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\contentsline {chapter}{\numberline {1}What is O\kern -.1em p\kern -.15em\raise .3ex\hbox {u}\kern -.1em s\kern -.2emT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX?}{5}
\contentsline {section}{\numberline {1.1}O\kern -.1em p\kern -.15em\raise .3ex\hbox {u}\kern -.1em s\kern -.2emT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\ principal features}{6}
\contentsline {subsection}{\numberline {1.1.1}Music typesetting is two-dimensional}{6}
\contentsline {subsection}{\numberline {1.1.2}The spacing of the notes}{6}
\contentsline {subsection}{\numberline {1.1.3}Music tokens, rather than a readymade generator}{7}
\contentsline {section}{\numberline {1.2}*Three-pass system}{8}
\contentsline {subsection}{\numberline {1.2.1}External executable {\ptt opusflex}}{10}
\contentsline {subsection}{\numberline {1.2.2}*Restrictions and warnings}{10}
\contentsline {subsection}{\numberline {1.2.3}*O\kern -.1em p\kern -.15em\raise .3ex\hbox {u}\kern -.1em s\kern -.2emT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX's laws}{11}
\contentsline {section}{\numberline {1.3}Some highlights}{11}
\contentsline {subsection}{\numberline {1.3.1}Signatures}{11}
\contentsline {subsection}{\numberline {1.3.2}Transposition}{12}
\contentsline {subsection}{\numberline {1.3.3}Selecting special instrument scores}{12}
\contentsline {subsection}{\numberline {1.3.4}Variable staff and note sizes}{12}
\contentsline {section}{\numberline {1.4}Enhancement limitations}{12}
\contentsline {section}{\numberline {1.5}Acknowledgments}{12}
\contentsline {chapter}{\numberline {2}*Installation}{14}
\contentsline {section}{\numberline {2.1}*Getting the stuff}{14}
\contentsline {section}{\numberline {2.2}Installing the T\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\ input files}{14}
\contentsline {section}{\numberline {2.3}Installing the fonts}{15}
\contentsline {section}{\numberline {2.4}Driver settings}{15}
\contentsline {section}{\numberline {2.5}Building the executable {\ptt opusflex}}{15}
\contentsline {section}{\numberline {2.6}Building a format}{16}
\contentsline {subsection}{\numberline {2.6.1}Starting from nil}{16}
\contentsline {subsection}{\numberline {2.6.2}Starting from your usual plain format}{16}
\contentsline {chapter}{\numberline {3}Practical use}{18}
\contentsline {section}{\numberline {3.1}Heading statements}{18}
\contentsline {section}{\numberline {3.2}*Before you begin to write notes}{18}
\contentsline {subsection}{\numberline {3.2.1}*Warnings for the non T\kern -.1667em\lower .5ex\hbox {E}\kern -.125emXpert}{18}
\contentsline {subsection}{\numberline {3.2.2}*What you have to specify}{19}
\contentsline {subsection}{\numberline {3.2.3}Instrument names}{20}
\contentsline {subsection}{\numberline {3.2.4}Polyphonic songs}{20}
\contentsline {section}{\numberline {3.3}Starting your masterpiece}{21}
\contentsline {subsection}{\numberline {3.3.1}Typing the first system}{21}
\contentsline {subsection}{\numberline {3.3.2}Easy selecting note spacing}{21}
\contentsline {section}{\numberline {3.4}Note pitch specification}{22}
\contentsline {section}{\numberline {3.5}Writing notes}{23}
\contentsline {subsection}{\numberline {3.5.1}Single spacing notes}{23}
\contentsline {subsection}{\numberline {3.5.2}Non-spacing (chord) notes}{24}
\contentsline {subsection}{\numberline {3.5.3}Shifted non-spacing (chord) heads}{24}
\contentsline {subsection}{\numberline {3.5.4}Single non-spacing notes}{24}
\contentsline {subsection}{\numberline {3.5.5}Pointed notes}{24}
\contentsline {section}{\numberline {3.6}Beams}{25}
\contentsline {subsection}{\numberline {3.6.1}Fixed slope beams}{25}
\contentsline {subsection}{\numberline {3.6.2}*Repeated pattern beams}{27}
\contentsline {subsection}{\numberline {3.6.3}Beams across bars}{27}
\contentsline {subsection}{\numberline {3.6.4}Semi-automatic beams}{28}
\contentsline {section}{\numberline {3.7}Rests}{29}
\contentsline {subsection}{\numberline {3.7.1}Ordinary rests}{29}
\contentsline {subsection}{\numberline {3.7.2}Lifted rests}{30}
\contentsline {subsection}{\numberline {3.7.3}Bar centered rests}{30}
\contentsline {section}{\numberline {3.8}*Phantom notes and spacing commands}{30}
\contentsline {section}{\numberline {3.9}Collective coding: sequences of notes}{31}
\contentsline {section}{\numberline {3.10}*Accidentals}{31}
\contentsline {section}{\numberline {3.11}Transposition and octaviation}{32}
\contentsline {subsubsection}{\numberline {3.11.0.1}Local octave transposition of fixed length}{32}
\contentsline {subsubsection}{\numberline {3.11.0.2}Long or variable range octave transposition}{33}
\contentsline {subsection}{\numberline {3.11.1}Transposition of accidentals}{33}
\contentsline {section}{\numberline {3.12}Slurs and ties}{34}
\contentsline {subsection}{\numberline {3.12.1}General slur coding}{34}
\contentsline {subsubsection}{\numberline {3.12.1.1}Slur initiation}{34}
\contentsline {subsubsection}{\numberline {3.12.1.2}Slur termination}{35}
\contentsline {subsubsection}{\numberline {3.12.1.3}Ties}{35}
\contentsline {subsection}{\numberline {3.12.2}*Modifying slur properties}{36}
\contentsline {subsubsection}{\numberline {3.12.2.1}*Changing the rise or fall}{36}
\contentsline {subsubsection}{\numberline {3.12.2.2}*Changing the curvature}{36}
\contentsline {subsubsection}{\numberline {3.12.2.3}*Breaking slurs across a line}{37}
\contentsline {subsubsection}{\numberline {3.12.2.4}*Inverting slur termination}{37}
\contentsline {subsection}{\numberline {3.12.3}Simple slurs}{38}
\contentsline {subsection}{\numberline {3.12.4}Restrictions}{38}
\contentsline {section}{\numberline {3.13}Bars}{39}
\contentsline {subsection}{\numberline {3.13.1}Bars and spacing}{39}
\contentsline {subsection}{\numberline {3.13.2}Bar numbering}{39}
\contentsline {subsection}{\numberline {3.13.3}Full and instrument divided bars}{40}
\contentsline {section}{\numberline {3.14}*Line and page breaking}{40}
\contentsline {section}{\numberline {3.15}How to manage page layout}{41}
\contentsline {section}{\numberline {3.16}Changing score attributes}{41}
\contentsline {section}{\numberline {3.17}Music score without clefs or with special clefs}{42}
\contentsline {section}{\numberline {3.18}Repeats}{43}
\contentsline {subsection}{\numberline {3.18.1}*More times pass scoring}{44}
\contentsline {subsection}{\numberline {3.18.2}*Large scope repeats and orientation marks}{44}
\contentsline {section}{\numberline {3.19}*Miscellaneous}{45}
\contentsline {subsection}{\numberline {3.19.1}Putting anything anywhere}{45}
\contentsline {subsection}{\numberline {3.19.2}Finger marks?*}{45}
\contentsline {subsection}{\numberline {3.19.3}Fonts}{46}
\contentsline {subsubsection}{\numberline {3.19.3.1}Examples}{47}
\contentsline {subsection}{\numberline {3.19.4}Metronomic indications}{47}
\contentsline {subsection}{\numberline {3.19.5}Accents}{47}
\contentsline {subsection}{\numberline {3.19.6}*Indication of {\psl x\/}-tuplets}{48}
\contentsline {subsection}{\numberline {3.19.7}*Usual ornaments}{49}
\contentsline {subsection}{\numberline {3.19.8}*Dynamic signs}{50}
\contentsline {subsection}{\numberline {3.19.9}Length of note stems}{51}
\contentsline {subsection}{\numberline {3.19.10}Brackets, parenthesis and simple lines}{51}
\contentsline {subsection}{\numberline {3.19.11}New line synchronization of coding}{52}
\contentsline {section}{\numberline {3.20}Small and tiny notes}{52}
\contentsline {subsection}{\numberline {3.20.1}Cadenzas and explicit ornaments}{52}
\contentsline {subsection}{\numberline {3.20.2}Grace notes}{53}
\contentsline {subsection}{\numberline {3.20.3}Other note shapes}{54}
\contentsline {section}{\numberline {3.21}Staff size}{54}
\contentsline {subsection}{\numberline {3.21.1}Moving from 20pt to 16pt general staff sizes and conversely}{54}
\contentsline {subsection}{\numberline {3.21.2}Changing staff size for certain instruments}{54}
\contentsline {section}{\numberline {3.22}*Musical footnotes}{55}
\contentsline {section}{\numberline {3.23}*Layout parameters}{56}
\contentsline {subsection}{\numberline {3.23.1}List of layout parameters}{56}
\contentsline {subsection}{\numberline {3.23.2}*Changing layout parameters}{57}
\contentsline {subsection}{\numberline {3.23.3}*Changing staff distance within systems}{58}
\contentsline {subsection}{\numberline {3.23.4}Changing the number of lines in staffs}{58}
\contentsline {subsection}{\numberline {3.23.5}Resetting normal layout parameters}{58}
\contentsline {subsection}{\numberline {3.23.6}Typesetting one-line excerpts rather than large scores}{59}
\contentsline {subsection}{\numberline {3.23.7}*Lyrics}{59}
\contentsline {section}{\numberline {3.24}Writing your own macros: the {\ptt \char '134catcode} problems}{59}
\contentsline {section}{\numberline {3.25}\p@LaTeX \penalty \@M \ and O\kern -.1em p\kern -.15em\raise .3ex\hbox {u}\kern -.1em s\kern -.2emT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX}{60}
\contentsline {subsection}{\numberline {3.25.1}The {\ptt opustex.sty} style}{60}
\contentsline {subsection}{\numberline {3.25.2}The {\ptt \char '134catcode} problems}{60}
\contentsline {section}{\numberline {3.26}Implementation and restrictions}{60}
\contentsline {section}{\numberline {3.27}*Precompiler for O\kern -.1em p\kern -.15em\raise .3ex\hbox {u}\kern -.1em s\kern -.2emT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX}{60}
\contentsline {subsection}{\numberline {3.27.1}ABC2MTeX}{60}
\contentsline {section}{\numberline {3.28}Extension Library}{61}
\contentsline {subsection}{\numberline {3.28.1}opusadd}{61}
\contentsline {subsection}{\numberline {3.28.2}*opusbar}{61}
\contentsline {subsection}{\numberline {3.28.3}*opusbm}{62}
\contentsline {subsection}{\numberline {3.28.4}*opuscho}{62}
\contentsline {subsection}{\numberline {3.28.5}opusdat}{63}
\contentsline {subsection}{\numberline {3.28.6}*opusdia}{63}
\contentsline {subsection}{\numberline {3.28.7}*opusext}{64}
\contentsline {subsection}{\numberline {3.28.8}*opusgre}{64}
\contentsline {subsubsection}{\numberline {3.28.8.1}Gregorian chant}{64}
\contentsline {subsection}{\numberline {3.28.9}opusgui}{71}
\contentsline {subsection}{\numberline {3.28.10}*opushea}{72}
\contentsline {subsection}{\numberline {3.28.11}*opuslit}{73}
\contentsline {subsection}{\numberline {3.28.12}opusmad}{74}
\contentsline {subsection}{\numberline {3.28.13}opusmed}{74}
\contentsline {subsection}{\numberline {3.28.14}opusper}{74}
\contentsline {subsection}{\numberline {3.28.15}opuspoi}{75}
\contentsline {subsection}{\numberline {3.28.16}opusps}{75}
\contentsline {subsection}{\numberline {3.28.17}*****opussig}{75}
\contentsline {subsection}{\numberline {3.28.18}*opusslu}{76}
\contentsline {subsection}{\numberline {3.28.19}*opusstx}{76}
\contentsline {subsection}{\numberline {3.28.20}opussys}{76}
\contentsline {subsection}{\numberline {3.28.21}*opustab}{76}
\contentsline {subsection}{\numberline {3.28.22}*opustri}{77}
\contentsline {chapter}{\numberline {4}*Music typesetting}{78}
\contentsline {section}{\numberline {4.1}*Rules}{78}
\contentsline {subsection}{\numberline {4.1.1}*Rests}{79}
\contentsline {subsubsection}{\numberline {4.1.1.1}Whole rest as whole rest}{79}
\contentsline {subsubsection}{\numberline {4.1.1.2}Whole rest as full bar rest}{79}
\contentsline {subsubsection}{\numberline {4.1.1.3}Rests and rhythm}{79}
\contentsline {subsubsection}{\numberline {4.1.1.4}Multibar rests}{80}
\contentsline {subsection}{\numberline {4.1.2}*Rules and Exceptions}{80}
\contentsline {section}{\numberline {4.2}Abbreviations in the notation}{81}
\contentsline {subsection}{\numberline {4.2.1}Tremolo}{81}
\contentsline {chapter}{\numberline {5}*Examples}{82}
\contentsline {chapter}{\numberline {6}Index}{83}
\contentsline {chapter}{\numberline 7{Summary of denotations}}{94}
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