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\typeout{MuTeX User's Guide Version 1.1 <29 August 1989>}
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\begin{document}

\title{   \MuTeX \\
       User's Guide\\
{\normalsize (Version 1.1)}}
\author{Fran{\c{c}}ois Jalbert}
\date{29 August 1989}
\maketitle

\tableofcontents

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter*{Preface}
\typeout{Preface}
\addcontentsline{toc}{chapter}{Preface}

\markright{\rm\sl Preface}
\pagestyle{myheadings}

The \MuTeX\footnote{\copyright\ 1986,1987 by Andrea Steinbach and 
Angelika Schofer.} package is a set of macros allowing 
\TeX\footnote{Trademark of the American Mathematical Society.} to typeset 
beautiful music. It is the outcome of a Master's thesis at the Rheinische 
Friedrich-Wilhelms University:
\begin{quote}
  Rheinische Friedrich-Wilhelms Universit{\"{a}}t \\
  Wegler Stra{\ss}e 6 \\
  5300 Bonn \\
  Deutschland
\end{quote}

\MuTeX\ can handle single-staff music with one or two voices. It can also 
put text below the staff, and knows about most accents that go above 
notes, or simply above the staff. However, it cannot deal with 
multiple-staffs, or with notes of variable size. 

The files initially available were:
\begin{center}
  \begin{tabular}{ll}
    \verb"mtex.tex"     & The set of macros for \TeX. \\
    \verb"mtexdemo.tex" & A demo in \TeX. \\
    \verb"mtexinfo.tex" & A list of macros available.
  \end{tabular}
\end{center}

I immediately saw the potential of this system which happened to answer 
exactly my modest needs. Unfortunately, the brief document in german 
enumerating the available macros was the only documentation available. Craig 
D.\ Rice from St.\ Olaf College ({\tt{cdr@stolaf.edu}}) kindly translated it to 
english. However, I felt the need for a more complete user's guide still 
remained unanswered, and so I volunteered to give it a try. In addition, 
setting up \MuTeX\ turned out to be tricky for a novice like me. I would
like to help others avoid making the mistakes I made. 

I decided to refer to the system as \MuTeX, which I find appropriate. I hope 
nobody will mind. Since \MuTeX\ is a copyrighted product, I feel I am not 
legally entitled to modify it. All my attemps at locating the authors by 
electronic mail have failed. Consequently, even though 
Appendix~\ref{secpatches} lists several errors I already have found in \MuTeX, 
you still will have to modify \MuTeX\ yourself, if you feel like doing so. 
Fortunately, this shouldn't take too long. It may be possible in the near
future to supply you with some tools performing the changes automatically.

The current version is only 0.92 and one can wonder if a version 1.0 ever saw 
the light of day. This is even more possible as the original demo presents a 
system which seems to involve a preprocessor of some sort. This preprocessor 
would help relax the rather strict rules that one must follow right now while 
using \MuTeX. I would love to hear more about this. I think it is possible that 
the authors ran out of time, and had to cut things short near the end of their 
master's work. This mysterious preprocessor may very well not exist yet. 

The original demo included two different pieces of music. Since this demo 
was not copyrighted, I felt I could indulge myself. I decided to split it 
into two smaller demos. I also reformatted the commands to increase 
legibility. Finally, I removed the german text which illustrated how the 
music would have been entered with the preprocessor. More on the files 
included with this guide can be found in Appendix~\ref{secsetting}.

So here is my modest contribution. I decided to use 
\LaTeX\footnote{Trademark of Addison-Wesley Publishing Company.} with 
which I am somewhat familiar. I consider this guide supersedes Craig's 
original translation effort, and this is why I decided not to include his 
english translation of the german information file in this package. I hope he 
won't mind. To produce this guide, run \LaTeX\ three times on the file 
\verb"guide.tex", this to fully resolve cross-references. 

If you plan on making this package available for FTP at your site, I would 
appreciate you letting me know your coordinates and the path to be used for 
retrieving \MuTeX. I plan on keeping updating the list of these sites in the 
forthcoming versions of this guide. I could also add a list of people, and 
their electronic mail address, who use \MuTeX\ regularly and are willing to 
lend a helping hand. Here are the initial two FTP sites. I am told that 
\verb"stolaf.edu" is only two hops off the NSFNet backbone while 
\verb"cs.ubc.ca" is a rather slow site. 
\begin{center}
  \begin{tabular}{lll}
    \verb"cs.ubc.ca"  & \verb"128.189.97.5" & \verb"/pub/src/MuTeX" \\
    \verb"stolaf.edu" & \verb"130.71.128.1" & \verb"/pub"
  \end{tabular}
\end{center}

There is still a lot I do not understand about \TeX, and I apologize in advance 
for my errors. If you have any comments, suggestions, additions, etc, don't 
hesitate to contact the author ({\tt{jalbert@cs.ubc.ca}}): 
\begin{quote}
  Fran{\c{c}}ois Jalbert \\
  Computer Science Department \\
  University of British Columbia \\
  6356 Agricultural Road \\
  Vancouver, BC \\
  CANADA \\
  V6T 1W5
\end{quote}

\pagestyle{headings}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Introduction}
\typeout{Introduction}

\section{\MuTeX\ Template}

A piece of music should always be structured as in 
Figure~\ref{figtemplate}. Several such music compositions are allowed 
within one \TeX\ document. As is always the case with \TeX, let me 
remind you that the last line of your input file should be 
\verb"\bye". Let's now look into the different elements making up 
\MuTeX's template. 
\begin{figure}[htbp]
  \begin{quote}
    \verb"Preamble"\\
    \verb"\beginsong{Clef}{Key}%"\\
    \verb"\meter{"{\it{number\/}}\verb"}/{"{\it{number\/}}\verb"}%"\\
    \mbox{}\verb"   .  %"\\
    \mbox{}\verb"   .  %"\\
    \mbox{}\verb"   .  %"\\
    \verb"\endsong"
  \end{quote}
\caption{Standard \MuTeX\ Template.}
\label{figtemplate}
\end{figure}

\section{Preamble}
\label{secpreamble}

The preamble specifies information like song title, author, and spacing. 
The elements making up the preamble can be specified in any order, or 
simply be omitted. 

The title appears in boldface and is centered on top of the staff:
\begin{quote}
  \verb"\title{"{\it{text\/}}\verb"}"
\end{quote}

The composer goes to the right:
\begin{quote}
  \verb"\composer{"{\it{text\/}}\verb"}"
\end{quote}

The poet to the left:
\begin{quote}
  \verb"\poet{"{\it{text\/}}\verb"}"
\end{quote}

The voice goes to the left of the first staff. A default indentation of 
the staff is supplied but may prove insufficient. Adjust it with 
\verb"\parindent" as below: 
\begin{quote}
  \verb"\parindent "{\it{number\/}}\verb"pt"\\
  \verb"\voice{"{\it{text\/}}\verb"}"
\end{quote}

Five different overall spacings between symbols on the staff are 
available as shown in Figure~\ref{figspacing}. The spacing cannot be 
changed once selected. The default is \verb"\universal". 
\begin{figure}[htbp]
  \begin{quote}
    \verb"\hsmall"\\ 
    \verb"\small"\\ 
    \verb"\universal"\\ 
    \verb"\wide"\\ 
    \verb"\loose"
  \end{quote}
\caption{Available Spacings.}
\label{figspacing}
\end{figure}

A final comment concerning spacing while we're at it: even though 
\MuTeX\ tries to do a good job at spacing symbols properly, you will come 
across an occasional unsatisfactory placement. It is possible to adjust 
things by introducing spaces at the right places in your input file. That 
is, \MuTeX\ is sensitive to spaces. However, it turns out a single space 
in the input file usually result in too much space between consecutive 
symbols on the staff. You are advised to use instead the command 
\verb"$\,$". I have found it ideal for small adjustments and it is 
possible to use several of these in a row for larger spaces. One usually 
performs that kind of fine adjustment when all else has been entered and 
verified to be correct. 

Since spaces in your input file show up as extra spaces between the music 
symbols being typeset, you cannot indent your input file at will to make 
it easier to read. In addition, it is standard for \TeX\ to treat line 
changes as equivalent to a space. Does that mean you are required to enter 
your whole composition on one line? Fortunately not! The following two 
simple rules do the trick: 
\begin{itemize} 
  \item Start each line exactly at the left margin.
  \item Terminate each line with a \verb"%" character.
\end{itemize}

Now you understand the presence of \verb"%" signs in 
Figure~\ref{figtemplate}! Note that the preamble does not require such a 
special treatment. Finally, I will point out later where these strict 
spacing rules can be relaxed. The examples of Appendix~\ref{secexample} 
carefully obey these spacing requirements. 

\section{Clefs}

The available clefs are found in Figure~\ref{figclef}.
\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    G-Clef:  & \verb"\vio" \\
    F-Clef:  & \verb"\bass" \\
    C-Clefs: & \verb"\bariton \tenor \alto \mezzosopran \sopran"
  \end{tabular}
\caption{Available Clefs.}
\label{figclef}
\end{figure}
You may omit the clef.

I have found the last two clefs to be identical in practice. Could this 
be an error in \MuTeX?

\section{Keys}

The available keys are found in Figure~\ref{figkey}.
\begin{figure}[hbtp]
\centering
  \begin{tabular}{l}
    Major Keys $\sharp$:\\
    \verb"\C \G \D \A \E \H \Fis"\\
    Major Keys $\flat$:\\
    \verb"\F \B \Es \As \Des \Ges \Ces"\\
    Minor Keys $\sharp$:\\
    \verb"\me \mh \mfis \mcis \mgis \mdis"\\
    Minor Keys $\flat$:\\
    \verb"\ma \md \mg \mc \mf \mb \mes"
  \end{tabular}
\caption{Available Keys.}
\label{figkey}
\end{figure}
You may omit the key. Finally, note that in german music notation, 
\verb"\H" stands for our \verb"\B", and \verb"\B" stands for our 
\verb"\B"$\flat$. 

\section{Time Signature}

The time signature is optional and can be changed anywhere. A typical 
example would be: 
\begin{quote}
  \verb"\meter{3}/{4}"
\end{quote}

One can use for $\subset\!\!\!\mid$ the following:
\begin{quote}
  \verb"\meter{}/{\music\allabreve}"
\end{quote}

One can also use for $\subset$:
\begin{quote}
  \verb"\meter{}/{\music\mC}"
\end{quote}

And for $\supset$:
\begin{quote}
  \verb"\meter{}/{\music\mCreverse}"
\end{quote}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Notes and Rests}
\typeout{Notes and Rests}

\section{Pitches}

The internal pitch of symbols is specified with integer numbers. The 
convention is that the lowest horizontal line of the staff is numbered 
$0$, and the upper one is numbered $8$. Positive and negative integer 
values are allowed. 

The available pitch changes for notes are listed in 
Figure~\ref{figpitchnote}. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{lll}
$\sharp$       & is obtained with & \verb"\x{"{\it{internal pitch\/}}\verb"}"\\
$\sharp\sharp$ & is obtained with & \verb"\xx{"{\it{internal pitch\/}}\verb"}"\\
$\natural$     & is obtained with & \verb"\n{"{\it{internal pitch\/}}\verb"}"\\
$\flat$        & is obtained with & \verb"\b{"{\it{internal pitch\/}}\verb"}"\\
$\flat\flat$   & is obtained with & \verb"\bb{"{\it{internal pitch\/}}\verb"}"
  \end{tabular}
\caption{Note Pitch Changes.}
\label{figpitchnote}
\end{figure}
These pitch changes go in pair with their respective notes. \MuTeX\ is 
insensitive to spaces between them. Leger lines are also added for pitch 
changes below or above the staff. 

Accidental pitch changes are stand alone symbols. However, they would not 
function properly, apparently because of the presence of {\tt{@}} signs 
in their name. I recommend in Appendix~\ref{secpatches} that you rename 
them. The available pitch changes for accidentals\footnote{These 
accidentals were originally named {\tt{x@}}, {\tt{n@}}, and {\tt{b@}}.} 
are listed in Figure~\ref{figpitchacc}. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{lll}
    $\sharp$   & is obtained with & \verb"\xA{"{\it{internal pitch\/}}\verb"}"\\
    $\natural$ & is obtained with & \verb"\nA{"{\it{internal pitch\/}}\verb"}"\\
    $\flat$    & is obtained with & \verb"\bA{"{\it{internal pitch\/}}\verb"}"
  \end{tabular}
\caption{Accidental Pitch Changes.}
\label{figpitchacc}
\end{figure}

The note pitch changes go in pair with their notes, and the spacing in 
between these symbols is automatically supplied. However, accidental 
pitch changes do not insert space anywhere around themselves. This was 
necessary since they are internally used by \MuTeX\ for the staff 
signature which calls for no spacing between symbols. Consequently, you 
will need to create space by putting some \verb"$\,$" in your input file 
around accidental pitch changes whenever you use them. 

\section{Notes}

The available notes are listed in Figure~\ref{fignote}.
\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\g{"{\it{internal pitch\/}}\verb"}" & 
         Whole Note (semibreve) \\[.5ex]
    \verb"\h{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{2}$ Note (minim) \\[.5ex]
    \verb"\v{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{4}$ Note (crotchet) \\[.5ex]
    \verb"\a{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{8}$ Note (quaver) \\[.5ex]
    \verb"\s{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{16}$ Note (semi-quaver) \\[.5ex]
    \verb"\z{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{32}$ Note (demisemi-quaver) \\[.5ex]
    \verb"\d{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{64}$ Note (demidemisemi-quaver) \\[.5ex]
    \verb"\o{"{\it{internal pitch\/}}\verb"}" & 
         $\frac{1}{128}$ Note (demidemidemisemi-quaver)
  \end{tabular}
\caption{Available Notes.}
\label{fignote}
\end{figure}
The stem of the note is automatically oriented. In case you should not be 
satisfied with \MuTeX's choice, use the \verb"\chord" command described 
in Section~\ref{subchord} about chords to select the stem orientation. 
Leger lines are also added for notes below or above the staff. Discussing 
triplets is delayed until Section~\ref{subtriplet}, since they involve a 
grouping command. 

\section{Chords}
\label{subchord}

You can specify chords using the following commands:
\begin{center}
  \begin{tabular}{ll}
    \verb"\rchord{"{\it{note(s)\/}}\verb"}\endchord" & Downward Stem \\
    \verb"\lchord{"{\it{note(s)\/}}\verb"}\endchord" & Upward Stem
  \end{tabular}
\end{center}

You must select the desired stem orientation for \MuTeX, and this feature 
can be used to force the stem's orientation of single notes. There is 
some confusion concerning the order in which notes should be supplied. 
The original german documentation requested top to bottom order, while 
the original german demo used bottom to top order. I have used both 
orders without problems, but I would advise against using random order. 

\section{Rests}

The available rests are listed in Figure~\ref{figrest} and they all 
assume an internal pitch of $5$, which need not be specified. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\dpdd" & Four Measures Rest \\[.5ex]
    \verb"\dpg" & Three Measures Rest \\[.5ex]
    \verb"\dpd" & Two Measures Rest \\[.5ex]
    \verb"\pg" & Whole Rest \\[.5ex]
    \verb"\ph" & $\frac{1}{2}$ Rest \\[.5ex]
    \verb"\pv" & $\frac{1}{4}$ Rest \\[.5ex]
    \verb"\pa" & $\frac{1}{8}$ Rest \\[.5ex]
    \verb"\ps" & $\frac{1}{16}$ Rest \\[.5ex]
    \verb"\pz" & $\frac{1}{32}$ Rest \\[.5ex]
    \verb"\pd" & $\frac{1}{64}$ Rest \\[.5ex]
    \verb"\po" & $\frac{1}{128}$ Rest
  \end{tabular}
\caption{Available Rests.}
\label{figrest}
\end{figure}
Unfortunately, the current release of \MuTeX\ does not yet have the fonts 
for \verb"\pz", \verb"\pd", and \verb"\po". They simply come up as 
\verb"\ps". 

\section{Dots}

You can specify a dot count after some note or rest with the following 
command: 
\begin{quote}
  \verb"\.{"{\it{number\/}}\verb"}"
\end{quote}
The number must be supplied. The internal pitch is automatically derived from 
the previous note or rest. 

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Text}
\typeout{Text}
\label{sectext}

Text can be entered below or above the staff with the commands:
\begin{quote}
  \verb"\_"{\it{positioning\/}}\verb"{"{\it{text below\/}}%
  \verb"}{"{\it{note(s)}}\verb"}" \\
  \verb"\^"{\it{positioning\/}}\verb"{"{\it{text above\/}}%
  \verb"}{"{\it{note(s)}}\verb"}" \\
  \verb"\_"{\it{positioning\/}}\verb"{"{\it{text below\/}}%
  \verb"}\^"{\it{positioning\/}}\verb"{"{\it{text above\/}}%
  \verb"}{"{\it{note(s)}}\verb"}"
\end{quote}

The order in the last command is important. Always start with text going 
below the staff before the text going above the staff. Failure to do so 
results in unpredictable behavior. 

The available positioning characters are:
\begin{quote}
  \begin{description}
    \item[n] Width of the text not considered. 
    \item[c] Text will be centered, this is the default.
    \item[l] Left justified with consideration to text width.
    \item[r] Right justified with consideration to text width. 
    \item[v] Text directly below its note(s) but never on the staff \\
             (for \verb"\_" only).
  \end{description}
\end{quote}
I noted that the \verb"r" option does not appear to work properly with 
text, but works with \verb"\boxed". 

The text is normally below or above the staff and is further adjusted if 
it should conflict with symbols already below or above the staff. These 
text entry commands are also used for the \verb"\boxed" command of 
Section~\ref{subboxed}, and the fixed accents of Section~\ref{subfixed}. 
I also found that \MuTeX\ is not very robust if you use the last command 
(text below and above at the same time), and then specify different 
positioning for the text below and above. One seems better off using 
default positioning. 

If you are not satisfied with the height of the text, use something like:
\begin{quote}
  \verb"\^{\raise "{\it{number\/}}\verb"\nhh\hbox{"{\it{text\/}}%
  \verb"}}{"{\it{note(s)}}\verb"}"\\
  \verb"\^{\lower "{\it{number\/}}\verb"\nhh\hbox{"{\it{text\/}}%
  \verb"}}{"{\it{note(s)}}\verb"}"
\end{quote}
The quantity \verb"\nhh" is the quantity used in defining internal 
pitches. 

If you ever need to put text below or above an empty space, use something 
like: 
\begin{quote}
  \verb"\^{"{\it{text\/}}\verb"}{\vrule height "{\it{number\/}}\verb"\nhh %"\\
  \verb"width 0pt \gluebrule}"
\end{quote}
The height of the staff is \verb"4\nhh". This is used in the second 
example of Appendix~\ref{secexample}. 

For multiple lines of text, use something like:
\begin{quote}
  \verb"\^{$\hbox{"{\it{first line}}\verb" \hfill}\atop%"\\
  \verb"\hbox{"{\it{second line}}\verb" \hfill}$}{"{\it{note(s)\/}}\verb"}"
\end{quote}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Punctuation}
\typeout{Punctuation}

\section{Bar-Lines}

\newcommand{\bthin}{\rule{.06em}{1.8ex}}
\newcommand{\bthick}{\rule{.15em}{1.8ex}}

Figure~\ref{figbar} lists the available bar-line symbols. They all assume 
an internal pitch of $8$, which need not be specified. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{lll}
    \verb"\|"               & Normal Bar-Line        & 
          \bthin \\
    \verb"\="               & Closing Bar-Line       & 
          \bthin\,\bthick \\
    \verb"\doublebarline"   & Double Bar-Line        & 
          \bthin$\>\!$\bthin \\
    \verb"\rightrepeat"     & Right Repeat Bar-Line  & 
          \raise.40ex\hbox{:}\bthin\,\bthick \\
    \verb"\leftrepeat"      & Left Repeat Bar-Line   & 
          \bthick\,\bthin$\>\!$\raise.40ex\hbox{:} \\
    \verb"\leftrightrepeat" & Double Repeat Bar-Line & 
          \raise.40ex\hbox{:}\bthin\,\bthick\,\bthin\raise.40ex\hbox{:}
  \end{tabular}
\caption{Available Bar-Lines.}
\label{figbar}
\end{figure}
\MuTeX\ can only split staffs at the location of bar-lines. You may 
experience difficulties if you have a lot of symbols between two 
consecutive bar-lines. 

\section{Crescendo}

You can specify crescendo and decrescendo marks above the staff with the 
following: 
\begin{quote} 
  \verb"\cresc{"{\it{note(s)\/}}\verb"}"\\ 
  \verb"\decresc{"{\it{note(s)\/}}\verb"}" 
\end{quote} 
The height of these marks will automatically be adjusted to lie above any 
notes already above the staff. \MuTeX\ does not split staffs while 
processing these commands. 

\section{Orientation Marks}
\label{subboxed}

Enter text to be put in a box on the staff with the command:
\begin{quote} 
  \verb"\boxed{"{\it{text\/}}\verb"}" 
\end{quote}
The boxed text is put by default on the staff. Use the commands \verb"\^" 
or \verb"\_" previously described in Chapter~\ref{sectext} about text 
entry to have the box put on top or below the staff. You may have to use 
a positioning command. 

\section{Breathing Marks}

Enter a breathing mark with:
\begin{quote} 
  \verb"\caesura"
\end{quote}

\section{Boxes}

You can specify two boxes in a row with the command:
\begin{quote}
  \verb"\1{"{\it{note(s)\/}}\verb"}\2{"{\it{note(s)\/}}\verb"}\*"
\end{quote}
The \raise.40ex\hbox{:}\bthin\,\bthick\ is automatically supplied for you 
at the end of the first box. You must supply the proper bar-line command 
at the end of the second box. The boxes are simply numbered $1$ and $2$. 
The two boxes must lie on the same staff. I think this is an area where 
improvements could be made, like multiple boxes, and more complex 
numbering. 

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Accents}
\typeout{Accents}

There are two types of accents:
\begin{description}
  \item[Floating Accents:] These go directly above or below their 
                           supporting notes, and often lie on the staff.
  \item[Fixed Accents:] These always lie above or below the staff.
\end{description}

\section{Floating Accents}

Figure~\ref{figfloat} lists the available floating accents. The internal 
pitches used are automatically derived from the notes below or above 
them. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{lll}
    \verb"\stac"          & Staccato      & $\cdot$ \\
    \verb"\staccatissimo" & Staccatissimo & $\scriptstyle\prime$ \\
    \verb"\tr"            & Trill         & {\it{tr}} \\
    \verb"\trbrack"       & Trill         & {\it{(tr)}} \\
    \verb"\tenuto"        & Tenuto        & $-$ \\
    \verb"\plus"          & Trill         & $+$ \\
    \verb"\noaccent"      & No Accent     & \\
  \end{tabular}
\caption{Available Floating Accents.}
\label{figfloat}
\end{figure}
Once set, an accent remains effective until the \verb"\noaccent" command 
is encountered. Don't forget it or else they will pile up! 

\section{Fixed Accents}
\label{subfixed}

Figure~\ref{figfixed} lists the available fixed accents\footnote{The 
author recommends you add the {\tt{fermateup}} and {\tt{fermatedown}} 
fixed accents to \MuTeX.}. These must always be part of a \verb"\^" or 
\verb"\_" command as described in Chapter~\ref{sectext}. There is no need 
for a \verb"\noaccent" command after their use since they are treated as 
text. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\dec"            & Small $>$ \\
    \verb"\fermateup"      & $\frown$\kern-0.63em \lower.2ex\hbox{$\cdot$} \\
    \verb"\fermatedown"    & $\smile$\kern-0.65em \raise.2ex\hbox{$\cdot$} \\
    \verb"\cantusfirmus"   & {\it{c.f.}} \\
    \verb"\crescendo"      & {\it{cresc.}} \\
    \verb"\dacapo"         & {\it{d.c.}} \\
    \verb"\dalsegno"       & {\it{d.s.}} \\
    \verb"\decrescendo"    & {\it{decresc.}} \\
    \verb"\diminuendo"     & {\it{dim.}} \\
    \verb"\fine"           & {\it{fine}} \\
    \verb"\forte"          & {\it{f}} \\
    \verb"\fortissimo"     & {\it{ff}} \\
    \verb"\fortissimoposs" & {\it{fff}} \\
    \verb"\fortepiano"     & {\it{fp}} \\
    \verb"\forzato"        & {\it{fz}} \\
    \verb"\mezzoforte"     & {\it{mf}} \\
    \verb"\mezzopiano"     & {\it{mp}} \\
    \verb"\piano"          & {\it{p}} \\
    \verb"\pianissimo"     & {\it{pp}} \\
    \verb"\pianissimoposs" & {\it{ppp}} \\
    \verb"\rallentando"    & {\it{rall.}} \\
    \verb"\rinforzando"    & {\it{rfz.}} \\
    \verb"\ritardando"     & {\it{rit.}} \\
    \verb"\ritenuto"       & {\it{riten.}} \\
    \verb"\sforzato"       & {\it{sfz}} \\
    \verb"\sforz"          & {\it{sf}} \\
    \verb"\staccato"       & {\it{stacc.}} \\
    \verb"\tacet"          & {\it{tacet}} \\
    \verb"\unisono"        & {\it{unis.}}
  \end{tabular}
\caption{Available Fixed Accents.}
\label{figfixed}
\end{figure}
The height of these accents will automatically be adjusted to lie above 
or below any notes already above or below the staff. 

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Two-Voice Music}
\typeout{Two-Voice Music}
\label{sectwo}

Two-voice composition is specified with the following:
\begin{quote}
  \verb"\two{"{\it{note(s) above\/}}\verb"}"\\
  \mbox{}\verb"    {"{\it{note(s) below\/}}\verb"}"
\end{quote}
You will note that spaces between both voices in the input file are 
allowed, which can improve somewhat the readability. Both voices must 
have the same number of elements. Combine a note and its pitch change 
into one element by including them within braces \verb"{" and \verb"}", 
likewise for notes and dots. Note that \MuTeX\ never splits a two-voice 
group of notes from one staff to the other. Therefore, it is preferable 
to specify the bar-lines while not in two-voices mode.

The stems of notes may conflict sometimes: use the \verb"\chord" command 
of Section~\ref{subchord} to impose the correct behavior. An additional 
potential problem occurs with rests which lie at a fixed internal pitch. 
You may find it useful to modify a rest's internal pitch with commands 
like: 
\begin{quote}
  \verb"{\raise "{\it{number\/}}\verb"\nhh\hbox{"{\it{rest\/}}\verb"}}" \\
  \verb"{\lower "{\it{number\/}}\verb"\nhh\hbox{"{\it{rest\/}}\verb"}}"
\end{quote}
This trick and the quantity \verb"\nhh" were already introduced in 
Chapter~\ref{sectext}. Take a careful look at the first example of 
Appendix~\ref{secexample}. This has been used near the end of it. 

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Grouping}
\typeout{Grouping}

\section{Grouping Template}
\label{subgroup}

The grouping command is necessary to specify slurs and beams. It is quite 
flexible, but requires a fair amount of information. Grouping commands 
are of two forms of increasing complexity: 
\begin{quote}
  \verb"\group{"{\it{element list\/}}\verb"}" \\
  \mbox{}\verb"      {"{\it{pitch list\/}}\verb"}"{\it{slur list\/}}%
  \verb"\go"\\[.8ex]
  \verb"{\def\beamlist{"{\it{beam list\/}}\verb"}%"\\
  \verb"\group{"{\it{element list\/}}\verb"}" \\
  \mbox{}\verb"      {"{\it{pitch list\/}}\verb"}"{\it{slur list\/}}\verb"\go}"
\end{quote}
Note again where spaces can be introduced in the input file for better 
readability. 

The first form can handle all slurs as well as single beams.            
Therefore, it can be used for all groupings involving whole, half, 
quarter, and eighth notes only. If more than one level of beams is needed 
in the grouping, then the second more complex form must be used. Here 
again, \MuTeX\ never splits a group from one staff to the other. I now 
describe the various lists just introduced. 

\section{Element List}

The element list specifies the notes making up the group. It has the 
form: 
\begin{quote}
  \verb"\\{"{\it{note\/}}\verb"}" \ldots\,\verb"\\{"{\it{note\/}}\verb"}"
\end{quote}
Make sure the notes in the element list are compatible with the beams you 
will later request. It is quite possible for a group to span several 
bar-lines, these bar-lines are then elements of the element list. A good 
example of this is found in the second example of 
Appendix~\ref{secexample}. Take a look at it! 

\section{Pitch List}
\label{subpitch}

The pitch list specifies the internal pitch of each element in the 
element list. It has the form: 
\begin{quote}
  \verb"\\{"{\it{internal pitch\/}}\verb"}" \ldots\,%
  \verb"\\{"{\it{internal pitch\/}}\verb"}"
\end{quote}
Note that internal pitches are already specified as part of the notes in 
the element list. Nevertheless, they must again be specified in the pitch 
list. In addition, some elements of the element list are normally 
supplied without an internal pitch, i.e., bar-lines. You must also supply 
their implicit internal pitch in the pitch list. Remember that bar-lines 
have an internal pitch of $8$, and that rests have one of $5$. 

This may all sound like an unnecessary large amount of information. But 
the freedom to perturb slightly the internal pitches in the pitch list 
allows one to improve the positioning of beams and slurs. Such fine 
tuning is not normally necessary, but for example, is mandatory for 
triplets discussed in Section~\ref{subtriplet}. It is also nice to have 
such a fine tuning available at all time. 

\section{Slur List}

The slur list specifies all the required slurs, and the beams at the 
eighth level only. It may contain several of the following: 
\begin{center}
  \begin{tabular}{ll}
    \verb"\uslur{"{\it{begin number\/}}\verb"}{"{\it{end number\/}}\verb"}" &
        Slur above the group \\
    \verb"\lslur{"{\it{begin number\/}}\verb"}{"{\it{end number\/}}\verb"}" &
        Slur below the group \\
    \verb"\ubeam{"{\it{begin number\/}}\verb"}{"{\it{end number\/}}\verb"}" &
        Eighth Beam above \\
    \verb"\lbeam{"{\it{begin number\/}}\verb"}{"{\it{end number\/}}\verb"}" &
        Eighth Beam below 
  \end{tabular}
\end{center}
The numbers range from $1$ to the number of elements in the element list. 
If you ask for a beam, \MuTeX\ will first check if it involves only 
eighth notes. If so, it will generate the beam immediately. If the beam 
involves sixteenth notes or even smaller notes, \MuTeX\ will use your 
beam list. 

\section{Beam List}

The beam list tells \MuTeX\ what structure of beams should be used. The 
number of stems involved in each \verb"\beam" command must equal the 
number of stems involved in the beam list. A typical beam list looks 
like: 
\begin{quote}
  \verb"\\{"{\it{level list\/}}\verb"}" \ldots\,%
  \verb"\\{"{\it{level list\/}}\verb"}"
\end{quote}
The first level list controls the eighth beams, the second the sixteenth 
beams, etc. A level list is defined as: 
\begin{quote}
  {\it{number\/}}\verb"-"{\it{number}}\verb"," \ldots\,{\it{number\/}}%
  \verb"-"{\it{number}}\verb","
\end{quote}
These numbers are the consecutive pairs of extreme stems linked by a beam 
at the current level. This may sound a little bit complicated for the 
beginner, but believe me, it really isn't. There is a simple use of the 
beam list in the first example of Appendix~\ref{secexample}. Take a look. 

The default beam list is defined in \MuTeX\ as:
\begin{quote}
  \verb"\\{1-n,}"
\end{quote}
where \verb"n" is the number of elements in the current element list. 
This explains why the first form of the grouping command introduced in 
Section~\ref{subgroup} can handle notes with an eighth beam at most. This 
is exactly the beam list that would be needed. 

I haven't experimented a lot with grouping, but I would recommend you 
specify all the quantities involved in the obvious increasing order. 

\section{Triplets}
\label{subtriplet}

This is the logical place to discuss triplets as they involve a slur. A
typical triplet looks like:
\begin{quote}
  \mbox{}\verb"\group{\\{\v{4}}%"\\
  \mbox{}\verb"\\{\^{\lower 1.25\nhh\hbox{3}}{\v{5}}}\\{\v{6}}}"\\
  \mbox{}\verb"      {\\{5}\\{6}\\{7}}\uslur{1}{3}\go%"
\end{quote}

The symbol \verb"3" is entered using one of the standard text command 
introduced in Chapter~\ref{sectext}. Its height has also been lowered to help 
fitting it under the slur. Finally, the height of the slur has been increased 
also to help make room for the \verb"3". This is accomplished by 
increasing the pitches in the pitch list.

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\appendix

\chapter{Examples}
\typeout{Examples}
\label{secexample}

Even though we have covered all the main features of \MuTeX, there is 
nothing like a couple of examples to help clarify things. A couple of 
demo pieces of music are supplied with \MuTeX. Here is how both are 
written. We must thank the authors A.\ Steinbach and A.\ Schofer for 
these examples. 

\section{Bach}

\mbox{}\verb"\title{Cello Menuet}" \newline
\mbox{}\verb"\poet{Viola}" \newline
\mbox{}\verb"\composer{Johann Sebastian Bach}" \newline
\mbox{}\verb"\universal" \newline
\mbox{}\verb"\beginsong\alto\F%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\meter{3}/{4}%" \newline
\mbox{}\verb"\rchord{\h{5}\h{7}\h{9}}\endchord%" \newline
\mbox{}\verb"\v{10}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{10}}\\{\a{9}}\\{\a{10}}\\{\a{8}}}" \newline
\mbox{}\verb"           {\\{10}\\{9}\\{10}\\{8}}\ubeam{1}{4}\uslur{1}{2}%"%
\newline
\mbox{}\verb"\go}" \newline
\mbox{}\verb"    {\rchord{\a{4}\a{6}}\endchord}%" \newline
\mbox{}\verb"\v{9}\|%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\rchord{\v{3}\v{5}}\endchord%" \newline
\mbox{}\verb"\v{8}%" \newline
\mbox{}\verb"\group{\\{\a{7}}\\{\a{6}}}" \newline
\mbox{}\verb"      {\\{7}\\{6}}\lbeam{1}{2}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{7}}\\{\a{6}}\\{\a{5}}\\{\x{4}\a{4}}%" \newline
\mbox{}\verb"\\{\n{3}\a{3}}\\{\a{2}}}" \newline
\mbox{}\verb"           {\\{7}\\{6}\\{5}\\{4}\\{3}\\{2}}\ubeam{1}{6}%" \newline
\mbox{}\verb"\uslur{1}{3}\go}" \newline
\mbox{}\verb"    {\a{2}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\rchord{\h{5}\h{7}\h{9}}\endchord%" \newline
\mbox{}\verb"\v{10}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{10}}\\{\a{9}}\\{\tenuto\a{10}\noaccent}%"%
\newline
\mbox{}\verb"\\{\tenuto\a{8}\noaccent}}" \newline
\mbox{}\verb"           {\\{10}\\{9}\\{10}\\{8}}\ubeam{1}{4}\uslur{1}{2}%"%
\newline
\mbox{}\verb"\go}" \newline
\mbox{}\verb"    {\a{6}}%" \newline
\mbox{}\verb"\v{11}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\rchord{\v{7}\v{9}}\endchord%" \newline
\mbox{}\verb"\rchord{\v{3}\v{7}\v{12}}\endchord%" \newline
\mbox{}\verb"\rchord{\v{1}\v{8}\v{13}}\endchord%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\rchord{{\h{2}\.{1}}{\h{6}\.{1}}{\x{11}\h{11}\.{1}}}%" \newline
\mbox{}\verb"\endchord\leftrightrepeat%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\rchord{\h{9}\h{13}}\endchord%" \newline
\mbox{}\verb"{\def\beamlist{\\{{1}-{3},}\\{{2}-{3},}}%" \newline
\mbox{}\verb"\group{\\{\a{12}}\\{\s{13}}\\{\s{14}}}" \newline
\mbox{}\verb"      {\\{12}\\{13}\\{14}}\lbeam{1}{3}\uslur{1}{3}\go}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{13}}\\{\a{12}}\\{\x{11}\a{11}}\\{\a{13}}%"%
\newline
\mbox{}\verb"\\{\a{9}}\\{\a{8}}}" \newline
\mbox{}\verb"           {\\{13}\\{12}\\{11}\\{13}\\{9}\\{8}}\ubeam{1}{6}%"%
\newline
\mbox{}\verb"\uslur{1}{5}\go}" \newline
\mbox{}\verb"    {\a{8}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\v{9}}\\{\v{12}}}" \newline
\mbox{}\verb"           {\\{9}\\{12}}\uslur{1}{2}\go}" \newline
\mbox{}\verb"    {\h{7}}%" \newline
\mbox{}\verb"\x{11}%" \newline
\mbox{}\verb"\two{\v{11}}" \newline
\mbox{}\verb"    {\v{6}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{15}}\\{\a{14}}\\{\a{13}}\\{\a{14}}%" \newline
\mbox{}\verb"\\{\a{12}}\\{\n{11}\a{11}}}" \newline
\mbox{}\verb"           {\\{15}\\{14}\\{13}\\{14}\\{12}\\{11}}%" \newline
\mbox{}\verb"\ubeam{1}{6}\uslur{1}{5}\go}" \newline
\mbox{}\verb"    {\a{5}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\h{10}}" \newline
\mbox{}\verb"    {\group{\\{\v{8}}\\{\v{7}}}" \newline
\mbox{}\verb"           {\\{8}\\{7}}\lslur{1}{2}\go}%" \newline
\mbox{}\verb"\two{\v{11}}{\v6}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\a{9}}\\{\a{8}}\\{\a{9}}\\{\a{7}}}" \newline
\mbox{}\verb"           {\\{9}\\{8}\\{9}\\{7}}\ubeam{1}{4}\go}" \newline
\mbox{}\verb"    {\a{7}}%" \newline
\mbox{}\verb"\rchord{\v{12}\v{6}\v{3}}\endchord%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\rchord{\v{11}\v{7}\v{2}}\endchord%" \newline
\mbox{}\verb"\group{\\{\a{10}}\\{\a{9}}\\{\a{8}}\\{\a{9}}}" \newline
\mbox{}\verb"      {\\{10}\\{9}\\{8}\\{9}}\lbeam{1}{4}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\group{\\{\a{7}}\\{\a{6}}\\{\a{7}}\\{\a{9}}\\{\a{8}}%" \newline
\mbox{}\verb"\\{\a{10}}}" \newline
\mbox{}\verb"      {\\{7}\\{6}\\{7}\\{9}\\{8}\\{10}}\lbeam{1}{6}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\x{7}%" \newline
\mbox{}\verb"\two{\tr\h{9}}" \newline
\mbox{}\verb"    {\h{7}}%" \newline
\mbox{}\verb"\two{\v{10}}" \newline
\mbox{}\verb"    {\pv}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\b{6}%" \newline
\mbox{}\verb"\two{\group{\\{\a{8}}\\{\a{7}}\\{\a{8}}\\{\a{6}}}" \newline
\mbox{}\verb"           {\\{8}\\{7}\\{8}\\{6}}\ubeam{1}{4}\uslur{1}{2}%"%
\newline
\mbox{}\verb"\go}" \newline
\mbox{}\verb"    {\a{6}}%" \newline
\mbox{}\verb"\x{7}{\tr\v{7}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\rchord{\v{12}\v{8}\v{3}}\endchord%" \newline
\mbox{}\verb"\rchord{\v{11}\v{8}\v{4}}\endchord%" \newline
\mbox{}\verb"\two{\group{\\{\a{10}}\\{\a{9}}}" \newline
\mbox{}\verb"           {\\{10}\\{9}}\ubeam{1}{2}\uslur{1}{2}\go}" \newline
\mbox{}\verb"    {\v{5}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\group{\\{\rchord{\a{11}\a{5}\a{1}}\endchord}\\{\a{10}}%" \newline
\mbox{}\verb"\\{\a{9}}\\{\a{10}}\\{\a{8}}\\{\a{10}}}" \newline
\mbox{}\verb"         {\\{1}\\{10}\\{9}\\{10}\\{8}\\{10}}\lbeam{1}{6}\go%"%
\newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\two{\group{\\{\v{12}}\\{\x{11}\v{11}}}" \newline
\mbox{}\verb"           {\\{12}\\{11}}\uslur{1}{2}\go}" \newline
\mbox{}\verb"    {\v{8}\pv}%" \newline
\mbox{}\verb"\n{7}%" \newline
\mbox{}\verb"\two{\v{12}}" \newline
\mbox{}\verb"    {\v{7}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\x{4}%" \newline
\mbox{}\verb"\two{\group{\\{\a{8}}\\{\a{7}}\\{\a{8}}\\{\a{6}}}" \newline
\mbox{}\verb"           {\\{8}\\{7}\\{8}\\{6}}\ubeam{1}{4}\uslur{1}{2}\go}"%
\newline
\mbox{}\verb"    {\a{4}}%" \newline
\mbox{}\verb"\two{\v{7}}" \newline
\mbox{}\verb"    {\v{5}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\group{\\{\a{1}}\\{\a{8}}}" \newline
\mbox{}\verb"      {\\{1}\\{8}}\lbeam{1}{2}\go%" \newline
\mbox{}\verb"\two{\tr\v{6}\.{1}}" \newline
\mbox{}\verb"    {\v{2}\.{1}}%" \newline
\mbox{}\verb"\two{\a{5}}" \newline
\mbox{}\verb"    {\raise-1.5\nhh\hbox{\pa}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\lchord{\h{5}\.{1}\h{2}\.{1}\h{-2}\.{1}}\endchord%" \newline
\mbox{}\verb"\rightrepeat%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\endsong" \newline
\mbox{}\verb"\bye"

\section{Distler}

\mbox{}\verb"\def\@#1#2{{$\hbox{#1 \hfill}\atop\hbox{#2 \hfill}$}}" \newline
\mbox{}\verb"\title{Lobe den Herren}" \newline
\mbox{}\verb"\composer{Hugo Distler}" \newline
\mbox{}\verb"\parindent 40pt" \newline
\mbox{}\verb"\voice{Sopran}" \newline
\mbox{}\verb"\universal" \newline
\mbox{}\verb"\beginsong\vio\G%" \newline
\mbox{}\verb"\^r{\rm Schnell}{\vrule height 7\nhh width0pt\gluebrule}%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\meter{3}/{4}%" \newline
\mbox{}\verb"\_{\@{Lo-}{Mei-}}\^{\mezzoforte}{\v{2}}%" \newline
\mbox{}\verb"\_{\@{be}{ne}}{\v{2}}%" \newline
\mbox{}\verb"\_{\@{den}{ge-}}{\v{6}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{\@{Her-}{lie-}}{\v{4}\.{1}}%" \newline
\mbox{}\verb"\_{\@{ren,}{be-}}{\a{3}}" \newline
\mbox{}\verb"\_l{\@{den}{te}}{\v{2}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb+\_l{\@{m\"{a}ch-}{See-}}{\v{1}}%+ \newline
\mbox{}\verb"\_{\@{ti-}{le,}}{\v{0}}%" \newline
\mbox{}\verb"\_{\@{gen}{das}}{\v{-1}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb+\_{\@{K\"{o}-}{ist}}{\h{0}}%+ \newline
\mbox{}\verb"\group{\\{\_n{\@{nig ---}{mein ---}}{\v1}}\\{\|%" \newline
\mbox{}\verb"\meter{2}/{4}}\\{\v1}}" \newline
\mbox{}\verb"      {\\{1}\\{0}\\{1}}\lslur{1}{3}\go%" \newline
\mbox{}\verb"\_{\@{der}{Be-}}{\v{2}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\meter{4}/{4}%" \newline
\mbox{}\verb"\_{\@{Eh-}{geh-}}{\h{3}}%" \newline
\mbox{}\verb"\_{\@{ren!}{ren.}}{\h{2}}\rightrepeat%" \newline
\mbox{}\verb"%" \newline
\mbox{}\verb"\meter{3}/{4}%" \newline
\mbox{}\verb"\_r{Kom-}\^{\forte}{\v{6}}%" \newline
\mbox{}\verb"\_{met}{\v{6}}%" \newline
\mbox{}\verb"\_{zu}{\v{6}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{Hauf!}{\h{7}\.{1}}\caesura%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{Psal-}{\v{4}}%" \newline
\mbox{}\verb"\_{ter}{\a{5}}%" \newline
\mbox{}\verb"\_l{und}{\a{5}}" \newline
\mbox{}\verb"\group{\\{\_{Har-}{\v{6}}}\\{\|}\\{\_{-}{\a{6}}}%" \newline
\mbox{}\verb"\\{\_{-}{\a{7}}}\\{\_{-}{\a{6}}}\\{\_{-}{\a{4}}}%" \newline
\mbox{}\verb"\\{\_{-}{\v{6}}}\\{\|}\\{\_{-}{\a{6}}}\\{\_{-}{\a{7}}}%" \newline
\mbox{}\verb"\\{\_{-}{\v{6}\.{1}}}\\{\_{-}{\a{7}}}\\{\|}%" \newline
\mbox{}\verb"\\{\_{-}{\v{6}\.{1}}}}" \newline
\mbox{}\verb"      {\\{6}\\{8}\\{6}\\{7}\\{6}\\{4}\\{6}\\{8}\\{6}\\{7}%"%
\newline
\mbox{}\verb"\\{6}\\{7}\\{8}\\{6}}\lbeam{3}{6}\lbeam{9}{10}\uslur{1}{3}%"%
\newline
\mbox{}\verb"\uslur{7}{9}\uslur{1}{14}\go%" \newline
\mbox{}\verb"\_{fe,}{\a{5}}%" \newline
\mbox{}\verb"\_l{wacht}{\v{4}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{auf,}\^{\piano}{\h{3}}%" \newline
\mbox{}\verb"\group{\\{\_n{wacht}{\caesura\a{4}}}\\{\a{2}}}" \newline
\mbox{}\verb"      {\\{4}\\{2}}\ubeam{1}{2}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{auf,}\^{\dec}{\h{3}}%" \newline
\mbox{}\verb"\group{\\{\_n{wacht}\^{zart}{\caesura\a{4}}}\\{\a{2}}}" \newline
\mbox{}\verb"      {\\{4}\\{2}}\ubeam{1}{2}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{auf,}\^{\dec}{\h{6}\.{1}}\caesura%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\_{las-}\^{\forte}{\v{-1}}%" \newline
\mbox{}\verb"\_{set}{\v{0}\.{1}}%" \newline
\mbox{}\verb"\_{den}{\a{1}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\meter{4}/{4}%" \newline
\mbox{}\verb"\_{Lob-}{\h{2}}%" \newline
\mbox{}\verb"\_{ge-}{\v{3}}%" \newline
\mbox{}\verb"\_{sang}{\v{4}}%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\meter{7}/{4}%" \newline
\mbox{}\verb+\group{\\{\_{h\"{o}}{\h{5}}}\\{\_{-}{\v{4}\.{1}}}%+ \newline
\mbox{}\verb"\\{\_{-}{\a{3}}}\\{\_{-}{\v{2}}}\\{\_{-}{\h{3}}}}" \newline
\mbox{}\verb"      {\\{5}\\{4}\\{3}\\{2}\\{9}}\uslur{1}{5}\go%" \newline
\mbox{}\verb"\|%" \newline
\mbox{}\verb"\meter{3}/{4}%" \newline
\mbox{}\verb"\_{ren!}{\h{2}\.{1}}%" \newline
\mbox{}\verb"\=%" \newline
\mbox{}\verb"\endsong" \newline
\mbox{}\verb"\bye"

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{\TeX{nicalities}}
\typeout{TeXnicalities}

Here is information of a more technical nature. Like me, you may never 
need any of this, but since it was included in the original german 
documentation, I decided to make it available anyway. 

\section{\MuTeX\ Fonts}

The fonts used by \MuTeX\ can be specified with the control sequences in 
Figure~\ref{figfont}.
\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\music"      & Music Sign \\
    \verb"\beamfont"   & Beam Font \\
    \verb"\slurfontuu" & Slur Font (concave, rising) \\
    \verb"\slurfontud" & Slur Font (concave, falling) \\
    \verb"\slurfontdu" & Slur Font (convex, rising) \\
    \verb"\slurfontdd" & Slur Font (convex, falling) \\
    \verb"\eightrm"    & Eight-Point Roman Font for Text
  \end{tabular}
\caption{\MuTeX\ Fonts.}
\label{figfont}
\end{figure}

\section{Music Characters}

The characters\footnote{The author recommends changing the names of the 
fermata characters to allow the implementation of the fermata accents.} 
introduced by \MuTeX\ are listed in Figures~\ref{figcharA} 
and~\ref{figcharB}. 
\begin{figure}[htbp] 
\centering
  \begin{tabular}{lll} 
    Note Heads: & & \\
    \verb"\quart"                  & \verb"\hex21" & Crotchet Note Head \\
    \verb"\half"                   & \verb"\hex22" & Minim Note Head \\
    \verb"\whole"                  & \verb"\hex23" & Semibreve Note Head \\
    Flags: & & \\
    \verb"\eighthup"               & \verb"\hex28" & $8^{th}$ Upward \\
    \verb"\eighthdown"             & \verb"\hex2D" & $8^{th}$ Downward \\
    \verb"\sixteenthup"            & \verb"\hex29" & $16^{th}$ Upward \\
    \verb"\sixteenthdown"          & \verb"\hex2E" & $16^{th}$ Downward \\
    \verb"\thirtytwoup"            & \verb"\hex2A" & $32^{nd}$ Upward \\
    \verb"\thirtytwodown"          & \verb"\hex2F" & $32^{nd}$ Downward \\
    \verb"\sixtyfourup"            & \verb"\hex2B" & $64^{th}$ Upward \\
    \verb"\sixtyfourdown"          & \verb"\hex30" & $64^{th}$ Downward \\
    \verb"\hundredtwentyeightup"   & \verb"\hex2C" & $128^{th}$ Upward \\
    \verb"\hundredtwentyeightdown" & \verb"\hex31" & $128^{th}$ Downward\\
    Rests: & & \\
    \verb"\wholerest"              & \verb"\hex3C" & Whole Rest \\
    \verb"\halfrest"               & \verb"\hex3D" & Half Rest \\
    \verb"\quartrest"              & \verb"\hex3E" & Quarter Rest \\
    \verb"\eighthrest"             & \verb"\hex3F" & Eighth Rest \\
    \verb"\sixteenthrest"          & \verb"\hex40" & Sixteenth Rest \\
    Measure Rests: & & \\
    \verb"\doublerest"             & \verb"\hex3A" & Two-Measure Rest\\
    \verb"\ddoublerest"            & \verb"\hex3B" & Four-Measure Rest
  \end{tabular}
\caption{Music Characters (Part 1).}
\label{figcharA}
\end{figure}

\begin{figure}[htbp] 
\centering
  \begin{tabular}{lll} 
  Fermatas: & & \\
  \verb"\ffermateup"             & \verb"\hex50" & 
                                 $\frown$\kern-0.63em \lower.2ex\hbox{$\cdot$}\\
  \verb"\ffermatedown"           & \verb"\hex51" & 
                                 $\smile$\kern-0.65em \raise.2ex\hbox{$\cdot$}\\
  Pitch Changes: & & \\
  \verb"\mflat"                  & \verb"\hex32" & $\flat$ \\
  \verb"\mdoubleflat"            & \verb"\hex33" & Double-$\flat$ \\
  \verb"\mquartflat"             & \verb"\hex37" & Quarter-$\flat$ \\
  \verb"\mthreequartflat"        & \verb"\hex3A" & Three-Quarters-$\flat$ \\
  \verb"\msharp"                 & \verb"\hex34" & $\sharp$ \\
  \verb"\mdoublesharp"           & \verb"\hex35" & Double-$\sharp$ \\
  \verb"\mnatural"               & \verb"\hex36" & $\natural$ \\
  Clefs: & & \\
  \verb"\mviolin"                & \verb"\hex47" & Trebel Clef \\
                                 & \verb"\hex48" & Smaller Trebel Clef \\
  \verb"\mbass"                  & \verb"\hex49" & Bass Clef \\
                                 & \verb"\hex4A" & Smaller Bass Clef \\
  \verb"\mbariton"               & \verb"\hex4D" & Baritone Clef \\
  \verb"\mtenor"                 & \verb"\hex4C" & Tenor Clef \\
  \verb"\malt"                   & \verb"\hex4B" & Alto Clef \\
  \verb"\mmezzosopran"           & \verb"\hex4E" & Mezzosoprano Clef \\
  \verb"\msopran"                & \verb"\hex4E" & Soprano Clef \\
  Time Signatures: & & \\
  \verb"\mC"                     & \verb"\hex53" & $\subset$ \\
  \verb"\allabreve"              & \verb"\hex52" & $\subset\!\!\!\mid$ \\
  \verb"\mCreverse"              & \verb"\hex54" & $\supset$
  \end{tabular}
\caption{Music Characters (Part 2).}
\label{figcharB}
\end{figure}

\section{Alterable Parameters}

A few alterable parameters are found in Figure~\ref{figalterable}.

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\textline"  & Interval between text and lowest line of staff \\
    \verb"\minsl"     & Minimal stem-length of note \\
    \verb"\overtext"  & Accompanying text above the staff \\
    \verb"\undertext" & Accompanying text below the staff \\
  \end{tabular}
\caption{Alterable Parameters.}
\label{figalterable}
\end{figure}

\section{Glue Parameters}

Spacing between notes is controlled by glues, i.e., penalties associated 
with different spacings. Figure~\ref{figgluepar} lists the ones defined 
by \MuTeX. 

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\NOTEskip" & Whole Note Glue \\
    \verb"\noteskip" & Minim Note Glue \\
    \verb"\noteskip" & Crotchet Note Glue \\
    \verb"\notEskip" & $8^{th}$ Note Glue \\
    \verb"\noTEskip" & $16^{th}$ Note Glue \\
    \verb"\nOTEskip" & $32^{nd}$ Note Glue \\
    \verb"\nOteskip" & $64^{th}$ Note Glue \\
    \verb"\nOtEskip" & $128^{th}$ Note Glue \\
    \verb"\ruleskip" & Rules Glue \\
    \verb"\hunkskip" & Notes and Rules Glues
  \end{tabular}
\caption{Glue Parameters.}
\label{figgluepar}
\end{figure}

\section{Glue Macros}

Section~\ref{secpreamble} about \MuTeX's preamble introduced the five 
available spacings. Figures~\ref{figglueA} to~\ref{figglueE} present 
these spacings in terms of \MuTeX's glue parameters. 

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\def\hsmall{%" \\
    \verb"\Noteskip 3\nhw plus 2\seminhw minus 2\seminhw" \\
    \verb"\NOTEskip = \Noteskip" \\
    \verb"\noteskip 2\nhw plus 1.5\seminhw  minus 1.5\seminhw" \\
    \verb"\notEskip 1\nhw plus \seminhw  minus \seminhw" \\
    \verb"\noTEskip \z@ plus 0.5\seminhw  minus \z@" \\
    \verb"\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip" \\
    \verb"\hunkskip \z@ \relax}"
  \end{tabular}
\caption{Glue Parameters for {\tt{hsmall}}.}
\label{figglueA}
\end{figure}

\newpage %Bad page break fixed

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\def\small{%" \\
    \verb"\Noteskip 3.5\nhw plus 1.8\seminhw minus 1.8\seminhw" \\
    \verb"\NOTEskip = \Noteskip" \\
    \verb"\noteskip 2.5\nhw plus 1.4\seminhw  minus 1.4\seminhw" \\
    \verb"\notEskip 1.5\nhw plus \seminhw  minus \seminhw" \\
    \verb"\noTEskip \seminhw plus 0.6\seminhw  minus 0.6\seminhw" \\
    \verb"\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip" \\
    \verb"\hunkskip \z@ \relax}"
  \end{tabular}
\caption{Glue Parameters for {\tt{small}}.}
\label{figglueB}
\end{figure}

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\def\universal{%" \\
    \verb"\Noteskip 4\nhw plus 1.6\nhw minus 1.6\nhw" \\
    \verb"\NOTEskip = \Noteskip" \\
    \verb"\noteskip 3\nhw plus 1.3\nhw  minus 1.3\nhw" \\
    \verb"\notEskip 2\nhw plus \nhw  minus \nhw" \\
    \verb"\noTEskip \nhw plus 0.6\nhw  minus 0.6\nhw" \\
    \verb"\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip" \\
    \verb"\hunkskip \z@ \relax}"
  \end{tabular}
\caption{Glue Parameters for {\tt{universal}}.}
\label{figglueC}
\end{figure}

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\def\wide{%" \\
    \verb"\Noteskip 4\nhw plus 1.42\nhw minus 1.42\nhw" \\
    \verb"\NOTEskip = \Noteskip" \\
    \verb"\noteskip 3.5\nhw plus 1.28\nhw  minus 1.28\nhw" \\
    \verb"\notEskip 2.5\nhw plus \nhw  minus \nhw" \\
    \verb"\noTEskip 1.5\nhw plus 0.9\nhw  minus 0.9\nhw" \\
    \verb"\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip" \\
    \verb"\hunkskip \z@ \relax}"
  \end{tabular}
\caption{Glue Parameters for {\tt{wide}}.}
\label{figglueD}
\end{figure}

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\def\loose{%" \\
    \verb"\Noteskip 5\nhw plus 1.5\nhw minus 1.5\nhw" \\
    \verb"\NOTEskip = \Noteskip" \\
    \verb"\noteskip 4\nhw plus 1.25\nhw  minus 1.25\nhw" \\
    \verb"\notEskip 3\nhw plus \nhw  minus \nhw" \\
    \verb"\noTEskip 2\nhw plus 0.75\nhw  minus 0.75\nhw" \\
    \verb"\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip" \\
    \verb"\hunkskip \z@ \relax}"
  \end{tabular}
\caption{Glue Parameters for {\tt{loose}}.}
\label{figglueE}
\end{figure}

Recall that the default spacing is \verb"\universal". Finally, the glue 
for rules is defined as: 
\begin{quote}
  \verb"\ruleskip  = \nhw plus \seminhw minus \seminhw"
\end{quote}

\section{Base Line Macros}

Use the following macros to tell \MuTeX\ that your piece of music will 
span one or several staffs. 

\begin{figure}[htbp]
\centering
  \begin{tabular}{ll}
    \verb"\baselinesa          " & Single Staff \\
    \verb"\baselinesb          " & Multiple Staffs
  \end{tabular}
\caption{Baselineskip Macros.}
\end{figure}

The default is naturally: 
\begin{quote}
  \verb"\let\baselines = \baselinesb"
\end{quote}

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{\MuTeX\ Patches}
\typeout{MuTeX Patches}
\label{secpatches}

I found several errors in the original german version of \MuTeX. Since I 
cannot take the liberty of correcting them myself, I simply list here the 
changes I suggest you make to your copy. These corrections would be 
performed, of course, on {\tt{mtex.doc}} and {\tt{mtex.tex}}. I would 
advise against distributing modified copies.

\subsection*{Keys}

The definition of the minor key \verb"\mdis" could be corrected. I'm no 
professional musician, but that key doesn't look right to me. 
 
The definition would go from: \\
\verb"\let\mdis=\F                 \let\ma=\C" \\
to: \\
\verb"\let\mdis=\Fis               \let\ma=\C"

There is also an internal error in the major key \verb"\D". Replace 
\verb"\x@5" by \verb"\n@5" near the end of the line. This error is 
obvious by inspection of all key definitions. 
 
The definition would go from: \\
\verb"\def\D{\signature{\x@8\x@5}{\n@8\x@5}}" \\
to: \\
\verb"\def\D{\signature{\x@8\x@5}{\n@8\n@5}}"

\subsection*{Staccatissimo}
 
The definition of \verb"\staccatissimo" could be corrected. \MuTeX\ uses 
the nonexistant size \verb"\ssize" to print a prime symbol in math mode. 
I would change this to \verb"\scriptstyle" size which is defined in \TeX. 
 
The definition would go from: \\
\verb"\def\staccatissimo{\setbox\akzentbox%" \\
\mbox{}\verb"  \hboxnhw{$\ssize\prime$}{\box\akzentbox}}" \\
to: \\
\verb"\def\staccatissimo{\setbox\akzentbox%" \\
\mbox{}\verb"  \hboxnhw{$\scriptstyle\prime$}{\box\akzentbox}}"

\subsection*{Boxes}
 
The definition of \verb"\1" \ldots\,\verb"\2" \ldots\,\verb"\*" could be 
corrected. The numbering of boxes is done using the \verb"\music" font 
instead of the \verb"\rm" font. One gets music symbols instead of numbers 
under the boxes! I would change \verb"\repbox{1.}" to 
\verb"\repbox{\rm{1.}}", and do a similar thing with \verb"\repbox{2.}". 
 
A line would go from: \\
\verb"\vbox{\halign{##\cr\repbox{1.}\r@lef@ll{\linethickness}\cr" \\
to: \\
\verb"\vbox{\halign{##\cr\repbox{\rm{1.}}\r@lef@ll{\linethickness}\cr"
 
Another line would go from: \\
\verb"\repbox{2.}\r@lef@ll{\linethickness}\cr" \\
to: \\
\verb"\repbox{\rm{2.}}\r@lef@ll{\linethickness}\cr"
 
I also found that undefined glue is used. I would replace 
\verb"\setgluebrule" with \verb"\gluebrule", and do a similar thing with 
\verb"\setgluearule". 
 
A line would go from: \\
\verb"\repstrut\setgluebrule\doppelpunkt\kern\seminhw\thinvrule\cr}}}" \\
to: \\
\verb"\repstrut\gluebrule\doppelpunkt\kern\seminhw\thinvrule\cr}}}"

Another line would go from: \\
\verb"\repstrut\thickvrule\setgluearule#1\cr}}%" \\
to: \\
\verb"\repstrut\thickvrule\gluearule#1\cr}}%"
 
\subsection*{Fermatas}

Although the fermatas are available in \MuTeX\ as characters, there is no 
facility provided for using them. I felt their use closely resembled that 
of fixed accents like {\it{fff}}, and I recommend supplying the necessary 
commands. 

Since I would like to use the original character name as my new command 
name, I would rename the characters from \verb"\fermateup" to 
\verb"\ffermateup", and do a similar thing with \verb"\fermatedown". 

The character definitions would go from: \\ 
\verb"\chardef\fermateup=\hex50" \\
\verb"\chardef\fermatedown=\hex51" \\
to: \\
\verb"\chardef\ffermateup=\hex50" \\
\verb"\chardef\ffermatedown=\hex51"

Finally, I would introduce the \verb"\fermateup" and \verb"\fermatedown"
fixed accents. The file would now look like: \\
\verb"\def\sforz{{\it sf}}" \\
\verb"\def\staccato{{\it stacc.}}" \\
\verb"\def\tacet{{\it tacet}}" \\
\verb"\def\unisono{{\it unis.}}" \\
\verb"\def\fermateup{\hskip-0.5\nhh\raise0.5\nhh%" \\
\verb"\hbox{\music\ffermateup}}" \\
\verb"\def\fermatedown{\hskip-0.5\nhh\raise1.5\nhh%" \\
\verb"\hbox{\music\ffermatedown}}"
 
\subsection*{Accidentals} 

Here is a weird error I could never fully understand. There is confusion 
when accidentals in some input file are expanded. For example, I found 
that the accidental \verb"\b@{4}" was interpreted by \MuTeX\ as 
\verb"\b{@4}". \MuTeX\ would then complain that the command \verb"\b" was 
undefined, or that it was expecting a number after \verb"\b", but not 
\verb"@4". Strangely, this is not a problem for \MuTeX\ when it uses 
accidentals internally to create the signature from the \verb"\key" 
command. 
 
I would replace \verb"\b@" by \verb"\bA", and do a similar thing with 
\verb"\x@" and \verb"\n@" so that now no confusion is possible. 

The definitions would go from: \\
\verb"\def\b@#1{\setsign{#1}{\mflat}}" \\
\verb"\def\x@#1{\setsign{#1}{\msharp}}" \\
\verb"\def\n@#1{\setsign{#1}{\mnatural}}" \\
to: \\
\verb"\def\bA#1{\setsign{#1}{\mflat}}" \\
\verb"\def\xA#1{\setsign{#1}{\msharp}}" \\
\verb"\def\nA#1{\setsign{#1}{\mnatural}}"

Of course, the signatures would need to be fixed accordingly.
 
The definitions would go from: \\
\verb"\def\F{\signature{\b@4}{\n@4}}" \\
\verb"\def\B{\signature{\b@4\b@7}{\n@4\n@7}}" \\
\verb"\def\Es{\signature{\b@4\b@7\b@3}{\n@4\n@7\n@3}}" \\
\verb"\def\As{\signature{\b@4\b@7\b@3\b@6}{\n@4\n@7\n@3\n@6}}" \\
\verb"\def\Des{\signature{\b@4\b@7\b@3\b@6\b@2}{\n@4\n@7\n@3\n@6%" \\
\verb"\n@2}}" \\
\verb"\def\Ges{\signature{\b@4\b@7\b@3\b@6\b@2\b@5}{\n@4\n@7\n@3%" \\
\verb"\n@5\n@2\n@5}}"\\
\verb"\def\Ces{\signature{\b@4\b@7\b@3\b@6\b@2\b@5\b@1}%" \\
\mbox{}\verb"  {\n@4\n@7\n@3\n@5\n@2\n@5\n@1}}" \\
\verb"\def\C{\signature{}{}}" \\
\verb"\def\G{\signature{\x@8}{\n@8}}" \\
\verb"\def\D{\signature{\x@8\x@5}{\n@8\n@5}}" \\
\verb"\def\A{\signature{\x@8\x@5\x@9}{\n@8\n@5\n@9}}" \\
\verb"\def\E{\signature{\x@8\x@5\x@9\x@6}{\n@8\n@5\n@9\n@6}}" \\
\verb"\def\H{\signature{\x@8\x@5\x@9\x@6\x@3}{\n@8\n@5\n@9\n@6%" \\
\verb"\n@3}}" \\
\verb"\def\Fis{\signature{\x@8\x@5\x@9\x@6\x@3\x@4}{\n@8\n@5\n@9%" \\
\verb"\n@6\n@3\n@4}}"\\
to: \\
\verb"\def\F{\signature{\bA4}{\nA4}}" \\
\verb"\def\B{\signature{\bA4\bA7}{\nA4\nA7}}" \\
\verb"\def\Es{\signature{\bA4\bA7\bA3}{\nA4\nA7\nA3}}" \\
\verb"\def\As{\signature{\bA4\bA7\bA3\bA6}{\nA4\nA7\nA3\nA6}}" \\
\verb"\def\Des{\signature{\bA4\bA7\bA3\bA6\bA2}{\nA4\nA7\nA3\nA6%" \\
\verb"\nA2}}" \\
\verb"\def\Ges{\signature{\bA4\bA7\bA3\bA6\bA2\bA5}{\nA4\nA7\nA3%" \\
\verb"\nA5\nA2\nA5}}"\\
\verb"\def\Ces{\signature{\bA4\bA7\bA3\bA6\bA2\bA5\bA1}%" \\
\mbox{}\verb"  {\nA4\nA7\nA3\nA5\nA2\nA5\nA1}}" \\
\verb"\def\C{\signature{}{}}" \\
\verb"\def\G{\signature{\xA8}{\nA8}}" \\
\verb"\def\D{\signature{\xA8\xA5}{\nA8\nA5}}" \\
\verb"\def\A{\signature{\xA8\xA5\xA9}{\nA8\nA5\nA9}}" \\
\verb"\def\E{\signature{\xA8\xA5\xA9\xA6}{\nA8\nA5\nA9\nA6}}" \\
\verb"\def\H{\signature{\xA8\xA5\xA9\xA6\xA3}{\nA8\nA5\nA9\nA6%" \\
\verb"\nA3}}" \\
\verb"\def\Fis{\signature{\xA8\xA5\xA9\xA6\xA3\xA4}{\nA8\nA5\nA9%" \\
\verb"\nA6\nA3\nA4}}"

That's all so far. 

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%

\chapter{Setting Up \MuTeX}
\typeout{Setting Up MuTeX}
\label{secsetting}

I had never used \TeX\ or \MF\footnote{Trademark of Addison-Wesley 
Publishing Company.} before coming across \MuTeX\ and I sure went through 
a few hours of frustration before getting things running properly. I hope 
the following will save you some trouble. 

Here are the files in your \MuTeX\ package:
\begin{center}
  \begin{tabular}{ll}
    \verb"readme"       & This brief description of all files \\
    \verb"mtex.txt"     & Brief description in german of german files \\
    \verb"mtex.tex"     & \MuTeX\ commented in german in \TeX \\
    \verb"mplain.tex"   & \MuTeX\ plain format in \TeX \\
    \verb"mtexdemo.tex" & Demo in german written in \TeX \\
    \verb"bach.tex"     & First demo written in \MuTeX \\
    \verb"distler.tex"  & Second demo written in \MuTeX \\
    \verb"mtexinfo.tex" & Command reference in german written in \TeX \\
    \verb"guide.tex"    & Guide in english written in \LaTeX \\
    \verb"mf"           & \MF\ input files for \MuTeX \\
    \verb"tfm"          & \TeX\ font metrics files for \MuTeX \\
    \verb"dpi118"       & Fonts at $118$DPI for Sun raster screen \\
    \verb"dpi120"       & Fonts at $120$DPI for Micro-\TeX \\
    \verb"dpi240"       & Fonts at $240$DPI for Epson printer \\
    \verb"dpi300"       & Fonts at $300$DPI for Canon-CX Laserwriter
  \end{tabular}
\end{center}

\section{METAFONT}

The first step in setting up \MuTeX\ is to generate the proper fonts for 
your previewing and printing devices. This is done with the \MF\ package 
which is made up of two different programs. Note that these two programs 
are sometimes combined into one bigger one. The presence of a {\tt{-i}} 
or {\tt{/i}} flag on the command line may determines the behavior. There 
may also be two script (or batch) files on your system which take care of 
calling that single program with the proper flags and paths set. This is 
an area you will have to investigate on your own. For the sake of 
simplicity, let's consider we simply have: 
\begin{center}
  \begin{tabular}{ll}
    \verb"inimf    " & Initialization Program \\
    \verb"mf       " & Font Program
  \end{tabular}
\end{center}

These two programs work on \MF\ input files that specify the characters 
whose fonts you want to create, and that also include control commands. 
The standard \MF\ package includes such an input file, the 
\verb"plain.mf" file. \MuTeX\ also includes thirteen such input files in 
its \verb"mf" directory. These are: 
\begin{center}
  \begin{tabular}{llll}
\verb"beam16.mf"   &\verb"music16.mf"  &\verb"slurdd16.mf" &\verb"slurdu16.mf"\\
\verb"slurud16.mf" &\verb"sluruu16.mf" &\verb"slur16.mf"   &\verb"musicdef.mf"\\
\verb"acc16.mf"    &\verb"noten16.mf"  &\verb"pause16.mf"  &\verb"sonder16.mf"\\
\verb"vio16.mf"    &                   &                   &
  \end{tabular}
\end{center}

You will have to generate fonts for the first seven of these, the 
remaining six are actually called upon automatically by the first seven, 
when needed. However, you may be in luck. You have already been supplied 
with four sets of fonts. If the ones you need are amongst these four, you 
need not use \MF\ at all! 

If you need to generate your own fonts, you will have to give \MF\ some 
information about their desired characteristics. This is done with a 
\MF\ mode definition file. Figure~\ref{figMF} shows the mode definition 
file, \verb"epson.mf", for my Epson FX-$80$ $9$-pin printer. 
\begin{figure}[htbp]
\centering
  \begin{tabular}{l}
    \mbox{}\verb"mode_def epson =       % Epson (TUGboat 8,2 p. 133)" \\
    \mbox{}\verb" proofing:=0;          % we are not making proofs" \\
    \mbox{}\verb" fontmaking:=1;        % we are making a font" \\
    \mbox{}\verb" tracingtitles:=0;     % do not show titles in the log" \\
    \mbox{}\verb" pixels_per_inch:=240; % 240 DPI horizontal resolution" \\
    \mbox{}\verb" blacker:=0;           % do not make the pens any blacker" \\
    \mbox{}\verb" fillin:=0;            % do not compensate for fillin" \\
    \mbox{}\verb" o_correction:=.2;     % suppress most overshoots" \\
    \mbox{}\verb" aspect_ratio:=9/10;   % 216 DPI vertical resolution" \\
    \mbox{}\verb" enddef;"
  \end{tabular}
\caption{Mode Definition File.}
\label{figMF}
\end{figure}
If you don't have a mode definition file for your device, consult your 
local \TeX\ wizard. There are small libraries of them around. 

Once you have your mode definition file, it is time to initialize \MF. 
Check if this step has not already been performed on your system. You 
initialize \MF\ with the program \verb"inimf" and the input file 
\verb"plain.mf". Simply type \verb"inimf plain" and wait for the \verb"*" 
prompt, then type \verb"\dump". A base file \verb"plain.base" will be 
created for you by \verb"inimf". That's all there is to it. 

You are now ready to create your own fonts. You will need the program 
\verb"mf", the base file \verb"plain.base" just created, and your mode 
definition file, say \verb"epson.mf". Remember, the following step must 
be performed seven times. Let's consider the first input file 
\verb"beam16.mf". Type in \verb"mf &plain epson" and wait for the usual 
\verb"*" prompt. Then confirm that you want to generate fonts using the 
\verb"epson.mf" mode definition file by typing \verb"\mode:=epson;". Then 
specify the desired size with \verb"\mag:=magstep(0.0);". Finally, 
specify the input file with \verb"input beam16". The rest is automatic. I 
must point out again things may be slightly different on your system.

After you have performed the latter step with the first seven input 
files, you will find that seven \TeX\ font metric files, i.e., 
\verb"beam16.tfm", were generated along with the font files. This is 
normal behavior for \verb"mf". The font metric files are already supplied 
in the directory \verb"tfm" with \MuTeX. They should be identical to 
yours. Use whichever you want. 

The seven font files should look like \verb"beam16.240gf". The $240$ 
comes from the horizontal resolution in your mode definition file. This 
is all that is needed for some systems and you may already be all set up 
as far as the fonts are concerned. However, some systems require that you 
compress the font files using the program \verb"gftopk" which is widely 
available in \TeX\ circles. For example, typing 
\verb"gftopk beam16.240gf" would create the file \verb"beam16.240pk". 
Personally, I have found that Sun previewers require the standard font 
files, while my version of \TeX\ requires the compressed font files. 

You probably will have to move the \TeX\ font metric files, your seven 
previewing font files, and your seven printing font files in some 
specific directories on your system. You will have to find out which ones 
on your own. 

\section{\TeX}

The second step in setting up \MuTeX\ is to initialize \TeX with it. As 
was the case for \MF, the \TeX\ package is made up of two different 
programs. The same remarks as in the case of \MF\ apply. These two 
programs could be combined into one on your system. If this is the case, 
they are likely accessed through script (or batch) files. Let's assume 
that they are separate: 
\begin{center}
  \begin{tabular}{ll}
    \verb"initex    " & Initialization Program \\
    \verb"tex       " & Typesetting Program
  \end{tabular}
\end{center}

These two programs work on \TeX\ input files that specify the text you 
want to typeset, and that also include control commands. The standard 
\TeX\ package includes several such input files. You will need 
\verb"plain.tex" and \verb"hyphen.tex". \MuTeX\ also includes two such 
input files that you will need, \verb"mtex.tex" and \verb"mplain.tex". 

You initialize \TeX\ with the program \verb"initex" and the four input 
files just mentioned. Simply type \verb"initex mplain" and wait for the 
usual \verb"*" prompt, then type \verb"\dump". A format file 
\verb"mplain.fmt" will be created for you by \verb"initex". Now, that was 
simple! You may have to move that format file in some specific directory 
on your system.

Suppose you want to process some piece of music, say \verb"bach.tex". You 
will need the program \verb"tex", the format file \verb"mplain.fmt" just 
created, and your input file \verb"bach.tex". Then, just type in 
\verb"tex &mplain bach". This should create the file \verb"bach.dvi" 
ready for previewing and printing. Try it with the two input files 
supplied with \MuTeX, \verb"bach.tex" and \verb"distler.tex". I will 
point out here again that things may differ slightly on your system. 

Note that the file \verb"mtexdemo.tex" in german supplied with \MuTeX\ is 
meant to run on standard \TeX, not on \MuTeX. To process it, you should 
type something like \verb"tex &plain mtexdemo". Make sure the input file 
\verb"mtex.tex" is in the same directory as \verb"mtexdemo.tex" since the 
latter will ask \TeX\ to read the former. I suspect you will never feel 
the need to process \verb"mtexdemo.tex" since the two files 
\verb"bach.tex" and \verb"distler.tex" constitute equally valid examples. 

The files you will need daily while using \MuTeX\ are the seven font 
files (\verb"beam16.240pk",\ldots) for your previewing and printing 
devices (fourteen fonts altogether), the seven \TeX\ font metric files 
(\verb"beam16.tfm",\ldots), and the format file \verb"mplain.fmt". You 
will also, of course, need the \verb"tex" program and its standard 
accompanying files. 

I hope this has proven of some help to you. Happy \MuTeX{ing}!

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