Re: [Tex-music] Dashed crescendo
Am 08.05.2021 um 09:41:25 schrieb Rodolfo Medina: > [...] > Rainer's example seems to be precise in placement, and besides has the > advantage that in \setlyrics the items don't need to be equal to the number of > notes they span. > > Two issues though: suppose I have a piano score i.e. two staves per one > instrument; and suppose that I want to repeat the crescendo in another place > of > the score: I get error as shown in test2.tex. In this case, itʼs easier and more flexible to not set the "cresc." label within \setlyrics. Instead, leave the text in \setlyrics empty and post the "cresc." directly as part of the notes coding. That way, you can post arbitrarily many such markers (with individual text if necessary) without having to prepare them at a central place (i.e., \setlyrics). See the attaced example test2.1. (I had expected that it works without the explicit \lyrruleend commands, but they seem to be necessary to continue the dash sequence across line breaks ...) Regards, Rainer test2.1.tex Description: TeX document --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to https://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] Dashed crescendo (was: Dotted crescendo)
Am 07.05.2021 um 16:24:18 schrieb Rodolfo Medina:
> The following minimal attached example, to be processed with simply
> [...]
> seems to do quite a little what I want except that I don't manage to start the
> crescendo exactly where I want: suppose I want it to start in the middle of
> the
> measure: I don't manage to do that. It *will* start just at the beginning of
> measure. Please help.
For me, this works best ...
Regards, Rainer
%%%
\input musixtex
\input musixlyr
% all preparations in the preamble
\setlyrics{cresc1}{cresc.-{}} % empty syllable "anchors" the hypenation end
\assignlyrics1{cresc1}
\setsongraise1{-1\Interligne}
\def\lyrhyphenchar{\_}
\minmulthyphens8mm
\startpiece
\notes
\lyricsoff % no lyrics at every note automatically
\qu{abcd}%
\en
\bar %2
\notes
\qu{abcd}%
\en
\bar %3
\notes
\qu{abcd}%
\en
\bar %4
\notes
\qu{abcd}%
\en
\bar %5
\notes
\qu{abcd}%
\en
\bar %6
\notes
\qu{abcd}%
\en
\bar %7
\notes
\qu{abcd}%
\en
\bar %8
\notes
\qu{abcd}%
\en
\bar %9
\notes
\qu{abcd}%
\en
\bar %10
\notes
\qu{ab}%
\llyr\lyrrule\lyr % left-aligned "cresc." at following note
\qu{cd}%
\en
\bar %11
\notes
\qu{abcd}%
\en
\bar %12
\notes
\qu{abcd}%
\en
\bar %13
\notes
\qu{abcd}%
\en
\bar %14
\notes
\qu{abcd}%
\en
\bar %15
\notes
\qu{abcd}%
\en
\bar %16
\notes
\qu{abcd}%
\en
\bar %17
\notes
\qu{abcd}%
\en
\znotes\lyrruleend\lyr\en % empty syllable finishes hyphens just at the barline
\bar %18
\notes
\qu{abcd}%
\en
\bar %19
\notes
\qu{abcd}%
\en
\bar %20
\notes
\qu{abcd}%
\en
\bar %21
\notes
\qu{abcd}%
\en
\Endpiece
\vfill\eject\end
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Re: [Tex-music] musixlyr # musixtnt
Hi Bob!
Am 27.01.2015 schrieb Bob Tennent:
Hi all. I'm finding that musixtnt.tex (which provides a
user-friendly macro \TransformNotes that re-defines \vnotes)
is incompatible with musixlyr.tex.
[...]
I don't have sufficient TeXpertise to follow what
musixlyr.tex does (and the comments are in German, which I
don't read). I've sent a message to Rainer Dunker but have
had no reply.
Sorry for both the German comments and for not having replied yet. Only
yesterday I had time to have a closer look at the problem.
In the TransformNotes manual, you say: It is essential that every
\znotes, \notes, \Notes, \NOtes, etc. command in the score match the
pattern of the first argument to \TransformNotes exactly. That's what
leads to the incompatibility with musixlyr.tex. See this minimized
example:
\input musixtex \input musixtnt
\instrumentnumber2
\startpiece
\TransformNotes{#2#3}{#3#2}%
\NOtes\qa g\qa h\en
\endpiece\end
Everything's fine here. But what about using macros for your notes
material:
\input musixtex \input musixtnt
\instrumentnumber2
\startpiece
\TransformNotes{#2#3}{#3#2}%
\def\theNotes{\qa g\qa h}%
\NOtes\theNotes\en
\endpiece\end
That no longer works because your redefinition of \vnotes in musixtnt.tex ...
\def\vnotes##1\elemskip#1\en{\noteskip##1\@l@mskip\@vnotes#2\en}
... expects to find the ''s literally within the \NOtes...\en sequence.
The same happens if musixlyr is engaged. At the end of each staff
system, musixlyr has to take care of pending hyphenations and word
continuation underlines in case a multi-syllable word or a melisma spans
across the system break, as in this example:
\input musixtex \input musixlyr
\setlyrics{S}{Mu-sic} \assignlyrics1{S}
\startpiece\addspace\afterruleskip
\NOtes\qa g\en
\alaligne
\NOtes\qa g\en
\endpiece\end
musixlyr does so by silently adding a \znotesdo hyphens and underlines\en
sequence right before MusiXTeX really finishes the system. The do
hyphens and underlines loops over all existing instruments and staves;
the involved ''s are therefore buried deeply inside stacked macros (see
\def\sysend@lyrics and the related definitions in musixlyr.tex).
The \TransformNotes-altered \vnotes would thus never see any '' in its
argument stream and therefore quits with a runaway argument error.
(Precisely, musixlyr's \sysend@lyrics@instrum@loop macro doesn't even
use '' but its alias \nextinstrument instead. This could be changed but
wouldn't help to solve the problem.)
This really seems to be a dilemma. \TransformNotes can't simply ignore
musixlyr's system ending activites, otherwise continued hyphens and
underlines would appear at the wrong place or not at all. And musixlyr
must use macros inside its \znotes...\en because it has to loop
dynamically over the present instruments and staves.
I experimented a bit with a redefinition of \znotes involving
\expandafter or \edef, hoping to help the ''s reach the surface of the
token stream that \vnotes gets as its argument--like this ...
\gdef\TransformNotes#1#2{%
\def\vnotes##1\elemskip#1\en{\noteskip##1\@l@mskip\@vnotes#2\en}%
\def\znotes{\expandafter\vnotes\expandafter0\expandafter\elemskip}%
}
... but without success: \expandafter does just a single level of macro
expansion which is insufficient to unwrap the ''s that musixlyr's
\sysend@lyrics generates, and \edef gobbles them up long before \vnotes
would see them in its argument.
I've no more ideas how to solve this incompatibility. But maybe this
information is helpful for you somehow.
Oh, wait ... another thought just comes up: You could perhaps rescue the
matter by replacing musixlyr's definition of the dynamic system-ending
loop by a static one that's adapted to the current instrument
configuration. This is the decisive definition in musixlyr.tex:
\def\z@suspend{%
\znotes\sysend@lyrics\empty\en
\znotes\sysend@lyrics\auxlyr\en
\@orig@z@suspend}
(Here you can see the problematic \sysend@lyrics macro calls within
\znotes.) You could replace it by something like this (in this
example, for 2 single-staff instruments):
\def\z@suspend{%
\znotes\sysend@lyrics@for@one@instrum %
\sysend@lyrics@for@one@instrum \en
\@orig@z@suspend}
This is, of course, not yet ready-to-use and would have to be further
developed. But it _should_ help because the necessary ''s occur
literally in \znotes...\en. The major drawback would be, of course, that
the user would have to make this definition in his score source file.
That is ... unless we could find a smart way to assemble that macro
definition programmatically within \TransformNotes, but that seems to be
a real challenge (involving many \expandafters and \noexpands). Do you
think that's the way to go?
Best regards,
Rainer
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Re: [Tex-music] Wrong lyrics adjustments with hyphens
Sorry--once again, now _with_ the promised attachment ...
Am 18.08.2011 schrieb Rainer Dunker:
Hello Dirk!
Am 16.08.2011 schrieb Dirk Laurie:
On Tue, Aug 16, 2011 at 03:55:06PM +0200, Rainer Dunker wrote:
[...]
\\\def\atnextline{\mtxLyricsAdjust{1}{-9}}\ a4 } a a a |
Ouch! This is definitely the sort of thing that M-Tx was designed
to avoid. Would it in other situations also be right to do that,
or only in this one?
I'd say it would be wrong to do that always. See the Winter ade
example in the musixlyr documentation: There, a double-line lyrics
section is continued with a single lyrics line in mid-system; you can't
delay the vertical shift up to the system end in this case.
If not so, can one identify the situation
automatically so that M-Tx itself puts this in when needed?
On the one hand, yes: If the vertical lyrics shift occurs after the last
note of the pending system, it should be synchonized with the system
break. But, as far as I unterstand, M-Tx doesn't know where the system
break will happen--PMX is the earliest processing stage where this
information is available. Therefore, the M-Tx processor itself has no
chance to detect the situation. (Right?)
But maybe the \mtxLyricsAdjust command could be empowered to detect
its own calling context. This TeX macro, inserted by M-Tx into the
output literally, is executed by TeX _after_ PMX has decided about the
system breaks. Maybe, with a bit of luck, it could grasp this
information somehow and use it for a proper vertical lyrics shift.
I had a look in the .tex file resulting from Simon's problem example and
noticed that both \mtxLyricsAdjust calls (generated by M-Tx) occur right
before the \alaligne calls (generated by PMX). Assumed that this is
always the case, \mtxLyricsAdjust could look ahead for the TeX command
directly following it (using TeX's \futurelet command), and if it finds
\alaligne, it knows that the lyrics shift occurs at a system break,
otherwise not.
Although this appears to be a really dirty and fragile solution, at
least I managed to put it all together into a working example
(attached to this message). But I'm far from sure whether this would
work in every case and would not raise unwanted side effects
(especially due to the uncumulative use of \atnextline).
Could you please have a look at it and evaluate whether it is generally
feasible? If you conclude that it's not, I may dig into musixlyr again
to see whether it can be made more aware of such vertical shifts and to
react properly itself, but I guess this would be so intricate that a
workaround for those rare problematic cases would still be more
appropriate.
Best regards,
Rainer
Systems: 2
Style: Singer
%%\let\mtxLyricsAdjustOrig\mtxLyricsAdjust
%%\def\mtxLyricsAdjust#1#2{%
%% \def\mtxLyricsAdjustArgOne{#1}%
%% \def\mtxLyricsAdjustArgTwo{#2}%
%% \futurelet\mtxLyricsAdjustNextToken\mtxLyricsAdjustInternal
%%}
%%\def\mtxLyricsAdjustInternal{%
%% \ifx\mtxLyricsAdjustNextToken\alaligne
%%\def\atnextline{%
%% \mtxLyricsAdjustOrig\mtxLyricsAdjustArgOne\mtxLyricsAdjustArgTwo}%
%% \else
%%\mtxLyricsAdjustOrig\mtxLyricsAdjustArgOne\mtxLyricsAdjustArgTwo%
%% \fi
%%}
@-2 g g g g | g @+4 g g g | @-4 g g g g | g g g g
L: bla bla bla bla bla bla bla bla-bla bla bla bla bla bla bla bla
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Re: [Tex-music] Wrong lyrics adjustments with hyphens
Hello Simon!
Am 01.08.2011 schrieb Simon Dreher:
I get a strange behavior of the lyrics placement when I adjust the
vertical position at a new line:
The hyphens or melisma at the end of the old line already gets shifted
as if it were on the new line after the vertical shift. You can see this
in the example below at the end of the 4th and 5th system. How can I
correct this strange behavior?
This is due to a quite fundamental difficulty concerning the
synchronization of lyrics layout changes at system breaks. Recently,
Hermann Hinsch had similar problems with the same cause.
In every such case, this is the situation: You want to change the lyrics
layout at the beginning of a new system. You thus place the respective
command (e.g., \setsongraise) _after_ the last note of the pending
system but _before_ the system break command (normally \alaligne). This
seems correct only at the first glance; instead, musixlyr has to act on
the lyrics of the pending system even _after_ the final note is
processed. More precisely, it adds trailing hyphen sequences and lyrics
extension underlines, and it does so during the processing of the
\alaligne command. If the \setsongraise-or-whatever has occurred already
before \alaligne, the hyphens or underlines appear at the new vertical
position that is meant only for the next system.
Using plain MusiXTeX, the proper solution is easy: Wrap the lyrics
layout change in \def\atnextline{...}--that way, the change is made
effective at exactly the right processing stage.
But what to do using M-Tx? Since vertical lyrics shifting is a built-in
language element, you can't influence its function directly. From my
point of view, M-Tx itself should use \atnextline here (but that would
be more complicated since such vertical shifting could also occur in the
middle of a system; a distinction would thus be necessary). For you
as the M-Tx user, the only workaround I can think of is: Instead of
M-Tx's lyrics shifting command @+x, use PMX inline-TeX commands
properly. For example, change your M-Tx input line
@-2 a4 } a a a |
to:
\\\def\atnextline{\mtxLyricsAdjust{1}{-9}}\ a4 } a a a |
(This works for me, at least.) \mtxLyricsAdjust{1}{-9} is
literally what M-Tx outputs for @-2, so it should do the right thing;
putting it into \atnextline makes it perform at the right moment.
However, you do have to pay attention to the shifting amount. M-Tx's '@'
command uses relative numbers and translates them to absolute
positioning numbers for \mtxLyricsAdjust. In the example case, the
absolute position was -7 before the change, and the relative change by
-2 turns it into -9. Later in your input file, when shifting back by
@+2, you have to specify absolute position -7 again.
Hope that works,
Rainer
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Re: [Tex-music] Wrong lyrics adjustments with hyphens
Hello Simon! -Ursprüngliche Nachricht- Von: Simon Dreher simon.dre...@gmx.net Gesendet: 01.08.11 00:47:44 An: Werner Icking Music Archive tex-music@tug.org Betreff: [Tex-music] Wrong lyrics adjustments with hyphens Hello, I get a strange behavior of the lyrics placement when I adjust the vertical position at a new line: The hyphens or melisma at the end of the old line already gets shifted as if it were on the new line after the vertical shift. [...] I'm sure I can tell something meaningful about that, but since I'm on holiday for two weeks, please be patient a bit ... Best regards, Rainer --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] M-Tx, PMX change the number of staves per system
Hello Don and Hermann!
Am 04.02.2011 schrieb dsim...@roadrunner.com:
Hermann Hinsch posted a problem with an M-Tx-originated PMX source.
I've discovered that the following simpler code duplicates the
problem. Just comment out \input musixlyr and the vertical spacing
between first 2 systems on p. 2 becomes much better, even though NONE
of the macros defined in musixlyr.tex is used. Can anyone (Rainer
Dunker where are you?) figure out what's going on??? And if so, maybe
devise inline tex to cancel the effect?
I'm still here, but am quite silent for a longer time now because I'm no
longer actively using MusiXTeX and friends myself.
The problem in question here is really interesting. From my point of
view, it is due to a bad synchronization of the instrument number change
with the line break. I'll try to explain:
At each line ending, musixlyr has to perform some actions that must
occur _after_ all notes of the line have been set; specifically, it has
to typeset underscores and hyphen sequences at melismas that continue in
the next line. To make these actions take place at the very end of the
current line's processing, their function call is injected in MusiXTeX's
\stoppiece macro (somehow ...).
Now, PMX obviously does instrument number changes by means of its
\newnoi macro, which in turn wraps the number change in \atnextbar. But
that's too early for musixlyr to function properly: \atnextbar is
executed prior to \stoppiece - that is, when musixlyr starts its
line-ending processing, the instrument number is already changed! That
makes musixlyr believe that the current system has 5, not 2 instruments,
thus it does some invisible typesetting (don't remember what exactly)
for 5 instruments instead of 2, and the 2-instrument system takes as
much vertical space as a 5-instrument system - and that's the reason for
the effect we're seeing here.
So, how to solve this? From musixlyr's point of view, the most proper
way would be to make the instrument number change happen only _after_
the current system is really finished. My suggestion is: Let \newnoi
wrap the \def\nbinstruments call in \atnextline instead of \atnextbar -
as I understand, that's the proper place for such a system-affecting
change anyway.
But then there's still another issue: PMX's \newmovement macro - which
is calles subsequently at the system break in question - replaces
\contpiece by \startpiece to initiate the next system, but \startpiece
does _not_ call \atnextline implicitly. To solve this, I suggest to
insert an explicit \atnextline call into \newmovement, right before it
calls \startpiece.
A test with your example shows that these two changes solve the current
problem, but of course I don't know whether they would cause any
unwanted side effects. Therefore I must leave it up to you to judge
whether my suggestions are a real solution.
For your reference, I've put the described changes in a .mod file that
you can use along with your original example. I attach it here as a MIME
attachment to protect it from false line breaking.
Best regards,
Rainer
%
% \newnoi changes the number of instruments. To make musixlyr's line-ending
% actions work properly, this should be done using \atnextline instead of
% \atnextbar.
%
\def\newnoi#1{\let\atnl\atnextline\def\atnextline{\atnl\def\nbinstruments{#1}}}
%
% This is taken literally from pmx.tex and changed only by the insertion
% marked below.
%
\def\newmovement#1#2{\let\holdstop\stoppiece\let\holdcont\contpiece%
\ifcase#2\def\endset{\setdoubleBAR}\or\def\endset{\setdoublebar}\or%
%\def\endset{\setrightrepeat}\or\def\endset{\empty}\fi%
\def\endset{\setrightrepeat}\or\def\endset{\empty}%
\or\def\endset{\empty}\fi%
\def\stoppiece{\endset%
%
%+++
\ifnum#2=4\zstoppiece\else%
%+++
%
\holdstop%
%
%+++
\fi%
%+++
%
\vskip#1\internote%
\let\stoppiece\holdstop}%
\def\contpiece{%
%
% INSERTION: Contrary to \contpiece, \startpiece does not execute
% \atnextline; since \contpiece is replaced by \startpiece here,
% \atnextline has to be called explicitly to execute the
% instrument number change.
% The \atnextline call and reset ist taken literally from musixtex.tex's
% \piece@conta macro.
%
\atnextline \let\atnextline\empty
%
% END OF INSERTION
%
\startpiece\addspace\afterruleskip\let\contpiece\holdcont}%
}%
%
% Some lyrics stuff to prove whether musixlyr works properly across
% the instrument number changes. It sets no reasonable lyrics but
% challenges musixlyr's line-ending actions by filling the whole piece
% with an long sequence of hyphens.
%
\setlyrics1{a__-b}
\setlyrics2{a__-b}
\assignlyrics11
\assignlyrics52
\lyrraise1{b-1.5em}
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Re: [TeX-Music] Line breaking (was: kein Betreff)
On Wed, Jul 16, 2008 at 03:40:00PM +0200, Stefan Stefinsky wrote: what's abaut using \alaligne instead of \bar whithin \startpiece... \endpiece, it should force a linebreak. Yeah, of course you're right - although, in this case, it should be \zalaligne, in order to avoid the barline at the line break. I don't remember why this obvious solution didn't come to my mind ... Best regards, Rainer You mean, you want a linke break in the middle of that bar? Then say \zstoppiece\contpiece at the location where the break shall occur. ___ TeX-music mailing list [EMAIL PROTECTED] http://mailman.daimi.au.dk/mailman/listinfo/tex-music
Re: [TeX-Music] Song with two lines cause repeat and singel lines
Hello Thomas!
On Sun, Jul 27, 2008 at 11:31:35AM +0200, [EMAIL PROTECTED] wrote:
i have an song with an repeat sign. Infront of the repeat sign i should
have 2 text lines and after the repeat lines i need only one single
textline. How could i code this? Does somone have an simple code
example?
Using plain MusiXTeX instead of M-Tx, this is done simply by reassigning
the lyrics lines at the repeat sign - as in this example:
8-
\input musixtex
\input musixlyr
\generalmeter{\meterfrac34}
\generalsignature2
\setsongraise1{-2mm}
\setlyrics{repeat1}{Win-ter a-de,}
\setlyrics{repeat2}{schei-den tut weh,}
\setlyrics{follow}{a-ber dein Schei-den macht,}
\assignlyrics1{repeat1,repeat2} % we start with two lyrics lines
\startextract
\NOtes\qa{ffe}\en\bar
\NOTesp\hup d\en\rightrepeat
\assignlyrics1{follow}% continue with single follow-up lyrics line
\NOtes\qa{fgh}\en\bar
\NOtes\qa h\en
\Notes\beginmel\Ibu0gf1\qb0g\endmel\tqh0f\en
\NOtes\qa g\en
\endextract
\bye
8-
The single lyrics line after the repeat sign is then vertically centered
around the previous block of multiple lyrics lines. This is appropriate
for chorus lyrics that follow a set of verses, but if all lyrics belong to
a single verse only, you may rather wish to have the lyrics continuation
bottom-aligned with the lower lyrics line before the repeat sign. There
are several ways to achive this; for example:
8-
\input musixtex
\input musixlyr
\generalmeter{\meterfrac34}
\generalsignature2
\setsongraise1{-2mm}
\setlyrics{line1}{Win-ter a-de,}
\setlyrics{line2}{schei-den tut weh, a-ber dein Schei-den_ macht,}
\assignlyrics1{line1,line2} % this assignment is in effect
% throughout the piece
\startextract
\NOtes\qa{ffe}\en\bar
\NOTesp\hup d\en\rightrepeat
\verses{\lyricsoff}% switch off the incomplete upper lyrics line;
% nevertheless, it still occupies vertical space,
% forcing bottom-alignment of the lower lyrics line
\NOtes\qa{fgh}\en\bar
\NOtes\qa h\en
\Notes\Ibu0gf1\qb0g\tqh0f\en
\NOtes\qa g\en
\endextract
\bye
8-
Best regards,
Rainer
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Re: [TeX-Music] Wie bekomme ich eine russische Sprachs pur eingefügt?
Hello Thomas!
On Tue, Jul 22, 2008 at 10:29:33PM +0200, [EMAIL PROTECTED] wrote:
Hallo ich würde gerne wissen, was diese zwei Zeilen bedeuten.
[...]
\setsongraise1{2\Interligne}
Normally, musixlyr aligns lyrics vertically so that they are in the middle
of the space between the surrounding staves - or in the middle of the
bottom margin of a system, if the lyrics are below the bottommost staff of
that system. \setsongraise adds an offset to this default alignment; in
the example above, it lifts the lyrics attached to the first instrument by
twice the distance between normal-sized staff lines (= 2\Interligne).
Dann möchte ich unter dem Deutschen Liedtext die russische Übersetzung
schreiben, aber wie?
Es soll dann auch genügend Platz zwischen den Liedzeilen sein.
Setting the verse in two languages is done like this:
\setlyrics{german}{Ger-man}
\setlyrics{russian}{Russ-ian}
\assignlyrics1{german,russian}
(But don't ask me about using cyrillic letters in TeX/LaTeX!)
To make enough vertical room for multiple verses below the staff, you can
use \staffbotmarg=10pt (for example). You'll probably have to experiment a
bit with \setsongraise and \staffbotmarg in order to achive a neatly
spaced result.
Best regards,
Rainer
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[TeX-Music] Line breaking (was: kein Betreff)
On Mon, Jul 14, 2008 at 07:02:26PM +0200, Thomas Albrecht wrote:
here I have a code of an song, but how i can split it into more lines?
[...]
\startextract
Using \startextract...\endextract instead of \startpiece...\endpiece
forces the whole piece into a single line; this is meant for short
musical fragments (extracts) interspersed in normal text, as they
occur in musicological articles, for example. It also suppresses the
musixflx spacing function and sets the notes as tight as specified by
the \notes, \NOtes, etc. commands used. Therefore, to enable line
breaking in your piece, simply use \startpiece...\endpiece instead of
\startextract...\endextract.
[...]
% Here i want a new line but how??? \generalmeter{\meterfrac44} should
deactivated in the following
%lines. But how could I deactivated it?
You mean, you want a linke break in the middle of that bar? Then say
\zstoppiece\contpiece
at the location where the break shall occur.
Best regards,
Rainer
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Re: [TeX-Music] musixtex -- making very short stems
Hello André!
On Mon, Apr 07, 2008 at 06:53:58AM +0200, Andre Van Ryckeghem wrote:
This sounds a little bit silly, but i need short stems for some notes in for
a score of (gregorian) psalms.
But for the lower notes, the stem reaches to the middle of the staff.
[...]
1 1
2 4 2 4
0.0 0
1 1 20 0.0
t
.\
\\def\QU{\stemlength{1.5}\def\cu{\qu}}\
\QU\ c84 da e fa | \QU\ g aa bu cua | \QU\ du eua fu gua /
===
\stdstemfalse seems to do that trick:
8
1 1
2 4 2 4
0.0 0
1 1 20 0.0
t
.\
\\def\QU{\stemlength{1.5}\def\cu{\stdstemfalse\qu}}\
\QU\ c84 da e fa | \QU\ g aa bu cua | \QU\ du eua fu gua /
8
Best regards,
Rainer
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Re: [TeX-Music] musixlyr: line breaks in a \setlyrics
Hello André and Jean-Pierre,
sorry for my late answer ... Nevertheless, best wishes for the new year!
On Tue, Dec 04, 2007 at 09:26:23AM +0100, Jean-Pierre Coulon wrote:
Perhaps you want somthing like this? (I use the tilde for a 'blanc word')
Almost :-) \setlyrics{cf}{~ con-fuoco- ~ senza-fuoco- ~ ~}
In fact, \setlyrics expects to find just something after each hyphen,
whereas a blank space counts as really nothing. It may well be that
musixlyr's behaviour on con-fuoco- is useful for you, but that's
rather good luck than a reliable feature ... Therefore, setting a '~'
after the hyphen is much better than just a space, although I don't know
exactly how this influences the horizontal alignment of the right edge
of the sequence. Thus, if you are fussy about spacing, saying
con-fuoco-\empty{} is even more reliable than con-fuoco-~.
But often my lng sections of .. or empty sections will force me to
count the '~' very carefully!
Um ... no, if you keep using \lyricsoff at the beginning and placing
each anchor for the con fuoco statement manually by \lyr. See this
rather silly example:
8-
\input musixtex \input musixlyr
\setlyrics{cf}{con-fuoco-\empty{} senza-fuoco-\empty{}}
\assignlyrics1{cf} \def\lyrhyphenchar{.} \minmulthyphens1mm
\startpiece
\NOtes\lyricsoff\qa{cc}\lyr\qa{gc}%
\lyr\qa{gc}\lyr\qa{gcc}\en\bar
\NOtes\qa{ccc}\lyr\qa{g}\lyr\qa{gccc}\lyr\qa{gcc}\en
\stoppiece \end
8-
No matter how many notes are spanned by the text and the dots, you need
only one \lyr per word and one extra \lyr at the note where the dots
shall end.
By the way, you could make your coding even more readable by moving the
con fuoco ... senza fuoco text definition into the notes section of
your file - like this:
8
\input musixtex \input musixlyr
\setlyrics{cf}{} % empty here becaus text follows below
\assignlyrics1{cf} \def\lyrhyphenchar{.} \minmulthyphens1mm
\startpiece
\NOtes\lyricsoff
\qa{cc}%
\lyrich{con}\qa{gc}%
\lyrich{fuoco}\qa{gc}%
\lyric{}\qa{gcc}\en\bar % empty syllable terminates dots
\NOtes\qa{ccc}%
\lyrich{senza}\qa{g}%
\lyrich{fuoco}\qa{gccc}%
\lyric{}\qa{gcc}\en
\stoppiece \end
8
Best regards,
Rainer
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Re: [TeX-Music] Typesetting guitar/vocal music
Hello Don,
regarding your score of Last Thing on My Mind, let me please give you
some hints that make using musixlyr more fun.
You've used \empty{} in the lyrics wherever the text should skip over a
note. That's totally appropriate in the pickup bar since those notes are
really skipped over. But within a verse, skipping over a note is not
really what you do - instead, you span a syllable across multiple notes.
In musixlyr terms, this is expressed more appropriately by appending an
underscore to this syllable, e.g. sand,_. This way is better also
because it left-justifies the syllable and draws an extension
underline to indicate the range of notes the syllable covers. To span
over more than two notes, just add further underscores (e.g. mind__).
If the syllable is not the last one of a word, put the underscore(s)
in front of the hyphen (e.g. stead_-i-ly).
You've used \empty{} many times to make verses 2-4 silent at the
chorus. It's much easier to reassign the lyrics to the music at the
point where the chorus begins, leaving only verse 1 active. This way,
the \setlyrics of verses 2-4 can simply end where the verses naturally
end. Furthermore, the single remaining line of text is then vertically
centered in the space of the four verses. You do that with the command
\assignlyrics1{lesson1}% just before the first note of the chorus.
As soon as the chorus lyrics are vertically centered around the verses,
you can even make the transition between them nicer by inserting a big
right brace. (This is admittedly quite tricky; see the attached complete
example for the code.)
On Mon, Nov 26, 2007 at 09:20:44PM +1100, Don Gingrich wrote:
1) Same problem with needing to force the measures per line and
note to lyrics spacings more or less manually
That's a basic problem of musixlyr when the note spacing is generally
narrow and you have lots of text, i.e. few melismas. musixlyr has no
influence on MusiXTeX's spacing decisions - i.e. when the given notes
spacing is too tight for the lyrics to fit, everything is shifted
rightwards and looks more or less ugly. Your only chance to solve this
in a general way - i.e. without lots of manual corrections - is to
loosen the music spacing generously, utilizing the MusiXTeX commands
\mulooseness and/or \linegoal. If lyrics spacing is too narrow in a
certain portion of the piece only, you may also use \scale to widen up
the spacing only in that certain section. (Altering the spacing by
replacing, e.g, \Notes by \NOTes is rather not reasonable because their
effect is only relative to the spacing of the other notes.)
[...]
3) It would have been nice if I could have worked out a way to
reduce the inter-staff spacing for the chorus -- the musixlyr
documentation seemed to suggest that using \rlap would fix this
but either it only worked with the example provided or I've
missed something. I did try \stoppiece - \contpiece but I
was trying to put the chorus in a new lyric set -- I think
I needed to use \resetlyrics, but I didn't realise this. I may
try going back and having another try.
Sorry, these are misconceptions - neither \rlap nor \resetlyrics have
anything to do with vertical spacing. What you need here is
\staffbotmarg and/or \stafftopmarg to alter the spacing between systems,
maybe \lyrraise to raise or lower the chorus lyrics, and \atnextline to
synchronize such changes with the next line break.
Now, Last Thing... is OK except that I've got a BIG black line at
the end. I guess I could live with that. The lyric spacing still is
a bit big, though.
Well, the black line is simply due to those two lines in your .tex file:
\NOTEs\Dsev\qu d\qu c\qu b\qu a\en\setvolta{1.-3}
and
\raiseguitar{30}
Both of them should be terminated with a % sign to avoid spurious
horizontal space.
To put most of that together, I've applied the mentioned changes to your
example and attach the changed version here.
Best regards,
Rainer
lesson-too-late-crd_changed.tex
Description: TeX document
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Re: [TeX-Music] Separate bars with PMX
On Tue, Jul 31, 2007 at 07:45:20AM -0700, Don Simons wrote:
It looks like \sepmultibarrule{n} in musixdbr will do what you want. The
following mods to test.pmx work for me:
===
[...]
\\input musixdbr\
\\input curly\
[...]
\\indivbarrules\sepmultibarrule1\
\segno {11}\ \roffset{24}{\lmidstaff{\medtype\it Mouvement de Sarabande}}\
...
===
For some reason, if I don't \input curly, I get an error (Rainer?)
Hello Don,
same for me. If I remove the line \\input curly\ from the excerpt
above, the TeX logging output does _not_ indicate that musixdbr.tex is
read; instead, TeX stops processing, saying that \indivbarrules is
undefined.
From the example code without the \\input curly\, PMX produces a .tex
file that contains these lines:
\input musixdbr%
\indivbarrules\sepmultibarrule1%
Therefore I guess the problem is caused by the way the \input command
determines the end of the name of the file to be input. Since the name
musixdbr is immediately followed by '%', TeX apparently tries to
interpret the control sequence \indivbarrules in order to see whether
it is a macro whose expansion adds something to the filename. Since
\indivbarrules is still undefined at that time, the mentioned error
happens.
When I change \\input musixdbr\ to \\input musixdbr \, everything
works well - the trailing space apparently terminates the filename
cleanly and does not cause any unregistered space problem.
I've no clue, however, why \\input curly\ does not suffer from the
same problem.
Best regards,
Rainer
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Re: [TeX-Music] pmx - problem with curly.tex
On Fri, Jul 20, 2007 at 06:12:15PM +0200, Cornelius C. Noack wrote: I have a piece where organ alternates wit a capella song. I want to use 2 instruments of 1 staff for the a capella song and 1 instrument with 2staves for the organ. I did not manage it to get a new movement (L2M...) from 2 instruments, 1 staff to 1 instrument, 2 staves. So i use 2 instruments with 'curly.tex' - If using 'Av' in pmx the compilation crashes - omitting Av gives a result wher de accolade is not appropriate, see example [...] I just tried your piece. The result: (1) my PMX did NOT crash when I added Av (before the first line of notes, as should be) (2) with or without Av, the accolade (in the organ part) remained bad. Same result for me. I've noticed that PMX sets the \interstaff parameter in the resulting .tex file to a non-default value, and that curly.tex does not respect this parameter change. Thus I suggest the following patch to curly.tex: Replace [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED]@skip by: [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] With this change, the braces are set correctly in all my test examples, even if the size or the number of lines of the topmost braced staff are non-standard. Best regards, Rainer ___ TeX-music mailing list [EMAIL PROTECTED] http://mailman.daimi.au.dk/mailman/listinfo/tex-music
Re: [TeX-music] Howto create Jazz table in Latex ?
On Wed, Feb 14, 2007 at 08:38:29PM +0100, Yo wrote:
I'm a newbie in Latex and I'm looking for a latex package or a latex way
to create easily jazz table like this one for example:
http://www.manoucheries.com/grilleaff.php?id=1
It doesn't seem to exist in google or google/linux... Do you have an
idea on an easy way to write such a thing?
Just as a starting point - the basic way to set up such a table in LaTeX
would be:
\documentclass{article}
\begin{document}
\begin{tabular}{|c|c|}
\hline D$^7$ C-$^6$ \\
\hline (F$^7$)\% \\
\hline
\end{tabular}
\end{document}
Best regards,
Rainer
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Re: [TeX-music] Creating Macros for Pitches in MusiXTeX
Hello Doug!
On Sun, Dec 17, 2006 at 07:06:03PM -0500, [EMAIL PROTECTED] wrote:
How can I write a set of macros to stand in for pitches?
[...]
% Beamed pair: gracenoted, dotted eighth to gracenoted sixteenth
\def\gAgb#1#2#3#4#5{%
#4\ibl\beaml{#2}{#1}\qbp\beaml{#2}%
#5\tbbl\beaml\tbl\beaml\qb\beaml{#3}%
}
[...]
Instead, I would like to define a macro for each the nine
notes of the bagpipe, something like
\def\G{{!g}}\def\A{{!'a}} \def\b{{!'b}}
...and so on up through...
\def\g{{!'g}}\def\a{{!''a}}
Then I could write the measure without so many braces, exclamation
marks, and apostrophes, like this:
\def\measi{%
\gAgb{3}\d\e\throwd\grsk%
\gagb{-4}\d\A\throwd\gre%
}%
No matter how I try defining
\G \A \b \c etc., I get an error message. Passing absolute
style pitches like {!'a} and {!'b} works fine, but it is tedious.
Passing macro names (\G, \a, ...) as arguments to your \gAgb... macros
is not easily possible just because TeX does not expand them to their
definition before replacing the positional parameters #1, #2, ... with
them. Thus, \gAgb{3}\d\e... gets expanded to ...\ibl\beaml{\d}{3}...,
_not_ to ...\ibl\beaml{{!'b}}{3}... -- which makes the decisive
difference for the note pitch parsing that happens later in the macro
expansion process.
TeX offers the command \expandafter to change the order of macro
expansion the way you need; see the example (beware of unwanted line
breaks):
8---
\input musixtex
\def\beaml{0}
\def\gAgb#1#2#3#4#5{%
#4\expandafter\ibl\expandafter\beaml\expandafter{#2}{#1}%
\expandafter\qbp\expandafter\beaml\expandafter{#2}%
#5\tbbl\beaml\tbl\beaml%
\expandafter\qb\expandafter\beaml\expandafter{#3}%
}
\def\G{{!g}} \def\g{{!'g}}
\startextract
\NOtes\gAgb3\G\g{}{}\en
\endextract
\bye
8---
Unfortunately, using \expandafter is extremely situation-dependent and
can easily lead to other errors if the macro arguments thus treated
don't exactly match the expected format.
But maybe you could achieve your aim differently. Since you mention that
the bagpipe pitch range is only 9 pitches, from g' to a, what about
simply transposing the whole piece up 1 octave? Then you could use
MusiXTeX's standard pitch letters Nabcdefgh, in that order:
8---
\input musixtex
\transpose7
\startextract
\NOtes\qa{Nabcdefgh}\en
\Notes\ibbl0N5\qb0{Nd}\tqb0h\en
\endextract
\bye
8---
This way, you don't even need to precede each pitch letter with a
backslash. As a drawback, however, you'd have to use the unintuitive
letters N and h for lower g and upper a, respectively -- but maybe you
could get used to this.
Nevertheless, it's still possible to use pitch letters GAbcdefga, even
without backslashes, by changing the way MusiXTeX interprets those
letters. As regards writing your music, this would be the most elegant
solution; but since it's a MusiXTeX modification, it introduces MusiXTeX
version dependence and may interfere with other MusiXTeX hacks. I've
added an example as attachment to this email.
Best regards,
Rainer
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Re: [TeX-music] Creating Macros for Pitches in MusiXTeX
On Mon, Dec 18, 2006 at 11:44:49AM +0100, Rainer Dunker wrote:
Nevertheless, it's still possible to use pitch letters GAbcdefga, even
without backslashes, by changing the way MusiXTeX interprets those
letters. As regards writing your music, this would be the most elegant
solution; but since it's a MusiXTeX modification, it introduces MusiXTeX
version dependence and may interfere with other MusiXTeX hacks. I've
added an example as attachment to this email.
Oops, attachment lost (mailing list setting?) ... Doesn't matter, here's
the code example as mail body text. Beware of unwanted line breaks; if
your mail client can display 68 characters per line, everything should
be fine.
Best regards,
Rainer
8-
\input musixtex
%
% redefinition of MusiXTeX's [EMAIL PROTECTED] macro
%
\makeatletter
[EMAIL PROTECTED]@viii\z@ [EMAIL PROTECTED] % par defaut
%% [EMAIL PROTECTED]@tok [EMAIL PROTECTED]
[EMAIL PROTECTED]@tok [EMAIL PROTECTED]
[EMAIL PROTECTED]@tok [EMAIL PROTECTED]
%% pas lettre
\ifcat [EMAIL PROTECTED] [EMAIL PROTECTED]@ruc\relax
%% ramener au E (position zero en clef de sol, [EMAIL PROTECTED])
%
% here's the original code for the usual pitch letter semantics
%
[EMAIL PROTECTED][EMAIL PROTECTED]
[EMAIL PROTECTED]@lxxxiii % ramener au S= E + 14
%\fi
%
% and here's the code for GAbcdefga
%
[EMAIL PROTECTED] [EMAIL PROTECTED]
[EMAIL PROTECTED] [EMAIL PROTECTED]
[EMAIL PROTECTED] [EMAIL PROTECTED]
[EMAIL PROTECTED]
\fi\fi\fi
%
% end of modification
%
[EMAIL PROTECTED]@ref [EMAIL PROTECTED]@ref [EMAIL PROTECTED]
[EMAIL PROTECTED]@[EMAIL PROTECTED]
%% cas active character dont chiffre
\else
[EMAIL PROTECTED]
[EMAIL PROTECTED]
\ifcat [EMAIL PROTECTED]
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] \sk [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] \transpose\normaltranspose [EMAIL PROTECTED] \fi
\if '[EMAIL PROTECTED] [EMAIL PROTECTED]@n [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] [EMAIL PROTECTED]@n [EMAIL PROTECTED] \fi
[EMAIL PROTECTED]\maxdimen [EMAIL PROTECTED]
\else
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
\if [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \fi
[EMAIL PROTECTED]
\fi}
\makeatother
%
% end of [EMAIL PROTECTED] redefinition
%
\startextract
\NOtes\qa{GAbcdefga}\en
\Notes\ibbl0G5\qb0{Gd}\tqb0a\en
\endextract
\bye
8-
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Re: [TeX-music] (Ab)using MusiXTeX
On Mon, Oct 30, 2006 at 09:06:31AM +0100, Jean-Pierre Coulon wrote:
While being a happy user of MusiXTeX ``regular'' output, I now have a use
case to abuse MusiXTeX a bit: I need high quality pictures of notes only,
i.e. without staffs and everything, just pictures of a quarter note, an
eighth note, rests and so on. Is this possible to achieve?
Do you want to insert such pictures into a TeX ot LaTeX document? This
example works in LaTeX:
[...]
71 {\musixchar71} 50 {\musixchar50}
7+40 {\musixchar7}{\musixchar40}{\musixchar16}
[...]
The opposite approach would be to set up a score containing just a
single note (or other symbol) and remove all lines, bars, and clef, so
that only the note itself remains visible. Example:
8
\documentclass[12pt,twoside]{article}
\usepackage{musixtex}
\makeatletter
\def\typenote#1{%
\vbox{%
[EMAIL PROTECTED]
\smallmusicsize
\nostartrule
\setlines10
\setclefsymbol1\empty
\staffbotmarg-2\Internote
\stafftopmarg0pt
\afterruleskip0pt
\startextract
\znotes#1\en
[EMAIL PROTECTED]
\zendextract}}
\makeatother
\begin{document}
First line of paragraph \\
Abc \typenote{\qa g}
def \typenote{\ca g}\kern7pt
ghi \typenote{\ds}
jkl \typenote{\qp}
mno\\
Last line of paragraph
\end{document}
8
That's definitely not perfect, but at least it relieves you of
constructing a note from its graphical elements (head, stem, flag)
yourself.
Best regards,
Rainer
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Re: [TeX-music] key-signature layout
On Mon, Apr 24, 2006 at 10:20:56AM +0200, Bernhard Lang wrote:
When setting a piece with soprano clef (C on first line) with one flat,
the flat is put to the
space below the lowest line. To my feeling (and according to the type
setting conventions of the 17th) the flat should be put on the 4th
line (i.e. one octave higher). Is there a way to convince PMX/MusiXTeX
to do this?
This question has not yet been answered, or am I missing something? So
here's my attempt:
The positions of the signature accidentals are defined in certain
MusiXTeX macros; these have to be changed in order to manipulate the
accidental placement. For me, the following hack works:
8(beware of unwanted line breaks)---
\input musixtex
\makeatletter
\chardef\thirt@@n=13 % musixtex.tex defines lots of names for
% char numbers, but just this one is missing ...
% this macro determines which signature accidentals
% are placed on which scale step:
[EMAIL PROTECTED]@s=\z@ \else
[EMAIL PROTECTED]@lii
[EMAIL PROTECTED]\z@ [EMAIL PROTECTED]@n
[EMAIL PROTECTED]@[EMAIL PROTECTED]@n
[EMAIL PROTECTED]@[EMAIL PROTECTED]@[EMAIL PROTECTED]
[EMAIL PROTECTED]@@[EMAIL PROTECTED]
[EMAIL PROTECTED]@ur\fiv@
[EMAIL PROTECTED]@\nin@
[EMAIL PROTECTED]@[EMAIL PROTECTED]
[EMAIL PROTECTED]@l
[EMAIL PROTECTED]\z@
% change of original starts here
[EMAIL PROTECTED]@ % normal placement of first flat (step six)
[EMAIL PROTECTED]@@n % changed placement of first flat (step thirteen)
% change of original ends here
[EMAIL PROTECTED]@ne\nin@
[EMAIL PROTECTED]@\fiv@
[EMAIL PROTECTED]@@[EMAIL PROTECTED]
[EMAIL PROTECTED]@[EMAIL PROTECTED]
[EMAIL PROTECTED]@[EMAIL PROTECTED]@n
[EMAIL PROTECTED]@\thr@@\fi
\fi}
\makeatother
% a sample score
\setclef11
\generalsignature{-1}
\startextract
\endextract
\bye
8(beware of unwanted line breaks)---
Best regards,
Rainer
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Re: [TeX-music] Non-spacing rests
On Mon, Feb 13, 2006 at 10:13:27AM +0100, Hermann Hinsch wrote: Is there a possibility to use non-spacing rests analogue non-spacing notes by inserting TeX commands within pmx? What about, e.g., \qp\bsk\ ? Regards, Rainer ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] Gregorian chant and musixlyr
On Tue, Feb 07, 2006 at 11:12:25AM +0100, Antonio González Fernández wrote: I'm working with OpusTeX from some years (v. 0.93 now) and I made some modifications on opusgre like some corrected or new neumes. Now I'm attempting to separate lyrics from neumes as musixlyr does (using lines from musixlyr too). I think it will be useful specially editing hymns. I'd be interested in enhancing musixlyr so that it could typeset Gregorian chant lyrics properly. What additional features would be needed for this? I can see these topics: - Centering the vowel of a syllable under the (first) head of a neume. This shouldn't be difficult, as it's just an additional horizontal alignment scheme. - Omitting extension rules and hyphen sequences at melismas. This is easy and in fact possible already now. - Controlling the horizontal placement of the notes/neumes according to the lyrics flow; i.e., horizontal spacing is no longer determined by the note values (which are absent in chant) but by the space consumption of the written words/syllables, as in a normal paragraph (except for long melismas where of course the melismatic neumes sequence must get the space it requires). This should be quite hard to realize - but is it really necessary for proper chant typesetting? Have I forgotten anything? Best regards, Rainer ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] Re: only beams without chord notes? 2
Hi Andreas! On Thu, Feb 02, 2006 at 12:53:28PM +0100, Andreas Plank wrote: Is there any way to get chord notes only with beams and without notes. In example below (Flameco Sevillianas) I want to get a simplified note-facing for guitar players: first chord normal and followed chords: no notes untill chord change: in ASCII like this: ---=== ---=== ---=== ---=== | | | | | | | | | | | | @| | | | | | @| | | | | | @| @| If I understand your description correctly, this should do the job (\NH here shall mean no head): 8---(beware of unwanted line breaks)--- Style: Singer Meter: m3434 Systems: 1 Size: 16 Indent: 0 %%\makeatletter %% [EMAIL PROTECTED]@symbol %% [EMAIL PROTECTED]@[EMAIL PROTECTED]@symbolorig}} %%\makeatother %%\\startrule\ %%\\nobarnumbers\ [+4 g8 \NH\ g1 \NH\ g1 ] [+4 \NH\ g8 \NH\ g1 \NH\ g1 ] [+4 \NH\ g8 \NH\ g ] C: e-e+be+be ~ ~ ~ ~ ~ ~ 8---(beware of unwanted line breaks)--- A similar solution with an on and off switch - so that you don't need to repeat the \NH command at every headless note - should also be possible. Best regards, Rainer ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
Re: [TeX-music] filling a gap with dots (hyphens), linebreak
Hello Jean-Pierre!
On Thu, Jan 19, 2006 at 11:25:37AM +0100, Jean-Pierre Coulon wrote:
1: These dots or hyphens don't continue accross line breaks (see third
line of my example). Is is a bug or a feature? I worked around by putting a
simple space at bar 9 (see second line).
That's a bug. Thanks for discovering it! I shall soon publish a fixed
musixlyr.tex version. Meanwhile, you can work around it by patching
musixlyr.tex: Replace the 3 occurrences of
\expandafter\ifnum\csname [EMAIL PROTECTED]@name\endcsname=2
by:
\expandafter\ifnum\csname [EMAIL PROTECTED]@name\endcsname1
2: When the same short portion of lyrics shows up several times, is there
a method more elegant than repeating this portion in \setlyrics as I did?
You can avoid this repetition, but it's a matter of taste which solution
is the most elegant one. First, you can use musixlyr's goto feature:
8---
\setlyrics1{\llabel{start}a-b-c}
\assignlyrics11
\startpiece
\NOtes\qa{ggg}\en\bar
\NOtes\golyr{start}\qa{ggg}\golyr{start}\qa{ggg}\en
\endpiece
8---
Pretty much the same is achieved by putting \setlyrics itself into a
macro and calling it repeatedly:
8---
\def\renewlyr{\setlyrics1{a-b-c}}
\assignlyrics11
\startpiece
\NOtes\renewlyr\qa{ggg}\en\bar
\NOtes\renewlyr\qa{ggg}\renewlyr\qa{ggg}\en
\endpiece
8---
The drawback of both variants is that you have to restart the repeated
lyrics pattern explicitly within the music coding. This can be avoided
by a rather TeXy solution:
8---
\def\mylyrics{a-b-c} % the single definition of the repeated pattern
\edef\repeatlyr{\mylyrics\mylyrics\mylyrics} % the pattern repetition
% pouring the collected lyrics into \setlyrics:
\expandafter\setlyrics\expandafter1\expandafter{\repeatlyr}
\assignlyrics11
\startpiece
\NOtes\qa{ggg}\en\bar % the music code without any
\NOtes\qa{gg}\en % lyrics repetition commands
\endpiece
8---
Best regards,
Rainer
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[TeX-music] Re: \setmeter is voracious of braces!
On Wed, Jan 11, 2006 at 09:29:23AM +0100, Jean-Pierre Coulon wrote:
Does anybody know why \setmeter works only with *two* opening and closing
braces only?
That's not totally true; for example, \setmeter1{\meterC} works as
expected, and you can even use \setmeter1\meterC.
The musixdoc manual gives a hint why this is so: The second argument to
\setmeter may be a list of up to four meter specifications, in case you
want to specify different meters on different staves within a
multi-staff instrument. List is meant here in the sense of TeX macro
argument lists: If unbraced, every input token counts as a separate list
item; to specify a list item consisting of more than a single token, you
have to enclose it in braces. Thus, MusiXTeX interprets
\setmeter1{\meterfrac34} as if \meterfrac is the meter of staff 1, 3
is the meter of staff 2, and 4 the meter of staff 3. (You can see this
by TeXing your example with \tracingmacros enabled and looking into the
log file:
...
[EMAIL PROTECTED] #1#2#3#4-\ifcase \noport@@ \hbox {#1}\or \hbox {#2}\or
\hbox {#3} \or \hbox {#4}\fi
#1-\meterfrac
#2-3
#3-4
#4-\empty
...
You can see here how \meterfrac34 is torn apart into the first three
arguments of [EMAIL PROTECTED] Within just this [EMAIL PROTECTED] call,
\hbox{#1} becomes \hbox{\meterfrac}, and here TeX correctly complains
that \meterfrac has lost its arguments.)
For this reason - to enable specifying up to four meters at the same
time - the \setmeter call has been designed this peculiar way.
Best regards,
Rainer
[...]
\input musixtex
\instrumentnumber2
\setstaffs11
\setstaffs21
\setmeter1{{\meterfrac34}}
%\setmeter1{\meterfrac34}% try this
\setmeter2{{\meterfrac98}}
\startextract
\notesp\ql f\ibl1j1\qb1{jm}\tqb1l\en
\notesp\ql g\ibl1j1\qb1{jm}\tqb1l\en
\notesp\ql f\ibl1j1\qb1{jm}\tqb1l\en
\endextract
\end
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Re: [TeX-music] normalsized cautionary accidentals in musixtex
On Thu, Jul 21, 2005 at 02:31:30PM -0400, Bob Tennent wrote: The commands \cna, \cfl, \csh, etc. in musixtex produce parenthesized *small* accidentals. [...] [EMAIL PROTECTED] \smallna} Where do the parentheses come from? It seems that this question has not yet been answered; so, just for the fun to see how MusiXTeX works ... :-) The following macros are involved in a \cna call, in the order given: [EMAIL PROTECTED] \smallna} [EMAIL PROTECTED] [EMAIL PROTECTED]@Na [EMAIL PROTECTED]@ur [EMAIL PROTECTED] [EMAIL PROTECTED]@[EMAIL PROTECTED] [EMAIL PROTECTED]@ [EMAIL PROTECTED]@xl } [EMAIL PROTECTED]@[EMAIL PROTECTED]@sa\kern\accshift}} [EMAIL PROTECTED]@vii=\maxdimen [EMAIL PROTECTED] [EMAIL PROTECTED] [EMAIL PROTECTED] \else [EMAIL PROTECTED] \fi [EMAIL PROTECTED]@} [EMAIL PROTECTED]@iv} That is: \cna sets [EMAIL PROTECTED] to \maxdimen. This is used just as a switch that is later queried by [EMAIL PROTECTED]; if the switch is set, [EMAIL PROTECTED] is called which in turn typesets character number [EMAIL PROTECTED] from the music symbol font. [EMAIL PROTECTED] has been set to 5 by macro [EMAIL PROTECTED] before, and the music character with that number happens to be just the pair of parentheses. Best regards, Rainer ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
Re: [TeX-music] installation problem
On Thu, May 12, 2005 at 01:59:34PM +0200, Quinten wrote: I get the error: [...] LaTeX2e 2003/12/01 [...] ! Undefined control sequence. l.316 \rm Your example file is a TeX input file, not to be run through LaTeX. Processing it with plain TeX should solve this problem. Best regards, Rainer ___ TeX-music mailing list TeX-music@icking-music-archive.org http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] Re: Thick ledger lines
Jean-Pierre Coulon [EMAIL PROTECTED] schrieb am 17.12.04 09:32:08:
\def\myhlthick{1.5\lthick}
[EMAIL PROTECTED]
[EMAIL PROTECTED]@v\internote
[EMAIL PROTECTED]@ii
[EMAIL PROTECTED]
[EMAIL PROTECTED]
Thanks. I obtain the thickness I like with \def\myhlthick{\lthick}
But since I want my source file to be usable for others, I have pasted this
new definition of [EMAIL PROTECTED] into it, instead of modifying the
musixtex.tex
file. Then the modification is ignored. Do you know why ? I stuck the new
definition *after* the \input musixtex line. Does TeX forbid redifining
something ?
In a way, yes. By convention, the special character '@' is often used by macro
packages to hide internal definitions from the user's influence. This is
accomplished using TeX's category code mechanism: Simplified, this means that
the '@' character has a different meaning in musixtex.tex than in your .tex
file so that [EMAIL PROTECTED] has actually two different meanings depending on
where it appears. (For the whole catcode story, The TeXbook is a splendid
lecture! :-))
Fortunately, this definition hiding is easy to overcome: Just enclose the
redefinition block in \makeatletter...\makeatother and it should do the desired
thing.
Best regards,
Rainer
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hoFëì ðìOqqÛûÉÞÏÎí}øÏbyælgåä'Ø~ ¬/[EMAIL PROTECTED],[EMAIL
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¼)Øå{fÞ»sxø
SPê*Vo_è/è3¬P»`íÉÙ¯No|ù½kwÏô.è±o2à/e3~d,ö»¦¦Qce Õ°V°æ¾Qº¨ÈOßöR)[ò{m}¸1z
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e\ç·)Ú©É/ú´«NNìd¯¦Y¨2zc5JinNÍs°²(§Úâ0ê|î¤ð1¹wëËç)qAÃ]âUκ£ÊúþpÞ-Wÿ!ÆBûsnî¸Ë/~7ÅW3Iîß·*§êÀ2[EMAIL
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Re: [TeX-music] \llyr has no effect at 1st note
Hello Simon!
On Thu, Dec 16, 2004 at 12:26:37AM +0100, Simon Dreher wrote:
why do the \llyr\ -commands take no effect when placed before the first
note when there is a verse number?
That's because M-Tx inserts a \mtxVerse macro call immediately before the
first note; this call catches the effect of \llyr and applies it to the
verse numbers preceding the first syllables. If you really want to
left-align the first syllables, the following, commonly applied
redefinition trick should help:
%%\\let\mtxVerseorig\mtxVerse\
%%\\def\myllyr{\def\mtxVerse{\mtxVerseorig\llyr}}\
...
\myllyr\ e4 g | c.g g c | e d c b | c a c a |
And what about the strange behaviour
when verse numbers are placed only in some of the verses?
You mean that the first syllable of a numberless verse appears in the
verse number column? That's simply because M-Tx's \mtxVerse macro expects
the first syllable of a lyrics line to be the verse number. Whatsoever, it
takes the first syllable and arranges it as the verse number ... If you
want a verse to have no number, then give it a number placeholder:
L:\empty{} In das Won-ne-meer ...
When I coded the following example (for older versions of m-tx and pmx)
I had placed \llyr\lyroffset{-3}\ before the first note - I don't know
which standard behaviour the old versions had. Why did it change?
As far as musixlyr is concerned: Earlier versions had a hard limit how
far syllables could extend into the left page margin (MusixTeX's zero
position); nowadays, musixlyr allows syllables to extend into the left
margin as far as necessary for natural alignment with their notes. I
don't know how M-Tx makes use of this new freedom, though.
\lyroffset also seems to have an effect only on the numbers and no more
on the first syllable, so you can't put the lyrics of the first notes to
the left any more if they are a bit too long.
If you want to shift numbers and first syllables left a bit, you should
first move the numbers away by saying, for example,
%%\\def\mtxVerseNumberOffset{5}\
(default is 3), then apply the trick mentioned above in a slight
variation:
%%\\let\mtxVerseorig\mtxVerse\
%%\\def\myllyr{\def\mtxVerse{\mtxVerseorig\lyroffset{-5}}}\
...
\myllyr\ e4 g | c.g g c | e d c b | c a c a |
Best regards,
Rainer
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[TeX-music] Re: M-Tx/MusiXLYR long words centered at melisma?
Hi Bodo! On Sun, Oct 31, 2004 at 09:21:47PM +, Bodo Meissner wrote: If I understand it correct, this means at the start of a melisma musixlyr does not know the position of the ending note of this melisma. Indeed. Avoiding or reducing collision was not my primary intention, although the left justification leads to more collisions. IMHO it does not look good if long syllables are left justified at a melisma while normally syllables are centered at single notes, even without collisions. Well, this is apparently a matter of taste; my model for musixlyr's behaviour was engraved music where I've never seen anything else than left-justified melisma syllables. But I agree that this becomes a problem where the syllable is wider than the melismatic note sequence, as in the Gscheit example; centering the syllable under the whole melisma phrase seems to be a reasonable alternative. You may either resort to a generally wider music spacing (e.g. by requesting a greater \linegoal) or, if that's not feasible, by manual corrections to the lyrics or notes spacing. I think I will use manual corrections if necessary, because I have to fulfill two somewhat contradictory requirements: Use as little pages as possible to avoid turning over the pages while singing and use large text and notes size because several choir members' eyesight is not so good. I know; I often had the same target conflict when preparing choir music ... Manual tweaking is hardly avoidable here. Would it be possible to implement the placing of a syllable below a group of notes as follows? At the start of a melisma save the current position and the syllable. If the end of the melisma is reached and the syllable is not yet placed, try to center it below the group of notes. Objection: Consider long melismas, like baroque 'Koloraturen' (don't know the English word) which may easily span more than one line. Centering the syllable unter the melisma would place it too far away from the melisma beginning, i.e. when you start singing the phrase, you haven't seen the syllable yet. Therefore, IMO centering should be restricted to a certain (configurable) melisma phrase width which should normally apply to 2-notes melismas only. If a line break is reached and the syllable is not yet placed, try to center it below the notes from the start of the melisma up to the last note before the line break. Start a line or hyphens (lyrrule) at the first note after the line break until end of melisma. If the note spacing up to the current note is wider then the space needed for the syllable, left justify the syllable at the saved position of the first note. Continue with line or hyphens (lyrrule) until end of melisma. (If there is a collision on the left side, the syllable must be shifted to the right as usual.) I see what you're aiming at. I agree it should be feasible to delay the syllable placement until the ending position of the melisma phrase is known, but I keep insisting that making the syllable placement dependent on subsequent syllables is too complicated. I'll put your suggestion on the wish list, but please don't ask when it will be implemented ... :-) Should you become impatient, please feel free to go ahead yourself! Best regards, Rainer ___ TeX-music mailing list [EMAIL PROTECTED] http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] Re: M-Tx/MusiXLYR long words centered at melisma?
Hello Bodo! On Fri, Oct 29, 2004 at 09:19:29AM +, Bodo Meissner wrote: Suggested change for MusiXLYR: The syllable or word at a melisma should be centered if it's longer than the space for the notes and if there is space to the left. If the space is to small for centering, it should be left shifted as much as possible. I'm sorry, but that's definitely not possible: musixlyr has no idea about the notes spacing surrounding the attachment of a specific syllable. All it knows is the horizontal position of the related note, the width of the current syllable and the available space to the previous syllable. It's therefore possible to right-shift lyrics to avoid collisions on the left, but unfortunately impossible to anticipate collisions that will take place on the right side of the current syllable. To enable such a behaviour, MusiXTeX's notes placement algorithm itself would have to take lyrics space consumtion into account, which is is currently not implemented at all. Generally, I can see two solutions in space-critical lyrics situations: You may either resort to a generally wider music spacing (e.g. by requesting a greater \linegoal) or, if that's not feasible, by manual corrections to the lyrics or notes spacing. I hope that this doesn't occur too frequently. Best regards, Rainer ___ TeX-music mailing list [EMAIL PROTECTED] http://icking-music-archive.org/mailman/listinfo/tex-music
[TeX-music] Re: Gregorian chant: MusiXTeX?
On Fri, Oct 29, 2004 at 01:12:01AM +0200, Guido Milanese wrote:
Thanks a lot for this suggestion! I'll try this package and see what I can do.
But it's really impossibile to write texts with Gregorian chant using MusiXTeX?
You can combine musixgre and musixlyr to post lyrics to Gregorian chant,
but this yields a poor man's Gregorian typesetting only. AFAIK OpusTeX is
far more sophisticated in the respect; for example, it subordinates the
notes spacing to the lyrics spacing (since the lyrics are leading the
music) and it horizontally aligns the note to the vowel of the syllable
(or does something similar, I don't remember exactly).
Nevertheless, I've tried MusiXTeX/musixgre/musixlyr and found that
musixgre has a strange notion of where the horizontal center of a
multi-note ligature is. I could only achieve a somewhat acceptable result
by switching automatic lyrics setting off and posting all syllables
explicitly; see this sandbox example:
\input musixtex \input musixgre \input musixlyr
\setlines14 \setclef1{3000}
\setaltoclefsymbol1\gregorianCclef
\setlyrics1{Dies ist Gre-go-ri-a-nisch} \assignlyrics11
\startpiece
\notes
\lyricsoff
\lyr\bivirga ab%
\llyr\lyr\trivirga abc%
\lyr\clivis ab%
\lyr\quilismapes af%
\lyr\Porrectus geg%
\lyr\climacus gfa%
\lyr\salicusflexus abfe%
\en
\endpiece\bye
Best regards,
Rainer
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Re: [TeX-music] MusixTeX issues with LaTeX
On Mon, Aug 02, 2004 at 04:07:08PM +0200, Don Camillo wrote: 2. I had a score to be typeset with M-Tx in SATB style. If I place the lyrics under the Bass voice, everything is OK but placing the lyrics under the Alt voice works only in plain TeX. The _same_ score in LaTeX (placed in the Score environment of mtxlatex.sty) appear with ???s under the Bass voice. Could you provide your piece for analysis? If possible, please send all involved files (including logfiles) to me privately. Best regards, Rainer ___ TeX-music mailing list [EMAIL PROTECTED] http://icking-music-archive.org/mailman/listinfo/tex-music
[Tex-music] Re: Mail list archive retrieval problem
On Thu, Mar 04, 2004 at 08:07:35AM +0200, Dirk Laurie wrote: http://icking-music-archive.org/mailman/private/tex-music/2004-January/002778.html When trying to access this item, the following happens: 1. I am asked for my e-mail address and password. I type them in. 2. The item asked for does not appear, instead, the screen for the URL http://icking-music-archive.org/mailman/private/tex-music/ appears. 3. I select January 2004, and since there is no facility for entering the post number, I click the field marked author. 4. A beautiful index appears. I have no difficulty in finding the item I need, and click it. 5. I am asked for my e-mail address and password. I type them in. You're right, I'm experiencing the same phenomenon with Lynx and Opera, *not* with Internet Explorer, though. But this seems to indicate the reason and the solution: 5. I am asked for my e-mail address and password (again). 6. I let the browser refresh the page -- and the requested item appears! Like you, I first assumed this to be a bug in the login cookie handling. But now it seems that this is just the result of the browsers' page caching: The first time the browser accesses the given URL to the article, the list server responds with the login page, and logging in does not immediately deliver the very article but the archive index (this seems to be a Mailman property -- it is apparently no good idea to refer to article URLs of private Mailman archives directly, but I didn't know this). When you visit the article URL the second time, the browser displays the cached page it first got via this URL -- which is the login page. Refreshing it makes the server now (when the login cookie is set) respond with the wanted article. Best regards, Rainer ___ Tex-music mailing list [EMAIL PROTECTED] http://icking-music-archive.org/mailman/listinfo/tex-music
Re: [Tex-music] Vertical spacing
Hello Dirk,
the fact that I respond to your question does not imply that I really
understand the vertical spacing mechanics better than you do :-), but
nevertheless I've got some thoughts about that. Please object on each of
them if they turn out to be wrong.
As far as I can see, there are two fundamentally separate factors
influencing the vertical spacing:
(1) PMX distributes the available vspace of a page evenly between all
present staves, between systems as well as within systems. You can
influence this with AI and Ai, but I don't know a way to enforce
really fixed interstaff/interinstrument distances. I've therefore no
idea how to implement your mentioned Space: 2 4 function through PMX.
(2) Vertical layout differences between TeX and LaTeX may be caused by
the ways how both programs calculate the net vertical room available for
the page content. Beyond \textheight, vertical room in LaTeX depends
on parameters \headheight, \headsep, \footskip, and probably still more;
how is this mapped to TeX's vertical spacing rules? I don't know
exactly. But I believe that, once you manage to control the vertical
layout parameters of TeX and LaTeX coherently to each other, you'll
obtain the same layout results in both systems.
Maybe you can set a challenge by giving an example score with annoyingly
different spacing results in TeX and LaTeX?
Best regards,
Rainer
On Wed, Jan 14, 2004 at 01:12:00PM +0200, Dirk Laurie wrote:
This e-mail is addressed mainly to people that understand MusiXTeX,
especially the brand of it that comes out of PMX, and LaTeX, better
than I do. That's quite a lot of people, I hope.
I spend maybe half my music typesetting time trying to tweak vertical
spacing with the aid of commands that all seem to conflict in practice.
What I want is simple: full control over the exact distance between staves
in a system, but with the distance between systems adjusted automatically
to fill the page.
Thus, the M-Tx command (for a system with two staves)
Space: 2 4
should mean: make the staves exactly 2\Interligne further apart than some
fixed default, one that does not change depending on how full the page is;
and separate each system from the next by at least 4\Interligne more
than some other fixed default.
The Space command translates (via intermediate macros \mtxInterInstrument
and \mtxStaffBottom in mtx.tex) to
\setinterinstrument{1}{2\Interligne}
\staffbotmarg 4\Interligne
Both these macros could be improved: I think that the first only
works properly for single-staff instruments (not a problem because the
piano is usually at the bottom) and the second maybe should rather be
\def\atnextline{\stafftopmarg 4\Interligne}
(or should that \def be \gdef?). Maybe neither macro says what I mean.
And maybe one could fiddle with redefining \alaligne. I'm getting
a little out of my depth here.
Now I can usually (having had some experience) get things to come
out OK with plain MusiXTeX, by fiddling with the numbers in Space.
Unfortunately, if I fiddle with those numbers I also have to change
the position of the lyrics. There is not too much predictability in
the process, unless the score happens to have exactly the same layout,
including number of lyrics lines, as another one that already is debugged.
But the moment that the score goes into LaTeX things no longer look the same.
My current technique for LaTeX is to use an environment score defined
this way (simplified from mtxlatex.sty):
\newcommand{\startscore}{\let\SmuF\startmuflex\let\EmuF\endmuflex
\textwidth 193mm\textheight 270mm
\oddsidemargin -15mm\evensidemargin -15mm\topmargin -20mm
\let\startmuflex\relax\let\endmuflex\relax\let\bye\relax%
\let\nopagenumbers\relax\musicparskip}
\newenvironment{score}{\startscore}{}
Inside \begin{score}...\end{score} I then input the files produced by PMX.
I am doubtful about several things here: how effective are attempts
to change page layout parameters inside an environment, should I have
\musicparskip or not, etc. And mainly: why does the LaTeX vertical
spacing come out so very different from the plain TeX spacing, and
how can I avoid that?
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