusiXTeX?
Date: Sat, 30 Dec 2000 11:00:03 +0100
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I do it with something as \zchar{25}{~}\ in the upper staffs

Andre
(waiting for Mr. Don's new version of pmx)

----- Original Message ----- 
From: <evita.j@magnet.at>
To: <mutex@gmd.de>
Sent: Saturday, December 30, 2000 4:48 PM
Subject: Equal spacing between systems in MusiXTeX?


> Hello everyone,
> 
> I'm currently typesetting a few simple solo guitar pieces for a
> beginning pupil, and using generous margins and lots of white space
> between systems to achieve an unintimidating appearance. :)
> 
> In this sort of situation I'd like to be able to force exactly equal
> spaces between all systems. Is there a way to do this? (Setting large
> values for staffbotmarg and/or stafftopmarg obviously doesn't have the
> desired effect.)
> 
> Thanks in advance for any help, and a happy new millennium to all
> subscribers
> 
> Eva
> 
> --
> "The guitar is the ideal instrument for anyone who is able to love loneliness."
>                             --Angelo Gilardino
> 

From mutex-owner@mail.gmd.de  Tue Jan  2 14:27:44 2001
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Message-ID: <01C07245.533D2580.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: Equal spacing between systems in MusiXTeX?
Date: Sat, 30 Dec 2000 09:46:02 -0800
Organization: PCH Publishing
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On Saturday, December 30, 2000 7:48 AM, evita.j@magnet.at 
[SMTP:evita.j@magnet.at] wrote:

> In this sort of situation I'd like to be able to force exactly
> equal spaces between all systems. Is there a way to do this?

I wrestled for many hours with this problem a few months back.  With 
the kind help of several of the TeXperts on the list I have coded a 
95% solution into my working version of PMX.  It will be in the next 
public release (in the next month or two). When using PMX the 
implementation will be entirely transparent to the user and will be 
activated by a single command "Ae" at the start of the PMX input 
file.  I'll be glad to make a preliminary version available on 
request (it does not come with the usual guarantee!). But for anyone 
who enjoys the agony of writing TeX code, I'll describe the approach. 
 The idea is to make every system look very tall and deep by adding 
"struts" (blank spaces at fixed elevations).  Then the glue between 
 systems is set to allow a very large negative tolerance.   Finally, 
the page is terminated with \eject so that inter-staff space -- which 
will now be negative -- will be distributed equally.  To be more 
specific,

1. \parskip is adjusted to include a very large negative tolerance; 
e.g.,
\parskip 0pt plus 12\Interligne minus 99\Interligne

2. "struts" are defined:
\def\upamt{27}\def\dnamt{-20}
\def\dnstrut{\znotes\zcharnote{\dnamt}{~}\en}
\def\upstrut{\znotes&\zcharnote{\upamt}{~}\en}

3. An upstrut and downstrut are placed respectively in the uppermost 
and lowermost staves of every interior system; a downstrut in the 
bottom staff of the top system and an upstrut in the top staff of the 
bottom system.

4. Each page is terminated with \eject .

--Don Simons
From mutex-owner@mail.gmd.de  Tue Jan  2 14:27:48 2001
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To: mutex@gmd.de
Subject: Equal spacing between systems in MusiXTeX?
Date: Sat, 30 Dec 2000 16:48:10 +0100
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Hello everyone,

I'm currently typesetting a few simple solo guitar pieces for a
beginning pupil, and using generous margins and lots of white space
between systems to achieve an unintimidating appearance. :)

In this sort of situation I'd like to be able to force exactly equal
spaces between all systems. Is there a way to do this? (Setting large
values for staffbotmarg and/or stafftopmarg obviously doesn't have the
desired effect.)

Thanks in advance for any help, and a happy new millennium to all
subscribers

Eva

--
"The guitar is the ideal instrument for anyone who is able to love loneliness."
                            --Angelo Gilardino
From mutex-owner@mail.gmd.de  Tue Jan  2 14:38:50 2001
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Date: Tue, 02 Jan 2001 13:10:52 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: Re: accents (lsf, usf) in M-Tx/PMX
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"Alexander V. Voinov" wrote:
> 
> Hi and Happy New Year, wherever applicable, All!
> 
> How could I do $Subject?! Really I can, modifying one of the hints I got
> here for the cautionary accidentals. But in Choral music flags on the
> notes are upwards for the upper voice and downwards for the lower voice
> on the same staff. In these cases accent symbols (>) intersect flags.
> And I see no parameter which would allow to raise them or lower above or
> below the entire note with its flag.
> 

If understand your question correctly you ask for the possibility of
shifting accents vertically. If you make use of pmx accents (o>) as with
all pmx 'ornaments' you have access to an optional signed argument, e.g.
o<+2 causing the symbol in question to be shifted the given number (in
note steps). 

Here is a simple M-Tx example demonstrating accents shifted below the
alto and bass parts.

Meter: 2/4
Style: SATB 

%% \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{18}\
c8+ o> d e f | g o> f e d | c2
e8 o>-20 g  g a | g o>-18 a g g | e2
c8+ o> b c c | c o> c c b | g2
c8 o>-17 g c a | e o>-22 f g g | c2
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Jan  5 00:20:35 2001
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From: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Cc: <musiclassical@egroups.com>
Subject: OT: A virus
Date: Thu, 4 Jan 2001 19:58:36 -0400
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Hello, I've received more than once a file with subject: +ACI-Snowhite and the
seven dwarfs, the Real story+ACEAIg- Its, a virus, maybe it's because someone in
the list has it and is being sent to the adresses in his/her adress book.
Please check it. This virus may be dangerous

David


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Date: Fri, 5 Jan 2001 12:18:26 +0200
From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Werner Icking <Werner.Icking@gmd.de>
Cc: mutex@gmd.de, scancm@biobase.dk, szazs@mm.bme.hu
Subject: Re: New patch-version for M-Tx 0.52 concerning sol-fa translation
Message-ID: <20010105121826.A5779@calvyn.puk.ac.za>
Mail-Followup-To: Werner Icking <Werner.Icking@gmd.de>, mutex@gmd.de,
	scancm@biobase.dk, szazs@mm.bme.hu
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Werner Icking skryf:
> Dear M-Tx users,
> 
> Szabo Zsolt developed a patch for M-Tx 0.52 which catches a bug that
> the sol-fa translation of M-Tx was wrong. The patch is "approved" by
> Dirk Laurie. Christian Mondrup helped to compile the DOS-Exe.
> 
> Thanks to all!
> 
> See: http://www.gmd.de/Misc/Music/musixtex/software/mtx/patch.readme
>      ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052_patch.zip
>      
> I'm pretty sure the Mac-variant will come soon :-)
> 
> -- Werner

I downloaded the patched version and unpacked it into a new directory.
It would not compile :-( because the cfuncs.h that comes with it is
not the latest.  It requires application of the following patches

line 51: posnot ==> posNot
line 54: get_num ==> getNum
line 55: get_nums ==> getTwoNums

Dirk Laurie
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From: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Subject: Stems and/or beams directions
Date: Fri, 5 Jan 2001 20:45:24 -0400
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Hello, I started typesetting the first prelude of Well Tempered Klavier, and
for avoiding collisions beetween the stems and beams of two voices in the
right hand, I had to use forced beams, and specified directions of stems
also. Is there any way of avoiding all those things? It a lot o typesetting.
The file is attached to the mail.

Thanks

David

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	name="WTK1.pmx"
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	filename="WTK1.pmx"

2 1 4 4 0 6 0 0
0 1 20 0.10

bs
./
h
Praludium
Tt
Prelude I from WTK first book
Tc
J. S. Bach

c24 c2 | /
r8 [u g14 c1 ] [u e1 g1- c1 e1 ] r8 [u g1- c1 ] [u e1 g1- c1 e1 ] //
r1 e84dl sl e4l s r1 e8dl sl e4l s | /


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Date: Fri, 05 Jan 2001 17:49:53 -0800
From: Don Simons <dons@dslnorthwest.net>
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To: Mutex List <mutex@gmd.de>
Subject: Re: Stems and/or beams directions
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David Gonz+AOE-lez wrote:
> 
> Hello, I started typesetting the first prelude of Well Tempered Klavier, and
> for avoiding collisions beetween the stems and beams of two voices in the
> right hand, I had to use forced beams, and specified directions of stems
> also. Is there any way of avoiding all those things? It a lot o typesetting.
> The file is attached to the mail.
> 

Well, first, it's *not* a lot of typesetting compared with doing it in
TeX.  :-)

But yes, you can avoid all the l's and u's by interchanging the order of
the two lines of music in the upper staff.  Similar to going from staff
to staff, when there are two lines of music on one staff PMX assumes the
first one is lower than the second.

c24 c2 | /
r1 e84d s e4l s r1 e8d sl e4 s | //
r8  g14 c1  e1 g1- c1 e1  r8  g1- c1  e1 g1- c1 e1  /

--Don Simons
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From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
To: "MusicTeX-Liste" <mutex@gmd.de>
Subject: too much space between systems
Date: Tue, 9 Jan 2001 10:49:04 +0100
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Hello,
I have set a 8-system-piece. It has 3 pages with 3/3/2 systems.

Now, on the pages 1 and 2 the vertical space between the systems is much =
too large for my taste. On page 3 the same space is a little to small. =
:-(

How can I decrease this space for the first pages and increase it for =
the last page so I get the same size on all pages.
I gess, the spaces on the first pages is increased because of the =
pagebreaks. But I'm not shure.

I don't care about the same size for the lower margin a all pages.
How it is clear, what I would like to get.

Thanks, Michael

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<META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Hello,</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>I have set a 8-system-piece. =
It has 3=20
pages with 3/3/2 systems.</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Now, on</FONT>&nbsp;<FONT=20
face=3D"Comic Sans MS" size=3D2>the pages 1 and 2 the vertical space =
between the=20
systems is much too large for my taste. On page 3 the same space is a =
little to=20
small. :-(</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>How can I decrease this space =
for the=20
first pages and increase it for the last page so I get the same size on =
all=20
pages.</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>I gess, the spaces on the =
first pages is=20
increased because of the pagebreaks. But I'm not shure.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>I don't care about the same =
size for the=20
lower margin a all pages.</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>How it is clear, what I would =
like to=20
get.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Thanks,=20
Michael</FONT></DIV></BODY></HTML>

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From mutex-owner@mail.gmd.de  Tue Jan  9 12:01:19 2001
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Date: Tue, 9 Jan 2001 11:48:13 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: too much space between systems
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
> Date: Tue, 9 Jan 2001 10:49:04 +0100

> I have set a 8-system-piece. It has 3 pages with 3/3/2 systems.

How did you typeset the piece? PMX? MusiXTeX?

> Now, on the pages 1 and 2 the vertical space between the systems is much
> too large for my taste. On page 3 the same space is a little to small. :-(
> 
> How can I decrease this space for the first pages and increase it for
> the last page so I get the same size on all pages.
> I gess, the spaces on the first pages is increased because of the pagebreaks. 
> But I'm not shure.

With MusiXTeX 

  \interstaff         defines the space between staff lines
  \setinterinstrument defines the (additional) space between instruments
  \parskip            defines the glue between systems (of staffs).
  \staffbotmarg, \stafftopmarg defines the space on top and bottom of
                      the systems
  \raggedbottom       has the usual influence on the filling of the page.

\musicparskip is a recommendation for \parskip with MusiXTeX.

When using PMX you may use Ai (?) as global influence on \interstaff.
If there are enough systems for a page current PMX tries to fill that
page nicely by defining \interstaff for each page. Using M-Tx's 
"SPACE: ..." there is limited access to "\interinstrument".

Because I often don't share PMX's taste about nice page-filling
I clobber \interstaff from MusiXTeX so that PMX can't use it.

\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\

This clobbers \interstaff and sets it to 11 for the whole piece. (Your
mileage may vary.)

If there is a need for an other \interstaff-value one can use with
PMX something like

... \gdef\atnextline{\interstaffsav{10}}\ ... somewhere in bar so that
the *next* line will be spaced with the new value. Similar usage is
possible for \interinstrument, \staffbotmarg, ... For easier use you
may define within a PMX-source

\\NLinterstaff#1{\gdef\atnextline{\interstaffsav{#1}}}\ 

and use it similar to the previous example:

... \NLinterstaff{11.5}\ ... 

There are many PMX and M-Tx sources on http://www.gmd.de/Misc/Music/scores/
which successfully used such or similar solutions e.g. "Kunst der Fuge".

Hope this hilft -- Werner

PS: As Don Simons told already the next PMX version will offer new
    features concerning filling the page.
 



From mutex-owner@mail.gmd.de  Tue Jan  9 14:44:46 2001
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From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
To: "MusicTeX-Liste" <mutex@gmd.de>
Subject: scor2prt
Date: Tue, 9 Jan 2001 13:51:21 +0100
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Hello,
I have Problem with scor2prt.

Normally when having a 4-voices-piece scorprt should create 4 files=20
piece1.pmx ... piece4.pmx

But when I runscor2prt on my piece, I get sometimes the right set of =
files and=20
sometimes I get
piece1.pmx, piece2.pmx, 3.pmx and 4.pmx (the last two without the piece)

Since I do my music-setting with many macros this is very bad for me. =
Since now I could not find out, when which situation occurs. Has anybody =
any idea what could be wrong?

Thanks, Michael




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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Hello,</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>I have Problem with=20
scor2prt.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Normally when having a =
4-voices-piece=20
scorprt should create 4 files </FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>piece1.pmx ... =
piece4.pmx</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>But when I runscor2prt on my =
piece, I get=20
sometimes the right set of files and </FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>sometimes I get</FONT></DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2><FONT face=3D"Comic Sans MS"=20
size=3D2>piece1.pmx, piece2.pmx, 3.pmx and 4.pmx (the last two without =
the=20
piece)</FONT></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Since I do my music-setting =
with many=20
macros this is very bad for me. Since now I could not find out, when =
which=20
situation occurs. Has anybody any idea what could be wrong?</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3D"Comic Sans MS" size=3D2>Thanks, Michael</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
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From mutex-owner@mail.gmd.de  Tue Jan  9 15:00:03 2001
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Message-ID: <008801c07a3d$c0540760$0100a8c0@superpc>
From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
To: "MusicTeX-Liste" <mutex@gmd.de>
References: <200101091048.LAA06467@sunick.gmd.de>
Subject: Re: too much space between systems
Date: Tue, 9 Jan 2001 13:19:53 +0100
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Hello,
thanks for your long answer. I used mtx and I knew the Ai?? command, but it
didn't work. But now I found the error: I tried to force a L4P3 one page 1,
so mtx/pmx got a little confused. :-)

Happy music-setting,
Michael


----- Original Message -----
From: Werner Icking <Werner.Icking@gmd.de>
To: <mutex@gmd.de>; <Michael.Koenig@ms-koenig.de>
Sent: Tuesday, January 09, 2001 11:48 AM
Subject: Re: too much space between systems


> > From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
> > Date: Tue, 9 Jan 2001 10:49:04 +0100
>
> > I have set a 8-system-piece. It has 3 pages with 3/3/2 systems.
>
> How did you typeset the piece? PMX? MusiXTeX?
>
> > Now, on the pages 1 and 2 the vertical space between the systems is much
> > too large for my taste. On page 3 the same space is a little to small.
:-(
> >
> > How can I decrease this space for the first pages and increase it for
> > the last page so I get the same size on all pages.
> > I gess, the spaces on the first pages is increased because of the
pagebreaks.
> > But I'm not shure.
>
> With MusiXTeX
>
>   \interstaff         defines the space between staff lines
>   \setinterinstrument defines the (additional) space between instruments
>   \parskip            defines the glue between systems (of staffs).
>   \staffbotmarg, \stafftopmarg defines the space on top and bottom of
>                       the systems
>   \raggedbottom       has the usual influence on the filling of the page.
>
> \musicparskip is a recommendation for \parskip with MusiXTeX.
>
> When using PMX you may use Ai (?) as global influence on \interstaff.
> If there are enough systems for a page current PMX tries to fill that
> page nicely by defining \interstaff for each page. Using M-Tx's
> "SPACE: ..." there is limited access to "\interinstrument".
>
> Because I often don't share PMX's taste about nice page-filling
> I clobber \interstaff from MusiXTeX so that PMX can't use it.
>
> \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{11}\
>
> This clobbers \interstaff and sets it to 11 for the whole piece. (Your
> mileage may vary.)
>
> If there is a need for an other \interstaff-value one can use with
> PMX something like
>
> ... \gdef\atnextline{\interstaffsav{10}}\ ... somewhere in bar so that
> the *next* line will be spaced with the new value. Similar usage is
> possible for \interinstrument, \staffbotmarg, ... For easier use you
> may define within a PMX-source
>
> \\NLinterstaff#1{\gdef\atnextline{\interstaffsav{#1}}}\
>
> and use it similar to the previous example:
>
> ... \NLinterstaff{11.5}\ ...
>
> There are many PMX and M-Tx sources on
http://www.gmd.de/Misc/Music/scores/
> which successfully used such or similar solutions e.g. "Kunst der Fuge".
>
> Hope this hilft -- Werner
>
> PS: As Don Simons told already the next PMX version will offer new
>     features concerning filling the page.
>
>
>
>

From mutex-owner@mail.gmd.de  Tue Jan  9 19:14:46 2001
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Date: Tue, 9 Jan 2001 18:47:26 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: [Admin] Re: OT: A virus
To: mutex@gmd.de
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> From: "David Gonz+AOE-lez" <dgonzal@quanta.net.py>
> Date: Thu, 4 Jan 2001 19:58:36 -0400

> Hello, I've received more than once a file with subject: +ACI-Snowhite
> and the seven dwarfs, the Real story+ACEAIg- Its, a virus, maybe it's
> because someone in the list has it and is being sent to the adresses
> in his/her adress book.

Hello David,

that are copies of the HYBRIS-virus which is indeed very dangerous
and tricky concerning distribution and updates(!). For details see

 http://www.f-secure.com/v-descs/hybris.shtml

On the other hand I've check the mails which have reached the
MuTeX-list and none contained that virus. So you must have gotten
the virus from another list or from other sources.

This does not mean, that mails to the list are secure in any way.
So, list members, be careful and don't open attachments you didn't
expect and you do not know whether it was sent intentionally by
the sender - which may be a well-known member of this list.

> Please check it. This virus may be dangerous

No! It *IS* very dangerous - but up to now neither that nor any
other virus has tried to spread using this list.

-- Werner - list administrator.

From mutex-owner@mail.gmd.de  Wed Jan 10 10:44:50 2001
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From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
To: "MusicTeX-Liste" <mutex@gmd.de>
Subject: scor2prt -problem now with the mtx/pmx files
Date: Wed, 10 Jan 2001 10:22:07 +0100
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This is a multi-part message in MIME format.

------=_NextPart_000_005E_01C07AEF.2F24FEE0
Content-Type: text/plain;
	charset="iso-8859-1"
Content-Transfer-Encoding: 7bit

Hello,
here is the mtx-file from which I created a pmx-file. I deleted as much as
possible to get a small file still with the error.
I've also attached the pmx-file just in case.

When I run scor2prt (On Win98, scor2prt for PMX Version 2.0, 18 April 99)
I get the following files

walz1.pmx
      2.pmx
      3.pmx

The original piece had 4 voices but when one of it is deleted, the error is
still there. In the last/first voice there are only rests but when deleting
the voice also, the problem disappears.

Thanks, Michael

------=_NextPart_000_005E_01C07AEF.2F24FEE0
Content-Type: application/octet-stream;
	name="walz.mtx"
Content-Transfer-Encoding: 7bit
Content-Disposition: attachment;
	filename="walz.mtx"

Stuben: Voices V1 V2 V3; Clefs G G G 
Style: Stuben
Meter: 3/4
Sharps: 2
Systems: 4
Pages: 1

%%w180m
%%ArsI9
%%%\\nobarnumbers\
% los geht's (ohne Leerzeile weiter)
a8- a a | a4+ ( a8 g ) f e  | d4d |: ( a8 d f ) |
r4d    | c4+ ( c8 b )  a g  | f4d |: ( f8 a d ) |

 (u+1 e4 b+ o.: )+1 b o: |  a ( a8 b ) a g |
 (u+1 c4 g+ o.: )+1 g o: |  f ( f8 g ) f e |

( f g ) f e d  f   | a4d c8- c4      | m3/8/0/0    d4d :|
( a- b ) a g f d+ | c4d g8 g4       | m3/8/0/0    f4d :|

m3/4/0/0 g4d e8 ( b4+ | b8 ) e- ( b+ e- ) ( b+ e- ) | a4d e8 c4+  |
m3/4/0/0 e4d d8 ( g4  | g8 ) d  ( g d ) ( g d )     | e4d c8 a4+  |

d4+ d8 c ( b4 | b8 ) e- ( b+ e- ) ( b+ e- ) |
b4+ b8 a ( g4 | g8 ) d ( g d ) ( g d )      |

 c4+ c8 b ( a4 | a ) ed e8 | g4d e8 ( b4+ | b8 ) e- ( b+ e- ) ( b+ e- ) |
 e4 e8 d ( c4  | c ) dd d8 | e4d d8 ( g4  | g8 ) d  ( g d )   ( g d )   |

c4 c8 b a ( c  | e4d ) g8- g4
e4- e8 d c ( e | g4d ) d8 d4 



------=_NextPart_000_005E_01C07AEF.2F24FEE0
Content-Type: application/octet-stream;
	name="WALZ.PMX"
Content-Transfer-Encoding: 7bit
Content-Disposition: attachment;
	filename="WALZ.PMX"

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
---
3 3 3 4 3 4  1.50000 2 1 4 20 0



000
./
% Paragraph 2 line 8 bar 0
w180m
ArsI9
%\\nobarnumbers\
r4d  rp  /
r4d | c45 c8 s b8 s a8 g8 | /
a83 a8 a8 | a4+ a8 s g8 s f8 e8 | /

%Bar 2
rp  /
f4d f8 s a8 d8 s | /
d4d a8 s d8 f8 s | /

% Paragraph 3 line 15 bar 3
rp  /
c4 su+1 g4+ o.: s+1 g4 o: | /
e4 su+1 b4+ o.: s+1 b4 o: | /

%Bar 4
rp  /
f4 f8 s g8 s f8 e8 | /
a4 a8 s b8 s a8 g8 | /

% Paragraph 4 line 18 bar 5
rp  /
a8- s b8 s a8 g8 f8 d8+ | /
f8 s g8 s f8 e8 d8 f8 | /

%Bar 6
rp  /
c4d g8 g4 | /
a4d c8- c4 | /

%Bar 7
m3/8/0/0
rp  /
f4d /
d4d /

% Paragraph 5 line 21 bar 8
m3/4/0/0
rp  /
e4d d8 g4 s | /
g4d e8 b4+ s | /

%Bar 9
rp  /
g8 s d8 g8 s d8 s g8 s d8 s | /
b8 s e8- b8+ s e8- s b8+ s e8- s | /

%Bar 10
rp  /
e4d c8 a4+ | /
a4d e8 c4+ | /

% Paragraph 6 line 24 bar 11
rp  /
b4+ b8 a8 g4 s | /
d4+ d8 c8 b4 s | /

%Bar 12
rp  /
g8 s d8 g8 s d8 s g8 s d8 s | /
b8 s e8- b8+ s e8- s b8+ s e8- s | /

% Paragraph 7 line 27 bar 13
rp  /
e4 e8 d8 c4 s | /
c4+ c8 b8 a4 s | /

%Bar 14
rp  /
c4 s d4d d8 | /
a4 s e4d e8 | /

%Bar 15
rp  /
e4d d8 g4 s | /
g4d e8 b4+ s | /

%Bar 16
rp  /
g8 s d8 g8 s d8 s g8 s d8 s | /
b8 s e8- b8+ s e8- s b8+ s e8- s | /

% Paragraph 8 line 30 bar 17
rp  /
e4- e8 d8 c8 e8 s | /
c4 c8 b8 a8 c8 s | /

%Bar 18
rp  /
g4d s d8 d4 /
e4d s g8- g4 /


------=_NextPart_000_005E_01C07AEF.2F24FEE0--

From mutex-owner@mail.gmd.de  Wed Jan 10 11:54:15 2001
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Date: Wed, 10 Jan 2001 11:33:38 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: scor2prt -problem now with the mtx/pmx files
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
> Date: Wed, 10 Jan 2001 10:22:07 +0100

> here is the mtx-file from which I created a pmx-file.[...]
> I've also attached the pmx-file just in case.
> 
> When I run scor2prt (On Win98, scor2prt for PMX Version 2.0, 18 April 99)

This is an out-dated version. Nevertheless I could NOT reproduce the
error under WIN98; neither with "2.0/18 April 99", nor with "2.2 19 March 00".
> I get the following files
> 
> walz1.pmx
>       2.pmx
>       3.pmx
> 
> The original piece had 4 voices but when one of it is deleted, the error is
> still there. In the last/first voice there are only rests but when deleting
> the voice also, the problem disappears.
> 
> Thanks, Michael

From mutex-owner@mail.gmd.de  Wed Jan 10 12:13:16 2001
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Date: Wed, 10 Jan 2001 11:47:07 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: scor2prt -problem now with the mtx/pmx files
To: mutex@gmd.de, Michael.Koenig@ms-koenig.de
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> From: "Michael Koenig" <Michael.Koenig@ms-koenig.de>
> Date: Wed, 10 Jan 2001 10:22:07 +0100

> here is the mtx-file from which I created a pmx-file.[...]
> I've also attached the pmx-file just in case.
> 
> When I run scor2prt (On Win98, scor2prt for PMX Version 2.0, 18 April 99)
[...]

Your version is a little bit out-dated. But that's not the reason.
I could not reproduce your problem under Win98 using either 
"scor2prt ... 2.0, 18 April 99" or "scor2prt ... 2.2, 18 March 00" or
"scor2prt s2p14, 20 March 00" - which seems to be the current version

Does the problem occur if you call scor2prt immediately? Or is the
call part of a batch file which may be the cause of the error?

-- Werner



 

From mutex-owner@mail.gmd.de  Wed Jan 10 20:31:53 2001
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Date: Wed, 10 Jan 2001 13:11:19 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Re: New patch-version for M-Tx 0.52 concerning sol-fa translation
In-Reply-To: <200012191754.SAA17002@sunick.gmd.de>
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On Tue, 19 Dec 2000, Werner Icking wrote:

> Dear M-Tx users,
>
> Szabo Zsolt developed a patch for M-Tx 0.52 which catches a bug that
> the sol-fa translation of M-Tx was wrong.
>
 [snip]
>
> I'm pretty sure the Mac-variant will come soon :-)

Depends on your definition of "soon."

`When I use a word,' Humpty Dumpty said, in rather a scornful tone, `it
means just what I choose it to mean -- neither more nor less.'

	(Through the Looking Glass, Lewis Carroll)

The Mac-variant of Szabo Zsolt's patch has been uploaded and should appear
in the GMD Music Archive soon.

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

From mutex-owner@mail.gmd.de  Wed Jan 10 20:59:47 2001
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Date: Wed, 10 Jan 2001 20:53:50 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: New patch-version for M-Tx 0.52 concerning sol-fa translation
To: mutex@gmd.de
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> Date: Wed, 10 Jan 2001 13:11:19 -0600
> From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
 
> On Tue, 19 Dec 2000, Werner Icking wrote:
> 
> > Dear M-Tx users,
> >
> > Szabo Zsolt developed a patch for M-Tx 0.52 which catches a bug that
> > the sol-fa translation of M-Tx was wrong.
> >
>  [snip]
> >
> > I'm pretty sure the Mac-variant will come soon :-)
> 
> Depends on your definition of "soon."
> 
> `When I use a word,' Humpty Dumpty said, in rather a scornful tone, `it
> means just what I choose it to mean -- neither more nor less.'
> 
> 	(Through the Looking Glass, Lewis Carroll)
> 
> The Mac-variant of Szabo Zsolt's patch has been uploaded and should appear
> in the GMD Music Archive soon.

Soon. Neither later nor earlier: soon. It's there.

Thanks -- Werner

From mutex-owner@mail.gmd.de  Fri Jan 12 16:07:51 2001
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cc: MusicTeX-Liste <mutex@gmd.de>
Subject: Re: too much space between systems
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On Tue, 9 Jan 2001, Michael Koenig wrote:

> Hello,
> I have set a 8-system-piece. It has 3 pages with 3/3/2 systems.
> 
> Now, on the pages 1 and 2 the vertical space between the systems is 
much too large for my taste. On page 3 the same space is a little to small. 
:-(
> 
pmx calculates the different MusixTeX dimensions. Generally, they are adequate,
but in many cases it is not exactly what
you want. 
Read the Musixtex-description of the dimensions that determine the stave
distances like \interstaff etc., it is not very long. Then you can change
these dimensions according to your wishes. There are recalculated for following
pages. Look for \stoppiece and the new dimensions which you can edit. If you 
want no change
of the layout, delete the lines that redefine the dimensions. I made a macro
that deletes everything between \stoppiece and \contpiece and replaces it
by \alaligne. To further adjust the layout you can redefine the \pagecontents
from the TeXbook, e.g. to center it on the page.
 
This is probably the easiest way for a beginner but has the disadvantage that
a new pmx-run destroys the changes you have made; save them into a file. I am sure
that MusixTeXperts have highly sophisticated inline \TeX-manipulations.
Christof


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From: "Sander, Martin" <Martin.Sander@astrium-space.com>
To: Mutex-Liste <mutex@gmd.de>
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Date: Mon, 15 Jan 2001 09:31:35 +0100
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Hi friends!

I am wondering whether there is a possibility do export a musixtex-score
to midi. I have skimmed through my database of postings but cannot find
anything in this direction?

Have a nice week

Martin

-- 
Martin Sander   NEUE e-mail: martin.sander@astrium-space.com
                       (war: martin.sander@ri.dasa.de)

 Astrium GmbH - Abt. IP 34  /  Postfach 801168  /  81663 Muenchen
                Tel. 089 - 607-25971 / Fax 089 - 607-21118
From mutex-owner@mail.gmd.de  Mon Jan 15 16:11:40 2001
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Subject: PMX: 3rd line of music in a voice
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Hi,

unfortunately pmx allows only two lines of music per voice, so I think, I
have to use inline musixtex to get my 3rd line.
But as I'm not a musixtex-guru, I need some hints how to do it.

Has anyone any suggestions or examples?

thanks,

Martin Straeten

-- 
Sent through GMX FreeMail - http://www.gmx.net

From mutex-owner@mail.gmd.de  Mon Jan 15 18:13:25 2001
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: musixtex -> midi?
To: mutex@gmd.de, Martin.Sander@astrium-space.com
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> From: "Sander, Martin" <Martin.Sander@astrium-space.com>
> Date: Mon, 15 Jan 2001 09:31:35 +0100

> I am wondering whether there is a possibility do export a musixtex-score
> to midi. I have skimmed through my database of postings but cannot find
> anything in this direction?

The newest PMX versions (maybe only the test-version) have limited
MIDI capabilities. http://www.gmd.de/Mail/mutex-archive/ contains
some articles about PMX and MIDI. Use the search engine.

There seems to be no chance for MusiXTeX to Midi.

Hope this hilft -- Werner

From mutex-owner@mail.gmd.de  Mon Jan 15 18:29:52 2001
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX: 3rd line of music in a voice
To: mutex@gmd.de, martin.straeten@gmx.de
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> From: martin.straeten@gmx.de
> Date: Mon, 15 Jan 2001 15:37:05 +0100 (MET)

> unfortunately pmx allows only two lines of music per voice, so I think, I
> have to use inline musixtex to get my 3rd line.

You need a complete 3rd voice?

Wouldn't it be possible to write most notes as chords?

> But as I'm not a musixtex-guru, I need some hints how to do it.

For single additional notes you may use non-spacing notes of
MusiXTeX, but you are responsible for the correct octave and
for *not* confusing PMX's pitch supervision. So if your
PMX input should be something like

c44 b a g | c b a g //
c45 d e f | c d e f /

You can e.g change it to following complete example:

<example>
1 1 4 4 4 4 0 0
1 1 20 0

t
./

\\def\z#1{{#1}}                      % grouping to keep things local   \
\\def\zR#1{\z{\roffset{.2}{#1}}}     %  plus right offset a little bit \
\\def\zL#1{\z{\loffset{.2}{#1}}}     %  plus left offset a little bit  \
\\def\roffn#1#2{\off{#1\noteskip}#2\off{-#1\noteskip}} % roffset in noteskip \

\zR{\zqu{!g}}\ c44 \zR{\zqu{!'a}}\ b \zL{\zql{!'b}}\ a \zL{\zql{!'c}}\ g // 
c45 d e f /
\zR{\zcu{!e}\roffn{.5}{\zcu f}}\ c44
 \zR{\ibu0{!f}2\zqb0g\roffn{.5}{\tbu0\zqb0{'a}}}\ b a g // 
c45 d e f /
</example>


! resets the pitch to MusiXTeX's standard octave; \z keeps the things
local so that manipulating the pitch does not influence PMX's TeX
output.

More questions? :-(

-- Werner




From mutex-owner@mail.gmd.de  Mon Jan 15 18:44:43 2001
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: musixtex -> midi?
Date: Mon, 15 Jan 2001 09:17:21 -0800
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On Monday, January 15, 2001 12:32 AM, Sander, Martin 
[SMTP:Martin.Sander@astrium-space.com] wrote:
> I am wondering whether there is a possibility do export a musixtex-
> score
> to midi. I have skimmed through my database of postings but cannot
> find
> anything in this direction?

There's no way I know of.  But if you use PMX it's a piece of cake.

--Don Simons
From mutex-owner@mail.gmd.de  Mon Jan 15 19:04:38 2001
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: 3rd line of music in a voice
Date: Mon, 15 Jan 2001 09:14:09 -0800
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On Monday, January 15, 2001 6:37 AM, martin.straeten@gmx.de 
[SMTP:martin.straeten@gmx.de] wrote:
> Hi,
>
> unfortunately pmx allows only two lines of music per voice, so I
> think, I
> have to use inline musixtex to get my 3rd line.
> But as I'm not a musixtex-guru, I need some hints how to do it.
>
> Has anyone any suggestions or examples?
>

1. The most important thing is to avoid introducing any unaccounted 
horizontal space.  This can be done in two ways. Either use spacing 
commands and then explicitly backspace: \qu3\bsk\ or use non-spacing 
commands, e.g. \zqu3\ .

2. Notice that I used a numerical argument rather than a note 
name...this keeps you from wandering off into the wrong octave.  If 
you should ever want to transpose you will have problems, but because 
of the way PMX transposes you would have problems transposing even if 
you used note names for vertical positioning.  There are ways to use 
note names without messing up the octave but numbers are easier for 
me.

3. You also will want to offset some items a little (e.g. to keep 
stems from overlaying one another), but you still must avoid adding 
extra horizontal space: \roffset{.3}{\zqu4}\  or \loff{\qu4\bsk}\.

4. All these commands must be entered *before* the pmx command for 
the note at the same horizontal position.

5. If the three lines change notes at different frequencies, you 
should use PMX to set the voices that move the most rapidly, and 
manually insert notes from the slowest-moving voice at the 
appropriate places.  So the voice that you handle manually may differ 
from one place to another.

As with all such matters, lots of trail and error will be needed to 
get it right, but fortunately it won't cost you anything to 
experiment (well, except for time and--in California--the cost of 
energy to run the PC).

--Don Simons

From mutex-owner@mail.gmd.de  Mon Jan 15 22:36:22 2001
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Date: Mon, 15 Jan 2001 21:54:15 +0100
From: Thierry Baertschiger <tibaer@infomaniak.ch>
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Subject: creating musixtex with rosegarden
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Hello !

I'd like to create a musixtex document using a midi file with the help
of Rosegarden. I know that Rosegarden creates old musictex documents so
that I think  I have to change  the following lines

\input musicnft
\input musictex

with

\input musixtex
\input musixcpt

Nevertheless I still have some problems !  There are sometimes some
unknown
expressions like:

    \lqp{...}  and   \rqp{...}.


What kind of things do these expressions represent ? Does it exist an
input file who define them (in the case if they are not common things)
or can redefine them ?  I'm sorry but I never wrote pure musixtex
documents so my question is maybe really stupid ? Sorry !!!


Thanks !!


Thierry

From mutex-owner@mail.gmd.de  Mon Jan 15 23:33:18 2001
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Date: Mon, 15 Jan 2001 22:49:11 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: creating musixtex with rosegarden
To: mutex@gmd.de, tibaer@infomaniak.ch
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> Date: Mon, 15 Jan 2001 21:54:15 +0100
> From: Thierry Baertschiger <tibaer@infomaniak.ch>

> Nevertheless I still have some problems !  There are sometimes some
> unknown expressions like:
> 
>     \lqp{...}  and   \rqp{...}.
> 
> 
> What kind of things do these expressions represent ? [...]

I found definitions for e.g. \lqp in  PMX.TEX :-)

This means, that the missing definitions are not only a MusiXTeX
problem, but were a problem already in Musi-c-tex :-)

That's compatibility!

The PMX-definitions are

\def\lqp#1{\loff{\zqp{#1}}}%
\def\lqpp#1{\loff{\zqpp{#1}}}%
\def\rqp#1{\roff{\zqp{#1}}}%
\def\rqpp#1{\roff{\zqpp{#1}}}%

Non-spacing dotted or double-dotted chord notes offset by one note
head width either to the left or to the right.

-- Werner

From mutex-owner@mail.gmd.de  Tue Jan 16 00:09:34 2001
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Mon, 15 Jan 2001 17:27:38 -0500
To: tibaer@infomaniak.ch, mutex@gmd.de
Subject: Re: creating musixtex with rosegarden
Message-ID: <3A63795A.nail6RZ13PVLC@linus.cs.queensu.ca>
References: <3A636377.EED70E6E@infomaniak.ch>
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 >
 > I'd like to create a musixtex document using a midi file with the help
 > of Rosegarden. 

I've found the best route is midi -> pmx -> musixtex. Rosegarden will export
pmx. You will likely need to do some editing at one or more of these stages.

Bob T.
From mutex-owner@mail.gmd.de  Tue Jan 16 00:38:26 2001
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Date: Tue, 16 Jan 2001 00:05:48 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: creating musixtex with rosegarden
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At 21.54 15/01/01 +0100, you wrote:
>Hello !
>
>I'd like to create a musixtex document using a midi file with the help
>of Rosegarden. 

I can't help you about the musixtex problem, but Rosegarden can create a
PMX code. This will avoid the problem, and, in my opinion, makes results
far better than in musictex way.

Luigi Cataldi

From mutex-owner@mail.gmd.de  Tue Jan 16 01:23:15 2001
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From: Don Simons <dons@dslnorthwest.net>
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: creating musixtex with rosegarden
Date: Mon, 15 Jan 2001 15:53:05 -0800
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On Monday, January 15, 2001 1:49 PM, Werner Icking 
[SMTP:Werner.Icking@gmd.de] wrote:
> > Date: Mon, 15 Jan 2001 21:54:15 +0100
> > From: Thierry Baertschiger <tibaer@infomaniak.ch>
>
> > Nevertheless I still have some problems !  There are sometimes
> > some
> > unknown expressions like:
> >
> >     \lqp{...}  and   \rqp{...}.
> >
> >
> > What kind of things do these expressions represent ? [...]
>
> I found definitions for e.g. \lqp in  PMX.TEX :-)
>
> This means, that the missing definitions are not only a MusiXTeX
> problem, but were a problem already in Musi-c-tex :-)
>

I don't remember exactly why I included those definitions, but isn't 
it possible they were present in musictex but somehow got left out of 
musixtex?

--Don Simons
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Message-ID: <01C07F0B.BAD89DA0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: creating musixtex with rosegarden
Date: Mon, 15 Jan 2001 15:56:32 -0800
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On Monday, January 15, 2001 2:28 PM, Bob Tennent 
[SMTP:rdt@cs.queensu.ca] wrote:
>  >
>  > I'd like to create a musixtex document using a midi file with 
the
>  > help
>  > of Rosegarden.
>
> I've found the best route is midi -> pmx -> musixtex. Rosegarden
> will export
> pmx. You will likely need to do some editing at one or more of 
these
> stages.

??  PMX does not accept MIDI input.  Do you mean MIDI -> Rosegaden -> 
PMX -> MusiXTeX?

--Don Simons


From mutex-owner@mail.gmd.de  Tue Jan 16 10:45:49 2001
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Date: Tue, 16 Jan 2001 09:48:57 +0100
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To: Werner Icking <Werner.Icking@gmd.de>, mutex list <mutex@gmd.de>
Subject: Re: creating musixtex with rosegarden
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The definitions needed (in case of) will be included in the next release
of MusiXTeX.

Werner Icking wrote:
> 

> This means, that the missing definitions are not only a MusiXTeX
> problem, but were a problem already in Musi-c-tex :-)
> 
> That's compatibility!
> 
> The PMX-definitions are
> 
> \def\lqp#1{\loff{\zqp{#1}}}%
> \def\lqpp#1{\loff{\zqpp{#1}}}%
> \def\rqp#1{\roff{\zqp{#1}}}%
> \def\rqpp#1{\roff{\zqpp{#1}}}%
> 
> Non-spacing dotted or double-dotted chord notes offset by one note
> head width either to the left or to the right.
> 
> -- Werner

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Wed Jan 17 13:20:21 2001
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From: "Sander, Martin" <Martin.Sander@astrium-space.com>
To: dons@dslnorthwest.net, Mutex-Liste <mutex@gmd.de>
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Don Simons wrote:
> 
> There's no way I know of.  But if you use PMX it's a piece of cake.
> 
OK, that's fine with me. In fact I used mtx, pmx and then musixtex. So
yesterday I tried (after getting a new documentation) pmx's midi-output
and it works. 

Many thanks to all repliers.

Martin

-- 
Martin Sander   NEUE e-mail: martin.sander@astrium-space.com
                       (war: martin.sander@ri.dasa.de)

 Astrium GmbH - Abt. IP 34  /  Postfach 801168  /  81663 Muenchen
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From mutex-owner@mail.gmd.de  Wed Jan 17 13:41:39 2001
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From: "Sander, Martin" <Martin.Sander@astrium-space.com>
To: Mutex-Liste <mutex@gmd.de>
Message-ID: <3A65812F.6E745AE4@astrium-space.com>
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Hi, list!

Yesterday I had success in exporting midi from pmx. Now remains the
problem, that the midi-output does not work properly on my soundcard.
The only way for the moment is using kmidi, which is converting the midi
into music for itself with very poor quality: there is (almost) no
difference between flute, clarinet and oboe, for instance. I am using
Linux SuSe7.0 on a AMD K6-2 and a SoundBlaster Live! card.

'Automatically' the OSS-drvier is used, but there the midi-ports do not
work at all.

Do you have any experience with this card. I am wondering whether I
should switch to creative's own driver (which is according to their FAQ
NOT supporting midi-soft, whatever this is) or try the alsa-driver(s).
What is your opinion?

Maybe this is somewhat OT on this list, but at least it deals with
music.

Is there any doc explaining the diverse types of midi? I understand that
there is something like midi-hard too, as there is midi-sort?

Many thanks for any hints and/or experience.

Martin

-- 
Martin Sander   NEUE e-mail: martin.sander@astrium-space.com
                       (war: martin.sander@ri.dasa.de)

 Astrium GmbH - Abt. IP 34  /  Postfach 801168  /  81663 Muenchen
                Tel. 089 - 607-25971 / Fax 089 - 607-21118
From mutex-owner@mail.gmd.de  Wed Jan 17 15:37:03 2001
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To: "Sander, Martin" <Martin.Sander@astrium-space.com>
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Subject: Re: Which linux-driver for SoundBlaster Live 
In-reply-to: Your message of Wed, 17 Jan 2001 12:25:35 +0100.
             <3A65812F.6E745AE4@astrium-space.com> 
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Date: Wed, 17 Jan 2001 14:28:42 +0100
From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
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> Do you have any experience with this card. I am wondering whether I
> should switch to creative's own driver (which is according to their FAQ
> NOT supporting midi-soft, whatever this is) or try the alsa-driver(s).
> What is your opinion?

I don't have the SB Live card but I'd probably try their own 
driver first, since looks easy to install. Using the alsa-driver
often requires a kernel rebuild.

> Is there any doc explaining the diverse types of midi? I understand that
> there is something like midi-hard too, as there is midi-sort?

Have you read the Sound-HOWTO and Sound-Playing-HOWTO?
Basically, the options are:
- Use the synth on the soundcard
- Use an external synth, controlled via the MIDI port
- Use a software synth such as timidity (the one used in kmidi).

Having a cheap soundcard, timidity actually gives the best 
result, but you probably want to go for the first option.

   /Mats


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From: Reinhard Katzmann <reinhard@suamor.de>
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Cc: MuTeX ML <mutex@gmd.de>
Subject: Re: Which linux-driver for SoundBlaster Live
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Hi List!

On Wed, Jan 17, 2001 at 02:28:42PM +0100, Mats Bengtsson wrote:
> > Do you have any experience with this card. I am wondering whether I
> > should switch to creative's own driver (which is according to their FAQ
> > NOT supporting midi-soft, whatever this is) or try the alsa-driver(s).
> > What is your opinion?

Yes, the emu10k1 does not support it. Here you have to use Timidity++ or
something like that with some good samples (timidity-instruments for example).
Also even with "native" midi, the sound quality is not that good.

> I don't have the SB Live card but I'd probably try their own 
> driver first, since looks easy to install. Using the alsa-driver
> often requires a kernel rebuild.

No, that is totally wrong, if you make a new kernel this requires an alsa
rebuild (but this is true for the OSS drivers as well),
With alsa and the soundbanks from your sb live CD and the awesfx utility
you can play midi files using for example the pmidi program (or playmidi,
though I had some troubles to get it running). pmidi can be found somewhere
on the alsa homepage.

> > Is there any doc explaining the diverse types of midi? I understand that
> > there is something like midi-hard too, as there is midi-sort?
> 
> Have you read the Sound-HOWTO and Sound-Playing-HOWTO?
> Basically, the options are:
> - Use the synth on the soundcard
> - Use an external synth, controlled via the MIDI port
> - Use a software synth such as timidity (the one used in kmidi).
> 
> Having a cheap soundcard, timidity actually gives the best 
> result, but you probably want to go for the first option.

However timidity lacks several instruments (at least when I tried
last time, must be over an half year ago).

Best regards,

Reinhard Katzmann
-- 
E-Mail: reinhard@suamor.de
New GnuPG Public Key available on request
Projekte: Datenbank und -schnittstelle für einen Fledermausroboter
          Datenbankanbindung und Demonstrationsserver für Pincity
From mutex-owner@mail.gmd.de  Thu Jan 18 03:21:35 2001
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From: Howard Gilbert <post@howard-gilbert.uklinux.net>
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tibaer@infomaniak.ch wrote:

>  >
>  > I'd like to create a musixtex document using a midi file with the help
>  > of Rosegarden. 
> 
Have you explored noteedit. I had little sucess with Rosegarden for
midi->pmx/musixtex but my preliminary exploration of noteedit looks more
promising.

 -- 
Best wishes,
Howard.
(Dr A.H.Gilbert, Thornaby-on-Tees, Nth Yorkshire.)


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From: "Sander, Martin" <Martin.Sander@astrium-space.com>
To: 
Cc: mutex@gmd.de
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Date: Thu, 18 Jan 2001 13:32:12 +0100
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Howard Gilbert wrote:
> 
> Have you explored noteedit. I had little sucess with Rosegarden for
> midi->pmx/musixtex but my preliminary exploration of noteedit looks more
> promising.
> 
I can agree to the noteedit part. I installed it last week and did some
small trials, including importing a midi-file, and it really looks good.
I still have problems in playing the music from noteedit, but that is a
problem with my soundcard installation, not with noteedit. (See my
separate thread on that.)

Greetings

Martin

-- 
Martin Sander   NEUE e-mail: martin.sander@astrium-space.com
                       (war: martin.sander@ri.dasa.de)

 Astrium GmbH - Abt. IP 34  /  Postfach 801168  /  81663 Muenchen
                Tel. 089 - 607-25971 / Fax 089 - 607-21118
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Date: Thu, 18 Jan 2001 17:48:44 +0100
From: Daniel Taupin <taupin@lps.u-psud.fr>
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Subject: MusiXTeX version T.101

New version T.101 of MusiXTeX available at anonymous ftp:
  ftp.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://ftp.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.101 repeat/volta handling enganced by Don Simons and Werner Icking
 - T.100 (unpublished) additional checks for wrong instrument numbers
 - T.99  \stemlength works also for "flagged notes". Bug corrected in
musixadd/musixmad
 - T.98  \hidebarrules, \showbarrules implemented
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many
bugs

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83

Daniel Taupin



--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail.gmd.de  Thu Jan 18 19:17:54 2001
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Date: Thu, 18 Jan 2001 18:51:48 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Subject: MusiXTeX version T.101
To: mutex@gmd.de
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> Date: Thu, 18 Jan 2001 17:48:44 +0100
> From: Daniel Taupin <taupin@lps.u-psud.fr>

Thanks, Daniel.

The new versions incl. a tar-ed file and a smaller file which contains
only the different parts is active on http://www.gmd.de/Misc/Music/
too, from where it will be mirrored to CTAN and it's mirrors.

> Changes:
>  - T.101 repeat/volta handling enhanced by Don Simons and Werner Icking

The layout of voltas was damaged some versions ago. Trying to repair
this we detected that it never really worked ok in all cases. Now we
hope that it works well in all the many, many cases. As a sideeffect
\centerbar processing is a little bit more exact, too.

If you want to see what happened to voltas you can do this *before*
you install the new version by trying

 ftp://ftp.gmd.de/outgoing/icking/volta.tex
 
This does not demonstrate after you installed the new version.

-- Werner

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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Subject: MusiXTeX version T.101
To: mutex@gmd.de, avv@quasar.ipa.nw.ru
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> Date: Thu, 18 Jan 2001 10:55:32 -0800
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

> Can one now specify voltas in a meterless score?

Voltas and meter are completely independent.

Voltas are connected to start or end of a bar. But - as my example
volta.tex shows - there is no need for a bar line. You may use
\setemptybar\bar as beginning or end of a volta.

-- Werner

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Hi Werner,

Can one now specify voltas in a meterless score?

Alexander

Werner Icking wrote:
> >  - T.101 repeat/volta handling enhanced by Don Simons and Werner Icking
> 
> The layout of voltas was damaged some versions ago. Trying to repair
> this we detected that it never really worked ok in all cases. Now we
> hope that it works well in all the many, many cases. As a sideeffect
> \centerbar processing is a little bit more exact, too.
From mutex-owner@mail.gmd.de  Fri Jan 26 12:21:59 2001
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Subject: Is MusiXTeX usable on Apples?
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I would be grateful for brief comment on whether MusiXTeX, or some variant
of it, can be used or adapted for use with OzTeX under Mac OS9.

And if it can't I would be grateful for a pointer to alternatives.

Hylton Boothroyd        h.boothroyd@warwick.ac.uk     or, if necessary:
Warwick Business School Janet:       h.boothroyd@uk.ac.warwick
University of Warwick   Uucp:        h.boothroyd@warwick.uucp
COVENTRY, CV4 7AL       Earn/Bitnet: h.boothroyd%uk.ac.warwick@UKACRL

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Date: Fri, 26 Jan 2001 13:50:22 +0100
From: Christian Mondrup <scancm@biobase.dk>
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H Boothroyd wrote:
> 
> I would be grateful for brief comment on whether MusiXTeX, or some variant
> of it, can be used or adapted for use with OzTeX under Mac OS9.
> 
> And if it can't I would be grateful for a pointer to alternatives.
> 

other people with knowledge of MusiXTeX and macinthosh will undoubtfully
answer this question positively and in depth. As for alternatives I
think you should consider another text based music typesetting utility
MUP (http://www.arkkra.com) which I have been using for some time
besides MusiXTeX and friends. Opposite to MusiXTeX it is not free. But
the shareware fee $29 IMHO is more than modest the quality of the
program, its typesetting results and the generous support from the MUP
developers taken into account. My own publically available scores
typeset with MUP include compositions by Mogens Pedersøn, Michael
Praetorius, Th. Ravenscroft and S. de Vivanco. The scores and the source
files are all available at the GMD archive.

A port of MUP for macintosh is available from:
http://www.uni-paderborn.de/fachbereich/AG/agkastens/wir/mthies/maine.htm#MacMup

Unfortunately there don't seem to be macintosh binaries available for
the GNU music typesetting system lilypond
http://www.cs.uu.nl/~hanwen/lilypond/

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: MikTeX????
Date: Sat, 27 Jan 2001 10:20:37 -0800
Organization: PCH Publishing
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I just got a new laptop and tried installing MikTeX, which I recall 
hearing was supposed to be pretty good.  So far, to say the least, 
I'm highly unimpressed.  I expected a windows interface for 
configuring and running the program.  Not only can't I find any such 
thing, but it seems this is really a set of DOS programs, except that 
the "setup wizard" did nothing about setting any environment 
variables or modifying my path.  Is this any better than emtex???  As 
far as ease of installation and use, seems like quite a step backward 
so far.  Am I missing something?

--Don Simons
From mutex-owner@mail.gmd.de  Sat Jan 27 20:48:46 2001
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Date: Sat, 27 Jan 2001 11:30:24 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: MikTeX????
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Hi Don

The only visual thing in miktex is yap (dvi previewer), but in the
version 1.20x it is flaky. I didn't see yet 2.0, which is announced very
recently.

I use MikTeX almost same way I use tetex - from (nt)emacs. I customized
the auctex emacs package so that it understands when and how to rebuild
a DVI when the source M-Tx file changed.

In ntemacs, you press C-cC-c when you're done with the source and it
detects what operation is due at that moment: TeX or LaTeX, View
(yap/xdvi), bibtex, etc. You may extend and customize the list of these
operations, e.g. I added a script which calls subsequently prepmx,
pmxab, musixflx etc in a necessary order.

Moreover, emacs enables to visually control versions, so that I can
asynchronously edit same text under windows and on another unix
workstation, and then merge the results.

For the true human-editable TeX source (not PMX M-Tx output) emacs
allows and guides inserting command names into the text, etc.

There are several shells implementing wizard-like functions over the
edited TeX source, but they are never approached emacs as a general
purpose editor. Moreover, the ability to control external processes from
emacs makes the latter effectively an _editor of the objective reality_
:-) -- a control center from which you influence everything which
happens in your computer.

You can grab my local installation (1.20e) from here:
http://www.sobor.org/hip/installation/. They are all self extracting
archives which you run at c:\. After this you add c:\texmf\miktex\bin
and c:\localtexmf\miktex\bin into your path. If you grab ntemacs, you
also grab dot.emacs, rename to .emacs and place it where HOME points to
(c:\ if it's not set). then you run addpm.exe.

My configuration of texmf/localtexmf contains all the necessary (though
not the very latest) musix packages, including exe binaries for PMX and
M-Tx.

Some stuff which you find there may be redundant for you (say, macros to
work with Church-Slavonic texts), but they will not hurt your PC anyway
:-).

Full size of this installation almost coinsides with the size of the
default installation of MS Office :-).

Alexander

Don Simons wrote:
> 
> I just got a new laptop and tried installing MikTeX, which I recall
> hearing was supposed to be pretty good.  So far, to say the least,
> I'm highly unimpressed.  I expected a windows interface for
> configuring and running the program.  Not only can't I find any such
> thing, but it seems this is really a set of DOS programs, except that
> the "setup wizard" did nothing about setting any environment
> variables or modifying my path.  Is this any better than emtex???  As
> far as ease of installation and use, seems like quite a step backward
> so far.  Am I missing something?
> 
> --Don Simons
From mutex-owner@mail.gmd.de  Sun Jan 28 11:33:59 2001
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From: "David González" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Subject: RE: MikTeX????
Date: Sat, 27 Jan 2001 21:09:27 -0400
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>I expected a windows interface for
>configuring and running the program

It runs on DOS, for runnig, DOS commands :-)

I don't know what do you mean exactly with configuring, I only run the
Installation Wizard and used it, no need for any configuration.

When I got MikTeX I saw something called Omega, a 16 bit version of TeX, I
didn't downloaded it, maybe its closer to a Window's application.

David



From mutex-owner@mail.gmd.de  Sun Jan 28 15:19:52 2001
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Subject: Re_MikTex
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I had MikTex but never set it up.  I was using emTeX for a while before I
started using teTeX under Linux.  Like MikTeX, emTeX is a set of DOS
programs but it also has a GUI panel which controls these programs.  I
don't know what you were using before but I thought emTeX worked pretty
well and was not hard to set up.

David Bobroff
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CC: Mutex List <mutex@gmd.de>
Subject: Re: MikTeX????
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"David González" wrote:
> 
> >I expected a windows interface for
> >configuring and running the program
> 
> It runs on DOS, for runnig, DOS commands :-)
> 
> I don't know what do you mean exactly with configuring, I only run the
> Installation Wizard and used it, no need for any configuration.
> 
> When I got MikTeX I saw something called Omega, a 16 bit version of TeX, I
> didn't downloaded it, maybe its closer to a Window's application.

No. It is identical in principle to TeX, except the 16 bit handling of
characters.

However (not tried) it is likely to work in the same environment as
MikTeX.
> 
> David

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Mon Jan 29 10:49:33 2001
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From: Dirk Laurie <dirk@calvyn.puk.ac.za>
To: Don Simons <dons@dslnorthwest.net>
Cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: MikTeX????
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Don Simons skryf:
> I just got a new laptop and tried installing MikTeX, which I recall 
> hearing was supposed to be pretty good.  So far, to say the least, 
> I'm highly unimpressed.  I expected a windows interface for 
> configuring and running the program.  Not only can't I find any such 
> thing, but it seems this is really a set of DOS programs, except that 
> the "setup wizard" did nothing about setting any environment 
> variables or modifying my path.  Is this any better than emtex???  As 
> far as ease of installation and use, seems like quite a step backward 
> so far.  Am I missing something?
> 
There is a shareware GUI called texwin or wintex which you can set up
to call the miktex routines and do everything in the one-finger style
beloved by Win95 users.  But why not configure your laptop to run
Linux and use TeX from there?  That's what I do :-)

Dirk
From mutex-owner@mail.gmd.de  Mon Jan 29 12:15:39 2001
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <dons@dslnorthwest.net>, <mutex@gmd.de>
Subject: AW: MikTeX????
Date: Mon, 29 Jan 2001 11:39:17 +0100
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Don et al.,

The answer is simple: get WinEdt!!! It is an inexpensive shareware designed
to work with MikTex.

The MikTex/WinEdt combination is probably the best possibility if you're
stuck working with Windows. To quote http://www.winedt.com/ : "WinEdt
(shareware) is a powerful, extremely flexible and versatile native editor
and shell for MS Windows with a strong predisposition towards the creation
of [La]TeX documents (and much more!)..."

Sorry for the plug, but if some of you are out there working with TeX or
LaTeX under Windows without this program, you ought to find out about it. It
doesn't even make entries in the registry unless you put them there by
defining it as a default editor or creating shorcuts to it. As I am stuck
working on a PC under Win2000 I use it for most text applications and even
as an html editor.

I would simply not be able to use LaTeX as efficiently without it. It has
very smart management for use with (La)TeX files, including a project
manager that organizes everything neatly. The only difficult thing to
understand is line wrapping... Just make sure you read the documentation.

It's even available on CTAN:

/tex-archive/systems/win32/winedt/

It is worth the price. The shareware version is not watered down, but
eventually you start getting "reminders" to purchase it every two minutes
after the trial expiration date.

Go for it!
Mike Chapman

> -----Ursprungliche Nachricht-----
> Von: owner-mutex@gmd.de [mailto:owner-mutex@gmd.de]Im Auftrag von Don
> Simons
> Gesendet: Samstag, 27. Januar 2001 19:21
> An: 'mutex@gmd.de'
> Betreff: MikTeX????
>
>
> I just got a new laptop and tried installing MikTeX, which I recall
> hearing was supposed to be pretty good.  So far, to say the least,
> I'm highly unimpressed.  I expected a windows interface for
> configuring and running the program.  Not only can't I find any such
> thing, but it seems this is really a set of DOS programs, except that
> the "setup wizard" did nothing about setting any environment
> variables or modifying my path.  Is this any better than emtex???  As
> far as ease of installation and use, seems like quite a step backward
> so far.  Am I missing something?
>
> --Don Simons
>

From mutex-owner@mail.gmd.de  Mon Jan 29 12:57:53 2001
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Date: Mon, 29 Jan 2001 12:25:40 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: Is MusiXTeX usable on Apples?
To: mutex@gmd.de, bsrdp@csv.warwick.ac.uk
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> From: H Boothroyd <bsrdp@csv.warwick.ac.uk>
> Date: Fri, 26 Jan 2001 10:57:13 +0000 (GMT)

> I would be grateful for brief comment on whether MusiXTeX, or some variant
> of it, can be used or adapted for use with OzTeX under Mac OS9.

MusiXTeX, PMX and M-Tx are available for Mac, too:

  http://www.aem.umn.edu/people/students/epeterse/MusiXTeX_Tools/
  
Thanks to Eric Petersen!

-- Werner

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Subject: Re: MikTeX????
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On Mon, 29 Jan 2001, Dirk Laurie wrote:

> Don Simons skryf:
> > I just got a new laptop and tried installing MikTeX, which I recall 
> > hearing was supposed to be pretty good.  So far, to say the least, 
> > I'm highly unimpressed.  I expected a windows interface for 
> > configuring and running the program.  Not only can't I find any such 
> > thing, but it seems this is really a set of DOS programs, except that 
> > the "setup wizard" did nothing about setting any environment 
> > variables or modifying my path.  Is this any better than emtex???  As 
> > far as ease of installation and use, seems like quite a step backward 
> > so far.  Am I missing something?
> > 
> There is a shareware GUI called texwin or wintex which you can set up
> to call the miktex routines and do everything in the one-finger style
> beloved by Win95 users.  But why not configure your laptop to run
> Linux and use TeX from there?  That's what I do :-)

While I would indeed support Dirk's proposal, I know it is hard to
switch horses while in full speed. Most mikTeXers I know use as the
driving machine the editor WinEdt http://www.winedt.com
It is shareware, but you can try it out. 
MikTeX I know well; it is quite
stable, but it does not have a GUI. When I use Windows, I use it with a
4DOS batch-file script that guides all the necessary operations, e.g.
pre-preprocessing, preprocessing, TeXing, editing of the mtx, pmx and tex
files, previewing, printing, archivating.
On Linux, I use teTeX with a bash-file script that does exactly the
same; therefore I have no difference when writing music in either OS.
WinEdt uses buttons that are told with macros what to do; it is
distributed ready for use with MikTeX.
There is nothing to configure in mikTeX, except that you have to add
the mikTeX path. I like it that it does not do that itself...
I may be wise also to edit
\texmf\miktex\config\miktex.ini to adapt you favourite editor, the
paper size you use and similar things.
But essentially mikTeX is just TeX and nothing else except for the viewer YAP.

Christof

From mutex-owner@mail.gmd.de  Mon Jan 29 17:20:54 2001
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Date: Mon, 29 Jan 2001 09:53:58 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: <bsrdp@csv.warwick.ac.uk>
cc: mutex list <mutex@gmd.de>
Subject: Re: Is MusiXTeX usable on Apples?
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From: H Boothroyd <bsrdp@csv.warwick.ac.uk>
Date: Fri, 26 Jan 2001 10:57:13 +0000 (GMT)

> I would be grateful for brief comment on whether MusiXTeX, or some variant
> of it, can be used or adapted for use with OzTeX under Mac OS9.

I have heard of no trouble running OzTeX on OS9, but I'm am unable to verify
this myself.  I have also had no reports of any of the binaries (PMX,
MusiXFlx, ...) failing on OS9.  Maybe you're the first to try it ...  I
would be interested to know for certain that there are no problems, and thus
am volunteering to assist you to get the system up and running.  Please
contact me off-list with any questions or comments, and we'll make sure you
can get some music out.

	Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+

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Subject: Re: MikTeX????
Date: Mon, 29 Jan 2001 20:41:09 +0100
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On Mon, 29 Jan 2001 11:39:17 +0100, "M. Chapman"
<chapman@eeh.ee.ethz.ch> wrote:

>/tex-archive/systems/win32/winedt/
>
>It is worth the price. The shareware version is not watered down, but
>eventually you start getting "reminders" to purchase it every two minutes
>after the trial expiration date.

There's also WinTeX2000, which as far as I can tell does most of the
things WinEdt does and comes preconfigured for use with MiKTeX. I went
for this after trying unsuccessfully to purchase WinEdt by fax order,
and ended up liking the interface better. The downside is that it's
timeware -- locks up completely after 30 days.

For a totally free TeX shell that looks rather powerful (though I
haven't actually tried it myself), it might be worthwhile to look at
TeXniXcenter (http://www.ToolsCenter.org/texniccenter/index.html ). 

Eva
...who once did a Web search for TeX shells and was staggered by the
sheer number one can choose from! :)


--
"Art is God's greatest gift to mankind. Let us continue to love it
in the third millennium!"
                 -- Nikolaus Harnoncourt
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Date: Wed, 31 Jan 2001 15:42:52 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Missed accent in extract embedded in LaTeX
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Hi all,
I have a musical extract made by MTX-PMX-MusiXTeX-TeX2Ex embedded in a
LaTeX article. When I run the music extract alone all is OK, but if I embed
the extract in the LaTeX code and than I run LaTeX in the lyrics (1st bar,
2nd note) on the word 'così' the last letter (i accented) is missed so the
word result 'cos'. Can anyone halp me? 
Thanks

Luigi Cataldi


PS:
Here is the LaTeX code (the problem comes in line n. 58 of the LaTeX code).

*****CUT HERE*****
\documentclass[a4paper,11pt]{article}
\usepackage{hyperref}
\usepackage{musixtex}
\usepackage[italian]{babel}
\usepackage[latin1]{inputenc}
\usepackage[T1]{fontenc}
\usepackage{hyperref}
\def\R2Lurl#1#2{\mbox{\href{#1}{\tt #2}}}
\input musixlyr
\input pmx
\input musixmad
\newcommand{à}{\`{a}}
\newcommand{è}{\`{e}} 
\newcommand{é}{\'{e}} 
\newcommand{ì}{\`{\i}}
\newcommand{ò}{\`{o}} 
\newcommand{ù}{\`{u}}  


\begin{document}


Più avanti, i `fieri tormenti' di
Irene sono intonati su un salto di 5$^a$ diminuita. 

\begin{music}
%%%%%%%%%%%%%%%%%
%
% es2.tex
%
%%%%%%%%%%%%%%%%
 \def\writebarno{\ifnum\barno>1\lrlap{\tenrm\the\barno\barnoadd}\fi}%
 \def\raisebarno{2\internote}%
 \def\shiftbarno{4\Interligne}
 \font\testo=\fontid r8
 \testo
\smallmusicsize%
\tracingstats=2\relax
\hsize=360pt
\vsize740pt
\def\nbinstruments{2}
\setstaffs11
\setclef16
\setname1{ }
\setstaffs21
\setclef20
\setname2{ }
\generalsignature{-1}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\readmod{es2}
\setsize2{\normalvalue}%
\smallmusicsize%
\startbarno=8%
\startpiece\addspace\afterruleskip%
\bigaccid%
\setlyrics{11}{co-s{\`\i} sfo-gan-do i}%
\assignlyrics{2}{11}%
\znotes&\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 1
\pnotes{2.00}\wh{'C}&\ds\cu{'a}\cu a\bigfl b\cl b\cl c\cl c\ds\cu a\en%
\setlyrics{11}{fie-ri suoi tor-men-ti}%
% Bar count 2
\xbar
\pnotes{2.00}\bigsh{'F}\hl F\sk\sk\sk\bigna F\hl F&\bigfl{'e}\cl e\cl e%
\cl e\cl d\bigna b\cl b\cl b\ds\turn 3\sk\en%
\endpiece

\end{music}

Nell'aria successiva
la tensione non si allenta, come accade nel testo,
ma si accresce. La alimentano il dinamismo del
basso, 
bla bla bla
\end{document}


From mutex-owner@mail.gmd.de  Thu Feb  1 09:38:12 2001
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From: Howard Gilbert <post@howard-gilbert.uklinux.net>
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Subject: PMX Limitation
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Hi,

Plesa could you clarify  a limitation of PMX stated in the manual:-

       "500 bars" 

Is that total score bars or total bars of all voices; i.e.if
a piece has 10 staves does it means 500 bars of music or 50?  

-- 
Thanks & Best wishes,
Howard.
(A.H.Gilbert, Thornaby-on-Tees, Nth Yorkshire.)
"An expert is a man who has made all the mistakes which can be made in a very narrow field." Niels Bohr (1885-1962)




From mutex-owner@mail.gmd.de  Thu Feb  1 11:43:51 2001
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Date: Thu, 1 Feb 2001 10:38:46 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PMX Limitation
To: mutex@gmd.de, post@howard-gilbert.uklinux.net
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> Date: Thu, 1 Feb 2001 06:41:55 +0000 (GMT)
> From: Howard Gilbert <post@howard-gilbert.uklinux.net>

> Plesa could you clarify  a limitation of PMX stated in the manual:-
> 
>        "500 bars" 
> 
> Is that total score bars or total bars of all voices; i.e.if
> a piece has 10 staves does it means 500 bars of music or 50?  


I've e.g. a string-quartet score with nearly 400 bars. So it may
be 500 bars per score.

Nevertheless it's no real limitation. There are several possiblilties
to break a composition into multiple PMX-pieces which have been discussed
already in this mailing list.

I use e.g. the programm dviconcat to concatenate multiple dvi-outputs.
This is demonstrated in the source of my edition of Bach's Kunst der
Fuge which is available at my (just re-designed) sheet music archive
http://www.gmd.de/Misc/Music/scores/  Using dviconcat reduces PMX's
limitation to "500 bars per output page". Dviconcat is available at CTAN

Another possiblity is to use a TeX-source which \input-s multiple
PMX-outputs by intercepting e.g. \endmuflex. You find this solution
and some of it's problems and solutions described in the thread
which starts at http://www.gmd.de/Mail/mutex-archive/2664.html

-- Werner

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Date: Thu, 01 Feb 2001 14:36:46 +0100
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Luigi Cataldi <luicatal@tin.it>
CC: mutex@gmd.de
Subject: Re: Missed accent in extract embedded in LaTeX
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Luigi Cataldi wrote:
> 
> Hi all,
> I have a musical extract made by MTX-PMX-MusiXTeX-TeX2Ex embedded in a
> LaTeX article. When I run the music extract alone all is OK, but if I embed
> the extract in the LaTeX code and than I run LaTeX in the lyrics (1st bar,
> 2nd note) on the word 'così' the last letter (i accented) is missed so the
> word result 'cos'. Can anyone halp me?

I can't really say what's going on here, since I'm no font/encoding/NFSS
expert - but the problem apparently lies within the font selection
command "\font\testo=\fontid r8 \testo". For me it worked after I have

(1) deleted the "\newcommand{à}{\`{a}}" (and similar) commands,

(2) changed "\font\testo=\fontid r8 \testo" to
    "\fontsize{8}{10}\selectfont",

(3) changed the lyric in question to "co-sì".

Perhaps someone else can explain the font encoding background which is
effective here.

Regards,

Rainer
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Howard Gilbert wrote:
> 
> Plesa could you clarify  a limitation of PMX stated in the manual:-
> 
>        "500 bars"
> 

It's nice to know someone looked at the manual :-)

> Is that total score bars or total bars of all voices; i.e.if
> a piece has 10 staves does it means 500 bars of music or 50?
> 

The latter.

Just for fun I did what any red-blooded PMXer would do, try to break the
code (version 2.294).  My example has 6 staves, 2 lines per staff (each
line counts as one of the allowable 12).  480 bars worked OK.  520
worked but I didn't expect them to.  So I looked in the source and saw
that I had at some point upped the dimension to 600.  So I increased the
input file to 600 bars but that did not work.  I'm pretty sure it was
not PMX's fault, rather that the TeX capacity was exceeded at bar 561. 
At least that's what the TeX error message said.

The reason for this and other limitations in PMX is that I've used
static dimensions.  I could have tried using dynamic dimensioning, but
that would have certainly made the code less portable.  If anyone cares
to hack up the code and make the dimensions dynamic for his particular
OS and compiler, feel free.

--Don Simons
From mutex-owner@mail.gmd.de  Fri Feb  2 07:25:50 2001
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From: "Andre Van Ryckeghem" <avr@pandora.be>
To: <mutex@gmd.de>
References: <Pine.LNX.4.21.0101310758070.1054-100000@localhost.localdomain> <3A79DC99.83FAD353@dslnorthwest.net>
Subject: misplaced bar with a 3/1 mesure ?
Date: Fri, 2 Feb 2001 06:51:26 +0100
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This is an example. In the 3th mesure the bar between the half notes should not be there. The next
mesure seems ok.

Did i something wrong?

Thanks for responding
Andre

------------------------
    1    1    3    2   3   2   0  0
    1  1   20  .08

t
./
c24 c c /
m3232 c2 c e /
m3o3o e0 f2 d e0 | e e e /
m3232 e0 f2 d e0 /
m422o a9 /
--------------------

From mutex-owner@mail.gmd.de  Fri Feb  2 08:12:18 2001
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: PMX Limitation OOPS!!
Date: Thu, 1 Feb 2001 22:41:02 -0800
Organization: PCH Publishing
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On Thursday, February 01, 2001 2:01 PM, Don Simons 
[SMTP:dons@dslnorthwest.net] wrote:
> Howard Gilbert wrote:
> >
> > Is that total score bars or total bars of all voices; i.e.if
> > a piece has 10 staves does it means 500 bars of music or 50?
> >
>
> The latter.
>
Yikes.  I should have said the former. (500 bars of music).  Sorry 
about that.
From mutex-owner@mail.gmd.de  Sat Feb  3 01:42:03 2001
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: misplaced bar with a 3/1 mesure ?
Date: Fri, 2 Feb 2001 16:18:29 -0800
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On Thursday, February 01, 2001 9:51 PM, Andre Van Ryckeghem 
[SMTP:avr@pandora.be] wrote:
> This is an example. In the 3th mesure the bar between the half 
notes
> should not be there. The next
> mesure seems ok.
>
> Did i something wrong?
>
> Thanks for responding
> Andre
>
> ------------------------
>     1    1    3    2   3   2   0  0
>     1  1   20  .08
>
> t
> ./
> c24 c c /
> m3232 c2 c e /
> m3o3o e0 f2 d e0 | e e e /
> m3232 e0 f2 d e0 /
> m422o a9 /
> --------------------

I'm sorry, but the PMX notation for 3/1 meter is hopelessly 
confusing, even to me.  I think I wrote something to the list trying 
to explain it a while back, please search the archives.  Meanwhile, 
instead of m3o3o please use m3/0/3/1, and everything should be fine. 
 If you detest the slashes, m623o seems to work, as does m303o.

-- Don Simons

--Don Simons  
From mutex-owner@mail.gmd.de  Sat Feb  3 18:39:20 2001
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Ars Antiqua
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Problem with score2prt
Date: Sat, 3 Feb 2001 17:58:19 +0100
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--------------Boundary-00=_7TX64KJY17HETHP6RRMB
Content-Type: text/plain
Content-Transfer-Encoding: 8bit

I have some problems with score2prt. If I run pmx, the final TeX output 
is correct; however, running score2prt produces errors, in some cases 
in wrong position of words, in other cases the program confuses the 
voices and outputs the 1st bar of voice 1 is added to voice 2, the 
first bar of voice 2 to voice 3, and so on. 
I add an extract (1st Osanna from Machaut's Sanctus). The error I get 
here is: wrong placement of words. The file is written under Linux, so 
if read under Dos or Mac end of lines must be converted from Unix to 
Dos or Mac conventions.

Many thanks to you all!
Guido from Italy


----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://www.arsantiqua.org
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------



--------------Boundary-00=_7TX64KJY17HETHP6RRMB
Content-Type: text/english;
  name="depo.pmx"
Content-Transfer-Encoding: 8bit
Content-Description: Osanna
Content-Disposition: attachment; filename="depo.pmx"

---
\immediate\write10{M-Tx 0.52 (Music from TeXt) <29 October 1998>}
\let\:=\relax\input musixtex\:\sepbarrules\input pmx
\input musixlyr\:\enableauxlyrics
---
4 4 3 2 3 2  0.00000 0 1 3 20 0




6000
./
\\grouptop14\groupbottom11\
Tt
Sanctus
Tc
Messe de Nostre Dame\hfill Guillaulme de Machault
\\settrebleclefsymbol{2}\treblelowoct\
% Paragraph 2 line 14 bar 1
\\\setlyrics{11}{O- }\
\\\setlyrics{21}{O-san- }\
\\\setlyrics{31}{O-san-na }\
\\\setlyrics{41}{O-san-na }\
\\\assignlyrics4{11}\
\\\assignlyrics3{21}\
\\\assignlyrics2{31}\
\\\assignlyrics1{41}\
\beginmel\ b23f  s a0 s | /
\beginmel\ c25  d0 | /
r0d | /
[ \beginmel\zchar{10}{[G]}\ c85  b8f a8 g8 ] f2s t a2 t | /

%Bar 2
r2 g0 s | /
e0d | /
\beginmel\ g04d  | /
[ g8 \zchar{10}{(?)}\ f8s g8 a8 ] b0 t | /

%Bar 3
\endmel\ f0d s | /
f0d | /
a0d | /
c0d t | /

%Bar 4
\beginmel\ a2 s b2n c2 | /
e2 d2 \endmel\ c2 | /
b4 a2 g4 r8 f4 e8 | /
r8 a8 r8 a8 f4s r8 g8 a4 tu b4 t | /

%Bar 5
\endmel\ g2 s \beginmel\ f0  | /
\zchar{10}{+}\ c2 \beginmel\ a0  | /
\endmel\ f4 \beginmel\ a2  d4- r8 c4 \endmel\ d8 | /
r8 c8 r8 c8 f4- r8 f8 g4 t a4 t | /

% Paragraph 3 line 25 bar 6
\\\setlyrics{11}{san-na in}\
\\\setlyrics{21}{na in ex-}\
\\\setlyrics{31}{in }\
\\\setlyrics{41}{in }\
e0d | /
b0nd | /
\beginmel\ e0d  | /
b0d | /

%Bar 7
e2 d0 | /
r0d | /
c2s d2 a8+ g4 f8 | /
\zchar{10}{(?)}\ g2s a0 | /

%Bar 8
c0d | /
c0d | /
\endmel\ g0d | /
c2 r2 r2 | /

%Bar 9
f2 \endmel\ f0 | /
b2f a0 | /
r0d | /
a4 [ f8 \endmel\ g8 ] \beginmel\ a2  a8 g4 \endmel\ f8 | /

%Bar 10
r2 \beginmel\ g0 s | /
\endmel\ g0d | /
d0d | /
\beginmel\ g0  e8 d4 \endmel\ c8 | /

%Bar 11
\endmel\ d0d s | /
a0d | /
\beginmel\ a2+  f0s | /
\beginmel\ d0d  | /

% Paragraph 4 line 35 bar 12
\\\setlyrics{11}{ex-cel-sis }\
\\\setlyrics{21}{cel-sis }\
\\\setlyrics{31}{ex-cel-sis }\
\\\setlyrics{41}{ex-cel-sis }\
\beginmel\ b2+f  a2 c2 | /
\beginmel\ g2 s \endmel\ a2 s \beginmel\ f2 s | /
g4 d2 e4 r8 f4 e8 | /
r8 d8 r8 g8 a4 r8 \endmel\ a8 \beginmel\ c4  a4 | /

%Bar 13
\endmel\zchar{10}{(?)}\ b2f \beginmel\ a0  | /
g2 f0 | /
d4 e2 f4 r8 d4 \endmel\ c8 | /
r8 g8 r8 g8 a4 r8 \endmel\ a8 \beginmel\ f4  d4 | /

%Bar 14
\endmel\ g0d | /
\endmel\ e0d s | /
b0d | /
\endmel\ e0d | /

%Bar 15
f0d Rd
 /
f0d /
c0d /
f0d /


--------------Boundary-00=_7TX64KJY17HETHP6RRMB--
From mutex-owner@mail.gmd.de  Sun Feb  4 05:03:53 2001
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Message-ID: <01C08E16.9F9A7B20.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: Problem with the system (was: Problem with score2prt)
Date: Sat, 3 Feb 2001 19:22:17 -0800
Organization: PCH Publishing
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On Saturday, February 03, 2001 8:58 AM, Guido Milanese 
[SMTP:gmilanese@mclink.it] wrote:
> I have some problems with score2prt. If I run pmx, the final TeX
> output
> is correct; however, running score2prt produces errors, in some
> cases
> in wrong position of words, in other cases the program confuses the
>
> voices and outputs the 1st bar of voice 1 is added to voice 2, the
> first bar of voice 2 to voice 3, and so on.
> I add an extract (1st Osanna from Machaut's Sanctus). The error I
> get
> here is: wrong placement of words. The file is written under Linux,
> so
> if read under Dos or Mac end of lines must be converted from Unix 
to
>

I don't do lyrics, but I think this is not a scor2prt problem. 
 Scor2prt follows a particular set of rules in transferring literal 
TeX commands. For example it transfers all type-3 TeX to all parts. 
 It looks to me like M-Tx inserted type-3 commands that said, for 
example, to assign certain lyrics to instrument number so-and-so. 
 Then scor2prt transfers that command (along with all the other 
type-3 commands) into the part.  But in the part there is only one 
instrument and it is number 1.  So the lyrics commands for inst 1 in 
the score, which will also be transferred to all parts because they 
are type-3), will be the active ones for *every* part.

There are a number of possible solutions I can think of.

1. M-Tx could have its own scor2prt, making a set of "child" .mtx 
files from one parent file.  That way all editing could be confined 
to the parent .mtx file.

2. It might be done more easily in M-Tx, without an auxilliary 
program, by taking advantage of the fact the scor2prt copies all 
type-3 strings to all parts.  You could write a TeX macro, say 
\partforpart{#1}, that could be called from the parts.  The macro 
would fake TeX into using the lyrics for part{#1} in place of the 
ones for part 1.  M-Tx could insert in-line TeX into the .pmx so that 
appropriate calls to \partforpart are written to the appropriate part 
when scor2prt is run.  This is done with extensions of the PMX 
comment apparatus.

3. Also OK might be to manually edit the .pmx file, using the 
above-mentioned PMX mechanisms for re-directing where the TeX strings 
go. This has the advantage that neither M-Tx not PMX has to be 
changed. But any further editing would have to be done in the .pmx, 
not the .mtx.

4. Even less desirable would be to edit the individual parts, because 
if you changed the score and re-ran scor2prt, you'd have to re-enter 
the edits in the parts.

5. scor2prt might be taught to do the right things.  But for one 
thing that would violate long standing tradition that scor2prt 
doesn't try to parse or interpret TeX commands.  For another it would 
not be very high on the priority list.

All this is based on some guesses about what's going on with lyrics. 
 I apologize in advance if I'm off base here.

--Don Simons
From mutex-owner@mail.gmd.de  Sun Feb  4 12:32:13 2001
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Date: Sat, 03 Feb 2001 08:01:59 +0100
From: Zdenko =?iso-8859-1?Q?Podobn=FD?= <zdpo@mailbox.sk>
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Is anybody able to produce pdf file from musixtex (pmx)?
I tried to use pdflatex and dvipdfm, but this staff is able to put non
music part (lines, lyrics) in pdf. Can anybody help me with this ?
Zdeno

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From: "Amir Rahighi" <Rahighi_a@hotmail.com>
To: <mutex@gmd.de>
Subject: Where can I find musixtex software
Date: Sun, 4 Feb 2001 16:21:44 +0330
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   Dear Friends,

     Where can I find musixtex software. I haven't it.
     Thanks so much.

   Regards,
   Amir Rahighi.

------=_NextPart_000_0053_01C08EC6.90B87390
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content=3D"text/html; charset=3Diso-8859-1" =
http-equiv=3DContent-Type>
<META content=3D"MSHTML 5.00.2314.1000" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp; Dear Friends,</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;&nbsp;&nbsp; Where can I =
find musixtex=20
software. I haven't it.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp;&nbsp;&nbsp; Thanks so=20
much.</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>&nbsp;&nbsp; Regards,<BR>&nbsp;&nbsp; =
Amir=20
Rahighi.</FONT></DIV></BODY></HTML>

------=_NextPart_000_0053_01C08EC6.90B87390--
From mutex-owner@mail.gmd.de  Sun Feb  4 14:48:34 2001
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Date: Sun, 04 Feb 2001 14:06:20 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Zdenko Podobný wrote:
> 
> Is anybody able to produce pdf file from musixtex (pmx)?
> I tried to use pdflatex and dvipdfm, but this staff is able to put non
> music part (lines, lyrics) in pdf. Can anybody help me with this ?
> Zdeno

I don't understand that. I produce pdf versions of all my publically
available scores (most of them with lyrics) by means of dvipdfm to be
used for other web archives than GMD. I haven't had problems that
prevented me from using the dvipdfm results. The screen rendering of
dvipdfm produced files is IMHO far superior to those produced by for
example ps2pdf. 

Maybe I misunderstand your question.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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Subject: Re: Problem with the system (was: Problem with score2prt)
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Don Simons wrote:
> 
> On Saturday, February 03, 2001 8:58 AM, Guido Milanese
> [SMTP:gmilanese@mclink.it] wrote:
> > I have some problems with score2prt. If I run pmx, the final TeX
> > output
> > is correct; however, running score2prt produces errors, in some
> > cases
> > in wrong position of words, in other cases the program confuses the
> >
> > voices and outputs the 1st bar of voice 1 is added to voice 2, the
> > first bar of voice 2 to voice 3, and so on.
> > I add an extract (1st Osanna from Machaut's Sanctus). The error I
> > get
> > here is: wrong placement of words. The file is written under Linux,
> > so
> > if read under Dos or Mac end of lines must be converted from Unix
> to
> >
> 
> I don't do lyrics, but I think this is not a scor2prt problem.
>  Scor2prt follows a particular set of rules in transferring literal
> TeX commands. For example it transfers all type-3 TeX to all parts.
>  It looks to me like M-Tx inserted type-3 commands that said, for
> example, to assign certain lyrics to instrument number so-and-so.
>  Then scor2prt transfers that command (along with all the other
> type-3 commands) into the part.  But in the part there is only one
> instrument and it is number 1.  So the lyrics commands for inst 1 in
> the score, which will also be transferred to all parts because they
> are type-3), will be the active ones for *every* part.
> 
> There are a number of possible solutions I can think of.
> 
> 1. M-Tx could have its own scor2prt, making a set of "child" .mtx
> files from one parent file.  That way all editing could be confined
> to the parent .mtx file.
> 
> 2. It might be done more easily in M-Tx, without an auxilliary
> program, by taking advantage of the fact the scor2prt copies all
> type-3 strings to all parts.  You could write a TeX macro, say
> \partforpart{#1}, that could be called from the parts.  The macro
> would fake TeX into using the lyrics for part{#1} in place of the
> ones for part 1.  M-Tx could insert in-line TeX into the .pmx so that
> appropriate calls to \partforpart are written to the appropriate part
> when scor2prt is run.  This is done with extensions of the PMX
> comment apparatus.
> 
> 3. Also OK might be to manually edit the .pmx file, using the
> above-mentioned PMX mechanisms for re-directing where the TeX strings
> go. This has the advantage that neither M-Tx not PMX has to be
> changed. But any further editing would have to be done in the .pmx,
> not the .mtx.
> 
> 4. Even less desirable would be to edit the individual parts, because
> if you changed the score and re-ran scor2prt, you'd have to re-enter
> the edits in the parts.
> 
> 5. scor2prt might be taught to do the right things.  But for one
> thing that would violate long standing tradition that scor2prt
> doesn't try to parse or interpret TeX commands.  For another it would
> not be very high on the priority list.
> 
> All this is based on some guesses about what's going on with lyrics.
>  I apologize in advance if I'm off base here.
> 
> --Don Simons

Yet another solution - allthough not perfect - is a perl script exmtx.pl
I have made for that purpose. The script is avaible from the M-Tx
section of GMD
http://www.gmd.de/Misc/Music/musixtex/software/mtx/mtxutil.zip. I use it
myself for my modern edition of the madrigals by Mogens Pedersøn
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Sun Feb  4 16:07:13 2001
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Sun, 04 Feb 2001 09:41:56 -0500
To: zdpo@mailbox.sk, mutex@gmd.de
Subject: Re: PDF from musixtex
Message-ID: <3A7D6A34.nailH8S15WKNH@linus.cs.queensu.ca>
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 > Is anybody able to produce pdf file from musixtex (pmx)?

I don't use pmx, but can certainly produce pdf from musixtex output.
The text displays very well because I have type 1 (Postscript) fonts.
The music fonts aren't available in type 1 format and don't display well,
but do print well.

 > I tried to use pdflatex and dvipdfm, but this staff is able to put non
 > music part (lines, lyrics) in pdf. Can anybody help me with this ?

I can't parse this. Did you mean "stuff" rather than "staff" and omit a "not"?

Use either pdftex, or TeX + dvipdfm, or TeX + dvips + distiller, but you have
to configure them appropriately. 

Bob T.
From mutex-owner@mail.gmd.de  Sun Feb  4 17:38:14 2001
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To: "Amir Rahighi" <Rahighi_a@hotmail.com>
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Subject: Re: Where can I find musixtex software 
In-reply-to: Your message of Sun, 04 Feb 2001 16:21:44 +0330.
             <OE307j1HaKtKufVma0o000025a8@hotmail.com> 
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>    Dear Friends,
> 
>      Where can I find musixtex software. I haven't it.
>      Thanks so much.
> 
>    Regards,
>    Amir Rahighi.

Try http://www.gmd.de/Misc/Music/ or CTAN (the main tex archive 
which is mirrored on many ftp servers all over the world, 
see http://www.tug.org/)

    /Mats


From mutex-owner@mail.gmd.de  Sun Feb  4 22:01:39 2001
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Date: Sun, 04 Feb 2001 12:25:49 -0800
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To: mutex@gmd.de
Subject: Re: PDF from musixtex
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Hi All,

Bob Tennent wrote:
>  > I tried to use pdflatex and dvipdfm, but this staff is able to put non
>  > music part (lines, lyrics) in pdf. Can anybody help me with this ?
> 
> I can't parse this. Did you mean "stuff" rather than "staff" and omit a "not"?
> 
> Use either pdftex, or TeX + dvipdfm, or TeX + dvips + distiller, but you have
> to configure them appropriately.

When I produce PDF via TeX->dvips->distiller, I can view it in with
acrobat reader. But in xpdf I see, indeed, only lines and text.

What are other PDF viewers to try out?

Alexander
From mutex-owner@mail.gmd.de  Sun Feb  4 23:25:57 2001
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From: Bob Tennent <rdt@cs.queensu.ca>
Date: Sun, 04 Feb 2001 17:04:39 -0500
To: avv@quasar.ipa.nw.ru, mutex@gmd.de
Subject: Re: PDF from musixtex
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 <3A7D6A34.nailH8S15WKNH@linus.cs.queensu.ca>
 <3A7DBACD.6D6DB226@quasar.ipa.nw.ru>
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 > When I produce PDF via TeX->dvips->distiller, I can view it in with
 > acrobat reader. But in xpdf I see, indeed, only lines and text.

xpdf doesn't render bitmapped fonts.  Ghostscript will render pdf
so try ghostview or gv.

From mutex-owner@mail.gmd.de  Mon Feb  5 01:44:43 2001
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From: Howard Gilbert <post@howard-gilbert.uklinux.net>
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To: Don Simons <dons@dslnorthwest.net>
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Subject: Re: PMX Limitation
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Hi Don & Werner,

Thanks for replies. My reason for asking is that when a downloaed midi
file was imported to noteedit it was a 10 stave score (some staves had
chords) of 169 bars. It was exported to a pmx file which looked OK.  It
did not, however process with pmxab. At the end of pass one it gave:-

 In system # 1 cannot meet min. space rqmt **

 In system # 2 cannot meet min. space rqmt ** 
 
and pass two stopped at 100 bars with a segmentation fault.

** I had not noticed these error messages when I sent the previous 'cos
they had scrolled off-screen.

If, however it is split into two parts, with suitable page and No. of
systems changes, both process OK.  The only reason I could think of
quickly was the 500 bar limitation.  

I guess I should probably have given all the facts in the first place.

On Thu, 1 Feb 2001, Don Simons wrote:

> > Is that total score bars or total bars of all voices; i.e.if
> > a piece has 10 staves does it mean 500 bars of music or 50?
> > 
> 
> The latter.
> 
> Just for fun I did what any red-blooded PMXer would do, try to break the
> code (version 2.294).  My example has 6 staves, 2 lines per staff (each
> line counts as one of the allowable 12).  480 bars worked OK.  520
> worked but I didn't expect them to.  So I looked in the source and saw
> that I had at some point upped the dimension to 600.  So I increased the
> input file to 600 bars but that did not work.  I'm pretty sure it was
> not PMX's fault, rather that the TeX capacity was exceeded at bar 561. 
> At least that's what the TeX error message said.
> 

I am red-blooded but lazy and you guys are so helpful!

-- 
Best wishes,
Howard.
(A.H.Gilbert, Thornaby-on-Tees, Nth Yorkshire.)
"An expert is a man who has made all the mistakes which can be made in a very narrow field." Niels Bohr (1885-1962)


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Subject: Re: PDF from musixtex
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In my configuration ghostscript produces pretty nice pdf-output (from
ps-files)

the shell script
-----
# !/bin/bash
#
# make-pdf $1
#
# give job name as first parameter (e.g. to convert music.dvi to music.pdf
# call this script as 'make-pdf music')
#
dvips $1
gs -sDEVICE=pdfwrite -sOutputFile=$1.pdf -dNOPAUSE $1.ps quit.ps
# end of make-pdf
-----
should run on any unix machine (gs version is 5.10, dvips is 5.82).

Bernhard

From mutex-owner@mail.gmd.de  Mon Feb  5 12:34:58 2001
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Subject: Re: PDF from musixtex 
In-reply-to: Your message of Mon, 05 Feb 2001 10:25:27 +0100.
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> In my configuration ghostscript produces pretty nice pdf-output (from
> ps-files)
> 
> the shell script
> -----
> # !/bin/bash
> #
> # make-pdf $1
> #
> # give job name as first parameter (e.g. to convert music.dvi to music.pdf
> # call this script as 'make-pdf music')
> #
> dvips $1
> gs -sDEVICE=pdfwrite -sOutputFile=$1.pdf -dNOPAUSE $1.ps quit.ps
> # end of make-pdf
> -----
> should run on any unix machine (gs version is 5.10, dvips is 5.82).

I recommend that you upgrade to gs 6.0 or newer. It will give you
PDF files with Type1 fonts for all fonts that are Type1 in the
postscript, which means that the resulting file looks much better
on screen. Unfortunately, we don't have the music symbols in Type1
format. Also, gs 6.x includes a script ps2pdf which does exactly
the same thing as your script. 

       /Mats



From mutex-owner@mail.gmd.de  Mon Feb  5 12:46:23 2001
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CC: mutex <mutex@gmd.de>
Subject: Re: PDF from musixtex
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Bernhard Lang wrote:
> 
> In my configuration ghostscript produces pretty nice pdf-output (from
> ps-files)
> 
> the shell script
> -----
> # !/bin/bash
> #
> # make-pdf $1
> #
> # give job name as first parameter (e.g. to convert music.dvi to music.pdf
> # call this script as 'make-pdf music')
> #
> dvips $1
> gs -sDEVICE=pdfwrite -sOutputFile=$1.pdf -dNOPAUSE $1.ps quit.ps
> # end of make-pdf
> -----
> should run on any unix machine (gs version is 5.10, dvips is 5.82).

you may need - as I do - to add an output parameter to dvips (-o $1.ps)
in order to avoid the output of dvips to be directed to your printer.

That being said dvipdfm will produce a pdf result with a ghostview
screen rendering a little better than that of 'gs -sDEVICE=pdfwrite'.
When viewed with Acrobat Reader the dvipdfm results look remarkably
better than those of 'gs -sDEVICE=pdfwrite'

The author of dvipdfm has put specific effords into improving the pdf
output from MusiXTeX dvi input files.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Feb  5 13:05:18 2001
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To: b.lang@gmx.net
cc: mutex <mutex@gmd.de>
Subject: Re: PDF from musixtex 
In-Reply-To: Your message of "Mon, 05 Feb 2001 10:25:27 +0100."
             <Pine.LNX.4.05.10102051018160.12386-100000@pcipmc428a.unil.ch> 
Date: Mon, 05 Feb 2001 11:18:25 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> In my configuration ghostscript produces pretty nice pdf-output (from
> ps-files)
> 
> the shell script
> -----
> # !/bin/bash
> #
> # make-pdf $1
> #
> # give job name as first parameter (e.g. to convert music.dvi to music.pdf
> # call this script as 'make-pdf music')
> #
> dvips $1
> gs -sDEVICE=pdfwrite -sOutputFile=$1.pdf -dNOPAUSE $1.ps quit.ps
> # end of make-pdf
> -----
> should run on any unix machine (gs version is 5.10, dvips is 5.82).

it'll run (perhaps) but with that version of gs it will use bitmapped
fonts for *everything*.

pdf with bitmapped fonts is highly undesirable.  with nothing but,
it's essentially unreadable in the commonest viewer (acrobat reader).

of course, you _can_ print it, often quite satisfactorily.  but with
bitmapped fonts you might just as well have stuck with the original
postscript -- you gain *nothing* significant by distilling.


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Date: Mon, 5 Feb 2001 12:44:39 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
To: mutex@gmd.de
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> Date: Mon, 5 Feb 2001 10:25:27 +0100 (MET)
> From: Bernhard Lang <blang@ipmc.unil.ch>

> In my configuration ghostscript produces pretty nice pdf-output (from
> ps-files)
> 
> the shell script
> -----
[...]
> gs -sDEVICE=pdfwrite -sOutputFile=$1.pdf -dNOPAUSE $1.ps quit.ps
> # end of make-pdf
> -----
> should run on any unix machine (gs version is 5.10, dvips is 5.82).

As it is part of ghostscript one can use "ps2pdf" with non-unix command-
line systems like e.g. DOS under MS-Windows, too.

Under MS-Windows one can use in addition GSView as user-friendly
interface to make PDF from PS. You print the file using "pdfwrite"
as device. And the opposite is possible too using "pswrite" when
viewing/printing a PDF-file with GSView.

That makes PS the more universal format :-)

-- Werner


From mutex-owner@mail.gmd.de  Mon Feb  5 14:31:40 2001
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To: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
Cc: b.lang@gmx.net, mutex <mutex@gmd.de>
Subject: Re: PDF from musixtex
References: <E14Pjf7-0007tS-00@wisbech.cl.cam.ac.uk>
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From: Laura Conrad <lconrad@laymusic.org>
Date: 05 Feb 2001 07:58:56 -0500
In-Reply-To: Robin Fairbairns's message of "Mon, 05 Feb 2001 11:18:25 +0000"
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>>>>> "Robin" == Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk> writes:

    Robin> of course, you _can_ print it, often quite satisfactorily.  but with
    Robin> bitmapped fonts you might just as well have stuck with the original
    Robin> postscript -- you gain *nothing* significant by distilling.

Except that there are a lot more people in the world with a pdf reader
installed than with a postscript reader, so more people will read your
stuff if you put it on the web.


-- 
Laura (mailto:lconrad@laymusic.org , http://www.laymusic.org/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139
From mutex-owner@mail.gmd.de  Mon Feb  5 15:26:30 2001
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Date: Mon, 5 Feb 2001 14:55:52 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
To: mutex@gmd.de
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> From: Laura Conrad <lconrad@laymusic.org>
> Date: 05 Feb 2001 07:58:56 -0500

> >>>>> "Robin" == Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk> writes:
> 
>> of course, you _can_ print it, often quite satisfactorily.  but with
>> bitmapped fonts you might just as well have stuck with the original
>> postscript -- you gain *nothing* significant by distilling.

Worse display :-(

> Except that there are a lot more people in the world with a pdf reader
> installed than with a postscript reader, so more people will read your
> stuff if you put it on the web.

Yes, more people will read your stuff if you put it on the web!

And there are much more people in the world which use MS-Word than TeX.
Does that count?

If you supply good sheet music on the web (and tell the people how
they can fetch and read it), they will fetch and read it.

-- Werner

From mutex-owner@mail.gmd.de  Mon Feb  5 16:53:46 2001
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Date: Mon, 05 Feb 2001 16:22:44 +0100
From: Christian Mensing <mensing@inorg.chem.ethz.ch>
Organization: ETH Zuerich
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Subject: Re: PDF from musixtex
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Werner Icking wrote:
> 
> Yes, more people will read your stuff if you put it on the web!
> 
> And there are much more people in the world which use MS-Word than TeX.
> Does that count?
> 
> If you supply good sheet music on the web (and tell the people how
> they can fetch and read it), they will fetch and read it.
> 
> -- Werner

Hello,

I agree totally. Both are valid formats. There is virtually no
difference
in print quality if using dvips or pdftex with pk600 fonts.

#!/bin/sh
# pdfmusix
#
rm $1.mx*
pdftex $1
musixflx $1
pdftex $1

produces straight forward pdf files which are about 1/5 in size of a ps
file.

Christian
-- 
Christian Mensing
Lab. fuer Anorg. Chemie   tel             (+41) 1/ 632 2894 / 4939
ETH Zentrum CAB B17       fax             (+41) 1/ 632 1149
Universitaetstrasse 6     mailto:mensing@inorg.chem.ethz.ch
CH 8092 Zuerich          
http://www.inorg.chem.ethz.ch/group/mensing.html
From mutex-owner@mail.gmd.de  Mon Feb  5 17:52:35 2001
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
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> Date: Mon, 05 Feb 2001 16:22:44 +0100
> From: Christian Mensing <mensing@inorg.chem.ethz.ch>

[...]
> I agree totally. Both are valid formats. There is virtually no
> difference
> in print quality if using dvips or pdftex with pk600 fonts.

But in display quality. GSView is better on musixtex output than
Acrobat reader. But the difference was greater some time ago.

[...]
> pdftex $1
> musixflx $1
> pdftex $1
> 
> produces straight forward pdf files which are about 1/5 in size of a ps
> file.

When I compare sizes I compare compressed PDF-files with compressed PS-files.
So I made some experiments. And the answer was: sometimes compressed PS-files
are smaller than compressed PDF-files, sometimes compressed PDF-files are
smaller than compressed PS-files.

The size of both types depends heavily on the content of the input.

For my experiments I used Acrobat.

-- Werner

PS: How do I use pdftex with emTeX? What packages do I need?
    (Up to now I wasn't able to switch to DC or EC fonts, and 8-bit TeX;
    not enough time to do so :-()

From mutex-owner@mail.gmd.de  Mon Feb  5 18:28:45 2001
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To: Christian Mensing <mensing@inorg.chem.ethz.ch>
CC: mutex@gmd.de
Subject: Re: PDF from musixtex
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Christian Mensing wrote:
> 
> Werner Icking wrote:
> >
> > Yes, more people will read your stuff if you put it on the web!
> >
> > And there are much more people in the world which use MS-Word than TeX.
> > Does that count?
> >
> > If you supply good sheet music on the web (and tell the people how
> > they can fetch and read it), they will fetch and read it.
> >
> > -- Werner
> 
> Hello,
> 
> I agree totally. Both are valid formats. There is virtually no
> difference
> in print quality if using dvips or pdftex with pk600 fonts.
> 
> #!/bin/sh
> # pdfmusix
> #
> rm $1.mx*
> pdftex $1
> musixflx $1
> pdftex $1
> 
> produces straight forward pdf files which are about 1/5 in size of a ps
> file.

ghostview (gv) displays pdf files thus produced with the same (quite
acceptable) screen rendering quality as dvipdfm produced files. But that
is not the case with Acrobat Reader used by hosts of web users. Here the
two conversion methods make a remarkable difference - favouring dvipdfm.
When it comes to hardcopy printing both methods are equally good.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Feb  5 18:57:40 2001
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To: Werner Icking <Werner.Icking@gmd.de>
cc: mutex@gmd.de
Subject: Re: PDF from musixtex 
In-Reply-To: Your message of "Mon, 05 Feb 2001 17:32:08 +0100."
             <200102051632.RAA09450@sunick.gmd.de> 
Date: Mon, 05 Feb 2001 17:20:35 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> PS: How do I use pdftex with emTeX? What packages do I need?

either you wrestle the change files and so on from mattes, or you do a
new port (to the emtex directory layout) yourself.

emtex's been dead in the water for some time (its copy of the latex
dist hasn't been updated since 1998, and there was a period before
that when the only thing that ever changed was the latex dist).  a
pity -- it was a nice distribution (isn't it still the only one usable
on os/2?).
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Date: Mon, 5 Feb 2001 20:20:37 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
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> Date: Mon, 05 Feb 2001 17:56:21 +0100
> From: Christian Mondrup <scancm@biobase.dk>

[...]
> ghostview (gv) displays pdf files thus produced with the same (quite
> acceptable) screen rendering quality as dvipdfm produced files. But that
> is not the case with Acrobat Reader used by hosts of web users. [...]

So why should one make PDF-files if ghostview is needed to display them
better as Acrobat Reader; if there are plenty printers which understand
postscript and if there is no printer (AFAIK) which understands PDF?


Amused -- Werner

From mutex-owner@mail.gmd.de  Mon Feb  5 21:52:43 2001
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Date: Mon, 05 Feb 2001 12:28:19 -0800
From: Don Simons <dons@dslnorthwest.net>
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To: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>, mutex <mutex@gmd.de>
Subject: Re: PDF from musixtex
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Robin Fairbairns wrote:

> of course, you _can_ print it, often quite satisfactorily.  but with
> bitmapped fonts you might just as well have stuck with the original
> postscript -- you gain *nothing* significant by distilling.

For TeX'ies like us, maybe.  But in a larger context I would disagree. 
I think Acro Reader is a great deal more widely available than any
program that interprets postscript. I would not hesitate to put a .pdf
on a web site; In most cases I wouldn't think of putting a .ps there. 

--Don Simons
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Date: Mon, 05 Feb 2001 12:52:17 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi Werner

Werner Icking wrote:
> > ghostview (gv) displays pdf files thus produced with the same (quite
> > acceptable) screen rendering quality as dvipdfm produced files. But that
> > is not the case with Acrobat Reader used by hosts of web users. [...]
> 
> So why should one make PDF-files if ghostview is needed to display them
> better as Acrobat Reader; if there are plenty printers which understand
> postscript and if there is no printer (AFAIK) which understands PDF?

Because PEOPLE WANT THEM! Seriously, it's convenient to open a PDF
directly in a web browser, see if you need/like it and print
immediately. For non-hacker users it's a great adoption criterium.

Regards

Alexander
From mutex-owner@mail.gmd.de  Mon Feb  5 22:39:31 2001
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Date: Mon, 05 Feb 2001 22:04:00 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: Werner Icking <Werner.Icking@gmd.de>
CC: mutex@gmd.de
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Werner Icking wrote:
> 
> > Date: Mon, 05 Feb 2001 17:56:21 +0100
> > From: Christian Mondrup <scancm@biobase.dk>
> 
> [...]
> > ghostview (gv) displays pdf files thus produced with the same (quite
> > acceptable) screen rendering quality as dvipdfm produced files. But that
> > is not the case with Acrobat Reader used by hosts of web users. [...]
> 
> So why should one make PDF-files if ghostview is needed to display them
> better as Acrobat Reader; if there are plenty printers which understand
> postscript

Macintosh- and unix printers understand postscript - most Windows
printers don't.

> and if there is no printer (AFAIK) which understands PDF?
> 
> Amused -- Werner

no, but pdf viewers do communicate with a multitude of printer types. By
using dvipdfm for producing pdf files from MusiXTeX dvi you get pdf
files at a quality level making even Acrobat Reader users amused -
too:-)

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Feb  5 22:57:05 2001
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Date: Mon, 5 Feb 2001 22:19:35 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
To: scancm@biobase.dk
Cc: mutex@gmd.de
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> Date: Mon, 05 Feb 2001 22:04:00 +0100
> From: Christian Mondrup <scancm@biobase.dk>

> > So why should one make PDF-files if ghostview is needed to display them
> > better as Acrobat Reader; if there are plenty printers which understand
> > postscript
> 
> Macintosh- and unix printers understand postscript - most Windows
> printers don't.

Most printers can be attached to Windows. Some can be attached to Mac
or Unix, but that printers have not to be PS-Printers - there are
exceptions.

Most printers I can access from my MS-Windows PC in my office are
PS-printers. At home I've a non-PS laserprinter.

> > and if there is no printer (AFAIK) which understands PDF?
> > 
> > Amused -- Werner
> 
> no, but pdf viewers do communicate with a multitude of printer types. [...]

Same for my PS-Viewer :-)

-- Werner

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To: Werner Icking <Werner.Icking@gmd.de>
cc: mutex@gmd.de
Subject: Re: PDF from musixtex 
In-reply-to: Your message of Mon, 05 Feb 2001 17:32:08 +0100.
             <200102051632.RAA09450@sunick.gmd.de> 
Date: Mon, 05 Feb 2001 22:47:34 +0100
From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
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> When I compare sizes I compare compressed PDF-files with compressed PS-files.
> So I made some experiments. And the answer was: sometimes compressed PS-files
> are smaller than compressed PDF-files, sometimes compressed PDF-files are
> smaller than compressed PS-files.

That's a fair comparison for you who want to use as little
disc space as possible, however for people accessing
the GMD archive via a slow modem line and just click on 
the links from the overview of the scores, it takes some
5 times (or whatever) longer to download the PS file than
it would take with a PDF (+ the time to download GSView the
first time they access the archive). Of course, you could
download the compressed files if you go to the FTP
directory of each piece, but how many realize that.

   /Mats 
   (Happy user of the GMD archive with a fast internet connection)
 
From mutex-owner@mail.gmd.de  Mon Feb  5 23:37:30 2001
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex
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> Date: Mon, 05 Feb 2001 12:52:17 -0800
> From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>

> Werner Icking wrote:

> > So why should one make PDF-files if [...]

> Because PEOPLE WANT THEM! Seriously, it's convenient to open a PDF
> directly in a web browser, see if you need/like it and print
> immediately. For non-hacker users it's a great adoption criterium.

And "PEOPLE WANT" to send Word-Documents or HTML-Pages as E-Mail.
Do you like E-Mails with 1 MB size? That's what PEOPLE WANT.

People want to mouse click at a link to see the result. And there is
no difference if the result is displayed by Acrobat Reader, by
an Acrobat-plugin (which is available for only a few systems) or
by XView, GSView, GV or however the Postscript viewer is named.

I would prefer if people first had to click at a smaller amount
of data like I offer it with GIF-images of the scores. But maybe
that's out of discussion.

Sorry -- Werner

From mutex-owner@mail.gmd.de  Mon Feb  5 23:52:38 2001
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Date: Mon, 5 Feb 2001 23:25:34 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Re: PDF from musixtex 
To: mutex@gmd.de
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> Date: Mon, 05 Feb 2001 22:47:34 +0100
> From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
> 
> > When I compare sizes I compare compressed PDF-files with compressed PS-files.
> > So I made some experiments. And the answer was: sometimes compressed PS-files
> > are smaller than compressed PDF-files, sometimes compressed PDF-files are
> > smaller than compressed PS-files.
> 
> That's a fair comparison for you who want to use as little
> disc space as possible, [...]

When did you look the last time at the representation of my
archive?
 Because our new ftp-server doesn't support uncompression
 on the fly I have all PS-files stored twice, compressed *and*
 uncompressed. Nowadays where a 64 GB disk can be bought for
 under 500 DEM disk space doesn't count. The complete archive
 fits on an old fashion CD.

> however for people accessing
> the GMD archive via a slow modem line and just click on 
> the links from the overview of the scores,

but - as you write later - it's their fault or maybe the
fault of the WWW-community who didn't get a consensus about
compressed files. It's a pity that not all WWW-browsers are
able to correctly deal with compressed files.

> it takes some
> 5 times (or whatever) longer to download the PS file than
> it would take with a PDF 

the mileage varies and data transfers are often compressed
by the hardware. So the figure can be 5 times but normally
isn't nearer to one.

>(+ the time to download GSView the
> first time they access the archive). 

And Acrobat need not to be downloaded? It's of similar size
for download and bigger if installed and slower if run -
at least on my system, where I have complete Acrobat and
not only the Reader.

>Of course, you could
> download the compressed files if you go to the FTP
> directory of each piece, but how many realize that.

As I said earlier, I would be glad if all systems were
configured so that compressed files would be accepted
automagically. 

>    /Mats
>    (Happy user of the GMD archive with a fast internet connection)

Werner -- Happy supplier of the GMD archive with a very fast internet
          connection, but a momentarily slow WWW/FTP-Server :-)
          
PS: Maybe some day I'll stop offering ".ps.gz" for the sake of offering
    the much more proprietary format ".pdf".

From mutex-owner@mail.gmd.de  Tue Feb  6 07:04:43 2001
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Subject: Re: PDF from musixtex
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On Mon, 5 Feb 2001, Werner Icking wrote:
> [...]
> > ghostview (gv) displays pdf files thus produced with the same (quite
> > acceptable) screen rendering quality as dvipdfm produced files. But that
> > is not the case with Acrobat Reader used by hosts of web users. [...]
> So why should one make PDF-files if ghostview is needed to display them
> better as Acrobat Reader; if there are plenty printers which understand
> postscript and if there is no printer (AFAIK) which understands PDF?
> Amused -- Werner

Simple.  Most MS Windows and MacOS computers come with Acrobat Reader
which readily reads and print PDF files.  It is also well-integrated with
Netscape and Internet Explorer browsers, so PDF is becoming nearly as
ubiquitous as HTML files.  PDF also provides hyperlinks and forms,
which plain Postscript lack.  Most people in the Windows/MacOS world,
however, probably have never heard of Ghostview and friends.

I am not saying that PDF is better than PS or vice-versa; they serve
slightly different purposes.  Nonetheless, PDF has become quite an
important file format for document exchange on the Internet especially for
non-UNIX users, and that's why it may be advantageous to offer music
sheets as PDF files too.  Here is a shameless plug: on my outdated Resume
page at http://www.ualberta.ca/~foka/Resume.html ,  I used LaTeX2HTML to
generate HTML, TeX, DVI, PS and PDF versions of my resume.  This ensures
that just about anyone can read them.  :-)

Cheers,

Anthony

-- 
Anthony Fok Tung-Ling                Civil and Environmental Engineering
foka@ualberta.ca, foka@debian.org    University of Alberta, Canada
   Debian GNU/Linux Chinese Project -- http://www.debian.org/intl/zh/
Come visit Our Lady of Victory Camp -- http://www.olvc.ab.ca/
From mutex-owner@mail.gmd.de  Tue Feb  6 09:17:20 2001
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On Mon, Feb 05, 2001 at 11:25:34PM +0100, Werner Icking wrote:
> PS: Maybe some day I'll stop offering ".ps.gz" for the sake of offering
>     the much more proprietary format ".pdf".

Yes, offering .pdf is good, but don't kill the .ps.gz!  ;-)

And yes, fortunately, Ghostscript, XPDF, pdfTeX etc. are having better and
better PDF support, so hopefully that means PDF is becoming less and less
proprietary.  Well, I can always be overly optimistic.  :-)

Cheers,

Anthony

-- 
Anthony Fok Tung-Ling                Civil and Environmental Engineering
foka@ualberta.ca, foka@debian.org    University of Alberta, Canada
   Debian GNU/Linux Chinese Project -- http://www.debian.org/intl/zh/
Come visit Our Lady of Victory Camp -- http://www.olvc.ab.ca/

From mutex-owner@mail.gmd.de  Tue Feb  6 11:06:28 2001
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To: Werner Icking <Werner.Icking@gmd.de>
cc: mutex@gmd.de
Subject: Re: PDF from musixtex 
In-Reply-To: Your message of "Mon, 05 Feb 2001 23:25:34 +0100."
             <200102052225.XAA09898@sunick.gmd.de> 
Date: Tue, 06 Feb 2001 09:41:34 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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werner icking writes:

> > That's a fair comparison for you who want to use as little
> > disc space as possible, [...]
> 
> When did you look the last time at the representation of my
> archive?
>  Because our new ftp-server doesn't support uncompression
>  on the fly I have all PS-files stored twice, compressed *and*
>  uncompressed. Nowadays where a 64 GB disk can be bought for
>  under 500 DEM disk space doesn't count.

disc space _does_ count.  i spend a larger proportion of my time
backing up, and analysing future backup strategy, than anything else i
do, just now.

scratch space is more-or-less free, i agree, but i'm not sure i want
my ctan node to be mirroring from an archive that's accommodated on
scratch disc ;-)

>  The complete archive fits on an old fashion CD.

that _is_ small, i agree.

> PS: Maybe some day I'll stop offering ".ps.gz" for the sake of offering
>     the much more proprietary format ".pdf".

um, postscript is proprietary from the same stable as acrobat.  (and
the compression in acrobat is ... more or less ... gzip ;-)

robin
From mutex-owner@mail.gmd.de  Tue Feb  6 13:01:29 2001
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From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: [Admin] Email addresses with too many bounces
To: mutex@gmd.de
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Just after this mail has been distributed by the MuTeX list
I will remove following email addresses from the list because
they seem to be unreachable since a long time.

 zxmrd01@studserv.zdv.uni-tuebingen.de
 watto@geocities.com
 konami@miyagi-ct.ac.jp
 hendrix@dt.navy.mil
 mikesj3@feld.cvut.cz
 hdkarras@aol.com
 wojtekc@pap.waw.pl
 andy@lily.bu.ac.th
 
This email goes to the archives. So the owners of this
addresses may find there, that something went wrong.

-- Werner

From mutex-owner@mail.gmd.de  Tue Feb  6 21:45:15 2001
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PS is a language but PDF is a format : it's a great difference.

Who can write PDF ? afaik one must "translate" to pdf.

Texts and graphics directly written in PS are 100 times shorter then
PDF files.

René Bastian
From mutex-owner@mail.gmd.de  Thu Feb  8 11:22:41 2001
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Date: Thu, 8 Feb 2001 10:56:58 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: PS versus PDF
To: mutex@gmd.de
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> Date: Mon, 5 Feb 2001 23:25:34 +0100 (MET)
> From: Werner Icking <Werner.Icking@gmd.de>

On ...

> And Acrobat need not to be downloaded? It's of similar size
> for download and bigger if installed and slower if run -
> at least on my system, where I have complete Acrobat and
> not only the Reader.

... I received a private reply (Bcc-ed):

] What you're saying is true, but for printing in a printer that doesn't
] "speak" PS, the best option is Acrobat Reader, because (at least my version
] of it) GsView is slower, and requires a lot of disk space I don't have many
] times.

So I measured a little bit, completely not representative. I used three
files: 1 small page with music, 26 pages string quartet (23 pages with
music), 48 pages parts for this string quartet (33 pages with music).
I measured the size of the files and the time to print:

               .ps   %   .ps.gz   %   pdfwrite   %    acrobat   %  
trio1vl3    47.354 100   20.689  44     45.181  95     56.321 119
137sq      877.622 100  308.298  35    742.131  85    592.044  67
137sqp	 1.026.739 100  372.176  36  1.251.385 122    732.705  71

sum      1.951.715 100  701.163  36  2.038.697 104  1.381.070  71

Printing 137sqp.ps          using GSView 2.9/6.50    to a HP-Laserjet 4
 as FILE took about   53  seconds and produced  6.443.734  bytes of output
Printing 137sqp.acrobat.pdf using Acrobat Reader 4.0 to a HP-Laserjet 4
 as FILE took about  188  seconds and produced  6.291.902  bytes of output


My summary: concerning space there is not much difference between
PS (100%) and PDF (70%). If you do not have Acrobat and use 
ghostscript's pdfwrite then the sizes are similar. Best result is
gzip.compressed postscript (36%). Printing with Acrobat reader to
a file takes three times longer than with GSView/Ghostscript. Both
produce a similar number of bytes.

-- Werner

PS: if you are interested in the files you can get them from
    ftp://ftp.gmd.de/outgoing/icking/  for some days. The basic
    files are part of the Music archive.

From mutex-owner@mail.gmd.de  Thu Feb  8 11:27:55 2001
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Date: Thu, 8 Feb 2001 11:10:28 +0100 (MET)
From: Werner Icking <Werner.Icking@gmd.de>
Reply-To: Werner Icking <Werner.Icking@gmd.de>
Subject: Copyright in a special case (Frederic Rzewski)
To: gnu-music-discuss@gnu.org, mutex@gmd.de
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About 1996 I got somehow a bad single page copy of Frederic Rzewski's
f Frederic Rzewski's
"Les Mouton de Panurge". I typeset it just for fun, but didn't publish
it because of the uncertain copyright situation. Lateron in discussions
in rec.music.classical someone mentioned that Rzewski's music is free.
But the source wasn't enough authorative for me.

Some days ago I mentioned "Les Mouton de Panurge" in the German news 
group de.rec.klassik. One follow-up came from Alexis Rzewski:

<cite>
>From: Alexis Rzewski <arzewski@shiprps.com>
>Newsgroups: de.rec.music.klassik
>Subject: Re: Les Mouton des Panurge von Rzewski (was: Vorurteile ... moderner Musik)
>Date: Sun, 04 Feb 2001 21:39:36 GMT
>Message-ID: <95ki6o$f5t$1@nnrp1.deja.com>
>References: <fc.000f455501eb70033b9aca0081c878bb.1eb711d@magicvillage.de>

> Das erinnert mich ein bißchen an ein Stück von Frederic Rzewski "Les
> Moutons  des Panurge". Das Stück ist mir mal auf einem schon oft
> kopierten Zettel zugeflogen. Also vermutlich eine illegale Kopie.
> Deswegen kann ich auch meine "Reinschrift" wohl leider nicht verbreiten.
> Vermutlich täte ich sogar besser daran, diese gar nicht zu erwähnen :-(

frederic rzewski read this post and had this to say: "Les Moutons de
Pasnurge is published by Zen-On in Japan, but in general all of my music
can be copied freely by anybody who wants, on condition that they make
it available to anyone else who wants it.  This is more or less the
"copyleft" system. If you're interested, you can reach me by e-mail at:
frzewski@compuserve.com"
</cite>

  http://www.gmd.de/Misc/Music/scores/Instr.html#rzewski

Good to know -- Werner

PS: Please reply to mutex@gmd.de only, if you are a member of the list. Other
    replies will bounce. This is done as SPAM prevention.

From mutex-owner@mail.gmd.de  Fri Feb  9 14:47:27 2001
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: "Mutex@Gmd. De" <mutex@gmd.de>
Subject: plead for help (non-mutex)
Date: Fri, 9 Feb 2001 14:26:48 +0100
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Can somebody please mail me off-list to answer a question or two about
unzipping .gz files using Winzip or other methods (eg, gzip.exe) under
Windows? I found lots of information online, but none of it seems to
correspond to what happens on my computer (grumble).

Mike "I love to hate Windows" Chapman

From mutex-owner@mail.gmd.de  Sun Feb 11 00:20:12 2001
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Date: Sat, 10 Feb 2001 23:53:13 +0000
From: Almut Knieriem <ak@knieriem.in-berlin.de>
To: mutex@gmd.de
Subject: documentation
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Hello,
My question:
Is there any documentation about musiXTeX in german?
Is anybody interested in writing or is there any project?
Almut K.
-- 
Almut Knieriem:
ak@knieriem.in-berlin.de

From mutex-owner@mail.gmd.de  Sun Feb 11 02:47:53 2001
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To: Almut Knieriem <ak@knieriem.in-berlin.de>
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Almut Knieriem wrote:
> 
> Hello,
> My question:
> Is there any documentation about musiXTeX in german?

 I do not know about it. However, although I'm French, I preferred to
write musixdoc.tex directly in english for the sake of unicity of the
reference document.

 However, as I sometimes did in footnotes, I think the best should be to
append to it a multilingual dictionary of musical technical terms.

> Is anybody interested in writing or is there any project?
> Almut K.
> --
> Almut Knieriem:
> ak@knieriem.in-berlin.de

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
Cedex
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
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From: "Michel Caprace" <michel.caprace@advalvas.be>
To: "Mutex List" <mutex@gmd.de>
Subject: staffnumbers
Date: Sun, 11 Feb 2001 10:48:56 +0100
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C'est un message de format MIME en plusieurs parties.

------=_NextPart_000_0009_01C09418.3B7DCCC0
Content-Type: text/plain;
	charset="iso-8859-1"
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Can somebody tell me how to write a barnumber on each staff only at the =
beginning of each system ?

It is supposed to be \staffnumbers following Daniel Taupin's =
documentation, but I do not know how to define it.

Michel Caprace

------=_NextPart_000_0009_01C09418.3B7DCCC0
Content-Type: text/html;
	charset="iso-8859-1"
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4134.100" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Can somebody tell me how to write a =
barnumber on=20
each staff only at the beginning of each system ?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>It is supposed to be \staffnumbers =
following Daniel=20
Taupin's documentation, but I do not know how to define it.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Michel =
Caprace</FONT></DIV></BODY></HTML>

------=_NextPart_000_0009_01C09418.3B7DCCC0--

From mutex-owner@mail.gmd.de  Sun Feb 11 12:42:47 2001
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taupin wrote:

> Almut Knieriem wrote:
> >
> > Hello,
> > My question:
> > Is there any documentation about musiXTeX in german?
>
>  I do not know about it. However, although I'm French, I preferred to
> write musixdoc.tex directly in english for the sake of unicity of the
> reference document.
>
>  However, as I sometimes did in footnotes, I think the best should be to
> append to it a multilingual dictionary of musical technical terms.
>

Allow me to draw your attention to such a beast allready available from the
GMD archive as  ftp://ftp.gmd.de/music/lists/glossary/glossary.ps

--
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark, Phone +45 89 49 53 01


From mutex-owner@mail.gmd.de  Mon Feb 12 08:36:41 2001
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From: Arjen Bax <arjen.bax@cmg.nl>
To: mutex <mutex@gmd.de>
Subject: x-tuplet with unequal notes
Date: Mon, 12 Feb 2001 08:19:17 +0100
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Aloha MusixTeX wizards,

Typesetting the "Missa Brevis" of Henk Badings using M-Tx I encountered
the following problem:

There are some triolets in which the first note is dotted and the second
is halved. How do I do this in M-Tx? According to the PMX-manual all
notes/rests in an xtuplet must be of the same length :-( .

I tried [ f4x3.f f ] but this generates a syntax error in M-Tx. It should
look like [ f8.f f ], but but fitting in two eigths instead of three,
with a "3" above the beam. I might fake it using this construction and a
blind meter change, but how do I place the "3"?

Also, a similar problem, there are some triolets with only two notes in
it: the first being twice as long as the second, like g4 g8, but with a
triolet sign above (or below). Any help or ideas greatly appreciated!

Thanks in advance,

Arjen Bax
-- 
CMG Noord-Nederland B.V.
Sector Telecommunications & Utilities
Postbus 70237, 9704 AE  Groningen
Tel. (050)52 19 500, Fax (050)52 19 504
<http://www.cmg.nl> <http://www.cmg.com>

Adding manpower to a late software project makes it later.
From mutex-owner@mail.gmd.de  Mon Feb 12 10:12:57 2001
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Arjen Bax wrote:
> 
> Aloha MusixTeX wizards,
> 
> Typesetting the "Missa Brevis" of Henk Badings using M-Tx I encountered
> the following problem:
> 
> There are some triolets in which the first note is dotted and the second
> is halved. How do I do this in M-Tx? According to the PMX-manual all
> notes/rests in an xtuplet must be of the same length :-( .
> 
> I tried [ f4x3.f f ] but this generates a syntax error in M-Tx. It should
> look like [ f8.f f ], but but fitting in two eigths instead of three,
> with a "3" above the beam. I might fake it using this construction and a
> blind meter change, but how do I place the "3"?
> 
> Also, a similar problem, there are some triolets with only two notes in
> it: the first being twice as long as the second, like g4 g8, but with a
> triolet sign above (or below). Any help or ideas greatly appreciated!
> 
> Thanks in advance,
> 

Tuplets with unequal notes *can* be done within M-Tx/pmx by means of
in-line MusiXTeX allthough it is not that easy. For an example see my
typesetting of a 5 part round 'Vt, re, me, fa, sol, la' by Thomas
Ravenscroft
ftp://ftp.gmd.de/music/scores/ravenscroft/pammelia/utremi.ps, source in
ftp://ftp.gmd.de/music/scores/ravenscroft/pammelia/utremi.zip
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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To: mutex <mutex@gmd.de>
Subject: Re: x-tuplet with unequal notes
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The next official release of PMX, version 2.3, will support xtuplets
with with any number of notes doubled in time value.  I'm not sure what
you mean by "first note is dotted and the second is halved." There will
also be the ability to change the appearance (but not the time values or
placement) by adding a dot to the longer note.  A trial version of
source and DOS/Windows binary is available at
http://www.dslnorthwest.net/~dons/musixtex/pmx2297.zip.  To double the
value of an xtuplet note, add "D" to the command for that note.  To make
the doubled note dotted, use "F" instead of "D".

--Don Simons

Arjen Bax wrote:
> 
> Aloha MusixTeX wizards,
> 
> Typesetting the "Missa Brevis" of Henk Badings using M-Tx I encountered
> the following problem:
> 
> There are some triolets in which the first note is dotted and the second
> is halved. How do I do this in M-Tx? According to the PMX-manual all
> notes/rests in an xtuplet must be of the same length :-( .
> 
> I tried [ f4x3.f f ] but this generates a syntax error in M-Tx. It should
> look like [ f8.f f ], but but fitting in two eigths instead of three,
> with a "3" above the beam. I might fake it using this construction and a
> blind meter change, but how do I place the "3"?
> 
> Also, a similar problem, there are some triolets with only two notes in
> it: the first being twice as long as the second, like g4 g8, but with a
> triolet sign above (or below). Any help or ideas greatly appreciated!
> 
> Thanks in advance,
> 
> Arjen Bax
> --
> CMG Noord-Nederland B.V.
> Sector Telecommunications & Utilities
> Postbus 70237, 9704 AE  Groningen
> Tel. (050)52 19 500, Fax (050)52 19 504
> <http://www.cmg.nl> <http://www.cmg.com>
> 
> Adding manpower to a late software project makes it later.
From mutex-owner@mail.gmd.de  Mon Feb 12 23:31:22 2001
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Date: Mon, 12 Feb 2001 13:27:43 -0800
From: Don Simons <dons@dslnorthwest.net>
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Arjen Bax wrote:
> 
> There are some triolets in which the first note is dotted and the second
> is halved. How do I do this in M-Tx? 

OK, I did figure out what you wanted. (I should have read a few lines
farther).

The new PMX can do this, albeit rather painfully.  An example PMX input
file is appended. Here are the problems:
1. You need to insert negative space to compress the horizontal spacing
since the xtup occupies 2 counts rather than one.
2. The macro \newxnum#1#2 causes the next xtup to have printed number
#1, and it moves the printed number #2 notehead widths to the right.
3. You'll have to play with the meters, using blind meter changes, to
get this into your score.  I suppose you would have to add 1 count to
the bar for each such alteration.

--Don Simons

=============================================
1 1 4 4 4 4 0 0
1 1 20 0

t
./
\\def\newxnum#1#2{\let\xnumt\xnum\
\\def\xnum##1##2##3{\roffset{#2}{\
\\xnumt{##1}{##2}{#1}}\
\\let\xnum\xnumt}}\
c24x4F d e      a /
c24x4F d e      a /
\newxnum3{-1}\ c24x4F X-1 d X-.5 e      a /
c24x4F d e      a /
c24x4F d e      a /
c24x4F d e      a /
From mutex-owner@mail.gmd.de  Tue Feb 13 11:36:36 2001
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Date: Tue, 13 Feb 2001 09:27:46 +0100
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Michel Caprace <michel.caprace@advalvas.be>
CC: Mutex List <mutex@gmd.de>
Subject: Re: staffnumbers
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> Michel Caprace wrote:
> 
> Can somebody tell me how to write a barnumber on each staff only at
> the beginning of each system ?
> 
> It is supposed to be \staffnumbers following Daniel Taupin's
> documentation, but I do not know how to define it.

IMHO it is a misunderstanding that musixtex.tex already contains a
function doing the desired thing. Since outputting the bar number at the
system beginning is hard-coded in the \writ@staffs macro and this macro
does not contain any "user exit" for hooking in something like that,
you'll have to hack a \writ@staffs extension. The following draft works
for me (setting the bar number only on the topmost staff of multi-staff
instruments):

8<---------------------------------------------
\makeatletter
 % for switching on instrument-wise bar numbering 
 \def\staffnumbers{\nobarnumbers\let\lin@bar\tw@}

 % the \writ@staffs hack
 \let\writ@staffs@rig\writ@staffs
 \def\writ@staffs{%
   \writ@staffs@rig
   \n@loop
    \ifx\lin@bar\tw@
     \Comp@High
     \raise\altitude\hbox{%
       \raise\y@v\hbox{%
	 \raise\raisebarno\rlap{\kern\shiftbarno\writebarno}}}%
    \fi
   \repeat}
\makeatother

% some customizing like this will be necessary
% to avoid collisions of bar numbers and clefs
\def\writebarno{\tenit\the\barno\barnoadd}
\def\raisebarno{3\internote}
\def\shiftbarno{5mm}

% do it
\staffnumbers
8<---------------------------------------------

Best regards,

Rainer
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Date: Tue, 13 Feb 2001 10:57:55 +0100 (MET)
From: Joerg Anders <j.anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Werner Icking +
Message-ID: <Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.tu-chemnitz.de>
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I have the unfortunate duty of informing the MusiXTeX mailing
list that Werner Icking died on the night of February the 8th in
a bicycle accident as he drove home from his workplace.

The details, as far as they are known, are on (in German):

http://www.general-anzeiger-bonn.de/news/artikel.php?id=7761

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On Tue, 13 Feb 2001 10:57:55 +0100 (MET), Joerg Anders
<j.anders@Informatik.TU-Chemnitz.DE> wrote:

>
>I have the unfortunate duty of informing the MusiXTeX mailing
>list that Werner Icking died on the night of February the 8th in
>a bicycle accident as he drove home from his workplace.
>

This is truly dreadful news. I'm sure we all valued Werner as an
endless source of MusiXTeX advice on this list. For my own part, I
don't know what I'd have done without his help on the numerous
occasions that I couldn't solve a problem on my own. And his messages
were always spiced with a wonderfully dry sense of humour that made
them entertaining as well as edifying to read...

He will be sorely, sadly missed. My heart goes out to his family.

Eva

--
"Bach ist der Vater, wir sind die Buben. Wer von uns 
was Rechtes kann, hat's von ihm gelernt." 
            -- W.A.Mozart
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Date: Wed, 14 Feb 2001 02:01:22 +1030
From: Alan Kennington <akenning@dog.topology.org>
To: mutex@gmd.de
Cc: Alan Kennington  <akenning@dog.topology.org>
Subject: Re: Werner Icking +
Message-ID: <20010214020122.A23866@dog.topology.org>
Reply-To: Alan Kennington  <akenning@dog.topology.org>
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On Tue, Feb 13, 2001 at 03:28:15PM +0100, evita.j@magnet.at wrote:
> On Tue, 13 Feb 2001 10:57:55 +0100 (MET), Joerg Anders
> <j.anders@Informatik.TU-Chemnitz.DE> wrote:
> 
> >
> >I have the unfortunate duty of informing the MusiXTeX mailing
> >list that Werner Icking died on the night of February the 8th in
> >a bicycle accident as he drove home from his workplace.
> >
> 
[....]
> 
> He will be sorely, sadly missed. My heart goes out to his family.
> 
> Eva


It is perhaps particularly sad and shocking because we think of
people who write free and open software as being always
young people who have many decades of healthy life ahead of them.
I was amazed to learn that he was already 57 years old.

A few years ago, I used to live in Bonn, and I walked through
country lanes in the forest which looked just like in the
newspaper photo. I can imagine being there.

For people who speak German even less well than me, here
is my translation of the news article.
My apologies for any errors.

--------------------------------------------------------

Puzzle about the dead man in Pleiser Wood cleared up.
----------------------------------------------------

The death of the 57-year-old in St. Augustin puzzled the Kripo
(Criminal Police) at first.
The cyclist collided with an animal and was fatally injured.

Sankt [Saint] Augustin.
A dead cyclist posed a puzzle to the police on Friday morning.
The police found the 57 year old Sankt Augustin man on the street
called ``Viehtrift'' [cattle pasture] near Castle Birlinghoven.

The personal things of the dead man lay widely scattered.
Photo: Holger Arndt.

The location of the tracks was at first unclear to the officers 
because the dead man's personal things lay at a distance of more 
than 200 metres from where he was found.

According to the police, an analysis of the tracks permits the
conclusion that the cyclist fell heavily on the sloping road
through Pleiser Wood. Consquently, the wounded man would have
dragged himself a further 200 metres on to where he died. The
investigators found the hair of a pig or swine [literally ``a
bristle-animal''] on the asphalt. Apparently the man collided with
the animal while he was on the way home after working late at the
GMD. His wife had alerted the [Sankt] Augustin police at about
7:15 because her husband had not come home. Police searched the
man's route home and found him dead.
--------------------------------------------------------

Cheers,
Alan Kennington.

--------------------------------------------------------------------
    name: Dr. Alan Kennington
  e-mail: akenning@dog.topology.org
 website: http://topology.org/
    city: Adelaide, South Australia
  coords: 34.88051 S, 138.59334 E
timezone: UTC+1030 http://topology.org/timezone.html
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evita.j@magnet.at wrote:
> 
> On Tue, 13 Feb 2001 10:57:55 +0100 (MET), Joerg Anders
> <j.anders@Informatik.TU-Chemnitz.DE> wrote:
> 
> >
> >I have the unfortunate duty of informing the MusiXTeX mailing
> >list that Werner Icking died on the night of February the 8th in
> >a bicycle accident as he drove home from his workplace.
> >
> 
> This is truly dreadful news. I'm sure we all valued Werner as an
> endless source of MusiXTeX advice on this list. For my own part, I
> don't know what I'd have done without his help on the numerous
> occasions that I couldn't solve a problem on my own. And his messages
> were always spiced with a wonderfully dry sense of humour that made
> them entertaining as well as edifying to read...
> 
> He will be sorely, sadly missed. My heart goes out to his family.
> 
> Eva
> 

Also to me Werner was a person who always generously offered his help
with music typesetting. Even if we never met personally our in-between
daily email contact evolved to a friendship that has now been so
brutally interrupted. All honour to his memory.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Feb 13 18:45:13 2001
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From: "Andre Van Ryckeghem" <avr@pandora.be>
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Date: Tue, 13 Feb 2001 10:47:07 +0100
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 I can not believe it.
 
 Werner, although i have never seen you, you are my very best
 friend. You learned me how to write music in pmx. You were very
 patient in accepting corrected versions, and you corrected
 yourself a lot of music lines. You patched a lot of pmx lines in
 musixtex so that my music appeared as it should.
 
 Sometimes, you were very enthusiastic about a piece, the last one
 were the canons that you have put in a booklet and added a lot of
 songs.
 
 It will be difficult to go on without you.
 
 Andre
 
 I am grateful to have know you.


From mutex-owner@mail.gmd.de  Tue Feb 13 18:52:26 2001
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Let me say that this is dreadful. We had done so much work together...

Joerg Anders wrote:

> I have the unfortunate duty of informing the MusiXTeX mailing
> list that Werner Icking died on the night of February the 8th in
> a bicycle accident as he drove home from his workplace.
>
> The details, as far as they are known, are on (in German):
>
> http://www.general-anzeiger-bonn.de/news/artikel.php?id=7761

--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail.gmd.de  Tue Feb 13 19:10:08 2001
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From: Joerg Anders <j.anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Werner's address
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A lot of the mutex list members wrote me to express their
teariness. Please let me explain: Werner helped me a lot
implementing the MusiXTeX export in "noteedit". I think
I had never successfully finished this work without his help.

But - as many of us - I've never seen Werner Icking. And the
GMD, his workplace, is far away from Chemnitz. But what
is "far away" in Internet?

The sad message came first on the mailing list of the
ADFC (bicycle club of Germany) where Werner was an active member.
And Chemnitz is the first crossroads between the ADFC list
and the Mutex list because a colleague of mine, Ralph Sontag
is an active ADFC member, too. And Werner was his friend. And as you can
imagine he is very sad. So he asked me to inform the
mutex list.

Some people wanted to know his address. Althougth I'm not
quite sure whether this is correct I'll post it. So everyone
can decide for his/her own how to use it:

    Werner Icking, D-53721 Siegburg, Farnweg 28

And before asking me whether it is possible to write
a letter in English. I would say: "Yes, it is!"

J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)



From mutex-owner@mail.gmd.de  Tue Feb 13 19:22:57 2001
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Date: Tue, 13 Feb 2001 09:17:48 -0800
From: Don Simons <dons@dslnorthwest.net>
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Werner was truly a friend.  If it had not been for his generous support
and encouragement, you would not have PMX to help tame the MusiXTeX
beast.  From the very beginning he gently prodded me to make it better
and better.  He patiently tested every incremental release on all of his
hundreds of sources.  I'm still mystified how he could have detected
some of the bugs and incompatibilites.  And he had an uncanny ability to
expose bugs that depended on 3- or 4-way interactions before coming to
light.

I had the pleasure of meeting him in person when he and his wife visited
the US several years ago, and stayed at my house for several days.  He
had not brought his violin with him, so we never got to play together
any of Bach's violin pieces he loved so much.  But at one point he sat
down at one of my harpsichords and before I knew it, we were jamming
away on 2 harpsichords on some swing tunes.  He asked me many times when
I would be coming to Germany.  If ever there was a lesson in why not to
procrastinate, this is it.   

Rest in peace, my friend.

--Don Simons
From mutex-owner@mail.gmd.de  Tue Feb 13 19:57:34 2001
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Date: Tue, 13 Feb 2001 10:20:59 -0800
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Andre Van Ryckeghem wrote:
> 
>  I can not believe it.
> 
>  Werner, although i have never seen you, you are my very best
>  friend. You learned me how to write music in pmx. 
>  It will be difficult to go on without you.

Same here.

All honour to his memory.

Alexander
From mutex-owner@mail.gmd.de  Tue Feb 13 20:52:18 2001
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From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex@gmd.de
Subject: Re: Werner Icking +
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> Werner Icking died on the night of February the 8th

I don't hesitate to admit that I have tears in my eyes while reading
those sad, dreadful news.

My thoughts are with his family.


-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Tue Feb 13 21:07:34 2001
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> Puzzle about the dead man in Pleiser Wood cleared up.
> ----------------------------------------------------
> The investigators found the hair of a pig or swine [literally ``a
> bristle-animal''] on the asphalt. Apparently the man collided with
> the animal

This seems to be untrue. For what I know now Werner had a heart
attack and then fell off his bike.

Either way it is tragic.


-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Tue Feb 13 23:19:18 2001
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>I have the unfortunate duty of informing the MusiXTeX mailing
>list that Werner Icking died on the night of February the 8th in
>a bicycle accident as he drove home from his workplace.

Oh, this is terrible, I'm very sorry to hear this notice. That was the day
of his last message to the list.
What will happen with mutex list and the GMD archives?

We will miss him

David



From mutex-owner@mail.gmd.de  Wed Feb 14 03:17:32 2001
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Joerg Anders wrote...

>
> I have the unfortunate duty of informing the MusiXTeX mailing
> list ...

I was shocked!

I had launched the usual download of e-mail in the morning,
  One of this..., a few of that, all hidden behind the download progress
window.
Then a quick check of the subjects, nothing (perhaps) too compelling to halt
the rush to work.
Ah... Mail from Mutex, so familair - "mutex@GMD.DE",
  and the so very familiar and friendly name "Werner Icking" appearing in
the list.

I quickly checked a few other messages,
  uneasy now, having noticed that Werner's name was in the Subject column.
   Strange... Finally I could hesitate no longer...

The rush to work didn't matter any more!

Shock soon gave way to sorrow as a flash of realization passed over me.
  How much we have lost!

I stared at the German-language Web page, hopelessly trying to find out what
it said,
  Looking for clues about this tragedy, hoping that not seeing "Icking" in
the text
   might mean that this was about something else, someone else,
    maybe just a misunderstanding.
(Werner always had the extra task of translating my English messages,
  and none of them written very well, even in English, before he had to
translate them.)
  ... One of the Web Robots provided a rough translation of the words.
  What awful things!  The ordering of words on the page, so awkward to my
English ears,
    yet so efficient in thought, and wonderfully German, on this day only
heightened
     the tragic news, and further tempted me to hope that this might not be
real after all!

I finally recovered a stark sense of 'the immediate' and returned to face my
resonsibilities.
Undoubtedly, Werner had stayed late that night (I pondered) to do something
for someone,
  to provide some "hilft" to an anxious inquisitor, making it possible for
someone else
   to go a little farther, faster, better, at whatever might have been the
obstacle.

I walked into my West Michigan office, lost in distant thoughts.
  Germany seemed to have been right next door.
  GMD might have been across the street.
  In a way, it really was...

Coworkers met and we started the duties of the day.
  I felt strangely confined and very much isolated.
  I would catch myself (but stop), wanting to ask one of these,
    "Did you hear the awful news about Werner?"
     only cut short, reminded that they could not know.
     And I wondered, what does it mean when someone I have never met
     passes away, and I am so deeply touched... and cannot express it.

I ventured an expression to a few I know well, but the "prelude" necessary
to
   situate their minds toward my grevious message left them polite, and
sympathetic,
    but no less distant from this great loss.  And they were no less honest
     for having listened and sympathized, under the circumstances.

Werner sent the first reply to my first message to the Mutex List, back in
1996.  And he was right... I needed to find the line with the extra space at
the end.  I wonder how many times he has patiently answered that question
for all of us.  A few years later I had the real pleasure of working with
him by E-Mail to find something in the c code of musixflx that really caused
him problems.  And he made it such a fascinating, international adventure.
His expressions of appreciation were a magical fuel to my creative fires,
and the humor and personality he confided made us virtually acquainted.
Only later did I realize that it was that same "bug" that had caused me to
write to the List the very first time, and so it was that much more
satisfying.  However, working with Werner was more than just solving
problems in a bit of c code, or improving one or another of the MusixTex
macros.  It was about having a friend and helper in a far away place, but
who lived (for all practical purposes) right in my living room, always ready
for the next problem, and not letting me quit with the problem only half
solved!  It HAD to be fixed right, because Werner needed it - it was one way
to give back some of the "hilft."

I am the only one in my household who communciates with the Mailing List.
Yet, my family knows of "Werner Icking."  My wife immediately shared the
shock and sorrow at hearing of his death.  She knew that he was my "friend,"
and that this was a time to stop, and be truly saddened.

I wondered as I drove home, "What does a mere Internet Mailing List do when
a true patriarch dies?  How does one interact in sharing this grieving with
'E-mail People'?"

As this evening's message list was accessed from the server, again hidden
behind the "Download Dialog," yet counting rapidly up and up, I knew this
could only be due to the outpouring of sympathy and condolances that only
real people all across the world could express.  And in that respect, our
small "list community" has become most real in mind and heart, if not in
physical proximity!  You all, who have made expression, are also 'right
here' in my home.

I had always hoped to meet Werner.  I imagined that I might some day be
traveling in Germany, and happen to find GMD, to 'stop by' and warmly greet
this friend.  Don said that one should not procrastinate in these things.
Would that I could be in California tomorrow!  It is for us who remain to
reflect and benefit as much as possible from these things.

I will miss Werner's wonderful solutions to hard problems, the encouragement
to try harder, and do a better job, to not falter because of the details,
and I will remember the model of patience and kindness that he set for us in
our various activities on the list.  He could close with, "hope this hilft"
and I would realize - "Yes! That is it, ... Of course."

I am sure that our loss on the Mutex List is just a small part of the
tremendous loss felt by his wife, family and co-workers at GMD.  My heart
goes out to them.  I am thankful for having had the opportunity to have
shared a small part of this man's life.  Thank you, Joerg, for making this
sad thing known to us.

Joel Hunsberger

P.S.

For those who have never 'seen' Werner Icking, at one time I discovered two
pictures that he provided of himself on the Web...

Then and more recent:  http://wsv.gmd.de/persons/icking/


From mutex-owner@mail.gmd.de  Wed Feb 14 09:03:47 2001
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
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Subject: AW: Werner Icking +
Date: Wed, 14 Feb 2001 08:44:46 +0100
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I too am shocked and saddened by the news of Werner's death. I only joined
the list this summer, and already he has unselfishly helped me solve many
problems off the list, extending his open and friendly character.

The loss of your warmth is felt and mourned, friend. Perhaps now though you
are distracted by things far more wondrous. May we meet again.

Grace and peace to you,
Mike

From mutex-owner@mail.gmd.de  Wed Feb 14 09:36:16 2001
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Date: Wed, 14 Feb 2001 09:05:46 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: Werner Icking +
In-Reply-To: <Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.
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At 10.57 13/02/01 +0100, you wrote:
>
>I have the unfortunate duty of informing the MusiXTeX mailing
>list that Werner Icking died on the night of February the 8th in
>a bicycle accident as he drove home from his workplace.
>

The news of the sudden death of Werner pains me deeply even if I never met
him in person. I don't know anything of his life but musical interests. But
from the little field of the music we can see his personality. He was
generous, intelligent, a passionate music lover: a very nice person. His
musical editions are great models not only of typesetting music, but also
to think music. His musical archive is the best of the net. With my little
knowledge of TeX, I would never be a MusiXTeX user without his help.
I hope that his inheritance (the Archive, this mailing-list, his music) not
be lost.
My tears for you, Werner. We miss you!

From mutex-owner@mail.gmd.de  Wed Feb 14 10:08:35 2001
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To: mutex@gmd.de
Subject: Werner Icking
Date: Wed, 14 Feb 2001 09:39:45 +0100
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------_=_NextPart_001_01C09661.AEE521E0
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Dear friends,

from many of your messages I cna read that you've never seen Werner, only 
read his helpful emails about whatever had to do with mtx, pmx, musixtex,
...

I was lucky to meet him while I was a student working at the GMD more than
10 years ago. He spent quite some time with me helping me through 
my first version of my small songbook which grew over time up to 200 pages.

I am very, very greatful for all his help, his patience and all the time he
was willing
to spend with me whenever I came to his office with 'a new problem in ...'
which
usually turned out to be 'my' problem in understanding the different
programms.

For those of you who have no idea how Werner looks like:
	http://wsv.gmd.de/persons/icking/

(You can click on the pictures to enlarge them)

The right picture looks strange to me (I don't remember him wearing glasses
a beard 
and long hair) The left one is pretty familiar to me.

I don't know what to say so let's simply stop here.

Andreas

------_=_NextPart_001_01C09661.AEE521E0
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
<HTML>
<HEAD>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3Diso-8859-1">
<META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version =
5.5.2652.35">
<TITLE>Werner Icking</TITLE>
</HEAD>
<BODY>

<P><FONT SIZE=3D2 FACE=3D"Arial">Dear friends,</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">from many of your messages I cna read =
that you've never seen Werner, only </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">read his helpful emails about =
whatever had to do with mtx, pmx, musixtex, ...</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">I was lucky to meet him while I was a =
student working at the GMD more than</FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">10 years ago. He spent quite some =
time with me helping me through </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">my first version of my small songbook =
which grew over time up to 200 pages.</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">I am very, very greatful for all his =
help, his patience and all the time he was willing</FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">to spend with me whenever I came to =
his office with 'a new problem in ...' which</FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">usually turned out to be 'my' problem =
in understanding the different programms.</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">For those of you who have no idea how =
Werner looks like:</FONT>
<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <FONT SIZE=3D2 =
FACE=3D"Arial"><A HREF=3D"http://wsv.gmd.de/persons/icking/" =
TARGET=3D"_blank">http://wsv.gmd.de/persons/icking/</A></FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">(You can click on the pictures to =
enlarge them)</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">The right picture looks strange to me =
(I don't remember him wearing glasses a beard </FONT>
<BR><FONT SIZE=3D2 FACE=3D"Arial">and long hair) The left one is pretty =
familiar to me.</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">I don't know what to say so let's =
simply stop here.</FONT>
</P>

<P><FONT SIZE=3D2 FACE=3D"Arial">Andreas</FONT>
</P>

</BODY>
</HTML>
------_=_NextPart_001_01C09661.AEE521E0--
From mutex-owner@mail.gmd.de  Wed Feb 14 10:24:54 2001
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Date: Wed, 14 Feb 2001 10:01:12 +0100
From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: mutex@gmd.de
Subject: Re: Werner Icking +
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>
>I have the unfortunate duty of informing the MusiXTeX mailing
>list that Werner Icking died on the night of February the 8th in
>a bicycle accident as he drove home from his workplace.
>
> 

I'm also very sad to hear of Werner Ickings deathly accident.
He was also an active member in the german bikers club (ADFC)
and I found this URL in the bikers newsgroup:

http://www.general-anzeiger-bonn.de/news/artikel.php?id=7761

My thoughts and condolence are with his familiy.

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
From mutex-owner@mail.gmd.de  Wed Feb 14 11:52:44 2001
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Date: Wed, 14 Feb 2001 12:24:16 +0200
From: Dirk Laurie <dpl@maties.sun.ac.za>
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Subject: Re: Werner Icking +
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Werner Icking, the person, shone through warmly and sometimes with
a touch of humour through his many postings on otherwise technical
matters.  One had the feeling of knowing him as a friend without
ever having seen him.  

Werner Icking, the multi-faceted musician, computer scientist,
typesetter, archivist etc, is irreplaceable.  That particular mixture
of talent and dedication is not often encountered.  All of us, at one
stage or another, achieved more than we would have done, because of
Werner's unselfish assistance.

We owe it to his memory to keep Werner's work alive, spreading over
many of us what he could do all by himself, as well as we can.

Dirk Laurie
From mutex-owner@mail.gmd.de  Wed Feb 14 12:19:11 2001
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To: mutex@gmd.de
Subject: Re: Werner Icking + 
In-Reply-To: Your message of "Tue, 13 Feb 2001 20:53:48 EST."
             <001a01c09629$03af0080$2bb85e3f@default> 
Date: Wed, 14 Feb 2001 10:37:06 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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joel hunsberger wrote movingly of the shock he experienced, reading
the sad news.  i too went through a whole day bursting to talk to
someone about it ... and couldn't until i got home.

cycling home, through the cambridge woods, he was filling my thoughts.

i finally did manage to talk about him, to my partner: she's a music
teacher (sibelius user), and was able to understand.

what no-one seems to have mentioned is that werner was part of the
very inception of musixtex.  as i understand it, andreas egler had
support from both werner and daniel taupin in developing the original
version; unfortunately, andreas later fell out with both of them, but
we're all using developments of that original work.

> For those who have never 'seen' Werner Icking, at one time I discovered two
> pictures that he provided of himself on the Web...
> 
> Then and more recent:  http://wsv.gmd.de/persons/icking/

he kept his beard tidier than i do mine, too...

robin
From mutex-owner@mail.gmd.de  Wed Feb 14 12:20:08 2001
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From: "Wolfgang Strobl" <Wolfgang.Strobl@gmd.de>
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Subject: Re: Werner's address
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Am 13 Feb 2001, um 18:35 hat Joerg Anders geschrieben:

> The sad message came first on the mailing list of the
> ADFC (bicycle club of Germany) where Werner was an active member.
> And Chemnitz is the first crossroads between the ADFC list
> and the Mutex list because a colleague of mine, Ralph Sontag
> is an active ADFC member, too. And Werner was his friend. And as you can
> imagine he is very sad. So he asked me to inform the
> mutex list.

Sorry about the delay in contacting the Mutex community in person. I 
added myself to this list as late as yesterday. I was and I am still 
shocked by the sudden death of my long time colleague and friend 
Werner, and so hoped than some of our friends who are on both lists 
would take over the duty of telling the sad news. What they did.   

I talked to Werners Wife yesterday, and informed her about the 
sympathy we've been told about already by many people around my 
country and around the world, who already had read about Werners 
death through various channels. 

At some time after the funeral I'll collect and print some or all of those 
mails somehow directed to the family, and hand it out to Werners wife 
and daughters.  

But feel free to write a personal letter on paper, if you like.

> 
> Some people wanted to know his address. Althougth I'm not
> quite sure whether this is correct I'll post it. So everyone
> can decide for his/her own how to use it:
> 
>     Werner Icking, D-53721 Siegburg, Farnweg 28
> 
> And before asking me whether it is possible to write
> a letter in English. I would say: "Yes, it is!"

Definitely.

I have been asked in private mail about the when and where of the 
funeral.  

From the obituary notice:

"...
53721 Siegburg, Farnweg 28

Die Exequien werden am Freitag, dem 16. Februar 2001, um 9.00 
Uhr in der Pfarrkirche Sankt Anno in Siegburg gehalten. Die 
Trauerfeier vor der Einäscherung ist um 10.15 Uhr auf dem 
Siegburger Nordfriedhof.
"

I.e. there is a Mass on Friday, 16th at 9:00 in the church Sankt Anno 
in Siegburg (a small town near Bonn, the former capital of Germany), 
obsequies are at 10:15 on the Nordfriedhof (northern churchyard) in 
Siegburg.

-- 
      o      (    Wolfgang.Strobl@gmd.de          (+49 2241) 14-2394
     /\        *  GMD Forschungszentrum Informationstechnik GmbH
   _`\ `_<===     Schloss Birlinghoven,           | #include
__(_)/_(_)___.-._ D-53754 Sankt Augustin, Germany | <std.disclaimer>
From mutex-owner@mail.gmd.de  Wed Feb 14 16:48:57 2001
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From: Inostroza Mardones Francisco <finostro@bech.cl>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: RE: Werner Icking +
Date: Wed, 14 Feb 2001 09:58:09 -0400
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>From the distance, I'm very sad to hear these bad news too...
I never met him in person, but I received from him a lot of help,
patient and generosity.

To his family, my thoughts and condolence.
To him, those eternals words: "Requiem aeternam donna ei 
Domine".

----------------------------------
Francisco Inostroza M.
finostro@bech.cl
F: 562 - 6707278
Santiago - CHILE



From mutex-owner@mail.gmd.de  Wed Feb 14 20:51:57 2001
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From: "David González" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Subject: RE: Introduction to GMD Music Sheet Music Archive
Date: Wed, 14 Feb 2001 11:23:38 -0400
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>So it's warm in my office although it's snowing just now so that I
>may have problems riding home with my bike  :-)
>
>-- Werner

I cried when I remembered the last private message he sent me, after reading
about his accident.


David

From mutex-owner@mail.gmd.de  Wed Feb 14 23:07:46 2001
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Date: Wed, 14 Feb 2001 13:58:42 +0100
To: mutex@gmd.de
From: Paul Gabler <folia@chello.nl>
Subject: Re: Werner Icking +
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 > Werner Icking died on the night of February the 8th
I just heard this shocking news and like so many others,
i am stricken by grief. I guess we all have difficulty to
accept he is no longer there.
I felt privileged that he was part of my life. Not only
did he cherish the same interests with music and
cycling which made him a very good friend although
i have never met him, but his enthusiastic and skillful
attitude in music, offering help at any moment, was
heartwarmingly and i learned a lot from him in social
behaviour too.

Everybody will have different stories, but the binding
elements, i just read in the mailing-list, like his helpfulness,
his humor, his patience and his expertise were always there.

My contact with Werner started in 1997 when i started
a page dedicated to the La Folia-theme. He offered me
to typeset some sheet music. Showed me some examples
and what i really appreciated was that from the start he did
not tell me any time how i should handle things. Although
i often asked his advice in the past three and a half years
because i regarded him as a valuable expert both in music
and lay-out-techniques, he never had strong opinions about
the way things should be presented. His personal opinion
never prevailed, but he was always there to give suggestions.

In the past 3,5 year he managed to produce 76 fragments of
sheet music for the website. I usually sent those fragments
to his address (Farnweg 28 D-53721 Siegburg as mentioned in
the mailinglist)  or to the FTP-site, always saying that
there was no hurry at all and that it could wait till the dark
winter-nights would arrive, but like clockwork within two days
he managed to send the sheet music ready for publishing.
Especially for difficult modern sheet music he always found
wonderful solutions. Often offering different lay-outs so i
could pick the best suitable in my view.

I consider Werner was not only a good friend because of
our common interests and his enthusiastic helpfulness
but especially because i could mail him at night (mon-wedn)
and i was absolutely sure that he would mail me back without
delay. In one or two lines he could give valuable advice, taking
things seriously but always with a smile.
I will miss him as all the others will and especially to his family,
my thoughts and condolence.

Paul Gabler, The Netherlands



From mutex-owner@mail.gmd.de  Thu Feb 15 11:14:51 2001
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So wenig Kontakt hatte ich mit ihm, und dachte, es könnte noch so viel
folgen. Mir als musixtex-Anfänger hat er in der freundlichsten und
hilfsbereitesten Weise geantwortet.

Schon das Wenige, was mich mit ihm noch so locker verband, läßt mich nun
schrecklich traurig zurück. 

Hartmut Laue

-- 
Sent through GMX FreeMail - http://www.gmx.net

From mutex-owner@mail.gmd.de  Thu Feb 15 16:44:41 2001
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From: Johan Tufvesson <tuben@lysator.liu.se>
To: mutex-mailinglist <mutex@gmd.de>
Subject: Werner Icking
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Greetings.

I am as sad as everybody else who has described their feelings on Werners
death. Since he was a big inspiration source for my typesetting I want
to dedicate the next music publication that I'm working on to his memory.
The newspaper article said that he was 57 years old. Does anybody know if
he was born in 1943 or 1944?

/Johan Tufvesson


From mutex-owner@mail.gmd.de  Thu Feb 15 16:58:27 2001
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Date: Thu, 15 Feb 2001 09:34:35 -0600
From: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
To: mutex list <mutex@gmd.de>
Subject: Re: Werner Icking +
In-Reply-To: <Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.tu-chemnitz.de>
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On Tue, 13 Feb 2001, Joerg Anders wrote:

> I have the unfortunate duty of informing the MusiXTeX mailing
> list that Werner Icking died on the night of February the 8th in
> a bicycle accident as he drove home from his workplace.

	O, life is not fair.  Werner's enthusiasm made him seem forever
young, and his warmth and generosity made him a friend.  As I tried---and
failed---to write this note yesterday I wondered why the faraway death of
someone I had never met should move me so deeply, but the outpouring of
emotion on this list has made me realize that I am not alone.  For we are a
community and Werner was our hub.  Our loss, while slight compared to that
suffered by his family, is real and should be grieved; the messages on this
list are a testament to Werner's kind and decent nature.

	On his web page describing bicycle routes between Siegburg and GMD,
Werner titled one "der sch\"one weg"---the beautiful way: Werner, I hope you
are forever on "der sch\"one weg," with the memories of all you loved and of
all who loved you.  You will be missed.

	Auf Wiedersehen, Freund.
Eric

+------------------------------------------------------------------------+
| Eric Petersen, University of Minnesota             (Home) 763-533-2654 |
| Dept of Aerospace Engineering and Mechanics               612-624-3516 |
| Minnesota Supercomputer Institute                         612-624-1524 |
| epeterse@aem.umn.edu, epeterse@msi.umn.edu                             |
| http://www.aem.umn.edu/people/students/epeterse/                       |
+------------------------------------------------------------------------+


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Date: Thu, 15 Feb 2001 17:27:02 +0100
From: Christoph Kukulies <kuku@gilberto.physik.rwth-aachen.de>
To: "Eric Petersen [Aero]" <epeterse@msi.umn.edu>
Cc: mutex list <mutex@gmd.de>
Subject: Re: Werner Icking +
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On Thu, Feb 15, 2001 at 09:34:35AM -0600, Eric Petersen [Aero] wrote:
> On Tue, 13 Feb 2001, Joerg Anders wrote:
> 
> > I have the unfortunate duty of informing the MusiXTeX mailing
> > list that Werner Icking died on the night of February the 8th in
> > a bicycle accident as he drove home from his workplace.
> 
> 	O, life is not fair.  Werner's enthusiasm made him seem forever
> young, and his warmth and generosity made him a friend.  As I tried---and
> failed---to write this note yesterday I wondered why the faraway death of
> someone I had never met should move me so deeply, but the outpouring of
> emotion on this list has made me realize that I am not alone.  For we are a
> community and Werner was our hub.  Our loss, while slight compared to that
> suffered by his family, is real and should be grieved; the messages on this
> list are a testament to Werner's kind and decent nature.
> 
> 	On his web page describing bicycle routes between Siegburg and GMD,
> Werner titled one "der sch\"one weg"---the beautiful way: Werner, I hope you
> are forever on "der sch\"one weg," with the memories of all you loved and of
> all who loved you.  You will be missed.
> 
> 	Auf Wiedersehen, Freund.
> Eric

Oh, what you wrote drives tears into my eyes while
looking at the little piece of paper that sticks beside my monitor
thinking of what meaning the words of Robert Frost can suddenly be seen:

    I shall be telling this with a sigh
    Somewhere ages and ages hence:
    Two roads diverged in a wood,
         and I ---
    I took the one less traveled by,
    And that has made all the difference.
    
     "The Road Not Taken" [1916] -- Robert Frost

-- 
Chris Christoph P. U. Kukulies kuku@gil.physik.rwth-aachen.de
From mutex-owner@mail.gmd.de  Thu Feb 15 18:42:16 2001
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Date: Thu, 15 Feb 2001 18:29:14 +0100
From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex-mailinglist <mutex@gmd.de>
Subject: Re: Werner Icking
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Johan Tufvesson wrote:

> I want to dedicate the next music publication that I'm working on
> to his memory.

That is a good idea.

> Does anybody know if he was born in 1943 or 1944?

Werner was born on August 26th 1943, according to his gmd id card to
be found here:

  <http://wsv.gmd.de/persons/icking/werner.htm>



-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Fri Feb 16 09:31:16 2001
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In addition to what has been mentioned so far, I especially appreciate
Werner's passion for making MusiXTeX & friends as powerful as possible
by - let's say - moderating the flow of improvement ideas. He always had
everything in mind that has been done or tried or asked for so far, he
appreciated every idea that could solve a newly emerged problem or
improve some existing feature, he stayed in touch with people who were
delivering solutions, urging them to share their results and knowledge
with all MusiXTeXers, and made a continuous effort to include as much of
the improvement potential he'd collected   as possible in the MusiXTeX
(PMX, M-Tx, ...) standard.

Although AFAIK Werner rarely acted as the author of any involved
component, his contribution as the "motor of invention" cannot be
esteemed highly enough. With regard to this, I'd call him the heart of
the MusiXTeX movement and community. Let us honour him by continuing his
valuable work in a joint effort!

Rainer
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Subject: Re: Werner Icking +
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Rainer Dunker wrote:
> 
> In addition to what has been mentioned so far, I especially appreciate
> Werner's passion for making MusiXTeX & friends as powerful as possible
> by - let's say - moderating the flow of improvement ideas. He always had
> everything in mind that has been done or tried or asked for so far, he
> appreciated every idea that could solve a newly emerged problem or
> improve some existing feature, he stayed in touch with people who were
> delivering solutions, urging them to share their results and knowledge
> with all MusiXTeXers, and made a continuous effort to include as much of
> the improvement potential he'd collected   as possible in the MusiXTeX
> (PMX, M-Tx, ...) standard.
> 
> Although AFAIK Werner rarely acted as the author of any involved
> component, his contribution as the "motor of invention" cannot be
> esteemed highly enough. With regard to this, I'd call him the heart of
> the MusiXTeX movement and community. Let us honour him by continuing his
> valuable work in a joint effort!

Yes, he often sent me reliable proposals for improvement of MusiXTeX, as
well as bug corrections. Especially for repeats, last few months.
> 
> Rainer

-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
Cedex
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Fri Feb 16 14:53:53 2001
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Date: Fri, 16 Feb 2001 08:32:22 -0500
From: Penny Hause <phause@loa.com>
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To: mutex@gmd.de
Subject: Re: Werner Icking +
References: <Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.tu-chemnitz.de>
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As a lurker who has been subscribed to this list for some time with
the idea of someday learning to use MusiXTex et al, I also was shocked
and saddened to learn of Werner's death. I will always remember his
evident and unfailing kindness, patience, humor, and intelligence.

Thanks to all who have written here about him--it has helped me
appreciate even more who he was and what he has accomplished.

My sincere condolences to his family and friends.

Penny Hause
From mutex-owner@mail.gmd.de  Sat Feb 17 22:35:03 2001
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From: Guido Milanese <gmilanese@mclink.it>
Reply-To: gmilanese@mclink.it
Organization: Ars Antiqua
To: mutex@gmd.de
Subject: Re: Werner Icking +
Date: Sat, 17 Feb 2001 09:21:47 +0100
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Just a couple of words from an Italian grateful MusiXTeX user. Werner's 
death happened just a couple of days after my father's death, so I 
believe I am in a situation when I sadly can better share the mourning 
of family and friends. I am a simple user of MusiXTeX and related 
"products", not a developer; I had the oppurtunity af appreciating 
Werner's kindness and competences.
My condolences to his family and friends.

Guido Milanese, Italy

----------------------------------
E-Mail: Guido Milanese <gmilanese@mclink.it>
Vocal Ensemble Ars Antiqua, Genova, Italia
Homepage: http://www.arsantiqua.org
+ + + + + + NON NOBIS DOMINE + + + + + + +
----------------------------------
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Date: Sun, 18 Feb 2001 17:51:54 +0100
From: Daniel Taupin <taupin@lps.u-psud.fr>
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 At presernt time, MusiXTeX fonts contain a symbol like

  |O|

for notes of undefined durations (i.e. in plalms). But I get a request
of symbols like:

||O||

Does one of you all know about this symbol (requested by professionals
of church song edition)?

--
-------------------------------------------------------------------------

  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
  E-mail : mailto:taupin@lps.u-psud.fr
  Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
-------------------------------------------------------------------------



From mutex-owner@mail.gmd.de  Sun Feb 18 19:23:21 2001
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From: Laura Conrad <lconrad@laymusic.org>
Date: 18 Feb 2001 13:11:26 -0500
In-Reply-To: Daniel Taupin's message of "Sun, 18 Feb 2001 17:51:54 +0100"
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>>>>> "Daniel" == Daniel Taupin <taupin@lps.u-psud.fr> writes:

    Daniel>  At presernt time, MusiXTeX fonts contain a symbol like
    Daniel>   |O|

    Daniel> for notes of undefined durations (i.e. in plalms). But I
    Daniel> get a request of symbols like:

    Daniel> ||O||

    Daniel> Does one of you all know about this symbol (requested by
    Daniel> professionals of church song edition)?

This is an educated guess -- the |0| is a modern version of the Breve,
which can also be written as a square version on a whole note.  My
guess is that somebody uses ||0|| as a modern version of a longa,
originally written as a Breve with a tail.

I've never run into that notation personally, but there certainly are
cases where you want to be able to transcribe a longa.

I've never thought of a Breve as an undefined duration -- I think of
it as a double whole note.  The Longa could be either a double Breve
or an undefined duration.

-- 
Laura (mailto:lconrad@laymusic.org , http://www.laymusic.org/ )
(617) 661-8097	fax: (801) 365-6574 
233 Broadway, Cambridge, MA 02139
From mutex-owner@mail.gmd.de  Sun Feb 18 22:15:03 2001
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Date: Sun, 18 Feb 2001 12:48:39 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Subject: Re: Question about note symbols
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Hi Daniel,

Yes, in all our church music notes of _arbitrary_ lengths (determined by
an arbitrary length lyrics) are denoted as ||o||. But when I replace
this by |o|, using M-Tx->PMX->MusiXTeX, nobody complains. The other
issue is that to get musixlyr to recognize this as a lyrics-capable
note, I have to define:

\let\breve\wq
\let\zbreve\zwq

and use a9-g9 in M-Tx.

This doesn't hurt me, moreover, I'd be surprised if a reasonable MIDI
output would be produced for a note of _arbitrary_ length, but it looks
like an imperfectness.

The _hottest_ issue, once we concern the fonts, are the Type 1 versions
of music fonts!

With my best regards

Alexander

Daniel Taupin wrote:
> 
>  At presernt time, MusiXTeX fonts contain a symbol like
> 
>   |O|
> 
> for notes of undefined durations (i.e. in plalms). But I get a request
> of symbols like:
> 
> ||O||
> 
> Does one of you all know about this symbol (requested by professionals
> of church song edition)?
> 
> --
> -------------------------------------------------------------------------
> 
>   Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
>   E-mail : mailto:taupin@lps.u-psud.fr
>   Tél: (33) 1.69.15.60.79, Fax: (33) 1.69.15.60.86
> -------------------------------------------------------------------------
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From: Christian Mondrup <scancm@biobase.dk>
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To: Laura Conrad <lconrad@laymusic.org>
CC: Daniel Taupin <taupin@lps.u-psud.fr>, mutex list <mutex@gmd.de>
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Laura Conrad wrote:
> 
> >>>>> "Daniel" == Daniel Taupin <taupin@lps.u-psud.fr> writes:
> 
>     Daniel>  At presernt time, MusiXTeX fonts contain a symbol like
>     Daniel>   |O|
> 
>     Daniel> for notes of undefined durations (i.e. in plalms). But I
>     Daniel> get a request of symbols like:
> 
>     Daniel> ||O||
> 
>     Daniel> Does one of you all know about this symbol (requested by
>     Daniel> professionals of church song edition)?
> 
> This is an educated guess -- the |0| is a modern version of the Breve,
> which can also be written as a square version on a whole note.  My
> guess is that somebody uses ||0|| as a modern version of a longa,
> originally written as a Breve with a tail.
> 
> I've never run into that notation personally, but there certainly are
> cases where you want to be able to transcribe a longa.
> 
> I've never thought of a Breve as an undefined duration -- I think of
> it as a double whole note.  The Longa could be either a double Breve
> or an undefined duration.
> 

I too remember to have seen the symbol '||0||', in my unclear
recollection being equal to a breve. However, if Laura's interpretation
of it as a representing a longa should be correct I propose using the
current MusiXTeX \zlonga having its stem replaced with a longer (always
right aligned) stem like the one found in my mensural music macro
collection (ftp://ftp.gmd.de/music/scores/ravenscroft/common.zip) and
used for example in my Ravenscroft scores.

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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From: Maurizio Codogno <mau@beatles.cselt.it>
To: mutex@gmd.de
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On Sun, Feb 18, 2001 at 12:48:39PM -0800, Alexander V. Voinov wrote:

> Yes, in all our church music notes of _arbitrary_ lengths (determined by
> an arbitrary length lyrics) are denoted as ||o||. 

Funny... in *our* church music, notes of arbitrary length are denoted as
|o| . Now I understand the reason of schism...

ciao, .mau.
From mutex-owner@mail.gmd.de  Mon Feb 19 11:23:30 2001
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Message-ID: <3A90F267.CF09836F@lps.u-psud.fr>
Date: Mon, 19 Feb 2001 11:16:07 +0100
From: taupin <taupin@lps.u-psud.fr>
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To: mutex list <mutex@gmd.de>
Subject: MusixTeX T.102
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Subject: MusiXTeX version T.102

New version T.102 of MusiXTeX available at anonymous ftp:
  ftp.lps.u-psud.fr = 193.55.39.152
  individual files in directory pub/musixtex
  zipped distrib in ftp://ftp.lps.u-psud.fr/pub/music_zips/musixtex.zip

Changes:
 - T.102 one new character ||O|| in fonts, \wqq symbol
 - T.101 repeat/volta handling enganced by Don Simons and Werner Icking
 - T.100 (unpublished) additional checks for wrong instrument numbers
 - T.99  \stemlength works also for "flagged notes". Bug corrected in
musixadd/musixmad
 - T.98  \hidebarrules, \showbarrules implemented
 - T.97  \setvolta, \endvolta corrected when line cut
 - T.96  \setvolta, \endvolta handler completely rewritten due to many
bugs

Ready made pk's no more in musixtex.zip (only in musix300, *360 and
*600.zip)

Warning: new musixflx.c to be recompiled (provided for PCs in the
distrib)
if your previous version is less than T.83

Warning: fonts musix*.mf and xsl*.mf have been updated. Therefore, if
you update
the TFMs, you should also update the *.mf and delete previous x*.*pk and
musix*.pk.
Otherwise, CRC check errors will appear (unpleasant but harmless)when
performing 
dvips or dvi* drivers.
 
Daniel Taupin

And LAST BUT NOT LEAST :-(( -> could somebody take care of updating
CTANs, since Werner is now unable to do it...


-- 

------------------------------------------------------------------------
  Daniel Taupin, Physique des Solides, Univ. Paris-Sud, 91405 ORSAY
Cedex
  E-mail= mailto:taupin@lps.u-psud.fr
  Tél: (33)1.69.15.60.79, Fax: (33)1.69.15.60.86, home/fax:
(33)1.60.10.26.44

------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Mon Feb 19 12:41:16 2001
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Date: Mon, 19 Feb 2001 21:51:04 +1030 (CST)
From: David Purton <dcpurton@chariot.net.au>
To: Mutex Mailing List <mutex@gmd.de>
Subject: Re: Question about note symbols
In-Reply-To: <20010218232601.A6689@beatles.cselt.it>
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On Sun, 18 Feb 2001, Maurizio Codogno wrote:

> On Sun, Feb 18, 2001 at 12:48:39PM -0800, Alexander V. Voinov wrote:
> 
> > Yes, in all our church music notes of _arbitrary_ lengths (determined by
> > an arbitrary length lyrics) are denoted as ||o||. 
> 
> Funny... in *our* church music, notes of arbitrary length are denoted as
> |o| . Now I understand the reason of schism...
> 

*sigh*  The Devil always enters the church through the choir ;)


--------------------------------------------------------
Today people in droves hurry up past Heumoz to Villars 
on the road to the ski hills, so they can rush down them
as fast as possible, so they can hurry up again in order
to rush down again.  In a way this is funny,...

			Francis A Schaeffer

David Purton

http://www.chariot.net.au/~dcpurton/
dcpurton@chariot.net.au

From mutex-owner@mail.gmd.de  Mon Feb 19 12:57:56 2001
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To: taupin <taupin@lps.u-psud.fr>
cc: mutex list <mutex@gmd.de>
Subject: Re: MusixTeX T.102 
In-Reply-To: Your message of "Mon, 19 Feb 2001 11:16:07 +0100."
             <3A90F267.CF09836F@lps.u-psud.fr> 
Date: Mon, 19 Feb 2001 11:50:57 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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daniel writes:

> And LAST BUT NOT LEAST :-(( -> could somebody take care of updating
> CTANs, since Werner is now unable to do it...

i was mirroring gmd for musixtex; i've switched my mirror to daniel's
site, for the time being.  i've run the mirror, created
musixtex-T102.tar.gz, and pushed the results out to the other ctans.

what i _haven't_ done is:

-- create new rpms
-- create a new diff file

i've never been keen on the diff files, and have not retained the
necessary information to create the latest one.

if someone else would care to create the new rpms, i would be happy to
install them on ctan and delete the old ones, but i probably can't
create them myself in finite time.

Robin Fairbairns

For the CTAN team (and in memory of werner)
From mutex-owner@mail.gmd.de  Mon Feb 19 19:43:05 2001
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From: Stefan Evert <evert@ims.uni-stuttgart.de>
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	<Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.tu-chemnitz.de>
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Late as my reaction may come, it is no less heartfelt. Rather, this is a
sign of my shock upon reading those grievous news. 

Like everybody else, I had just taken it for granted that Werner would
always be there. To me, he has been the embodiment of free music on
the internet, and I can hardly imagine the mutex mailing list or his
music archives to exist without him. 

I have not done enough serious music typesetting to have regular
correspondence with Werner, but I will never forget his patient
helpfulness with all beginners' questions, his ever present sense of
humour, and his willingness, despite the enormous amount of work he
put into his music archives, to discuss anything from violin playing
technique to computer jokes. 

I, too, will miss him sadly. 
May he rest in peace.

Stefan
From mutex-owner@mail.gmd.de  Mon Feb 19 22:34:57 2001
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Date: Mon, 19 Feb 2001 13:03:16 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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CC: mutex list <mutex@gmd.de>
Subject: Re: MusixTeX T.102
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Hi Daniel,

taupin wrote:
> Changes:
>  - T.102 one new character ||O|| in fonts, \wqq symbol

Thank you very much!

Alexander
From mutex-owner@mail.gmd.de  Tue Feb 20 03:22:04 2001
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Message-ID: <01C09A9C.E5104BC0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
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Subject: PMX Version 2.3
Date: Mon, 19 Feb 2001 17:53:40 -0800
Organization: PCH Publishing
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A complete upgraded version (2.3) of PMX is now available at

http://www.dslnorthwest.net/~dons/pmx/pmx.html

This is an incremental upgrade from version 2.2.  The main 
enhancements include unequal xtuplets, dynamics, and forced equal 
vertical spacing of systems.

--Don Simons


From mutex-owner@mail.gmd.de  Tue Feb 20 10:26:57 2001
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Date: Tue, 20 Feb 2001 10:04:58 +0100 (MET)
From: Joerg Anders <j.anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: Linux: noteedit: KDE version
Message-ID: <Pine.LNX.4.21.0102201004330.19108-100000@wicht.informatik.tu-chemnitz.de>
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A KDE(2.0.x) version of the "noteedit" program is available (noteedit-1.10.1):

http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html

Thanks to:
	David Faure <david@mandrakesoft.com>
and
	Matt Gerassimoff <mgeras@telocity.com>


J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Tue Feb 20 14:09:10 2001
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Date: Tue, 20 Feb 2001 13:40:00 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: mutex <mutex@gmd.de>
Subject: The future of the GMD music archive.
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Dear list members.

Werner's death and approaching changes within the GMD organization until
now hosting our music archive have forced us to prepare for a move of
the archive to another internet site. A sub group of mutex subscribers
have been discussing these matters for some days without finding an
obvious solution on the problem. I therefore ask 'out into the open'
whether someone among you have a proposal for a preferably non-profit
(academic?) networking organization willing to host the sheet music
archive and the mutex mailing list. We allready have offer for a site to
take care of the typeseting software.

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Tue Feb 20 16:53:48 2001
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There are some music archives on websites of university informatic centers
like LEO in Munich. Or, since we are very close related to TeX, what's
about a CTAN site like DANTE?

Bernhard

From mutex-owner@mail.gmd.de  Tue Feb 20 18:35:18 2001
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To: b.lang@gmx.net
cc: mutex <mutex@gmd.de>
Subject: Re: The future of the GMD music archive. 
In-Reply-To: Your message of "Tue, 20 Feb 2001 16:28:50 +0100."
             <Pine.LNX.4.05.10102201512150.483-100000@pcipmc428a.unil.ch> 
Date: Tue, 20 Feb 2001 17:11:48 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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> There are some music archives on websites of university informatic centers
> like LEO in Munich.

that would be good.

> Or, since we are very close related to TeX, what's
> about a CTAN site like DANTE?

ctan can and will take the software.  we can't justify holding a
significant archive of examples.

using ftp.dante.de to offer a separate server that for music is indeed
possible, but the site isn't terribly well-endowed with maintenance
people, and i wouldn't want to see their efforts diluted by having
still more stuff piled on to them.

the fact is that an archive the size of the gmd music one is pretty
small by today's standards; and i doubt that the data rate out of it
is likely to strain almost any reasonable candidate's bandwidth (we
have 1gbit/s to the backbone, for example).  the killer nowadays is
_always_ people.  the archive would require a motivated person or two,
who have at least some spare brain-cycles to do the work.

robin
From mutex-owner@mail.gmd.de  Tue Feb 20 22:35:10 2001
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Date: Tue, 20 Feb 2001 22:43:44 -0900 (AKST)
From: Lukasz Makowski OP <lucas@dominikanie.pl>
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To: mutex@gmd.de
Subject: bar rules in gregorian music
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Hi,
how can i provide shorter bar rules in gregorian staff? In our tradition
we use 3 lengths of bar rules which are relative to lengths of
pauses. And whats more, these bars should start on different staff
lines.

Lukasz Makowski OP
Member of Ordo Praedicatorum

From mutex-owner@mail.gmd.de  Wed Feb 21 15:36:11 2001
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From: "David González" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Subject: RE: The future of the GMD music archive.
Date: Tue, 20 Feb 2001 18:55:58 -0400
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>(academic?) networking organization willing to host the sheet music
>archive and the mutex mailing list.

About the list, what about moving to yahoogroups?? It alouds to make a free
mailing list, and 20 megs for file exchanging, the problem is that they put
banners into the messages, there's a fee for getting messages without
banners, perhaps interested members could contribute with money, I don't
think it would be expensive,

just an idea

David

From mutex-owner@mail.gmd.de  Thu Feb 22 09:31:16 2001
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Date: Wed, 21 Feb 2001 23:34:30 +0100
From: Rainer Dunker <rainer.dunker@ebe-online.de>
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To: Lukasz Makowski OP <lucas@dominikanie.pl>
CC: mutex@gmd.de
Subject: Re: bar rules in gregorian music
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Lukasz Makowski OP wrote:
> how can i provide shorter bar rules in gregorian staff? In our tradition
> we use 3 lengths of bar rules which are relative to lengths of
> pauses. And whats more, these bars should start on different staff
> lines.

I'd suggest to replace MusiXTeX's built-in bar rule writing routine by a
non-standard one. The example below demonstrates this; the parameters
\raisebarrule and \barruleheight are to be used to deliberately set the
vertical offset and height of subsequent bar rules in units of
\Internotes.

However, this quick-and-dirty solution does not work with multi-staff
instruments - but for Gregorianic chant, this should be no problem. :-)

Regards,

Rainer

8<------------------------------------
\input musixtex

\newcount\raisebarrule
\newcount\barruleheight

\makeatletter
\def\writ@rule#1{%
  \n@loop
    \raise\altitude\hbox{%
      \raise\raisebarrule\Internote\rlap{%
	\vrule\@depth\hlthick\@width#1\@height\barruleheight\Internote}}%
  \repeat
  \addspace#1}
\makeatother

\startpiece
 \raisebarrule1\barruleheight6\bar
 \raisebarrule2\barruleheight4\bar
 \raisebarrule3\barruleheight2\bar
 \raisebarrule0\barruleheight8% for the final bar rule
\endpiece\bye

From mutex-owner@mail.gmd.de  Thu Feb 22 09:59:50 2001
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Date: Thu, 22 Feb 2001 01:19:07 -0700
To: Christian Mondrup <scancm@biobase.dk>
Cc: mutex <mutex@gmd.de>, gnu-music-discuss@gnu.org
Subject: Re: The future of the GMD music archive.
Message-ID: <20010222011907.A952@lovelife.olvc.ab.ca>
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In-Reply-To: <3A9265A0.F5A3C71D@biobase.dk>; from scancm@biobase.dk on Tue, Feb 20, 2001 at 01:40:00PM +0100
From: Anthony Fok <foka@debian.org>
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On Tue, Feb 20, 2001 at 01:40:00PM +0100, Christian Mondrup wrote:
> Dear list members.
> Werner's death and approaching changes within the GMD organization until
> now hosting our music archive have forced us to prepare for a move of
> the archive to another internet site. A sub group of mutex subscribers
> have been discussing these matters for some days without finding an
> obvious solution on the problem. I therefore ask 'out into the open'
> whether someone among you have a proposal for a preferably non-profit
> (academic?) networking organization willing to host the sheet music
> archive and the mutex mailing list. We allready have offer for a site to
> take care of the typeseting software.

How about Mutopia?  http://www.mutopiaproject.org/

While most of the music on Mutopia are typeset with GNU LilyPond,
it seems to me that both Mutopia and the GMD Music Archive have similar
goals: to help share beautiful sheet music to everyone for free.

It would be really nice to see the GMD Music Archive become part of Mutopia. 
Probably in a separate section, or perhaps eventually merged into one,
whatever works.  I hope that this will also help to gather the talents of
MusiXTeX and LilyPond (etc.) users.  :-)

Cheers,

Anthony

-- 
Anthony Fok Tung-Ling                Civil and Environmental Engineering
foka@ualberta.ca, foka@debian.org    University of Alberta, Canada
   Debian GNU/Linux Chinese Project -- http://www.debian.org/intl/zh/
Come visit Our Lady of Victory Camp -- http://www.olvc.ab.ca/

From mutex-owner@mail.gmd.de  Thu Feb 22 17:14:44 2001
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Date: Thu, 22 Feb 2001 16:09:08 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: The future of the GMD music archive.
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Dear list mambers,
like, I suppose, all of you, I ardently hope that Werner's Archive can
survive. Here is my consideration on the matter.

1) I think that the best solution would be to keep the arkive where now it
is, if this is possible, of course. Has anyone talked with some of the GMD
administrators about the possibility of to let to menage the arkive from
outside the GMD institute, by one or more of us that can and want do that?
In this case there will be the advantage of to retain the internet address.

2) Yahoo and other commercial site, even if free, can remove the page
winthout any notice, put some banner in the page and, over all, they are
commercial, and so their philosophy is very far from the philosophy that
has given life to the GMD archive. For those reasons I prefer the non
commercial (preferably academic) solution.

3) I think that could be useful the existence of mirror sites. In this case
the GMD original site might be a mirror site and retain the important
reputation that it has all over the world.

4) Whatever will be the choise, I propose to change the name of the archive
in 'Werner Icking Archive'.


Luigi Cataldi


From mutex-owner@mail.gmd.de  Thu Feb 22 18:45:27 2001
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Date: Thu, 22 Feb 2001 18:01:52 +0100
From: Christian Mondrup <scancm@biobase.dk>
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Subject: Re: The future of the GMD music archive.
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Luigi Cataldi wrote:
> 
> Dear list mambers,
> like, I suppose, all of you, I ardently hope that Werner's Archive can
> survive. Here is my consideration on the matter.
> 
> 1) I think that the best solution would be to keep the arkive where now it
> is, if this is possible, of course. Has anyone talked with some of the GMD
> administrators about the possibility of to let to menage the arkive from
> outside the GMD institute, by one or more of us that can and want do that?
> In this case there will be the advantage of to retain the internet address.
> 
> 2) Yahoo and other commercial site, even if free, can remove the page
> winthout any notice, put some banner in the page and, over all, they are
> commercial, and so their philosophy is very far from the philosophy that
> has given life to the GMD archive. For those reasons I prefer the non
> commercial (preferably academic) solution.

After I posted my request for hosting proposals I've received two
qualified offers, both of them securing the non-commercial status of our
archive and one of them from an academic site. Of course the mutex list
will eventually be thoroughly informed!

> 
> 3) I think that could be useful the existence of mirror sites. In this case
> the GMD original site might be a mirror site and retain the important
> reputation that it has all over the world.
> 
> 4) Whatever will be the choise, I propose to change the name of the archive
> in 'Werner Icking Archive'.
> 
> Luigi Cataldi

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Feb 22 21:49:01 2001
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Message-ID: <3A957200.8A0B3A51@dslnorthwest.net>
Date: Thu, 22 Feb 2001 12:09:36 -0800
From: Don Simons <dons@dslnorthwest.net>
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I've been experimenting with my latest PMX distribution from
http://www.dslnorthwest.net/~don/pmx/pmx.html .  It was created and
ZIPped under Win/DOS.  Using "unzip" I decompressed the file on a linux
box.  After making the two usual syntax changes and renaming source.for
to pmxab.f it compiled OK under g77.  But when processing the unzipped
sample .pmx files, Linux-PMX had all sorts of problems related to text
line terminations.  If on the other hand I retrieve the same .pmx files
by ascii-mode FTP from a Win/DOS box, there are no such problems.  

I suppose the CR-LF's are somehow surviving the DOS-ZIP/Linux-unzip
process, then confusing the Linux-compiled PMX.

I wonder why the Linux compilers (g77 and also lf95) did not suffer the
same confusion that PMX did regarding the ends of lines.

I can imagine that this behavior would irritate people who only work in
Linux, but I can't really recall anyone complaining in the past, and I
really don't relish changing PMX to try to compensate for it.  Any
thoughts, discussion, suggestions?

--Don Simons
From mutex-owner@mail.gmd.de  Thu Feb 22 22:02:41 2001
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Date: Thu, 22 Feb 2001 12:30:11 -0800
From: Don Simons <dons@dslnorthwest.net>
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Subject: Re: Win-Linux PMX text file transfers
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I wrote:
> 
> I've been experimenting with my latest PMX distribution from
> http://www.dslnorthwest.net/~don/pmx/pmx.html .  

SORRY, I mis-typed the URL.  The right one is

http://www.dslnorthwest.net/~dons/pmx/pmx.html .  

I think my "s" key sticks sometimes, or maybe my "s" finger?

--Don
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From: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de>
To: mutex@gmd.de
Subject: RE: Win-Linux PMX text file transfers
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On 22-Feb-01 Don Simons wrote:
> I can imagine that this behavior would irritate people who only work in
> Linux, but I can't really recall anyone complaining in the past, and I
> really don't relish changing PMX to try to compensate for it.  Any
> thoughts, discussion, suggestions?


On the Linux end I would suggest:

recode ibmpc..latin1 file.pmx

This will take care of the line endings (among others which shouldn't be
there anyway  like language specific characters).

During ftp in ascii mode the line endings are sometimes (though not alway --
depends on the ftp clients) this conversion is done automatically. unzip
doesn't seem to be able to do it, but recode (or dos2unix) will help.

Hold on:

UnZip 5.40 of 28 November 1998, by Info-ZIP 

from man unzip:

MODIFIERS
       -a     convert  text  files.   Ordinarily  all  files  are
              extracted exactly as they are stored (as ``binary''
              files).   The  -a option causes files identified by
              zip as text files (those with the `t' label in zip-
              info listings, rather than `b') to be automatically
              extracted as such, converting line endings, end-of-
              file  characters  and  the  character set itself as
              necessary.  (For example, Unix files use line feeds




So it should be possible with unzip and -a as well.


K.-H.


------------------------------------------------------------------------
E-Mail: Karl-Heinz Herrmann <k.-h.herrmann@fz-juelich.de> 
http://www.fz-juelich.de/icg/icg7/FestFluGre/transport/khh/general.html
Sent: 22-Feb-01, 22:13:52
------------------------------------------------------------------------
From mutex-owner@mail.gmd.de  Thu Feb 22 23:47:56 2001
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From: Christian Mondrup <scancm@biobase.dk>
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To: Don Simons <dons@dslnorthwest.net>
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Subject: Re: Win-Linux PMX text file transfers
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Don Simons wrote:
> 
> I've been experimenting with my latest PMX distribution from
> http://www.dslnorthwest.net/~don/pmx/pmx.html .  It was created and
> ZIPped under Win/DOS.  Using "unzip" I decompressed the file on a linux
> box.  After making the two usual syntax changes and renaming source.for
> to pmxab.f it compiled OK under g77.  But when processing the unzipped
> sample .pmx files, Linux-PMX had all sorts of problems related to text
> line terminations.  If on the other hand I retrieve the same .pmx files
> by ascii-mode FTP from a Win/DOS box, there are no such problems.
> 
> I suppose the CR-LF's are somehow surviving the DOS-ZIP/Linux-unzip
> process, then confusing the Linux-compiled PMX.
> 
> I wonder why the Linux compilers (g77 and also lf95) did not suffer the
> same confusion that PMX did regarding the ends of lines.
> 
> I can imagine that this behavior would irritate people who only work in
> Linux, but I can't really recall anyone complaining in the past, and I
> really don't relish changing PMX to try to compensate for it.  Any
> thoughts, discussion, suggestions?
> 

Suggestions - unfortunately no, observations - unfortunately (?) yes!

For a test I attempted to let pmx23 (built with f2c & gcc) process the
pmx output from the mtx source of my latest published madrigal by Mogens
Pedersøn (Amor, per tua mercè). The outcome of that was an immediate
segmentation fault :-( This problem is not with pmx 2298!

Would that be a clue?
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Feb 23 01:31:45 2001
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From: "David González" <dgonzal@quanta.net.py>
To: "Mutex List" <mutex@gmd.de>
Subject: RE: The future of the GMD music archive.
Date: Wed, 21 Feb 2001 22:00:02 -0400
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>I don't think people who use free music software want to read about it
>with mail with egroups banners on it.


Off course, it's against the whole spirit of the group, but it was just an
idea, a thought, I just didn't believe we could find a free server for the
mailing list.

David

From mutex-owner@mail.gmd.de  Fri Feb 23 07:43:51 2001
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Date: Fri, 23 Feb 2001 08:06:45 +0200
From: Dirk Laurie <dpl@maties.sun.ac.za>
To: Luigi Cataldi <luicatal@tin.it>
Cc: mutex@gmd.de
Subject: Re: The Werner Icking music archive.
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Luigi Cataldi skryf:
> 
> 4) Whatever will be the choise, I propose to change the name of the archive
> in 'Werner Icking Archive'.
> 
I support this suggestion with all my heart, but want the word "music"
in it.  The Werner Icking Music Archive.

Dirk
From mutex-owner@mail.gmd.de  Fri Feb 23 07:52:35 2001
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Date: Fri, 23 Feb 2001 08:13:34 +0200
From: Dirk Laurie <dpl@maties.sun.ac.za>
To: Don Simons <dons@dslnorthwest.net>
Cc: mutex@gmd.de
Subject: Re: Win-Linux PMX text file transfers
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Don Simons skryf:
> I've been experimenting with my latest PMX distribution from
> http://www.dslnorthwest.net/~don/pmx/pmx.html .  It was created and
> ZIPped under Win/DOS.  Using "unzip" I decompressed the file on a linux

Always use  unzip -a  to take care of text files.

> box.  After making the two usual syntax changes and renaming source.for
> to pmxab.f it compiled OK under g77.  But when processing the unzipped
> sample .pmx files, Linux-PMX had all sorts of problems related to text
> line terminations.  If on the other hand I retrieve the same .pmx files
> by ascii-mode FTP from a Win/DOS box, there are no such problems.  
> 
> I suppose the CR-LF's are somehow surviving the DOS-ZIP/Linux-unzip
> process, then confusing the Linux-compiled PMX.
> 

Dirk
From mutex-owner@mail.gmd.de  Fri Feb 23 09:21:37 2001
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Subject: Re: The Werner Icking music archive.
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Dirk Laurie wrote:
> Luigi Cataldi skryf:
> > 
> > 4) Whatever will be the choise, I propose to change the name of the archive
> > in 'Werner Icking Archive'.
> > 
> I support this suggestion with all my heart, but want the word "music"
> in it.  The Werner Icking Music Archive.

Me too! I like this idea and vote for it.

> Dirk

Bernt

From mutex-owner@mail.gmd.de  Fri Feb 23 10:11:01 2001
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To: Don Simons <dons@dslnorthwest.net>
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Subject: Re: Win-Linux PMX text file transfers
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On Thu, 22 Feb 2001, Don Simons wrote:

> I've been experimenting with my latest PMX distribution from
> http://www.dslnorthwest.net/~don/pmx/pmx.html .  It was created and
> ZIPped under Win/DOS.  Using "unzip" I decompressed the file on a linux
> box.  After making the two usual syntax changes and renaming source.for
> to pmxab.f it compiled OK under g77.  But when processing the unzipped
> sample .pmx files, Linux-PMX had all sorts of problems related to text
> line terminations.  If on the other hand I retrieve the same .pmx files
> by ascii-mode FTP from a Win/DOS box, there are no such problems.  
> 
> I suppose the CR-LF's are somehow surviving the DOS-ZIP/Linux-unzip
> process, then confusing the Linux-compiled PMX.
> 
> I wonder why the Linux compilers (g77 and also lf95) did not suffer the
> same confusion that PMX did regarding the ends of lines.
> 
> I can imagine that this behavior would irritate people who only work in
> Linux, but I can't really recall anyone complaining in the past, and I
> really don't relish changing PMX to try to compensate for it.  Any
> thoughts, discussion, suggestions?
> 
I am using pmx2.30 on both systems, Windows and Linux and it works
fine. On my machine at home where I make most typesetting, I use 
the very same pmx- and mtx-files to work on because
the windows partition is hooked into linux. tex-files are NOT inluenced
by the line-end differences, but mtx and pmx-files are indeed. I use
in both OS an XEDIT clone, THE (free), as editor in both OS and it recognizes
and automatically converts files into DOS or UNIX convention. Therefore,
I did not realized this problem because I usually edit the file before
running pmx again. Furthermore, I have many THE-macros which do all
sorts of manipulations and extractions in the mtx, pmx and musixtex-files.
By the way, if you unzip with unzip -a, all files are automatically
converted to the correct system.

As you realized yourself, compilation with g77 is without problems,
why don't you mention that in the manual? It is not necessary at all to wait
for the c-version! g77 DOES call f2c, but makes additionally some other
optimizations. 

Thank you for steadily making pmx even more powerful!
Christof

From mutex-owner@mail.gmd.de  Fri Feb 23 10:24:37 2001
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Date: Fri, 23 Feb 2001 10:01:26 +0100
From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex@gmd.de
Cc: dons@dslnorthwest.net
Subject: Re: Win-Linux PMX text file transfers
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Don Simons wrote:

> I've been experimenting with my latest PMX distribution

To simplify the installation on a Unix machine I have made a Unix/C
port of PMX 2.3.0. I will keep it at the following location for at
least some weeks, but I propose you put it on your site along with
the original files to have all the pmx stuff at a central location.

  <http://sites.inka.de/wam56/files/pmx-unix-230.tgz>



-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Fri Feb 23 10:40:07 2001
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On Thu, 22 Feb 2001, Christian Mondrup wrote:

> 
> Suggestions - unfortunately no, observations - unfortunately (?) yes!
> 
> For a test I attempted to let pmx23 (built with f2c & gcc) process the
> pmx output from the mtx source of my latest published madrigal by Mogens
> Pedersøn (Amor, per tua mercè). The outcome of that was an immediate
> segmentation fault :-( This problem is not with pmx 2298!
> 
> Would that be a clue?
> 
Now, that is interesting. I usually name the newly built pmx with the 
version (pmx230)
and rename it to pmxab after I have run it successfully with some of my 
files. I don/t use MIDI. There was no problem whatsoever. 

Christof

From mutex-owner@mail.gmd.de  Fri Feb 23 14:27:46 2001
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To: mutex@gmd.de
Subject: Re: The Werner Icking music archive.
Date: Fri, 23 Feb 2001 13:59:52 +0100
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Message-ID: <q1fc9tcc7ffmkl0jfogheh22c3ckofjpqk@4ax.com>
References: <3A9265A0.F5A3C71D@biobase.dk> <3.0.6.32.20010222160908.00814bc0@box1.tin.it> <20010223080645.A3359@siegfried.wisk.sun.ac.za>
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On Fri, 23 Feb 2001 08:06:45 +0200, Dirk Laurie <dpl@maties.sun.ac.za>
wrote:

>> 4) Whatever will be the choise, I propose to change the name of the archive
>> in 'Werner Icking Archive'.
>> 
>I support this suggestion with all my heart, but want the word "music"
>in it.  The Werner Icking Music Archive.
>
Ek ook!

(Me too.)

Eva


--
"Bach ist der Vater, wir sind die Buben. Wer von uns 
was Rechtes kann, hat's von ihm gelernt." 
            -- W.A.Mozart
From mutex-owner@mail.gmd.de  Sat Feb 24 16:12:16 2001
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From: "=?utf-7?Q?David_Gonz+AOE-lez?=" <dgonzal@quanta.net.py>
To: "musiclassical" <musiclassical@yahoogroups.com>
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Subject: I'll be back on monday 5
Date: Sat, 24 Feb 2001 11:26:03 -0400
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Hello, I'm leaving for a trip to Peru, I'll be back on monday 5, I wont be
reading any mail of the lists, if you need me for any reason, send me an
email do dgonzal+AEA-quanta.net.py

David

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Date: Sun, 25 Feb 2001 14:51:06 +0000
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From: David Bobroff <bobroff@centrum.is>
Subject: pmx_beams	
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Hello all,

I want to connect a single note to a triplet beam with the connection being
only a single beam.  I've not figured out how to do this in pmx.  Consider
the one-measure example (I've edited the set-up block so that it is a
single measure):

%%%%%%%%%%%%%%%%%%%%%%
1 1 4 4 4 4 0 -2
1 1 20 0.08

b
./
r1d [ f32 Df g8x3 f en ] f8d d1+ b2 /

%%%%%%%%%%%%%%%%%%%%%%%

I have examples elsewhere in the whole file where the first note is a
dotted 16th NOTE rather than a rest.  In that case it is no problem.
Forcing the whole group into a beam and then using ][ just before the
triplet does exactly what I want.  (Trying this same method on the problem
measure gives either strange results or lots of error messages from TeX.)
Can I achieve this same beaming with a rest at the beginning, or do I have
to edit the *.tex file?

Thanks,

David Bobroff
From mutex-owner@mail.gmd.de  Sun Feb 25 20:10:53 2001
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Message-ID: <01C09F19.61ACFEA0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: =?us-ascii?Q?RE=3A_pmx=5Fbeams=09?=
Date: Sun, 25 Feb 2001 10:54:51 -0800
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On Sunday, February 25, 2001 6:51 AM, David Bobroff 
[SMTP:bobroff@centrum.is] wrote:
> Hello all,
>
> I want to connect a single note to a triplet beam with the 
 connection being
> only a single beam.  I've not figured out how to do this in pmx. 
Consider
> the one-measure example (I've edited the set-up block so that it is
> a single measure):
>
> %%%%%%%%%%%%%%%%%%%%%%
> 1 1 4 4 4 4 0 -2
> 1 1 20 0.08
>
> b
> ./
> r1d [ f32 Df g8x3 f en ] f8d d1+ b2 /
>
> %%%%%%%%%%%%%%%%%%%%%%%
>
>...
> Can I achieve this same beaming with a rest at the beginning, or do
> I have to edit the *.tex file?
>

Last question first: When using PMX, it's usually a bad idea to rely 
on editing the *.tex, because every time after that when you want to 
change ANYTHING in the *.pmx, you'll have to re-edit *.tex.  But the 
good news is that there are two other kinds of solutions. First you 
could ask for the feature you want to be built into PMX, but that 
could take anywhere from 2 days to forever.  (In fact I will have a 
look at this one, because it is syntactically possible and logically 
sensible, so it ought to work).  The other kind of solution is 
in-line TeX; it's immediately available and almost always can solve 
the problem.  And if you know enough TeX to get your desired result 
by manually editing *.tex, then you know about 90% of what you need 
to do it with in-line TeX.

This is a PERFECT example.  Here's a solution; then I'll explain the 
process in some generality for anyone who's interested.

===============
r1d
\let\rbbbut\rbbbu\def\rbbbu#1{\rbbu{#1}\let\rbbbu\rbbbut}\
[ f32 Df \nbbu1\ g8x3 f en ] f8d d1+ b2 /
===============

The general process is
(1) Generate (using PMX) or imagine what TeX will actually be 
generated by the "bare" PMX.
(2) Manually generate or imagine what TeX you want.
(3) Comparing the two, insert or redefine macros into the first in 
order to generate the second.
(4) Enter the insertions and/or redefinitions into *.pmx using in-  
line TeX.

In this case the relevant section of TeX from the original source is

\pnotes{1.00}\ibbbu1F0\pmxdyn{-7}0\f\rbbbu1\qb1F\en%
\pnotes{1.15}\xnum{1.15}B3\qb1G\qb1F\bigna E\tbu1\qb1E\en%

where \rbbbu is a right-shifted beam termination defined in pmx.tex 
as \roff{\tbbbu{#1}} . The TeX you want is

\pnotes{1.00}\ibbbu1F0\pmxdyn{-7}0\f\rbbu1\qb1F\en%
\pnotes{1.15}\xnum{1.15}B3\nbbu1\qb1G\qb1F\bigna E\tbu1\qb1E\en%

I got this by playing around with the TeX, and I confess I didn't get 
it right the first time.  But one of the great things about our 
software system is that it doesn't cost you anything (except time) to 
do this sort of experimentation.  In this case I wasn't sure if I 
needed \rbbbu1\rbbu1 or just \rbbu1 so I tried both.  In fact they 
both worked but I'm a bit of an efficiency freak :-)

So first I want to REPLACE \rbbbu1 in the original TeX with \rbbu1. 
 The longish piece of inline TeX does exactly that.  The steps here 
are
(1) store the meaning of the original macro in a temporary token 
using \let.
(2) redefine the original macro to (a) do what you want, and then (b) 
restore itself (!) to its original meaning with another \let .
Sometime (b) isn't needed (because MusiXTeX redefines many things 
itself internally at various times), but it never hurts.

The second modification to the original TeX is to simply insert 
\nbbu1, to increase the beam multiplicity back up to 2.

Sometimes the insertion or replacement process is complicated due to 
PMX's rigid rules for where it puts in-line TeX: generally any type-1 
strings will go before the PMX-generated TeX associated with the note 
in question.  For example, for the first mod in this case we might 
have wanted to simply insert \rbbu1 after \rbbbu1 .  But there's no 
way to get PMX to put it there with a simple insertion.

This exercise does suggest a possible future PMX enhancement: an 
option on a type-1 TeX string that forces it to be placed immediately 
before the note (or next "spacing" command). Would anyone ever use 
such an animal?

--Don Simons
From mutex-owner@mail.gmd.de  Mon Feb 26 07:11:03 2001
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From: "Andre Van Ryckeghem" <avr@pandora.be>
To: <mutex@gmd.de>
References: <01C09F19.61ACFEA0.dons@dslnorthwest.net>
Subject: Re: pmx_beams - TeX defs for pmx270	
Date: Sun, 25 Feb 2001 17:21:36 +0100
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Hello,

Werner Icking gave me definitions for trios with quarter notes and (start!ng) rests, are they still
valid on the latest version?

Andre

here they are:
-----the lines may be broken by the mail----
% Trio definitions by W. Icking
% - a quarter note instead of a starting beam with a note hanging on
% - space instead of a note hanging on a beam or
% - an 1/8th note instead of a beam termination and a note hanging on it
%
\\let\ibusav\ibu\
\\let\iblsav\ibl\
\\let\tbusav\tbu\
\\let\tblsav\tbl\
\\let\qbsav\qb\
\\let\islurdsav\islurd\
\\let\islurusav\isluru\
\\let\tslursav\tslur\
\\let\dssav\ds\

\\def\pitch#1{\zcharnote{#1}{}}\

\\def\qaforisluribqb{\
 \\def\isluru##1##2{\let\isluru\islurusav\let\islurd\islurdsav\pitch{##2}}\
 \\def\islurd##1##2{\let\isluru\islurusav\let\islurd\islurdsav\pitch{##2}}\
 \\def\ibl##1##2##3{\let\ibl\iblsav\let\ibu\ibusav\pitch{##2}}\
 \\def\ibu##1##2##3{\let\ibl\iblsav\let\ibu\ibusav\pitch{##2}}\
 \\def\qb##1##2{\let\qb\qbsav\qa{##2}}}\
\\let\QA\qaforisluribqb\
\\def\skfortslurqb{\
 \\def\tslur##1##2{\let\tslur\tslursav\pitch{##2}}\
 \\def\qb##1##2{\let\qb\qbsav\sk\pitch{##2}}}\
\\let\SK\skfortslurqb\
\\def\cafortbqb{\
 \\def\tbu##1{\let\tbu\tbusav\let\tbl\tblsav}\
 \\def\tbl##1{\let\tbu\tbusav\let\tbl\tblsav}\
 \\def\qb##1##2{\let\qb\qbsav\ca{##2}}}\
\\let\CA\cafortbqb\
\\def\qpfords{\def\ds{\let\ds\dssav\qp}}\
\\def\skfords{\def\ds{\let\ds\dssav\sk}}\
---------------
%%% this is how to use
% examples
% starting with 1/4th and 1/8th
\qaforisluribqb\ ( g44x3 \skfortslurqb\ g ) \cafortbqb\ f
% or
\QA\ ( d4x3n \SK\ d ) \CA\ f
% or if the next note starts a tie
\QA\ (t d4x3n \SK\ d ) \CA\ f
%%
% starting with 1/4 rest and then  1/8th
\qpfords\ rx3n \skfords\ r g+


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Date: Mon, 26 Feb 2001 08:05:48 +0000
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From: David Bobroff <bobroff@centrum.is>
Subject: pmx_beam_solution
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Thanks, Don for the solution to my problem.

>Last question first: When using PMX, it's usually a bad idea to rely 
>on editing the *.tex, because every time after that when you want to 
>change ANYTHING in the *.pmx, you'll have to re-edit *.tex.

Definitely.  Since this was the only thing left to be done with this
particular *.pmx file it would not have been too big a pain, though.  It
*is* far preferable, however, to get everything in the *.pmx file.

>First you 
>could ask for the feature you want to be built into PMX, but that 
>could take anywhere from 2 days to forever.

OK, I'll bite.  Hey, Don; How about adding this feature to the next version
of PMX? (I'm using 2.30 Unix/C)

I'll meditate on the general process you described.

Thanks,

David Bobroff
From mutex-owner@mail.gmd.de  Mon Feb 26 18:39:50 2001
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From: Don Simons <dons@dslnorthwest.net>
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Andre Van Ryckeghem wrote:
>... 
> Werner Icking gave me definitions for trios with quarter notes and (start!ng) rests, are they still
> valid on the latest version?
>...

In my business, we'd say this is OBE, which stands for "overtaken by
events."  pmx230 can already do this directly:

g44Dx3n f dDx3 f dDx3 f rDx3 g+ /

However there are a few differences:

1. The PMX horizontal spacing is different, and IMHO it is
mathematically correct.
2. The PMX version prints automagically with a number and square-ended
bracket.  You can optionally adjust the position of the number or get
rid of it, but you have no control over the bracket except with in-line
TeX.  (Maybe I'll fix that in the future).

--Don Simons
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Date: Sun, 04 Mar 2001 08:46:43 +0000
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From: David Bobroff <bobroff@centrum.is>
Subject: staff_paper
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I recall many months ago that there was a solution posted here for how to
make blank staff paper.  I was sure that I had saved it but I can't find
it.  Does anyone have the solution?  I have worked out a partial solution
with pmx but I still need to get rid of the barlines at the ends of the
lines as well as the final barline.

Thanks,

David Bobroff
From mutex-owner@mail.gmd.de  Sun Mar  4 11:41:24 2001
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To: David Bobroff <bobroff@centrum.is>
cc: mutex@gmd.de
Subject: Re: staff_paper 
In-reply-to: Your message of Sun, 04 Mar 2001 08:46:43 GMT.
             <3.0.6.32.20010304084643.007abc20@centrum.is> 
Date: Sun, 04 Mar 2001 11:10:46 +0100
From: Mats Bengtsson <mats.bengtsson@s3.kth.se>
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> I recall many months ago that there was a solution posted here for how to
> make blank staff paper.  I was sure that I had saved it but I can't find
> it.  Does anyone have the solution?  I have worked out a partial solution
> with pmx but I still need to get rid of the barlines at the ends of the
> lines as well as the final barline.

One solution is described in the FAQ of Lilypond:
http://appel.lilypond.org/wiki/index.php?BlankMusicPaper

   /Mats

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Date: Sun, 4 Mar 2001 11:19:04 +0100
To: David Bobroff <bobroff@centrum.is>
Subject: Re: staff_paper
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David Bobroff <bobroff@centrum.is> writes:

> I recall many months ago that there was a solution posted here for how to
> make blank staff paper.  I was sure that I had saved it but I can't find
> it.  Does anyone have the solution?  I have worked out a partial solution
> with pmx but I still need to get rid of the barlines at the ends of the
> lines as well as the final barline.

This small PostScript program is what I use. Save it in a file, adjust
the number of copies, and send it to a PostScript printer.
On Windows, I think Gsview can be used to print it.

-- Johan

%!PS-Adobe-2.0
%%Creator: Johan Vromans
%%Title: Music Sheet Paper
%%Pages: 1 0
%%PageOrder: Ascend
%%BoundingBox: 0 0 596 842
%%EndComments
%%EndProlog
%%BeginSetup
%%PaperSize: A4
a4
<< /NumCopies 1 >> setpagedevice
%%EndSetup
%%Page: 1 1
0.25 setlinewidth
newpath
60 64 moveto
10 {
	5 {
		492 0 rlineto
		-492 6 rmoveto
	} repeat
	0 39 rmoveto
} repeat
stroke
showpage
%%EOF
From mutex-owner@mail.gmd.de  Sun Mar  4 12:11:27 2001
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From: "Michel Caprace" <michel.caprace@advalvas.be>
To: "Mutex List" <mutex@gmd.de>, "David Bobroff" <bobroff@centrum.is>
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Subject: Re: staff_paper
Date: Sun, 4 Mar 2001 11:23:05 +0100
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This is what I use in MusixTex.
Think to adapt the margins you want before starting the musixtex section.

\def\nbinstruments{1}
\setstaffs1{1}%one instrument with one line
\generalsignature{0
\setclef{1}{8}%no key
\parindent 0pt
\nostartrule
\nobarnumbers
% 
\startpiece
\zalaligne%no bar at ligne break
\zalaligne
\zalaligne%as many times as the number of lines you want in a page
\zstoppiece%no bar at the end

Regards
Michel Caprace
----- Original Message ----- 
From: "David Bobroff" <bobroff@centrum.is>
To: <mutex@gmd.de>
Sent: Sunday, March 04, 2001 9:46 AM
Subject: staff_paper


> I recall many months ago that there was a solution posted here for how to
> make blank staff paper.  I was sure that I had saved it but I can't find
> it.  Does anyone have the solution?  I have worked out a partial solution
> with pmx but I still need to get rid of the barlines at the ends of the
> lines as well as the final barline.
> 
> Thanks,
> 
> David Bobroff
> 

From mutex-owner@mail.gmd.de  Sun Mar  4 13:11:28 2001
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On Sun, 04 Mar 2001 08:46:43 +0000, David Bobroff <bobroff@centrum.is>
wrote:

>I recall many months ago that there was a solution posted here for how to
>make blank staff paper.  I was sure that I had saved it but I can't find
>it.  Does anyone have the solution?  I have worked out a partial solution
>with pmx but I still need to get rid of the barlines at the ends of the
>lines as well as the final barline.
>
>Thanks,
>
>David Bobroff

The following produced a bar-line-less set of blank staves for me when
I was tinkering around a couple of months ago:

\input musixtex
\hoffset -1 cm
\hsize 18 cm
\nostartrule\nobarnumbers\nopagenumbers
\setclefsymbol1 \empty
\startmuflex
\stafftopmarg 5\Interligne
\startpiece
\zalaligne\zalaligne\zalaligne\zalaligne
\zalaligne\zalaligne\zalaligne\zalaligne
\zalaligne\zalaligne\zalaligne
\endmuflex\zstoppiece\bye

Someone else may have a more elegant solution at hand, though.

Eva

--
"Bach ist der Vater, wir sind die Buben. Wer von uns 
was Rechtes kann, hat's von ihm gelernt." 
            -- W.A.Mozart
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Date: Sun, 4 Mar 2001 14:57:39 +0100
From: Markus <lazanows@stud.uni-frankfurt.de>
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 <Pine.LNX.4.21.0102131056410.14682-100000@wicht.informatik.tu-chemnitz.de>
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A late reaction ...

I want to express my sadness about the death of Werner as he helped me
several times with (at least for myself) really confusing problems
concerning MusiXTeX and PMX.

My sincere condolences to his family and friends.

Markus Lazanowski


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Subject: Staff_paper--Thanks
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Thanks to all who sent solutions for making staff paper.  I've got what I
need.

David Bobroff
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From: HEINECKE Johannes FTRD/DMI/LAN
	 <johannes.heinecke@rd.francetelecom.fr>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: pmx -> mtx ?
Date: Tue, 6 Mar 2001 15:19:49 +0100 
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Hello,

I have some PMX-files which I wouldlike to convert into
MTX-files to ease the addition of lyrics. Do you of any scripts
which can can do this?

Thanks a lot
Johannes


-- 
Johannes Heinecke
France Télécom R&D, DMI/GRI/Langues Naturelles
2 avenue Pierre Marzin, F-22307 Lannion cedex
Tel.: +33 (0) 2 96 05 21 77
Email: johannes.heinecke@rd.francetelecom.fr
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Date: Tue, 06 Mar 2001 16:58:12 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: HEINECKE Johannes FTRD/DMI/LAN <johannes.heinecke@rd.francetelecom.fr>
CC: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: pmx -> mtx ?
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HEINECKE Johannes FTRD/DMI/LAN wrote:
> 
> Hello,
> 
> I have some PMX-files which I wouldlike to convert into
> MTX-files to ease the addition of lyrics. Do you of any scripts
> which can can do this?

Some time ago I fiddled around with a perl script doing that. It is
definitely not in a state worth publishing officially. But if you're
prepared to do some after editing and if your original pmx code isn't
too complicated you might give it a try. I'll keep available as
http://www.biobase.dk/~scancm/Musik/misc_stuff/pmx2mtx.pl for a while.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
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cc: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Re: pmx -> mtx ?
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On Tue, 6 Mar 2001, HEINECKE Johannes FTRD/DMI/LAN wrote:

> 
> I have some PMX-files which I wouldlike to convert into
> MTX-files to ease the addition of lyrics. Do you of any scripts
> which can can do this?
> 
This is easy, you do not need a script. You make a new preamble
as described in the mtx doc replacing the preamble parameters in pmx.
Then reverse the order of the voices (BTAS -> SATB) and
add the lyrics; that is all. One could probably write a pearl script 
reversing the order of the voices, but it is usually quite easy to do 
that with a good editor.
Christof

From mutex-owner@mail.gmd.de  Wed Mar  7 17:13:18 2001
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Date: Wed, 7 Mar 2001 16:48:11 +0100 (CET)
From: Joerg Anders <j.anders@Informatik.TU-Chemnitz.DE>
To: kde-multimedia@kde.org, mutex@gmd.de
Subject: noteedit/MIDI synth. not needed
In-Reply-To: <20010307122318.19237@space.twc.de>
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Version 1.10.2 of "noteedit" is now ALSA compatible 
(Thanks to Pete Goodliffe <pete.goodliffe@pace.co.uk>) 

See: http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html

This offers an interesing technique to all those who can't get
the MIDI device to work. The Version 2.10.2 of the MIDI to WAVE converter
and player TiMidity++ ( http://www.goice.co.jp/member/mo/timidity)
now has a server mode. In this mode TiMidity++ behaves like a hardware
MIDI synthesizer.

--
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)



From mutex-owner@mail.gmd.de  Mon Mar 12 04:45:16 2001
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Date: Sun, 11 Mar 2001 19:08:18 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Subject: multipart score in M-Tx
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Hi All,

Please remind me if this is possible in M-Tx (not in PMX or MusixTeX
itself).

I'd like to get the following (using Latex denotations for brevity):

                  \Large Pachal Canon
                                              \it Composer
                       \large Ode 1
System 1
...
System N
                       \large Ode 2
System 1
...
System M

etc

Or do I have to use U: and zcharnote to properly position the Ode
titles?

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Mon Mar 12 09:37:42 2001
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Date: Mon, 12 Mar 2001 09:15:52 +0100
From: Christian Mondrup <scancm@biobase.dk>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> Please remind me if this is possible in M-Tx (not in PMX or MusixTeX
> itself).
> 
> I'd like to get the following (using Latex denotations for brevity):
> 
>                   \Large Pachal Canon
>                                               \it Composer
>                        \large Ode 1
> System 1
> ...
> System N
>                        \large Ode 2
> System 1
> ...
> System M
> 
> etc
> 
> Or do I have to use U: and zcharnote to properly position the Ode
> titles?
> 

The pmx heading command 'h' should - almost - do what you want, see
below. I write 'almost' since the centering of the first subtitle
differs from those of the subsequent subtitles, and I'm not able to
explain why. However, you'll be able to compensate for it by means of
extra spaces: \centerline{Subtitle 1 ~ ~ ~}

Title: My title
Composer: My composer
Style: SATB
Meter: C
Bars/Line: 4

%%h
%%\centerline{Subtitle 1}
g4 g g g | g g g g | g g g g | g g g g |
g4 g g g | g g g g | g g g g | g g g g |
g4 g g g | g g g g | g g g g | g g g g | 
g4 g g g | g g g g | g g g g | g g g g | 

%%h
%%\centerline{Subtitle 2}
g g g g | g g g g | g g g g | g g g g |
g g g g | g g g g | g g g g | g g g g |
g g g g | g g g g | g g g g | g g g g | 
g g g g | g g g g | g g g g | g g g g | 

%%h
%%\centerline{Subtitle 3}
g g g g | g g g g | g g g g | g g g g |
g g g g | g g g g | g g g g | g g g g |
g g g g | g g g g | g g g g | g g g g | 
g g g g | g g g g | g g g g | g g g g | 


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Mon Mar 12 20:13:36 2001
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To: mutex@gmd.de
Subject: Changing the default font
Date: Mon, 12 Mar 2001 19:40:11 +0100
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Hello everyone,

at the risk of exposing myself as a heretic in TeX-related circles
<grin>, I hereby confess to an implacable loathing of the Computer
Modern fonts. I'd like nothing better than to set things up in such a
way that Palatino becomes the default font for everything my
implementation of TeX does. (It's MikTeX, if that makes any
difference.)

The question is how to go about it, if it's possible. My understanding
of fonts in TeX doesn't go beyond statements such as \font\pal = pplr,
though I recently made some extensive use of that one in a personal
styles file with the result that I now have custom commands for
several varieties of Palatino in several different sizes all ready to
invoke. But is there a way to get TeX -- and most especially MusiXTeX
-- to default to ten-point Palatino rather than CM? And how would one
get, say, M-Tx to produce headings etc. in a font other than CM?

Thanks in advance for any help
Eva

--
"Bach ist der Vater, wir sind die Buben. Wer von uns 
was Rechtes kann, hat's von ihm gelernt." 
            -- W.A.Mozart
From mutex-owner@mail.gmd.de  Mon Mar 12 22:26:41 2001
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Subject: Re: Changing the default font
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This is what i use. 
for palatino i have to activate

\pplfont
 they are called with 
\\input myfonts 

I tried to create fonts for i.e. :

title, subtitle, composer, instrumentname, marks (ie Lento), lyrics.

-----myfonts.tex - cut here -  fix broken lines -----
% Basic fonts
\def\rmfont{
\def\srm{\smalltype\rm} % 8 pt
\def\sbf{\smalltype\bf}
\def\sit{\smalltype\it}
\def\nrm{\normtype\rm} % 10 pt
\def\nbf{\normtype\bf}
\def\nit{\normtype\it}
\def\mrm{\medtype\rm} % 12 pt
\def\mbf{\medtype\bf}
\def\mit{\medtype\it}
\def\bbf{\bigtype} % 14 pt
\def\Bbf{\Bigtype} % 17 pt
\def\BIbf{\BIgtype} % 20 pt
\def\BIGbf{\BIGtype} % 25 pt
}
\def\phvfont{% Helvetica
\font\srm=phvr at 8truept
\font\sbf=phvb at 8truept
\def\sit{\smalltype\it}
\font\nrm=phvr at 10truept
\font\nbf=phvb at 10truept
\def\nit{\normtype\it}
\font\mrm=phvr at 11truept
\font\mbf=phvb at 11truept
\def\mit{\medtype\it}
\font\bbf=phvb at 14truept
\font\Bbf=phvb at 17truept
\font\BIbf=phvb at 20truept
\font\BIGbf=phvb at 25truept
}
\def\pplfont{% Palatino
\font\srm=pplr at 8truept
\font\sbf=pplb at 8truept
\font\sit=pplri at 8truept
\font\nrm=pplr at 10truept
\font\nbf=pplb at 10truept
\font\nit=pplri at 10truept
\font\mrm=pplr at 12truept
\font\mbf=pplb at 12truept
\font\mit=pplri at 12truept
\font\bbf=pplb at 14truept
\font\Bbf=pplb at 17truept
\font\BIbf=pplb at 20truept
\font\BIGbf=pplb at 25truept }
%
% musixsize dependent fonts
\def\musf{\def\snbf{\ifnum\musicsize=16\sbf\else\nbf\fi}
\def\nmbf{\ifnum\musicsize=16\nbf\else\mbf\fi}
\def\mbbf{\ifnum\musicsize=16\mbf\else\bbf\fi}
\def\bBbf{\ifnum\musicsize=16\bbf\else\Bbf\fi}
\def\BBIbf{\ifnum\musicsize=16\Bbf\else\BIbf\fi}
\def\BIBIGbf{\ifnum\musicsize=16\BIbf\else\BIGbf\fi}
%
\def\snit{\ifnum\musicsize=16\sit\else\nit\fi}
\def\nmit{\ifnum\musicsize=16\nit\else\mit\fi}
%
\def\ft{\BIbf} % title (i.e. T command in PMX)
\def\fst{\mbf} % smalltitle (i.e. h command in canons)
\def\fht{\mrm} % subtitle (i.e. h command after T command)
\def\fcompo{\nrm} % composer (i.e. right side in subtitle)
\def\finstr{\mit} % intrumentname (i.e Bass, Piano )
\def\flm{\mrm} % lyrics (medium)
\def\fln{\nrm} % lyrics (normal)
\def\flmit{\mit} % lyrics (medium italics)
\def\flnit{\nit} % lyrics (normal italics)
\def\ffp{\srm} % font for fingerprints
\def\fmark{\nmit} % markings (i.e. "D.C.")
\flm
}
%
% Personal commands
%
\def\lstrut{\bbf\vphantom{M}} % make space between lyrics
%
\def\bnf{\ifnum\musicsize=16\nit\else\mit\fi}% barno font
\let\barnofont=\bnf
%
\makeatletter
\def\mywritebarno{\ifnum\barno>1 \relax
 \ifdim\clef@skip=\z@\relax \y@=16pt \else\y@\clef@skip\relax \fi
 \hbox to \y@{\hss\barnofont\the\barno\barnoadd\hss}\fi}
\makeatother
\let\writebarno\mywritebarno
\def\shiftbarno{0pt}
\ifnum\musicsize=16\def\raisebarno{2.5\Interligne}\else\def\raisebarno{2\Interligne}\fi
%
\rmfont\musf % standard musixtex fonts
%\phvfont\musf % Helvetica
%\pplfont\musf % Palatino
%
----------------------

From mutex-owner@mail.gmd.de  Tue Mar 13 10:41:04 2001
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Dear mutex subscribers.

The continued activities of the GMD music archive has now been secured
thanks to the staff of a server located at the university of Aalborg,
Denmark, http://sunsite.dk having support of OpenSource software
development projects as one of its goals.

Thus the web- and ftp archives of the MusiXTeX-and-friends software and
the scores will have their future addresses at that server. That goes
for the mailing list as well.

In connection with the move to the new server a few questions arise and
some tasks have to be undertaken:

- during a previous discussion thread there has been proposals to rename
the server to the memory of Werner Icking. Among the suggestions I have
seen for such a name are 'music.wi' and 'icking-music-archive'. However,
noone should hesitate from adding new suggestions. This name should be
used for http://<our_archive_name>.sunsite.dk/ and
ftp://sunsite.dk/projects/<our_archive_name>/

- At a prominent place of the web site there should be a dedication to
Werner. I hereby request the creation of a beautiful and powerful text
for that purpose.

- new names has been suggested for the mailing list as well, e.g.
'musixtex@sunsite.dk' and 'musix-pmx@sunsite.dk'. Other suggestions?

The below listed tasks were alle undertaken by Werner but could and
should now be attended separately. Hence this is a request for
voluntaries to the tasks of a

- scores editor

- software editor

- mailing list moderator

Regards
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Wed Mar 14 08:10:03 2001
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Date: Tue, 13 Mar 2001 22:21:28 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi All,

Is there a special symbol for ritenuto in M-Tx or PMX? Or do I have to
just write it as a text and select manually an appropriate font (like
one used for ppp, mf; BTW, what's its name?)?

Thank you in advance

Alexander
From mutex-owner@mail.gmd.de  Wed Mar 14 10:12:33 2001
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Date: Wed, 14 Mar 2001 09:31:32 +0100
From: Christian Mondrup <scancm@biobase.dk>
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To: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: rit.
References: <3AAF0DE8.4288D16B@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi All,
> 
> Is there a special symbol for ritenuto in M-Tx or PMX? Or do I have to
> just write it as a text and select manually an appropriate font (like
> one used for ppp, mf; BTW, what's its name?)?
> 

The pmx dynamics command should do what you want, e.g. 

g D"rit."

It prints the text using \medtype\it
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Wed Mar 14 12:27:52 2001
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Date: Wed, 14 Mar 2001 11:53:39 +0100
To: mutex@gmd.de
From: Luigi Cataldi <luicatal@tin.it>
Subject: Re: http://sunsite.dk/, future server for the GMD music archive
In-Reply-To: <3AADDCC8.BEFA21DA@biobase.dk>
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At 09.39 13/03/01 +0100, you wrote:
>Dear mutex subscribers.
>
>The continued activities of the GMD music archive has now been secured
>thanks to the staff of a server located at the university of Aalborg,
>Denmark, http://sunsite.dk having support of OpenSource software
>development projects as one of its goals.
>

A very good choise! A very important site in the world!

>- during a previous discussion thread there has been proposals to rename
>the server to the memory of Werner Icking. Among the suggestions I have
>seen for such a name are 'music.wi' and 'icking-music-archive'. However,
>noone should hesitate from adding new suggestions. This name should be
>used for http://<our_archive_name>.sunsite.dk/ and
>ftp://sunsite.dk/projects/<our_archive_name>/
>
>- new names has been suggested for the mailing list as well, e.g.
>'musixtex@sunsite.dk' and 'musix-pmx@sunsite.dk'. Other suggestions?
>

All the names you suggest are ok for me.

>- At a prominent place of the web site there should be a dedication to
>Werner. I hereby request the creation of a beautiful and powerful text
>for that purpose.
>

For that purpose I can't write nothing because my english dosen't allow it,
but I have some suggestions. I think that we have to emphasize that
musixtex, pmx and the other programs are like the language: important if
used and diffused. Werner make e very good work in that direction, not only
with the "hilfe", but with the example of the scores of his archive. From
there I (and I'm an humanist, not a computer-guru) learned the use of the
pmx and from there I learned how other people solve complicated typesetting
and musical problem. I think we are a little musical community and he was
the creator of it.

>The below listed tasks were alle undertaken by Werner but could and
>should now be attended separately. Hence this is a request for
>voluntaries to the tasks of a
>
>- scores editor
>
>- software editor
>
>- mailing list moderator
>

I haven't the tecnical skill for this purpose, but I can contribute in
musicological questions, if needed.

Luigi Cataldi


From mutex-owner@mail.gmd.de  Thu Mar 15 03:50:54 2001
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Date: Wed, 14 Mar 2001 18:24:31 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi Christian,

Christian Mondrup wrote:
> The pmx dynamics command should do what you want, e.g.
> 
> g D"rit."

Thank you, but how could I use it in M-Tx. Looks like it doesn't pass it
to PMX.

Alexander
From mutex-owner@mail.gmd.de  Thu Mar 15 07:02:01 2001
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From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "mutex@gmd.de" <mutex@gmd.de>
Subject: RE: rit.
Date: Wed, 14 Mar 2001 21:43:04 -0800
Organization: PCH Publishing
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On Wednesday, March 14, 2001 12:32 AM, Christian Mondrup 
[SMTP:scancm@biobase.dk] wrote:
> "Alexander V. Voinov" wrote:
> >
> > Hi All,
> >
> > Is there a special symbol for ritenuto in M-Tx or PMX? Or do I
> > have to
> > just write it as a text and select manually an appropriate font
> > (like
> > one used for ppp, mf; BTW, what's its name?)?
> >
>
> The pmx dynamics command should do what you want, e.g.
>
> g D"rit."
>
> It prints the text using \medtype\it
> --

I'll also point out that the standard dynamics symbols (e.g. \ppp), 
which pmx uses as is, have the letters a little closer together than 
the default spacing. It's a subtlety that helps add to the 
high-quality appearance of \musixtex scores.

--Don Simons



From mutex-owner@mail.gmd.de  Thu Mar 15 09:48:42 2001
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CC: "mutex@gmd.de" <mutex@gmd.de>
Subject: Re: rit.
References: <3AAF0DE8.4288D16B@quasar.ipa.nw.ru> <3AAF2C64.5DCD492B@biobase.dk> <3AB027DF.91F1EFD3@quasar.ipa.nw.ru>
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"Alexander V. Voinov" wrote:
> 
> Hi Christian,
> 
> Christian Mondrup wrote:
> > The pmx dynamics command should do what you want, e.g.
> >
> > g D"rit."
> 
> Thank you, but how could I use it in M-Tx. Looks like it doesn't pass it
> to PMX.

Before posting my answer yesterday I tested the example within an M-Tx
source file - I most often do so before posting answers. Since the pmx D
command works for me and not for you I tend to seek the explanation of
this different behaviour in the version of M-Tx being used. I do all my
M-Tx typesetting with the latest patched version
ftp://ftp.gmd.de/music/musixtex/software/mtx/mtx052_patch.zip. 
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Mar 15 11:30:25 2001
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Is there a pmx command which allows to horizontally shift a note by an
amount different to its own head width? This is sometimes necessary when
two voices within the same stave have notes of same height but different
length at the same beat (e.g. "g0 // g2r", which produces a clash because
the half note should be shifted by the width of a whole note). 

thanks in advance
  Bernhard

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Subject: Re: The future of the GMD music archive.
Cc: scancm@biobase.dk, mutex@gmd.de, gnu-music-discuss@gnu.org
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Anthony Fok wrote:
>On Tue, Feb 20, 2001 at 01:40:00PM +0100, Christian Mondrup wrote:
>> Dear list members.
>> Werner's death and approaching changes within the GMD organization until
>> now hosting our music archive have forced us to prepare for a move of
>> the archive to another internet site. A sub group of mutex subscribers
>> have been discussing these matters for some days without finding an
>> obvious solution on the problem. I therefore ask 'out into the open'
>> whether someone among you have a proposal for a preferably non-profit
>> (academic?) networking organization willing to host the sheet music
>> archive and the mutex mailing list. We allready have offer for a site to
>> take care of the typeseting software.
>
> How about Mutopia?  http://www.mutopiaproject.org/
>
> While most of the music on Mutopia are typeset with GNU LilyPond,
> it seems to me that both Mutopia and the GMD Music Archive have similar
> goals: to help share beautiful sheet music to everyone for free.

Our goals are similar, but the GMD Music Archive has always accepted music
typeset using any software, and with pretty much any restrictions as long
as the printed music can be distributed for free.

Mutopia, on the other hand, only accepts music typeset using software that
uses an open source file format (currently we only have LilyPond scores,
but I see no reason why this shouldn't be extended in theory), and that is
free to distribute, perform /and/ modify.

> It would be really nice to see the GMD Music Archive become part of Mutopia. 
> Probably in a separate section, or perhaps eventually merged into one,
> whatever works.  I hope that this will also help to gather the talents of
> MusiXTeX and LilyPond (etc.) users.  :-)

I can't see the archives merging because of the above issues, but anyone who
has music on the GMD archive is welcome to submit it to Mutopia if it meets
our acceptance criteria.

Chris

-- 

Chris Sawer - chris@sawer.uklinux.net - Mutopia Maintainer

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Date: Mon, 5 Mar 2001 13:13:07 -0500

From: Chuck Bacon <<<underline><color><param>0000,8000,0000</param>crtb@helix.nih.gov</underline></color>>

To: David Bobroff <<<underline><color><param>0000,8000,0000</param>bobroff@centrum.is</underline></color>>

cc: <<<underline><color><param>0000,8000,0000</param>mutex@gmd.de</underline></color>>

Subject: Re: staff_paper

In-Reply-To: <<<underline><color><param>0000,8000,0000</param>3.0.6.32.20010304084643.007abc20@centrum.is</underline></color>>

Message-ID: <<<underline><color><param>0000,8000,0000</param>Pine.SGI.4.32.0103051244310.4887599-
100000@helix.nih.gov</underline></color>>

MIME-Version: 1.0

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On Sun, 4 Mar 2001, David Bobroff wrote:

<color><param>7F00,0000,0000</param>> I recall many months ago that there was a solution posted here for how to

> make blank staff paper.  I was sure that I had saved it but I can't find

> it.  Does anyone have the solution?  I have worked out a partial solution

> with pmx but I still need to get rid of the barlines at the ends of the

> lines as well as the final barline.

>

> Thanks,

>

> David Bobroff


</color>At the risk of ruining somebody's evening (I am uncertain about the

"loop" construct below), I think the following should draw music

paper.  It's all in inches, but look below how inches (in.) are

defined in points (72 to the inch, slightly under 3 per mm.).

If you have ghostscript (gs), you can find out a good deal about

this marvelous PostScript language which drives so many printers.

	Chuck Bacon - <underline><color><param>0000,8000,0000</param>crtb@cape.com</underline></color> (preferred over Helix address)


%!PS-Adobe

%  Staff paper, you ask?

/in. { 72 mul } bind def


% Essential paper parameters

/copies 1 def		% Change this after debugging!

/bottom 0.75 in. def	% No marks below this

/top 10.0 in. def	% Bottom of top staff

/leftmar 0.75 in. def	% Space at left

/rightmar 8.0 in. def	% Assumes 8.5" paper

/lineweight 1.0 def	% Thickness of line in points

/linespace .125 in. def	% Space between lines for 1/2-in. staff

/staffsep 1.0 in. def	% Space between staves

/linesperstaff 5 def	% (Usually a nobrainer)


/drawpage {

  /Ystaff bottom def

   {

    /Y Ystaff def

    lineweight setlinewidth

    1 1 linesperstaff {

      leftmar Y moveto rightmar Y lineto

      /Y Y linespace add def

     } for		% We've just drawn five lines!

    stroke

    /Ystaff Ystaff staffsep add def

    Ystaff top get { break } if

   } loop

  showpage

 } bind def


1 1 copies { drawpage } for


% That's all!



<nofill>
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To: "David =?iso-8859-1?q?Gonz=E1lez?=" <<<underline><color><param>0000,8000,0000</param>dgonzal@quanta.net.py</underline></color>>

Cc: "Mutex List" <<<underline><color><param>0000,8000,0000</param>mutex@gmd.de</underline></color>>

Subject: Re: The future of the GMD music archive.

References: <<<underline><color><param>0000,8000,0000</param>000201c09c18$ada51800$46c6fad8@dgonzal</underline></color>>

X-Face:   #0j-Ll[fajrfupWYMv&wa\m7!Sh=&3;JE-_&M-
L,ULz(aE8iu%m1SHa5wG.V{3B:Fdnd/T# 
<<P<<b~',,9%pqj#J'<underline><color><param>0000,8000,0000</param>x</underline></color>eH2{~YMDq$F9i|daAfaC<underline><color><param>0000,8000,0000</param>Slo)*ncgkI||wcci_q,RTdM_0y:&</underline></color>w5
T4|OH-i{/>O -
}0pPGYw%t1z`o&T_c=)p8l<<!c+@Ih&mLQq7Q?o:{e'Jch`"Pb%DVQ&o+Pz>[}
7R\={[@B*Jyj*.L4 hnJ*AXb

From: Laura Co<underline><color><param>0000,8000,0000</param>nrad <<lconrad@gamesville.lycos.com>

</underline></color>Date: 21 Feb <underline><color><param>0000,8000,0000</param>2001 10:50:44 -0500

</underline></color>In-Reply-To: <<000201c09c18$ada51800$46c6fad8@dgonzal>

Message-ID: <<kh7lmr0hw6j.fsf@acme47.nineco.com>

Lines: 28

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</underline><color><param>7F00,0000,0000</param>>>>>> "David" == David González <<dgonzal@quanta.net.py> writes:


</color>    David> About the list, what about moving to yahoogroups?? It

    David> alouds to make a free mailing list, and 20 megs for file

    David> exchanging, the problem is that they put banners into the

    David> messages, there's a fee for getting messages without

    David> banners, perhaps interested members could contribute with

    David> money, I don't think it would be expensive,


I don't think people who use free music software want to read about it 

with mail with egroups banners on it.


One possibility would be to set up a sourceforge project.  It gives

you all the mailing lists you want, and space for archiving anything

you want, and if the developers did want to use their space for

distributions and compiling and CVS they could.  You'd want a couple

of people to volunteer to be administrators.


The ABC project did this, and it seems to work, although it would work 

<underline><color><param>0000,8000,0000</param>better if someone put more work into </underline></color>designing the web pages that let

you navigate between all the things you can do.  The ABC project is at 

https://sourceforge.net/projects/abc/


<underline><color><param>0000,8000,0000</param>-- 

</underline></color>Laura Conrad	mailto:lconrad@gamesville.lycos.com

http://209.202.251.74/qa/ Gamesville.lycos.com

LS15-211, Terra Lycos, Inc., 400-2 Totten Pond Road, Waltham, MA 
02451, USA

(781) 466-7630	fax: (781) 466-7648



<nofill>
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Date: Fri, 23 Feb 2001 00:40:55 +0100

From: Reinhard Katzmann <<<underline><color><param>0000,8000,0000</param>suamor@gmx.net</underline></color>>

To: MuTeX ML <<<underline><color><param>0000,8000,0000</param>mutex@gmd.de</underline></color>>

Subject: Re: Win-Linux PMX text file transfers

Message-ID: <<<underline><color><param>0000,8000,0000</param>20010223004055.A18684@suamor.de</underline></color>>

Mail-Followup-To: Reinhard Katzmann <<<underline><color><param>0000,8000,0000</param>suamor@gmx.net</underline></color>>,

	MuTeX ML <<<underline><color><param>0000,8000,0000</param>mutex@gmd.de</underline></color>>

References: <<<underline><color><param>0000,8000,0000</param>3A957200.8A0B3A51@dslnorthwest.net</underline></color>>

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<underline><color><param>0000,8000,0000</param>dons@dslnorthwest.net</underline></color> on Thu, Feb 22, 2001 at 12:09<underline><color><param>0000,8000,0000</param>:36PM -0800

</underline></color>Sender: katzmann@suamor.de


Hi Don!


On Thu, Feb 22, 2001 at 12:09:36PM -0800, Don Simons wrote:

<color><param>7F00,0000,0000</param>> <underline><color><param>0000,8000,0000</param>I've been experimenting with my latest PMX di</underline><color><param>7F00,0000,0000</param>stribution from

> http://www.dslnorthwest.net/~don/pmx/pmx.html .  It was created and


> sample .pmx files, Linux-PMX had all sorts of problems related to text

> line terminations.  If on the other hand I retrieve the same .pmx files

> by ascii-mode FTP from a Win/DOS box, there are no such problems.  


</color>Yes, the same happened to me as I first checked out pmx on a linux box

(pmxing the example files).


<color><param>7F00,0000,0000</param>> I suppose the CR-LF's are somehow surviving the DOS-ZIP/Linux-unzip

> process, then confusing the Linux-compiled PMX.


</color>Yes, all the files inside an archive are binary, this would not make

a sense otherwise.


<color><param>7F00,0000,0000</param>> I wonder why the Linux compilers (g77 and also lf95) did not suffer the

> same confusion that PMX did regarding the ends of lines.


</color>Not necessarily. gcc exists for Win*/Dos* as well, so maybe the treatment

is already included. I suppose it simply ignores the extra carriage return

(^M) character.


<color><param>7F00,0000,0000</param>> I can imagine that this behavior would irritate people who only work in

> Linux, but I can't really recall anyone complaining in the past, and I

> really don't relish changing PMX to try to compensate for it.  Any

> thoughts, discussion, suggestions?


</color>Well, I simply transformed you pmx-files with dos2unix, see the rpm spec

file included with the rpm archive. Also there are some standards concerning

this. Since Win95, the ISO -8859-1 Format is supported (newer versions 
should

use ISO-8859-15 (Euro) format, but the main problem is, that at least the

notepad editor only works with the DOS Ascii format :-( 

Wordpad and others have no problem with the normal Format, but I don't 
know

what is the default Ascii format of Wordpad (maybe one can choose).

So the only useful solution: No support for DOS Ascii. I'm quite sure it will

vanish in the next years. (Hint: take a look at the file format of this mail)


Best regards,


Reinhard Katzmann

-- <underline><color><param>0000,8000,0000</param>

</underline></color>E-Mail: reinhard@suamor.de

New GnuPG Public Key available on request

Projekte: Datenbank und -schnittstelle für einen Fledermausroboter

          Datenbankanbindung und Demonstrationsserver für Pincity


<nofill>
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Date: Thu, 22 Feb 2001 20:46:37 +0000

Subject: Re: Question about note symbols

From: Hylton Boothroyd <<<underline><color><param>0000,8000,0000</param>orshb@wbs.warwick.ac.uk</underline></color>>

To: mutex list <<<underline><color><param>0000,8000,0000</param>mutex@gmd.de</underline></color>>

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<color><param>7F00,0000,0000</param>> At present time, MusiXTeX fonts contain a symbol like

>     |O|

> for notes of undefined durations (i.e. in psalms). But I get a request

> of symbols like:

>    ||O||


</color>I was away from my books and music Daniel posted his message.  My main

interest is in church music that can be used now, but I have quite a

collection of music of various vintages and of reference books that cite

early usage.  I claim no authority of my own.


General usage in English music

==============================

The general household reference book for music in England is "The Oxford

Companion to Music" written by an entertainingly eccentric Englishman in

1938 and still in print after many editions.  I'll use his English/French/

/American names for notes from the 1970 edition and apologize here for not

knowing well enough any of the naming conventions in this newsgroup.


His opening pages on notation and nomenclature recognise


  ||O||  the breve/carree/double whole-note

    O    the semibreve/ronde/whole-note


and so on down to the hemidemisemiquaver/quadruplecroche/sixty-fourth 
note.

That is, the |O| isn't part of his normal nomenclature and I didn't find a

reference to it in any of the likely places I could think of.


So my first reaction was that MusiXTeX is bound to have ||O|| as part of its

normal set of symbols and that if it doesn't I don't know how Daniel has

escaped for so long!  However, I've read this group for long enough to know

that if he thinks there is a problem then there really is.


My guess is firstly that he has given |O| some properties that normal notes

don't have (and vice versa), and that secondly he is being asked to have two

symbols that look alike but have different properties: a normal breve ||O||

and an undetermined breve ||O||.


I think the gist of what follows is that there is enough evidence from 20th

century usage to support having an undetermined ||O|| for chant-like

singing.  However, the evidence perhaps needs a bit more categorisation 
than

the replies so far have suggested.


20th century usage and non-usage in psalms and canticles

=======================================================
=

Anglican chant

--------------

Modern Anglican chant has no use for either |O| or ||O||.


The standard details of Anglican [Church of England] chant still in

widespread use for psalms (you can hear two of my young grandsons 
singing it

in St George's Church, Windsor Castle most days of the year) was pretty 
well

settled by the "Cathedral Psalter" of 1875.  The standard form of a double

chant is


    r | m m | s || r | m m | m m | s || r | m m | s || r | m m | m m | s ||


where the single verticals are single bar-lines and the double verticals are

double bar-lines, and where the notes are printed as


    r (the reciting note) as a semibreve/ronde/whole-note

    m, a minim/blanche/half-note

    s, a semibreve/ronde/whole-note.


That is, no distinction is made in print between the reciting note of

indeterminate length and closing note of a phrase, and no use is made of the

|O| or the ||O||.  In effect, everything  the chorister needs to know is

encoded in the bar-structure of the four parts of the chant.


Perhaps I should add that although there is some degree of rhythmic

structure away from the reciting notes, good modern practice is to regard

*all* notes as of indeterminate length to fit the choral speech structure of

the words. 


Anglican pseudo plain-song in Anglican chant notation

-----------------------------------------------------

I've found one Anglican psalter example of ||O|| for the undetermined

reciting note of a non-psalm text. The Cathedral Psalter of 1875 has it. I

haven't found it in current psalters.


The Quicunque Vult (Whosoever will be saved) is a sort of extended

catechism. The words are set (in English) in what appears to be a simplified

plain chant harmonised in Anglican chant style -


    r s s || r s s ||


where there are only double bar lines and the notes are printed as


    r (the reciting note) as a breve/carree/double whole-note

    s as a semibreve/ronde/whole-note


and where the second s of the first part is to be sung only if the last word

of the phrase has more than one syllable.


It is an open question whether the breves were used to signify reciting as

part of an otherwise unrepresented convention and the semibreves followed 
as

the next shorter notes, or whether the semibreves were settled first and the

breves followed simply as the next longer notes.


The New Cathedral Psalter of 1910 presented the chant for the Quicunque 
Vult

as

    s s s || s s s ||


More recent psalters drop it altogether.


Explaining Anglican chant

-------------------------

I've found one example in an Anglican psalter of using |O| to explain the

performance of English chant.


The preface, and the preface only, of the New Cathedral Psalter of 1910 
used

your undefined duration symbol as part of its apparatus for trying to

explain how to chant.  I'll call it u.


The editors had a very strong concept of arhythmic reciting on the reciting

note followed by flexible but strictly rhythmic completion of the phrase.

Of their 26 examples, 24 start with u and are followed by an ever more

wondrous collection of half notes (plain or dotted, in duple or triple time

to the bar) and quarter notes (plain only, but again in duple or triple),

the whole including a seasoning of syncopation to go with word stresses!


I don't know whether their expository apparatus was ever repeated.  It

certainly doesn't form part of the current set of Royal School of Church

Music's training materials (RSCM for short).


[Off topic]

The text of the psalms throughout that psalter also had some innovative

features, one of which was the use of heavy bold type to show the final

stressed syllable on the reciting note *and its unstressed successors* on

the reciting note.  As a 14 year old boy I was invited to become the

organist of the church in the next village.  Guess what the village choirmen

did to every one of those syllables in heavy bold type! That's right. Hit

each one as a hard as they could.

[On topic]


Anglican Versicles and Responses

--------------------------------

I've found a regularly used example of undetermined ||O|| in a separate area

of Anglican music.


The RSCM publishes an 8-page A5 booklet with its pointing for the main

canticles (Venite, Te Deum and so on) and with the full four-part harmony

for two short sets of responses that are part of sung Anglican Matins and

sung Anglican Evensong for ordinary occasions.


With one exception there are no intermediate bar-lines in the phrases

(versicles) that the minister sings nor in the phrases that the choir sings

in response.  Eight of the minister's ten phrases, and nine of the ten choir

responses start with a breve/carree/double whole-note that is clearly

intended to signify the reciting note.


The rest makes a free ad hoc use of normal notation to get an effect midway

between harmonised plainchant and Anglican chant.


So, it appears that modern Anglicans don't have much use for either of

Daniel's symbols, but that where they do particularly want to show a

reciting note outside the context of psalms they use an undetermined ||O||,

and would expect to find it as a breve in any music type-setting system.


Roman Catholic Chant for English Psalms

---------------------------------------

There is a strand of non-Anglican chanting in England that uses the

undetermined |O| as standard for the reciting note.


In the mid 20th century Dom Gregory Murray had a great influence on music

for English Roman Catholics.  His way of doing psalms is nowadays used

occasionally in Anglican and other English churches to give variety in

services that don't follow the traditional English Prayer Book.


I thought I had some of his original material on my shelves, but all I have

is a three-volume set of psalms published in the 1970's and saying it

follows "the pattern originally developed by DGM".  The chants are sung in

unison though a simple harmonic accompaniment is provided.


The equivalent of the Anglican double chant is notated as


    u c c s ' u c c s ' u c c s ' u c c s ||

 


where the ' are half bar-lines on the upper stave, || a double bar and

  

    u is Daniel's undetermined duration symbol |O|

    c is crotchet/noire/quarter-note

    s is semibreve/ronde/whole-note


although 7 of a set of 39 chants by various composers uniformly have s for

u.


Examples of earlier Usage

=========================

I pass.


My main interest is hymnody.  Not quite the same thing, and not usually

needing undetermined note values.


Just two rather off-topic snippets from light browsing


1.

In Erik Routley's "The Music of Christian Hymns" GIA 1981, the chapter 
"The

Developed Psalm Tunes" has examples from around the 1550's include 
several

which start with

    a single C-clef, a single note, a double bar line,

    a treble clef, and then the chant-cum-tune.

The single note is usually a semibreve, but two of them are Daniel's |O|


2.

In Maurice Frost's "Historical Companion to Hymns Ancient and Modern"

William Clowes 1962 the musical examples are limited to those where the

sources of tunes in current use diverge significantly from their originals.


Some of the examples from the German 1500's consist entirely of a mix of O

and ||O||.

 



Hylton



From mutex-owner@mail.gmd.de  Thu Mar 15 12:59:19 2001
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Date: Thu, 15 Mar 2001 12:44:59 +0100
From: Andreas Kurth <akurth@wam56.inka.de>
To: mutex <mutex@gmd.de>
Subject: Re: shifted note heads
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Bernhard Lang wrote:

> Is there a pmx command which allows to horizontally shift a note by an
> amount different to its own head width?

You may use the X command, which is explained in detail in the PMX
manual.


-- 
Andreas Kurth
Mannheim, Germany
http://sites.inka.de/wam56

From mutex-owner@mail.gmd.de  Thu Mar 15 13:14:27 2001
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To: mutex@gmd.de
Subject: Re: message formats
In-Reply-To: Your message of "Thu, 15 Mar 2001 11:12:17 +0100."
             <3AB0A391.17752.34A90B7@localhost> 
Date: Thu, 15 Mar 2001 11:53:38 +0000
From: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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is it only me, or is everyone receiving badly formatted messages from
gmd?

double spaced, interlaced with things that look vaguely html-ish, but
with no mime headers.  even outlook (which produces such foully corrupt
message formats it tends to try to interpret any old rubbish) is
failing on these things for me.

what's going on?  is gmd dropping a hint, does anyone know?
From mutex-owner@mail.gmd.de  Thu Mar 15 13:29:11 2001
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Subject: Re: shifted note heads
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Christian Mondrup wrote:
> 
> I don't know any such pmx command. But - as almost always - in-line
> MusiXTeX is your friend:
> 
> Style: SATB
> Meter: C
> Bars/Line: 4
> 
> %%\def\rhl#1{\let\hlsav\hl\def\hl##1{\let\hl\hlsav\roffset{#1}{\hl##1}}}
> 
> g4 g g g | g0 | g4 g g g | g g g g |
> g4 g g g | \rhl{1.25}\ g2 g | g4 g g g | g g g g |
> g4 g g g | g g g g | g g g g | g g g g |
> g4 D"rit." g g g | g g g g | g g g g | g g g g |
> 

Ooooops - I didn't consider the pmx offset command X:

g4 g g g | g0 | g4 g g g | g g g g |
g4 g g g | X1.25S g2 g | g4 g g g | g g g g |
g4 g g g | g g g g | g g g g | g g g g | 
g4 D"rit." g g g | g g g g | g g g g | g g g g | 

-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Mar 15 13:29:41 2001
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Date: Thu, 15 Mar 2001 12:48:29 +0100
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Bernhard Lang wrote:
> 
> Is there a pmx command which allows to horizontally shift a note by an
> amount different to its own head width? This is sometimes necessary when
> two voices within the same stave have notes of same height but different
> length at the same beat (e.g. "g0 // g2r", which produces a clash because
> the half note should be shifted by the width of a whole note).
> 
> thanks in advance
>   Bernhard

I don't know any such pmx command. But - as almost always - in-line
MusiXTeX is your friend:

Style: SATB
Meter: C
Bars/Line: 4

%%\def\rhl#1{\let\hlsav\hl\def\hl##1{\let\hl\hlsav\roffset{#1}{\hl##1}}}

g4 g g g | g0 | g4 g g g | g g g g |
g4 g g g | \rhl{1.25}\ g2 g | g4 g g g | g g g g |
g4 g g g | g g g g | g g g g | g g g g | 
g4 D"rit." g g g | g g g g | g g g g | g g g g | 


-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Thu Mar 15 14:00:08 2001
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To: Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
cc: mutex@gmd.de
Subject: Re: message formats 
In-reply-to: Your message of Thu, 15 Mar 2001 11:53:38 GMT.
             <E14dWK2-0001ll-00@wisbech.cl.cam.ac.uk> 
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> is it only me, or is everyone receiving badly formatted messages from
> gmd?
> 
> double spaced, interlaced with things that look vaguely html-ish, but
> with no mime headers.  even outlook (which produces such foully corrupt
> message formats it tends to try to interpret any old rubbish) is
> failing on these things for me.
> 
> what's going on?  is gmd dropping a hint, does anyone know?

It seems to be the mailing list server, since the header says

From: mutex-request@gmd.de
To: mutex@gmd.de

also, it seems to be mostly mails from February that reappear.

     /Mats


From mutex-owner@mail.gmd.de  Thu Mar 15 14:15:13 2001
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From: "Wolfgang Strobl" <Wolfgang.Strobl@gmd.de>
To: mutex@gmd.de, Robin Fairbairns <Robin.Fairbairns@cl.cam.ac.uk>
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References: Your message of "Thu, 15 Mar 2001 11:12:17 +0100."             <3AB0A391.17752.34A90B7@localhost> 
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Am 15 Mar 2001, um 11:53 hat Robin Fairbairns geschrieben:

> what's going on?  is gmd dropping a hint, does anyone know?

I was having some technical problems with the mail client I'm using for 
doing the management of the mutex list, perhaps this produced those 
messages. Sorry about the inconvenience, I hope it won't repeat.


-- 
      o      (    Wolfgang.Strobl@gmd.de          (+49 2241) 14-2394
     /\        *  GMD Forschungszentrum Informationstechnik GmbH
   _`\ `_<===     Schloss Birlinghoven,           | #include
__(_)/_(_)___.-._ D-53754 Sankt Augustin, Germany | <std.disclaimer>
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Subject: Re: message formats
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At 11.53 15/03/01 +0000, you wrote:
>is it only me, or is everyone receiving badly formatted messages from
>gmd?
>
>double spaced, interlaced with things that look vaguely html-ish, but
>with no mime headers.  even outlook (which produces such foully corrupt
>message formats it tends to try to interpret any old rubbish) is
>failing on these things for me.
>

Me too.

>what's going on?  is gmd dropping a hint, does anyone know?
>

I don't know

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Date: Thu, 15 Mar 2001 09:23:31 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi Christian,

Christian Mondrup wrote:
> > Thank you, but how could I use it in M-Tx. Looks like it doesn't pass it
> > to PMX.
> 
> Before posting my answer yesterday I tested the example within an M-Tx
> source file - I most often do so before posting answers. Since the pmx D
> command works for me and not for you 

Thank you, Christian, it didn't work for me because I didn't know how to
make it work (I gave my M-Tx manual to some people). I got an
explaination privately (thanks!) and will try.

Alexander
From mutex-owner@mail.gmd.de  Thu Mar 15 22:04:07 2001
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Date: Thu, 15 Mar 2001 21:44:34 +0100 (CET)
From: Joerg Anders <j.anders@Informatik.TU-Chemnitz.DE>
To: mutex@gmd.de
Subject: "noteedit" exports LilyPond
Message-ID: <Pine.LNX.4.21.0103152136250.16739-100000@wicht.informatik.tu-chemnitz.de>
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Version 1.10.4 of the KDE/Qt based note editor "noteedit" now has
a LilyPond export feature. See:

http://rnvs.informatik.tu-chemnitz.de/~jan/noteedit/noteedit.html

I tried to import some MIDI files from classical midi archive
(http://prs.net/midi.html) and exported the score to LilyPond:
First Rimsky-Korsakov's Flight of the Bumblebee (15 staffs,
114 measures): At first sight it looks good.

Then (as a crash test)  1st movement of Beethoven's 5th symphonie 
(15 staffs, 620 measures): It works till measure 170.
After that something is wrong.
Don't know whether this is a noteedit or a LilyPond
problem.(?)

In any case: It is relatively simple to post-edit
LilyPond files. So the user can perform some simple
corrections including a costumized score and paper
layout.

--
J.Anders, Chemnitz, GERMANY (ja@informatik.tu-chemnitz.de)

From mutex-owner@mail.gmd.de  Fri Mar 16 00:59:05 2001
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Date: Thu, 15 Mar 2001 15:41:27 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
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Hi All (but mostly Authors & Maintainers)

I see that the stems of quarter notes are made shorter when there is
some material above the staff, but I don't see eights affected by this.
Therefore in many cases the length adjustments for the quarters become
useless because there are some eights around, and you have anyway to
increase the distance between staves in the system.

Can it be addressed in the subsequent versions of the music fonts? Can
more options for the stems lengths be available for the users (because
Finale users are bragging that they can change the height of the stems
whereever they want :-)?

Alexander
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Message-ID: <01C0AD9F.040C63A0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: mutex <mutex@gmd.de>
Subject: RE: shifted note heads
Date: Thu, 15 Mar 2001 22:26:43 -0800
Organization: PCH Publishing
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On Thursday, March 15, 2001 4:03 AM, Christian Mondrup 
[SMTP:scancm@biobase.dk] wrote:
> Christian Mondrup wrote:
> >
> > I don't know any such pmx command. But - as almost always - in-
> > line
> > MusiXTeX is your friend:
> >
> > Style: SATB
> > Meter: C
> > Bars/Line: 4
> >
> > %%\def\rhl#1{\let\hlsav\hl\def\hl##1{\let\hl\hlsav\roffset{#1}
> > {\hl##1}}}
> >
> > g4 g g g | g0 | g4 g g g | g g g g |
> > g4 g g g | \rhl{1.25}\ g2 g | g4 g g g | g g g g |
> > g4 g g g | g g g g | g g g g | g g g g |
> > g4 D"rit." g g g | g g g g | g g g g | g g g g |
> >
>
> Ooooops - I didn't consider the pmx offset command X:
>
> g4 g g g | g0 | g4 g g g | g g g g |
> g4 g g g | X1.25S g2 g | g4 g g g | g g g g |
> g4 g g g | g g g g | g g g g | g g g g |
> g4 D"rit." g g g | g g g g | g g g g | g g g g |
>

No problema, if you don't mind around 84 extra keystrokes :-)
From mutex-owner@mail.gmd.de  Fri Mar 16 09:43:55 2001
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Subject: Re: lengths of the stems in MusiXTeX
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On Thu, 15 Mar 2001, Alexander V. Voinov wrote:

> Hi All (but mostly Authors & Maintainers)
> 
> I see that the stems of quarter notes are made shorter when there is
> some material above the staff, but I don't see eights affected by this.
> Therefore in many cases the length adjustments for the quarters become
> useless because there are some eights around, and you have anyway to
> increase the distance between staves in the system.
>
You can change \stemlength if you like, e.g., \stemlength{4.0}. This
affects all stems, including the eights, so use with care. I need it 
regularly with SATB scores to avoid clashes with the lyrics. It is of
course a global parameter; if you want to change a single note, you
probably would have to change \stemfactor in \down@flag or \up@flag
(not tested).
 
Christof

From mutex-owner@mail.gmd.de  Fri Mar 16 10:12:41 2001
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From: "M. Chapman" <chapman@eeh.ee.ethz.ch>
To: <mutex@gmd.de>
Subject: WinEdt shortcuts?
Date: Fri, 16 Mar 2001 09:55:09 +0100
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Is anybody else out there using WinEdt as an interface for TeX? I am trying
to execute prepmx.exe from a batch file, called from a utility definition in
the Menu Setup, but I can't seem to successfully tell the batch file where
to find my *.mtx file.

I copied my definitions for running musixflx and pmx, which both work
perfectly. In the Menu Setup under &Accesories, I define the Menu Item &MTx
as follows:

Utility
%~B\Bin\MiKTeX\prepmx.bat "%N"

Start in
%P

Requires file: %P\%N.mtx

... and I mark the options "Requires a Document", Set Folder to 'Start In'",
"Save Input File to Disk", "Append (One Instance)", and "Confirm Command".

When I execute the command, the Run Application window shows:
  Run Application  C:\PROGRA~1\Office\LaTeX\WinEdt\Bin\MiKTeX\prepmx.bat
"example"
  Start Folder  D:\michapma\Musik\MusiXTeX\MTx
...which are correct.

I know that the shortcut to prepmx.exe is correctly defined, because a DOS
window appears. However, the error it gives shows that the file was not
found:
  ==> This is M-Tx 0.52 <Music from TeXt> <29 October 1998>
  Input file "example".mtx not found: ERROR on line 10000

I don't know what else to do. WinEdt knows where to do what, but it seems
that the batch file doesn't know where to tell the executable to find the
file example.mtx. Perhaps I defined the Windows shortcut poorly. I would,
since I don't know how to use Windows 2000 properly. So blod.

Thanks to all for any help,
Mike

PS - If I cut and paste prepmx.exe to the folder I want to work in, it
produces the pmx file without problem, so M-Tx is working faultlessly. This
whole mess is just to save me the multiple steps of typing commands - I go
from changes in the *.mtx file to dvi/ps output at the click of a button. I
like that (or would). I know, I know, weak-minded Windows freak. But not by
choice! :)

From mutex-owner@mail.gmd.de  Fri Mar 16 11:28:58 2001
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Date: Fri, 16 Mar 2001 11:07:48 +0100
From: Christian Mondrup <scancm@biobase.dk>
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"M. Chapman" wrote:
> 
> Is anybody else out there using WinEdt as an interface for TeX?
...
> PS - If I cut and paste prepmx.exe to the folder I want to work in, it
> produces the pmx file without problem, so M-Tx is working faultlessly. This
> whole mess is just to save me the multiple steps of typing commands - I go
> from changes in the *.mtx file to dvi/ps output at the click of a button. I
> like that (or would). I know, I know, weak-minded Windows freak. But not by
> choice! :)

I never used WinEdt, probably never will and hence am not able to be
specifically helpful with that. But since you raised the theme of
automating the processing of mtx source file I would like to contribute
with some hints of how to achieve that with the editor emacs available
for *nix as well as Windows.

In my emacs configuration file (.emacs) I associate mtx source files
with tex-mode and use a so-called hook for loading some keyboard macro
definitions together with the mtx source file. Among the functions of
the keyboard macros is launching a unix shell script (or windows bat
script) containing calls of prepmx, pmxab etc. To get all that to work
the first line of my mtx source files always contains the file name as
comment, '% mysource.mtx'. A keyboard macros looks up that filename,
strips the .mtx suffix and saves the rest in a specific register (kind
of variable) the content of which provides the filename argument to the
shell/bat script.

I'll gladly provide my setup to anybody interested.
-- 
Christian Mondrup, Computer Programmer
Scandiatransplant, Skejby Hospital, University Hospital of Aarhus
Brendstrupgaardsvej, DK 8200 Aarhus N, Denmark
Phone: +45 89 49 53 01
From mutex-owner@mail.gmd.de  Fri Mar 16 16:18:16 2001
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Mike,

Is your batch file in a directory that's listed in your path
statement? Like you, I run Win2k (though, in my case, it's by choice
-- I *have* to run Windows apps as part of my day job, and my spare
time is too rare and too precious to waste any of it on installing and
learing another OS just as a matter of principle). Anyway, I had
similar problems to you when calling a batch file from within the TeX
editor (WinTeX2000) until I moved the batch file into the same
directory that contains all my executables (...\texmf\miktex\bin, or
something of the sort.)

That done, there's no need to specify a "requires file" option; all I
do is add %f to the command line to get it to ignore filename
extensions and check the "force execution on current file" box.

Is any of this any help? :)

Eva

--
"Bach ist der Vater, wir sind die Buben. Wer von uns 
was Rechtes kann, hat's von ihm gelernt." 
            -- W.A.Mozart
From mutex-owner@mail.gmd.de  Sat Mar 17 06:55:44 2001
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Date: Fri, 16 Mar 2001 21:29:57 -0800
From: "Alexander V. Voinov" <avv@quasar.ipa.nw.ru>
Organization: Fear of the Lord is the beginning of wisdom
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Hi All,

I was asked quite a while ago whether it would be possible for me to
submit the source code of my score to the Community. There is no problem
with this, except the lyrics. It is in Church-Slavonic, and as far as I
know, at least in the USA, people who would be interested in these
scores, usually know how to read and pronounce both Civil and Church
versions of the Slavonic alphabet. For the rest, I doubt that a naive
latin transliteration would help. Although I know that GMD archive
contains some transliterated scores, like Pater Noster (Otche Nash),
etc. From the third side, leaving lyrics intact would require one's TeX
installation to be consistent in the multilingual sense (it's default
for tetex and miktex though). Therefore I ask the community for an
advice.

The scores as PS/PDFs can be viewed and downloaded from here:

http://www.sobor.org/cgi-bin/music/Scores

(The license, expressed there in Russian, restricts their use for the
Orthodox Church singing and general educational purposes; this is
because some of them have living authors, whose rights override much
more liberal licensing from myself)

Alexander
From mutex-owner@mail.gmd.de  Sat Mar 17 20:31:35 2001
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Message-ID: <01C0AED2.AC5E4BC0.dons@dslnorthwest.net>
From: Don Simons <dons@dslnorthwest.net>
Reply-To: "dons@dslnorthwest.net" <dons@dslnorthwest.net>
To: "'mutex@gmd.de'" <mutex@gmd.de>
Subject: Very incremental PMX beta
Date: Sat, 17 Mar 2001 11:08:56 -0800
Organization: PCH Publishing
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I've just uploaded pmx2302 to 
 http://www.dslnorthwest.net/~dons/pmx/pmx.html .

Dirk Laurie asked to demote an incorrect ending character from an 
error to a warning, after inserting a "/".  Version 2.302 contains my 
attempt to do that.  Please inform me of any incompatibilities or 
other problems with this.

--Don Simons
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Date: Sun, 18 Mar 2001 01:07:52 +0000 (GMT)
From: Howard Gilbert <post@howard-gilbert.uklinux.net>
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To: mutex@gmd.de
Subject: Re: message formats
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On Thu, 15 Mar 2001, Robin Fairbairns wrote:

> is it only me, or is everyone receiving badly formatted messages from
> gmd?
> 
> double spaced, interlaced with things that look vaguely html-ish, but
> with no mime headers.  even outlook (which produces such foully corrupt
> message formats it tends to try to interpret any old rubbish) is
> failing on these things for me.
> 
> what's going on?  is gmd dropping a hint, does anyone know?
> 

Hi Robin,

Me too but yours was OK.,

-- 
Best wishes,
Howard.
(Dr A.H.Gilbert, Thornaby-on-Tees, Nth Yorkshire.)
"An expert is a man who has made all the mistakes which can be made in a very narrow field." Niels Bohr (1885-1962)