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musictex.502
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MUSICDOC.TOC
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\contentsline {chapter}{\numberline {1}What is MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\ ?}{4}
\contentsline {section}{\numberline {1.1}MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\ principal features}{4}
\contentsline {subsection}{\numberline {1.1.1}Music typesetting is two-dimensional}{4}
\contentsline {subsection}{\numberline {1.1.2}The spacing of the notes}{5}
\contentsline {subsection}{\numberline {1.1.3}Music tokens, rather than a readymade generator}{6}
\contentsline {subsection}{\numberline {1.1.4}Beams}{7}
\contentsline {subsection}{\numberline {1.1.5}Setting anything on the score}{7}
\contentsline {section}{\numberline {1.2}A simple example}{7}
\contentsline {section}{\numberline {1.3}Some highlights}{8}
\contentsline {subsection}{\numberline {1.3.1}Signatures}{8}
\contentsline {subsection}{\numberline {1.3.2}Transposition}{8}
\contentsline {subsection}{\numberline {1.3.3}Selecting special instrument scores}{8}
\contentsline {section}{\numberline {1.4}How to get it}{8}
\contentsline {section}{\numberline {1.5}Enhancements}{9}
\contentsline {subsection}{\numberline {1.5.1}Recent easy enhancements}{9}
\contentsline {subsection}{\numberline {1.5.2}The tie/slur problem}{9}
\contentsline {subsection}{\numberline {1.5.3}Enhancement limitations}{10}
\contentsline {section}{\numberline {1.6}Acknowledgements}{10}
\contentsline {chapter}{\numberline {2}Practical use}{11}
\contentsline {section}{\numberline {2.1}Heading statements}{11}
\contentsline {section}{\numberline {2.2}Before you begin to write notes}{11}
\contentsline {subsection}{\numberline {2.2.1}Instrument names}{13}
\contentsline {subsection}{\numberline {2.2.2}Polyphonic songs}{13}
\contentsline {section}{\numberline {2.3}Starting your masterpiece}{13}
\contentsline {subsection}{\numberline {2.3.1}Typing the first system}{13}
\contentsline {subsection}{\numberline {2.3.2}Easy selecting note spacing}{13}
\contentsline {section}{\numberline {2.4}Note pitch specification}{14}
\contentsline {section}{\numberline {2.5}Writing notes}{14}
\contentsline {subsection}{\numberline {2.5.1}Single (spacing) notes}{15}
\contentsline {subsection}{\numberline {2.5.2}Non-spacing (chord) notes}{15}
\contentsline {subsection}{\numberline {2.5.3}Shifted non-spacing (chord) heads}{16}
\contentsline {subsection}{\numberline {2.5.4}Shifted notes}{16}
\contentsline {subsection}{\numberline {2.5.5}Non-spacing single notes}{16}
\contentsline {subsection}{\numberline {2.5.6}Pointed notes}{16}
\contentsline {section}{\numberline {2.6}Beams}{17}
\contentsline {subsection}{\numberline {2.6.1}Fixed slope beams}{17}
\contentsline {subsection}{\numberline {2.6.2}Repeated pattern beams}{19}
\contentsline {subsection}{\numberline {2.6.3}Semi-automatic beams}{20}
\contentsline {section}{\numberline {2.7}Rests}{20}
\contentsline {subsection}{\numberline {2.7.1}ordinary rests}{20}
\contentsline {subsection}{\numberline {2.7.2}Lifted rests}{20}
\contentsline {section}{\numberline {2.8}Phantom notes}{21}
\contentsline {section}{\numberline {2.9}Collective coding: sequences of notes}{21}
\contentsline {section}{\numberline {2.10}Accidentals}{22}
\contentsline {section}{\numberline {2.11}Transposition and octaviation}{22}
\contentsline {section}{\numberline {2.12}Ties and slurs}{24}
\contentsline {subsection}{\numberline {2.12.1}Standard and nicer slurs}{24}
\contentsline {subsection}{\numberline {2.12.2}Problem with large slur ends}{25}
\contentsline {subsection}{\numberline {2.12.3}Weird slurs and ties}{25}
\contentsline {subsection}{\numberline {2.12.4}Refined slurs for clever typesetters}{26}
\contentsline {section}{\numberline {2.13}Bars}{26}
\contentsline {subsection}{\numberline {2.13.1}Bars and spacing}{26}
\contentsline {subsection}{\numberline {2.13.2}Bar numbering}{27}
\contentsline {subsection}{\numberline {2.13.3}Full and instrument divided bars}{27}
\contentsline {section}{\numberline {2.14}Line and page breaking}{27}
\contentsline {section}{\numberline {2.15}Changing score attributes}{28}
\contentsline {section}{\numberline {2.16}Repeats}{30}
\contentsline {subsection}{\numberline {2.16.1}Elementary and unsafe solutions}{30}
\contentsline {subsection}{\numberline {2.16.2}Safe and correct coding}{31}
\contentsline {subsection}{\numberline {2.16.3}Specific first and second pass scoring}{31}
\contentsline {subsection}{\numberline {2.16.4}Large scope repeats}{32}
\contentsline {section}{\numberline {2.17}Miscellaneous}{32}
\contentsline {subsection}{\numberline {2.17.1}Putting anything anywhere}{32}
\contentsline {subsection}{\numberline {2.17.2}Metronomic indications}{32}
\contentsline {subsection}{\numberline {2.17.3}Usual ornaments}{33}
\contentsline {subsection}{\numberline {2.17.4}New line synchronization of coding}{34}
\contentsline {subsection}{\numberline {2.17.5}Beams across bars}{35}
\contentsline {section}{\numberline {2.18}Small and tiny notes}{36}
\contentsline {subsection}{\numberline {2.18.1}Cadenzas and explicit ornaments}{36}
\contentsline {subsection}{\numberline {2.18.2}Grace notes}{37}
\contentsline {subsection}{\numberline {2.18.3}Gregorian note shapes}{38}
\contentsline {subsection}{\numberline {2.18.4}Percussion note shapes}{38}
\contentsline {section}{\numberline {2.19}Staff size}{39}
\contentsline {subsection}{\numberline {2.19.1}Moving from 20pt to 16pt general staff sizes and conversely}{39}
\contentsline {subsection}{\numberline {2.19.2}Changing staff size for certain instruments}{39}
\contentsline {section}{\numberline {2.20}Layout parameters}{40}
\contentsline {subsection}{\numberline {2.20.1}List of layout parameters}{40}
\contentsline {subsection}{\numberline {2.20.2}Changing layout parameters}{42}
\contentsline {subsection}{\numberline {2.20.3}Changing the vertical distance between consecutive systems}{43}
\contentsline {subsection}{\numberline {2.20.4}Changing staff distance within systems}{43}
\contentsline {subsection}{\numberline {2.20.5}Changing the number of lines in staffs}{43}
\contentsline {subsection}{\numberline {2.20.6}Resetting normal layout parameters}{44}
\contentsline {subsection}{\numberline {2.20.7}Typesetting one-line excerpts rather than larges scores}{44}
\contentsline {subsection}{\numberline {2.20.8}Lyrics}{44}
\contentsline {section}{\numberline {2.21}Other special ornaments}{44}
\contentsline {section}{\numberline {2.22}Abnormal music coding}{45}
\contentsline {subsection}{\numberline {2.22.1}Gregorian chant}{45}
\contentsline {subsection}{\numberline {2.22.2}Music score without clefs or with special clefs}{45}
\contentsline {subsection}{\numberline {2.22.3}Usual percussion music}{46}
\contentsline {section}{\numberline {2.23}Writing your own macros: the {\pnormalshape \pmediumseries \ptt \char '134catcode} problems}{47}
\contentsline {section}{\numberline {2.24}MusiclaT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX}{48}
\contentsline {subsection}{\numberline {2.24.1}The {\ptt musictex.sty} style}{48}
\contentsline {subsection}{\numberline {2.24.2}Wide music in \p@LaTeX }{48}
\contentsline {subsection}{\numberline {2.24.3}The {\pnormalshape \pmediumseries \ptt \char '134catcode} problems}{48}
\contentsline {section}{\numberline {2.25}Implementation and restrictions}{49}
\contentsline {chapter}{\numberline {3}Installation}{50}
\contentsline {chapter}{\numberline {4}Index}{51}
\contentsline {chapter}{\numberline {5}Examples}{57}
\contentsline {chapter}{\numberline {6}Summary of denotations}{58}
\contentsline {section}{\numberline {6.1}Pitches}{58}
\contentsline {section}{\numberline {6.2}Notes and Rests}{58}
\contentsline {section}{\numberline {6.3}Other symbols}{59}