TeX 1995 July/TeX CD-ROM July 1995 (Disc 1)(Walnut Creek)(1995).ISO/macros/musictex/older-versions/musictex.500/EXTRAS.TEX

Text File | 1992-06-02 | 13KB | 303 lines

% A logo
\def\musictex{\leavevmode\hbox{Music\TeX}}

% Here I define an extra font for the dynamics, at 10pt.
\font\ppffx=\fonthdg mbxti10

% I like the size of the bold italic to depend on the size of the music, so
% I define this. It would be better for this to be defined in
% \computespecifics however.
\def\ppffs{\ifnum\musicsize=20\ppff\else\ppffx\fi}

% \dyn {pitch}{text} inserts a dynamic
\def\dyn#1#2{\zcharnote{#1}{{\ppffs #2}}}

% \nobarnumbers prevents bar numbering
\def\nobarnumbers{\def\wbarno{\relax}}

% \barnumbers restores bar numbering
\def\barnumbers{\def\wbarno{\w@barno}}

% \tab is defined as a tab character, so that I can still use tabs.
\catcode`\@=4
\let\tab=@
\catcode`\@=11

% The next few sections define some extra macros to produce notes.
% They are sometimes useful, but you may not want to use them.

\def\nqu#1{\rlap{\qu{#1}}}
\def\nql#1{\rlap{\ql{#1}}}
\def\nhu#1{\rlap{\hu{#1}}}
\def\nhl#1{\rlap{\hl{#1}}}
\def\nw#1{\rlap{\wh{#1}}}
\def\nwh#1{\rlap{\wh{#1}}}
\def\nqup#1{\rlap{\qup{#1}}}
\def\nqlp#1{\rlap{\qlp{#1}}}
\def\nhup#1{\rlap{\hup{#1}}}
\def\nhlp#1{\rlap{\hlp{#1}}}
\def\ncl#1{\rlap{\cl{#1}}}
\def\ncu#1{\rlap{\cu{#1}}}

% shifted dotted whole notes
\def\rwp#1{\kern \wd@skip\zwp{#1}\kern -\wd@skip}
\def\lwp#1{\kern -\wd@skip\zwp{#1}\kern \wd@skip}

% Half-shifted notes. I sometimes use these for close intervals: for instance
% \zlqu g\zrql f

\def\zrwh{\zrw}
\def\zlwh{\zlw}
\def\zrw#1{\kern .52\wd@skip\nw{#1}\kern -.52\wd@skip}
\def\zlw#1{\kern -.52\wd@skip\nw{#1}\kern .52\wd@skip}
\def\zrhu#1{\kern .45\hn@width\nhu{#1}\kern -.45\hn@width}
\def\zlhu#1{\kern -.45\hn@width\nhu{#1}\kern .45\hn@width}
\def\zrhl#1{\kern .45\hn@width\nhl{#1}\kern -.45\hn@width}
\def\zlhl#1{\kern -.45\hn@width\nhl{#1}\kern .45\hn@width}
\def\zrhup#1{\kern .45\hn@width\nhup{#1}\kern -.45\hn@width}
\def\zlhup#1{\kern -.45\hn@width\nhup{#1}\kern .45\hn@width}
\def\zrhlp#1{\kern .45\hn@width\nhlp{#1}\kern -.45\hn@width}
\def\zlhlp#1{\kern -.45\hn@width\nhlp{#1}\kern .45\hn@width}
\def\zrqu#1{\kern .45\qd@skip\nqu{#1}\kern -.45\qd@skip}
\def\zlqu#1{\kern -.45\qd@skip\nqu{#1}\kern .45\qd@skip}
\def\zrql#1{\kern .45\qd@skip\nql{#1}\kern -.45\qd@skip}
\def\zlql#1{\kern -.45\qd@skip\nql{#1}\kern .45\qd@skip}
\def\zrqup#1{\kern .45\qd@skip\nqup{#1}\kern -.45\qd@skip}
\def\zlqup#1{\kern -.45\qd@skip\nqup{#1}\kern .45\qd@skip}
\def\zrqlp#1{\kern .45\qd@skip\nqlp{#1}\kern -.45\qd@skip}
\def\zlqlp#1{\kern -.45\qd@skip\nqlp{#1}\kern .45\qd@skip}
\def\zrcu#1{\kern .45\qd@skip\zcu{#1}\kern -.45\qd@skip}
\def\zlcu#1{\kern -.45\qd@skip\zcu{#1}\kern .45\qd@skip}
\def\zrcl#1{\kern .45\qd@skip\zcl{#1}\kern -.45\qd@skip}
\def\zlcl#1{\kern -.45\qd@skip\zcl{#1}\kern .45\qd@skip}
%
% half left shifted accidentals - for putting before half shifted notes
%
\def\hlfl#1{\getn@i{#1}\global\n@raise=\fl@raise
  \pl@llap{\f@lat\kern 0.45\qd@skip}%
}%
\def\hldfl#1{\getn@i{#1}\global\n@raise=\fl@raise
  \pl@llap{\df@lat\hskip 0.45\qd@skip}%
}%
\def\hlsh#1{\getn@i{#1}\global\n@raise=\sh@raise
  \pl@llap{\s@harp\hskip 0.45\qd@skip}%
}%
\def\hldsh#1{\getn@i{#1}\global\n@raise=\z@
  \pl@llap{\ds@harp\hskip 0.45\qd@skip}}%
\def\hlna#1{\getn@i{#1}\global\n@raise=\na@raise
  \pl@llap{\n@at\hskip 0.45\qd@skip}}%
%
% cautionary accidentals
% A cautionary accidental is a small one surrounded by parentheses, used for
% reminders.  Type the usual accidental name preceded by "c"
%
\def\caution#1#2{\kern -.4\qd@skip\zcharnote{#2}{\raise
-.45\Interligne\hbox{\ttyeight\kern -1.4\qd@skip
 \rlap{(}\kern1.2\qd@skip)}}#1#2\kern .4\qd@skip}

\def\cfl{\caution{\smallfl}}
\def\csh{\caution{\smallsh}}
\def\cna{\caution{\smallna}}
\def\cdfl{\caution{\smalldfl}}
\def\cdsh{\caution{\smalldsh}}
\def\cFl{\caution{\smallFl}}
\def\cSh{\caution{\smallSh}}
\def\cNa{\caution{\smallNa}}
\def\cdFl{\caution{\smalldFl}}
\def\cdSh{\caution{\smalldSh}}

% The following macros can be used to surround a note by parentheses. They
% are also used as ornaments by J.P. Rameau.
% \lpar p  produces a left parenthesis, or "port de voix" at pitch p
% \rpar p  produces a right parenthesis, or "pinc\'e"

\def\lpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern -.9\Interligne (}}}
\def\rpar#1{\zcharnote #1{\raise -2.5pt\hbox{\tentt\kern 1.1\Interligne )}}}

\newdimen\tmp@dimen
\def\bracketshrink{0.17\Interligne}

% \bracket pn draws a square bracket ( [ ) to bracket an interval of an n-th
% whose lowest note is p.

\def\bracket#1#2{\tmp@dimen #2\Interligne\advance\tmp@dimen by\Interligne
   \divide\tmp@dimen by2\relax
   \advance\tmp@dimen by-\bracketshrink\advance\tmp@dimen by-\bracketshrink
   \advance\tmp@dimen by-\lthick
   \zcharnote#1{\kern-.75\Interligne\raise-.5\Interligne
   \hbox{\raise\bracketshrink\hbox{\rlap{\vrule height\tmp@dimen}\relax
   \rlap{\vbox{\hrule width .5\Interligne}}\relax
   \raise\tmp@dimen\vbox{\hrule width .5\Interligne}}}}}

\newdimen\tmp@dimenc
\newdimen\z@iii\newdimen\z@iv\newdimen\z@v

% \oblique {l}{s}{h} draws an oblique line of length l, slope s percent, and
% height h. This will cause an unrecorded space so it should be used within
% \rlap. Note that this macro is a hack and probably gobbles up resources!
% This macro is used by some of the others which follow.

\def\oblique#1#2#3{\relax % length slope height
\ifnum #2=0\relax\raise #3\vbox{\hrule width #1 height\lthick depth\z@}\relax
\else\q@antum=25\lthick\divide\q@antum by #2\relax
\ifdim\q@antum<0pt\relax\multiply\q@antum by -1\fi
\global\z@iv=0pt\relax
\loop\ifdim\z@iv<#1\relax
 {\z@v=#1\relax\advance\z@v by -\z@iv\relax\advance\z@v by -\q@antum\relax
 \tmp@dimenc\z@iv\multiply\tmp@dimenc by#2\relax
 \z@iii=#3\relax\advance\z@iii by .01\tmp@dimenc\relax\advance\z@iii by
 -0.5\internote
 \ifnum #2<0\relax\advance\z@iii by \lthick\relax\fi
 \tmp@dimenc\z@v\multiply\tmp@dimenc by#2\relax
 \ifdim\z@v<0pt\relax\advance\z@iii by .01\tmp@dimenc\relax\hskip\z@v\fi
 \advance\z@iii by 0.6\internote\relax
 \raise\z@iii\hbox to \q@antum{\vrule width\q@antum height .5\lthick depth
 .5\lthick}\relax
 \global\advance\z@iv by \q@antum\relax
}\repeat
\fi
}

\newdimen\tmp@dimenb\newcount\tmp@ct
\def\crescwidth{1.8\Interligne}

% These macros produce variable size crescendo and diminuendo marks.
% \varcresc{p}{l} produces a crescendo at pitch p, and of length l, causing
% no space.
\def\varcresc#1#2{\relax% height (note), length (dimen)
   \tmp@dimenb \crescwidth\tmp@dimen #2\multiply
   \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
   \ifnum 0=\tmp@ct\relax
   \tmp@ct 1\fi
   \getn@i{#1}\tmp@dimen\n@i\internote
   \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}\relax
   \advance\tmp@dimen by-\lthick
   \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}}

% \vardim{p}{l}  draws a diminuendo at pitch p, and of length l, causing
% no space.
\def\vardim#1#2{\tmp@dimenb 1.6\Interligne\tmp@dimen #2\multiply
   \tmp@dimenb by50\divide\tmp@dimenb by\tmp@dimen \tmp@ct\tmp@dimenb
   \ifnum 0=\tmp@ct\relax
   \tmp@ct 1\fi
   \getn@i{#1}\tmp@dimen\n@i\internote
   \tmp@dimenb\crescwidth\divide\tmp@dimenb by2\relax
   \advance\tmp@dimen by\tmp@dimenb
   \rlap{\oblique{#2}{-\tmp@ct}{\tmp@dimen}}\relax
   \advance\tmp@dimen by \lthick
   \tmp@dimenb #2\multiply\tmp@dimenb by\tmp@ct\advance\tmp@dimen
 by-.02\tmp@dimenb
   \rlap{\oblique{#2}{\tmp@ct}{\tmp@dimen}}}

% \overbracket{p}{l}{s}   draws a bracket over the music starting at the
% current position at pitch p, width l and slope s percent, causing no space.
\def\overbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
   \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
   \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
   \raise\n@i\internote\rlap{\vrule width\lthick height \lthick
   depth .8\Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
   \advance\tmp@dimenb by.5\lthick\relax
   \raise\tmp@dimenb\hbox{\vrule width\lthick height \lthick
 depth.8\Interligne}}}

% \ovbkt{p}{n}{s} is the same as \overbracket, except that it draws the
% bracket to cover n notes (note however that glue inserted by \temps
% commands will expand the space between the notes but will not affect the
% bracket).
% I use this macro to indicate triplets, for instance.

\def\ovbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
   \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
   by -\noteskip\advance\tmp@dimen by\lthick \overbracket{#1}{\tmp@dimen}{#3}}

% \underbracket and \unbkt are similar to the above, but produce
% brackets under the music.
\def\underbracket#1#2#3{\relax % height (note), length (dimen) slope (%)
   \tmp@dimenb #2\multiply\tmp@dimenb by#3\divide\tmp@dimenb by100\relax
   \getn@i{#1}\advance\tmp@dimenb by\n@i\internote\rlap{\relax
   \raise\n@i\internote\rlap{\vrule width\lthick depth -\lthick
   height \Interligne}\oblique{#2}{#3}{\n@i\internote}\relax
   \advance\tmp@dimenb by.5\lthick\relax
   \raise\tmp@dimenb\hbox{\vrule width\lthick depth -\lthick
 height\Interligne}}}
\def\unbkt#1#2#3{\relax % height (note), length (number of notes) slope (%)
   \tmp@dimen #2\noteskip\advance\tmp@dimen by\wd@skip\advance\tmp@dimen
   by -\noteskip\advance\tmp@dimen by\lthick
   \kern-2\lthick\underbracket{#1}{\tmp@dimen}{#3}\kern2\lthick}

% Here are several macros to make use of the alternative note graphics found
% in the font files. I copied the idea from the usual note macros in
% MusicTeX.

% \gu produces grace notes (acciacaturas), stems up
% \gl produces grace notes, stems down
% \smqu,\smql,\smhu,\smhl,\smwh produce small versions of \qu,\ql,\hu,\hl,\wh
% respectively.

\def\gu@raise{\lthick}\def\gl@raise{\lthick}\def\br@raise{\lthick}%
\def\g@u{{\musicxx\char"45}}%
\def\g@l{{\musicxx\char"46}}%
\def\gu#1{\getn@i{#1}\def\n@fon{\gu}\global\n@raise=\gu@raise\def\n@sym{\g@u}\g@
gr}%
\def\gl#1{\getn@i{#1}\def\n@fon{\gl}\global\n@raise=\gl@raise\def\n@sym{\g@l}\g@
gr}%
\def\g@all#1{\ifnum\n@i<100\relax
  \h@lines{#1}\global\stem@skip=\hd@skip
  \def\s@tem{\relax}\pl@note\raise@note{\n@sym\hss}\ss@uite\fi}%
\def\g@gr{\g@all{1.15\interligne}}%
\def\sm@qu{{\musicxx\char"25\vrule height 2\Interligne depth\z@}}
\def\sm@ql{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"25}}
\def\sm@hu{{\musicxx\char"26\vrule height 2\Interligne depth\z@}}
\def\sm@hl{{\vrule depth 2\Interligne height\z@\kern-.5pt\musicxx\char"26}}
\def\sm@wh{{\musicxx\char"27}}
\let\sm@raise\lthick
\def\g@sm{\g@all{1.1\interligne}}%
\def\g@smw{\g@all{1.3\interligne}}%
\def\smqu#1{\getn@i{#1}\def\n@fon{\smqu}\global\n@raise=\sm@raise\def\n@sym{\sm@
qu}\g@sm}%
\def\smql#1{\getn@i{#1}\def\n@fon{\smql}\global\n@raise=\sm@raise\def\n@sym{\sm@
ql}\g@sm}%
\def\smhu#1{\getn@i{#1}\def\n@fon{\smhu}\global\n@raise=\sm@raise\def\n@sym{\sm@
hu}\g@sm}%
\def\smhl#1{\getn@i{#1}\def\n@fon{\smhl}\global\n@raise=\sm@raise\def\n@sym{\sm@
hl}\g@sm}%
\def\smwh#1{\getn@i{#1}\def\n@fon{\smwh}\global\n@raise=\sm@raise\def\n@sym{\sm@
wh}\g@smw}%
%
% This skip aligns some ornaments which appear not to be centred precisely
% on the notes
\def\o@skp{\hskip-.5\hd@skip}

% \turn p      makes a turn             symbol at pitch p, causing no space
% \backturn p  makes a backward turn    symbol at pitch p, causing no space
% \ttrill p    makes a terminated trill ...
% \coda p      makes a coda             ...
% \segno p     makes the special "S"    ...
\def\turn#1{\zcharnote{#1}{\o@skp\musicxx\char"44}}
\def\backturn#1{\zcharnote{#1}{\o@skp\musicxx\char"43}}
\def\ttrill#1{\zcharnote{#1}{\o@skp\musicxx\char"58\dimen@4.6pt%
   \advance\dimen@-1.5\internote\tenrm\lower\dimen@\hbox{'}}}
\def\coda#1{\zcharnote{#1}{\o@skp\musicxx\char"55}}
\def\segno#1{\zcharnote{#1}{\o@skp\musicxx\char"56}}

% J.P. Rameau indicated "arpegements" by drawing oblique strokes through the
% note stems.
% \downarpeg p  is written just before the note at pitch p with its stem
%               pointing up in order to indicate a descending arpeggio
% \uparpeg p    is written just before the note at pitch p with its stem
%               pointing down in order to indicate an ascending arpeggio

\font\linew=linew10 %would be nice to have slightly shorter lines...
\def\downarpeg#1{\getn@i{#1}\advance\n@i by3\raise\n@i\internote
 \rlap{\linew\char"61}}
\def\uparpeg#1{\getn@i{#1}\advance\n@i by-3\raise\n@i\internote
 \rlap{\linew\char"21}}

% \qqs is a demi-semiquaver rest
\def\qqs{\charnote0{{\musicxx\char"41}}}

% These macros change context while forbidding line breaks
\def\xchangecontext{{\def\updatecontext{\x@updatecon}\changecontext}}
\def\xChangecontext{{\def\updatecontext{\x@updatecon}\Changecontext}}