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%format olatex

\ifx\undefined\documentclass
  \documentstyle[twoside,11pt,docopus,multicol]{report}
\else
  \documentclass[twoside,11pt]{report}
  \usepackage{multicol,docopus}
\fi

\makeindex

\begin{document}

\title{\Huge\bf\OpusTeX\raise1.5ex\hbox{\large\copyright}\\[\bigskipamount]
\LARGE\bf Using \TeX\ to write professional music\\
\Large\sl $\beta$--Test Version \oversion~-- \odate}
\author{\Large\rm Ross \sc Mitchell\\\large\sl
 CSIRO Division of Atmospheric Research,\\\normalsize\sl
 Private Bag No.1, Mordialloc, Victoria 3195,\\ Australia\\\medskip
 \\\Large\rm Andreas \sc Egler\\\normalsize\sl
 Alexanderberg 21A\\\normalsize\sl
 D-38446 Wolfsburg\\\medskip
 \\\Large\rm Daniel \sc Taupin\ddag\\\large\sl
 Laboratoire de Physique des Solides\\\normalsize\sl
 (associ\'e au CNRS)\\\normalsize\sl
 b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex}

\def\endtitlepage{\noindent $^{\ddag}$ {\it For personal reasons, Daniel
Taupin decided to retire from this work. Nevertherless, he has
done an important work about that, % Ansichtssache :/
and I decided to keep his name on this first page. {\sc A. Egler}}\newpage}

\maketitle
\clearpage

\thispagestyle{empty}

\null
\vfill

\begin{center}
\Large Coauthors:

\rm Stanislav \sc Kneifl\\
\tt kneifl@at.ibmmail.com

\rm Youping \sc Huang\\
\tt huang@cupat.ccc.columbia.edu
\end{center}

\vfill

\begin{flushright}\it
If you are not familiar with \TeX{} at all\\
I would recommend to find another software\\
package to do musical typesetting.\\
Setting up \TeX{} and \OpusTeX\\
on your machine and mastering it\\
is an awesome job which gobbles up\\
a lot of your time and disk space.\\[\medskipamount]
But, once you master it...\\[\smallskipamount]
{\sc Hans Kuykens}
\end{flushright}
\clearpage

\setcounter{page}1
\tableofcontents
\setcounter{secnumdepth}3
\pagestyle{headings}
%%%%%%%
\chapter{What is \OpusTeX?}
%%%%%%%
\hrule\smallskip
\section*{*Preface}
OpusTeX is still a beta-test Version and only dedicated for those, who
want to work with and --- more important --- to work on.
I provide, that you have some experience installing TeX-packages.

The internals and few externals may change substantially until
version 1.0 comes up!

Report bugs either to \verb|mutex@gmd.de| or to
\verb|Andreas_Egler@wob.maus.de|

This version REPLACES all earlier versions.

We apologize for the current chaotic state of the documentation. We hope to
have this problem solved with the next version. Hints for some commands can
be found inside the .tex source file of the documentation.

Sections with a star indicate that text is missing, or that something will
change in future versions. The same for `???' and '.!.'.

Please follow this rules: Use only non-spacing notes, because planned
removal of spacing notes. Use for every note column a own \verb|\notes...\en|
pair, because accidental space, text setting routines, autonotes, ...

But still expect some more changes
(only a few local minor changes --- like before).\hfill\ae
\smallskip\hrule\medskip

\OpusTeX\ is a set of \TeX\ macros to typeset polyphonic, orchestral or
choral music. It is mainly intended to be used to type wide
scores --  because true musicians seldom like to turn pages frequently
 -- and this is not really compatible with \LaTeX's standard page
formats, even the \texttt{A4.sty} the \verb|\textheight| and
\verb|\textwidth|, are too small for musicians' needs.

However, a \LaTeX\ style has been also provided (and it is used for the
typing of the present paper) but this \texttt{opustex} style is fit for
musicographic books containing musical examples rather than for scores used in performance.

It should be emphasized that \OpusTeX\ is not intended to be used as a
compiler to translate  \ixem{standard music
notation} into \TeX\, nor to solve aesthetic problems in
music typesetting. \OpusTeX\ simply typesets staves, notes, chords, beams, slurs
and ornaments as requested by the composer. Since it makes very few
typesetting decisions, \OpusTeX\ can be a versatile and rather
powerful tool. However, due to the amount of information to be
provided to the typesetting process, coding \OpusTeX\ might appear to be
rather complicated, as is keyboard or orchestral music.
Therefore, it should be processed beforehand by some pre-compiler in the
case of the composer/typesetter wanting aesthetic decisions to be made
automatically by somebody (or something) else\footnote{A short
description of all known compilers for \OpusTeX\ can be
found on page \pageref{compiler}f.}.
%%%%%
\section{\OpusTeX\ principal features}
%%%%%
%%%
\subsection{Music typesetting is two-dimensional}
%%%
Most people who have learned just a bit of music at college, probably think
that music is a linear sequence of symbols like literary texts to be
\TeX-ed. In fact, with the exception of strictly monodic instruments like
most orchestral wind instruments and solo voices, one should be aware that
reading music is actually a matricial operation: the non-soloist musician
successively reads \textsl{columns} of simultaneous notes which he actually
plays if he is at a keyboard instrument (piano, clavichord or organ), or that he reads
and watches if he conducts an orchestra.

In fact, our personal experience of playing piano and organ as well as
sometimes helping as an alternate Kapellmeister leads us to conclude that
actual music reading and composing is a slightly more complicated
intellectual process: music reading, music composing and music thinking
seem to be a three layer process.
The musician usually reads or thinks several consecutive notes
(typically a long \textsl{beat} or a group of logically connected notes),
then he goes down to the next instrument or voice and finally assembles
the whole to build a segment of music lasting roughly a few seconds.
Then he handles the next \textsl{beat} or \textsl{bar} of his score.

Thus, it appears that the humanly logical way of coding music consists
in horizontally accumulating a set of \textsl{vertical combs} with
\textsl{horizontal teeth} as described in Table \ref{readtable}.
 \begin{table}
 \begin{center}
 \begin{tabular}{|ll|ll|}\hboxit{note sequence one}
  &\hboxit{note seq.~four}
  &\hboxit{note seq.~seven}
  &\hboxit{note seq.~ten}\\\hboxit{note sequence two}
  &\hboxit{note seq.~five}
  &\hboxit{note seq.~eight}
  &\hboxit{note seq.~eleven}\\\hboxit{note sequence three}
  &\hboxit{note seq.~six}
  &\hboxit{note seq.~nine}
  &\hboxit{note seq.~twelve}
 \end{tabular}
 \end{center}
 \caption{The order in which a musician reads music}\label{readtable}
 \end{table}
This is the reason that in \OpusTeX\ the fundamental \textsl{macro} is
of the form
\begin{center}
\verb|\notes ... & ... & ... \en|
\end{center}\index{\&}
\noindent where the character \verb|&| is used to separate notes to be
typeset on respective staves of the various instruments, starting from the
bottom.

In the case of an instrument whose score is written on
several staves they are separated by the
character \|. \index{"|@{\tt\char'174}}
Thus, a score written for a keyboard instrument and
a monodic instrument (for example piano and violin)
would be coded as follows:
\begin{center}
\verb=\notes ... | ... & ...\en=
\end{center}
\noindent for each column of simultaneous \textsl{groups of notes}.
It is worth emphasizing that we actually said \textsl{``groups of notes''}:
this means that in each section of the previous macro, the music typesetter is
welcome to insert not only chord notes to be played at once, but small
sequences of consecutive notes which build something he understands as a
musical phrase. This is why note typing macros are of two kinds in \OpusTeX.
Note macros which are not followed by spacing afterwards, and those
which induce horizontal spacing afterwards.
%%%
\subsection{The spacing of the notes}
%%%
It seems that many books have dealt with this problem.
Although it can lead to interesting algorithms, we think it is
not, in practice, an important point.

In fact, each column of notes does not necessarily have the same spacing
and, in principle, this \itxem{spacing} should depend on the shortest
duration of the simultaneous notes. But this cannot be established as a rule,
for at least two reasons:
\begin{enumerate}
\item spacing does not depend only on the local notes,
but also on the context, at least in the same bar.
\item in the case of polyphonic music, exceptions can easily be found.
Here is an example:

\begin{music}
\generalmeter{\meterfrac44}
\startextract\NOtes\zhu j\qd h\hd g\hu k\qd f\en\endextract
\end{music}

\noindent where it can be clearly seen that the half notes at beats 2 and 3
must be spaced as if they were quarter notes since they overlap, which is
obvious only because of the presence of the indication of the
\itxem{meter} 4/4.
\end{enumerate}
So the typesetter is responsible for readable spacings.
Therefore, we have provided the composer/typesetter with a
set of macros which can be found in \ref{newspacings}.
%%%
\subsection{Music tokens, rather than a readymade generator}
%%%
The tokens provided by \OpusTeX\ are:
\begin{itemize}
\item the note symbols \textsl{without stem};
\item the note symbols \textsl{with stems, and hooks for eighth notes and
beyond};
\item the indications of beam beginnings and beam ends;
\item the indications of beginnings and ends of ties and slurs;
\item the indications of accidentals;
\item the ornaments: arpeggios, trills, mordents, pinc\'es, turns, staccatos
and pizzicatos, fermatas, etc.;
\item the bars, the meter and signature changes, etc.
\end{itemize}
 Thus, \verb|\wh a| produces an \textsl{A (of nominal frequency 222.5~Hz,
unless transposed)} of duration being a
\textsl{whole note}. In the same way, \verb|\wh h| produces an \textsl{A
(445~Hz)} of duration represented by a \textsl{whole note}, \verb|\qu c|
produces a \textsl{C (250~Hz approx.)} whose value is a \textsl{quarter note with
stem up}, \verb|\cd J| produces a \textsl{C (125~Hz approx.)} of
duration equal to an \textsl{eighth note with stem down}, etc.

 To generate quarter, eighth, sixteenth, etc. chords, the macro
\keyindex{zq} can be used: it produces a quarter note head whose vertical
position is
memorized and recalled when another stemmed note (possibly with a hook) is
coded; then the stem is adjusted to link all simultaneous notes. Thus, the
perfect C-major chord, i.e.
\begin{music}
\startextract
\NOtes\zq c\zq e\zq g\qu j\en
\endextract
\end{music}
\noindent is produced by:
\begin{quote}
\begin{verbatim}
\NOtes\zq c\zq e\zq g\qu j\en
\end{verbatim}
\end{quote}
or, more concisely, \verb|\zq{ceg}\qu j| (stem up):
in fact, single notes are treated as one-note chords.
%%%%%
\section{*Three-pass system}
%%%%%
\TeX's line breaking procedure implicitly assumes
that a normal line of text will contain many words, so that interword
glue need not stretch or shrink too much to justify the line.
This strategy does not work very well for music. If each bar of music
is treated as a word, in the sense that inter-bar glue is placed
at the end of each bar, then the usual result is the appearance of
unsightly gaps before each bar rule. This follows from the
fact that there are, usually, far more words of text than bars of music
per line.

To address this, a three pass system was developed.
On the first pass, information about each bar is written to
an external file, by default \texttt{jobname.ox1}.
This file begins with a header listing parameters
such as line width, paragraph indentation, clef, sign and meter widths,
as well as first-pass elemental spacing \keyindex{elemskip}.
Width information within the bars is classified either as `soft' or `hard'.
`Soft' widths are those which can be rescaled (eg, a note box),
while `hard' widths represent unscaleable material such as clef symbols,
key signatures and bar rules.

After the first pass, an external routine is run to
determine optimal values of the elemental spacing (\verb|\elemskip|)
for each line, so as to properly fill each line, and to lead to
the piece filling an integral number of lines. This routine was originally
written in FORTRAN and then converted to C rather than \TeX, mainly
because \TeX lacks the ability to handle arrays.  Also, if such a routine
were added to \OpusTeX, storage problems might be exacerbated.

This external routine reads in the file \texttt{jobname.ox1}, and writes its
output to \texttt{jobname.ox2}. The latter file contains a single entry for
each line of music in the reformatted output. The key piece of information
is the revised value of \keyindex{elemskip} for each line.

Then the file is re-\TeX-ed. On this third pass,
the \texttt{jobname.ox2} file is read in, and the information
used as described above.

To give an easy example: After pass 1 you get the following output:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}
\setsign1{-3}
\startpiece
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\er\cu g\en
\bar
\NOtes\qu{^f=f}\en
\raggedendpiece\contpiece% this is cheated, the problem was to get
%                           pass 1 and pass 3 at the same time
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbb0\qb0{=a}\tbq0N\en
\Notes\Dqbu cf\en
\raggedendpiece\contpiece
\NOtes\tr n\qu e\tr n\qu d\en
\bar
\NOtes\qu c\qr\en
\setdoubleBAR\raggedendpiece
\end{music}
After running \texttt{opusflex} and \TeX-ing the second time you'll get:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}
\generalsignature{-3}
\startpiece
\NOtes\qu{ce}\en\bar
\NOtes\qu{gh}\en\bar
\NOtes\qu{=b}\en
\Notes\er\cu g\en\bar
\NOtes\qu{^f=f}\en\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
\Notes\ttie0\Qqbu ed{_d}c\en\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbb0\qb0{=a}\tbq0N\en
\Notes\Dqbu cf\en\bar
\NOtes\tr n\qu e\tr n\qu d\en\bar
\NOtes\qu c\qr\en
\Endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\hsize=100mm
\generalmeter{\meterfrac24}
\generalsignature{-3}
\startpiece
\NOtes\qu{ce}\en\bar
\NOtes\qu{gh}\en\bar
\NOtes\qu{=b}\en
\Notes\er\cu g\en\bar
\NOtes\qu{^f=f}\en\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en\bar
\Notes\ttie0\Qqbu ed{_d}c\en\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbb0\qb0{=a}\tbq0N\en
\Notes\Dqbu cf\en\bar
\NOtes\tr n\qu e\tr n\qu d\en\bar
\NOtes\qu c\qr\en
\Endpiece
\end{verbatim}
\end{quote}
The biggest advantage of using a 3-pass system is the very fast and easy
redesigning, especially of larger masterpieces while changing only one
parameter, namely \keyindex{mulooseness}. This value is analogous to
\TeX's \verb|\looseness| command. For non-\TeX-perts: If you
end a paragraph and state somewhere inside \verb|\looseness=-1|, then
\TeX\ will try to make the paragraph one line shorter than it normally would.

\OpusTeX\ does the same, but for \textsl{sections} instead of  paragraphs.
What is a \textsl{section}? As long as you don't force a line break, this
means the whole piece. When you force a linebreak with either
\keyindex{endpiece}, \keyindex{zendpiece}, \keyindex{Endpiece},
\keyindex{nextline}, \keyindex{znextline}, \keyindex{nextpage} or
\keyindex{znextpage} you start a new \textsl{section}.
Somewhere\footnote{preferably in the very front of them} before you can change
the value of \keyindex{mulooseness} to one other than the default of 0.

Alternatively you can use \keyindex{sectionlines}, e.g.
\verb|\sectionlines=9| will try to reach 9 lines in the current section.
Use it with caution! Use of \keyindex{sectionlines} overrides the
specification of \keyindex{mulooseness}.

To give an easy example, changing the last line in the previous example
to\footnote{Saying {\Bslash sectionlines=3} instead of
{\Bslash mulooseness=1} yields the same in this example.}:
\begin{quote}
\verb|\NOtes\qu c\qr\en\mulooseness=1\Endpiece|
\end{quote}
yields:
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}
\generalsignature{-3}
\startpiece
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\er\cu g\en
\bar
\NOtes\qu{^f=f}\en
\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbb0\qb0{=a}\tbq0N\en
\Notes\Dqbu cf\en
\bar
\NOtes\tr n\qu e\tr n\qu d\en
\bar
\NOtes\qu c\qr\en
\mulooseness1\Endpiece\end{music}
or:
\begin{quote}
\verb|\NOtes\qu c\qr\en\mulooseness=-1\Endpiece|
\end{quote}
yields (a little bit tight, only for demonstration of \keyindex{mulooseness}):
\begin{music}
\hsize=100mm
\generalmeter{\meterfrac24}
\generalsignature{-3}
\startpiece
\NOtes\qu{ce}\en
\bar
\NOtes\qu{gh}\en
\bar
\NOtes\qu{=b}\en
\Notes\er\cu g\en
\bar
\NOtes\qu{^f=f}\en
\bar
\NOtes\qu{=e}\itied0e\qu{_e}\en
\bar
\Notes\ttie0\Qqbu ed{_d}c\en
\bar
\Notes\ibu0b{-2}\qb0{=b}\en
\notes\nbb0\qb0{=a}\tbq0N\en
\Notes\Dqbu cf\en
\bar
\NOtes\tr n\qu e\tr n\qu d\en
\bar
\NOtes\qu c\qr\en
\mulooseness-1\Endpiece
\end{music}
Here is the fastest way to get satisfactory output:
\begin{enumerate}
\item build up the piece bar\footnote{or two or three,
whatever you prefer.} by bar. Pay close attention to correct spacings, and go
on only when you are complelety satisfied with them.
\item \TeX~$\Longrightarrow$ \ttxem{opusflex} $\Longrightarrow$ \TeX.
\item Look at the output and decide if you want to have more or fewer
system lines, e.g.~to fill the page or to get an even number of pages.
\item Adjust \keyindex{mulooseness} or \keyindex{sectionlines}.
\item Delete the \texttt{jobname.ox2} and again\\
\TeX~$\Longrightarrow$ \texttt{opusflex} $\Longrightarrow$ \TeX
\quad{\sl (For hackers: Watch the difference in \texttt{jobname.ox1}!)}
\end{enumerate}
\noindent If you really follow point by point then your whole layout is
ready and you can hold up your \texttt{jobname.ox2}. This counts only as long
as you don't change the spacings in between.

If you get the warning: \verb|You can't use \raise ...|, then read the upper
paragraph again and follow the instruction of point 5.

There are some other advantages. Without using \textsl{glue} it's possible to
compute every horizontal position in a line. This enables using
e.g.~octave lines, without specifying a dimension, but with
\verb|\i...| and \verb|\t...|.
%%%
\subsection{External executable {\tt opusflex}}
%%%
One drawback affecting the portability between different computer platforms
is the executable \ttxem{opusflex}. We are still searching for
people to compile the C-source and maintain it.

On most computers the executable is invoked by typing the name of the program
and the name of the file to be processed. Thus:

\texttt{opusflex jobname.ox1}

Optionally you can add a char to indicate one of the debug modes, which are:
\begin{quote}
\texttt{d } for debug information to screen\\
\texttt{f } for debug information to file \texttt{jobname.oxl}\\
\texttt{s } to get the computed lines immediately on screen
\end{quote}
To allow the easy use with a batch file, \texttt{opusflex} can either be fed
with \texttt{jobname.ox1}, \texttt{jobname.tex} or only
\texttt{jobname}, which all open \texttt{jobname.ox1}.

Alternatively you may use a \texttt{PERL}-script, named \texttt{opusflex.prl}
and coded by \indexname{Aspinwall}P.
%%%
\subsection{*Restrictions and warnings}
%%%
If you have worked with Music\TeX\ before, two main things {\bf did} change.
The spacing (and spacing commands) and the
line breaking.  See \ref{spacing} p.~\pageref{spacing} and
\ref{linebreak} p.~\pageref{linebreak}.

A serious practical problem concerns the effect of unrecorded
spaces such as those created by source lines inside
\verb|\startpiece...\endpiece| which are not ended by
\verb|%|\index{%@{\tt\char37}}, \keyindex{relax} or another control sequences
ending in a letter.
These will result in the dreaded {\bf Overfull hbox} message
appearing during pass 3.

\medskip
\centerline{\boxit{Considerable discipline is needed to avoid this problem!}}

When you start using this software package, you will spend a lot of time
searching for the causes of the o/u-hbox warning which will appear during
pass 3. Otherwise, ignore them during pass 1 but find out why they appear
during pass 3.

In \OpusTeX\ there is no glue (only $\pm$ 1pt behind signatures)
so it works only if every space is recorded correctly.
Never use \verb|\hskip| or \verb|\kern|.
But that's not all, all spacing commands must contain scaleable values.
Scaleable are \verb|\noteskip|, \verb|\elemskip| and \verb|\afterruleskip|,
possibly preceeded by a number or float.

\texttt{opusflex} can't work if the values
of \verb|\noteskip| or \verb|\afterruleskip|
are directly specified to `hard'\footnote{hard values are those which are
not scaleable} values inside \verb|\startpiece| and \verb|\endpiece|.

There are some values which are much more important than in Music\TeX.
These are \verb|\elemskip| and \verb|\afterruleskip|.
Of special importance is the ratio between them if you use
\keyindex{mulooseness} or \keyindex{sectionlines} more often to adjust the
number of lines. All of them are multiplied by the same factor.!.
%%%
\subsection{*\OpusTeX's laws}
%%%
\begin{enumerate}
\item Never end a line with a blank! Or: \textbf{Always} put a "\verb|%|" at
 the end of each line, unless you are quite sure that \TeX\ will understand you
 correctly\footnote{Maybe you should consider reading the \TeX book by
 \indexname{Knuth, Donald E.} the Author of \TeX.}!
 Between \verb|\startpiece| and \verb|\endpiece| \OpusTeX\ forgives NOTHING.
   (one space in the default font (using plain) causes 3.33pt unrecorded space,
     but there is only~$\pm$ 1pt glue in \OpusTeX)
\item \verb|\off| must be used with relative values, like
  \verb|\after[before]ruleskip|, \verb|\noteskip|, \verb|\elemskip|
\item Text of songs and any non \OpusTeX\ text must be put in zero boxes,
  like \verb|\zchar,| \verb|\zcharnote, \rlap, \lrlap, \llap, \uptext, ...|
\item Don't touch either \verb|\noteskip| with hard values,
  nor \verb|\after[before]ruleskip| at all inside
  \verb|\startpiece...\endpiece|
\end{enumerate}
If you end up desperatly searching for the causes of bad linebreaking,
overfull hbox warnings and the like, the time has come to ask an unbiased
program for help. Try running \texttt{caution} on your source file.
This will produce a copy of your source \OpusTeX-code with some lines
starting \verb|%>>>|; they may be helpful.
%%%%%
\section{Some highlights}
%%%%%
%%%
\subsection{Signatures}
%%%
Signatures can be stated either for all instruments, for example by
\keyindex{generalsignature}\verb|{-2}| which sets two flats on each staff, or
separately for each instrument.

Thus, the \keyindex{generalsignature} can be partly overridden by
\keyindex{setsign}~\verb|2{1}| which puts one
sharp on the staff of \itxem{instrument number} 2. Of course, the
current signature may change at any time as well as the meters and clefs.
%%%
\subsection{Transposition}
%%%
 An important question is: \textsl{``can \OpusTeX\ transpose a score~?''}.
The answer is now 99.5~\% \textsl{yes}. If fact, there is an internal register
named \keyindex{transpose} whose default value is zero, but it may be
set to any reasonable positive or negative value. In that case, it offsets all
symbols pitched with letter symbols by that number of pitch steps. However,
it will neither change the signature nor the local accidentals, and if -- for
example -- you transpose a piece written in $C$ by 1 pitch, \OpusTeX\ will
not know whether you want it in $D\flat$, in $D$ or in $D\sharp$. This might
become tricky if accidentals occur within the piece which might have to be
converted to flats, naturals, sharps or double sharps, depending on the new
chosen signature. To avoid this problem, \textsl{relative} accidentals
have been implemented, whose actual output depends on the pitch of
this accidental and of the current signature.\index{relative accidentals}
%%%
\subsection{Selecting special instrument scores}
%%%
Another question is: \textsl{``can I write an orchestral score and extract the
separate scores for individual instruments~?''} The answer is 95~\%
\textsl{yes}: in fact, you can define your own macros
\verb|\mynotes...\en|, \verb|\myNotes...\en| with as many
arguments as there are in the orchestral score (hope it is less than or equal to
9, but \TeX perts know how to work around this) and change its definition
depending on the selected instrument (or insert a test on the value of some
selection register). But the limitation is that the numbering of instruments
may change, so that \verb|\setsign 3| may have to become \verb|\setsign 1| if
instrument 3 is alone. But, in turn, this is not a serious problem for
average \TeX\ wizard apprentices.
%%%
\subsection{Variable staff and note sizes}
%%%
\OpusTeX\ has a standard staff size of 20pt, but allows scores of 16pt.
In addition, any instrument may have a special staff size (usually smaller
than the overall staff size) and special commands \verb|\smallnotesize|
or \verb|\tinynotesize| enable notes (and also beams or accidentals) to be
of a smaller size, in order to show optional notes or \textsl{cadenzas}.
%%%%%
\section{Enhancement limitations}
%%%%%
Many requested improvements have not been
\textsl{yet} implemented for several reasons:
 \begin{itemize}
   \item The authors' natural laziness (!)
   \item More seriously: many of them would require using more
registers; unfortunately, \TeX\ registers are not numerous (256 of each
kind, but we do our best).
   \item We do not think it is wise to introduce in \OpusTeX\ itself a great
number of macros which would be poorly used by most users. The reason is that
\TeX\ memory and --- moreover --- \TeX\ registers are strictly limited and that
unused macros could occupy many of these, leading to things crashing
because of \texttt{TeX capacity exceeded}. So we have started to optimize and
have, in addition, begun building up a library of extentions.
 \end{itemize}
%%%%%
\section{Acknowledgments}
%%%%%
The idea of implementing the present package is due to the previous works
(\mutex)\index{mutex@\protect\mutex} of Andrea \indexname{Steinbach}A and
\indexname{Schofer}A\footnote{Steinbach A. \& Schofer A., \textsl{Theses}
(1987, 1988), Rheinische Friedrich-Wilhelms Universit\"at, Bonn, Germany.},
(Music\TeX)\index{MusicTeX@Music\protect\TeX} of Daniel
\indexname{Taupin}D and (\texttt{muflex}) of Ross \indexname{Mitchell}R.
These works provided the basis of the \MF\ codes, few \TeX-routines
and the first step of the external line-breaks, which are still used
here... with 100\% corrections and updates.

We wish to thank all the people who have written extensions, worked on
the docs, tested the new versions and given hints and help.

Especially thanks to
{\sc E.~Achermann},
{\sc D.~Bobroff},
{\sc R.~Fairbairns},
{\sc H.~Kopka},
{\sc R.~Storlind},
{\sc N.~Schwarz},
{\sc B.~Szukics} and
{\sc A.~Wittig}.

%%%%%%%
\chapter{*Installation}
%%%%%%%
%%%%%
\section{*Getting the stuff}
%%%%%
All of the files are available at \texttt{CTAN}-servers, like
\texttt{ftp.shsu.edu, ftp.tex.ac.uk}, \texttt{ftp.dante.de} and
\texttt{tug2.cs.umb.edu}.
They are also available at all CTAN mirror sites.

\begin{quote}
\texttt{username: }\textsl{ftp}\\
\texttt{password: }\textsl{ftp} or better yet, your email-address\\
\texttt{cd /tex-archive/macros/opustex}\\
\texttt{dir}\\
\texttt{bin}\\
\texttt{get }\textsl{whatever you want or need}\\
\texttt{cd systems}\\
\texttt{get }\textsl{whatever you want or need}
\end{quote}

The directory contains \verb|opus###.tar.gz| and \verb|opus###.zip|. Each
contains the entire distribution. This is for {\tt ftp}-ing convenience.
\textsl{Fonts}\index{fonts} are provided as \texttt{*.mf} and \texttt{*.tfm}
files for all printers or previewers.

Finally, the PK files of specific fonts are provided
in \verb|300pk###.zip| and \verb|600pk###.zip|; getting this file is
unnecessary if you are able to create the fonts from the \MF\ files
\texttt{*.mf} which are included in the main package.

The necessary fonts are \texttt{opus20}, \texttt{opus16}, \texttt{opus13},
\texttt{opus11}, \texttt{opusline} and
\texttt{opussps}\footnote{Inside this file there are
two types of piano brackets available. The default is used in this doc, the
other you can see by printing {\tt musicdoc}. If you prefer the other one,
which was designed by Stanislav \indexname{Kneifl}S, follow the instructions
inside {\tt opussps.mf}.}\zttxem{opussps.mf},
\texttt{oslhu20}, \texttt{oslhu16},
\texttt{oslhd20}, \texttt{oslhd16},
\texttt{oslu20}, \texttt{oslu16},
\texttt{osld20}, \texttt{osld16},
\texttt{oslz20} and \texttt{oslhz20}.
If you want to use the extension file \texttt{opusslu}, you need
following additional fonts:
\texttt{oslhu13}, \texttt{oslhu11},
\texttt{oslhd13}, \texttt{oslhd11},
\texttt{oslu13}, \texttt{oslu11},
\texttt{osld13} and \texttt{osld11}.

\noindent{\sl IMPORTANT: Most fonts are 8-bit fonts, which means they use
the high as well as the low 128 positions.
You need at least \TeX-Version 3.0 !!!}

Another problem arises for drivers with different horizontal/vertical
resolution. Currently a few characters look a bit strange.
This will be fixed next time, perhaps .!. Started. We need $\beta$-testers!
%%%%%
\section{Installing the \TeX\ input files}
%%%%%
Put the following \texttt{.tex} and \texttt{.sty} files in a place,
where \TeX\ searches its input files (\verb|$TEXINPUTS|):

\noindent
\texttt{opusadd.tex}
\texttt{opusbar.tex}
\texttt{opusbm.tex }
\texttt{opuscho.tex}
\texttt{opusdat.tex}
\texttt{opusdia.tex}
\texttt{opusext.tex}
\texttt{opusgre.tex}
\texttt{opusgui.tex}
\texttt{opushea.tex}
\texttt{opuslit.tex}
\texttt{opusltx.tex}
\texttt{opusmad.tex}
\texttt{opusmed.tex}
\texttt{opusper.tex}
\texttt{opuspoi.tex}
\texttt{opusps.tex}
\texttt{opussig.tex}
\texttt{opusslu.tex}
\texttt{opusstx.tex}
\texttt{opussys.tex}
\texttt{opustab.tex}
\texttt{opustex.tex}
\texttt{opustri.tex}
\texttt{opustex.sty}

These files are supported files and will be updated with each new version.
%%%%%
\section{Installing the fonts}
%%%%%
\textsl{All} files with the extension \texttt{.tfm}\footnote{\TeX\ font
metric \textsl{these must be obtained in binary} for \TeX ing the examples
or the doc.} must be copied to the directory where the other
\texttt{.tfm}'s are (\verb|$TEXFONTS|).

If you get the error message:\\
\texttt{! Font ... not loadable: Metric (TFM) file not found.}\\
you have not successfully installed the \texttt{.tfm} files. Try again.

The \texttt{.tfm} contains only the width, height and depth of every
character of a font and is the only font-file necessary for \TeX ing.
For previewing and/or printing, however, you need the pixel fonts. On most
systems they are packed and have the extension \texttt{.pk} (perhaps you
need the \texttt{.gf}-files or \texttt{.300pk}-files or other:
Ask your local \TeX-wizard!)
The \texttt{PK} fonts most widely used (and distributed) are the ones for \texttt{dvi}-drivers with a resolution of
300dpi. For other resolutions refer to your local manual or \TeX-wizard
(\verb|$TEXPKS|).
%%%%%
\section{Driver settings}
%%%%%
Some \texttt{dvi}-drivers allow you to adjust the value of \ttxem{maxdrift}.
A printer or previewer only can set a dot at an integer position.
To save time (at the expense of accuracy) the position of every character is
computed with an integer number. This computing doesn't matter if you print
text. It doesn't  disturb the layout if a character is printed one pixel to
the left or right. Using \OpusTeX\ some features are maintained by `patching'
several characters together, e.g.~beams, slope brackets and one kind of slur.
To avoid little gaps between them or other inaccuracies, it is recommended
to decrease the value of \texttt{maxdrift} to the smallest possible
value\footnote{depends on your implementation, usually `0'.}.
%%%%%
\section{Building the executable {\tt opusflex}}
%%%%%
If you don't find the executable for your system in the distribution,
you have to compile the C source.
It uses plain \texttt{ANSI}-commands, so it should be no problem
to compile the source. Using GNU-C the command for compiling \textsl{could}
be:

\begin{quote}
\texttt{gcc -o opusflex opusflex.c}\\
(or for \texttt{emx+gcc})\\
\texttt{gcc opusflex.c}
\end{quote}
If you don't own a C compiler or you have to fight with system specific
problems, contact the people who do the system support, \ref{system}.
If you want to support an additional system, please send a short note to
\verb|Andreas_Egler@wob.maus.de|.
\begin{table}
\begin{center}
\begin{tabular}{l|l|l}\hline
System&Support&Email\\\hline
Amiga&Stanislav Kneifl&\verb|SKNE1334@barbora.ms.mff.cuni.cz|\\
Atari&Andreas Egler&\verb|Andreas_Egler@wob.maus.de|\\
OS2/Warp&Dr.~Christof Hesse&\verb|ea241@fim.uni-erlangen.de|\\
DOS/Win&Santiago Vila&\verb|sanvila@unex.es|\\\hline
\end{tabular}
\end{center}
\caption{System support\protect\label{system}}
\end{table}\index{System support}
%%%%%
\section{Building a format}\label{formatbuild}
%%%%%
Introducing these files in a \itxem{format} (with \ixem{INITEX}) is a means
of saving computer time and memory.
%%%
\subsection{Starting from nil}
%%%
\begin{enumerate}
\item Create a file called \texttt{opustex.ini} with following content:
\begin{verbatim}
\input plain % or dcplain or eplain or see later for a safer method
%\input hyphen % 'normally' no need for hyphen
\input opustex
% here you can add your most needed files from extension lib
\tracingstats=1
\end{verbatim}
\verb|\def\fmtname{opustex}\let\fmtversion\oversion|
\verb|\dump|
\item \texttt{initex opustex.ini}\footnote{depends on your implementation}.
\item \verb|tex &opustex| \textsl{jobname}\footnote{depends on your
implementation}.
\end{enumerate}
{\sl IMPORTANT: If you \texttt{input} additional files in your format
add \verb|\input filename| in your source for better portability}.
%%%
\subsection{Starting from your usual plain format}
%%%
\begin{enumerate}
 \item First, try to find --- on your favorite system --- whether
 \texttt{tex}
is an executable routine, or a \texttt{tex.bat} command in MS-DOS or a {\sl
shell\/} procedure under {\sc unix}.
 \item If \texttt{tex} is a command try to find the ``initex'' local command:
usually it is either \texttt{initex} or \texttt{tex -i}.
 \item Try to find the name of the ``plain \TeX'' format (usually posted
when \TeX ing anything.)
 \item Then, {\it mutatis mutandis\/}, assuming the ``initex'' command has
the name \texttt{initex} and the ``plain \TeX'' format is \texttt{plain},
run the shell command:

 \verb|initex \&plain opustex.ins|

 \noindent which will produce a format file {\tt opustex.fmt} which
you should put in the same directory with the other formats (assuming you
have access rights...). Note, in {\sc unix} the backslash before the
\verb|&| tells the system to consider this character a part of the command,
not a batch execution indication. Once this is done, you can \OpusTeX\ any
score you have written using a command such as:

 \verb|tex \&opustex my-score.tex|

 \noindent that is, specifying your new format {\tt opustex.fmt}
instead of the usual {\tt plain.fmt}.

 For MS-DOS/{\tt emTeX} users the format building command is:

 \verb|tex386 -i &plain opustex.ins|

 \noindent (you can change \texttt{plain} into \texttt{dc-plain} or any other
plain-like format you have) then:

 \verb|copy opustex.fmt \emtex\btexfmts\*.*|

 \noindent and the {\tt opustex.bat} command can be

\goodbreak

\begin{quote}\begin{verbatim}
if exist %1.tex goto tex
goto end

:tex
if exist %1.ox2 del %1.ox2
tex386 &opustex %1 %2 %3 %4 %5 %6 %7 %8 %9

if errorlevel 2 goto end
opusflex %1

if errorlevel 1 goto end
tex386 &opustex %1 %2 %3 %4 %5 %6 %7 %8 %9

:end
\end{verbatim}
\end{quote}
\end{enumerate}

\vspace*{\fill}
\begin{flushright}\it
Don't expect a perfect package or miracles.\\
There will be enough unexpected miracles.\\[\smallskipamount]
{\sc Eberhard Mattes}
\end{flushright}
%%%%%%%
\chapter{Practical use}
%%%%%%%
%%%%%
\section{Heading statements}
%%%%%
Before any reference to \OpusTeX\ macros:

\verb|\input |\ttxem{opustex.tex}\footnote{It is highly recommended to
build up a format.
If you don't know how to do, you can refer to the same instruction as
you perhaps heard or read before: ``Ask your local \TeX-wizard.''. On the
other hand it might be a good idea to look for chapter `Installation' where
some hints are given to build a \OpusTeX\ format (\ref{formatbuild}).
If you don't succeed: ``Ask your local \TeX-wizard.''}

 \noindent which may be followed immediately by
\verb|\input |\ttxem{opusadd.tex} or
\verb|\input |\ttxem{opusmad.tex} in the
case you have more than six instruments or more than six simultaneous beams.

 After that, you may write a complete book of \TeX\ provided that
you do not use \verb|&| as a tabulation character (its \keyindex{catcode}
has been changed) inside the music score and that you do not overwrite
\OpusTeX's definitions.\index{\&}
%%%%%
\section{*Before you begin to write notes}
%%%%%
%%%
\subsection{*Warnings for the non \TeX pert}
%%%
When \TeX\ reads a parameter, it inputs one \textsl{token}. This means
\textsl{one} figure or \textsl{one} character or \textsl{one}
command\footnote{Syntactically, a \textsl{command} is made of a
\textsl{backslash} (``{\Bslash}'') immediately followed by sequence of
\textsl{letters}.}. If you want to give more than one char or e.g. a negative
number(`-' is one token and a digit is one) or a command which reads another
parameter, then you have to use braces to transfer the parameter correctly.
For example, the command \verb|\meterfrac| reads two parameters; if you want
to declare a $\frac{8}{12}$ timing and you code: \verb|\meterfrac812|, then
you will get a $\frac{8}{1}$ timing and a misplaced ``\texttt{2}''.
The correct coding is \verb|\meterfrac{8}{12}| or \verb|\meterfrac8{12}| or
\verb|\meterfrac 8{12}|.

The next problem is due to spaces. Spaces are ignored at the beginning of a
line. Spaces are ignored immediately behind a \TeX-command (they indicate the
end of that command unless \TeX\ finds characters which are not
\textsl{letters}). All other spaces insert \textsl{unrecorded}\footnote{
The first pass is only to get the correct widths of all spacing commands.
They are recorded in \textsl{jobname}.ox1 and they are needed to break
the piece.} space and they
will cause a lot of trouble during third pass. Same remark holds for end of
lines. Thus \verb|\bar| or \verb|\en| as last statement in current line
cause no trouble, because an end of line indicates to \TeX\ the end of a
command.

If you state \verb|\qu g| and start a new line, then you get into trouble,
but if you say \hbox{\verb|\qu g%|$<new line><spaces>$}, you have no more
problem and this is better readable.

{\sl!!! Never ever insert an empty line between
\verb|\startpiece...\endpiece| !!!}

If this sounds complicated, remember that \TeX\ was designed to typeset
text and not music...
%%%
\subsection{*What you have to specify}
%%%
You should first specify whether you want to typeset music in `normal' size
(20pt\index{sizes} per staff) or `small' size (16pt). This only optional,
the default setting is \keyindex{normalmusicsize}.
If you want the smaller size, then you have to code\footnote{This sets up
not only the size of staff, but the elementary spacing and the space behind
the bar rule too.}:

 \keyindex{smallmusicsize}

 Then, the first declaration is:

 \keyindex{instrumentnumber}\verb|{|$n$\verb|}|

 \noindent where $n$ is the number of instruments, used by
\OpusTeX\ to performs loops building staves, setting signatures, meters,
etc. Therefore, it must be defined before any other statements.
If not then default value is one. An instrument
may consist of several staffs, e.g.~the piano. The difference between one
instrument of several staffs and several instruments is as follows:
\begin{itemize}
 \item distinct instruments may have distinct \itxem{signatures}, distinct
staffs of a unique instrument share the same signature.
 \item staffs of a unique \itxem{instrument} are tied together
with a big brace at the beginning of each line.
\end{itemize}
 If the number of staffs is not
equal to one, this number must be specified by:

 \keyindex{setstaffs}~$n$\verb|{|$p$\verb|}|

 \noindent where $p$ is the number of staffs, and where $n$ is the
number of the instrument considered (e.g.~\verb|\setstaffs3|
for the 3rd instrument, starting from the bottom).

 Unless all your instruments only use the \textsl{violin} clef, you
have to specify all the clefs used for all the instruments. This is done by
coding:

\keyindex{setclef}~\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%|

\noindent where $n$ is the number of the instrument, $s_1$
specifies the clef of the lower staff, $s_2$ the clef of the second staff,
etc. (if necessary!)
$s_1=0$ means the \textsl{violin} clef, $s_1=3$ means the \textsl{alto} clef
set on middle line, and $s_1=6$ means the usual \textsl{bass} clef.
Alternatively they can be called with \keyindex{treble}, \keyindex{alto}
and \keyindex{bass}. \index{violin clef}\index{bass clef}\index{alto clef}
Additionally clefs can be found in extension library.

As an example, a standard piano score should include:

 \keyindex{setclef}~\verb|1{\bass}%| \quad or\quad
 \keyindex{setclef}~\verb|1\bass| \quad or\quad
 \keyindex{setclef}\verb|{1}\bass|

If the signature is not void, one should code:

 \keyindex{generalsignature}\verb|{|$s$\verb|}|

\noindent where $s>0$ indicates the number of \itxem{sharps} in the
signature and $s<0$ the number of \itxem{flats}.

 If a \itxem{meter} indication is to be posted, it should be
specified using the macro

 \keyindex{generalmeter}\verb|{|$m$\verb|}%|

 \noindent where $m$ is the description of the meter indication which should
appear on each staff. If it is a \textsl{fraction} (e.g.~3/4) on should code

 \verb|\generalmeter{\meterfrac{3}{4}}%|

\noindent or, in a simpler way (if the numbers are less than 10):

 \verb|\generalmeter{\meterfrac34}%|

You can get single digit meter marks using the tilde `~'
as second argument of \keyindex{meterfrac}.

You can suppress the beginning vertical rule with \keyindex{nostartrule}
and restore the default with \keyindex{startrule} after that.

Special denotations can be used, such as\newline
\keyindex{meterC}, \keyindex{allabreve}, \keyindex{reverseC} and
\keyindex{reverseallabreve}.
\begin{music}
\generalmeter\meterC
\nostartrule
\startpiece
\NOtes\qa{cegj}\en
\generalmeter\allabreve\changecontext
\NOTes\ha{ce}\en
\generalmeter\reverseC\changecontext
\NOTEs\zbreve g\en
\generalmeter\reverseallabreve\changecontext
\NOTEs\zwq g\en
\generalmeter{\meterfrac{3+2+3}8}\changecontext
\Notes\Tqbu ceg\Dqbd jg\Tqbu gec\en
\generalmeter{\meterfrac6~}\changecontext
\NOTEs\zwq g\en
\endpiece
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\generalmeter\meterC
\nostartrule
\startpiece
\NOtes\qa{cegj}\en
\generalmeter\allabreve\changecontext
\NOTes\ha{ce}\en
\generalmeter\reverseC\changecontext
\NOTEs\zbreve g\en
\generalmeter\reverseallabreve\changecontext
\NOTEs\zwq g\en
\generalmeter{\meterfrac{3+2+3}8}\changecontext
\Notes\Tqbu ceg\Dqbd jg\Tqbu gec\en
\generalmeter{\meterfrac6~}\changecontext
\NOTEs\zwq g\en
\endpiece
\end{verbatim}
\end{quote}
However, not all music scores have the same meter in each staff.
Especially, some staffs may have \textsl{ternary} meters while others have
\textsl{binary}. This can be specified by using the \keyindex{generalmeter}
macro to set the meter for most of the scores and overriding it by:

\keyindex{setmeter}~\verb|2{{\meterfrac{12}8}\allabreve}%|

 \noindent which sets the meter to 12/8 for the first (lower)
staff, and \textsl{alla breve} for the second staff of the instrument number 2.
%%%
\subsection{Instrument names}
%%%
If you want the \itxem{name of the instrument}s
(or the \itxem{name of the voice}s) to be displayed in front of their
respective staffs at the beginning, you may code:

\keyindex{setname}~$n$\verb|{|\textsl{name of the instrument}\verb|}%|

\noindent where $n$ is the number of the instrument considered. The width
of the instrument names adjust automatically the value of
\keyindex{musicindent}.

If two instruments shares one system, you may use:

\keyindex{setnames}~$n$\verb|{|\textsl{name of upper instrument}\verb|}{%|
  \textsl{name of lower instrument}\verb|}%|

%vertical adjust of instrumentnames (doesn't fit for big numbers)
\keyindex{nameadjust}(default)
\keyindex{nonameadjust} Names perhaps will change ???
%%%
\subsection{Polyphonic songs}
%%%
Staffs normally begin on the left hand side with a vertical thin
rule. Multiple staffs of one instrument are tied together with an big
brace (e.g.~the piano score). In a choral score however the choir
staffs are lumped together with a heavy bracket. This can be
specified by
\begin{quote}
\keyindex{akkoladen}\verb|{|$mn$\verb|}|
\end{quote}
\noindent where~$m$ and~$n$ are the instrument numbers of the
first and last choral voices. Example is shown in \ref{song}.
%%%%%
\section{Starting your masterpiece}
%%%%%
%%%
\subsection{Typing the first system}
%%%
Just code

\keyindex{startpiece}

\noindent which will initiate (with indentation \keyindex{musicindent}
the first set of staffs for all instruments you have previously defined. But
that is not sufficient to begin writing notes and silences. In fact, you
also must choose the spacing of the notes.
%%%
\subsection{Easy selecting note spacing}\label{newspacings}
%%%
Therefore, we preferred to provide the composer/typesetter with a
set of macros (incidentally, this can be adjusted):
\begin{center}
\tinynotesize\nostdstem
\renewcommand{\arraystretch}{1.4}% I hate LaTeX. aeh..baehhh
\begin{tabular}{|l|l|l@{~~~}l|l@{~~~}l|}
\multicolumn{1}{c}{usage}&
\multicolumn{1}{c}{spacing}&
\multicolumn{4}{c}{suggested use for\footnotemark}\\\hline\hline
\keyindex{znotes}\verb| ... & ... \en|&(non spacing)
  &&specials&&specials\\\hline
\keyindex{notes}\verb|  ... & ... \en|&\verb=2=\keyindex{elemskip}
  &\ccu{-1}&16$^{\rm th}$&\cccu{-1}&32$^{\rm th}$\\\hline
\keyindex{notesp}\verb| ... & ... \en|&\verb=2.5\elemskip=
  &\pt{-3}\ccu{-3}
  &\vtop{\hbox{16$^{\rm th}$ pointed}\hbox{\hphantom{8}8$^{\rm th}$ triplet}}
  &\pt{-3}\cccu{-3}
  &\vtop{\hbox{32$^{\rm th}$ pointed}\hbox{16$^{\rm th}$ triplet}}\\\hline
\keyindex{Notes}\verb|  ... & ... \en|&\verb=3\elemskip=
  &\cu{-1}&8$^{\rm th}$&\ccu{-1}&16$^{\rm th}$\\\hline
\keyindex{Notesp}\verb| ... & ... \en|&\verb=3.5\elemskip=
  &\catcodesmusic\cup{-3}\endcatcodesmusic
  &\vtop{\hbox{8$^{\rm th}$ pointed}\hbox{4$^{\rm th}$ triplet}}
  &\pt{-3}\ccu{-3}
  &\vtop{\hbox{16$^{\rm th}$ pointed}\hbox{\hphantom{8}8$^{\rm th}$ triplet}}\\\hline
\keyindex{NOtes}\verb|  ... & ... \en|&\verb=4\elemskip=
  &\qu{-1}&4$^{\rm th}$&\cu{-1}&8$^{\rm th}$\\\hline
\keyindex{NOtesp}\verb| ... & ... \en|&\verb=4.5\elemskip=
  &\qup{-3}
  &\vtop{\hbox{4$^{\rm th}$ pointed}\hbox{2$^{\rm th}$ triplet}}
  &\catcodesmusic\cup{-3}\endcatcodesmusic
  &\vtop{\hbox{8$^{\rm th}$ pointed}\hbox{4$^{\rm th}$ triplet}}\\\hline
\keyindex{NOTes}\verb|  ... & ... \en|&\verb=5\elemskip=
  &\hu{-1}&2$^{\rm th}$&\qu{-1}&4$^{\rm th}$\\\hline
\keyindex{NOTesp}\verb| ... & ... \en|&\verb=5.5\elemskip=
  &\hup{-1}
  &2$^{\rm th}$ pointed
  &\qup{-3}
  &\vtop{\hbox{4$^{\rm th}$ pointed}\hbox{2$^{\rm th}$ triplet}}\\\hline
\keyindex{NOTEs}\verb|  ... & ... \en|&\verb=6\elemskip=
  &\wh1&1$^{\rm th}$&\hu{-1}&2$^{\rm th}$\\\hline
\keyindex{NOTEsp}\verb| ... & ... \en|&\verb=6.5\elemskip=
  &&&\hup{-1}&2$^{\rm th}$ pointed\\\hline
\keyindex{NOTES}\verb|  ... & ... \en|&\verb=7\elemskip=
  &\zbreve1&breve&\wh1&1$^{\rm th}$\\\hline
\end{tabular}\end{center}
\footnotetext{For second column add {\Bslash scalenoteskip\Bslash smallvalue}
immediately behind \Bslash startpiece}
\noindent
If you don't like them, define your own using e.g.:

\verb|\def\NOtes{\vnotes5.34\elemskip}|

\noindent
which means, when you use this \keyindex{NOtes} definition, that all
\textsl{spacing} notes and commands, results a spacing of 5.34 $\cdot$
\keyindex{elemskip}.

\keyindex{multnoteskip}~\verb|{|$x$\verb|}%| is intented to be used inside
\verb|\notes...\en| and enables the variation of current noteskip, where
$x$ can be a integer or float number.
\keyindex{scalenoteskip}\verb|{|$x$\verb|}%| is intented to be used outside
a \verb|\notes...\en|-pair for a global change of current spacing.

A practicle usage for \keyindex{multnoteskip} could be:
\begin{music}
\setstaffs12
\generalmeter{\meterfrac44}
\startextract
\notesp\multnoteskip{1.5}\Dqbu cd\Dqbu ef\Dqbu gh\Dqbd ij% 12/8 = 1.5
  |\imsluru0e\Ibu0eg2\qb0{ef}\slurtext3\Tslur0g\tbq0g%
   \imsluru0g\Ibu0gi2\qb0{gh}\slurtext3\Tslur0i\tbq0i%
   \imsluru0e\Ibu0ej5\qb0{efghi}\slurtext6\Tslur0j\tbq0j\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\notesp\multnoteskip{1.5}\Dqbu cd\Dqbu ef\Dqbu gh\Dqbd ij% 12/8 = 1.5
  |\imsluru0e\Ibu0eg2\qb0{ef}\slurtext3\Tslur0g\tbq0g%
   \imsluru0g\Ibu0gi2\qb0{gh}\slurtext3\Tslur0i\tbq0i%
   \imsluru0e\Ibu0ej5\qb0{efghi}\slurtext6\Tslur0j\tbq0j\en
\end{verbatim}
\end{quote}
In practice, the choice of the macro \verb|\notes|, \verb|\Notes|,
\verb|\NOtes|, etc., to initiate of column of notes sets an
internal dimension register, named \keyindex{noteskip} to the given multiple
of \keyindex{elemskip}. Thus, each \itxem{spacing note} (\keyindex{qu},
\keyindex{qb}, \keyindex{hd}, etc.) will be followed by a spacing of
\keyindex{noteskip}. You can suppress this spacing for one spacing command
using \keyindex{noskip} in front of it.

{\bf All said above counts only for first pass.}

To fill the music line (system) without glue, the values of \verb|\elemskip|
and \verb|\afterruleskip| are adjusted from the
external program \ttxem{opusflex}. So what spacing you really get, depends
on the internal line breaking routine.

Spacings for advanced \OpusTeX'ers: A `normal' bar (slightly) magnified.!.
\begin{music}
\afterruleskip7pt
\setclefsymbol1\empty
\startpiece
\zchar{10}{\hbox to\afterruleskip{\downbracefill}}%
\zchar{13}{\hbox to\afterruleskip{\hss a\hss}}%
\addspace\afterruleskip
\zchar{10}{\hbox to2\elemskip{\downbracefill}}%
\zchar{13}{\hbox to2\elemskip{\hss b\hss}}%
\zchar{-3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
\zchar{-7}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
\notes\qa l\en
\znotes\en
\zchar{10}{\hbox to4\elemskip{\downbracefill}}%
\zchar{13}{\hbox to4\elemskip{\hss c\hss}}%
\zchar{-3}{\hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}%
  \hbox to\elemskip{\upbracefill}\hbox to\elemskip{\upbracefill}}%
\zchar{-7}{\hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}%
  \hbox to\elemskip{\hss e\hss}\hbox to\elemskip{\hss e\hss}}%
\NOtes\qa l\en
\znotes\en
\endpiece
\end{music}
\begin{quote}\begin{tabular}{l@{~$\rightarrow$~}l}
a&\keyindex{afterruleskip}\\
b&\keyindex{notes}\verb| = \vnotes 2\elemskip|\\
c&\keyindex{NOtes}\verb| = \vnotes 4\elemskip|\\
d&\keyindex{elemskip}
\end{tabular}\end{quote}
As default the values are set up as follows:
\begin{quote}\begin{tabular}{lrr}\hline
\textsl{using}&\keyindex{elemskip}&\keyindex{afterruleskip}\\\hline
\keyindex{normalmusicsize}&6pt&8pt\\
\keyindex{smallmusicsize}&4.8pt&6pt\\\hline
\end{tabular}\end{quote}
\begin{quote}

{\sl IMPORTANT: If you want to change upper values, you have to do that
behind \verb|\normalmusicsize| or \verb|\smallmusicsize| and before
\verb|\startpiece|!}
\end{quote}
%%%%%
\section{Note pitch specification}
%%%%%
 Note pitches are usually specified by letters ranging from \verb|a| to
\verb|z| for those which are usually written under the G-clef (\verb|a|
corresponds to the $A$ of nominal frequency 222.5~Hz; the \textsl{G} of the
G-clef is denoted \verb|g|). Lower pitch notes are specified using upper
case letters ranging from \verb|A| to \verb|N| (the \textsl{F} of the F-clef
is denoted \verb|M|, and \verb|F| is one octave below).

 If necessary, a numeric symbol can be used to place a symbol
independently of the active clef, which has the drawback not to be
transposable.

 Besides, notes below \verb|A| (i.e. the $A$ of nominal frequency
55.625~Hz), namely the lowest octave of the modern pianos, can only be coded
using the transposition features (see below: \textsl{transposition} and
\textsl{octaviation}) or in absolute vertical position using numbers.
%%%%%
\section{Writing notes}
%%%%%
There are two major kinds of note macros:
\begin{enumerate}
 \item those
which terminate a note/chord stem and are followed by a horizontal spacing
of value \keyindex{noteskip},
 \item those which initiate or extend a note/chord stem and do not cause
horizontal spacing.
\end{enumerate}
 The first kind is used to type a melody, the second kind is used to
type chords.
%%%
\subsection{Single spacing notes}
%%%
\begin{quote}
\keyindex{wh}~$p$ : whole note at pitch $p$.\\
\keyindex{hu}~$p$ : half note at pitch $p$ with stem up.\\
\keyindex{hd}~$p$ : half note at pitch $p$ with stem down.\\
\keyindex{ha}~$p$ : half note at pitch $p$ with `automatic' stem\footnote
 {This means all stems belonging to notes below the third line are stemmed
 up, the other down, they work with every clef, but only for single notes.}.\\
\keyindex{qu}~$p$ : quarter note at pitch $p$ with stem up.\\
\keyindex{qd}~$p$ : quarter note at pitch $p$ with stem down.\\
\keyindex{qa}~$p$ : quarter note at pitch $p$ with `automatic' stem.\\
\keyindex{cu}~$p$ : eighth note\footnote
 {The {\Bslash c} of this macro name is taken from the French word ``croche''
 which is by the way one half of the english ``crotchet''; {\Bslash cc...},
 {\Bslash ccc...} are standing for ``double croche'', ``triple croche'',
 etc.} at pitch $p$ with stem up.\\
\keyindex{cd}~$p$ : eighth note at pitch $p$ with stem down.\\
\keyindex{ca}~$p$ : eighth note at pitch $p$ with `automatic' stem.\\
\keyindex{ccu}~$p$ : sixteenth note at pitch $p$ with stem up.\\
\keyindex{ccd}~$p$ : sixteenth note at pitch $p$ with stem down.\\
\keyindex{cca}~$p$ : sixteenth note at pitch $p$ with `automatic' stem.\\
\keyindex{cccu}~$p$ : 32$^{\rm th}$ note at pitch $p$ with stem up.\\
\keyindex{cccd}~$p$ : 32$^{\rm th}$ note at pitch $p$ with stem down.\\
\keyindex{ccccu}~$p$ : 64$^{\rm th}$ note at pitch $p$ with stem up.\\
\keyindex{ccccd}~$p$ : 64$^{\rm th}$ note at pitch $p$ with stem down.
\end{quote}
 As an example, the sequence:
\begin{music}
\startextract
\Notes\cu c\cd j\en\bar
\Notes\ccu c\ccd j\en\bar
\Notes\cccu c\cccd j\en\bar
\Notes\ccccu c\ccccd j\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\Notes\cu c\cd j\en\bar
\Notes\ccu c\ccd j\en\bar
\Notes\cccu c\cccd j\en\bar
\Notes\ccccu c\ccccd j\en
\end{verbatim}
\end{quote}
If these notes are preceeded by \textsl{non-spacing} notes (i.e.
macros \keyindex{zq} or \keyindex{zh}) their stem is extended up or down so
as to join all notes into a single chord.
%%%
\subsection{Non-spacing (chord) notes}
%%%
\begin{quote}
\keyindex{zq}~$p$ : quarter (or shorter) note head at pitch $p$ with no
spacing after.\\
\keyindex{zh}~$p$ : half note head at pitch $p$ with no spacing after.
\end{quote}
 It must be pointed out that the pitch $p$ of these notes is
memorized so that the stem of the further spacing note will join them into
a chord. This stem top and bottom pitch is \textsl{reset} at each spacing
note.

 \noindent{\sl REMARK : Notes of duration longer than whole notes are
always non-spacing. This saves one useless definition, since these notes are
always longer than other simultaneous ones. If needed they can be followed by
\keyindex{sk} to force spacing.}
%%%
\subsection{Shifted non-spacing (chord) heads}
%%%
These symbols are used mainly in chords where \textsl{second} intervals
are present. It is the responsibility of the typist to choose which heads
should be shifted left or right.
 \begin{quote}
 \keyindex{rw}~$p$ : whole note head shifted right by one whole notehead
width.\\
 \keyindex{lw}~$p$ : whole note head shifted left by one whole notehead
width.\\
 \keyindex{rh}~$p$ : half note head shifted right by one notehead width.\\
 \keyindex{lh}~$p$ : half note head shifted left by one notehead width.\\
 \keyindex{rq}~$p$ : quarter note head shifted right by one notehead width.\\
 \keyindex{lq}~$p$ : quarter note head shifted left by one notehead width.
 \end{quote}
 Except that they are shifted left or right, these macros act like
\verb|\z...| macros for stem building.
%%%
\subsection{Single non-spacing notes}
%%%
\begin{quote}\begin{description}
 \item[\keyindex{zhu} :]half note with stem up but no spacing.
It acts like \verb|\hu| for stem building.
 \item[\keyindex{zhd} :]half note with stem down but no spacing.
It acts like \verb|\hd| for stem building.
 \item[\keyindex{zqu} :]quarter note with stem up but no spacing.
It acts like \verb|\qu| for stem building.
 \item[\keyindex{zqd} :]quarter note with stem down but no spacing.
It acts like \verb|\qd| for stem building.
 \item[\keyindex{zcu}, \keyindex{zccu}, \keyindex{zcccu}, \keyindex{zccccu}
:]eighth, ..., note with stem up but no spacing.
It acts like \verb|\cu| for stem building.
 \item[\keyindex{zcd}, \keyindex{zccd}, \keyindex{zcccd}, \keyindex{zccccd}
:]eighth, ..., note with stem down but no spacing.
It acts like \verb|\cd| for stem building.
 \item[\keyindex{zqb} :]note belonging to a beam but no spacing.
 \item[\keyindex{rhu}, \keyindex{rhd}, \keyindex{rqu}, \keyindex{rqd},
  \keyindex{rcu}, \keyindex{rcd} :]\verb|\rhu| acts like \verb|\zhu|,
  but the note is shifted one note width on the right, other analogous.
\item[\keyindex{lhu}, \keyindex{lhd}, \keyindex{lqu}, \keyindex{lqd},
  \keyindex{lcu}, \keyindex{lcd} :]same
  as above, but the whole of the note is shifted one note width on the left.
\item[\keyindex{zw}~$p$ :]whole note at pitch $p$ with no spacing after.
\item[\keyindex{zwq}~$p$ :]arbitrary duration note
  (\hbox to8pt{\zwq1\hss}) at pitch $p$ with no spacing after.
\end{description}\end{quote}
%%%
\subsection{Pointed notes}
%%%
One simple way of doing consists in putting \keyindex{pt}~$p$ to get a
\textsl{dot} after the normal note head at pitch $p$. Thus a
quarter note with one point can be coded \verb|\pt h\qu h| and with two
points as \keyindex{ppt}\verb| h\qu h|.
 A simpler way of doing consists in using compact macros, namely:
\keyindex{whp}, \keyindex{whpp},
\keyindex{zwp}, \keyindex{zwpp},
\keyindex{hap},
\keyindex{hup}, \keyindex{hupp},
\keyindex{hdp}, \keyindex{hdpp},
\keyindex{zhp}, \keyindex{zhpp},
\keyindex{qap},
\keyindex{qup}, \keyindex{qupp},
\keyindex{qdp}, \keyindex{qdpp},
\keyindex{zqp}, \keyindex{zqpp},
\keyindex{cap},
\keyindex{cup}, \keyindex{cupp},
\keyindex{cdp}, \keyindex{cdpp},
\keyindex{qbp} and \keyindex{qbpp}.
Where all \verb|\z...p| are useful in chords.

Finally, pointed notes can also be produced without spacing after, using
\keyindex{zhup}, \keyindex{zhdp}, \keyindex{zqup}, \keyindex{zqdp},
\keyindex{zcup}, \keyindex{zcdp}, \keyindex{zqbp},
and the same with two \verb|p|'s for
double-pointed notes, like \keyindex{zhupp}, \keyindex{zhdpp},
\keyindex{zqupp}, \keyindex{zqdpp},
\keyindex{zcupp}, \keyindex{zcdpp} and \keyindex{zqbpp}.

If two voices share one staff, the points of the lower voice are lowered,
if the note is on a note line. Therefore you can use \keyindex{dpt}~$p$ and
\keyindex{dppt}~$p$.

Coding close accords with right shifted note heads you need right shifted
points, therefore you can use \keyindex{rpt}~$p$ and \keyindex{rppt}~$p$.
\begin{music}
\generalmeter\allabreve
\startextract
\NOtes\zqup j\dpt h\qd h\en
\Notesp\zcu k\zcd g\en\bar
\NOtes\zqup k\dpt g\qd g\en
\Notesp\zcu l\zcd f\en
\generalmeter{\meterfrac34}\Changecontext
\NOTesp\Uptext{\smalltype\it Wrong}\roff{\zhp g}\zhp{fi}\hup k\en\bar
\NOTesp\Uptext{\smalltype\it Correct}\rpt{fgik}\rh g\zh{fi}\hu k\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\generalmeter\allabreve
\startextract
\NOtes\zqup j\dpt h\qd h\en
\Notesp\zcu k\zcd g\en\bar
\NOtes\zqup k\dpt g\qd g\en
\Notesp\zcu l\zcd f\en
\generalmeter{\meterfrac34}\Changecontext
\NOTesp\Uptext{\smalltype\it Wrong}\roff{\zhp g}\zhp{fi}\hup k\en\bar
\NOTesp\Uptext{\smalltype\it Correct}\rpt{fgik}\rh g\zh{fi}\hu k\en
\endextract
\end{verbatim}
\end{quote}
%%%%%
\section{Beams}
%%%%%
 Beams are not automatically handled, but they must be declared explicitly,
\textsl{before} the first spacing note involving them is coded. Two kinds of
macros are provided:
\begin{enumerate}
 \item fixed slope beams have an arbitrary slope chosen by the user in
the range -45\% to +45\% (by multiples of 5\%);
 \item semi-automatic beams have their slope computed knowing the number
of \keyindex{noteskip} over which they are supposed to extend, and knowing
the initial and final pitch of the notes they are supposed to link.
\end{enumerate}
%%%
\subsection{Fixed slope beams}
%%%
\begin{quote}\begin{description}
\item[\keyindex{ibu}~$nps$ :]initiates an \textsl{upper beam} 3 horizontal
line spacings above the pitch $p$~; $m$ is its reference number, which must
be in the range [0-5] ([0-8] if \verb|opusadd| file has been \verb|\input|);
$s$ is the slope of the beam.
\end{description}\end{quote}
$s$ is an integer in the range [-9,9].
$s=1$ means a slope of 5\%, $s=9$ means a slope of 45\%,
$s=-3$ means a slope of -15\%, etc.
With usual spacings a slope of 2 or 3 is fit for ascending scales.
A slope of 6 to 9 is fit for ascending arpeggios.
\begin{quote}\begin{description}
\item[\keyindex{ibd}~$nps$ :]initiates a \textsl{lower beam} 3 horizontal
line spacings below the pitch $p$. Other parameters as above.
\item[\keyindex{ibbu}~$nps$ :]initiates a \textsl{double upper beam}
(same parameter meaning).
\item[\keyindex{ibbd}~$nps$ :]initiates a \textsl{double lower beam}
(same parameter meaning).
\item[\keyindex{ibbbu}~$nps$ :]initiates a \textsl{triple upper beam}
(same parameter meaning).
\item[\keyindex{ibbbd}~$nps$ :]initiates a \textsl{triple lower beam}
(same parameter meaning).
\item[\keyindex{ibbbbu}~$nps$ :]initiates a \textsl{quadruple upper beam}
(same parameter meaning).
\item[\keyindex{ibbbbd}~$nps$ :]initiates a \textsl{quadruple lower beam}
(same parameter meaning).
\end{description}\end{quote}
 Beam termination is also not automatic. The termination of a given
beam must be explicitly declared \textsl{before} coding the last spacing
note connected to that beam.
\begin{quote}\begin{description}
\item[\keyindex{tb}~$n$ :]terminates beam number $n$ at current position.
\end{description}\end{quote}
\keyindex{tb} terminate beams of any multiplicity.
Therefore 32$^{\rm th}$ notes hanging on a triple beam are initiated by
\keyindex{ibbbu}~$nps$ and terminated by \keyindex{tb}~$n$.

Because the combination of beam termination and note belonging to beam
appears more often, you can use the abbreviation:
\begin{quote}
\keyindex{tbq}~$np$~~instead of~~\verb|\tb |$n$\verb|\qb |$np$
\keyindex{tbzq}~$np$~~instead of~~\verb|\tb |$n$\verb|\zqb |$np$
\end{quote}
 It is also possible to code beams whose multiplicity is not the same
at the beginning. The multiplicity can be increased at any position. For
instance, \keyindex{nbb}~$n$ which sets the multiplicity of beam
number $n$ to 2 starting at the current position, \keyindex{nbbb}~$n$ sets
its multiplicity to 3 and \keyindex{nbbbb}~$n$ sets its multiplicity to 4.

Notes belonging to beams are coded in the form \verb|\qb|~$np$ where $n$ is
the beam number and $p$ the pitch of the note head. \OpusTeX\ adjusts the
length of the note stem to link the bottom of the chord to a beam.

 Note that the difference between upper and lower beams does not
mainly consist in the beam being above or below the note heads; rather, it
specifies whether the abscissa of the beginning and the end of this beam is
aligned on the right (upper beam) or on the left (lower) beam. Thus, the
sequence:

\begin{minipage}{.3\textwidth}
\begin{music}
\startextract
\Notes\ibu0h0\qb0e\nbb0\qb0e\nbbb0%
  \qb0e\nbbbb0\qb0e\tbq0e\en
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\Notes\ibu0h0\qb0e\nbb0\qb0e\nbbb0%
  \qb0e\nbbbb0\qb0e\tbq0e\en
\end{verbatim}
\end{minipage}

Now it is possible to change the behavior of beams of higher order...
see example.!.
\keyindex{invert}

\begin{minipage}{.3\textwidth}
\begin{music}
\boxextract
\setstaffs1{2}
\setclef1{\bass\bass}
\startextract
\notes\ibbu0J5\qb0{FJK}\tbb0\qb0L\en
\notes|\invert\nbb0\qb0{Mac}\tbq0d\en
\zendextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\setstaffs1{2}
\setclef1{\bass\bass}
\startextract
\notes\ibbu0J5\qb0{FJK}\tbb0\qb0L\en
\notes|\invert\nbb0\qb0{Mac}\tbq0d\en
\zendextract
\end{verbatim}
\end{minipage}

It is quite possible to change the beamdirection with \keyindex{invert}.
This may give:

\begin{minipage}{.3\textwidth}
\begin{music}
\startextract
\Notes\ibd0p0\qb0p\nbb0\qb0p%
  \nbbb0\qb0p\invert\tbq0e\en
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\Notes\ibd0p0\qb0p\nbb0\qb0p%
  \nbbb0\qb0p\invert\tbq0e\en
\end{verbatim}
\end{minipage}

Partial termination of beams is also possible, by using \keyindex{tbb}:
these macros terminate the current beam except that of order 1 (eighths).
\keyindex{tbbb} terminate the current beam except those of order 1 and 2,
etc.

The macro \keyindex{tbb} (higher order too) may also be invoked when only
a single beam is active. Then, a second beam or third or  ... (upper or
lower according the initiating procedure) is opened \textsl{one note width
before the current position, and closed immediately}.
Thus the following sequences
\begin{music}
\boxextract
\hbox to\hsize{%
\hss
  \startextract
  \Notes\ibu0e0\qbp0e\tbb0\tbq0e\en
  \endextract
\hss\hss
  \startextract
  \Notes\ibu0e0\qbpp0e\tbbb0\tbq0e\en
  \endextract
\hss}
\end{music}
\noindent are coded:
\hspace*{\fill}\begin{minipage}{.4\textwidth}\begin{verbatim}
\Notes\ibu0e0\qbp0e%
  \tbb0\tbq0e\en
\end{verbatim}
\end{minipage}\hfill
\begin{minipage}{.4\textwidth}\begin{verbatim}
\Notes\ibu0e0\qbpp0e%
  \tbbb0\tbq0e\en
\end{verbatim}
\end{minipage}\hfill

\noindent The same behavior occurs in the case of \keyindex{tbbb} and
\keyindex{tbbbb}.
For example:

\begin{minipage}{.2\textwidth}
\begin{music}
\startextract
\notes\ibbd0j0\trbb0\qb0j\en
\Notesp\tb0\qbp0j\en
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.7\textwidth}
\noindent which is produced by:
\begin{verbatim}
\notes\ibbd0j0\trbb0\qb0j\en
\Notesp\tb0\qbp0j\en
\end{verbatim}
\end{minipage}

\noindent A little bit more complicated example is:

\begin{minipage}{.3\textwidth}
\begin{music}
\startextract
\notes\ibbbu0e0\trbbb0\qb0f\en
\notesp\tbb0\qbp0f\en
\Notes\tbq0f\en
\notesp\ibbu0f0\trbb0\qbp0f\en
\Notes\qb0f\en
\notes\tbbb0\tbq0f\en
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\notes\ibbbu0e0\trbbb0\qb0f\en
\notesp\tbb0\qbp0f\en
\Notes\tbq0f\en
\notesp\ibbu0f0\trbb0\qbp0f\en
\Notes\qb0f\en
\notes\tbbb0\tbq0f\en
\end{verbatim}
\end{minipage}
%%%
\subsection{*Repeated pattern beams}\index{repeated patterns}
%%%
Note heads hanging on beams are not necessarily quarter (or higher order)
note heads. It is possible to hang half note heads on beams
using \keyindex{hb} macro, e.g.:

\begin{minipage}{.3\textwidth}
\begin{music}
\startextract
\Notes\ibbd0j0\hb0j\tb0\hb0j\en
\Notes\ibbu0g0\hb0g\tb0\hb0g\en
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\Notes\ibbd0j0\hb0j\tb0\hb0j\en
\Notes\ibbu0g0\hb0g\tb0\hb0g\en
\end{verbatim}
\end{minipage}

% the folowing examples probably shoul move to the Typsetting/Rules - chapter
%%% well, do it.
\noindent A better look for whole noteheads could  be obtained in a more
sophisticated way\footnote{You are suggested to make your own macro if you
have to type many of these.}:

\begin{minipage}{.3\textwidth}
\begin{music}
\startextract
\Notes\loff{\zw j}\ibbd0j3\sk\tb0\wh l\en
\Notes\ibbu0g3\wh g\tb0\roff{\wh i}\en\qspace
\endextract
\end{music}
\end{minipage}\hfill
\begin{minipage}{.6\textwidth}
\noindent which is produced by:
\begin{verbatim}
\Notes\loff{\zw j}\ibbd0j3\sk\tb0\wh l\en
\Notes\ibbu0g3\wh g\tb0\roff{\wh i}\en\qspace
\end{verbatim}
\end{minipage}
%%%
\subsection{Beams across bars}
%%%
The usual way most composers wrote their scores was beams inside bars,
at least until the beginning of the XIX$^{\rm th}$
century. Unfortunately, later composers ({\sc Brahms}, {\sc Scriabin},
{\sc Grieg}, etc.) wanted to write beams jumping across bars.
This is possible without any problems.
We give an example from \indexname{Brahms}J's Intermezzo op.~118,1
provided by Miguel {\sc Filgueiras}:
\begin{music}
\interstaff{12}
\setstaffs1{2}
\setclef1\bass
\generalmeter\allabreve
\startextract
\NOtes\qr|\isluru0q\zq q\qd j\en
\bar\nspace
\Notes\ibu0L2\qb0{CEJLcL}|\roff{\zw l}\zhp{_p}\hdp{_i}\en
\Notes\qb0J\itied1a\qb0a|\tslur0o\zq o\qd h\en
\bar
\Notes\ttie1\zhp{La}\hdp e|\qb0{chj}\invert\tbq0l\cd q\er\en
\NOtes\qr|\zq q\qd j\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\interstaff{12}
\setstaffs1{2}
\setclef1\bass
\generalmeter\allabreve
\startextract
\NOtes\qr|\isluru0q\zq q\qd j\en
\bar\nspace
\Notes\ibu0L2\qb0{CEJLcL}|\roff{\zw l}\zhp{_p}\hdp{_i}\en
\Notes\qb0J\itied1a\qb0a|\tslur0o\zq o\qd h\en
\bar
\Notes\ttie1\zhp{La}\hdp e|\qb0{chj}\invert\tbq0l\cd q\er\en
\NOtes\qr|\zq q\qd j\en
\endextract
\end{verbatim}
\end{quote}
Still to be done manually is the cut and prolongation across line breaks,
which can easily be done with shifting using \keyindex{roff} and/or
\keyindex{loff}, or with insert of a spacing command (here done with
\keyindex{hsk}). We give an example from \indexname{Grieg}E's
`Hochzeit auf Troldhaugen':
\begin{music}
\def\deer{\lower\Interline\rlap\eer}
\def\snotes{\vnotes1\elemskip}
\generalsignature{2}
\interstaff{12}
\setstaffs1{2}
\setclef1{\bass}
\startpiece
%%% bar 1
\addspace\afterruleskip
\snotes|\tinynotesize\imsluru0n\ibbu0m5\qb0{=m}\tbq0n\en
\qspace
\Notes\zchar{-7}\varPed\loffset{.3}{\fl E}\zq E\qu{_I}%
  |\zqd g\ibu2l0\zqb2{=m}\bsf\en
\Notes|\Tslur0o\qb2{_l}\en
\Notes\loffset{.3}{\fl L}\zq L\ibd0L0\qb0{_b}%
  |\ibd1h0\zqb1g\zqb2l\bst\en
\Notes\zq L\tbq0b|\tbzq1g\tbzq2l\bst\en
\NOtes\zq L\qd b|\zqd g\qu l\en
\notes\zchar{-7}\varPed\zchar{-7}{\eightit ~~~sempre}%
  \zchar{14}{\PP\eightit sempre}\zq I\ibbu1J0\qb1L|\eer\en
\notes\eer|\zq N\ibbu3d0\qb3{_d}\en
\notes\qb1E|\deer\en
\notes\eer|\fl e\zq N\rq e\qb3d\en
%%% bar 2
\bar
\notes\loffset{.3}{\fl I}\zq I\qb1{_L}|\deer\en
\qspace
\notes\eer|\lfl d\zq d\zq {=f}\qb3N\en
\notes\tbq1{_E}|\deer\en
\notes\eer|\zq d\zq g\tbq3N\en
\notes\zq I\ibbu0J0\qb0L|\deer\en
\notes\eer|\zq d\ibbu1d0\qb1N\en
\notes\qb0E|\deer\en
\notes\eer|\fl e\rq e\zq d\qb1N\en
\notes\zq I\qb0L|\deer\en
\notes\eer|\zq f\zq d\qb1N\en
\notes\tbq0E|\deer\en
\notes\eer|\zq g\zq d\tbq1N\en
\notes\zq I\ibbu0J0\qb0L|\deer\en
\notes\eer|\zq d\ibbu1d0\qb1N\en
\notes\qb0E|\deer\en
\notes\lifteer0\hsk\tb0|\rq e\zq d\zqb1N\hsk\tb1\en
\endpiece
\end{music}
\noindent where the prolongation at the end of the line was coded as:

\verb=\notes\lifteer0\hsk\tb0|\rq e\zq d\zqb1N\hsk\tb1\en=
%%%
\subsection{Semi-automatic beams}
%%%
In order to avoid tedious checks to adjust the slope (and even the starting
pitch) of beams in music with a lot of steep beams, a set of automatically
slope computing has recently been implemented. If
you say \verb|\Ibu2gj3| \OpusTeX\ will understand that`you want to
build an upper beam (beam number 2) horizontally extending \verb|3\noteskip|,
the first note of which is a \verb|g| and the last note is a \verb|j|.
Knowing these parameters it will choose the highest slope number which
corresponds to a slope not more than $(\hbox{\tt j}-\hbox{\tt
g})/(3\keyindex{noteskip})$. Moreover, if there is no sufficiently steep beam
slope available, then it will raise the starting point.

 Eight such macros are available: \keyindex{Ibu}, \keyindex{Ibbu},
\keyindex{Ibbbu}, \keyindex{Ibbbbu}, \keyindex{Ibd}, \keyindex{Ibbd},
\keyindex{Ibbbd} and \keyindex{Ibbbbd}.

Also available are ready definitions for often needed sets of double,
triple and quadruple notes with computed slopes. These are:
\keyindex{Dqbu}, \keyindex{Dqbd}, \keyindex{Dqbbu}, \keyindex{Dqbbd},
\keyindex{Tqbu}, \keyindex{Tqbd}, \keyindex{Tqbbu}, \keyindex{Tqbbd},
\keyindex{Qqbu}, \keyindex{Qqbd}, \keyindex{Qqbbu} and \keyindex{Qqbbd}.
\begin{music}
\startpiece
\Notes\Dqbu gh\Dqbd jh\en
\notes\Dqbbu fg\Dqbbd hk\en\bar
\Notes\Tqbu ghi\Tqbd mmj\en
\notes\Tqbbu fgj\Tqbbd njh\en\bar
\Notes\Qqbu ghjh\Qqbd jifh\en
\notes\Qqbbu fgge\Qqbbd jhgi\en
\endpiece
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\Notes\Dqbu gh\Dqbd jh\en
\notes\Dqbbu fg\Dqbbd hk\en\bar
\Notes\Tqbu ghi\Tqbd mmj\en
\notes\Tqbbu fgj\Tqbbd njh\en\bar
\Notes\Qqbu ghjh\Qqbd jifh\en
\notes\Qqbbu fgge\Qqbbd jhgi\en
\end{verbatim}
\end{quote}
The maximum slope of semi-automatic beams may be influenced using
\keyindex{maxbeamslope}$u$\verb|%|, which is set up by default to 7
($u$ unsigned integer range 0 to 9).
%%%%%
\section{Rests}
%%%%%
 Except that difference that they have no specific pitch, rests are coded in
a very simple way.
%%%
\subsection{Ordinary rests}
%%%
 Full bar rests are coded as \keyindex{wr}, smaller rests are
\keyindex{hr} (duration equal to a \textsl{half note}),
\keyindex{qr} (duration equal to a \textsl{quarter note}),
\keyindex{er} (duration equal to an \textsl{eighth note}),
\keyindex{eer} (duration equal to a \textsl{sixteenth note}),
\keyindex{eeer} (duration equal to a \textsl{thirty second note}),
\keyindex{eeeer} (duration equal to a \textsl{sixty fourth note}).

Pointed rests can be coded as \keyindex{wrp}, \keyindex{hrp}, \keyindex{qrp}
and \keyindex{erp}. Other pointed rests can be yield with \verb|\pt5|
before rest coding.

 Long rests (lasting several bars) can be coded as \keyindex{Dwr}
and \keyindex{Qwr}, which respectively yield:
\begin{music}
\boxextract
\hbox to\hsize
{\hss\hbox{%
  \generalmeter{\meterfrac44}
  \startextract
  \Notes\shake3\en\doublebar
  \atnextbar{\znotes\centerDwr\en}\NOTEs\en\bar
  \atnextbar{\znotes\centerQwr\en}\NOTEs\en\doublebar
  \atnextbar{\znotes\centerrest2\centerDwr\en}\NOTEs\en\bar
  \atnextbar{\znotes\centerrest4\centerQwr\en}\NOTEs\en
  \endextract
}\hss
\raise3\Internote\hbox{\textsl{using opuslit}$\Rightarrow$}
\hbox{%
  \startextract
  \Notes\shake3\en\doublebar
  \atnextbar{\znotes\centerrest5\centerHrest\en}\NOTEs\en
  \endextract
}\hss}
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\atnextbar{\znotes\centerDwr\en}\NOTEs\en\bar
\atnextbar{\znotes\centerQwr\en}\NOTEs\en\doublebar
\atnextbar{\znotes\centerrest2\centerDwr\en}\NOTEs\en\bar
\atnextbar{\znotes\centerrest4\centerQwr\en}\NOTEs\en
%...
\atnextbar{\znotes\centerrest5\centerHrest\en}\NOTEs\en
\end{verbatim}
\end{quote}
\keyindex{centertext}~$t$ may be used to center `normal' text.
\keyindex{centerrest}~$n$ is useful to indicate longer rests, because the
counter \keyindex{barno} will be updated.
The height of both may be changed using
\keyindex{raisecentertext}\verb|{|\textsl{number or float}\verb|}|
(in steps of \verb|\internote|, default 10).
%%%
\subsection{Lifted rests}
%%%
All rests with exception of \keyindex{Qwr} and \keyindex{Dwr}
can be vertically offset to meet polyphonic music requirements using the
prefix \verb|\lift...|. Namely \keyindex{liftwr}~$l$, \keyindex{lifthr}~$l$,
\keyindex{liftqr}~$l$, \keyindex{lifter}~$l$, \keyindex{lifteer}~$l$,
\keyindex{lifteeer}~$l$ and \keyindex{lifteeeer}~$l$, where $l$ determines
the vertical offset using number of lines from original position.
%%%
\subsection{Bar centered rests}\label{barcentering}
%%%
Sometimes it is necessary to place a rest (or other) exactly in the
middle of a bar or exactly above the bar-rule. You can do this whith
the following commands: \keyindex{atnextbar}\verb|{|\textsl{your
    code}\verb|}| executes \textsl{your code} after the next bar. The
same mechanism is also provided for synchronizing your code with
linebreaks~(see~\ref{synchronizing}). \keyindex{centerbar} centers
the next token in to the running measure. \keyindex{centerQwr},
\keyindex{centerDwr}, \keyindex{centerwr} and \keyindex{centerhr} are
predifined commands for centering several rests. For example:
\begin{music}
\generalmeter\meterC
\setclef1\bass
\setstaffs1{2}
\startpiece
\addspace\afterruleskip
\NOtes|\qa{cegj}\en
\atnextbar{\znotes\centerwr|\hloff{\ufermata7}\en}\bar
\NOtes|\qa{jgec}\en
\atnextbar{\znotes\centerwr\en}\bar
\Notes\ca{`j`i`h`g`f`e`d`c}\en
\atnextbar{\znotes|\centerwr\en}\bar
\NOTes\ha{Nc}\en
\atnextbar{\znotes|\centerwr\en}\bar
\addspace{5\elemskip}%
\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\bar
\NOtes\wh c|\wh h\en
\endpiece
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\startpiece
\addspace\afterruleskip
\NOtes|\qa{cegj}\en
\atnextbar{\znotes\centerwr|\hloff{\ufermata7}\en}\bar
\NOtes|\qa{jgec}\en
\atnextbar{\znotes\centerwr\en}\bar
\Notes\ca{`j`i`h`g`f`e`d`c}\en
\atnextbar{\znotes|\centerwr\en}\bar
\NOTes\ha{Nc}\en
\atnextbar{\znotes|\centerwr\en}\bar
\addspace{5\elemskip}%
\atnextbar{\znotes\centerbar\duevolte|\centerbar\duevolte\en}\bar
\NOtes\wh c|\wh h\en
\endpiece
\end{verbatim}
\end{quote}
Normally the fermata is centered above a notehead. To fit centred above a
bar line, that's why the \keyindex{hloff} is used.
%%%%%
\section{*Phantom notes and spacing commands}\label{spacing}
%%%%%
It may be interesting, when coding a sequence of notes within a unique pair
\verb|\notes...\en|, to skip one note place in order -- for
example -- to set the third note of one staff at the same abscissa as that of
the second note of another staff. This can be done by inserting \keyindex{sk}
which causes a spacing of one \keyindex{noteskip}\footnote{Never use
\keyindex{kern} nor \keyindex{hskip}: in fact \keyindex{sk} not only causes
a space but also records that space for correct handling of beams and slurs
and trills and octave lines and line breaking and...}. Sometimes it's useful
to \textsl{skip back} one noteskip, this can be done with \keyindex{bsk}. The
spacing of a half noteskip can be yield with \keyindex{hsk}.

 Note that the latter macros must be used inside a pair
\verb|\notes...\en|. If you want to insert additional spacing before
an accidental outside, write \keyindex{nspace},
which produces the spacing of a half note head width
or \keyindex{qspace} which produces the spacing of a note head width.
Sometimes the additional space behind \keyindex{changecontext}
disturbs the eye of a typesetter, this can be reduced with:

\keyindex{addspace}\verb|{-|\keyindex{afterruleskip}\verb|}%|

Note that all spacings commands only can work correct, when you feed them
up with \itxem{scalable values}, scalable are \keyindex{elemskip},
\keyindex{afterruleskip} and \keyindex{noteskip}.

\noindent
The only spacing command which can work with `normal' (means
\textsl{non scalable} dimensions is:

\noindent
\keyindex{hardspace}\verb|{|\textsl{any \TeX~dimension}\verb|}%|

\noindent
but both can only be used outside of \verb|\notes...\en|.

Conversely, a spacing is allowed within the \verb|\notes...\en| pairs,
namely:

\keyindex{off}\verb|{|$D$\verb|}%| and
\keyindex{moff}\verb|{|$D$\verb|}%|

\noindent where $D$ is a \itxem{scalable dimen}, for example
\verb|\noteskip| or \verb|\elemskip|. \keyindex{moff} results a negative
spacing.

 If you just want to shift a note or a symbol by one note head width,
you may write \keyindex{roff}\verb|{|\textsl{text}\verb|}|.
To left with \keyindex{loff}\verb|{|\textsl{text}\verb|}|.
The shifting of a half note head width can be yield with \keyindex{hroff} and
\keyindex{hloff}.
In steps of \textsl{note head widths} with \keyindex{roffset}%
\verb|{|\textsl{number or float}\verb|}{|\textsl{text}\verb|}|
or \keyindex{loffset}\verb|{|\textsl{number or
float}\verb|}{|\textsl{text}\verb|}|.
%%%%%
\section{Collective coding: sequences of notes}
%%%%%
As seen in the {\sc Mozart} example, it is not necessary
--- but highly recommended, especially using accidentals, text or more than
one staff --- to write a macro
sequence \verb|\notes...\en| for each column\footnote{Although
for compiler this behaviour is recommended, because this allows easily the
manual insertion of `hard'-spacing commands, which are sometimes needed,
e.g.~for signatures.}. If, on all
staffs of all instruments, spacings are equal or multiple of a unique value,
the notes may be concatenated in each staff: each note in each staff makes
the current position horizontally advance by the elementary spacing specified
by the choice of \verb|\notes|, \verb|\Notes|, \verb|\NOtes|, etc.

 The major interest of this feature resides in that fact that
the note macros are able to write several items; for instance
\verb|\qu{cdefghij}| writes the \textsl{C-major} scale in quarters with
stem up. In the same way \verb|\cd{abcdef^gh}| writes the
\textsl{A-minor} scale in eighths. Not all -- but very most -- note
generating macros can be used to perform collective coding.
%%%%%
\section{*Accidentals}
%%%%%
Accidentals can be introduced in two ways.

 The first way, the \textsl{manual} way of coding them, consists for
example in coding \keyindex{fl} \verb|a| to put a \textsl{flat} at the
pitch $a$, supposedly before the further note of that pitch.
There is no control upon the fact that a note will be put at this position
and at this pitch.
Naturals, sharps, double flats and double sharps are coded \keyindex{na}~$p$,
\keyindex{sh}~$p$, \keyindex{dfl}~$p$ and \keyindex{dsh}~$p$ respectively.

Alternate procedures \keyindex{lfl}, \keyindex{lna}, \keyindex{lsh},
\keyindex{ldfl} and \keyindex{ldsh}
place the same accidentals, but their abscissa is shifted one note head width
on the left. The purpose of this is to avoid collision of accidentals
in a chord with narrow intervals.

 The second way of coding accidentals consists in putting the symbol
\verb|^| (sharp), the symbol \verb|_| (flat), the symbol \verb|=| (natural),
the symbol \verb|>| (double sharp), or the symbol \verb|<| (double
flat) within the coding of the note, e.g.: \verb|\qb{^g}| yields a
$G\sharp$. This may very well be combined with collective coding, e.g.:
\verb|\qu{ac^d}|.

 Two sizes are available for accidentals. These two
sizes can be forced by coding \keyindex{bigfl}, \keyindex{bigsh},
\keyindex{bigna}, \keyindex{bigdfl}, \keyindex{bigdsh} or
\keyindex{smallfl}, \keyindex{smallsh}, \keyindex{smallna},
\keyindex{smalldfl}, \keyindex{smalldsh}. If one does not want to have any
small accidentals, then one can declare \keyindex{bigaccid}, which is done
by default or conversely \keyindex{smallaccid}.

 Small accidentals can also be put \textsl{above} the note
heads. This is done using \keyindex{uppersh}~$p$, \keyindex{upperna}~$p$ or
\keyindex{upperfl}~$p$:
\begin{music}
\startextract
\NOtes\uppersh l\qa l\en
\NOtes\upperna m\qa m\en
\NOtes\upperfl l\qa l\en
\endextract
\end{music}
 It is also possible to introduce \textsl{\ixem{cautionary accidental}s} on
a score, i.e.\ small size accidentals between parentheses. This is done by
preceding the name of the accidental keyword by a \texttt{c},
 e.g.~by coding \keyindex{cfl}~$p$ to get a cautionary flat.
 Available cautionary accidentals are \keyindex{csh}, \keyindex{cfl},
\keyindex{cna}, \keyindex{cdfl} and \keyindex{cdsh}, which give:
\begin{music}
\startextract
\NOtes\csh g\qa g\en
\NOtes\cfl h\qa h\en
\NOtes\cna i\qa i\en
\NOtes\cdsh j\qa j\en
\NOtes\cdfl k\qa k\en
\endextract
\end{music}
\noindent
Besides, the distance between note and accidental is influenced by

\keyindex{accshift}\texttt{=}\textsl{any \TeX\ dimension}

\noindent
positive values shift to left, negative to right, default is \texttt{0pt}.
%%%%%
\section{Transposition and octaviation}
%%%%%
An important feature is the existence of a special register
\keyindex{transpose} the normal value of which is 0. If you say

\verb|\transpose=3|

\noindent all subsequent pitches specified by
upper or lower case letters\footnote{Pitches specified with digits are
absolute and not transposable.} will be transposed 3 positions.

 \textsl{Octaviation}\index{octaviation} can also be performed in another
way, namely using special codes to transpose by multiples of 7 intervals.
For example \verb|\qu{'a'b}| is equivalent to \verb|\qu{hi}| and
\verb|\qu{`k`l}| is equivalent to \verb|\qu{de}|.
%
\subsubsection{Local octave transposition of fixed length}
%
\begin{music}
\startextract
\NOTEs\uoctfin{10}3\qa{abcd}\en
\NOTEs\doctfin{-5}2\qa{jih}\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\NOTEs\uoctfin{10}3\qa{abcd}\en
\NOTEs\doctfin{-5}2\qa{jih}\en
\end{verbatim}
\end{quote}
\zkeyindex{doctfin}\zkeyindex{uoctfin}
\noindent that is, the dashed line extends 3$\times$\verb|\noteskip|.

If a more sophisticated posting is wanted, this can be achieved using
the macro \keyindex{octnumber}, e.g.:
\begin{music}
\startextract
\NOTEs\octnumber{\smallppff8$^{va}$}\uoctfin{10}2\qa{cde}\en\bar
\NOTEs\octnumber{\smallppff8$^{va\,basso}$}\doctfin{-5}2\qa{lkj}\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\NOTEs\octnumber{\smallppff8$^{va}$}\uoctfin{10}2\qa{cde}\en\bar
\NOTEs\octnumber{\smallppff8$^{va\,basso}$}\doctfin{-5}2\qa{lkj}\en
\end{verbatim}
\end{quote}
%
\subsubsection{Long or variable range octave transposition}
%
Long range octave transpositions are better handled using
\keyindex{iuoctfine},
\keyindex{idoctfine} and
\keyindex{toctfine} whose effect extends over line breaks.

\verb|\iuoctfine|~$np$ starts an octave transposition of reference number
$n$ dashed line at pitch $p$, \verb|\idoctfine|~$np$ starts a lower octave
transposition at pitch $p$, and both extend until terminated
with \verb|\toctfine|~$n$. The difference between \verb|\iuoctfine| and
\verb|\idoctfine| is the relative position of the ``8'' figure with
respect to the dashed line, and the sense of the terminating hook.

Additional there are \keyindex{iuoctfin}, \keyindex{idoctfin} and
\keyindex{toctfin}, which are equivalent to \verb|\iuoctfine0|,
\verb|\idoctfine0| and \verb|\toctfine0|.
For example:
\begin{music}
\generalmeter{\meterfrac{6\kern2pt4}{4\kern2pt4}}
\setstaffs12
\setclef1\bass
\smallmusicsize
\startpiece
\addspace\afterruleskip
\NOtes\qa{CDEFGH}|\qa{cde}\iuoctfine1o\qa{fgh}\en
\bar\NOtes\idoctfine2A\qa{IJKLMN}|\qa{ijklmn}\en
\bar\NOtes\qa{NMLKJI}|\qa{nmlkj}\toctfine1\qa i\en
\bar\NOtes\qa{HGF}\toctfine2\qa E|\qa{hgfe}\en
\endpiece
\end{music}
whose coding is
\begin{quote}\begin{verbatim}
\NOtes\qa{CDEFGH}|\qa{cde}\iuoctfine1o\qa{fgh}\en
\bar\NOtes\idoctfine2A\qa{IJKLMN}|\qa{ijklmn}\en
\bar\NOtes\qa{NMLKJI}|\qa{nmlkj}\toctfine1\qa i\en
\bar\NOtes\qa{HGF}\toctfine2\qa E|\qa{hgfe}\en
\end{verbatim}\end{quote}
The elevation of octaviation lines may be raised/lowered using
\keyindex{liftoctfine} $np$ where $n$ is the reference number of the
wanted octave line, and $n$ a number (possibly negative) number of
\verb|\internote| by which the dashed line should be lifted. This is
particularly useful when octaviation lines last several systems and need to
be lifted in the systems occuring farther than the initiation.
%%%
\subsection{Transposition of accidentals}
%%%
The above processes indeed change the vertical position of the note heads
and associated symbols (note stems, accents and beams) but they do not
take care of the necessary changes of accidentals when transposing, i.e. the
fact that an $F\sharp$ occurring with a zero signature should become a
$B\natural$ when transposing from the tonality of $C$ major to $F$ major
where the normal $B$ is the $B\flat$. Since the intent of the composer is not
obvious -- he may want to shift a group of notes within the same tonality
or conversely to transpose it in another tonality -- this is not done
automatically. Thus the \keyindex{sh}, \keyindex{fl}, \keyindex{na},
\keyindex{dsh} and \keyindex{dfl} symbols \textsl{are not affected} by a
change of the \keyindex{transpose} register.

 But the composer/typesetter may ask \OpusTeX\ to do that work. In this
case, he should code \keyindex{relativeaccid}. In that case, a \verb|\sh|
command means that the corresponding pitch\footnote{The musical output note,
not the typesetting position.} has to be raised by \textsl{one half pitch}
with respect to its normal value \textsl{according to the current signature}.
Thus \verb|\sh b| (using \keyindex{relativeaccid}) means a $B\sharp$ if the
signature is zero or positive, and a $B\natural$ if it is negative. The same
logic applies for all accidentals using \keyindex{relativeaccid}.

 The compact codes \verb|^|, \verb|_|, \verb|=| are normally not
affected by transposition and signatures, but their behavior can be changed
by typing \keyindex{relativeaccid} and reset by
\keyindex{absoluteaccid} (the default situation).

 Although \textsl{relative accidental coding} is an easy and safe way
of coding \textsl{transposable} scores, care should be exercised in getting
rid of the habit of saying \verb|\na b| to rise the pitch of a $B$ when the
tonality is $F$ major (i.e. with \keyindex{setsign}~$n$\verb|{-1}| or
\keyindex{generalsignature}\verb|{-1}|).
%%%%%
\section{Slurs and ties}
%%%%%
The slurs and ties provided by \OpusTeX\ can be divided into two categories:
\begin{itemize}
   \item Those where the complete slur symbol is composed of a single
   character from one of the slur fonts, and
   \item those where the slur symbol is composed three discrete
   characters, to form the beginning, middle and end of the slur.
\end{itemize}
The former are called \textsl{simple slurs} and the latter are called
\textsl{compound slurs}. To some extent the division between the two is
invisible to the user, in that a number of the macros described below will
select between the two types automatically. However, other macros are
provided to enable simple slurs to be specified. Note that slurs of both
types must be coded within the pair \verb|\notes...\en|.
%%%
\subsection{General slur coding}
%%%
This section describes the usual method of slur coding, where the
choice between simple or compound slurs is made automatically.
In this case, slurs are initiated and terminated by separate macros,
as is the case for beams.
%
\subsubsection{Slur initiation}
%
The slur must be initiated {\em before}
the spacing note at which the slur begins, and terminated {\em before} the
note at which the slur ends. The simplest slur initiation macro is

\keyindex{isluru}~$np$

which initiates an upper slur, with reference
number $n$, beginning at pitch $p$. The starting point of the slur is
centred above an imaginary quarter notehead at pitch $p$.
The reference number $n$ takes free choosen values beginning with 0%
\footnote{NOTE: Every number higher 5 allocates additional register.
So use these numbers sensible, especially with \LaTeX}.
Similarly, \keyindex{islurd}~$np$ initiates a lower slur.
These slurs are terminated by coding
\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the
termination pitch. To illustrate with a simple example, the following
passage
\begin{music}
\startextract
\NOtes\islurd0g\qu g\tslur0{'c}\qu{'c}\en
\Notes\isluru0{'e}\ibd0{'e}{-2}\qb0{'e'd'c}\tslur0{'b}\tbq0{'b}\en
\bar
\NOtes\islurd0{'a}\qu{'a}\tslur0f\qu f\en
\NOTes\hu g\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\NOtes\islurd0g\qu g\tslur0{'c}\qu{'c}\en
\Notes\isluru0{'e}\ibd0{'e}{-2}\qb0{'e'd'c}\tslur0{'b}\tbq0{'b}\en
\bar
\NOtes\islurd0{'a}\qu{'a}\tslur0f\qu f\en
\NOTes\hu g\en
\end{verbatim}
\end{quote}
Other macros are provided to change the starting and ending point of the slur
in relation to the initial and final notes.
Thus, \keyindex{issluru}~$np$ initiates a `short' slur suitable for
linking notes involved in chords. The starting point is shifted
to the right, and is vertically aligned with the center of an imaginary
quarter note head at pitch $p$.

Sometimes busy scores call for slurs which are vertically aligned with the
ends of note stems rather than note heads. These `beam' slurs, so-called
because the slur is written at usual beam-height,
are provided by the
macros \keyindex{imsluru}~$np$ and \keyindex{imslurd}~$np$. These initiate
slurs raised or lowered by the current stem height to accommodate stems or
beams above or below.
%
\subsubsection{Slur termination}
%
Termination of slurs can be done in one of two ways. First, macros matching
each of the initialization macros are provided, as shown below.
\begin{center}
  \begin{tabular}{ll}
 Initiation                            & Termination \\
 \hline
 \keyindex{isluru},  \keyindex{islurd} &\keyindex{Tslur}, \keyindex{tslur}\\
 \keyindex{issluru}, \keyindex{isslurd}&\keyindex{Tslur}, \keyindex{tsslur}\\
 \keyindex{imsluru}                    &\keyindex{Tslur}, \keyindex{tumslur}\\
 \keyindex{imslurd}                    &\keyindex{Tslur}, \keyindex{tdmslur}\\
 \hline
  \end{tabular}
\end{center}
These specific termination macros enable slurs begun in one way
to be terminated in another. For example, a slur beginning as a `beam' slur
may be terminated as a normal slur. This would be achieved using the macro
pair \verb|\imslur...\tslur|. However, since in most cases the slur
will end the same way it began, for convenience a further macro
\keyindex{Tslur}~$np$ is provided. This macro automatically selects
the default termination according to the initiation macro, thus enforcing the
correspondences shown in the table above.

\begin{quote}
Terminating commands only set up the horizontal position!
This is a little bit tricky. The way the the commands are named:

\verb|\i[kind]slur[sense]|\\
\verb|\t[kind]slur|
\end{quote}
%
\subsubsection{Ties}
%
The coding for \itxem{ties} follows from the above discussion as a special
case of slurs, ie, where there is no change in pitch.
Ties are initiated by \keyindex{itieu}~$np$
which starts an upper tie of reference number $n$ at
pitch $p$.

The starting position of the tie is the same as
\verb|\isslur|. The tie is terminated by coding \keyindex{ttie}~$n$.

Some simple examples of slurs and ties are illustrated below.
\begin{music}
\startextract
\NOTes\isluru0g\hd g\tslur0h\hd h\en
\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\Tslur1h\zh{df}\hu h\en
\NOTes\imsluru0g\islurd1g\hu g\Tslur0h\hu h\en
\NOTes\itieu0k\hd k\ttie0\tdmslur1f\hd k\en
\endextract
\end{music}
\noindent which is produced by:
\begin{quote}
\begin{verbatim}
\NOTes\isluru0g\hd g\tslur0h\hd h\en
\NOTes\islurd0c\issluru1g\zh{ce}\hu g\tslur0d\Tslur1h\zh{df}\hu h\en
\NOTes\imsluru0g\islurd1g\hu g\Tslur0h\hu h\en
\NOTes\itieu0k\hd k\ttie0\tdmslur1f\hd k\en
\end{verbatim}
\end{quote}
%%%
\subsection{*Modifying slur properties}
%%%
Several macros are provided to modify the shape of slurs already initiated.
These macros must be coded before the slur termination. Note that only
compound slurs can be modified. Hence, calling any modification macro forces
the slur type to be compound.

{\sl IMPORTANT: Use of \verb|\curve| and \verb|\midslur| is dangerous,
because they directly influences the choose of the slur characters. It is
neither possible nor sensible to `catch' every user mistake inside the
macros. So use them with caution especially using slurs and read the
documentation very carefully.}
%
\subsubsection{*Changing the rise or fall}
%
By default, the arch of a slur rises and falls from its original height
by three times the vertical note spacing (\verb|\Internote|).
%!!! A little bit more complicated. For long slurs = 2.5\Internote (using
%!!! opusslu.tex = 2.5\internote) for other depends on length
This can be changed using the macro
\keyindex{midslur}~$h$ where $h$ is the revised vertical displacement.
For example, \verb|\midslur{6}| coded before \verb|\tslur| causes an upper
slur to rise to a maximum height of \verb|6\Internote| above the
{\bf starting position}. Note that \verb|\midslur| must be coded
{\em immediately} before the slur termination (eg, \verb|\tslur|).
Coding \verb|\midslur| before setting a short slur is ignored.
\begin{music}
\startextract
\NOtes\multnoteskip8\itieu0g\itieu1g\itieu2g\qd g\en
\notes\ttie0\midslur7\ttie1\midslur{11}\ttie2\qd g\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\multnoteskip8\itieu0g\itieu1g\itieu2g\qd g\en
\notes\ttie0\midslur7\ttie1\midslur{11}\ttie2\qd g\en
\end{verbatim}
\end{quote}
Fine tuning of slur height using
\keyindex{raiseslur}\verb|{any |\TeX\verb|-dimen}|.!.
Must be coded in very front of either \verb|\t[]slur| or
\verb|\slur, \tie, ...|.
%
\subsubsection{*Changing the curvature}
%
The degree of curvature depends primarily on the initial and terminal
gradient of the slur, relative to its mean slope. The macro
\keyindex{curve}~$hij$ allows these to be modified. The first parameter $h$
is the vertical deviation as for \verb|\midslur| described above. The second
parameter $i$ sets the initial gradient, while the third parameter $j$ sets
the final gradient. The latter parameters are defined as the horizontal
distance required to attain maximum vertical deviation. Thus smaller numbers
for $i$ and $j$ lead to more extreme gradients.
As with \verb|\midslur|, \verb|\curve| must be coded {\em immediately} before
the slur termination.
Likewise, coding \verb|\curve| before a simple slur causes problems and
should be avoided.

The example below illustrates the use of \verb|\curve| more clearly.
%%
% Example of \curve
%%

Sorry, still missing. Not satisfied at all. Perhaps steps(widths) and
outlook of long slurs will change again.
%
\subsubsection{*Breaking slurs across a line}
%
Two macros are provided to control the behavior of slurs which extend across
line breaks. Normally, the part of the slur before the line break is
treated as a tie.  This can be changed using \keyindex{breakslur}~$np$,
which sets the termination height of
the broken slur at the line break to pitch $p$, for slur reference number $n$.

After the line break, the slur is normally resumed at the initial pitch
reference, the one coded in \verb|\islur|. To change this, the macro
\keyindex{liftslur}~$np$ may be used. Here $n$ is again the slur reference
number and $p$ is the change in height relative to the initialization height.
This macro is normally used following line breaks, in which case it is best
coded using the \verb|\atnextsystem| macro. For example, coding
\verb|\atnextsystem{\liftslur06}| raises the continuation of slur zero
by \verb|6\internote| relative to its initialization height.

These macros are illustrated by the following example.

\begin{minipage}{.4\textwidth}
\begin{music}
\generalmeter{\meterfrac 44}
\startpiece
\atnextsystem{\liftslur06}%
\NOtes\isluru0f\qd f\qd f%
  \breakslur0l\en\bar
\NOtes\qd f\qd f\breakslur0n\en\bar
\NOtes\qd f\tslur0f\qd f\en
\sectionlines3\endpiece
\end{music}
\end{minipage}\hfill
\begin{minipage}{.5\textwidth}
\noindent which was produced by:
\begin{verbatim}
\generalmeter{\meterfrac 44}
\startpiece
\atnextsystem{\liftslur06}%
\NOtes\isluru0f\qd f\qd f%
  \breakslur0l\en\bar
\NOtes\qd f\qd f\breakslur0n\en\bar
\NOtes\qd f\tslur0f\qd f\en
\sectionlines3\endpiece
\end{verbatim}
\end{minipage}

Yet another special option is forced with \keyindex{halfslur} or
\keyindex{nohalfslur} (default). The \keyindex{halfslur}-command makes the
slurs and ties, that end at the first note or chord behind a line break
to have a special outlook. This behavior is preferred by some typesetters.
%
\subsubsection{*Inverting slur termination}
%
Occasionally in keyboard works one needs to begin a slur in one
stave but end it in another. This can be done using the macro
\keyindex{invertslur}~$n$ which is best described by reference to the example
shown below.
\begin{music}
\setstaffs1{2}
\setclef1\bass
\startextract
\NOtes\multnoteskip5\isluru0a\qd a\en
\notes\invertslur0\curve311\tslur0h|\qu e\en
\NOtes\multnoteskip{10}\isluru0a\qd a\en
\notes\invertslur0\curve333\tslur0h|\qu e\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\setstaffs1{2}
\setclef1\bass
\startextract
\NOtes\multnoteskip5\isluru0a\qd a\en
\notes\invertslur0\curve311\tslur0h|\qu e\en
\NOtes\multnoteskip{10}\isluru0a\qd a\en
\notes\invertslur0\curve333\tslur0h|\qu e\en
\endextract
\end{verbatim}
\end{quote}
%%%
\subsection{Simple slurs}
%%%
Simple slurs and ties have the advantage
of optimal aesthetics and simple coding, but are limited in length to 68pt
for slurs and 220pt for
ties. Also, the maximum vertical extent of simple slurs is 8 times the
internote spacing, and the slurs may not extend across a line break.
Despite all these limitations, simple slurs are extremely useful in many
applications where the slurs are short and contained within a bar.

Simple slurs extend to the right of the note immediately following.
Hence they must be coded {\em before} the note at which the slur begins.
The primary macro call is
\keyindex{slur}~$p_1p_2sl$
where $p_1$ and $p_2$ are respectively the initial and final pitches,
$s$ is the sense, either {\tt u} or {\tt d}, and $l$ is the length,
in units of the current value of {\tt noteskip}.
Thus, thirds slured in pairs can be coded:
\begin{quote}
\begin{verbatim}
\NOtes\slur ced1\qu{ce}\en
\NOtes\slur dfd1\qu{df}\en
\NOtes\slur egd1\qu{eg}\en
\NOtes\slur{'e}{'c}u1\qd{'e'c}\en
\NOtes\slur{'d}{'b}u1\qd{'d'b}\en
\NOtes\slur{'c}{'a}u1\qd{'c'a}\en
\end{verbatim}
\end{quote}
\noindent which yields:
\begin{music}
\startextract
\NOtes\slur ced1\qu{ce}\en
\NOtes\slur dfd1\qu{df}\en
\NOtes\slur egd1\qu{eg}\en
\NOtes\slur{'e}{'c}u1\qd{'e'c}\en
\NOtes\slur{'d}{'b}u1\qd{'d'b}\en
\NOtes\slur{'c}{'a}u1\qd{'c'a}\en
\endextract
\end{music}
%%
Similarly, ties may be set using
\keyindex{tie}~$psl$ where $p$ is the (single) pitch, and the other
parameters are as described above.

Variants on these macros are provided to change the slur length
and vertical offset relative to the starting note, as follows.
\begin{itemize}
  \item \keyindex{sslur}~$p_1p_2sl$, which sets a `short' slur,
        designed for the case when a slur is required to link notes which
        form part of a chord (see \verb|\isslur| above).
        The macro \keyindex{stie}~$psl$ sets analogous ties.
  \item \keyindex{mslur}~$p_1p_2sl$, which sets a `stem' or `beam' slur,
        raised or lowered so that the slur links the ends of note stems
        rather than note heads.
\end{itemize}
%%%
\subsection{Restrictions}
%%%
Slur fonts are provided only for two sizes: \verb|\normalmusicsize|
and \verb|\smallmusicsize|. Slurs for all staff sizes can be found in
extension library.

Generation of some of the slur fonts is problematic for \MF.
In particular, the long ties tend to exceed \MF's
maximum dimension for high resolution printers. However, for normal 300DPI
or 600DPI printers there is no problem. A solution to this limitation is
planned for Postscript\raise1ex\hbox{\footnotesize\copyright} printers using
DVIPS \verb|\special| commands.
%%%%%
\section{Bars}
%%%%%
%%%
\subsection{Bars and spacing}
%%%
 Ordinary \textsl{bars} are coded using the macro \keyindex{bar}. Its
drawback is that it does not differ from \verb|\bar| which is already
defined in \TeX's mathematical mode.
\index{bar (original meaning)@{\Bslash bar}\textsl{(original meaning)}}

Therefore, inside \verb|\startpiece...\endpiece| \textsl{our} \verb|\bar|
means a musician \textsl{bar} and outside, it keeps its original meaning.
If you \textsl{really} need the original \verb|\bar| inside, you may use
\verb|\endcatcodesmusic...\bar...\catcodesmusic|.

Same logic counts for \keyindex{lq}, \keyindex{rq}, \keyindex{wr},
\keyindex{cap}, \keyindex{sf}, \keyindex{-} and \verb|\_|.
\index{_@{\Bslash\string_}}
%%%
\subsection{Bar numbering}
%%%
Unless otherwise specified, \index{bar numbering}bars are not
numbered. This looks pleasant for final outputs. You can also print any bar
number by telling:

\keyindex{barnumbers}

This is a good means of finding errors provided that the \OpusTeX\
user has put comments in his source text recording the (expected) bar number.
The frequency of bar numbering is defined as:

\keyindex{barnostep}\verb|{1}%|

If you replace the {\tt1} by {\tt5}, bar numbering will occur every five
bars.

\noindent If you want to disable bar numbering after \verb|\barnumbers|,
you can say

\keyindex{nobarnumbers}

The bar counter is also accessible, its name is \keyindex{barno}.
You can change it without any dramatic consequence.

Sometimes there is need for to start with a \verb|\barno| value which differs
from 1. Perhaps the piece starts with an \textsl{upbeat}, then you can code

\keyindex{startbarno}\verb|=0|

\noindent in front of \verb|\startpiece|; or you may want to typeset only an
excerpt starting for example with bar number
198, then you can code \verb|\startbarno=198|. Pay attention because
\verb|\startbarno=|$n$ has a global meaning. So if you want to
\verb|\input| several pieces whose starting bar numbers differ, you have to
adjust the value of \verb|\startbarno|.

The best compromise between information of the bar number and a pleasant
lookout is the command \keyindex{systemnumbers} which draws the bar numbers
only at the left top of every system.
You can influence the height of the system numbers by coding

\keyindex{raisebarno}\verb|{|\textsl{any \TeX~dimension}\verb|}|

\noindent whose default is set to \verb|4\internote| to fit above
a violin clef. You can influence its horizontal position with

\keyindex{shiftbarno}\verb|{|\textsl{any \TeX~dimension}\verb|}|

\noindent which default value is \texttt{0pt}. If you don't like the
box around the bar number, you can define a new standard for the system
bar number; default is

\keyindex{writebarno}\verb|{\boxit{\eightbf\the\barno\barnoadd}}|
\begin{music}
\boxextract
\startbarno=36
\hbox to \hsize{%
\hss
  \raise\Interline\hbox{(a) }%
  \systemnumbers\startextract
    \Notes\wh g\en
  \zendextract
\hss
  \writebarno{\tenrm\the\barno\barnoadd}%
  \raisebarno{2\internote}%
  \shiftbarno{2.5\Interline}%
  \raise\Interline\hbox{(b) }%
  \systemnumbers\startextract
    \Notes\wh g\en
  \zendextract
\hss
  \writebarno{\llap{\tenbf\the\barno\barnoadd}}%
  \raisebarno{2\internote}%
  \shiftbarno{1.3\Interline}%
  \raise\Interline\hbox{(c) }%
  \systemnumbers\startextract
    \Notes\wh g\en
  \zendextract
\hss}
\end{music}
which was coded as
\begin{itemize}
\item[(a)] (default)
\item[(b)]
  \begin{verbatim}
\writebarno{\tenrm\the\barno\barnoadd}%
\raisebarno{2\internote}%
\shiftbarno{2.5\Interline}%
  \end{verbatim}
\item[(c)]
  \begin{verbatim}
\writebarno{\llap{\tenbf\the\barno\barnoadd}}%
\raisebarno{2\internote}%
\shiftbarno{1.3\Interline}%
  \end{verbatim}
\end{itemize}
If the previous line does not stop with a bar rule to the next system bar
number is added the \keyindex{writezbarno} whose default setting is the lower
character `a'. If you want a `+' instead, you can say

\verb|\def|\keyindex{writezbarno}\verb|{+}|

\noindent
Besides, you can suppress the messages of bar numbers on \texttt{stdout}
(normally screen) with \keyindex{nobarmessages}.
%%%
\subsection{Full and instrument divided bars}
%%%
Normally, bars (as well as double bars, final bars and repeat bars) are
drawn as a continuous line, starting for the bottom of the lower staff of the
lower instrument, and ending at the top of the upper staff of the upper
instrument. However, one may want to have discontinuous bars, that is, one
continuous bar for all the staffs of a unique instrument. This is done by
issuing the command \keyindex{sepbarrules}. An example of this is given in
the example of section \ref{avemaria}.

 The initial situation can be forced or restored by
\keyindex{stdbarrules}. In the extension library are some more types of bar rules
mainly for very old music, see \ref{litu}.
%%%%%
\section{*Line and page breaking}\label{linebreak}
%%%%%
For those who had worked with Music\TeX\ before, this has changed
{\bf at all}. All line breaking decisions
are done by the external program \texttt{opusflex}. The most even (means: the
very best) result you'll get, when you insert at least \textsl{manual}
line breaks as possible. But sometimes there is really need for them,
e.g.~for pianist a page break should occur when one hand is free or .!.

You can force a line break with \keyindex{nextline} instead of \keyindex{bar}.
In the same way, you can code \verb|\nextpage| to
force an \keyindex{eject} with proper reinitialization of staffs, clefs and
signatures.

 On the other hand, you may want to forbid line breaking at a bar,
then you replace \verb|\bar| by \keyindex{xbar}.
 Conversely, you may want to break a line \textsl{not at a bar}\footnote{For
example, you may prefer to turn the page at a place where the pianist has
one hand free.}. This is allowed by \keyindex{zbar} (optional line break) or
forced by \keyindex{znextline} or \keyindex{znextpage}.

The final heavy double bar of a piece is provided by \keyindex{Endpiece}.
If you just want to terminate the text with a simple bar, you say
\keyindex{endpiece}.
If you want to terminate it without a bar, you code
\keyindex{zendpiece}. Once you have stopped the score by any of these
means, you can restart it using \keyindex{startpiece}, \keyindex{contpiece}
or \keyindex{Contpiece}
which indents the next line taking account on the value of
\keyindex{musicindent}. \verb|\Contpiece| can be used to change the number
of instruments in one piece or to change the value of \keyindex{hsize} or
\keyindex{musicindent}.

 If you want the next vertical bar to be a double bar, you have to
declare \keyindex{doublebar} or \keyindex{setdoublebar} before the
\keyindex{bar} (or \keyindex{endpiece}, \keyindex{nextline},
\keyindex{nextpage}) to be marked with a double thin bar. In the same way you
can declare \keyindex{setdoubleBAR} if you want to have a heavy double bar
(the same as \verb|\Endpiece|) and even \keyindex{setemptybar} to make the
next \verb|\bar| invisible\footnote{These latter features are given for your
information, but they should be used only in case of emergency.}.
%%%%%
\section{How to manage page layout}
%%%%%
\begin{enumerate}
\item You write your own output routine, which centers the contents in middle
of the page. Most important are then the values of \keyindex{abovesystem}
and \keyindex{belowsystem}, because they decide of the amount of margin
between successive systems.
\item If you say \keyindex{raggedbottom}, the vertical glue is removed and
the score is rather compacted at the top of page.
\item You change the value of \keyindex{parskip} and say
\keyindex{normalbottom} (which behaves like \LaTeX's \keyindex{flushbottom}
and which is done by default working with \texttt{plain.tex}). Then the
vertical space between the staffs is changed to get the first staff on page
on top and the last staff on page to bottom (depends on \keyindex{vsize}).
It might be clever to insert a \keyindex{eject} before the \keyindex{bye}.
\keyindex{musicparskip} set between two systems no extra distance, but the
possibility to increase the distance up to \verb|7\Interline|.
\end{enumerate}
\noindent
Besides, following values of e.g.~paper size are changed
(only if you \textsl{do not} work with \LaTeX) to:
\begin{quote}\begin{verbatim}
\hoffset= -14mm
\voffset= -10mm
\hsize= 190mm
\vsize= 260mm
\end{verbatim}
\end{quote}
\zkeyindex{hoffset}
\zkeyindex{voffset}
\zkeyindex{hsize}
\zkeyindex{vsize}
%%%%%
\section{Changing score attributes}
%%%%%
 As seen before, you can change the
signature of the whole set of instruments by \keyindex{generalsignature}~$n$
where $n>0$ means a number of sharps, $n<0$ means a number of flats. Or, you
may prefer to change the signature of only one or two instruments by the
statement:

\keyindex{setsign}~$n$\verb|{|$s$\verb|}|

\noindent
 where $n$ is the number of the instrument considered, and $s$ its
specific signature. Since you may change simultaneously (with respect to the
score) but consecutively (with respect to your code) the signatures of
several instruments, this change works only correct when you say
\keyindex{changesignature} (within a bar) or \keyindex{changecontext} (after
a single vertical rule) or \keyindex{Changecontext} (after a double vertical
rule) or \keyindex{pchangecontext} (to force a new page).

In the same way, you may want to change the active clefs.
This is done by

\keyindex{setclef}~\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%|

\noindent where $n$ is the number of the instrument, $s_1$
specifies the clef of the lower staff, $s_2$ the clef of the second staff,
etc. (if necessary!)
$s_1=0$ means the \textsl{violin} clef, $s_1=3$ means the \textsl{alto} clef
set on middle line, and $s_1=6$ means the usual \textsl{bass} clef.
Alternatively they can be called with \keyindex{treble}, \keyindex{alto}
and \keyindex{bass}. \index{violin clef}\index{bass clef}\index{alto clef}

 As seen above in the case of signatures, several clefs may be changed at the
same time; thus all the clef changes become operational only when the macro
\keyindex{changeclefs} is coded. Normal usage consists in issuing this
command before the bar, not after (this helps the music player when the
change happens across a line break).

 The \verb|\changeclefs| command normally takes some horizontal space to put
one of more clef symbols, but it may happen that you have no notes
immediately before on the staff whose clef is changed. In that case, you can
use \keyindex{zchangeclefs} which performs the same posting, overwritten left
on the last part of the score in that staff. Of course it is your
responsibility to ensure that no notes will collide with the clef change
symbols.

If a clef change has to be typeset when one or several beams are pending,
there are no problems anymore. As an enhanced example, an excerpt of
\indexname{Brahms}J's Intermezzo op.~117,1 initially coded by
Miguel {\sc Filgueiras}:
\begin{music}
\musicindent-4mm
\advance\hsize8mm
\instrumentnumber{1}
\generalsignature{-3} % 3 flats
\interstaff{11}
\setstaffs1{2}
\setclef1\bass        % F- and G-clefs
\startpiece
\qspace\nspace
\Notes\arpeggio E5\imslurd0o\zq{EI}\qu N%
  |\ibd0e{-2}\zq{eg}\qb0l\zq d\qb0k\en
\setclef1\treble\zchangeclefs
\Notes\zq{ce}\invert\tbq0j|\zq{sn}\cd l\en
\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i|\zq{sn}\qd l\en
\setclef1\bass\changeclefs
\notes\islurd0k\zq E\cu I|\ibbu1h{-3}\zq{ae}\qb1h\zq N\tbq1g\en
\bar
\Notes\ibu0L{-2}\zq{EI}\qb0M\zqb0L%
  |{\stemlength4\zqd N}\ibu1f{-2}\qb1f\tbq1e\en
\setclef1\treble\zchangeclefs
\Notes\zq{Me}\tbq0g|\zq{ln}\cd s\en
\notes\curve{-4}22\invertslur0\tslur0q\zq{be}\qu i|\zq{ln}\qd s\en
\setclef1\bass\changeclefs
\notes\islurd0m\zq G\cu L|\ibbu1j3\zq c\qb1j\zq d\tbq1k\en
\bar
\Notes\zq G\qu L|\ibd0e{-2}\zq{ei}\qb0l\zq d\qb0k\en
\setclef1\treble\zchangeclefs
\Notes\zq{ce}\invert\tbq0j|\zq{sn}\cd l\en
\notes\curve{-5}22\invertslur0\tslur0o\zq{be}\qu i|\zq{sn}\qd l\en
\setclef1\bass \changeclefs
\notes\zq B\cu I|\imsluru0j\ibbu1h{-3}\zq{ae}\qb1h\zq N\tbq1g\en
\bar
\Notes\zq{IL}\qd N|\zqd b\ibu0i{-2}\qb0i\en
\scalenoteskip{.5}%
\Notes|\qb0e\en
\Notes|\tinynotesize\isluru1f\grcu g\en
\scalenoteskip\normalvalue
\Notes\zq B\cu I|\zcd a\tslur1f\zq d\tbq0f\en
\Notesp\zq E\qu I|\tslur0e\zq N\zqd e\ibu0g6\qbp0e\en
\notes|\imsluru0i\nbb0\qb0g\en
\notes\cu E|\imidcres\zq i\zcd g\qb0i\en
\notes|\tcres\tbq0n\Tslur0k\en
\endpiece
\end{music}
the first bar was coded as:
\begin{quote}
\begin{verbatim}
\instrumentnumber{1}
\generalsignature{-3} % 3 flats
\interstaff{11}
\setstaffs1{2}
\setclef1\bass        % F- and G-clefs
\startpiece
\qspace\nspace
\Notes\arpeggio E5\imslurd0o\zq{EI}\qu N%
  |\ibd0e{-2}\zq{eg}\qb0l\zq d\qb0k\en
\setclef1\treble\zchangeclefs
\Notes\zq{ce}\invert\tbq0j|\zq{sn}\cd l\en
\notes\curve{-4}22\invertslur0\tslur0t\zq{be}\qu i|\zq{sn}\qd l\en
\setclef1\bass\changeclefs
\notes\islurd0k\zq E\cu I|\ibbu1h{-3}\zq{ae}\qb1h\zq N\tbq1g\en
\end{verbatim}
\end{quote}
%
\textsl{Meter} changes are implemented in following way:

\keyindex{setmeter}~$n$%
  \verb|{{|$m_1$\verb|}{|$m_2$\verb|}{|$m_3$\verb|}{|$m_4$\verb|}}%|

\noindent
 where $n$ is the number of the instrument, $m_1$ specifies the meter
of the lower staff, $m_2$ the meter of the second staff, etc. (if neccesary!).

Since meter changes
are meaningful only across bars, they are actually taken in account with
\keyindex{changecontext}, \keyindex{Changecontext},
\keyindex{zchangecontext}, \keyindex{nextline} or \keyindex{nextpage}.
%%%%%
\section{Music score without clefs or with special clefs}
%%%%%
\index{clefs (empty)}
Regardless of the number of lines of the staffs, an instrument may
have no clefs, e.g.~for \itxem{percussion music} but also for any weird
purpose. This is done by declaring the following item:

\keyindex{setclefsymbol}~$n$\verb|\empty|

 Normal symbols for these clefs can be restored for all instruments by:

\keyindex{resetclefsymbols}

or with use of \keyindex{setclefsymbol} and either \keyindex{trebleclef},
\keyindex{altoclef} or \keyindex{bassclef} for a specified instrument.

 \index{tenor violin clef}In some scores, tenor parts are not code using the
\textsl{bass} clef, but using rather the \textsl{violin clef} subscripted by a
{\tt8}. This is also supported by the \keyindex{setclefsymbol}
command. As an example the following score

\keyindex{trebleoct}
\keyindex{octtreble}
\keyindex{bassoct}
\keyindex{octbass} ??? Names should be changed .!.
\begin{music}
\generalmeter{\meterfrac 44}
\setclef1\treble \setclefsymbol1\trebleoct
\startextract
\NOTEs\wh g\en \setclef1\bass   \setclefsymbol1\bassoct   \changecontext
\NOTEs\wh M\en \setclef1\treble \setclefsymbol1\octtreble \changecontext
\NOTEs\wh g\en \setclef1\bass   \setclefsymbol1\octbass   \changecontext
\NOTEs\wh M\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTEs\wh g\en \setclef1\bass   \setclefsymbol1\bassoct   \changecontext
\NOTEs\wh M\en \setclef1\treble \setclefsymbol1\octtreble \changecontext
\NOTEs\wh g\en \setclef1\bass   \setclefsymbol1\octbass   \changecontext
\NOTEs\wh M\en
\end{verbatim}
\end{quote}
%%%%%
\section{Repeats}
%%%%%
To insert a \textsl{repeat bar} you can use following sets of procedures,
namely \keyindex{leftrepeat}, \keyindex{rightrepeat} and
\keyindex{rightleftrepeat}, which are substitute the \keyindex{bar}.
For example:
\begin{music}
\startextract
\NOTes\ha g\en
\leftrepeat
\NOTes\ha h\en
\rightleftrepeat
\NOTes\ha i\en
\rightrepeat
\NOTEs\wh j\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTes\ha g\en
\leftrepeat
\NOTes\ha h\en
\rightleftrepeat
\NOTes\ha i\en
\rightrepeat
\NOTEs\wh j\en
\end{verbatim}
\end{quote}
Special cases are forced line breaks:
if you want to force a new line at a repeat, you should code respectively:

\noindent\keyindex{setrightrepeat}\keyindex{nextline}\\
\keyindex{setrightrepeat}\keyindex{endpiece}\\
\keyindex{nextline}\keyindex{leftrepeat}\\
\keyindex{contpiece}\keyindex{leftrepeat}\\
\keyindex{startpiece}\keyindex{leftrepeat}

\noindent or the combination of two of these in the case of a left/right
repeat.

 A second way of coding consists in saying \keyindex{setleftrepeat},
\keyindex{setrightrepeat} or \keyindex{setrightleftrepeat} before a bar
(\keyindex{bar}), \keyindex{endpiece} or \keyindex{changecontext}). In
this case, the next single vertical bar will be replaced with the selected
repeat bar. This meets the traditional music typesetting conventions in the
only case of the \textsl{right repeat} but, unfortunately, left and
left/right repeats use to behave in a different manner when in the middle of
a line and at a line break.
%%%
\subsection{*More times pass scoring}
%%%
A frequent situation consists in a long part of score repeated two or several
times, but its last few bars are different at first and second pass.
This can be specified by \keyindex{setvolta}\verb|{|\textsl{text}\verb|}| or
\keyindex{setvoltabox}\verb|{|\textsl{text}\verb|}| behind the \keyindex{bar}
beginning the part specific to that first or second part\footnote{The word
``volta'' comes from Italian, it means ``time'' in the sense of ``first
time'', ``second time'' or ``pass'' in that case.}. For example:
\begin{music}
\startpiece
\addspace\afterruleskip
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\bar\setvoltabox{1.-3}%
\NOTEs\wh c\en\rightrepeat\setvolta4%
\NOTEs\wh d\en\doublebar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\leftrepeat
\NOTEs\wh g\en\bar
\NOTEs\wh h\en\bar\Setvolta1%
\NOTEs\wh i\en\bar
\NOTEs\wh j\en\endvoltabox\rightrepeat\Setvolta2%
\NOTEs\wh i\en\bar
\NOTEs\wh h\en\endvoltabox
\Endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTEs\wh a\en\bar
\NOTEs\wh b\en\bar\setvoltabox{1.-3}%
\NOTEs\wh c\en\rightrepeat\setvolta4%
\NOTEs\wh d\en\doublebar
\NOTEs\wh e\en\bar
\NOTEs\wh f\en\leftrepeat
\NOTEs\wh g\en\bar
\NOTEs\wh h\en\bar\Setvolta1%
\NOTEs\wh i\en\bar
\NOTEs\wh j\en\endvoltabox\rightrepeat\Setvolta2%
\NOTEs\wh i\en\bar
\NOTEs\wh h\en\endvoltabox
\end{verbatim}
\end{quote}
\zkeyindex{leftrepeat}\zkeyindex{rightrepeat}
The ``volta'' symbols are normally set at
\verb|4\internote| above the upper line of the staff and one bar(length?)
wide. The default height can be changed with

\keyindex{raisevolta}\verb|{|\textsl{any \TeX\ dimension}\verb|}|

If the music typesetter want to include more than one bar, he can
code \keyindex{Setvolta}\verb|{|\textsl{text}\verb|}| behind the bar it shall
start and \keyindex{endvolta} or \keyindex{endvoltabox} before the bar they
shall end.

The dot after "volta" numbering can be removed, simply by
\keyindex{novoltadot} and reset by \keyindex{voltadot}.
%%%
\subsection{*Large scope repeats and orientation marks}
%%%
Large scope repeats have also been provided
special symbols, namely using \keyindex{coda}, \keyindex{Coda},
\keyindex{segno} and \keyindex{Segno}:
\begin{music}
\startextract
\NOtes\segno\en\bar
\NOtes\coda\en
\NOtes\Segno\en\bar
\NOtes\Coda\en\bar
\NOtes\zchar{12}{\circleit A}\en\bar
\NOtes\uptext{\boxit B}\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\segno\en\bar
\NOtes\coda\en
\NOtes\Segno\en\bar
\NOtes\Coda\en\bar
\NOtes\zchar{12}{\circleit A}\en\bar
\NOtes\uptext{\boxit B}\en
\end{verbatim}
\end{quote}
The height of \verb|\coda|, \verb|\Coda| and \verb|\segno| is influenced
with \keyindex{raisecoda}\verb|{|\textsl{steps of} \verb|\internote}|
which is set up by default to:

\verb|\raisecoda{9}|

Orientation marks are set more often above larger orchestral pieces for
easy come together of all instruments for exercise reasons. Often used are
circled or boxed uppercase characters or digits. This can be done with

\keyindex{boxit}\verb|{|\textsl{text}\verb|}|~~~or\\
\indent\keyindex{circleit}\verb|{|\textsl{text}\verb|}|

\noindent The distance between the box and the including text is influenced by

\keyindex{boxitsep}\texttt{=}\textsl{any \TeX\ dimension}

which is setup by default to \texttt{3pt}. The usage is recommended with
\keyindex{Uptext}, \keyindex{zcharnote}, \keyindex{zchar} or
\keyindex{ccharnote}.
%%%%%
\section{*Miscellaneous}
%%%%%
%%%
\subsection{Putting anything anywhere}
%%%
\noindent Special macros are provided to help the composer to set any \TeX\
text on the staffs. The macro

\keyindex{zcharnote}~$p$\verb|{|text\verb|}|

\noindent
sets the given text with its base line at pitch $p$ of the current staff
(this means it must be coded inside \verb|\notes...\en|).
Whatever the length of the text, no spacing occurs.
If you want the possible spilling text to expand on the left rather than
on the right, then you can use \keyindex{lcharnote}.
If you want the possible spilling text centered to current position,
then you can use \keyindex{ccharnote} which causes no space.

The macro \keyindex{zcharnote} is fit for coding special notations like
accents above or below the notes. Also available are \keyindex{zchar},
\keyindex{lchar} and \keyindex{cchar}, which
allows only numbers for pitch, but enables the use of floats too.

To place some text at the mid-position between the two staffs of
a keyboard instrument, you may code:
\begin{quote}
\keyindex{zmidtext}\verb|{|{\it text}\verb|}%| (to right)\\
\keyindex{lmidtext}\verb|{|{\it text}\verb|}%| (to left)\\
\keyindex{cmidtext}\verb|{|{\it text}\verb|}%| (centered)
\end{quote}
\noindent being however
careful, a) to put it inside \verb|\notes...\en|, b) to code it in the
text of the upper staff.

 A text to be put above the current staff is introduced by
\keyindex{uptext}\verb|{...}|.
This may however cause some collision with bar
numbering or notes above the staff; it is then wise to use
\keyindex{Uptext}\verb|{...}|
which puts the text two note line distances higher (recommended to post
the tempo).
%%%
\subsection{Finger marks?*}
%%%
% font for finger marks, default \eightbf
\keyindex{fingerfont} default {\Bslash eightbf}.
% #1 pitch #2 finger, more than one are seperated by | e.g. \finger9{1|3|5}
\keyindex{finger}$pf$ where $p$ denotes the pitch and $f$ says, what
finger you'd propose. To stack several indications, separate them by
\texttt{\|}, i.e.~{\Bslash finger}\texttt{9\{1\|3\|5\}}.\\
% indicates a fingerchange?, e.g. \finger9{\fingerchange|13}
\keyindex{fingerchange} produces a \hbox to 1em{\fingerchange\hss}.
\medskip
\begin{music}
\musicindent-4mm
\advance\hsize8mm
\generalsignature{-5}
\generalmeter\meterC
\setclef1\bass
\setstaffs12
\interstaff{10}
\meddyn
\raiseped{-6}
\startpiece
\nspace
\Notes\varPED\ibd0L3\zqb0K%
  |\zmidtext\P\issluru0n\finger{10}5\ibd1m{-5}\zqbp1m\en
\notes\finger{-4}3\zqb0a\en
\notes|\finger93\tbb1\tbq1k\en
\Notes\zchar{-9}\varPed\finger{-5}{1|2}\zh f\hb0d|\finger91\zhu h\en
\Notes\tbq0a\en
\Notes\ibd0a0\zqb0a\en
\Notes\finger{-3}5\zqb0a\en
\raiseped{-8}%
\Notes\varPED\zq f\zqb0d|\zqd i\en
\Notes\tbq0a\en
%%% bar 2
\bar
\Notes\varPED\finger{-4}{1|2}\zhp g\ibd0a0\pt e\hb0e%
  |\icres{-4}\finger9{\fingerchange|31}\zhdp j\en
\Notes\zqb0a\en
\Notes\zqb0a\en
\Notes\DEP\tbq0a\en
\Notes\finger{-5}4\ibd0a0\zqb0b\en
\Notes\zqb0a\en
\Notes\varPED\finger{-4}{1|3}\zq f\zqb0d|\zqd k\en
\Notes\tbq0a\en
%%% bar 3
\raiseped{-5}%
\bar
\nspace
\Notes\varPED\ibd0a0%
  |\lchar{-3}{\eightbf3~}\lchar1{\eightbf1~}\zhp c\zqbp0g\ibu1k3\zqbp1l\en
\notes\nbb0\zqb0a\en
\notes\tbb0|\finger{-2}1\zqb0h\tbb1\tbq1m\en
\Notes\varPED|\finger{-2}1\zchar{-.3}{\roff\tcres}\noskip\hb0i\zhu n\en
\Notes\tbq0a|\roff{\idecres{-5}}\en
\Notes\ibd0a0\zqb0a\en
\Notes\zqb0a\en
\Notes\varPED|\lchar{-2.5}{\eightbf3~}\zq d\zqb0i\zqu m\en
\Notes\tbq0a\en
%%% bar 4
\bar
\nspace
\Notes\varPED\ibd0a0%
  |\lchar{-3}{\eightbf4~}\finger{10}4\zh c\zqb0h\zqup m\en
\Notes\zqb0a\en
\Notes\varPED|\zqb0g\en
\Notes\tbq0a|\roff\tcres\zcu l\en
\Notes\varPED\ibd0a0|\lchar{-2.5}{\eightbf3~}%
  \lchar0{\eightbf1~}\zq d\zqb0f\islurd2k\zqu k\en
\Notes\DEP\zqb0a|\tinynotesize\roff{\finger{11}3\Tslur2l\noskip\grcu l}\en
\notes|\finger{12}3\zq c\zqb0g\islurd1k\ibu1j1\zqb1l\en
\notes|\finger{12}4\zqb1m\en
\notes|\zqb1l\en
\nspace
\notes\roff{\tbq0a}|\accshift-1pt\zqb1{=k}\en
\notes|\zqb1l\en
\notes|\zqb1m\en
\notes|\slurtext{\eightit7}\Tslur1l\curve571\tumslur0r\tbq1n\en
\sectionlines1\endpiece
\end{music}
\smallskip
\noindent Simply take a look at the beginning of the first two bars.\smallskip
\begin{quote}
\begin{verbatim}
\Notes\varPED\ibd0L3\zqb0K%
  |\zmidtext\P\issluru0n\finger{10}5\ibd1m{-5}\zqbp1m\en
\notes\finger{-4}3\zqb0a\en
\notes|\finger93\tbb1\tbq1k\en
\Notes\zchar{-9}\varPed\finger{-5}{1|2}\zh f\hb0d|\finger91\zhu h\en
%...
\end{verbatim}
\end{quote}
%%%
\subsection{Fonts}
%%%
The text fonts loaded by \OpusTeX\ come in six different type
sizes and three styles. The type sizes are 8\,pt, 10\,pt, 12\,pt, 14\,pt,
17\,pt and 25\,pt, while the three styles are roman, bold and italic.
The three smaller type sizes are available in all three styles,
while the larger three sizes, which are intended for titles, are available
only in bold style.
The size selection macros are respectively \keyindex{smalltype},
\keyindex{normtype},
\keyindex{medtype}, \keyindex{bigtype}, \keyindex{Bigtype} and
\keyindex{BIGtype}. Following the size selection, the style may be selected
or changed using \keyindex{rm} (roman), \keyindex{bf} (bold) or
\keyindex{it} (italic). If no style selection is made, roman style will
result for the sizes smaller than \verb|\medtype|. For the larger sizes,
style selection is not required since only bold style is provided.
Thus, selection of eight point italic is done using \verb|\smalltype\it|,
while twelve point roman is selected using \verb|\medtype\rm| or simply
\verb|\medtype|. To change between styles while maintaining the same size,
code \verb|\rm|, \verb|\it| or \verb|\bf| as in Plain \TeX.
This information is summarized in the following table.

\begin{center}
  \begin{tabular}{clc}
    \hline
    Size, pt & Size selection    &  Style selection \\
    \hline
     8       & \verb|\smalltype| & \verb|\rm, \bf, \it| \\
    10       & \verb|\normtype|  & \verb|\rm, \bf, \it| \\
    12       & \verb|\medtype|   & \verb|\rm, \bf, \it| \\
    14       & \verb|\bigtype|   & \verb|    (\bf)    | \\
    17       & \verb|\Bigtype|   & \verb|    (\bf)    | \\
    25       & \verb|\BIGtype|   & \verb|    (\bf)    | \\
    \hline
  \end{tabular}
\end{center}
Three other text fonts are provided for dynamic markings.
These are \keyindex{smallppff}, \keyindex{normppff} and \keyindex{medppff},
suitable for dynamic markings respectively.

Naturally other fonts may be loaded by the user if required.
When \OpusTeX\ is started, the default text font is
ten point roman, equivalent to \verb|\normtype\rm|.
%
\subsubsection{Examples}
%
\begin{center}
  \begin{tabular}{ll|ll}
    \hline
    Size and style  &  Example & Size and style  &  Example\\
    \hline
    \verb|\smalltype|    & {\smalltype    small roman}  &
      \verb|\medtype|      & {\medtype      medium roman} \\
    \verb|\smalltype\bf| & {\smalltype\bf small bold}   &
      \verb|\medtype\bf|   & {\medtype\bf   medium bold}  \\
    \verb|\smalltype\it| & {\smalltype\it small italic} &
      \verb|\medtype\it|   & {\medtype\it   medium italic}\\
    \verb|\normtype|     & {\normtype     normal roman} &
      \verb|\bigtype|      & {\bigtype      big bold}     \\
    \verb|\normtype\bf|  & {\normtype\bf  normal bold}  &
      \verb|\Bigtype|      & {\Bigtype      Big bold}     \\
    \verb|\normtype\it|  & {\normtype\it  normal italic}&
      \verb|\BIGtype|      & {\BIGtype      BIG bold}     \\
   && \verb|\smallppff|    & {\smallppff    pp ff diminuendo}\\
   && \verb|\normppff|     & {\normppff     pp ff decrescendo}\\
   && \verb|\medppff|      & {\medppff      pp ff crescendo}\\
    \hline
  \end{tabular}
\end{center}
%%%
\subsection{Metronomic indications}
%%%
Metronomic indication deserves a special macro. The mention:

\medskip
\centerline{\instrumentnumber0\metron\hup{60}\hss\Metron{90}}\smallskip
\noindent
is coded by \keyindex{metron}\verb|\hup{60}| // \keyindex{Metron}\verb|{90}|
(normally embedded in
\keyindex{Uptext} which is in turn embedded within \verb|\notes...\en|).
%%%
\subsection{Accents}
%%%
\begin{itemize}
 \item \keyindex{ust}~$p$ (upper \textsl{staccato})
to put a dot above a note head at pitch $p$,
 \item \keyindex{dst}~$p$ (lower \textsl{staccato})
to put a dot below a note head at pitch $p$,
 \item \keyindex{usf}~$p$ (upper \itxem{sforzando})
to put a $>$ accent above a note head at pitch $p$,
 \item \keyindex{dsf}~$p$ (lower \itxem{sforzando})
to put a $>$ accent below a note head at pitch $p$,
 \item \keyindex{upo}~$p$ (upper \itxem{tenuto} or \itxem{portato})
to put a hyphen above a note head at pitch $p$,
 \item \keyindex{dpo}~$p$ (lower \itxem{tenuto} or \itxem{portato})
to put a hyphen below a note head at pitch $p$,
 \item \keyindex{uppz}~$p$ (upper \textsl{pizzicato})
to put an apostrophe above a note head at pitch $p$,
 \item \keyindex{dppz}~$p$ (lower \textsl{pizzicato})
to put a reversed apostrophe below a note head at pitch $p$.
 \item \keyindex{ufz}~$p$ (upper \textsl{sforzato})
to put a `roof' above a note head at pitch $p$,
 \item \keyindex{dfz}~$p$ (lower \textsl{sforzato})
to put a reversed `roof' below a note head at pitch $p$.
 \item \keyindex{ustpo}~$p$ (upper \textsl{tenuto/staccato})
to put a combined tenuto/staccato sign above a note head at pitch $p$,
 \item \keyindex{dstpo}~$p$ (lower \textsl{tenuto/staccato})
to put a combined tenuto/staccato sign below a note head at pitch $p$.
 \item \keyindex{flageolett}~$p$
to put a thin circle above a note head at pitch $p$.
 \item \keyindex{ubow}~$p$ to indicate a bowing for strings in upper
direction above a note head at pitch $p$.
 \item \keyindex{vbow}~$p$ opposite to \verb|\ubow| above a note
head at pitch $p$.
\end{itemize}
Because whole notes (breve, arbitrary, ...) have a different note head width
the accents appear not centered above them. Therefore you can use
\keyindex{wholeshift}\verb|{|\textsl{text}\verb|}| which centers accents
and others which are centered above a quarter note head to appear centered
above a whole note. This is used for e.g.~\verb|\uFermata|.

There is a more easy way of doing, means accents without specifying the
pitch nor the direction. Therefore you can use
\keyindex{sfz},
\keyindex{st},
\keyindex{po},
\keyindex{ppz} and
\keyindex{sf}
immediatly behind non-spacing notes. The height is influenced by using

\keyindex{lift}$n$

where $n$ is a number in units of \keyindex{internote}.

Also available are the variants of the most used accents
which will be automatically positioned above or below a beam. Therefore the
known accents are preceded with the letter `b' instead the direction and
pitch. It is important to call them \textsl{behind} the non-spacing beamnote.
So
\begin{music}
\startextract
\Notes\ibu0f3\zqb0f\bsfz\en
\Notes\zqb0g\bst\en
\Notes\zqb0h\bpo\en
\Notes\tbzq0i\bppz\en
\Notes\ibu0f3\zqb0f\bsf\en
\Notes\zqb0g\btext\en
\Notes\zqb0h\bvbow\en
\Notes\tbzq0i\bubow\en
\Notes\Ibd0lf6\zqb0l\bsfz\en
\Notes\zqb0k\bst\en
\Notes\zqb0j\bpo\en
\Notes\zqb0i\bppz\en
\Notes\zqb0h\bsf\en
\Notes\tbzq0g\btext\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\Notes\ibu0f3\zqb0f\bsfz\en
\Notes\zqb0g\bst\en
\Notes\zqb0h\bpo\en
\Notes\tbzq0i\bppz\en
\Notes\ibu0f3\zqb0f\bsf\en
\Notes\zqb0g\btext\en
\Notes\zqb0h\bvbow\en
\Notes\tbzq0i\bubow\en
\Notes\Ibd0lg5\zqb0l\bsfz\en
\Notes\zqb0k\bst\en
\Notes\zqb0j\bpo\en
\Notes\zqb0i\bppz\en
\Notes\zqb0h\bsf\en
\Notes\tbzq0g\btext\en
\end{verbatim}
\end{quote}
\zkeyindex{bsfz}
\zkeyindex{bst}
\zkeyindex{bpo}
\zkeyindex{bppz}
\zkeyindex{bsf}
\zkeyindex{btext}
\zkeyindex{bvbow}
\zkeyindex{bubow}
If the figure has to be put at a beam, using the macros \keyindex{btext} is
advisable to post the figure above or below the given beam.
If the group of notes is not a triolet, the actual figure has to be
changed, using the macro \keyindex{settext} which is set up by default to:

\verb|\settext{\eightit 3}%|
%%%
\subsection{*Indication of \textsl{x}-tuplets}
%%%
\keyindex{slurtext}
\begin{music}
\generalmeter{\meterfrac24}
\startpiece
\addspace\afterruleskip
\notesp\isluru0l\ibd0l0\qb0{lllll}\slurtext6\tslur0l\tbq0l\en\bar
\notesp\isluru0l\Ibd0ln2\qb0{lm}\slurtext3\tslur0n\tbq0n\en
\notesp\imslurd0k\Ibd0km2\qb0k\qb0l\slurtext3\Tslur0m\tbq0m\en\bar
\Notesp\isluru0l\qd{lm}\slurtext3\tslur0n\qd n\en\bar
\Notesp\utriobkt o16\qd l\en\notesp\cd n\en
\Notesp\utriobkt p16\qd m\en\notesp\cd o\en
\endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\generalmeter{\meterfrac24}
\startpiece
\addspace\afterruleskip
\notesp\isluru0l\ibd0l0\qb0{lllll}\slurtext6\tslur0l\tbq0l\en\bar
\notesp\isluru0l\Ibd0ln2\qb0{lm}\slurtext3\tslur0n\tbq0n\en
\notesp\imslurd0k\Ibd0km2\qb0k\qb0l\slurtext3\Tslur0m\tbq0m\en\bar
\Notesp\isluru0l\qd{lm}\slurtext3\tslur0n\qd n\en\bar
\Notesp\utriobkt o16\qd l\en\notesp\cd n\en
\Notesp\utriobkt p16\qd m\en\notesp\cd o\en
\endpiece
\end{verbatim}
\end{quote}
%%%
\subsection{*Usual ornaments}
%%%
\textsl{Arpeggi} (i.e.~~~\arpeggio{-2}3) can be coded using the macro

\keyindex{arpeggio} $pm$

\noindent where $p$ is the pitch of
the base of the arpeggio symbol and $m$ is its multiplicity (one period is
equal to one space between staff lines, i.e. 5 points). This macro causes
no space. If should be issued before the concerned
chords. Its variant \keyindex{larpeggio} sets the arpeggio symbol nearly
one note head width on the left, in order to avoid collision with accidentals
in front of the chords.

 \textsl{Trills} can be coded in several ways. \keyindex{trille}~$pl$
(where $p$ is the pitch and $l$ is a number of current \textsl{noteskip})
\hbox to 1cm{\noteskip1cm\trille11\hss} while
\keyindex{Trille}~$l$ yields \hbox to 2cm{\noteskip1cm\Trille12\hss}.
For longer trills it's more sensible to indicate the beginning with
\keyindex{itrille} and terminate it with the command
\keyindex{ttrille}\verb|{|$p$\verb|}| or \keyindex{tTrille}\verb|{|$p$\verb|}|
which have the analogous result as \keyindex{trille} or \keyindex{Trille}.

 Other \textsl{ornaments} are available:

 \begin{itemize}
 \item \keyindex{mordent}~$p$ for \hbox to.75em{\mordent0\hss},
 \item \keyindex{Mordent}~$p$ for \hbox to1.5em{\kern.6em\Mordent0\hss},
 \item \keyindex{shake}~$p$ for \hbox to.75em{\shake0\hss},
 \item \keyindex{Shake}~$p$ for \hbox to1.5em{\kern.6em\Shake0\hss},
 \item \keyindex{turn}~$p$ for \hbox to1.5em{\kern.6em\turn0\hss},
 \item \keyindex{backturn}~$p$ for \hbox to1.5em{\kern.6em\backturn0\hss},
 \item \keyindex{tr}~$p$ for \tr0,
 \item \keyindex{ufermata}~$p$ puts a \itxem{fermata} at pitch $p$.
No spacing occurs.
 \item \keyindex{dfermata}~$p$ puts a reverse \textsl{fermata} at the same
place.
 \item \keyindex{uFermata}~$p$ puts a \itxem{fermata} at pitch $p$ centered
above a whole note. No spacing occurs.
 \item \keyindex{dFermata}~$p$ puts a reverse \textsl{fermata} at the same
place.
 \item \keyindex{PED} to insert the piano pedal command below the staff;
pedal release is specified by \keyindex{DEP}; also available are variants
of the pedal signs which are invoked with \keyindex{varPED} and
\keyindex{varDEP};
thus the following example
 \end{itemize}
\begin{music}
\setclef1\bass
\setstaffs1{2}
\startextract
\NOtes\PED\wh J|\qu h\en
\NOtes|\qu g\en
\NOtes|\hu k\en
\Notes\DEP\en
\bar
\NOtes\varPED\wh J|\qu h\en
\NOtes|\qu g\en
\NOtes|\hu k\en
\Notes\varDEP\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\PED\wh J|\qu h\en
\NOtes|\qu g\en
\NOtes|\hu k\en
\Notes\DEP\en
\bar
\NOtes\varPED\wh J|\qu h\en
\NOtes|\qu g\en
\NOtes|\hu k\en
\Notes\varDEP\en
\end{verbatim}
\end{quote}
The vertical position of \keyindex{PED}, \keyindex{varPED}, \keyindex{DEP}
and \keyindex{varDEP} can changed global with redefining the height which
is setup by default to

\keyindex{raiseped}\verb|{-5}%|

If you only want to change a few of them, you can use the more fundamental
macros \keyindex{Ped}, \keyindex{varPed}, \keyindex{Dep} and
\keyindex{varDep} in combination with \keyindex{zchar} or
\keyindex{zcharnote}.

A big comma can be put above the staff --- to indicate where the singer is
welcome to breath, or to indicate a short rest --- using \keyindex{cbreath}
(centred in a \verb|\noteskip| space, when coded behind spacing notes).

Besides, the \keyindex{caesura} command can also be used to insert a small
slash, such as
\begin{music}
\startextract
\NOTes\zhu j\hd{^e}\cbreath\en
\Notes\zcu j\cd e\en\bar
\NOTes\zhu j\hd{^e}\caesura\en
\Notes\zcu j\cd e\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTes\zhu j\hd{^e}\cbreath\en
\Notes\zcu j\cd e\en\bar
\NOTes\zhu j\hd{^e}\caesura\en
\Notes\zcu j\cd e\en
\end{verbatim}
\end{quote}
%%%
\subsection{*Dynamic signs}
%%%
We introduced a special font to get various dynamic signs, which can be
called with \keyindex{crescendo}\verb|{|$l$\verb|}| or
\keyindex{decrescendo}\verb|{|$l$\verb|}|, for the use with \verb|\zcharnote|,
\verb|\zchar|, \verb|\uptext|, \verb|\zmidtext| or .!.

Note: The biggest sign is $\simeq$ 136 mm long.

Alternately they can be produced using the pair of \keyindex{icres}~$p$,
\keyindex{idecres}~$p$, \keyindex{imidcres}~$p$ or \keyindex{imiddecres}~$p$
and \keyindex{tcres}.
\begin{music}
\generalmeter{\meterfrac{12}8}
\setstaffs1{2}
\startextract
\Notes|\cmidtext\PPP\ca c\en
\Notes|\imidcres\ca{defgh'a'b'c'd}\en
\Notes|\roff\tcres\ca{'e}\cmidtext\FFF\ca{'f}\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\Notes|\cmidtext\PPP\ca c\en
\Notes|\imidcres\ca{defgh'a'b'c'd}\en
\Notes|\roff\tcres\ca{'e}\cmidtext\FFF\ca{'f}\en
\end{verbatim}
\end{quote}

Now automatic linebreak of [de]crescendi.!.
Influence the height of pending crescendi behind linebreak
\keyindex{liftcresc}

Same meaning and behavior as before, but included reference number.
(Reference number 0 is used for lower case!)
\keyindex{icresc}~$rp$ (reference, pitch)
\keyindex{idecresc}~$rp$
\keyindex{imidcresc}~$rp$
\keyindex{imiddecresc}~$rp$
\keyindex{tcresc}~$r$

Behavior of [de]crescendi behind linebreak
\keyindex{splitcresc}(default) \keyindex{nosplitcresc}

The following dynamic indications are available:
\keyindex{PPP},
\keyindex{PP},
\keyindex{P},
\keyindex{MP},
\keyindex{MF},
\keyindex{F},
\keyindex{FF} and
\keyindex{FFF}.
Following sizes are available: \keyindex{meddyn} (for e.g. piano scores using
\keyindex{normalmusicsize}), \keyindex{normdyn} (for e.g. solo scores) and
\keyindex{smalldyn}.!.
%%%
\subsection{Length of note stems}
%%%
Normally, the length of note  stems is the distance of one octave, i.e.
\verb|7\internote|. This is equivalent to 4.66 \keyindex{interbeam}. The
length of the stems may be changed using the macro \keyindex{stemlenght},
e.g.:

  \verb|\stemlength{5.2}|

\noindent which will set the stemlength to 5.2 \verb|\interbeam|.
The default is \keyindex{stemlength}\verb|{4.66}|.

Choral music with four voices is often typeset into two staffs. Thus, each
staff holds two voices, one being typeset with stems up, the other with stems
down. If the command \keyindex{stemcut} has been previously issued, stems are
outside the staff are cut depending on the pitch of the notes. If this is not
wanted, this feature may be suppressed with the command \keyindex{nostemcut}.
The default behaviour is \keyindex{stemcut}.

Normally, down stems never end above the middle line of the staff and up stems
never below that line. This extension of the stems may be inhibited for the
next generated stem using the command \keyindex{stdstemfalse}.  There is no
\keyindex{stdstemtrue} since \keyindex{stdstemfalse} is reset after
generating each new stem.
%%%
\subsection{Brackets, parenthesis and simple lines}
%%%
There are several brackets and parentheses provided for musical typesetters
needings. Namely \keyindex{lpar}\verb|{|$p$\verb|}|,
\keyindex{rpar}\verb|{|$p$\verb|}| which yields small
parenthesis for notes. They're also used for \textsl{cautionary} accidentals
too, \keyindex{bracket}\verb|{|$p$\verb|}{|$n$\verb|}| which draws a
square bracket at pitch and height of $n$-internotes,
\keyindex{doublethumb}\verb|{|$p$\verb|}|, to indicate ... errr\footnote{Do
you know what they exactly mean? I've seen them several times in different
context.}

\keyindex{ubkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
\keyindex{dbkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|
draw a bracket over the music starting at the current position at pitch $p$,
width  and slope $s$ (1 $\sim$ 1.125[degree]),
causing no space.
\keyindex{utriobkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}| and
\keyindex{dtriobkt}\verb|{|$p$\verb|}{|$n$\verb|}{|$s$\verb|}|, which are
like \verb|\ubkt| but with changeable \keyindex{settext} centered in the
middle.

\keyindex{slopeline} provides a limited macro for straight lines,
such as to indicate which voice is meant, or which hand the pianist
should use. \keyindex{slopeline}$pls$ yields a line starting at
pitch~$p$ of length $l$ and of slope~$s$. The slope is in the range of
$[-20\ldots 20]$, (same as above). The length~$l$ is determined by any
valid dimension, the shortest line is 10pt. You normally have to issue
\keyindex{slopeline} within a Zero-Box, e.g. \keyindex{llap}.

This is particularly useful if you want to typeset \itxem{baroque}
music using the ancient \itxem{ornament codings} rather than the modern
equivalents. As a compromise, some macros kindly provided by Ian
{\sc Collier} in Great Britain have slightly been updated and provided.

For example:
\begin{music}
\setstaffs1{2}
\setclef1\bass
\startextract
\NOtes\bracket C8\zq C\qu J\en
\NOtes|\doublethumb g\rq h\qu g\en
\NOtes\lpar c\rpar c\qu c\en
\NOtes\dbkt C15\qu {FH}|\ubkt n14\qd{kl}\en
\NOtes\dtriobkt E1{-6}\qu {HF}|\utriobkt p1{-4}\qd{ml}\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\setstaffs1{2}
\setclef1\bass
\startextract
\NOtes\bracket C8\zq C\qu J\en
\NOtes|\doublethumb g\rq h\qu g\en
\NOtes\lpar c\rpar c\qu c\en
\NOtes\dbkt C15\qu {FH}|\ubkt n14\qd{kl}\en
\NOtes\dtriobkt E1{-6}\qu {HF}|\utriobkt p1{-4}\qd{ml}\en
\endextract
\end{verbatim}
\end{quote}
%%%
\subsection{New line synchronization of coding}\label{synchronizing}
%%%
{\sl REMARK: If you not work with \LaTeX\ and if you get a warning message
using some of commands which start with \verb|\at..|, then read \ref{cats}
before you complain.}

The procedure named \keyindex{ateverysystem} is executed each time a new
system is typed. It is normally void, but it can be used
(simply by \keyindex{ateverysystem}\verb|{...}|) to tell \OpusTeX\ to post
anything (more or less) reasonable at the beginning of each system.

 The procedure named \keyindex{atnextsystem}, normally void, is executed at
the next computed or forced line break (using
\keyindex{nextline} or \keyindex{nextpage}). More precisely, it is executed
after the break and before the next system is typed. Thus it is a good
place for setting new layout parameters, when no system is
pending\footnote{Its logic is similar to plain \TeX's \keyindex{vadjust}
command.}.

The same hook is available for bar. Say \keyindex{atnextbar}\verb|{...}| to
execute your macros at the next bar rule. This is useful e.g.~for
centering rests, or putting something above a barrule (see some
examples in section~\ref{barcentering}).
%%%%%
\section{Small and tiny notes}
%%%%%
Before entering details, let us point out that we are presently concerned with
typing notes of smaller size than the normal one, without attempting to change
the interval between the five lines building a single staff. Changing staff
line interval will be treated in a further section.
%%%
\subsection{Cadenzas and explicit ornaments}
%%%
Ornaments and \itxem{cadenzas} usually need to be written using smaller
notes\footnote{This is independent of the staff size.}. This can be done
inside a pair of \verb|\notes...\en| only by stating
\keyindex{smallnotesize} or \keyindex{tinynotesize}.
Normal note size is restored by \keyindex{normalnotesize}.\index{ornaments}
Their effect is local to the current staff of the current instrument.

As an example, the following excerpt (beginning of the Aria of the
``Creation'' by Joseph \indexname{Haydn}J
\begin{music}
\instrumentnumber2
\generalmeter{\meterfrac44}
\setstaffs22
\setclef2\bass
\setclef1\bass
\startbarno0
\startextract
\NOtes\qr&\qr|\zmidtext{\twelvebf II}\qu g\en
% mesure 1
\bar
\Notes\itieu2J\wh J&\zw N\ibd0c0\qb0e|\qu j\en
\notes&\qb0c|\multnoteskip\tinyvalue\tinynotesize
  \Ibbu1ki2\qb1{kj}\tbq1i\en
\Notes&\qb0e\tbq0c|\qu j\en
\Notes&\ibd0c0\qb0{ece}\tbq0c|\qd l\sk\qd j\en
% mesure 2
\bar
\Notes\ttie2\wh J&\qd J\sk\qd L|\zqupp g\ibd1e0\qb1e%
  \zq c\qb1e\zq c\qb1e\zq c\tbq1e\en
\notes&|\sk\ccu h\en
\Notes&\qd N\sk\ibd0L{-4}\qbp0L|\ibd1e0\zq c\zqb1e\cu g%
  \zq c\zqb1e\lifter1\zqu g\qb1g\en
\notes&\sk\tbb0\tbq0J|\tb1\zq c\qb1e\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\instrumentnumber2
\generalmeter{\meterfrac44}
\setstaffs22
\setclef2\bass
\setclef1\bass
\startbarno0
\startextract
\NOtes\qr&\qr|\zmidtext{\bf II}\qu g\en
% mesure 1
\bar
\Notes\itieu2J\wh J&\zw N\ibd0c0\qb0e|\qu j\en
\notes&\qb0c|\multnoteskip\tinyvalue\tinynotesize
  \Ibbu1ki2\qb1{kj}\tbq1i\en
\Notes&\qb0e\tbq0c|\qu j\en
\Notes&\ibd0c0\qb0{ece}\tbq0c|\qd l\sk\qd j\en
% mesure 2
\bar
\Notes\ttie2\wh J&\qd J\sk\qd L|\zqupp g\ibd1e0\qb1e%
  \zq c\qb1e\zq c\qb1e\zq c\tbq1e\en
\notes&|\sk\ccu h\en
\Notes&\qd N\sk\ibd0L{-4}\qbp0L|\ibd1e0\zq c\zqb1e\cu g%
  \zq c\zqb1e\lifter1\zqu g\qb1g\en
\notes&\sk\tbb0\tbq0J|\tb1\zq c\qb1e\en
\endextract
\end{verbatim}
\end{quote}
%%%
\subsection{Grace notes}
%%%
 Grace notes are a special case of small and tiny notes: the difference is
that they are always coded as eighth notes with an oblique bar over the flag.
To perform this, special variants of \keyindex{cu} and \keyindex{cd} have
been provided, namely \keyindex{grcu} and \keyindex{grcd}, with the only
difference that the flag has been slashed. Using this together with the note
reduction macro, grace notes (optionally chord grace notes) can be easily
coded:
\begin{music}
\startextract
\NOTes\hu h\en
\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
\NOTes\hu i\en
\bar
\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcd j\en
\NOTEs\wh i\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTes\hu h\en
\notes\multnoteskip\smallvalue\smallnotesize\grcu j\en
\NOTes\hu i\en
\bar
\notes\multnoteskip\tinyvalue\tinynotesize\zq h\grcd j\en
\NOTEs\wh i\en
\end{verbatim}
\end{quote}
%%%
\subsection{Other note shapes}
%%%
The classical note heads given above --- namely \zq1~~, \zh1~~ and \zw1~~~
--- can be replaced with less classical note heads, for example to code
special \itxem{violin harmonic notes} or \itxem{percussion music}.

 At present time, alternate available note heads can be found in the
extension library, see \ref{diam}, \ref{perc}, \ref{gregnotes} and \ref{litu}.
%%%%%
\section{Staff size}\index{staff size}
%%%%%
%%%
\subsection{Moving from 20pt to 16pt general staff sizes and conversely}
%%%
 You also want to write some parts of your score in 20pt
staff size and in 16pt staff size, namely
for distinct parts of pieces. Changing the \ixem{general staff size}
is done by saying:

\keyindex{smallmusicsize} or \keyindex{normalmusicsize}.

\noindent respectively.
%%%
\subsection{Changing staff size for certain instruments}\label{staffspacing}
%%%
Regardless of the general choice of \verb|\smallmusicsize| or
\verb|\normalmusicsize|, it is now possible to assign certain instruments --
not separate staffs belonging to a same instrument -- to have narrower
\itxem{staff size}. This is done using

\keyindex{setsize}~$n$\verb|{|\textsl{size}\verb|}|

where $n$ is the number of the instrument considered. Three different
\textsl{sizes} are available as standards: \keyindex{normalvalue}, which is
the default, \keyindex{smallvalue} (0.80 times narrower) and
\keyindex{tinyvalue} (0.64 times narrower).

\verb|\setsize| must be invoked before the starting command
\verb|\startpiece|, since this statement does not only change the vertical
spacing between staff lines, but it also changes the size of the key,
accidental and note symbols to fit the modified staff line spacing. The
size changes can be redone using \keyindex{resetsizes}.

As an example, we give two bars of the \textsl{Ave Maria} by Charles
\indexname{Gounod}C, based on the first prelude of
Johann-Sebastian Bach's \textsl{Well Tempered Clavier} (transcription for
organ, violin and voice, thanks to Markus {\sc Veittes}):\label{avemaria}
\begin{music}
\sepbarrules
\instrumentnumber3
\generalmeter\meterC
\setsize3\tinyvalue
\setbotinstrument3{3\Interline}
\setsize2\tinyvalue
\setclef1\bass
\setstaffs12
\sethyphen{--}
\startpiece\addspace\afterruleskip
%Takt 9
\notes\lifteer6\hd c\qupp e|\er&\stie ou8\hd o&\tx gra\-*\stie hd8\hu h\en
\notes|\ibbd0j3\qb0h\tbq0l\en
\notes|\ibbd1k0\qb1{ohl}\tbq1o\en
\notes\lifteer6\hd c\qupp e|\er&\ibd4j0\qb4o&\ibu5g{-3}\qb5h\en
\notes|\ibbd0j3\qb0h\tbq0l&\qb4h&\tbq5a\en
\notes|\ibbd1k0\qb1{oh}&\qb4i&\tx ti\-*\cu b\en
\notes|\qb1l\tbq1o&\tbq4j&\tx a*\cu c\en
\bar
%Takt 10
\notes\lifteer6\hd c\qupp d|\er&\qdp k&\tx ple\-*\imsluru0d\qup d\en
\nspace
\notes|\ibbu1g3\qb1{^f}\tbq1h\en
\notes|\ibbu2i0\qb2{kf}\en
\notes|\qb2h\tbq2k&\cd l&\tumslur0d\cu e\en
\notes\lifteer6\hd c\qupp d|\er&\qd k&\tx na,*\qu d\en
\notes|\ibbu1g3\qb1f\tbq1h\en
\notes|\ibbu2i0\qb2{kfh}\tbq2k&\qr&\qr\en
\endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\sepbarrules
\instrumentnumber3
\generalmeter\meterC
\setsize3\tinyvalue
\setbotinstrument3{3\Interline}
\setsize2\tinyvalue
\setclef1\bass
\setstaffs12
\sethyphen{--}
\startpiece\addspace\afterruleskip
%Takt 9
\notes\lifteer6\hd c\qupp e|\er&\stie ou8\hd o&\tx gra\-*\stie hd8\hu h\en
\notes|\ibbd0j3\qb0h\tbq0l\en
\notes|\ibbd1k0\qb1{ohl}\tbq1o\en
\notes\lifteer6\hd c\qupp e|\er&\ibd4j0\qb4o&\ibu5g{-3}\qb5h\en
\notes|\ibbd0j3\qb0h\tbq0l&\qb4h&\tbq5a\en
\notes|\ibbd1k0\qb1{oh}&\qb4i&\tx ti\-*\cu b\en
\notes|\qb1l\tbq1o&\tbq4j&\tx a*\cu c\en
\bar
%Takt 10
\notes\lifteer6\hd c\qupp d|\er&\qdp k&\tx ple\-*\imsluru0d\qup d\en
\nspace
\notes|\ibbu1g3\qb1{^f}\tbq1h\en
\notes|\ibbu2i0\qb2{kf}\en
\notes|\qb2h\tbq2k&\cd l&\tumslur0d\cu e\en
\notes\lifteer6\hd c\qupp d|\er&\qd k&\tx na,*\qu d\en
\notes|\ibbu1g3\qb1f\tbq1h\en
\notes|\ibbu2i0\qb2{kfh}\tbq2k&\qr&\qr\en
\endpiece
\end{verbatim}
\end{quote}
%%%%%
\section{*Musical footnotes}
%%%%%
Using either \LaTeX\ or \verb|opushea.tex| with combination of
\keyindex{footnotemark} to produce the number inside the music `box' or text
and \keyindex{footnotetext} to produce the footnote music `box'
(see opushea.tex for closer instructions) .!.
\begin{music}
\generalmeter{\meterfrac24}
\startextract
% somewhere in the music code, we set the foot note mark:
\NOtes\zchar9{\kern9pt\footnotemark}\turn9\qa j\en
\NOtes\qa{gec}\en
\endextract
\end{music}
% ....
%                 Somewhere in ordinary text, we finally
\footnotetext{%   typset the footnote itself.
played as:\par
  \boxextract % left instead centered
  \smallmusicsize
  \setsize1\tinyvalue % force smallest possible size and font
  \abovesystem{2}% reduce space above system
  \belowsystem{2}% reduce space below system
  \startextract
  \notes\multnoteskip{.9}\isluru0k\ibbbd0k0\qb0{kji}\itieu1j\tbb0\qb0j%
    \tslur0j\ttie1\tbq0j\en
  \zendextract}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
% somewhere in the opus code, we set the foot note mark:
\NOtes\zchar9{\kern9pt\footnotemark}\turn9\qa j\en
% ....
%                 Somewhere in ordinary text, we finally
\footnotetext{%   typset the footnote itself.
played as:\par
  \boxextract % left instead centered
  \smallmusicsize
  \setsize1\tinyvalue % force smallest possible size and font
  \abovesystem{2}% reduce space above system
  \belowsystem{2}% reduce space below system
  \startextract
  \notes\multnoteskip{.9}\isluru0k\ibbbd0k0\qb0{kji}\itieu1j\tbb0\qb0j%
    \tslur0j\ttie1\tbq0j\en
  \zendextract}
\end{verbatim}
\end{quote}
%%%%%
\section{*Layout parameters}
%%%%%
 Most layout parameters are set by \OpusTeX\ to reasonable default values.
However, sophisticated scores\footnote{To our knowledge, the most complicated
scores are those written for the piano, during the romantic and post-romantic
periods.} may need more place below the lowest staff, between staves, etc.
\def\nochange{(\textsl{NOT to be changed})} We give below a short list of the
most significant parameters.
%%%
\subsection{List of layout parameters}
%%%
{\sl REMARK : the mention ``\nochange'' does not mean that this parameter cannot
be changed, but that it should not be modified directly, e.g.\ by saying
something like \verb|\Interline=14pt|. In other words, changing these
parameters must be performed using more comprehensive macros which not only
update them but also perform some other compulsory related changes.}

\begin{description}
 \item[\keyindex{Interline} :]vertical distance between the base of staff
lines of the current instrument, taking no account of a possible specification
of \keyindex{setsize}~$n$ \nochange.
 \item[\keyindex{internote} :]the vertical spacing of contiguous notes of
the current instrument, taking account of a possible specification of
\keyindex{setsize}~$n$ \nochange. It might be wise to use this dimension only
inside the depending instrument. Otherwise strange things may happen.
 \item[\keyindex{Internote} :]the vertical spacing of contiguous notes of
the instrument(s) whose \keyindex{setsize}~$n$ has the \textsl{default
value} of one (\keyindex{normalvalue}),
i.e.~the half of \verb|\Interline| \nochange
 \item[\keyindex{abovesystem} :]margin above the upper staff of the upper
instrument. Changes are recognized at the next system and default is
\verb|6|.(Only numbers, steps of \keyindex{Internote})
 \item[\keyindex{belowsystem} :]margin below the first staff of the lowest
instrument. Changes are recognized at the next system and default is
\verb|6|. (Only numbers, steps of \keyindex{Internote})
 \item[\keyindex{interstaff} :]margin between to lines of the same instrument.
Changes are recognized at the next system and default is \verb|9|.
(Only numbers, steps of \keyindex{Internote})
 \item[\keyindex{botinstrument} :]the additional vertical distance below
an instruments. This means that the distance between the upper
staff of the previous instrument and the lowest line of the current
instrument is equal to
\verb|2| $\times$ \keyindex{interstaff} $\times$ \keyindex{internote}
$+$ \keyindex{botinstrument}.
This value is normally zero, but it helps putting additional space between
distinct instruments for the sake of clarity. This is a general dimension
register which holds for each of the vertical spaces between instruments,
except above the upper one, in which case this interval is irrelevant.
As usual in \TeX, it can be set using a command such as

 \verb|\botinstrument=6\Internote|

This parameter can be overridden for the space below a specific instrument.
For example one can state:

\keyindex{setbotinstrument}~$n$\verb|{1\Interline}|

\noindent to force an additional spacing of one \verb|\Interline|
above instrument $n$ (n$>$1), whatever the value of
\keyindex{botinstrument}.
 This feature can usefully be used to have more space before instruments
representing \itxem{voices}, in order to have enough place to put
\itxem{lyrics}. The default can be reset with:

\keyindex{setbotinstrument}~$n$\verb|{\botinstrument}|
 \item[\keyindex{musicindent} :]Indentation of first line behind
\verb|\startpiece| and \verb|\Contpiece|. Influenced by \verb|\setname[s]|.
For example one can state:

\keyindex{musicindent}\verb|=10mm|
\end{description}
%%%
\subsection{*Changing layout parameters}
%%%
 Most of these values can be changed, but only between the end of the
previous system and the beginning of the next one. This can be inserted
between a \keyindex{endpiece} and a \keyindex{contpiece}
(or \keyindex{startpiece}, \keyindex{Contpiece}), but it is wiser to say,
for example:

\verb|\atnextsystem{\abovesystem 9}|

 The user may prefer to feed either \keyindex{abovesystem} or
 \keyindex{interstaff} with a given integer number,
but this can be done only between a \keyindex{endpiece} and a
\keyindex{contpiece} (or a \keyindex{startpiece}), but it is wiser to use
\keyindex{atnextsystem} as previously.

 It is also wise to use \keyindex{atnextsystem} to change the the
number of instruments, the staff spacings, the number of staffs at the next
line... provided that the coding of the notes \textsl{resists} an unexpected
line change executing the \keyindex{atnextsystem}.

Because a three pass system {\bf all} parameters, which change the widths or
spacings, e.g.
change of \keyindex{musicindent},
change of line width (\keyindex{hsize}) and
change on \keyindex{afterruleskip},
must be done in a special way, means, are only allowed between a
\begin{quote}
\verb|\endpiece...\Contpiece| or \verb|\endpiece...\startpiece|
\end{quote}
\begin{music}
% this example is funny, ok, but not quite illustrative here.
%%% Why not? It shows exactly what the upper sentences mean. And it was
%%% a question of a user, how to do.
\hsize200pt
\generalmeter{\meterfrac 44}
\startpiece\barnumbers
\NOTEs\wh g\en\bar\NOTEs\wh g\en\bar\NOTEs\wh g\en\endpiece
\hbox to\hsize{\vbox{\BIGfont A}\hss
  \vbox{\hsize100pt\Contpiece\NOTEs\wh g\en\bar\NOTEs\wh g\en\endpiece}}
\hbox to\hsize{\vbox{\hsize100pt\Contpiece\NOTEs\wh g\en\bar\NOTEs\wh g\en
  \endpiece}\vbox{\BIGfont B}\hss}
\hsize200pt\Contpiece
\NOTEs\wh g\en\bar\NOTEs\wh g\en\bar\NOTEs\wh g\en\Endpiece
\nobarnumbers
\end{music}
%%%
\subsection{*Changing staff distance within systems}
%%%
For an instrument which number of staffs is larger than one,
can this be done at the beginning by changing of
\keyindex{interstaff} to a number
before the first \keyindex{startpiece} or wiser is the
use with \keyindex{atnextsystem}. The distance between two different
instruments can be changed in upper way using

\keyindex{botinstrument}\verb|=|\textsl{any \TeX-dimension}

for all distances or

\keyindex{setbotinstrument}~$n$\verb|{|\textsl{any \TeX-dimension}\verb|}|

for single distances.
%%%
\subsection{Changing the number of lines in staffs}
%%%
Unless explicitly specified, staffs consist of five lines, in accordance to
the normal way of coding music scores. However, exceptions might be
preferred when using \OpusTeX:

\begin{itemize}
 \item \itxem{gregorian music} is often written using staff of
four lines instead of five\footnote{German: \textsl{Quadratnotation}.},
 \item \itxem{percussion music} (e.g.~drums, triangle) needs one, two, three
 or five lines, since the pitch cannot change but the number of percussion
 instruments.
 \item \itxem{bass tabulature} needs four lines.
 \item \itxem{guitar tabulature} needs six lines.
\end{itemize}
Therefore \OpusTeX\ allows for choosing the number
of lines of the staffs of an instrument. This is done by
\keyindex{setlines}~$n$\verb|{|$N$\verb|}| --- where $n$ is the number of the wanted
instrument as usual --- and $N$ the number of lines of the specific staff.
For example:\label{gregorian}

\keyindex{setlines}~\verb|2{4}|

will make the instrument number 2 to have staffs of four
lines, that is, fit for gregorian music or bass tabulature.
%%%
\subsection{Resetting normal layout parameters}
%%%
Except the general size which has to be explicitly changed if needed using
\keyindex{smallmusicsize} or \keyindex{normalmusicsize},
some layout registers are reset to \ixem{default values} by
\keyindex{resetlayout}, which are explicitly:
\begin{itemize}
\item \keyindex{belowsystem} and \keyindex{abovesystem} are set to
\verb|5|.
\item \keyindex{interstaff} is set to \verb|9|.
\item The number of lines of all instruments are reset to 5.
\item All clef symbols are standard clef symbols.
\item All staff-sizes are standard sizes(\verb|\normalvalue|).
\end{itemize}
\noindent
Besides, \keyindex{begin\LBR music\RBR} invokes \verb|\resetlayout|.
%%%
\subsection{Typesetting one-line excerpts rather than large scores}
%%%
Very often, what is wanted is not to typeset a large comprehensive score of
several lines and pages, but an excerpt of one or two bars, preferably
centered such as the various examples of this manual. This can be done simply
by replacing \keyindex{startpiece} with
\keyindex{startextract} and \verb|\endpiece| or \verb|\endpiece| with
\keyindex{endextract}. Sometimes it's useful to get more than one excerpt in
one line, this can be done using \keyindex{boxextract}, e.g.~you
can put more than one example in one line. This feature is helpful for
getting \itxem{musical footnotes}, which explain the playing of special
trills or alternative playings. The default is \keyindex{centerextract}.

Beside, all changes between
\keyindex{begin\LBR music\RBR}...\keyindex{end\LBR music\RBR} are local,
means not global.

 If you want to terminate it without a bar, you code
\keyindex{zendextract} which acts like \verb|\zendpiece|.
%%%
\subsection{*Lyrics}\index{lyrics}
%%%
 Lyrics can be introduced in several ways.
The recommended solution consists in adjusting the distance below instruments
using \keyindex{botinstrument}\verb|=|\textsl{any \TeX-dimension}
to give more place below all instruments or \keyindex{setbotinstrument}
for a single instrument. Then the texts of the lyrics are indicated with
the song tune instrument, using \keyindex{zchar} or \keyindex{cchar} with a
negative numeric position value. Or you can use
\begin{quote}
\keyindex{zsong}\verb|{|\textsl{text}\verb|}|,\\
\keyindex{lsong}\verb|{|\textsl{text}\verb|}| and\\
\keyindex{csong}\verb|{|\textsl{text}\verb|}|,
\end{quote}
which places \textsl{text} in mid between two instruments. These vertical
position can be changed with

\keyindex{setraisesong}~$n$\verb|{|\textsl{any \TeX-dimension}\verb|}|

You have to issue it in the upper instrument as \verb|zmidext| et al.,
on the other hand you could use
the macros from \verb|opuscho.tex|, which results
the same vertical position as \keyindex{zsong}, but aligns the text better
on depending note.
%%%%%
\section{Writing your own macros: the {\Bslash catcode} problems}\label{cats}
%%%%%
As seen before, the \keyindex{catcode}s of the \| and \verb|&| symbols
are modified by \OpusTeX, in the range of the actual scores but not
in the whole of the \TeX\ source.
Thus, if you define your own macros to make
your writing easier, you are likely to invoke the \| or \verb|&|
symbols in a part of text where their \keyindex{catcode}s are not correctly set.
\index{"|@{\tt\char'174}}
This may result typically in a diagnostic like:

\verb|! Misplaced alignment tab character &.|

\noindent when you attempt, not to define, but to use your macro using the
\verb|&| symbol to change the instrument. Smart \TeX ers know that the
\keyindex{catcode}s are attached to the characters \textsl{when they are input}
and not when they are used; thus you must be sure that \| and \verb|&|
have the correct \OpusTeX\ \keyindex{catcode} when the macro is defined,
which may well occur outside the actual score.
%%%%%
\section{\LaTeX~and \OpusTeX}
%%%%%
%%%
\subsection{The {\tt opustex.sty} style}\label{opusltx}
%%%
Nicolas \indexname{Brouard}N had build a
\ttxem{opusltx.tex} which is included in the distribution. This is not
recommended to make separate music scores. Its purpose is rather to provide
a means of inserting short musical excerpts in books or articles written
with \LaTeX. Then, the \keyindex{documentstyle} or \keyindex{usepackage}
command should include {\tt opustex} in the options.

The \LaTeX\index{LaTeX@\LaTeX} style file \ttxem{opustex.sty}
simply \verb|\input|s the following files (in that very order):
\begin{quote}
\verb|opustex.tex|\\
\verb|opusltx.tex|
\end{quote}
 In case of \verb|TeX capacity exceeded...|, use a ``Bigla\TeX'' (after
checking there is no visible error in the source
code).\index{BigLaTeX@Big\LaTeX}
%%%
\subsection{The {\Bslash catcode} problems}
%%%
\OpusTeX\ needs special \keyindex{catcode}s for the \| and \verb|&|
symbols. To have access to these symbols using \LaTeX\ when coding music,
you should enclose the scores or excerpts within
\verb|\begin{music}| and \verb|\end{music}|. But there is also another
possibility, i.e.\ to say \keyindex{nextinstrument} instead of \verb|&|
and \keyindex{nextstaff} instead of \|.
\index{\&} \index{"|@{\tt\char'174}}

 Anyway, in case of emergency, one can invoke \keyindex{catcodesmusic} to
establish the \keyindex{catcode}s at their value fit for music, and
\keyindex{endcatcodesmusic} to reset them at their external value.
%%%%%
\section{Implementation and restrictions}
%%%%%
 The macro instruction package \OpusTeX\ contains approximately 4800 lines
of code, that is 140~000 bytes approximately. This requires your score to be
compiled by the most extended versions of \TeX\ (65~000 words of working
memory).
In desperate situations, we recommend using the ``Big\TeX'' processors.

Other precautions are necessary: beware of end-of-line spaces; they corrupt
layout and cause \ttxem{underfull/overfull hbox} warnings during third pass.
To avoid that, it is recommended to use \verb|%| at the end of source lines
inside \verb|\startpiece...\endpiece|.
%%%%%
\section{*Precompiler for \OpusTeX}\label{compiler}
%%%%%
Generally it's highly recommended to use compiler, because they save a very
lot of time.
%%%%
\subsection{ABC2MTeX}
%%%%
abc2mtex is a package designed to notate tunes stored in a simple ascii
format (abc notation). It was designed primarily for
folk and traditional tunes of Western European origin (such as
Irish, English and Scottish) which can be written on one stave in
standard classical notation. However, it can be used for multiple
staves and should be extendible to many other types of music. It
can also be used as a fast preprocessor for Music\TeX\ or \OpusTeX.

As an example the tune Paddy O'Rafferty would be written out as
{\small
\begin{verbatim}
T:Paddy O'Rafferty
C:Trad.
M:6/8
K:D
dff cee|def gfe|dff cee|dfe dBA|dff cee|def gfe|faf gfe|1 dfe dBA:|2 dfe dcB||
~A3 ~B3|gfe fdB|AFA B2c|dfe dcB|~A3 ~B3|efe efg|faf gfe|1 dfe dcB:|2 dfe dBA||
fAA eAA|def gfe|fAA eAA|dfe dBA|fAA eAA|def gfe|faf gfe|dfe dBA:|
\end{verbatim}
}
and would appear like:
%%% well, after the recommended changes on abc2mtex
\begin{music}
\hbox to\hsize{\hfill Paddy O'Rafferty\hfill \eightrm Trad.}
\smallmusicsize
\generalsignature2
\generalmeter{\meterfrac68}
\startpiece
%%% bar 1
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0m\en
\Notes\Ibd0jl2\zqb0j\en
\Notes\zqb0l\en
\Notes\tbq0l\en
%%% bar 2
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0l\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 3
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0m\en
\Notes\Ibd0jl2\zqb0j\en
\Notes\zqb0l\en
\Notes\tbq0l\en
%%% bar 4
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0kh2\zqb0k\en
\Notes\zqb0i\en
\Notes\tbq0h\en
%%% bar 5
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0m\en
\Notes\Ibd0jl2\zqb0j\en
\Notes\zqb0l\en
\Notes\tbq0l\en
%%% bar 6
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0l\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 7
\bar
\Notes\ibd0m0\zqb0m\en
\Notes\zqb0o\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 8
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0kh2\zqb0k\en
\Notes\zqb0i\en
\Notes\tbq0h\en
%%% bar 9
\setvoltabox1\rightrepeat
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0ki2\zqb0k\en
\Notes\zqb0j\en
\Notes\tbq0i\en
%%% bar 10
\setvolta2\sectionlines1\setdoublebar\nextline\leftrepeat
\NOtesp\qap h\en
\NOtesp\qap i\en
%%% bar 11
\bar
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0mi2\zqb0m\en
\Notes\zqb0k\en
\Notes\tbq0i\en
%%% bar 12
\bar
\Notes\ibu0h0\zqb0h\en
\Notes\zqb0f\en
\Notes\tbq0h\en
\NOtes\qa i\en
\Notes\ca j\en
%%% bar 13
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0ki2\zqb0k\en
\Notes\zqb0j\en
\Notes\tbq0i\en
%%% bar 14
\bar
\NOtesp\qap h\en
\NOtesp\qap i\en
%%% bar 15
\bar
\Notes\ibd0l0\zqb0l\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0ln2\zqb0l\en
\Notes\zqb0m\en
\Notes\tbq0n\en
%%% bar 16
\bar
\Notes\ibd0m0\zqb0m\en
\Notes\zqb0o\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 17
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0ki2\zqb0k\en
\Notes\zqb0j\en
\Notes\tbq0i\en
%%% bar 18
\setvoltabox1\rightrepeat
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0kh2\zqb0k\en
\Notes\zqb0i\en
\Notes\tbq0h\en
%%% bar 19
\setvolta2\setdoublebar\sectionlines1\nextline
\leftrepeat
\Notes\Ibd0mh2\zqb0m\en
\Notes\zqb0h\en
\Notes\tbq0h\en
\Notes\Ibd0lh2\zqb0l\en
\Notes\zqb0h\en
\Notes\tbq0h\en
%%% bar 20
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0l\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 21
\bar
\Notes\Ibd0mh2\zqb0m\en
\Notes\zqb0h\en
\Notes\tbq0h\en
\Notes\Ibd0lh2\zqb0l\en
\Notes\zqb0h\en
\Notes\tbq0h\en
%%% bar 22
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0kh2\zqb0k\en
\Notes\zqb0i\en
\Notes\tbq0h\en
%%% bar 23
\bar
\Notes\Ibd0mh2\zqb0m\en
\Notes\zqb0h\en
\Notes\tbq0h\en
\Notes\Ibd0lh2\zqb0l\en
\Notes\zqb0h\en
\Notes\tbq0h\en
%%% bar 24
\bar
\Notes\Ibd0km2\zqb0k\en
\Notes\zqb0l\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 25
\bar
\Notes\ibd0m0\zqb0m\en
\Notes\zqb0o\en
\Notes\tbq0m\en
\Notes\Ibd0nl2\zqb0n\en
\Notes\zqb0m\en
\Notes\tbq0l\en
%%% bar 26
\bar
\Notes\Ibd0kl2\zqb0k\en
\Notes\zqb0m\en
\Notes\tbq0l\en
\Notes\Ibd0kh2\zqb0k\en
\Notes\zqb0i\en
\Notes\tbq0h\en
\sectionlines1\setrightrepeat\endpiece
\end{music}
You can get a copy of the package by anonymous ftp from:
\begin{quote}
http://celtic.stanford.edu/pub/tunes/abc2mtex\\
ftp://ftp.shsu.edu/tex-archive/support/abc2mtex\\
ftp://ftp.tex.ac.uk/tex-archive/support/abc2mtex\\
ftp://ftp.dante.de/tex-archive/support/abc2mtex
\end{quote}
or by sending an email request to \verb|C.Walshaw@gre.ac.uk|.
%%%
%\subsection{MIDI2TeX}
%%%
% I wait for.
%%%
%\subsection{MPP}
%%%
% Yes, next time.
%%%
%\subsection{SceX}
%%%
% next time perhaps
%%%%%
\section{Extension Library}
%%%%%
All following files are invoked with \keyindex{input} \textsl{filename}
%%%
\subsection{opusadd}
%%%
{\sl This file must be input immediately behind \verb|\input opustex|}

Increases the number of instruments and beams up to nine.
%%%
\subsection{*opusbar}
%%%
Baroque music uses special clefs. Coding:

\keyindex{setclef}~\verb|{|$n$\verb|}{|$s_1s_2s_3s_4$\verb|}%|

\noindent where $n$ is the number of the instrument, $s_1$
specifies the clef of the lower staff, $s_2$ the clef of the second staff,
etc. (if necessary!)
$s_1=0$ means the \textsl{violin} clef; $s_1=1$ through $s_1=4$ mean the
\textsl{sopran}, \textsl{mezzo-soprano}, \textsl{alto} or \textsl{tenor}
clef set on first (lower) through fourth line; $s_1=5$ means the
\textsl{bass} clef at third(middle) line; $s_1=6$ means the usual
\textsl{bass} clef at the fourth line; $s_1=7$ means the \textsl{bass}
(\itxem{subbass}) clef at the fifth line; $s_1=8$ means the \textsl{bariton}
clef; finally $s_1=9$ means the \itxem{french violin clef}, an ancient
feature, which sets the violin clef at the first line of the staff.

\begin{music}
\smallmusicsize
\boxextract
\hbox to \hsize{%
\setclef10\startextract\NOtes\cchar{-8}{$s_1=0$}\qa c\en\endextract\hss
\setclef11\startextract\NOtes\cchar{-8}{$s_1=1$}\qa c\en\endextract\hss
\setclef12\startextract\NOtes\cchar{-8}{$s_1=2$}\qa c\en\endextract\hss
\setclef13\startextract\NOtes\cchar{-8}{$s_1=3$}\qa c\en\endextract\hss
\setclef14\startextract\NOtes\cchar{-8}{$s_1=4$}\qa c\en\endextract\hss
\setclef15\startextract\NOtes\cchar{-8}{$s_1=5$}\qa c\en\endextract\hss
\setclef16\startextract\NOtes\cchar{-8}{$s_1=6$}\qa c\en\endextract\hss
\setclef17\startextract\NOtes\cchar{-8}{$s_1=7$}\qa c\en\endextract\hss
\setclef18\startextract\NOtes\cchar{-8}{$s_1=8$}\qa c\en\endextract\hss
\setclef19\startextract\NOtes\cchar{-8}{$s_1=9$}\qa c\en\endextract}
\end{music}

Some additional \textsl{ornaments} are available:

\begin{itemize}
 \item \keyindex{Shakel}~$p$ for \hbox to1.5em{\kern.6em\Shakel0\hss},
 \item \keyindex{Shakesw}~$p$ for \hbox to1.5em{\kern.6em\Shakesw0\hss},
 \item \keyindex{Shakene}~$p$ for \hbox to1.5em{\kern.6em\Shakene0\hss} and
 \item \keyindex{Shakenw}~$p$ for \hbox to1.5em{\kern.6em\Shakenw0\hss}.
\end{itemize}
%%%
\subsection{*opusbm}
%%%
Provides 128$^{\rm th}$-beams and notes, namely
\keyindex{ibbbbbu},
\keyindex{ibbbbbd},
\keyindex{nbbbbb},
\keyindex{tbbbbb},
\keyindex{Ibbbbbu},
\keyindex{Ibbbbbd},
\keyindex{cccccu},
\keyindex{zcccccu},
\keyindex{cccccd} and \keyindex{zcccccd}.
%%%
\subsection{*opuscho}\label{song}
%%%
Some macros for choirus music.!.

{\sl HINT: Don't use collective coding setting choirus music. Use precompiler!}

I'm still searching for an idea to align the text automatic (the final
position will be computed from {\tt opusflex}. Will take some time...
The fastest way today seems to implement a five pass system).!.

Relevant layout parameter:
\begin{itemize}
\item \keyindex{botinstrument} (or \keyindex{setbotinstrument}) for
vertical space below all instruments (refer \verb|history.txt|)
\item \keyindex{raisesong} (or \keyindex{setraisesong}) to shift the
vertical position of text.
\end{itemize}
\begin{quote}
\keyindex{tx} \textsl{text}\verb|*|\footnote{The star {\tt*} indicates the
end of the text. Don't forget it!}\\
%  text of songs, with [r] text extends to right instead centered
\keyindex{rtx} \textsl{text}\verb|*|
\end{quote}
%\biglpar, \bigrpar
%  big parentheses for text of songs, the height must set before calling
%  with \braceheight=[dimen]
\keyindex{biglbrace}\keyindex{bigrbrace}\keyindex{braceheight}
%\D[T][Q][r]tx{text1}|{text2}[|{text3}][|{text4}]&
%  multiline text, with [r] text[] extends to right instead centered
\keyindex{Dtx}\keyindex{Drtx}\keyindex{Ttx}\keyindex{Trtx}\keyindex{Qtx}
\keyindex{Qrtx}
???Has changed again!!!
% \_ starts an underline behind syllable, \tu terminates underline
\verb|\_|\index{_@{\Bslash\string_}} \keyindex{tu} % underline
% \- starts a hyphen behind syllable, will be terminated with next syllable
\keyindex{-}
% to allocate register, MUST coded before use of D[r]tx, T[r]tx, Q[r]tx
\keyindex{setmultitext}
% to change the hyphen symbol (may be a free designed \vrule)
\keyindex{sethyphen}(default \verb|\sethyphen{-}|)

Automatic line breaking of hyphen lines(?) works today only for single text,
means NOT for multi text
(Without use of additional registers awfully complicated to code).

% hyphenlines immediatly behind linebreaks
\keyindex{noconthyphens}(default) \keyindex{conthyphens}
\keyindex{setnames}

% one or multicolumn verses below music-systems

% font of verses (default: current font)
\keyindex{versefont}
% normal and centered text of verses
\keyindex{centerverse} \keyindex{raggedverse} (default)
% verse numbers
\keyindex{verse} (or versenum ???)
% one to four columns of text, seperator:&, new line:\\
% try: versecolumns{
%   verse{1}text ... text&\verse{2}text2 ... text2\\
%           text ... text&         text2 ... text2\\}
\keyindex{versecolumns}
\begin{music}
\normtype
\braceheight5.4\Interline
\musicindent10mm
%\rightline{Arr.: H.~W.~Eichholz}
\instrumentnumber2
\generalsignature{-2}
\generalmeter{\meterfrac22}
\relativeaccid
\setnames2{Sopran}{Alt}
\setbotinstrument2{11\Interline}
\setmultitext24
\setnames1{Tenor}{Bass}
\setclef1\bass
\sepbarrules
\akkoladen{12}
\startpiece
%% bar 1
\znotes&\kernm2em\Qrtx1.|2.|3.|4.*\en
\NOTes\sslur ILd1\sslur bNu1\zhd I\hu b%
  &\Qtx Oh\_|No|No|There'll*\issluru0f\sslur dad1\zhup f\hd d\en
\Notes\zhd L\hu N&\Qtx ~|more|more|~be*\hd{^c}\en
\NOtes&\Qrtx\tu|~|~|~*\Tslur0g\qu g\en
%%% bar 2
\bar
\NOtes\zqd I\qu b&\Qrtx freedom,|weepin',|moanin',|singin',*\zqu i\qd d\en
\NOTesp\dpt I\zhd I\hup b&\zhup i\hdp d\en
%%% bar 3
\bar
\nspace
\NOTes\sslur JMd1\sslur bau1\zhd J\hu b%
  &\Qtx oh\_|no|no|there'll*\issluru0j\sslur edd1\zhup j\hd{^e}\en
\Notes\zhd M\hu a&\Qtx~|more|more|~be*\hd{=e}\en
\NOtes&\Qrtx\tu| | | *\Tslur0k\qu k\en
%%% bar 4
\bar
\NOtes\zqd I\qu b&\Qrtx freedom,|weepin',|moanin',|singin',*\zqu j\qd d\en
\NOTesp\dpt I\zhd I\hup b&\zhup i\hdp d\en
%%% bar 5
\bar
\NOTesp\islurd2I\sslur bau1\dpt I\zhd I\hup b%
  &\Qtx oh\_|no|no|~there'll*\isslurd0f\issluru1j\zhup k\hdp f\en
\NOtes\tsslur2K\zqd J\qu a%
  &\Qtx\tu|more|more|~be*\Tslur1f\zqu f\roff{\Tslur0e\qd e}\en
%%% bar 6
\bar
\NOtes\zqd K\qu b&\Qrtx freedom,|weepin',|moanin',|singin',*\zqu i\qd f\en
\NOtes\zqd J\qu b&\zqu i\qd e\en
\NOtes\zqd I\qu b&\loff\bigrbrace\rtx ~~o\-*\zqu i\qd d\en
\NOtes\zqd G\qu b&\tx ver*\zqu k\qd f\en
%%% bar 7
\bar
\nspace
\NOTes\zhd J\hu b\caesura&\tx ~me,*\zhu j\hd{^e}\caesura\en
\Notes\zcd J\cu b&\tx o\-*\zcu j\cd e\en
\NOtesp\zqdp J\qup b&\tx ver*\zqup k\dpt e\qd e\en
\endpiece
\end{music}
%%%
\subsection{opusdat}
%%%
Here is the command \keyindex{today} defined for several languages.
The default is \keyindex{dateUSenglish}, but this can freely be changed at
end of \ttxem{opusdat.tex}\footnote{Or build up a private input-file.}.
Also available are \keyindex{dategerman}, \keyindex{dateaustrian},
\keyindex{dateenglish} and \keyindex{datefrench}, which yields:
\begin{quote}\begin{tabular}{ll}\hline
\verb|\dateUSenglish|&\dateUSenglish\today\\
\verb|\dateaustrian|&\dateaustrian\today\\
\verb|\dateenglish|&\dateenglish\today\\
\verb|\datefrench|&\datefrench\today\\
\verb|\dategerman|&\dategerman\today\\\hline
\end{tabular}\end{quote}
%%%
\subsection{*opusdia}\label{diam}
%%%
This file is automatically loaded, if you use \verb|opusper.tex|.
Here are notes for the use with .!.
 \begin{itemize}
 \item The \yznq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|y|''
(think of \textsl{dyamond}).
Available are \keyindex{yqu}, \keyindex{yqup}, \keyindex{yqupp},
\keyindex{yqd}, \keyindex{yqdp}, \keyindex{yqdpp},
\keyindex{yzq}, \keyindex{yzqp}, \keyindex{yzqpp},
\keyindex{yqb},
\keyindex{ycu}, \keyindex{yccu}, \keyindex{ycccu}, \keyindex{yccccu},
\keyindex{ycd}, \keyindex{yccd}, \keyindex{ycccd}, \keyindex{yccccd},
\keyindex{ycup}, \keyindex{ycupp}, \keyindex{ycdp}, \keyindex{ycdpp}.
The symbol without a stem can be obtained by saying \keyindex{ynq} and
the non-spacing variant with \keyindex{yznq}.
 \item The \dznq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a ``\verb|d|''
(think of \textsl{diamond}).
Available are \keyindex{dqu}, \keyindex{dqup}, \keyindex{dqupp},
\keyindex{dqd}, \keyindex{dqdp}, \keyindex{dqdpp},
\keyindex{dzq}, \keyindex{dzqp}, \keyindex{dzqpp},
\keyindex{dqb},
\keyindex{dcu}, \keyindex{dccu}, \keyindex{dcccu}, \keyindex{dccccu},
\keyindex{dcd}, \keyindex{dccd}, \keyindex{dcccd}, \keyindex{dccccd},
\keyindex{dcup}, \keyindex{dcupp}, \keyindex{dcdp}, \keyindex{dcdpp}.
The symbol without a stem can be obtained by saying \keyindex{dnq} and
the non-spacing variant with \keyindex{dznq}.
 \end{itemize}
A possible violin score with \itxem{harmonic notes} could be:
\begin{music}
\generalsignature{-2}
\generalmeter\allabreve
\startextract
\NOTes\dzq o\zh d\hu h\en
\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbq0j\en
\bar
\NOTes\dzq g\hu k\en
\NOTes\hr\en
\bar
\NOTes\dzq o\zh d\hd h\en
\Notes\ibd0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbq0j\en
\bar
\NOTes\dzq g\hu k\en
\NOTes\hr\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\generalsignature{-2}
\generalmeter\allabreve
\startextract
\NOTes\dzq o\zh d\hu h\en
\Notes\ibu0k0\zq g\yqb0k\qb0j\zq e\yqb0i\tbq0j\en
\bar
\NOTes\dzq g\hu k\en
\NOTes\hr\en
\bar
\NOTes\dzq o\zh d\hd h\en
\Notes\ibd0e0\zq g\yqb0k\qb0j\zq e\yqb0i\tbq0j\en
\bar
\NOTes\dzq g\hu k\en
\NOTes\hr\en
\endextract
\end{verbatim}
\end{quote}
%%%
\subsection{*opusext}
%%%
Collection of additional macros...

\keyindex{slide}
%\slide{pitch}{elements}{slope[-8 to 8]}
%  glissando

\keyindex{raggedendpiece}
%\raggedendpiece
%  if you need a last line which appears ragged

% 'automatic' accents above stems behind non-spacing notes
\keyindex{stemsfz},
\keyindex{stemst},
\keyindex{stempo},
\keyindex{stemppz},
\keyindex{stemsf} and
\keyindex{stemfermata}.

% accents above stems
\keyindex{stemubow} and
\keyindex{stemvbow}.

% accents above notelines
\keyindex{varusf} \keyindex{vardsf} \keyindex{varsf}

Stem less note heads are provided as \keyindex{nq}~$p$ (quarter note head),
\keyindex{nh}~$p$ (half note head) and non spacing as \keyindex{znq}~$p$
and \keyindex{znh}~$p$.

% separated thin dashed rules for every staff
\keyindex{dashbarrules}

% meter with slash
% try: \generalmeter{\meterfracslash3~}
% try: \generalmeter{\meterfracslash38}
\keyindex{meterfracslash}

% baroque symbol
\keyindex{acciaccatura}

% upper cautionary accidentals
\keyindex{uppercna}
\keyindex{uppercfl}
\keyindex{uppercsh}

\begin{music}
\generalmeter{\meterfracslash38}
\nostartrule
\startextract
\NOTes\zwq g\en
\generalmeter{\meterfracslash6~}\changecontext
\NOTes\zwq g\en
\dashbarrules
\bar
\NOtes\uppercsh l\qa l\en
\NOtes\uppercfl m\qa m\en
\NOtes\uppercna n\qa n\en
\bar
\NOtes\varusf h\qd h\en
\NOtes\varusf j\qd j\en
\NOtes\varusf l\qd l\en
\NOtes\varusf n\qd n\en
\bar
\NOtes\vardsf j\qu j\en
\NOtes\vardsf h\qu h\en
\NOtes\vardsf f\qu f\en
\NOtes\vardsf d\qu d\en
\stdbarrules
\endextract
\end{music}
\begin{music}
\nostartrule
\startextract
\NOtes\zqa h\stemsfz\en
\NOtes\zqa j\stemsfz\en
\NOtes\zqa h\stemst\en
\NOtes\zqa j\stemst\en
\NOtes\zqa h\stempo\en
\NOtes\zqa j\stempo\en
\NOtes\zqa h\stemppz\en
\NOtes\zqa j\stemppz\en
\NOtes\zqa h\stemsf\en
\NOtes\zqa j\stemsf\en
\NOtes\zqa h\stemfermata\en
\NOtes\zqa j\stemfermata\en
\NOtes\zqa h\stemubow\en
\NOtes\zqa h\stemvbow\en
\bar
\Notes\zchar9{\kern10pt\footnotemark}\acciaccatura k\zcu l\cd j\en
\zendextract
\end{music}
\footnotetext{played as (and thanks to {\sc Mats Bengtsson}):\par
  \boxextract\nostartrule
  \smallmusicsize
  \setsize1\tinyvalue % force smallest possible size and font
  \abovesystem{2}% reduce space above system
  \belowsystem{2}% reduce space below system
  \startextract\multnoteskip{.9}\addspace{-.2\noteskip}%
  \notes\tinynotesize\itied1j\ibbu1j1\qb1j\tbq1k\en
  \Notes\ttie1\zcu l\cd j\en
  \zendextract}
%%%
\subsection{*opusgre}\label{gregnotes}
%%%
%
\subsubsection{Gregorian chant}
%
Der gregorianische Choral ist der lateinische Gesang der Liturgie der
R\"omischen Kirche. Es ist ein einstimmiger Gesang ohne festen Rhytmus. Nach
seiner Entstehung im fr\"uhen Mittelalter wurde er lange Zeit nur m\"undlich
\"uberliefert. Die \"altesten Aufzeichnungen der Melodien finden sich in
Handschriften des 10.~und 11.~Jahrhunderts. Dabei wurden Zeichen verwendet,
die zwar den Verlauf der Melodien, nicht aber die genauen Tonh\"ohen angeben
konnten. In der Forschung werden diese Zeichen als adiastematische Neumen
bezeichnet.

Etwa ab dem Jahr 1000 begann man, die Melodien mit Hilfe von Notenlinien auch
in ihrem melodischen Verlauf genauer aufzuzeichnen. Das System, das sich
schliesslich durchsetzte, wird auf Grund der Form seiner Notenzeichen als
Quadratnotation bezeichnet.

Gleichzeitig mit der Fixierung der genauen Tonh\"ohen fand auch eine
Vereinfachungsprozess statt. Die alten astiastematischen Neumen hatten
zahlreiche Formen, die besonders die rhytmi\-sche Struktur und die
Betonungsschwerpunkte einer Melodielinie gut wiedergeben konnten. Die
Quadratnotation wurde im Laufe der Zeit immer \"armer an Formen, was auch damit
zusammenhing, da{\ss} in der Praxis die einzelnen Notenwerte nicht mehr
auseinandergehalten wurden. Die feinen Unterschiede verschwanden und machten
einer uniformen Vortragsweise Platz. In den gedruckten Ausgaben ab dem
16.~Jahrhundert wurden dann auch noch die Melodien vereinfacht.

Ende des 19. Jahrhunderts wurde vor allem vom franz\"osischen Benediktinerkloster
Solesmes aus der Versuch unternommen, die urspr\"ungliche Gestalt des
gregorianischen Chorals wiederzubeleben. Mit der Herausgabe des Graduale
Romanum (1908) wurden auch einige Formen der Quadratnotation eingef\"uhrt, die
verschiedene (aber nicht alle) M\"oglichkeiten der adiastamatischen Notation
wieder einf\"uhrten.

Als nach 1970 die liturgischen B\"ucher f\"ur den r\"omischen Ritus wieder neu
\"uberarbeitet werden sollten, stellte sich erneut die Frage, wie die
Erkenntnisse \"uber die Differenzierungsm\"oglichkeiten, die die
adiastematischen Neumen bieten, im Notenbild der Quadratnotation
ber\"ucksichtigt werden sollten.

Dazu gibt es zur Zeit zwei Meinungen:

\begin{itemize}
\item Die Quadratnotation wird auf dem Stand von 1908 belassen. Daf\"ur werden
  \"uber den einzelnen Notengruppen die adiastematischen Neumen aus den
  mittelalterlichen Handschriften (von Hand) gezeichnet. Der S\"anger muss
  also zwei Notensysteme gleichzeitig lesen.
\item Die M\"onche von Solesmes haben im 1983 erschienenen 2.~Band des
  Antiphonale Romanum, dem Liber hymnarius, eine erweiterte Neumentabelle
  vorgestellt, die die meisten M\"oglichkeiten der adiastematischen Neumen
  nachbildet.
\end{itemize}

\OpusTeX\ orientiert sich an der zweiten Methode. Tabelle \ref{Solesmes}
Seite \pageref{Solesmes} ist die Nachbildung der obengenannten erweiterten
Neumentabelle. Tabelle \ref{Neumen} Seite \pageref{Neumen}
zeigt die von \OpusTeX\ daneben noch zur Verf\"ugung gestellten Neumen.

\begin{table}\vglue-\baselineskip
\noindent
\setgregorian1\internote1.54176\Internote
\renewcommand{\arraystretch}{1.6}%
\begin{tabular}[t]{|l|c|c|c|}\hline
\multicolumn1{|c|}{NEUM\AE\ AUT}%
  &\multicolumn3{|c|}{EXEMPLA FIGURARUM}\\\cline{2-4}%
\multicolumn1{|c|}{NEUMARUM ELEMENTA}%
  &FIGURAR\AE%
  &\multicolumn2{|c|}{FIGUR\AE\ LIQUESCENTES}\\
&RECT\AE&~~AUCT\AE~~&DEMINUT\AE\\\hline\hline
1. PUNCTUM
  &\punctum0$^a$
   \punctuminclinatum0$^b$
  &\punctumauctumascendens0$^c$
   \punctumauctumdescendens0$^d$
   \punctuminclinatumauctum0$^e$
  &\punctuminclinatumparvum0$^f$\\\hline
2. VIRGA
  &\virga1$^g$
  &
  &\\\hline
3. APOSTROPHA vel STROPHA
  &\stropha0$^h$
  &\strophaaucta0$^i$
  &\\\hline
4. ORISCUS
  &\oriscus0$^j$
  &
  &\\\hline
5. CLIVIS
  &\clivis20$^k$
  &\clivisauctadescendens21$^l$
   \clivisauctaascendens21$^m$
  &\cephalicus20$^n$\\\hline
6. PODATUS vel PES
  &\pes02$^o$
  &\pesauctusdescendens02$^p$
   \pesauctusascendens12$^q$
  &\epiphonus02$^r$\\\hline
7. PES QUASSUS
  &\pesquassus02$^s$
  &\pesquassusauctusdescendens12$^t$
  &\\\hline
8. QUILISMA-PES
  &\quilismapes01$^u$
  &\quilismapesauctusdescendens01$^v$
  &\\\hline
9. PODATUS INITIO DEBILIS
  &\pesinitiodebilis01$^w$
  &\pesauctusdescendensinitiodebilis02$^x$
  &\\\hline
10. TORCULUS
  &\torculus12{-1}$^y$
  &\torculusauctusdescendens021$^z$
  &\torculusdeminutus021$^A$\\\hline
11. TORCULUS INITIO DEBILIS
  &\torculusinitiodebilis010$^B$
  &\torculusauctusdescendensinitiodebilis021$^C$
  &\torculusdeminutusinitiodebilis021$^D$\\\hline
12. PORRECTUS
  &\porrectus102$^E$
  &\porrectusauctusdescendens101$^F$
  &\porrectusdeminutus202$^G$\\\hline
13. CLIMACUS
  &\climacus210$^H$
  &\climacusauctus210$^I$
  &\climacusdeminutus210$^J$\\\hline
14. SCANDICUS
  &\scandicus{-1}12$^K$
  &\scandicusauctusdescendens012$^L$
  &\scandicusdeminutus023$^M$\\\hline
15. SALICUS
  &\salicus012$^N$
  &\salicusauctusdescendens012$^O$
  &\\\hline
16. TRIGONUS
  &\trigonus10$^P$
  &
  &\\\hline
\end{tabular}
\begin{multicols}2\footnotesize\noindent
$^a$\keyindex{punctum}\\
$^b$\keyindex{punctuminclinatum}\\
$^c$\keyindex{punctumauctumascendens}\\
$^d$\keyindex{punctumauctumdescendens}\\
$^e$\keyindex{punctuminclinatumauctum}\\
$^f$\keyindex{punctuminclinatumparvum}\\
$^g$\keyindex{virga}\\
$^h$\keyindex{stropha}\\
$^i$\keyindex{strophaaucta}\\
$^j$\keyindex{oriscus}\\
$^k$\keyindex{clivis}\\
$^l$\keyindex{clivisauctadescendens}\\
$^m$\keyindex{clivisauctaascendens}\\
$^n$\keyindex{cephalicus}\\
$^o$\keyindex{pes}\\
$^p$\keyindex{pesauctusdescendens}\\
$^q$\keyindex{pesauctusascendens}\\
$^r$\keyindex{epiphonus}\\
$^s$\keyindex{pesquassus}\\
$^t$\keyindex{pesquassusauctusdescendens}\\
$^u$\keyindex{quilismapes}\\
$^v$\keyindex{quilismapesauctusdescendens}\\
$^w$\keyindex{pesinitiodebilis}\\
$^x$\keyindex{pesauctusdescendensinitiodebilis}\\
$^y$\keyindex{torculus}\\
$^z$\keyindex{torculusauctusdescendens}\\
$^A$\keyindex{torculusdeminutus}\\
$^B$\keyindex{torculusinitiodebilis}\\
$^C$\keyindex{torculusauctusdescendensinitiodebilis}\\
$^D$\keyindex{torculusdeminutusinitiodebilis}\\
$^E$\keyindex{porrectus}\\
$^F$\keyindex{porrectusauctusdescendens}\\
$^G$\keyindex{porrectusdeminutus}\\
$^H$\keyindex{climacus}\\
$^I$\keyindex{climacusauctus}\\
$^J$\keyindex{climacusdeminutus}\\
$^K$\keyindex{scandicus}\\
$^L$\keyindex{scandicusauctusdescendens}\\
$^M$\keyindex{scandicusdeminutus}\\
$^N$\keyindex{salicus}\\
$^O$\keyindex{salicusauctusdescendens}\\
$^P$\keyindex{trigonus}
\end{multicols}

\vglue-\baselineskip

\caption{Solesmes --- Neumen}\label{Solesmes}
\end{table}

\begin{table}\vglue-\baselineskip
\noindent
\setgregorian1\internote1.54176\Internote
\renewcommand{\arraystretch}{1.6}%
\begin{tabular}[t]{|c|c||c|c|}\hline
\multicolumn4{|c|}{Weitere Neumen}\\\hline\hline
\multicolumn4{|c|}{Mit EINEM Argument}\\\hline\hline
\keyindex{punctumcavum}
  &\punctumcavum0
  &
\keyindex{lineapunctumcavum}
  &\lineapunctumcavum0\\\hline
\keyindex{lineapunctum}
  &\lineapunctum0
  &
\keyindex{bivirga}
  &\bivirga1\\\hline
\keyindex{distropha}
  &\distropha1
  &
\keyindex{varbivirga}
  &\varbivirga1\\\hline
\keyindex{trivirga}
  &\trivirga1
  &
\keyindex{tristropha}
  &\tristropha1\\\hline
\keyindex{vartrivirga}
  &\vartrivirga1
  &
\keyindex{lvirga}
  &\lvirga1\\\hline
\keyindex{quilisma}
  &\quilisma0
  &
\keyindex{oriscusreversus}
  &\oriscusreversus0\\\hline
\keyindex{punctumparvum}
  &\punctumparvum0
  &
\keyindex{semipunctum}
  &\semipunctum0\\\hline
\keyindex{punctumreversumparvum}
  &\punctumreversumparvum0
  &
\keyindex{semipunctumreversum}
  &\semipunctumreversum0\\\hline
\keyindex{punctumreversum}
  &\punctumreversum0
  &
  &\\\hline\hline
\multicolumn4{|c|}{Mit ZWEI Argumenten}\\\hline\hline
\keyindex{varpes}
  &\varpes12
  &
\keyindex{pesstratus}
  &\pesstratus12\\\hline\hline
\keyindex{cliviscumorisco}
  &\cliviscumorisco21
  &
\keyindex{pressus}
  &\pressus21\\\hline
\multicolumn4{|c|}{Mit DREI Argumenten}\\\hline\hline
\keyindex{quilismatorculus}
  &\quilismatorculus010
  &
\keyindex{quilismascandicus}
  &\quilismascandicus012\\\hline\hline
\multicolumn4{|c|}{Mit VIER Argumenten}\\\hline\hline
\keyindex{Climacus}
  &\Climacus3210
  &
\keyindex{climacusresupinus}
  &\climacusresupinus2101\\\hline
\keyindex{torculusresupinus}
  &\torculusresupinus0101
  &
\keyindex{torculusresupinusdeminutus}
  &\torculusresupinusdeminutus0101\\\hline
\keyindex{porrectusflexus}
  &\porrectusflexus1010
  &
\keyindex{vartorculusresupinusdeminutus}
  &\vartorculusresupinusdeminutus0101\\\hline
\keyindex{quilismaporrectus}
  &\quilismaporrectus0101
  &
\keyindex{porrectusinitiodebilis}
  &\porrectusinitiodebilis0101\\\hline
\keyindex{scandicusflexus}
  &\scandicusflexus0121
  &
\keyindex{pessubbipunctis}
  &\pessubbipunctis0210\\\hline\hline
\multicolumn4{|c|}{Mit F\"UNF Argumenten}\\\hline\hline
\keyindex{scandicussubbipunctis}
  &\scandicussubbipunctis12310
  &
  &\\\hline
\end{tabular}

\caption{Weitere Neumen}\label{Neumen}
\end{table}

Gregorianischer Choral wird auf einem eigenen Liniensystem geschrieben. Es
gibt zwei Schl\"ussel, einen Do-Schl\"ussel und einen Fa-Schl\"ussel.

\keyindex{setgregorian}~$n$ stellt ein System auf vier Linien um,
liefert einen Do-Schl\"ussel (C-Schl\"ussel) auf der dritten Linie und
vergr\"ossert das System etwas.

\begin{music}
\setgregorian1
\startextract
\spatium \spatium \spatium
\zendextract
\end{music}

Der Do-Schl\"ussel kann mit \keyindex{setclef}$n$\texttt{1} ...
\verb|\setclef|$n$\texttt{4} auf die vier Linien gesetzt werden.
\keyindex{setclefsymbol}$n$\keyindex{gregorianFclef} wechselt in den
Fa-Schl\"ussel. Dieser kann mit \verb|\setclef|$n$\texttt{5} auf die dritte
und mit \verb|\setclef|$n$\texttt{6} auf die vierte Linie gesetzt werden.

\begin{music}
\boxextract
\hbox to\hsize{%
\setgregorian1
\hss\setclef11\startextract\zendextract
\hss\setclef12\startextract\zendextract
\hss\setclef13\startextract\zendextract % or \setclef1\alto
\hss\setclef14\startextract\zendextract
\setclefsymbol1\gregorianFclef
\hss\setclef15\startextract\zendextract
\hss\setclef16\startextract\zendextract % or \setclef1\bass
\hss}
\end{music}

\OpusTeX\ stellt die wichtigsten gregorianischen Neumen zur Verf\"ugung. Es
sind aber nicht alle m\"oglichen Kombinationen ber\"ucksichtigt. Mit \OpusTeX\
lassen sich neue Neumen relativ leicht bilden. So hat das Antiphonale der
schweizerischen Benediktinerkongregation im Salve Regina die Kombination Virga
plus Punctum inclinatum. \verb|\virga| $n$ \verb|\nonspatium|
\verb|\punctuminclinatum| $n$ liefert das gew\"unschte Resultat.
\keyindex{nonspatium} r\"uckt dabei die nachfolgende Neume etwas in die
vorangehende hinein. \keyindex{Nonspatium} setzt die Noten exakt
kantenb\"undig aneinaner. \keyindex{spatiumparvum} liefert einen kleinen
Zwischenraum.

\begin{music}
\setgregorian1
\setclef14
\startextract
\spatium
\sgn du{l-}\punctum a\egn
\sgn c{\'e}-\virga M\nonspatium\punctuminclinatum M\egn
\sgn do{}\punctum K\egn
\spatium
\divisiofinalis
\spatium
\sgn no-\bmolle b\punctum b\Nonspatium\pes cd\egn
\sgn bis\punctum a\egn
\spatium
\divisiofinalis
\spatium
\sgn Sa{l-}\punctum a\spatiumparvum\porrectus aNa\egn
\sgn ve,\punctum K\egn
\spatium
\zendextract
\end{music}

\noindent
Es gibt vier traditionelle Gliederungszeichen: \keyindex{divisiominima},
\keyindex{divisiominor}, \keyindex{divisiomaior} und
\keyindex{divisiofinalis}.
In neueren Ausgaben kommt zum Teil auch eine \keyindex{virgula} vor.

\begin{music}
\setgregorian1
\startextract
\NOTes\en
\divisiominima
\NOTes\en
\divisiominor
\NOTes\en
\divisiomaior
\NOTes\en
\divisiofinalis
\NOTes\en
\virgula
\NOTes\en
\zendextract
\end{music}

Im Gregorianischen Choral ist die Musik dem Text untergeordnet. Das dr\"uckt
sich auch in der Notation aus. Die Neumen sind auf die Vokale
des Textes ausgerichtet. \OpusTeX\ liefert daf\"ur eine eigene Umgebung:

\keyindex{sgn} \textsl{Text} \textsl{Noten} \keyindex{egn}

\textsl{Text} wird in der folgenden Form eingegeben: \{\textsl{alles vor dem
 Vokal}\}\{\textsl{Vokal oder Vokalgruppe}\}\{\textsl{alles nach dem
 Vokal}\}. Falls ein Textteil nur aus einem Buchstaben besteht, k\"onnen die
geschweiften Klammern weggelassen werden. Falls ein Textteil nicht vorhanden
ist, muss ein leerer Parameter \ttxem{{}} \"ubergeben werden. Zus\"atzlichen
Abstand (z.B. zwischen den W\"ortern) liefert \keyindex{spatium}.

\keyindex{spatiumaequale} sorgt daf\"ur, da{\ss} vor und nach einer Divisio
der gleiche Abstand zwischen einer Note, der Divisio und der darauffolgenden
Note steht.

\begin{verbatim}
\begin{music}
\setgregorian1
\setclef14
\raisesong3\Internote
\startextract
\sgn ne-\punctum c\egn
\sgn {qu}e{}\virga b\trivirga c\torculus aba\egn
\spatium
\sgn {}i{r-}\punctum a\egn
\sgn ri-\torculus cdc\egn
\sgn de-\clivis ba\egn
\sgn {}a{nt}\trivirga c\egn
\spatium
\sgn me{ }\punctum N\egn
\divisiominima
\spatiumaequale
\sgn {}i{n-}\punctum N\egn
\sgn {}i{}\punctum N\egn
\sgn m{\'\i}-\pes Na\nonspatium\quilismapes bc\egn
\sgn ci{}\clivis ca\egn
\spatium
\sgn me-\clivis aM\egn
\sgn {}i:\punctum M\egn
\zendextract
\end{music}
\end{verbatim}

ergibt:

\begin{music}
\setgregorian1
\setclef14
\raisesong3\Internote
\startextract
\sgn ne-\punctum c\egn
\sgn {qu}e{}\virga b\trivirga c\torculus aba\egn
\spatium
\sgn {}i{r-}\punctum a\egn
\sgn ri-\torculus cdc\egn
\sgn de-\clivis ba\egn
\sgn {}a{nt}\trivirga c\egn
\spatium
\sgn me{ }\punctum N\egn
\divisiominima
\spatiumaequale
\sgn {}i{n-}\punctum N\egn
\sgn {}i{}\punctum N\egn
\sgn m{\'\i}-\pes Na\nonspatium\quilismapes bc\egn
\sgn ci{}\clivis ca\egn
\spatium
\sgn me-\clivis aM\egn
\sgn {}i:\punctum M\egn
\zendextract
\end{music}

Diese Regel gilt vor allem f\"ur die melismatischen Ges\"ange des
Graduales. Bei den eher sillabischen Antiphonen des Offiziums weichen die
neueren Drucke schon mal \"ofters davon ab.

Ein St\"uck wird \"ublicherweise mit \keyindex{initiumgregorianum} begonnen
und mit \keyindex{Finisgregoriana} beendet. \keyindex{finisgregoriana} setzt
eine Divisio maior an Stelle der \"ublichen Divisio finalis.
\keyindex{Finisaequalis} und \keyindex{finisaequalis} beenden das St\"uck
kantenb\"undig.

Am Ende jeder Notenzeile, bei einem Notenwechsel oder wenn Teile wiederholt
werden, wird ein Custos, ein Hinweis auf die folgende Note, gesetzt. Der
Custos hat einen l\"angeren Hals, wenn er auf eine Linie zu liegen
kommt. \keyindex{nosolesmescustos} ist ein Schalter, der auf immer gleiche
H\"alse umstellt. \keyindex{solesmescustos} ist standardm\"assig eingestellt.

\begin{music}
\setgregorian1
\startextract
\spatium
\Notes\CUSTOS M\en
\Notes\CUSTOS N\en
\Notes\CUSTOS a\en
\Notes\CUSTOS b\en
\Notes\CUSTOS c\en
\Notes\CUSTOS d\en
\nosolesmescustos
\Notes\CUSTOS M\en
\Notes\CUSTOS N\en
\Notes\CUSTOS a\en
\Notes\CUSTOS b\en
\Notes\CUSTOS c\en
\Notes\CUSTOS d\en
\zendextract
\end{music}

Dieser Custos wird am Ende der Zeile mit \keyindex{custos} ausgegeben.
\keyindex{lineaproxima} wechselt darauf in die n\"achste Zeile. Der
Zeilenumbruch muss also \textsl{von Hand} gemacht werden. Tritt dabei der
Fall ein, da{\ss} eine Zeile mit einer Divisio finalis abgeschlossen wird,
ohne da{\ss} ein Custos folgt, so kann mit \keyindex{Divisiofinalis} (ohne
nachfolgendes \verb|\lineaproxima|) der Randausgleich erzwungen werden.

Auch wenn innerhalb eines St\"uckes die H\"ohe des Schl\"ussels gewechselt
wird, zeigt der Custos vor der Divisio die H\"ohe des n\"achsten Tones an.
Dieser wird mit \keyindex{CUSTOS} innerhalb einer \verb|\sgn| ...
\verb|\egn|-Sequenz ausgegeben. Den eigentlichen Schl\"usselwechsel bewirkt
\verb|\setclef|$nm$ \verb|\setclefsymbol|$n$ \verb|\gregorian|$X$%
\verb|clef\changeclefs|. Eine Zeile, in der ein Schl\"usselwechsel vorkommt,
mu{\ss} mit \verb|\setemptybar\finisaequalis| abgeschlossen und die n\"achste
Zeile neu initiert werden.

\begin{music}
\setgregorian1
\setclef15
\setclefsymbol1\gregorianFclef
\raisesong3\Internote
\startextract
\sgn con\punctumauctumdescendens M\egn
\sgn fun\pes JK\egn
\sgn d{\'e}n\pes MN\egn
\sgn tu{r,}\scandicusflexus LMNM\climacus NML\egn
\spatium
\sgn D{}{\'o}\punctum K\egn
\sgn mi-\torculus KLK\egn
\sgn ne{}\punctum K\pes JK\bivirga M\bmolle b%
  \scandicussubbipunctis NabNK\torculus MNM\clivis MK\egn
\qspace
\sgn{}{}{}\CUSTOS K\egn
\divisiofinalis
\nspace
\setclef14\setclefsymbol1\gregorianCclef\changeclefs
\sgn {\llap{\s V.} V}i-\pes Ka\egn
\sgn {}as\punctum a\egn
\spatium
\sgn tu-\clivis aN\egn
\sgn {}as\pes Na\egn
\custos a\setemptybar\endextract
\end{music}

Traditionellerweise gibt es nur ein Alterationszeichen, das b
(\keyindex{bmolle}), das sich nur auf auf die Tonstufe Si bezieht. Das
entsprechende Aufl\"osungszeichen ist \keyindex{bdurum}. Es hat keine eigene
Breite, deshalb mu{\ss} oftmals vor dem b etwas fester Raum eingef\"ugt
werden (z.B. mit \verb|\qspace|).

Neuerdings ist f\"ur die korrekte Notation gewisser St\"ucke auch die
Einf\"uhrung eines Kreuzes vorgeschlagen worden. (Vgl. Rupert Fischer: Die
Bedeutung des Codex Paris B.N.lat 776 und des Codex St.~Gallen 381 f\"ur die
Rekonstruktion gregorianischer Melodien, in: Beitr\"age zur Gregorianik 22,
Regensburg 1996, S.~43-73). \keyindex{crux} setzt entsprechend zu
\verb|\bdurum| ein Kreuz.

\begin{music}
\boxextract
\hbox to\hsize{\hss
\setgregorian1
\startextract
\spatium
\sgn {}{}{}\bmolle b\punctum c\climacus caN\pessubbipunctis abNM\egn
\spatium
\sgn {}{}{}\bdurum b\punctum c\climacus caN\torculus aba\clivis aN\egn
\zendextract

\hss\hss

\setgregorian1
\setclef14
\startextract
\sgn {Sc}a-\pes Na\clivis cb\egn
\sgn pu-\punctum b\egn
\sgn lis\punctum b\egn
\spatium
\sgn su-\virga c\climacus cba\egn
\sgn is~\clivis ba\egn
\spatium
\sgn ~ob\punctum a\egn
\sgn {}um\epiphonus ab\egn
\sgn {br}a-\porrectus bNb\egn
\sgn bit\punctum N\egn
\spatium
\sgn ti-\crux M\torculus MaN\egn
\sgn bi~\crux M\clivis NM\egn
\spatium
\zendextract
\hss}
\end{music}

\medskip
Soll ein b f\"ur ein ganzes St\"uck gelten, kann es mit \keyindex{bgenerale}
an den Anfang jeder Zeile gesetzt werden. Am Anfang jeder neuen Zeile muss
dann ein \keyindex{spatium} eingegeben werden.

\centerline{\vbox{\hsize30mm
\begin{music}
\setgregorian1
\bgenerale
\initiumgregorianum
\spatium\NOTES\punctum c\en\lineaproxima
\spatium\NOTES\punctum c\en\lineaproxima
\spatium\NOTES\punctum c\en
\finisaequalis
\end{music}}}

Das Episem gibt die Dehnung der darunter oder dar\"uber liegenden Note an.
\keyindex{episem} hat zwei Argumente: Die Tonh\"ohe, auf der das Episem
gezeichnet wird und die L\"ange des Episems in Standardbreiten. Beginnt es erst
\"uber der zweiten oder dritten Note einer Neumengruppe, so kann es mit
\keyindex{groff}\verb|{...}| nach links verschoben werden.

\begin{music}
\setgregorian1
\setclef15
\setclefsymbol1\gregorianFclef
\startextract
\sgn {}a{l-}\punctum M\nonspatium\quilismapesauctusdescendens Na\egn
\sgn le-\virga a\groff{\episem b2}\pessubbipunctis NaMK%
     \episem H1\pes JK\nonspatium\quilismapes LM\virga N%
     \groff{\groff{\episem b4}}\porrectus aMN%
     \punctuminclinatum M\nonspatium\punctuminclinatum L\egn
\sgn l{\'u}-\punctum K\nonspatium\quilismaporrectus LMLM\egn
\sgn ia.\clivis LK\augmentumduplex LJ\egn
\spatium
\setdoublebar
\zendextract
\end{music}

Weitere Akzente sind: \keyindex{augmentum}~$n$ setzt einen Punkt hinter die
Note. \keyindex{augmentumduplex}~$mn$ zwei Punkte \"ubereinander.
\keyindex{ictus}~$n$ einen kurzen senkrechten Strich, \keyindex{circulus}~$n$
einen kleinen Kreis, \keyindex{semicirculus}~$n$ einen nach oben offenen
Halbkreis und \keyindex{accentus}~$n$ einen kleinen Schr\"agstrich \"uber die
betreffende Note.

\begin{music}
\setgregorian1
\startextract
\spatium
\sgn {}{}{}\punctum a\augmentum b\egn
\spatium
\sgn {}{}{}\clivis ba\augmentumduplex bN\egn
\spatium
\sgn {}{}{}\ictus a\punctum a\egn
\spatium
\sgn {}{}{}\circulus a\punctum a\egn
\spatium
\sgn {}{}{}\semicirculus a\punctum a\egn
\spatium
\sgn {}{}{}\accentus a\punctum a\egn
\spatium
\zendextract
\end{music}

Gregorianische St\"ucke beginnen \"ublicherweise mit einer Initiale.

\keyindex{musicinitial}\{\textsl{kleingedruckte
Angaben}\}\{\textsl{Initiale}\} setzt diese Initiale in den mit der Hilfe
von \keyindex{musicindent}\{$n$\} vorbereiteten Raum zu Beginn der ersten
Zeile. Der erste Parameter kann zwei, mit \verb|\\| getrennte Zeilen
umfassen. \"Ublicherweise wird hier die Art des St\"uckes und sein Modus
angegeben. \keyindex{inft} gibt die verwendete Schriftart an.

\begin{music}
\setgregorian1
\setclef15
\setclefsymbol1\gregorianFclef
\musicindent14mm
\raisesong3\Internote
\startextract
\musicinitial{Grad\\I}{U}%
\sgn {}{--}{}\punctum J\egn
\sgn ni{--}\punctum K\egn
\sgn ve{r--}\scandicussubbipunctis KMNMK\climacus LKI%
  \torculusresupinusdeminutus KLKL\egn
\sgn si{}\punctum K\egn
\spatium
\divisiominima
\spatium
\sgn {qu}i{}\clivis KJ\egn
\spatium
\sgn te{}\pesinitiodebilis JM\egn
\spatium
\sgn {}ex\pes Na\egn
\sgn {sp}{\'e}c\punctum a\egn
\sgn ta{nt,}\clivis aN\clivis aN\clivis aL\torculus MNM\egn
\spatium
\divisiominor
\spatium
\sgn non\punctum N\egn
\custos M\setemptybar
\endextract
\end{music}

Ebenso ist es \"ublich, bei den Texten den ersten Buchstaben
hervorzuheben. \keyindex{textinitial} macht dies. Die dazugeh\"orige
Schriftart ist \keyindex{Inft}.

Bei einem St\"uck, das von einem Vors\"anger angestimmt wird, gibt ein Stern,
die Stelle an, ab der die \"ubrigen S\"anger einsetzen. \keyindex{asteriscus}
zentriert dieses Symbol zwischen dem vorangehenden und dem nachfolgenden Text.
Mit \keyindex{setasteriscus} kann es eigestellt werden (Default ist *).

\centerline{\vbox{\hsize11cm
\begin{music}
\setgregorian1
\setclef14
\musicindent13mm
\raisesong\Interline
\initiumgregorianum
\musicinitial{A.E}L%
\sgn {}Au\punctum M\egn
\sgn d{\'a}-\ictus a\punctum a\egn
\sgn te{}\bmolle b\punctum b\egn
\spatium
\sgn D{\'o}m\pes Na\egn
\sgn {}in\punctum N\egn
\sgn {}u{m,}\asteriscus\ictus M\punctum M\egn
\spatium
\spatium
\sgn {}om\punctum M\egn
\sgn nes\epiphonus Na\egn
\spatium
\sgn gen\punctum a\augmentum b\egn
\sgn te{s.}\punctum a\augmentum b\egn
\divisiofinalis
\spatium
\sgn {}E~\punctum a\egn
\sgn {}u~\punctum a\egn
\nspace
\sgn {}o~\bmolle b\punctum b\egn
\sgn {}u~\punctum N\egn
\nspace
\sgn {}a~\bmolle b\punctum b\egn
\sgn {}e.\punctum a\augmentum b\egn
\Finisaequalis
\end{music}}}

\textinitial LAud\'ate D\'ominum, omnes gentes, *\\
collaud\'ate eum, omnes p\'opuli.

\keyindex{s} liefert in Verbindung mit A, R und V die drei Abk\"urzungen
\s A, \s R und \s V.

\begin{music}
\setgregorian1
\setclef15
\setclefsymbol1\gregorianFclef
\raisesong\Interline
\sethyphen{\vrule height.2pt width3pt depth0pt}
\afterruleskip8pt
\initiumgregorianum
\NOtes\tx$\underline{\rm Ut}$*\episem31\punctum1\en
\NOtes\tx que\-*\punctum2\en
\NOtes\tx ant*\punctum4\en
\NOtes\tx la\-*\pes23\en
\NOtes\tx xis*\punctum2\augmentum3\en
\divisiominima
\NOtes\tx $\underline{\rm Re}$\-*\punctum2\en
\NOtes\tx so\-*\punctum2\en
\NOtes\tx n\'a\-*\punctum1\en
\NOtes\tx re*\punctum2\en
\NOtes\tx fi\-*\punctum3\augmentum3\en
\NOtes\tx bris*\punctum3\augmentum3\en
\divisiominor
\NOtes\tx $\underline{\rm Mi}$\-*\quilismascandicus345\en
\NOtes\tx ra*\punctum3\en
\NOtes\tx ge.*\punctum2\en
\NOtes\tx st\'o\-*\clivis31\en
\NOtes\tx rum*\punctum2\augmentum3\en
\divisiominima
\NOtes\tx $\underline{\rm F\acute{a}}$\-*\punctum4\en
\NOtes\tx mu\-*\punctum5\en
\NOtes\tx li*\punctum6\en
\NOtes\tx tu\-*\punctum5\en
\NOtes\tx \'o\-*\clivis42\en
\NOtes\tx rum*\punctum2\augmentum3\en
\divisiomaior
\NOtes\tx $\underline{\rm Sol}$\-*\torculus565\en
\NOtes\tx ve*\punctum3\en
\NOtes\tx pol\-*\punctum4\en
\NOtes\tx l\'u\-*\bivirga5\en
\NOtes\tx ti*\punctum2\augmentum3\en
\divisiominima
\NOtes\tx $\underline{\rm L\acute{a}}$\-*\punctum6\en
\NOtes\tx bi\-*\punctum5\en
\NOtes\tx i*\punctum6\en
\NOtes\tx re\-*\punctum4\en
\NOtes\tx \'a\-*\quilismapes56\en
\NOtes\tx tum*\punctum6\augmentum7\en
\divisiominor
\NOtes\tx San\-*\clivis54\en
\NOtes\tx cte*\punctum2\en
\NOtes\tx Io\-*\punctum1\en
\NOtes\tx \'an\-*\bivirga3\en
\NOtes\tx nes.*\punctum2\augmentum3\en
\Finisaequalis
\end{music}
%%%
\subsection{opusgui}
%%%
Here are some macros for typesetting finger boards? for guitar players.
Most times they are used above modern music. To give an example:
\begin{music}
\hsize130mm
\tenrm
\generalmeter{\meterfrac34}
\generalsignature1
\startbarno=0
\abovesystem{20}
\raiseguitar{20}
\nostartrule
\startpiece
\addspace{.5\afterruleskip}%
\NOtes\tx We*\qa d\en
\bar
\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44%
\tx wish*\qa g\en
\Notes\tx you*\ca g\en
\Notes\tx a*\ca h\en
\Notes\rtx merry*\ca g\en
\Notes\ca f\en
\bar
\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45%
\rtx christmas,*\qa e\en
\NOtes\qa e\en
\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54%
\tx we*\qa e\en
\bar
\NOtes\guitar {A$\!^7$}5o-----\gbarre1\gdot23\gdot42\tx wish*\qa h\en
\Notes\tx you*\ca h\en
\Notes\tx a*\ca i\en
\Notes\rtx merry*\ca h\en
\Notes\ca g\en
\bar
\NOtes\guitar D{}xxo---\gdot42\gdot53\gdot62\rtx christmas,*\qa f\en
\NOtes\qa d\en
\zbar
\NOtes\guitar{D/c}{}xo----\gdot23\gdot42\gdot53\gdot62\tx we*\qa d\en
\bar
\NOtes\guitar{B$^7$}{}xo----\gdot22\gdot31\gdot42\gdot62\tx wish*\qa i\en
\Notes\tx you*\ca i\en
\Notes\tx a*\ca j\en
\Notes\tx mer\-*\ca i\en
\Notes\tx ry*\ca h\en
\bar
\NOtes\guitar e{}xxo---\gdot32\tx ~christ-*\qa g\en
\NOtes\tx mas*\qa e\en
\Notes\guitar {G/d}{}xxo---\gdot63\tx and*\ca d\en
\Notes\tx a*\ca d\en
\bar
\NOtes\guitar{C$^6$}{}xo----\gdot23\gdot32\gdot42\gdot51\tx ~~hap~-*\qa e\en
\NOtes\tx py*\qa h\en
\NOtes\guitar{D$^7$}{}xo---x\gdot25\gdot34\gdot45\gdot45\gdot53%
  \tx new*\qa f\en
\bar
\NOTes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44\tx ~year.*\ha g\en
\setdoublebar\endpiece
\end{music}
\medskip
\noindent\keyindex{guitar} sets the grid, the chord name, the relative barre
and play indicators. As example the first three chords in this example were
coded as:
\begin{quote}
\begin{verbatim}
\NOtes\guitar G{}o-----\gbarre3\gdot25\gdot35\gdot44%
\NOtes\guitar C5o-----\gbarre4\gdot26\gdot36\gdot45%
\NOtes\guitar {e/H}5o-----\gbarre3\gdot35\gdot45\gdot54%
\end{verbatim}
\end{quote}
where the first argument is put above the grid to indicate the chord name, the
second is empty (relative barre) and the other six indicates if the string
is played with either \verb|x|, \verb|o| or \verb|-|. The dots are set with
\keyindex{gdot}~$sb$ where the $s$ is the string and $b$ is the barre. The
rule is set with \keyindex{gbarre}~$b$ where $b$ indicates the barre.

The whole chord may be vertically shifted with
\keyindex{raiseguitar}\verb|{|$n$\verb|}|, where $n$ is a number
in units of \keyindex{internote}(default 20). It might be useful to reserve
additional space above the chord, using e.g. \keyindex{abovesystem}\verb|{20}|.

If you need the chords more often, it might be useful to define your own
macros, e.g.:

\verb|\def\Dmajor{\guitar D{}x-o---\gdot42\gdot53\gdot62}%|
%%%
\subsection{*opushea}
%%%
 This file is made for non \TeX perts and/or lazy score typesetters. Although
related to \OpusTeX, it has little to see with music, but it helps writing
all surrounding texts, like \itxem{titles}, \itxem{composer names},
historical comments, etc. It provides
\begin{itemize}
\item a set of commands to handle page dimensions:
  \begin{itemize}
  \item \keyindex{Afourpage}~~(210 $\times$ 297 mm) (default)\\
        \keyindex{letterpage}~~(216 $\times$ 279 mm)\\
        \keyindex{executivepage}~~(184 $\times$ 267 mm)
  \item \keyindex{horizontalmarg}\verb| {|\textsl{\TeX-dimen}\verb|}|\\
        to determine the left and right margin, default \verb|10mm|.
  \item \keyindex{verticalmarg}\verb| {|\textsl{\TeX-dimen}\verb|}|\\
        to determine the upper and lower margin, default \verb|10mm|. ???
  \end{itemize}
\item a set of commands to make easy piece titles:
\begin{itemize}
\item \keyindex{headtitle} which is the big main title of the piece,
\item \keyindex{subtitle} is displayed below the main title of the piece,
\item \keyindex{composer} to be put at the right of the first page, below the
title of the piece; the calling sequence is, for example:

\verb|\composer{Daniel TAUPIN\\organiste \`a Gif-sur-Yvette}|

\noindent where the \verb|\\| makes the composer name displayed on two or
several lines.
\item \keyindex{othermention} which is displayed on the left of the page, in
front of the composer's name (it may contain several \verb|\\| to display it
on several lines,
\item \keyindex{maketitle} which displays all the previous stuff.
\end{itemize}
\item a set of commands to make easy \itxem{headlines} and \itxem{footlines}:
\begin{itemize}
\item \keyindex{lhead}, \keyindex{chead} and \keyindex{rhead} which build
up the head line of each page
(default font for head- and footlines: \keyindex{smalltype}\keyindex{rm}).
\item \keyindex{lfoot}, \keyindex{cfoot} and \keyindex{rfoot} which build
up the foot line of each page; the calling sequence is, for example:

\verb|\lhead{\bf \number\pageno}|

\noindent which produce the page number as bold face characters at left
on pages with odd page numbers and at right with even page numbers; these
switchings can be suppressed by \keyindex{oneside} and restored using
\keyindex{twoside} (default); instead of \verb|\number\pageno| the implicit
\TeX-routine \keyindex{folio} may be used.

\verb|\cfoot{\sl Title of piece \rm by Albert Einstein \makecopyright 1924}|

\noindent which produce the `Title of piece' as slanted characters and so on.!.
\item \keyindex{resetpagelayout} which redoes all head- and footline
manipulations
\end{itemize}
\item  Some additional commands to make \itxem{footnotes}.
These commands are
\begin{itemize}
   \item The normal Plain-\TeX\ \keyindex{footnote} command which has two
arguments --- not only one as in \LaTeX\index{LaTeX@\LaTeX} --- namely
the label of the footnote, i.e. any sequence of characters and not only
figures, and the text of the footnote.

\noindent{\sl IMPORTANT: the \verb|\footnote| command does not work inside
boxes\footnote{This is not a \TeX-bug, this is a feature!}, therefore this
command must not be issued within music. But another alternate feature is
provided (see below).}
 \item The \keyindex{Footnote} command, which counts the footnotes and uses a
number as the label of the foot note (equivalent to \LaTeX's \verb|\footnote|
command). The counter of footnotes may be reset to start again with `1' using
\keyindex{resetfootcount}.
The same restriction applies concerning footnotes within the music coding.
 \item The \keyindex{footnotetext} command, similar to the equal
\LaTeX-command, which makes the footnote itself at the bottom of the current
page, but does not put the footnote label at the place it is referred in the
main text.

 Thus, if a footnote is needed whose reference lies inside the music itself,
the music typesetter must perform it in two steps:
\begin{enumerate}
 \item quote the reference inside the music, using \verb|zcharnote| for
example in conjunction with \keyindex{markfootnote},
 \item post the footnote itself, using \verb|\footnotetext| outside the
music, either before \keyindex{startpiece} or between \keyindex{endpiece}
and \keyindex{contpiece} or equivalent commands.
\end{enumerate}
\end{itemize}
 \item Changing of \keyindex{parskip} fit for music pieces.
\keyindex{resetparskip} to change the \keyindex{parskip} to it's original
values.
\item Some other specials like \keyindex{makecopyright} to produce the
$\rm\copyright$-sign.
\end{itemize}
{\sl IMPORTANT: Note that \verb|opushea.tex| should not be used with \LaTeX!}
%%%
\subsection{*opuslit}\label{litu}
%%%
time between gregorian and romantic, still used for liturgical works.!.

% Don't know if this example is correct ??? But looks nice...
\begin{music}
\instrumentnumber{2}
\interstaff{11}
\generalsignature2
\setclefsymbol2\oldGclef
\setbotinstrument2{-\Interline}
\setstaffs1{2}
\setclef1\bass
\startpiece
\shortbarrules
\addspace\afterruleskip
\def\xxx{Il nous a sign\'es de son}%
\varnotes\xxx\zw d\wh K|\zw f\wh h&\rtx\xxx*\Hrest h1\en
\qspace\qspace
\NOTes\zhd N\hu d|\zhd g\hu i&\tx sang*\roffset{1.2}{\noskip\cnqd i}\cnqd i\en
\bar
\def\xxx{Et nous avons\'e}%
\varnotes\xxx\zw d\wh K|\zw f\wh h&\rtx\xxx\-*\Hrest h1\en
\qspace\qspace
\NOTes\zhd M\hu c|\zhd f\hu h&\rtx t\'e*\chd i\en
\NOtes\zqd L\qu e|\zqd b\qu g&\tx pro\-*\cqu g\en
\NOtes\zqd b\qu d|\zqd d\qu f&\tx t\'e\-*\cqu f\en
\NOTes\zhd a\hu c|\zhd e\hu h&\tx g\'es.*\chu h\en
\bar
\NOtes\zqd M\qu d|\zqd d\qu h&\tx Al\-*\cqu h\en
\NOtes\zqd K\qu a|\zqd f\qu k&\tx le\-*\cqd k\en
\NOTes\zhd H\hu a|\zhd e\hu j&\tx lu\-*\chd j\en
\bar
\NOTEs\zhd K\hu a|\zhd f\hu k&\tx ~~ia !*\cnhd k\en
\sepbarrules
\endpiece

\startpiece
\interbarrules
\addspace\afterruleskip
\def\xxx{Il nous a sign\'es de son}%
\varnotes\xxx\zw d\wh K|\zw f\wh h&\rtx \xxx*\Hlonga h1\en
\qspace\qspace
\NOTes\zhd N\hu d|\zhd g\hu i&\tx sang*\chd i\en
\bar
\def\xxx{Et nous avons\'e}%
\varnotes\xxx\zw d\wh K|\zw f\wh h&\rtx\xxx\-*\Hlonga h1\en
\qspace\qspace
\NOTes\zhd M\hu c|\zhd f\hu h&\rtx t\'e*\chd i\en
\NOtes\zqd L\qu e|\zqd b\qu g&\tx pro\-*\cqu g\en
\NOtes\zqd b\qu d|\zqd d\qu f&\tx t\'e\-*\cqu f\en
\NOTes\zhd a\hu c|\zhd e\hu h&\tx g\'es.*\chu h\en
\bar
\NOtes\zqd M\qu d|\zqd d\qu h&\tx Al\-*\cqu h\en
\NOtes\zqd K\qu a|\zqd f\qu k&\tx le\-*\cqd k\en
\NOTes\zhd H\hu a|\zhd e\hu j&\tx lu\-*\chd j\en
\bar
\NOTEs\zbreve K\zbreve a|\zbreve f\zbreve k&\tx ~~ia !*\zbreve k\en
\sepbarrules
\endpiece
\end{music}
\keyindex{zbreve}~$p$ :breve note
  (\hbox to8pt{\zbreve1\hss}) at pitch $p$ with no spacing after.\\
\keyindex{zlonga}~$p$ :longa note
  (\hbox to8pt{\zlonga1\hss}) at pitch $p$ with no spacing after.\\
\keyindex{zmaxima}~$p$ :maxima note
  (\hbox to16pt{\zmaxima1\hss}) at pitch $p$ with no spacing after.\\
\keyindex{oldGclef}
\keyindex{cqu}
\keyindex{cqd}
\keyindex{chu}
\keyindex{chd}
\keyindex{cqb}
\keyindex{zcqu}
\keyindex{zcqd}
\keyindex{zchu}
\keyindex{zchd}
\keyindex{cnqu}
\keyindex{cnqd}
\keyindex{cnhu}
\keyindex{cnhd}
\keyindex{Hrest}
\keyindex{centerHrest}
\keyindex{Hlonga}
\keyindex{shortbarrules}
%\shortbarrules
%  like \sepbarrules, separated short vrules over every staff
\keyindex{interbarrules}
%\interbarrules
%  like \shortbarrules, but only between every staff
%  (same meaning as \shortbarrules)
%%%
\subsection{opusmad}
%%%
{\sl This file must be input immediatetly behind \verb|\input opustex|}

Increases the number of instruments and beams up to twelve.
%%%
\subsection{opusmed}
%%%
Provides a larger \itxem{musicsize}, namely \keyindex{medmusicsize}.
%%%
\subsection{opusper}\label{perc}
%%%
A special \itxem{drum clef} (two vertical bars) can
replace any of the standard clefs using:

\keyindex{setclefsymbol}~$n$\keyindex{drumclef}

Single percussion scores is usually
written using one-line staffs, percussion music involving several instruments
is often written on five-line staffs with a \textsl{drum clef}, where the
instruments are distinguished by the type of the note heads and the apparent
pitch of the note on the staff. We give an example --- kindly provided by
Agusti {\sc Mart\'in Domingo}:
\begin{music}
\generalmeter{\meterfrac44}
\setclefsymbol1\drumclef
\startpiece
\leftrepeat
\Notes\zqd f\liftqr0\ibu0m0\xqb0{nn}\en
\Notes\kzq d\zqd f\zq j\xqb0n\tb0\xqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\xqb0{nn}\en
\Notes\kzq d\zqd f\zq j\xqb0n\tb0\xqb0n\en
\bar
\Notes\zqd f\liftqr0\ibu0m0\kqb0{nn}\en
\Notes\xzq d\zqd f\zq j\kqb0n\tb0\kqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\kqb0{nn}\en
\Notes\xzq d\zqd f\zq j\kqb0n\tb0\kqb0n\en
\bar
\Notes\zqd f\liftqr0\ibu0m0\oxqb0{nn}\en
\Notes\oxzq d\zqd f\zq j\kqb0n\tb0\oxqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\oxqb0{nn}\en
\Notes\oxzq d\zqd f\zq j\kqb0n\tb0\oxqb0n\en
\setrightrepeat\endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\generalmeter{\meterfrac44}
\setclefsymbol1\drumclef
\startpiece
\leftrepeat
\Notes\zqd f\liftqr0\ibu0m0\xqb0{nn}\en
\Notes\kzq d\zqd f\zq j\xqb0n\tb0\xqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\xqb0{nn}\en
\Notes\kzq d\zqd f\zq j\xqb0n\tb0\xqb0n\en
\bar
\Notes\zqd f\liftqr0\ibu0m0\kqb0{nn}\en
\Notes\xzq d\zqd f\zq j\kqb0n\tb0\kqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\kqb0{nn}\en
\Notes\xzq d\zqd f\zq j\kqb0n\tb0\kqb0n\en
\bar
\Notes\zqd f\liftqr0\ibu0m0\oxqb0{nn}\en
\Notes\oxzq d\zqd f\zq j\kqb0n\tb0\oxqb0n\en
\Notes\zqd f\liftqr0\ibu0m0\oxqb0{nn}\en
\Notes\oxzq d\zqd f\zq j\kqb0n\tb0\oxqb0n\en
\setrightrepeat\endpiece
\end{verbatim}
\end{quote}
A problem arises because drum and percussion notation is not standardized.
So it might be clever to put the names of instruments inside using a tiny
font or a footnote.!.

Not all possible, only the most important note types (lengths) are supported
(yet, the problem is really not to define them, but today we have
already $\sim$ 930 user-callable commands inside).!.

 \begin{itemize}
 \item The \dczq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|dc|'' (think of \textsl{DiagonalCross} for e.g. closed hihat).
Available are
\keyindex{dcqu},
\keyindex{dcqd},
\keyindex{dcqb},
\keyindex{dczq},
\keyindex{dccu},
\keyindex{dcccu},
\keyindex{dccd} and
\keyindex{dcccd}.

 \item The \dhzq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|dh|''
(think of \textsl{DiagonalcrossHalfcircle} for e.g. half open hihat).
Available are
\keyindex{dhqu},
\keyindex{dhqd},
\keyindex{dhqb},
\keyindex{dhzq},
\keyindex{dhcu},
\keyindex{dhccu},
\keyindex{dhcd} and
\keyindex{dhccd}.

 \item The \dozq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|do|''
(think of \textsl{Diagonalcross and O for circle} for open hihat).
Available are
\keyindex{doqu},
\keyindex{doqd},
\keyindex{doqb},
\keyindex{dozq},
\keyindex{docu},
\keyindex{doccu},
\keyindex{docd} and
\keyindex{doccd}.

 \item The \xzq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|x|'' (e.g. for spoken text of songs).
Available are
\keyindex{xqu},
\keyindex{xqd},
\keyindex{xqb},
\keyindex{xzq},
\keyindex{xcu},
\keyindex{xccu},
\keyindex{xcd} and
\keyindex{xccd}.

 \item The \oxzq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|ox|'' (.!.).
Available are
\keyindex{oxqu},
\keyindex{oxqd},
\keyindex{oxqb},
\keyindex{oxzq},
\keyindex{oxcu},
\keyindex{oxccu},
\keyindex{oxcd} and
\keyindex{oxccd}.

 \item The \rozq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|ro|'' (think of \textsl{RhOmbus} for e.g.~shaker).
Available are
\keyindex{roqu},
\keyindex{roqd},
\keyindex{roqb},
\keyindex{rozq},
\keyindex{rocu},
\keyindex{roccu},
\keyindex{rocd} and
\keyindex{roccd}.

 \item The \tgzq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc. macros preceeded with a
``\verb|tg|'' (think of \textsl{TrianGle} for e.g.~rattle).
Available are
\keyindex{tgqu},
\keyindex{tgqd},
\keyindex{tgqb},
\keyindex{tgzq},
\keyindex{tgcu},
\keyindex{tgccu},
\keyindex{tgcd} and
\keyindex{tgccd}.

 \item The \kzq1~~symbol which is obtained using the
\verb|\qu|, \verb|\qb|, \verb|\cu|, etc.~macros preceeded with a
``\verb|k|'' (for bongos).
Available are
\keyindex{kqu},
\keyindex{kqd},
\keyindex{kqb},
\keyindex{kzq},
\keyindex{kcu},
\keyindex{kccu},
\keyindex{kcd} and
\keyindex{kccd}.
 \end{itemize}
%%%
\subsection{opuspoi}
%%%
 Adds pointed compact definitions of notes.
Available are
\keyindex{ccup},
\keyindex{zccup},
\keyindex{ccdp},
\keyindex{zccdp},
\keyindex{ccupp},
\keyindex{zccupp},
\keyindex{ccdpp},
\keyindex{zccdpp},
\keyindex{cccup},
\keyindex{zcccup},
\keyindex{cccdp},
\keyindex{zcccdp},
\keyindex{cccupp},
\keyindex{zcccupp},
\keyindex{cccdpp},
\keyindex{zcccdpp},
\keyindex{ccccup},
\keyindex{zccccup},
\keyindex{ccccdp},
\keyindex{zccccdp},
\keyindex{ccccupp},
\keyindex{zccccupp},
\keyindex{ccccdpp} and
\keyindex{zccccdpp}.
%%%
\subsection{opusps}
%%%
\textsl{The examples in this section will be displayed correctly only after
uncommenting the line \verb|\pstrue| inside \verb|docopus.ps| and
processing the \texttt{*.dvi}--file with \texttt{dvips}!}

PostScript slurs, ties and crescendos.
\ifps
\let\saveregs\empty

The slurs and ties were from the very beginning of Music\TeX\ the most
difficult part of music typesetting. From now \OpusTeX\ supports an
interface for PostScript slurs and ties of any shape, length and slope.
The main idea is to make some PostScript routines for the slurs drawing, allowing
the \TeX\ himself to say only where the slur starts and ends. These
informations are stored into the DVI file using \TeX's $\backslash${\tt
special} command. The PostScript DVI driver (currently only dvips is
supported) includes them into the output PostScript file together with the
header file containing the drawing procedures. Therefore, if you
want to use this kind of slurs and ties, you will need:
\begin{itemize}
\item the dvips package installed (you can find it in any CTAN archive)
\item file opusps.pro located in a place where dvips looks for header
 files
\item PostScript printer or software interpreter, such as Ghostscript
 (for Amiga users I strongly recommend the HWGPost.library, it can be found
 on the Aminet)
\end{itemize}

And what will you get?
\begin{itemize}
\item the slurs, ties and crescendos can be of any length, regardless the
resolution of your printer (finally you can use a printer with resolution
higher than 600dpi, even a phototypesetter!)
\item the slur shape can be easily modified without any font recompilation
\item the slurs were carefully designed to behave in a good way even at a steep
slopes and small lengths
\item the slurs and ties won't interfere with the staff lines (!!!), no other
product on the music typesetting market does this! That means, if the slur
would go near to the staff line, it will be slightly raised or lowered.
\item the thickness and shading is determined by current size of
internote and the length of the slur
\item the crescendos and decrescendos will be split into separated lines at
a line break, as usual in professional scores.
\end{itemize}

The PostScript slur, tie and crescendo macros are contained in the
opusps.tex source file, do not forget to input it. Using the new slurs
is very similar to the bitmapped slurs already present in \OpusTeX.

\subsubsection{Compatibility with bitmapped slurs}

\noindent A lot of work was done to make the usage of the new slurs as close as
possible to the old ones. However, not all features can be easily emulated,
namely:
\begin{itemize}
\item \keyindex{curve}, \keyindex{midslur}
\item inconsistent usage of the
beginning and ending macros (e.g. opening a tie and closing a slur, which
is possible with bitmapped slurs, since the ties are nothing more than
slurs with zero slope)
\item the \verb|\Tslur| is implemented in a very poor way, it does not know
anything about the type of a macro that started the slur
\item some cases of use of \keyindex{tdmslur} and \keyindex{tumslur}
\item and some other dirty tricks
\end{itemize}
Some features are still under development (namely \keyindex{invertslur} and
\keyindex{halfslur}). In general, it {\em is} possible to insert \verb|\input opusps|
at the beginning of your score and hope for the best, but some
adjustments might be necessary.

\subsubsection{Slur initiation}

\noindent The slur starting macro must be coded \textsl{before} the spacing
note the slur belongs to.
The simplest slur initiation macro is

\keyindex{isluru}~$np$

which starts an upper slur, with reference
number $n$, beginning at pitch $p$. The starting point of the slur is
centered above an imaginary quarter note head at pitch $p$.
The reference number $n$ ranges from 0 to 9 inclusively. To be more exact, you can use
any positive whole number between 0 and $2^{31}-1$, but only the slurs with
ID less than 10 can be split at the line break automatically (see
the section about line breaks later).

Similarly, \keyindex{islurd}~$np$ initiates a lower slur.
These slurs are terminated by coding
\keyindex{tslur}~$np$ where $n$ is the reference number and $p$ is the
termination pitch. To illustrate with a simple example, the following
passage
\begin{music}
\startextract
\NOtes\islurd0g\qu g\tslur0{'c}\qu{'c}\en
\Notes\isluru0{'e}\ibd0{'e}{-2}\qb0{'e'd'c}\tslur0{'b}\tbq0{'b}\en
\bar
\NOtes\islurd0{'a}\qu{'a}\tslur0f\qu f\en
\NOTes\hu g\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\islurd0g\qu g\tslur0{'c}\qu{'c}\en
\Notes\isluru0{'e}\ibd0{'e}{-2}\qb0{'e'd'c}\tslur0{'b}\tbq0{'b}\en
\bar
\NOtes\islurd0{'a}\qu{'a}\tslur0f\qu f\en
\NOTes\hu g\en
\end{verbatim}
\end{quote}
Other macros are provided to change the starting and ending point of the slur
in relation to the initial and final notes ({\em NOTE: the following may change in
the future; and you can use the old commands \keyindex{issluru}, \keyindex{imsluru},
\keyindex{isslurd}, \keyindex{imslurd}\dots\ too}).

You can shift the starting or ending point slightly to the left
or right via \keyindex{ilsluru}, \keyindex{ilslurd}, \keyindex{irsluru},
\keyindex{irslurd}, \keyindex{trslur} and \keyindex{tlslur}.

You can also change the flatness of the slurs: make the slur a bit more
flat than default (\keyindex{tfslur0f}), higher (\keyindex{thslur0f}) , more
higher (\keyindex{tHslur0f}) or even more higher (\keyindex{tHHslur0f}). These
modifications are made at the ending macro only. All combinations with
horizontal shifting are allowed.
\begin{music}
\startextract
\NOTes\isluru0n\isluru1n\isluru2n\isluru3n\isluru4n\qd n\en
\Notes\tfslur0n\tslur1n\thslur2n\tHslur3n\tHHslur4n\qd n\en
\NOTES\isluru0n\isluru1n\isluru2n\isluru3n\isluru4n\qd n\sk\en
\Notes\tfslur0n\tslur1n\thslur2n\tHslur3n\tHHslur4n\qd n\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOTes\isluru0n\isluru1n\isluru2n\isluru3n\isluru4n\qd n\en
\Notes\tfslur0n\tslur1n\thslur2n\tHslur3n\tHHslur4n\qd n\en
\NOTES\isluru0n\isluru1n\isluru2n\isluru3n\isluru4n\qd n\sk\en
\Notes\tfslur0n\tslur1n\thslur2n\tHslur3n\tHHslur4n\qd n\en
\end{verbatim}
\end{quote}
There are also macros for slurs beginning or ending at a beam:
\keyindex{ibslur}~$mn$
\keyindex{tbslur}~$mn$
These macros require the beam number $n$ and slur number $m$; best place
for \keyindex{ibslur} is between \verb|\ibu...| and \verb|\qb..|, as seen
in the example:
\begin{music}
\startextract
\Notes\ibu0g1\ibslur00\qb0{ghjih}\en
\Notes\tbfslur00\tbq0i\en
\Notes\isluru0g\ibd0i0\qb0{gikmomki}\en
\Notes\tHslur0g\tbq0g\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\Notes\ibu0g1\ibslur00\qb0{ghjih}\en
\Notes\tbfslur00\tbq0i\en
\Notes\isluru0g\ibd0i0\qb0{gikmomki}\en
\Notes\tHslur0g\tbq0g\en
\end{verbatim}
\end{quote}
There are also simple slurs with same invocation and parameters as the
original ones.

The \keyindex{slurtext} works for PostScript slur exactly the same way
as for the bitmapped ones. When you say \keyindex{slurtext}3, in the
middle of slur which end immediately follows this command will be typeset
the number 3. The position of the reference point of the box with text will
be exactly in the middle horizontally and adjusted according to the height
of the box in case of upper slur.

This works only for non-breaked slurs, if the slur is breaked
the text disappears.

The placing of the slur text is done with a very dirty PostScript
hack, so I am not really sure that everything you want to typeset
will be placed at the correct position (if you are interested, see
the end of opusps.doc for details). If you find something that won't
work, let me know.

There is also an unpleasant side--effect: when you look at the
DVI-file with some standard (non-PostScript) driver, the figure will
be placed at the end of the slur instead of the middle. From obvious
reasons this can't be fixed---\TeX\ can't know where the middle is.
\begin{music}
\generalmeter{\meterfrac24}
\startpiece
\addspace\afterruleskip
\notesp\isluru0l\ibd0l0\qb0{lllll}\slurtext6\tslur0l\tbq0l\en\bar
\notesp\isluru0l\Ibd0ln2\qb0{lm}\slurtext3\tslur0n\tbq0n\en
\notesp\Ibd0km2\ibslur00\qb0k\qb0l\slurtext3\tbslur00\tbq0m\en\bar
\Notesp\isluru0l\qd{lm}\slurtext3\tslur0n\qd n\en
\endpiece
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\notesp\isluru0l\ibd0l0\qb0{lllll}\slurtext6\tslur0l\tbq0l\en\bar
\notesp\isluru0l\Ibd0ln2\qb0{lm}\slurtext3\tslur0n\tbq0n\en
\notesp\Ibd0km2\ibslur00\qb0k\qb0l\slurtext3\tbslur00\tbq0m\en\bar
\Notesp\isluru0l\qd{lm}\slurtext3\tslur0n\qd n\en
\end{verbatim}
\end{quote}
\paragraph{Ties}
Using the ties is the same as before: \keyindex{itieu}~$np$ starts an upper
tie of reference number $n$ at pitch $p$. Lower ties are invoked with
\keyindex{itieu}. Both ties can be terminated by \keyindex{ttie}~$n$.

The starting and/or the ending point of the tie can be shifting
horizontally when you say \keyindex{iltieu}, \keyindex{irtieu}, \keyindex{iltied},
\keyindex{irtied}, \keyindex{tltie} and \keyindex{trtie}.
It is recommended to use ties instead of zero sloped slurs, since the ties
have a different shape---more flat and angular.

\paragraph{PostScript crescendos and decrescendos}
Using PostScript it is very easy to draw crescendos and decrescendos of any
length, break them properly across line breaks and even draw sloped signs
when necessary. Crescendo resp. decrescendo begins with command
\keyindex{icresc}~$n$, where $n$ is an identification number of the mark,
again ranging from 0 to 10. Since \TeX\ remembers the type of the mark, both
crescendos and decrescendos ends with a single command
\keyindex{tcresc}~$n$.

You can change the height of crescendos with \keyindex{setcrescheight}~$p$,
where~$p$ is a pitch specified as a number (default is~$-5$).

You can shift the starting and ending point horizontally with

\keyindex{ilcresc}, \keyindex{ildecresc}, \keyindex{ircresc}, \keyindex{irdecresc},
\keyindex{tlcresc} and \keyindex{trcresc}.

to make some space for \verb|\MF|, \verb|\FF| etc.

Furthermore, you can say:

\keyindex{Icresc}0\{$-6$\}0

\keyindex{Tcresc}0\{$-8$\}2

and you will get crescendo with ending point lower than the beginning one.
(The `0' and `2' at the end is horizontal offset in \textsl{internotes}
from the current point.) Due to implementation reasons, you must use
numbered height when specifying the altitude of the crescendos.
\begin{music}
\instrumentnumber 2
\generalmeter\meterC
\setclef1\bass
\startextract
\NOtes\islurd1M\ibu1L{-3}\qb1M&\Icresc0{-3}0\isluru0k\ibd0k{-3}\qb0k\en
\NOtes\qb1L&\qb0j\en
\NOtes\qb1J&\qb0h\en
\NOtes\tslur1H\tbq1H&\Tcresc0{-8}2\tslur0g\tbq0g\en
\NOTes\itied1J\hu J&\idecresc0\itieu0j\hd j\en
\bar
\NOTEs\ttie1\itied1J\wh J&\tlcresc0\zchar{-6}{\kernm5pt\PP}\ircresc0\ttie0\itieu0j\wh j\en
\bar
\NOTEs\ttie1\wh J&\tlcresc0\zchar{-6}{\F}\ttie0\wh j\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\islurd1M\ibu1L{-3}\qb1M&\Icresc0{-3}0\isluru0k\ibd0k{-3}\qb0k\en
\NOtes\qb1L&\qb0j\en
\NOtes\qb1J&\qb0h\en
\NOtes\tslur1H\tbq1H&\Tcresc0{-8}2\tslur0g\tbq0g\en
\NOTes\itied1J\hu J&\idecresc0\itieu0j\hd j\en
\bar
\NOTEs\ttie1\itied1J\wh J&\tlcresc0\zchar{-6}{\kernm5pt\PP}\ircresc0\ttie0\itieu0j\wh j\en
\bar
\NOTEs\ttie1\wh J&\tlcresc0\zchar{-6}{\F}\ttie0\wh j\en
\end{verbatim}
\end{quote}
\textsl{REMARK:} You can start a slur, tie and crescendo with the same ID,
the ID's are independent. This is not true for crescendos and decrescendos.
That means you can say \verb|\isluru0f\icresc0|, but not
\verb|\icresc0\idecresc0|, in which case you will get a warning message and
the first crescendo will be forgotten.

The original \keyindex{crescendo} and \keyindex{decrescendo} are not supported yet,
but you can use \keyindex{icres}, \keyindex{idecres} and \keyindex{tcres}, they
are emulated using ID number 9.

\paragraph{Dashed slurs and ties}
The slurs and ties can be dashed, when you say \keyindex{dashed} anywhere
before the \textsl{beginning} of the slur or tie. The first slur or tie following
this command will then be drawed with dashed line. This kind of slurs and
ties is sometimes used in vocal music, when the melody differs from verse
to verse.
\begin{music}
\startextract
\NOtes\dashed\islurd0g\qu g\tslur0c\qu c\en
\Notes\dashed\isluru0e\ibd0e{-2}\qb0{edc}\tslur0b\tbq0b\en
\endextract
\end{music}
\noindent which was produced by:
\begin{quote}
\begin{verbatim}
\NOtes\dashed\islurd0g\qu g\tslur0c\qu c\en
\Notes\dashed\isluru0e\ibd0e{-2}\qb0{edc}\tslur0b\tbq0b\en
\end{verbatim}
\end{quote}
\paragraph{Line breaking of slurs, ties and crescendos}
The slurs, ties and crescendos going across the line breaks are handled
automatically. Of course they can go over more lines than two.

You can raise or lower the starting point of the slur at the beginning of
the next line with the command \keyindex{liftslur} with ID and the relative offset in
\textsl{internotes} measured from the slur beginning height. Its usage and behavior
is the same as of the original macro, only it is not necessary to code
it inside \verb|\atnextstaff{}|, just anywhere inside the slur.

Similar is \keyindex{liftcresc}, but it works only for the middle part of
crescendos broken into three parts. The height of the last part of a broken
crescendo is the default height, unless you change the default value or use
\verb|\Tcresc| instead of \verb|\tcresc|.

There is also the \keyindex{breakslur} implemented, which sets the height
of the slur ending point at the end of a line to given number of
\textsl{internotes}.

As said before, anything with ID $<$10 is breaked fully automatically,
but you should look after the slurs, ties and crescendos with ID $<$15.
These can not go across \textsl{page} break, otherwise you'll get a PostScript
error, something like ``s11hgt undefined''. Of course the \textsl{line} breaking works
for them automatically too.

When a tie is continued after breaking at the very beginning of a line,
only a half of the tie is drawn (the ``very beginning'' means that the tie
would be shorter than 15pt). To forbid this feature, say
\keyindex{nohalfties} (default is \keyindex{halfties}).

\paragraph{Memory requirements}
I have tried to make the macros as small and fast as possible. The problem
about them is not in their size, but in their output. Each macro produces a
\verb|\special| command, which must be stored into the \TeX's main memory.
Therefore, if too many slur occurs in one page, some memory troubles could
occur. In that case either use Big\TeX\ (but I suppose you already do),
enlarge the \TeX's memory if you can or use the bitmapped slurs. I will try
to reduce the memory requirements, but do not expect any miracles. There is
a lot of things to be passed to the PostScript part...

\paragraph{About the PS header}
The slurs need the PS header file opusps.pro to be included into the
output PostScript file. You have to say this to dvips with command

\verb|\special{header=opusps.pro}|

placed anywhere inside your source file. As default, this is done when inputting
the OpusPS.tex at the first time, but if you include the OpusPS.tex into
your format, the first page of every document will be always empty, containing
only the \verb|\special| command.

If you want to include the OpusPS into your format file, follow these steps:
\begin{itemize}
\item comment out the line 10 of the file OpusPS.tex
\item build the format
\item uncomment the line 10 in OpusPS.tex
\item either say \verb|\special{header=opusps.pro}| in your source file
or \verb|\input opusps|, which (being included second time) only
sets up the header file.
\end{itemize}

\textsl{Warning to dvidvi users:} If you select a set of pages from your document,
don't forget to include the page in which the \verb|\special| command was used
(usually the first page). Otherwise the dvips won't find this command and
won't include the header file, putting the PostScript device into a serious
problems.

\paragraph{Warning and error messages}
The slur macros can produce three kinds of warning messages:
\begin{itemize}
\item when a not opened slur/tie/crescendo (STC) was closed
\item when a not closed STC was opened again
\item when a STC with ID$>$14 was used (can be disabled coding
\keyindex{dangermessagesfalse})
\end{itemize}

These are not error messages, the compilation happily continues, but they
warn the user that there is something wrong. When you forget to close some
STC at the beginning of your piece, it can continue to the end\dots

You can also check the lost STC saying \keyindex{checkslurs}, which gives
you a warning message if any STC is opened and makes them disappear from this point.

\paragraph{Tailoring the slur shape to your needs}
Sorry, this section is under development, by the time you can look into the
opusps.tex and try to shake with the constants at the beginning and see
what happens. You will also find some info at the end of this file and in
opusps.doc. There is also some interesting thing to see in the PSPARNAS.TEX
example.
\fi
%%%
\subsection{*****opussig}
%%%
Free definable signatures.!.

\keyindex{setcustomsign}
\keyindex{clearcustomsign}
\keyindex{resetcustomsign}

Only numbers (as they would appear using treble-clef) !!!

\keyindex{customflat}
\keyindex{customsharp}
\keyindex{customnatural}

Sign changes for custom signs are a little bit complicated, but possible.

Restrictions:\\
--- You can't use \verb|\relativeaccid| AND \verb|\setcustomsign|\\
--- In a multi instrument piece are free definable signatures are only for
one instrument available (could be changed, if really needed).
\begin{music}
\setstaffs12
\setclef1\bass
\setcustomsign 1 % free signs for instrument 1
\customflat 4 % flat at pitch {'b}
\customflat 7 % flat at pitch {'e}
\customsharp 8 % sharp at pitch {'f}
\startpiece
\NOtes\qa{``g`a`b`c`d`e`f`g}|\qa{g'a'b'c'd'e'f'g}\en
\clearcustomsign
\customnatural4\customnatural7\customnatural8%
\customsharp1\customsharp5\customsharp2\customsharp6%
  \customsharp3\customsharp7\changecontext
\NOtes\qa{``f``g`a`b`c`d`e`f}|\qa{fg'a'b'c'd'e'f}\en
\endpiece
\end{music}
%%%
\subsection{*opusslu}
%%%
Provides slurs and ties for all staffsizes.
%%%
\subsection{*opusstx}
%%%
Still under construction.!.

Provides most music symbols to be used inside text.

\keyindex{microtxsize},
\keyindex{tinytxsize},
\keyindex{smalltxsize},
\keyindex{normaltxsize},
\keyindex{txbackturn},
\keyindex{txturn},
\keyindex{txduevolte},
\keyindex{txcaesura},
\keyindex{txshake},
\keyindex{txShake},
\keyindex{txShakel},
\keyindex{txShakenw},
\keyindex{txShakesw},
\keyindex{txShakene},
\keyindex{txmordent},
\keyindex{txMordent},
\keyindex{txcoda},
\keyindex{txCoda},
\keyindex{txsegno},
\keyindex{txSegno},
\keyindex{txufermata},
\keyindex{txdfermata},
\keyindex{txtrille},
\keyindex{txtril},
\keyindex{txTrille},
\keyindex{txarpeggio},
\keyindex{txPed},
\keyindex{txDep},
\keyindex{txvarPed},
\keyindex{txvarDep},
\keyindex{txallabreve},
\keyindex{txmeterC},
\keyindex{txreverseC},
\keyindex{txreverseallabreve},
\keyindex{txtreble},
\keyindex{txbass},
\keyindex{txalto},
\keyindex{txgrcu},
\keyindex{txgrcd},
\keyindex{txpt},
\keyindex{txmaxima},
\keyindex{txlonga},
\keyindex{txbreve},
\keyindex{txwq},
\keyindex{txwh},
\keyindex{txhu},
\keyindex{txhd},
\keyindex{txqu},
\keyindex{txqd},
\keyindex{txcu},
\keyindex{txcd},
\keyindex{txccu},
\keyindex{txccd},
\keyindex{txcccu},
\keyindex{txcccd},
\keyindex{txccccu},
\keyindex{txccccd},
\keyindex{txwr},
\keyindex{txhr},
\keyindex{txqr},
\keyindex{txer},
\keyindex{txeer},
\keyindex{txeeer},
\keyindex{txeeeer},
\keyindex{txdfl},
\keyindex{txfl},
\keyindex{txna},
\keyindex{txsh} and
\keyindex{txdsh}.
%%%
\subsection{opussys}
%%%
This extension provides some macros for the system layout of larger
polyphonic scores.

Saying \keyindex{nostaffbrace} will turn off the automatic piano-brace for
multi staffed instrument. You can turn it on again with
\keyindex{staffbrace}. By default this feature is on.

You can use a freely definable piano brace with
\keyindex{bracetop} and \keyindex{bracebot}.

Giving a name to a collecting brace can be done with \keyindex{bracename}.
If the brace collides with the user-defined bracket,
use \keyindex{shiftbrace}.

You can use a freely definable bar rules with
\keyindex{barrules}\verb|{|$mn$\verb|}| where~$m$ and~$n$ are the instrument
numbers of the first and last instrument.

\keyindex{raiseossia}
\keyindex{startossia}
\keyindex{ossia}
\keyindex{endossia}
%\keyindex{ossiagracesize}
\keyindex{ossiabar}
\keyindex{ossiadashrule}
%%%
\subsection{*opustab}
%%%
\keyindex{TAB}
\keyindex{settabulature}

You can use either numbers (1-6) or chars (EADgb\footnote{German may use
\textsl{h} instead \textsl{b}.}e) to indicate the string.
Numbers are possible as \keyindex{reversestrings} (default), which allow the
'normal' \OpusTeX-input, means bottom to top and as
\keyindex{guitarstrings}, which
allows the common way to indicate guitar strings (1=e, 2=b, ...).
\keyindex{gwh}
\keyindex{gwhp}
\keyindex{gwhpp}
\keyindex{gzw}
\keyindex{gzwp}
\keyindex{gzwpp}
\keyindex{ghu}
\keyindex{ghup}
\keyindex{ghupp}
\keyindex{gzh}
\keyindex{gzhp}
\keyindex{gzhpp}
\keyindex{gqu}
\keyindex{gqup}
\keyindex{gqupp}
\keyindex{gzq}
\keyindex{gzqp}
\keyindex{gzqpp}
\keyindex{gcu}
\keyindex{gcup}
\keyindex{gcupp}
\keyindex{gccu}
\keyindex{gccup}
\keyindex{gccupp}
\keyindex{gcccu}
\keyindex{gcccup}
\keyindex{gcccupp}
% notes belonging to beams (redundant, only for equal input)
\keyindex{gqb}
\keyindex{gqbp}
\keyindex{gqbpp}
% #1 string #2 first finger #3 second finger #4 text (H,S,P)
\keyindex{gDwh}
\keyindex{gDhu}
\keyindex{gDqu}
\keyindex{gDcu}
\keyindex{gDccu}
\keyindex{gDcccu}
% only an abbreviation
\keyindex{gibu}
\keyindex{gibbu}
\keyindex{gibbbu}
% ties
\keyindex{gitie}
% arpeggio in upper and lower direction
\keyindex{ustroke}
\keyindex{dstroke}
\begin{music}
\smallmusicsize
\def\tieH{\slurtext{\fiverm H}}

\instrumentnumber2
\generalsignature1
\generalmeter{\meterfrac44}
\botinstrument\Interline
\settabulature1

\startpiece
% *** Bar 1
\Notes\gitie02\gibu0\gqu20&\ibu1a3\qb1a\en
\Notes\tieH\ttie0\tb0\gqu22&\tbq1b\en
\NOtes\gqu30&\qu d\en
\bar
% *** Bar 2
\NOTes\ghu32&\hu e\en
\Notes\gzq32\gzq40\gzq53\gcu60&\zq{eg}\rq k\cu l\en
\NOtesp\gzqp32\gzqp40\gzqp53\gqup60&\rpt{egjl}\zq{eg}\rq k\qu l\en
\bar
% *** Bar 3
\NOTes\gzw32\gzw40\gzw53\ghu60&\zh{eg}\rh k\hu l\en
\NOtes\gqu40&\qu g\en
\NOtes\gqu32&\qu e\en
\bar
% *** Bar 4
\NOTes\gqu30&\hu d\en
\Notes\gzq30\gzq40\gzq53\gcu63&\zq{egk}\cu n\en
\NOtes\gzq30\gzq40\gzq53\gqu63&\zq{egk}\qu n\en
\Notes\hroff{\ustroke 37}\gzq30\gzq40\gzq53\gcu63%
  &\ustroke c7\zq{egk}\itieu0e\itieu1g\itieu2k\itieu3n\cu n\en
\bar
% *** Bar 5
\Notes&\ttie0\ttie1\ttie2\ttie3\zq{egk}\qu n\en
\Notes\gqu13&\qu N\en
\rightleftrepeat
% *** Bar 6
\Notes\gitie02\gibu0\gqu20&\ibu1a3\qb1a\en
\Notes\tieH\ttie0\tb0\gqu22&\tbq1b\en
\NOtes\gqu30&\qu d\en
\bar
% *** Bar 7
\NOTes\ghu32&\hu e\en
\Notes\gzq32\gzq40\gzq53\gcu60&\zq{eg}\rq k\cu l\en
\NOtes\gzq32\gzq40\gzq53\gqu60&\zq{eg}\rq k\qu l\en
\Notes\gzq32\gzq40\gzq53\gcu60&\zq{eg}\rq k\cu l\en
\endpiece
\end{music}
%%%
\subsection{*opustri}
%%%
Provides triple pointed note symbols.
Available are:
\keyindex{pppt},
\keyindex{dpppt},
\keyindex{whppp},
\keyindex{zwppp},
\keyindex{huppp},
\keyindex{hdppp},
\keyindex{zhppp},
\keyindex{zhuppp},
\keyindex{zhdppp},
\keyindex{quppp},
\keyindex{qdppp},
\keyindex{zquppp},
\keyindex{zqdppp},
\keyindex{zqppp},
\keyindex{cuppp},
\keyindex{zcuppp},
\keyindex{cdppp},
\keyindex{zcdppp},
\keyindex{qbppp} and
\keyindex{zqbppp}.
%%%%%%%
\chapter{*Music typesetting}
%%%%%%%
%%%%%
\section{*Rules}
%%%%%
Some basic statements about typesetting music should be done here.
Behind the notation of music is the necessity of communication. Thus
we need some rules that are sufficiently easy to learn and use. On the
other hand they must be flexible enough to notate the wide variety of
different compositions.

The conventional music notation developed in
the Middle ages fulfills these requirements to a good deal.
Composers, interprets and music scientists use it as a common base,
with with they are able to describe the complex and subtile processes
in music.

Usually the composers manuscript is hard to read and thus
unsuitable for interprets. But the process from manuscript to high
quality printing is not as easy as retyping and printing like ordinary
text. Consider a prima-vista playing where the interpret translates
the graphical image directly into sounding music. It is obvious, that
not only the printing must be very easy yet unambiguously readable,
but also it has to reflect the musical character in some way. Hence,
the graphical quality is of crucial importance. There are lots of
rules and conventions to lead to ``good'' music printing. But these
rules are often in opposition to one another and there are uncountable
many exceptions. These make it hard for programmers ... but one can
cope with that. The really hard problem arises from the fact, that
these rules often are based on unmeasurable quantities. The expression
``optical compensation'' stands for something we cannot logically
handle with a program. For example the layout of beams, slurs and
groups of accidentals depends so heavily on the local and the global
context, that it must be left to the typesetters eye to make
decisions about the optical compensation.

The professional music
typesetter is an artisan. To produce professional music printing he
needs at least ten years of experience to attain the musical and
graphical sensibility that is needed.

A program laying out music will probably never automatically attain
the quality of professional layouts. Any program will need the
intervention of a human eye. So \OpusTeX\ will never be able to
decide about ``optical compensations'' and it can't determine the
``character of the music'', but it can deal with a great amount of
typesetting rules and exceptions.

The first and main important rule is exactly the same as for typesetting text:

{\bf It must be optimally readable. It should be look even.}

.!.
%%%%%
\subsection{*Rests}
%%%%%
%Examples out {\sc Herbert Chlapik},  Die Praxis des Notensetzers, Doblinger
%Wien 1987, ISBN 3-9000~035-96-2
%%%%%
\subsubsection{Whole rest as whole rest}
%%%%%
\begin{music}
\smallmusicsize
\setclefsymbol1\empty
\boxextract\hbox to\hsize{\hss
 \generalmeter{\meterfrac21}\startextract
 \NOTEs\wh5\en
 \NOTEs\wr\en
 \endextract
\hss
 \generalmeter{\meterfrac42}\startextract
 \NOTes\uptext{\kernm\afterruleskip\tenit wrong}\ha5\en
 \NOTEs\wr\en
 \NOTes\hr\en
 \endextract
\hss
 \generalmeter{\meterfrac42}\startextract
 \NOTes\uptext{\kernm\afterruleskip\tenit right}\ha5\en
 \NOTes\hr\en
 \NOTEs\wr\en
 \doublebar
 \NOTes\uptext{\kernm\afterruleskip\tenit better}\ha5\en
 \NOTes\hr\en
 \NOTes\hr\en
 \NOTes\hr\en
 \endextract
\hss}
\end{music}
%%%%%
\subsubsection{Whole rest as full bar rest}
%%%%%
\begin{music}
\setclefsymbol1\empty
\smallmusicsize
\generalmeter{\meterfrac18}
\startextract
\Notes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac28}\Changecontext
\NOtes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac38}\Changecontext
\NOtesp\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac48}\Changecontext
\NOTes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac14}\Changecontext
\NOtes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac24}\Changecontext
\NOTes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac34}\Changecontext
\NOTesp\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac44}\Changecontext
\NOTEs\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac54}\Changecontext
\NOTEs\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac64}\Changecontext
\NOTEsp\en
\atnextbar{\znotes\centerwr\en}\endextract

\generalmeter{\meterfrac12}
\startextract
\NOtes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac22}\Changecontext
\NOTes\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac32}\Changecontext
\NOTesp\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac42}\Changecontext
\NOTEs\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac62}\Changecontext
\NOTEsp\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac21}\Changecontext
\NOTEs\uptext{\kernm\afterruleskip\tenit wrong}\en
\atnextbar{\znotes\centerwr\en}\generalmeter{\meterfrac21}\Changecontext
\NOTEs\uptext{\kernm\afterruleskip\tenit right}\wr\en
\NOTEs\wr\en
\endextract

\instrumentnumber2
\setclefsymbol2\empty
\setbotinstrument2{-2\Interline}
\generalmeter{\meterfrac24}
\boxextract\hbox to\hsize{\hss
 \startextract
 \Notes\ca5&\er\en
 \bar
 \NOtesp\qap5\en
 \Notes\ca5\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \Notes\ca5\en
 \NOtesp\qap5\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \NOtesp\qap5&\uptext{\kernm\afterruleskip\tenit wrong}\en
 \atnextbar{\znotes&\centerwr\en}\setdoubleBAR\endextract
\hss
 \generalmeter{\meterfrac24}\startextract
 \Notes\ca5&\er\en
 \bar
 \NOtesp\qap5\en
 \Notes\ca5\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \Notes\ca5\en
 \NOtesp\qap5\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \NOtes\qap5&\uptext{\kernm\afterruleskip\tenit right}\qr\en
 \Notes&\er\en
 \setdoubleBAR\endextract
\hss}

\generalmeter{\meterfrac68}
\boxextract\hbox to\hsize{\hss
 \startextract
 \NOtesp\qap5&\qrp\en
 \bar
 \NOtesp\qap5\en
 \Notes\ibd050\qb05\en
 \Notes\qb05\en
 \Notes\tbq05\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \NOtesp\qap5&\uptext{\kernm\afterruleskip\tenit wrong}\en
 \atnextbar{\znotes&\centerwr\en}\setdoubleBAR\endextract
\hss
 \generalmeter{\meterfrac68}\startextract
 \NOtesp\qap5&\qrp\en
 \bar
 \NOtesp\qap5\en
 \Notes\ibd050\qb05\en
 \Notes\qb05\en
 \Notes\tbq05\en
 \atnextbar{\znotes&\centerwr\en}\bar
 \NOtesp\qap5&\uptext{\kernm\afterruleskip\tenit right}\qrp\en
 \setdoubleBAR\endextract
\hss}
\end{music}
%%%%%
\subsubsection{Rests and rhythm}
%%%%%
\begin{music}
\setclefsymbol1\empty
\smallmusicsize
\generalmeter{\meterfrac38}
\boxextract\hbox to\hsize{%
 \startextract
 \NOtes\uptext{\kernm\afterruleskip\tenit wrong}\qr\en
 \Notes\ca5\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\er\en
 \Notes\er\en
 \Notes\ca5\en
 \doublebar
 \Notes\uptext{\kernm\afterruleskip\tenit wrong}\ca5\en
 \NOtes\qr\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \endextract
\hss
 \generalmeter{\meterfrac34}\startextract
 \NOTes\uptext{\kernm\afterruleskip\tenit wrong}\hr\en
 \NOtes\qa5\en
 \bar
 \NOtes\uptext{\kernm\afterruleskip\tenit right}\qr\en
 \NOtes\qr\en
 \NOtes\qa5\en
 \doublebar
 \NOtes\uptext{\kernm\afterruleskip\tenit wrong}\qa5\en
 \NOTes\hr\en
 \bar
 \NOtes\uptext{\kernm\afterruleskip\tenit right}\qa5\en
 \NOtes\qr\en
 \NOtes\qr\en
 \endextract}

\generalmeter{\meterfrac68}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \Notes\uptext{\kernm\afterruleskip\tenit wrong}\ca5\en
 \NOtes\qr\en
 \Notes\ca5\en
 \NOtes\qr\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \Notes\ca5\en
 \Notes\er\en
 \Notes\er\en
 \doublebar
 \Notes\uptext{\kernm\afterruleskip\tenit wrong}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \Notes\er\en
 \Notes\er\en
 \Notes\ca5\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\ca5\en
 \endextract
\hss
 \generalmeter{\meterfrac44}\startextract
 \NOtes\uptext{\kernm\afterruleskip\tenit wrong}\qa5\en
 \NOTes\hr\en
 \NOtes\qa5\en
 \bar
 \NOtes\uptext{\kernm\afterruleskip\tenit right}\qa5\en
 \NOtes\qr\en
 \NOtes\qr\en
 \NOtes\qa5\en
 \endextract}

\generalmeter{\meterfrac34}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \NOtes\qa5\en
 \NOtes\qr\en
 \NOtes\qr\en
 \generalmeter{\meterfrac68}\changecontext
 \NOtes\qa5\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \endextract
\hss
 \generalmeter{\meterfrac34}\startextract
 \Notes\ca5\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \Notes\ca5\en
 \generalmeter{\meterfrac68}\changecontext
 \Notes\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\ca5\en
 \endextract
\hss
 \generalmeter{\meterfrac34}\startextract
 \Notes\ca5\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\ibd050\qb05\en
 \Notes\tbq05\en
 \generalmeter{\meterfrac68}\changecontext
 \Notes\ca5\en
 \Notes\er\en
 \Notes\er\en
 \Notes\er\en
 \Notes\ibd050\qb05\en
 \Notes\tbq05\en
 \endextract}

\generalmeter{\meterfrac34}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \NOtes\qr\en
 \NOtes\qr\en
 \Notes\ibd050\qb05\en
 \Notes\tbq05\en
 \generalmeter{\meterfrac68}\changecontext
 \NOtes\qr\en
 \Notes\er\en
 \Notes\er\en
 \Notes\ibd050\qb05\en
 \Notes\tbq05\en
 \endextract
\hss
 \generalmeter{\meterfrac34}\startextract
 \NOtesp\qap5\en
 \Notes\er\en
 \NOtes\qr\en
 \generalmeter{\meterfrac68}\changecontext
 \NOtesp\qap5\en
 \NOtes\qr\en
 \Notes\er\en
 \endextract
\hss
 \generalmeter{\meterfrac32}\startextract
 \NOTes\ha5\en
 \NOTes\hr\en
 \NOTes\hr\en
 \generalmeter{\meterfrac64}\changecontext
 \NOTes\ha5\en
 \NOtes\qr\en
 \NOTes\hr\en
 \NOtes\qr\en
 \endextract}

\generalmeter{\meterfrac{12}8}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit wrong}\hap5\en
 \NOTesp\hrp\en
 \endextract
\hss
 \generalmeter{\meterfrac{12}8}\startextract
 \Notes\uptext{\kernm\afterruleskip\tenit not recommended}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \endextract
\hss
 \generalmeter{\meterfrac{12}8}\startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOtesp\qrp\en
 \NOtesp\qrp\en
 \bar
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOtesp\qr\en
 \Notes\er\en
 \NOtesp\qr\en
 \Notes\er\en
 \endextract}

\generalmeter{\meterfrac{12}8}
\boxextract\hbox to\hsize{%
 \scalenoteskip{.5}%
 \startextract
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtesp\qrp\en
 \NOTesp\hrp\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOTesp\hrp\en
 \endextract
\hss
 \generalmeter{\meterfrac{15}8}\startextract
 \Notes\uptext{\kernm\afterruleskip\tenit wrong}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtesp\qrp\en
 \NOtesp\qrp\en
 \NOtesp\qrp\en
 \NOtesp\qrp\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit not recommended}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \NOtes\qr\en
 \Notes\er\en
 \bar
 \Notes\uptext{\kernm\afterruleskip\tenit right}\ca5\en
 \Notes\er\en
 \Notes\er\en
 \NOTesp\hrp\en
 \NOTesp\hrp\en
 \endextract}

\generalmeter{\meterfrac64}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit not recommended}\hrp\en
 \NOTes\hr\en
 \NOtes\qa5\en
 \endextract
\hss
 \generalmeter{\meterfrac64}\startextract
 \NOTes\uptext{\kernm\afterruleskip\tenit right}\hr\en
 \NOtes\qr\en
 \NOTes\hr\en
 \NOtes\qa5\en
 \bar
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hrp\en
 \NOtes\qr\en
 \NOtes\qr\en
 \NOtes\qa5\en
 \endextract
\hss
 \generalmeter{\meterfrac64}\startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOTes\hr\en
 \NOtes\qr\en
 \bar
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOTesp\hrp\en
 \endextract}

\generalmeter{\meterfrac{3+2}8}
\boxextract\hbox to\hsize{%
 \scalenoteskip\smallvalue
 \startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit not recommended}\hrp\en
 \NOTes\hr\en
 \NOtes\qa5\en
 \endextract
\hss
 \generalmeter{\meterfrac64}\startextract
 \NOTes\uptext{\kernm\afterruleskip\tenit right}\hr\en
 \NOtes\qr\en
 \NOTes\hr\en
 \NOtes\qa5\en
 \bar
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hrp\en
 \NOtes\qr\en
 \NOtes\qr\en
 \NOtes\qa5\en
 \endextract
\hss
 \generalmeter{\meterfrac64}\startextract
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOTes\hr\en
 \NOtes\qr\en
 \bar
 \NOTesp\uptext{\kernm\afterruleskip\tenit right}\hap5\en
 \NOTesp\hrp\en
 \endextract}
\end{music}
%%%%%
\subsubsection{Multibar rests}
%%%%%
\begin{music}
\setclefsymbol1\empty
\smallmusicsize
\startextract
\NOtes\en
\atnextbar{\znotes\centerrest2\centerDwr\en}\bar
\NOtesp\en
\atnextbar{\znotes\centerrest3\centerbar{\Dwr\off{2\elemskip}\wr
  \off\afterruleskip}\en}\bar
\NOTes\en
\atnextbar{\znotes\centerrest4\centerQwr\en}\bar
\NOTesp\en
\atnextbar{\znotes\centerrest5\centerbar{\Qwr\off{2\elemskip}\wr
  \off\afterruleskip}\en}\bar
\NOTEs\en
\atnextbar{\znotes\centerrest6\centerbar{\Qwr\off{2\elemskip}\Dwr
  \off\afterruleskip}\en}\bar
\NOTEsp\en
\atnextbar{\znotes\centerrest7\centerbar{\Qwr\off{2\elemskip}\Dwr
  \off{2\elemskip}\wr\off\afterruleskip}\en}\bar
\NOTES\en
\atnextbar{\znotes\centerrest8\centerbar{\Qwr\off{2\elemskip}\Qwr
  \off\afterruleskip}\en}\bar
\NOTES\en
\atnextbar{\znotes\centerrest9\centerbar{\Qwr\off{2\elemskip}\Qwr
  \off{2\elemskip}\wr\off\afterruleskip}\en}\bar
\NOTES\Hrest4\smallvalue\en
\atnextbar{\znotes\centerrest{10}\en}\bar
\NOTES\Hrest4\smallvalue\en
\atnextbar{\znotes\centerrest{11}\en}\endextract
\end{music}
%%%%%
\subsection{*Rules and Exceptions}
%%%%%
In this section we provide a collection of typesetting rules,
exceptions and tricky examples.
%%  concerning ``optical compensation'', exeptions and so forth.
\begin{enumerate}
\item %% Notenhaelse - ausnahmen bei mehrstimmigkeit <> unisono
  Normally the direction of the stem is determined by the pitch. If
  the pitch is above the middle line then the stem's pointing down and
  vice versa, \OpusTeX\ does this automatically, but in a chord the
  outermost pitch is the determining one. This is not (yet) done
  automatically by \OpusTeX . Exception: when there are two voices on
  one staff, the stems belonging to the first voice are pointing up,
  stems belonging to the second voice are pointing down. Exception of
  Exception: in a long phrase of unisono, we write ``\`a 2'' and stems
  are printed as for single voices:
%
% Stem direction
\begin{music}
\boxextract\hbox to\hsize{%
 \smallmusicsize
 \startextract\scalenoteskip\smallvalue
 \NOTes\Uptext{wrong!}\zh g\ha i\en
 \qspace\qspace
 \dashbarrules\bar\stdbarrules
 \NOTes\Uptext{right ...}\zh i\ha g\en
 \NOTes\zh i\ha k\en
 \NOTes\zh{fjl}\ha n\en
 \NOTes\zh i\rh j\ha f\en
 \qspace
 \NOTes\zh{cg}\hu j\en
 \NOTes\zh{hj}\ha l\en
 \NOTes\zh{ik}\rh g\ha f\en
 \qspace
 \NOTes\zh{ik}\lh m\ha n\en
 \zendextract
\hss
 \generalmeter{\meterfrac44}\startextract
 \scalenoteskip\smallvalue
 \NOtes\zqu j\qd h\en
 \NOtes\zqu i\qa i\en
 \Notes\ibu0j2\zqb0j\ibd1h2\qb1h\en
 \Notes\tbzq0k\tbq1i\en
 \NOtes\zqd h\qu l\en\bar
 \Notes\llap{\slopeline{3}{0.85\noteskip}{16}\hskip 0.4\noteskip}%
   \hloff{\ibd0j{-3}\zqb0j}\ibu1f3\qb1f\en
 \Notes\tbzq0h\tbq1h\en
 \NOtes\zqu h\qd h\en
 \NOTes\zhd g\hu j\en\bar
 \Notes\uptext{\eightrm \`a 2}\ibd0i2\qb0i\tbq0j\en
 \Notes\shake h\en
 \zendextract}
\end{music}

\item Typesetting accords is simple: The reference note is the one,
that is farest from the middle line. It determines the the direction
of the stem as seen above, and the notes that are shifted to the other
side of the
stem. If there is a second interval, then the note that is further away
from the reference note, switches it side, unless the note before
switched its side too. Note that dots are aligned, and if needed
lowered so that each note has its visible dot.

\item %% Abstaende zwischen Koepfen und Haelsen am Balken
  Normally the spacing is guided by the note heads. But sometimes
  spacing is dominated by the note stems, especially in connection
  with beams:
%
% Stem Spacing
\begin{music}
\boxextract\hbox to\hsize{\hss
 \generalsignature1
 \setstaffs12
 \generalmeter{\meterfrac38}
 \smallmusicsize
 \startextract
 \notes\ibbu0i2\zq b\qb0d\en
 \notes|\zq g\qb0n\en
 \notes\zq c\qb0e\en
 \notes|\zq h\qb0o\en
 \notes\zq d\qb0f\en
 \notes|\zq i\invert\tbq0p\en\bar
 \notes\ibbu0i2\zq c\qb0e\en
 \notes|\zq h\qb0o\en
 \notes\qb0{^g}\en
 \notes|\zq h\qb0o\en
 \notes\qb0i\en
 \notes|\zq h\invert\tbq0o\en
 \endextract
\hss\hss
 \startextract
 \notes\ibbu0i2\zq b\qb0d\en
 \notes|\roff{\zq g\qb0n}\en
 \notes\zq c\qb0e\en
 \notes|\roff{\zq h\qb0o}\en
 \notes\zq d\qb0f\en
 \notes|\roff{\zq i\invert\tbq0p}\en
 \qspace
 \bar
 \notes\ibbu0i2\zq c\qb0e\en
 \notes|\roff{\zq h\qb0o}\en
 \notes\qb0{^g}\en
 \notes|\roff{\zq h\qb0o}\en
 \notes\qb0i\en
 \notes|\roff{\zq h\invert\tbq0o}\en
 \qspace
 \endextract
\hss}
\end{music}
\item %% chopins v-Hals
Normally the horizontal spacing is reflecting the time, that a note
should last. A lot of effort is put into the \verb:\notes: macros to
make this spacing look good. This is even the reason for the external
program \verb:opusflex: program. But there are cases that make a
mathematically correct alignment just impossible. Consider the
following excerpt of {\sc Chopin}'s Nocturne, op.~15,~2. Note that the
temporal context is considered clear in spite of the mathematically
incorrect durations and in spite of the lack of rests... not
deliberately made for \OpusTeX. But \OpusTeX\ can handle even this.
\end{enumerate}
\begin{music}

\musicindent-4mm
\advance\hsize8mm

\smallmusicsize
\generalsignature6 % 6 sharp
\relativeaccid
\interstaff{18}
\raiseped{-10.7}

\setstaffs12
\setclef1\bass

\startbarno25
\systemnumbers
\startpiece
%% Takt 25
\addspace\afterruleskip
\znotes\zchar{18}{\it sotto voce}\en
\notesp\PED\zca{=C}\st
  |\imsluru3{'e}\imslurd0c\ibbd5e0\zqb5e\ibu4l{-1}\zqbp4{'e}\en
\notesp|\ibbu3f2\trbb3\zqb5g\zqb3g\en
\notesp|\zqb5i\tbzq3i\en
\notesp\bsk\hsk\zq{'C'G}\zqa b|\ibu3b{-1}\zqb3d\zqb5d\en
\notesp|\slurtext5\Tslur0c\tbb4\tbzq4k\tbzq5{'d}\en
%
\notesp\icres{20}|\imslurd0b\ibbd5c1\zqb5c\ibu4{'c}1\zqbp4{'c}\tbzq3c\en
\notesp|\ibbu3f2\trbb3\zqb3g\zqb5g\en
\notesp|\zqb5i\tbzq3i\en
\notesp\bsk\hsk\islurd2F\zca G\st|\ibu3b1\zqb3d\zqb5d\en
\notesp|\slurtext5\Tslur0c\tbb4\tbzq4{'d}\tbzq5{'d}\en
\bar
%% Takt 26
\notesp\Tslur2B\zca C\st|\imslurd0c\ibbd5e2\zqb5e\ibu4l1\zqbp4{'e}\tbzq3e\en
\notesp|\ibbu3h2\trbb3\zqb3i\zqb5i\en
\notesp|\zqb5j\tbzq3j\en
\notesp\bsk\hsk\zq{'C'G}\zqa b|\ibu3d1\zqb3f\zqb5f\en
\notesp|\slurtext5\Tslur0f\tbb4\tbzq4{'f}\tbzq5{'f}\en
%
\notesp|\imslurd0e\ibbd5g2\zqb5g\ibu4{'g}1\zqbp4{'g}\tbzq3g\en
\notesp|\ibbu3h2\trbb3\zqb3i\zqb5i\en
\notesp|\zqb5j\tbzq3j\en
\notesp\bsk\hsk\islurd2F\zca G\st|\ibu3f{-1}\zqb3h\zqb5h\en
\notesp\tcres|\slurtext5\Tslur0h\tbb4\tbzq4o\tbzq5o\en
\bar
%% Takt 27
\notesp\idecres{20}\Tslur2B\zca C\st|%
  \imslurd0d\ibbd5f0\zqb5g\ibu4{'g}{-1}\zqbp4{'g}\tbzq3g\en
\notesp|\ibbu3h2\trbb3\zqb3i\zqb5i\en
\notesp|\zqb5j\tbzq3j\en
\notesp\DEP\bsk\hsk\zqd J\imsluru1b\ibu2b0\zqb2N\zqb2b|\ibu3c1\zqb3e\zqb5e\en
\notesp\tcres|\slurtext5\Tslur0d\tbb4\tbzq4{'e}\tbzq5{'e}\en
%
\notesp\idecres{20}\sh b\lfl a\rq b\Tslur1b\PED\tbzq2a|%
  \imslurd0c\ibbd5e0\zqb5f\ibu4{'f}{-1}\zqbp4{'f}\tbzq3f\en
\nspace
\notesp|\ibbu3g2\trbb3\zqb3{_h}\zqb5h\en
\nspace
\notesp|\zqb5i\tbzq3{^i}\en
\notesp\bsk\hsk\zca C\st|\zcu d\zqb5d\en
\notesp\tcres|\slurtext5\Tslur0c\tbb4\tbzq4k\tbzq5k\en
\bar
%% Takt 28
\notesp\DEP\roff{\imsluru1{`g}\ibu0{`g}0\zqb0{`g}}\zqp{`c}\zqap c|%
  \imslurd0d\ibbd5e3\zhu l\stemsf\zqb5e\en
\notesp|\zqb5g\en
\notesp|\zqb5j\en
\nspace
\notesp\loff{\idecres{20}}\bsk\hsk\zqb0{_a}|\ibu3h{-1}\zqb3{_h}\zqb5h\en
\notesp|\slurtext5\Tslur0g\tbzq5{'c}\en
%
\notesp\Tslur1{`g}\tbzq0{`g}|\imslurd0c\ibbd5e0\zqb5g\tbzq3g\en
\notesp|\zqb5e\en
\notesp\tcres|\zqb5j\en
\notesp\bsk\hsk\islurd2F\zca G\st|\zqb5g\en
\notesp\roff{\Tslur2G}|\midslur4\tslur3g\slurtext5\Tslur0c\tbzq5j\en
\sectionlines1\endpiece
\end{music}
\begin{enumerate}
\item %% Kreuzende Balken
\item %% Rhytmik: gleichzeitige Noten gegeneinander verschoben.
\end{enumerate}
%%%%%
\section{Abbreviations in the notation}
%%%%%
\begin{music}
\instrumentnumber2
\generalmeter{\meterfrac34}
\afterruleskip4pt
\startextract
\Notes\uptext{Executed}\ibd0l0\qb0{lllll}\tbq0l%
  &\uptext{Written}\hloff{\ibd0m9}\hroff{\tb0}\hdp l\en
\generalmeter{\meterfrac24}\Changecontext
\notes\ibbd0l0\qb0{lll}\tbq0l\ibbd0l{-1}\qb0{llk}\tbq0k%
  &\hloff{\ibbd0l9}\hroff{\tb0}\qd l\sk\sk\sk
  \ibd0l{-3}\hloff{\nbb0}\hroff{\tbb0}\qb0l\sk
  \hloff{\nbb0}\hroff{\tbb0}\tbq0k\en
\generalmeter\meterC\Changecontext
\notes\ibu0i0\qb0{jgj}\tbq0g\ibu0i0\qb0{jgj}\tbq0g%
  &\multnoteskip2\ibu0i{-4}\hb0j\tb0\hb0g\ibu0i{-4}\hb0j\tb0\hb0g\en
\endextract
\generalmeter{\meterfrac68}
\startextract
\NOtesp\uptext{Executed}\qap{jg}&\uptext{Written}\qap{jg}\en\bar
\NOtesp\qap{jg}\en
\atnextbar{\znotes&\centerbar\duevolte\en}%
\generalmeter{\meterfrac24}\Changecontext
\NOtes\qa g&\qa g\en
\notesp\isluru0k\ibd0j3\qb0{jk}\slurtext3\tslur0l\tbq0l%
  &\isluru0k\ibd0j3\qb0{jk}\slurtext3\tslur0l\tbq0l\en\bar
\NOtes\qa{kn}&\qa{kn}\en\bar
\NOtes\qa g\en
\notesp\isluru0k\ibd0j3\qb0{jk}\slurtext3\tslur0l\tbq0l\en\bar
\NOtes\qa{kn}&\zchar0{\kernm\afterruleskip\duevolte}\en
\endextract
\end{music}
%%%
\subsection{Tremolo}
%%%
There are two different ways to tremble,
\begin{itemize}
\item[a)] as fast as possible, not exactly in rhythm and
\item[b)] exactly in rhythm, called \textsl{non tremolo} too.
\end{itemize}
\begin{music}
\smallmusicsize\nostartrule
\boxextract
\hbox to\hsize{%
 \startextract
 \NOtes\uptext{a}\hsk\roffset{.75}{\ibbbd0k2}\hb0j%
   \loffset{.75}{\tb0}\zh l\hb0n\en
 \zendextract
\hss
 \raise2\Interline\hbox{=}%
\hss
 \setclefsymbol1\empty
 \startextract
   \Notes\hsk\ibbbbd0l0\qb0j\zq l\qb0{nj}\zq l\qb0{nj}%
     \zq l\zqb0n\hsk\tb0\hsk\shake 3\sk\en\zendextract
\hss\hss\hss\hss
 \setclefsymbol1\trebleclef
 \startextract
 \NOtes\uptext{b}\hsk\ibbbd0k2\hb0j\tb0\zh l\hb0n\en
 \zendextract
\hss
 \raise2\Interline\hbox{=}%
\hss
 \setclefsymbol1\empty
 \startextract
   \Notes\hsk\ibbbd0l0\qb0j\zq l\qb0{nj}\zq l\tbb0\qb0n%
   \nbbb0\qb0j\zq l\zqb0n\hsk\tb0\hsk\shake 3\sk\en
 \zendextract}%
\end{music}
\zkeyindex{smallmusicsize}
%%%%%%%
\chapter{*Examples}
%%%%%%%
Due to compatibility problems with \LaTeX\ (used to produce this notice)
large examples must be \TeX -ed separately, i.e.\ using \TeX\ rather than \LaTeX.
Therefore, the \OpusTeX\ future user is suggested to produce
some of the following examples and to look carefully at the way some
special features have been coded.

In addition, it must be noted that most DVI previewers and laser printers have
their origin at one inch below and one inch right of the right upper corner
of the paper, while the musical examples have their upper left significant
corner only at one centimeter right and below the left top of the paper.
Therefore special \keyindex{hoffset} and \keyindex{voffset} \TeX\
commands are introduced within the source \TeX\ text.

Suggested tests are:
\begin{itemize}
\item{\tt AVEMARIE} to get the ``M\'editation'' (alias ``Ave Maria'') by
  Charles \indexname{Gounod}C for organ and violin or song.
\item{\tt BANDONEO} to get several pieces for Bandone\'on.
\item{\tt DIMMAN} to get ``V mlh\'ach'' by Leo\v s {\sc Jan\'a\v cek} for a
   modern piano work (thanks to Lena and Robert Storlind).
\item{\tt LOBPREIS} to get ``Das ist k\"ostlich, dir zu sagen Lob und
  Preis'', which shows some features out of \ttxem{opuslit}.
\item{\tt PARNASUM} to get one page of ``Doctor Gradus ad Parnassum'' by
  Claude \indexname{Debussy}C for a romantic piano work.
\item{\tt SEHNSUCH} to get ``Sehnsuchtswalzer'' by
  Franz \indexname{Schubert}F for another romantic piano work, which shows
  how to code ossia.
\item{\tt SOLOCELL} to get the Suite II from the ``Solo cello Suites'' by
  Johann Sebastian \indexname{Bach}{J.S} for a cello score.
\item{\tt SWINGLOW} to get the Spiritual ``Swing low, sweet chariot'' by
  H.~W.~{\sc Eichholz} for a choirus score.
\item{\tt SYMPH6\_2} to get an excerpt from ``Symphonie No.~6, Satz 2'' by
  \indexname{Beethoven}{L.v} for a multi-instrument score
  (thanks to Erwin Achermann).
\item{\tt TRAEUMER} to get famous ``Tr\"aumerei'' by Robert
  \indexname{Schumann}R for piano with some additions to perform ascending
  \textsl{crescendi}.
\item{\tt WIDOR} to get ``Toccata'' by
  Charles-Marie \indexname{Widor}{C.-M} for an organ work.
\end{itemize}

\small\printindex

\clearpage
\parindent0pt
\hoffset-15.4mm
\voffset-42mm
\hsize190mm
\vsize285mm
\parskip0pt plus 2pt
% not fine, not clean, but works
% !!! don't look at this !!!
%>>>
\makeatletter
\textheight\vsize
\@colht\vsize
\@colroom\vsize
\makeatother
%<<<
\let\nxt\addcontentsline
\def\addcontentsline#1#2#3{}
%%%%%%%
\chapter{}
%%%%%%%
\let\addcontentsline\nxt
\addcontentsline{toc}{chapter}{%
  \protect\numberline\thechapter{Summary of denotations}}
\vglue-20mm
\centerline{\bigfont Pitches}
\medskip
\tentt
\def\bs{\tentt\char92}
\setclef1\bass
\afterruleskip2pt
\nostartrule \startpiece
%
% Pitches
%
\addspace\afterruleskip
\notes\zw{`A}\zchar{14}{\llap`A}\en
\notes\zw{`B}\zchar{14}{\llap`B}\en
\notes\zw{`C}\zchar{14}{\llap`C}\en
\notes\zw{`D}\zchar{14}{\llap`D}\en
\notes\zw{`E}\zchar{14}{\llap`E}\en
\notes\zw{`F}\zchar{14}{\llap`F}\en
\notes\zw{`G}\zchar{14}{\llap`G}\en
\notes\zw A\zchar{14}{\llap A}\en
\notes\zw B\zchar{14}{\llap B}\en
\notes\zw C\zchar{14}{\llap C}\en
\notes\zw D\zchar{14}{\llap D}\en
\notes\zw E\zchar{14}{\llap E}\en
\notes\zw F\zchar{14}{\llap F}\en
\notes\zw G\zchar{14}{\llap G}\en
\notes\zw H\zchar{-5}{\llap'A}\zchar{14}H\en
\notes\zw I\zchar{-5}{\llap'B}\zchar{14}I\en
\notes\zw J\zchar{-5}{\llap'C}\zchar{14}J\en
\notes\zw K\zchar{-5}{\llap'D}\zchar{14}K\en
\notes\zw L\zchar{-5}{\llap'E}\zchar{14}L\en
\notes\zw M\zchar{-5}{\llap'F}\zchar{14}M\en
\notes\zw N\zchar{-5}{\llap'G}\zchar{14}N\en
\notes\zw a\zchar{14}a\en
\notes\zw b\zchar{14}b\en
\notes\zw c\zchar{14}c\en
\notes\zw d\zchar{14}d\en
\notes\zw e\zchar{14}e\en
\endpiece \vskip-3\Interline \setclef1\treble \contpiece
\notes\zw a\zchar{-8}a\en
\notes\zw b\zchar{-8}b\en
\notes\zw c\zchar{-8}c\en
\notes\zw d\zchar{-8}d\en
\notes\zw e\zchar{-8}e\en
\notes\zw f\zchar{-8}f\en
\notes\zw g\zchar{-8}g\en
\notes\zw h\zchar{-8}h\zchar{-4}{\llap'a}\en
\notes\zw i\zchar{-8}i\zchar{-4}{\llap'b}\en
\notes\zw j\zchar{-8}j\zchar{-4}{\llap'c}\en
\notes\zw k\zchar{-8}k\zchar{-4}{\llap'd}\en
\notes\zw l\zchar{-8}l\zchar{-4}{\llap'e}\en
\notes\zw m\zchar{-8}m\zchar{-4}{\llap'f}\en
\notes\zw n\zchar{-8}n\zchar{-4}{\llap'g}\en
\notes\zw o\zchar{-8}o\zchar{-4}{\llap{'\kernm2pt'}a}\en
\notes\zw p\zchar{-8}p\zchar{-4}{\llap{'\kernm2pt'}b}\en
\notes\zw q\zchar{-8}q\zchar{-4}{\llap{'\kernm2pt'}c}\en
\notes\zw r\zchar{-8}r\zchar{-4}{\llap{'\kernm2pt'}d}\en
\notes\zw s\zchar{-8}s\zchar{-4}{\llap{'\kernm2pt'}e}\en
\notes\zw t\zchar{-8}t\zchar{-4}{\llap{'\kernm2pt'}f}\en
\notes\zw u\zchar{-8}u\zchar{-4}{\llap{'\kernm2pt'}g}\en
\notes\zw v\zchar{-8}v\zchar{-4}{\llap{'\kernm2pt'\kernm2pt'}a}\en
\notes\zw w\zchar{-8}w\zchar{-4}{\llap{'\kernm2pt'\kernm2pt'}b}\en
\notes\zw x\zchar{-8}x\zchar{-4}{\llap{'\kernm2pt'\kernm2pt'}c}\en
\notes\zw y\zchar{-8}y\zchar{-4}{\llap{'\kernm2pt'\kernm2pt'}d}\en
\notes\zw z\zchar{-8}z\zchar{-4}{\llap{'\kernm2pt'\kernm2pt'}e}\en
\endpiece
\medskip
\centerline{\bigfont Notes, Accidentals, Accents, Clefs and Rests}
\medskip
%
% Notes& Accidentals
%
\contpiece
\Notes\zchar{-4}{Accidentals:}\zchar9{\bs zmaxima$^3$}\zmaxima i\en
\Notes\zchar{12}{\bs zlonga$^3$}\zlonga i\en
\Notes\zchar9{\bs zbreve$^3$}\zbreve i\en
\Notes\zchar{12}{\bs zwq}\zwq i\en
\Notes\zchar{12}{\bs wh}\wh i\en
\Notes\zchar{12}{\bs hu}\zchar{-4}>\hu{>f}\en
\Notes\zchar{12}{\bs hd}\loff{\zchar{-4}{\bs cdsh}}\cdsh l\hd l\en
\Notes\zchar{12}{\bs qu}\zchar{-4}\^\qu{^f}\en
\Notes\zchar{12}{\bs qd}\loff{\zchar{-4}{\bs csh}}\csh l\qd l\en
\Notes\zchar{12}{\bs cu}\zchar{-4}=\cu{=f}\en
\Notes\zchar{12}{\bs cd}\loff{\zchar{-4}{\bs cna}}\cna l\cd l\en
\Notes\zchar{12}{\bs ccu}\zchar{-4}{\string_}\ccu{_f}\en
\Notes\zchar{12}{\bs ccd}\loff{\zchar{-4}{\bs cfl}}\cfl l\ccd l\en
\Notes\zchar{12}{\bs cccu}\zchar{-4}<\cccu{<f}\en
\Notes\zchar{12}{\bs cccd}\loff{\zchar{-4}{\bs cdfl}}\cdfl l\cccd l\en
\NOtes\zchar{12}{\bs ccccu}\ccccu f\en
\NOtes\zchar{12}{\bs ccccd}\ccccd l\en
\Notes\zchar{12}{\bs grcu}\grcu f\en
\Notes\zchar{12}{\bs grcd}\grcd l\en
\endpiece
%
% various noteheads
%
\contpiece
\znotes\zchar{-3}{\eightrm 1 opusdia.tex~~2 opusper.tex~~3 opuslit.tex~
                           4 opusext.tex~~5 opustab.tex~~6 opusbar.tex}\en
\Notes\zchar{10}{\bs dqu$^{12}$}\dqu g\en
\Notes\zchar{10}{\bs yqu$^{12}$}\yqu g\en
\Notes\zchar{10}{\bs dcqu$^2$}\dcqu g\en
\Notes\zchar{10}{\bs dhqu$^2$}\dhqu g\en
\Notes\zchar{10}{\bs doqu$^2$}\doqu g\en
\Notes\zchar{10}{\bs xqu$^2$}\xqu g\en
\Notes\zchar{10}{\bs oxqu$^2$}\oxqu g\en
\Notes\zchar{10}{\bs roqu$^2$}\roqu g\en
\Notes\zchar{10}{\bs tgqu$^2$}\tgqu f\en
\Notes\zchar{10}{\bs kqu$^2$}\kqu f\en
\Notes\zchar{10}{\bs cqu$^3$}\cqu g\en
\Notes\zchar{10}{\bs cqd$^3$}\cqd k\en
\Notes\zchar{10}{\bs chu$^3$}\chu g\en
\Notes\zchar{10}{\bs chd$^3$}\chd k\en
%
% Pointed Notes and Accents
%
\endpiece \medskip \contpiece
\Notes\zchar{13}{\bs dst}\dst f\qu f\en
\Notes\zchar{13}{\bs ust}\ust l\qd l\en
\Notes\zchar{13}{\bs dsf}\dsf f\qu f\en
\Notes\zchar{13}{\bs usf}\usf l\qd l\en
\Notes\zchar{13}{\bs dpo}\dpo f\qu f\en
\Notes\zchar{13}{\bs upo}\upo l\qd l\en
\Notes\zchar{13}{\bs dppz}\dppz f\qu f\en
\Notes\zchar{13}{\bs uppz}\uppz l\qd l\en
\Notes\zchar{13}{\bs dsfz}\dsfz f\qu f\en
\Notes\zchar{13}{\bs usfz}\usfz l\qd l\en
\Notes\zchar{13}{\bs dstpo}\dstpo f\qu f\en
\Notes\zchar{13}{\bs ustpo}\ustpo l\qd l\en
\Notes\zchar{16}{\bs ubow}\ubow l\qd l\en
\Notes\zchar{13}{\bs vbow}\vbow l\qd l\en
\Notes\zchar{16}{\bs flageolett}\flageolett l\qd l\en
\Notes\zchar{13}{\bs whp}\whp i\en
\Notes\zchar{13}{\bs qupp}\qupp h\en
\endpiece \medskip
%
% clefsymbols
%
\setclefsymbol1\empty \startpiece
\notes\en
\NOtes\zchar{13}{\bs trebleclef}\zchar2\trebleclef\en
\NOtes\zchar9{\bs altoclef}\zchar4\altoclef\en
\NOtes\zchar{13}{\bs bassclef}\zchar6\bassclef\en
\NOtes\zchar9{\bs bassoct}\zchar6\bassoct\en
\NOtes\zchar{13}{\bs octbass}\zchar6\octbass\en
\NOtes\zchar{11}{\bs trebleoct}\zchar2\trebleoct\en
\NOtes\zchar{14}{\bs octtreble}\zchar2\octtreble\en
\NOtes\zchar9{\bs drumclef$^2$}\zchar0\drumclef\en
\NOtes\zchar{13}{\bs oldGclef$^3$}\zchar0\oldGclef\en
\zendpiece \smallskip
%
% Rests
%
\resetclefsymbols \startpiece
\Notes\zchar{13}{\bs eeeer}\eeeer\en
\Notes\zchar{13}{\bs eeer}\eeer\en
\Notes\zchar{13}{\bs eer}\eer\en
\Notes\zchar{13}{\bs er}\er\en
\Notes\zchar{13}{\bs erp}\erp\en
\Notes\zchar{13}{\bs qr}\qr\en
\Notes\zchar{13}{\bs qrp}\qrp\en
\Notes\zchar{13}{\bs hr}\hr\en
\Notes\zchar{13}{\bs hrp}\hrp\en
\Notes\zchar9{\bs lifthr}\roff{\lifthr5}\en
\Notes\zchar{13}{\bs wr}\wr\en
\Notes\zchar{13}{\bs wrp}\wrp\en
\Notes\zchar9{\bs liftwr}\roff{\liftwr4}\en
\Notes\zchar{13}{\bs Dwr}\Dwr\en
\Notes\zchar{13}{\bs Qwr}\Qwr\en
\dashbarrules
\bar
\stdbarrules
\NOtes\zchar{13}{\bs Hrest$^3$}\Hrest i{.8}\en
\NOtes\zchar{13}{\bs Hlonga$^3$}\Hlonga i{.8}\en
\endpiece\vskip-2\Interline \centerline{\bigfont Other Symbols}\medskip
%
% Other Symbols
%
\contpiece
\NOtes\zchar{14}{\bs Trille}\zchar{-4}{\bs meterC}\Trille n{.8}%
  \zchar0\meterC\en
\NOtes\zchar{14}{\bs trille}\zchar{-4}{\bs allabreve}\trille n{.8}%
  \zchar0\allabreve\en
\Notes\zchar{14}{\bs shake}\shake n\en
\Notes\zchar{14}{\bs Shake}\zchar{-4}{\bs reverseC}\Shake n%
  \zchar0\reverseC\en
\NOtes\zchar{14}{\bs mordent}\mordent n\en
\NOtes\zchar{14}{\bs Mordent}\zchar{-4}{\bs reverseallabreve}\Mordent n%
  \zchar0\reverseallabreve\en
\Notes\zchar{14}{\bs turn}\turn n\en
\NOtes\zchar{14}{\bs backturn}\backturn n\en
\NOtes\zchar{14}{\bs Shakel$^6$}\Shakel n\zchar{-4}{\bs duevolte}\duevolte\en
\NOtes\zchar{14}{\bs Shakesw$^6$}\Shakesw n\en
\NOtes\zchar{14}{\bs Shakene$^6$}\Shakene n\zchar{-4}{\bs l[r]par}%
  \lpar f\rpar f{\stemlength4\qu f}\en
\NOtes\zchar{14}{\bs Shakenw$^6$}\Shakenw n\en
\endpiece \medskip
%
% again
%
\contpiece
\Notes\zchar9{\bs metron}\zchar{13}{\metron\qu{99}}\en
\bar
\NOtes\loffset2{\zchar{17}{\bs setvoltabox}}\en
\setvoltabox1\rightrepeat
\NOtes\loff{\zchar{17}{\bs setvolta}}\en
\setvolta2\doublebar
\notes\zchar{17}{\kernm\afterruleskip\bs coda}\coda\en\bar
\notes\zchar{17}{\kernm\afterruleskip\bs Coda}\Coda\en
\NOtes\zchar{17}{\bs segno}\segno\en
\notes\zchar{17}{\kernm3\Interline\bs Segno}\Segno\en
\Notesp\zchar{15}{\bs caesura}\sk\caesura\en
\Notesp\zchar{15}{\bs cbreath}\sk\cbreath\en
\notes\zchar{15}{\bs PED}\PED\en
\notes\zchar{11}{\bs varPED}\varPED\en
\notes\zchar{15}{\bs DEP}\DEP\en
\Notes\zchar{11}{\bs varDEP}\varDEP\en
\endpiece \medskip
%
% and again ...
%
\contpiece
\Notes\zchar{17}{\bs ufermata}\ufermata l%
  \zchar{-8}{\bs dfermata}\dfermata f{\stemlength3\qd i}\en
\Notes\zchar{13}{\bs uFermata}\uFermata l%
  \zchar{-4}{\kern8pt\bs dFermata}\dFermata f\wh i\en
\Notes\loff{\zchar{17}{\bs arpeggio d5}}\arpeggio d5\en
\Notes\loff{\zchar{13}{\bs ustroke$^5$}}\ustroke b7\en
\Notes\loff{\zchar{17}{\bs dstroke$^5$}}\dstroke b7\en
\notes\loff{\zchar{13}{\bs bracket}}\bracket e{10}\zq n\qd e\en
\notes\stemlength3%
  \zchar{17}{\bs utriobkt}\utriobkt{11}16\zqd l%
  \zchar{-8}{\bs dtriobkt}\dtriobkt{-5}17\zqu c\en
\notes\stemlength3\zqd n\zqu e\en
\NOTes\zchar{17}{\bs uoctfin}\uoctfin n{.8}%
    \zchar{-4}{\bs doctfin}\doctfin K{.8}\en
\Notes\zchar{17}{\bs slide$^4$}%
  \slide i58\slide i57\slide i56\slide i55\slide i54%
  \slide i53\slide i52\slide i51\slide i5{-1}%
  \slide i5{-2}\slide i5{-3}\slide i5{-4}\slide i5{-5}%
  \slide i5{-6}\slide i5{-7}\slide i5{-8}\en
\leftrepeat
\Notes\loffset2{\zchar{-4}{\bs leftrepeat}}%
  \boxitsep2pt\zchar{17}{\bs boxit A}\zchar9{\boxit A}\en
\rightleftrepeat
\Notes\loffset2{\zchar{-8}{\bs rightleftrepeat}}%
  \zchar{17}{\bs circleit B}\uptext{\circleit B}\en
\rightrepeat
\NOtes\loffset2{\zchar{-4}{\bs rightrepeat}}\en
\endpiece\eject
\end{document}