Am Sonntag, 19. August 2012, 05:03:36 schrieb Don Simons:
> Hi, Rainer!!
>
> Thanks again! The new approach you just suggested is absolutely better than
> the first one. With the first one, the very first old file I tested, which
> had movement breaks with changes in noinst, did compile with PMX but the
> resulting score failed to reflect the very first change in noinst. It was
> because in the original PMX source I had in fact temporarily redefined
> \atnextline; so it failed for EXACTLY the reason you suggested might come
> up.
>
> So I went ahead and implemented the new approach, requiring changes in both
> pmx.tex and pmxab.exe. I'm still not confident enough to post the revised
> version as a new beta, but if anyone wants the revised PMX files just let
> me know and I'd be happy to send them.
Don , I would like to test the new beta. As I am using Linux please send the
source.
In the meantime I tested Rainer`s proposal with full success on a larger
pmx-file with
several changes of the number of voices.
I append the M-Tx-source which I use as the starting text of the above test,
run M-Tx, get
the pmx-file and make several corrections by hand. These are: deleting all "rp
\" of the
non used voices, change several wrong assigments of text to voices and add
Rainer`s
proposal.
The "rp \" and the wrong assigments are presumably in the responsibility of
M-Tx.
>
> Meanwhile, I have a question for Hermann, Rainer, Dirk, or anyone else who
> cares to jump in: Can you provide an example of an M-Tx source that manages
> to change the number of instruments in midstream. Hermann's PMX file that
> started all of this does do that, but he didn't provide the M-Tx source
> and may have manually combined several prepmx-generated files. On my
> commercial site I have published a cantata that goes back and forth
> between 2 instruments (BC+Voice) and 4 (BC+Voice+2 violins). I never could
> figure out how to get M-Tx to accept the change in noinst, so the M-Tx
> source had 4 all the way, and I wrote a special program to post-process
> the initial prepmx-generated .pmx, removing the extra inputs where there
> needed to be only two instruments and writing a new .pmx. I'd really like
> to know how to avoid the extra steps and get M-Tx to directly create a
> .pmx that reflects the changes in noinst.
>
> --Don Simons
>
Style: Quartett Bass
Quartett: Voices S A T B ; Clefs G G8 G8 F ; Choral
Bass: Voices BC ; Clefs F
Meter: m4206
Pages: 5
Systems: 20
Indent: 0.05
Flats: 1
%Bars/line: 3
Name: {c{$^1$}} {c{$^3$}} {c{$^4$}} {f{$^4$}}
Size: 16
%% \def\writebarno{\ifnum\barno>1\lrlap{\tenrm\it\the\barno\barnoadd}\fi}
%% \def\raisebarno{4mm}
%% \raggedbottom
%% \parskip 5\Interligne plus 7\Interligne minus 7\Interligne
%% \input musixadd
%% \input musixlit
%% \input musixdbr
%% \tenbf
%% P
%% Ab
%% h280m
%% It100
%% \\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{12}\
%% \\let\pausc\PAusc\
% Bar 0
S: e25 e e e
L: S a b c
A: e25 e e e
L: A a b c
T: e24 e e e
L: T a b c
B: e23 e e e
L: B a b c
BC: rp
% Bar 1
%% \\\songbottom{1}\songtop{2}\
%% L2P2Mn212bbr+ci.05
%% \\\advance\barno-1\
B: g23d g4 g2 d
L: Ho-mo qui-dam
BC: g03 g2 d
% Bar 2
B: g43 f ef d c2 b
L: fe-cit ce-nam mag-nam
BC: g43 f ef d 6 c2 7 x146 b
% Bar 3
B: b43 f g d e2f d
L: et vo-ca-vit mul-tos
BC: b43 f g d e2f d
% Bar 4
B: r4 b42 bd c8 d4 e f2
L: ez mi-sit ser-vum su-
BC: b02 d4 e f2
% Bar 5
B: d43 e2f f4 c2 c
L: um ho-ra ce-nae
BC: d43 e2f f4 c0
% Bar 6
B: a42 a8 a b4 c d2 c4 ( f
L: di-ce-re in-vi-ta-tis ut
BC: a22 b4 c d2 c4 f s
% Bar 7
B: f43 ) a g2 c0-
L: ve-ni-rent
BC: f43 s a g2 4 x143 c0-
% Bar 8
B: r2 f23 d4 g2 f4
L: qui-a iam pa-
BC: f03 d4 g2 f4
% Bar 9
B: b23 a4 g ad a8 d2-
L: ra-ta sunt om-ni-a,
BC: b23 a4 # g a2 4 x143 d- s
% Bar 10
B: d43 b e2f d4 c dd d8
L: iam pa-ra-ta sunt om-ni-
BC: d43 s c e2f d4 # c 6 x185 d2 65 x144 x383
% Bar 11
B: g92
L: a.
BC: g92
% Bar 12
%% L5Mn512345bbtttcr+i.05
%% \\\songbottom{1}\songtop{5}\
S: r0 g24d g4
L: Et ce-
A: r0 d25d d4
L: Et ce-
T: g24d g4 b2 b
L: Et ce-pe-runt
B: r0 g23d g4
L: Et ce-
BC: g02 g+ s
% Bar 13
S: g24 a g g
L: pe-runt om-nes
A: b24 a d d
L: pe-runt om-nes
T: d25d c4 b2n b
L: om---nes
B: g23 fs g g
L: pe-runt om-nes
BC: g23 s fs 6 g0 #
% Bar 14
S: g44d g8 g4 g g2 g
L: si-mul ex-cu-sa-re,
A: e45 e e d e2 e
L: si-mul ex-cu-sa-re,
T: c45d c8 c4 bn c2 c
L: si-mul ex-cu-sa-re,
B: c43 c e g c2- c
L: si-mul ex-cu-sa-re,
BC: c23 e4 6 g # c0-
% Bar 15
S: a44 a c g a2 a
L: si-mul ex-cu-sa-re
A: f45d f8 f4 e f2 f
L: si-mul ex-cu-sa-re
T: f44 f a c f2- f
L: si-mul ex-cu-sa-re,
B: rp
L:
BC: f23 a4 6 c f0-
% Bar 16
%% L6P3
S: r2 b24d b4 b2
L: pri-mus e-
A: f25d f4 f d g2
L: pri-mus e-nim di-
T: d25d d4 d2 d
L: pri-mus e-nim
B: b22d b4 b2 g
L: pri-mus e-nim
BC: b02d g2
% Bar 17
S: a24 d0 b2
L: nim di-xit
A: (~ f25d e4 d2 )~ g
L: xit, di-
T: d25 a (~ b4 c d [ c8 b ]
L: di-xit e-
B: d23d c4 b2 g
L: di---xit
BC: d03 b2 g
% Bar 18
S: r2 a24d a4 a2
L: di-xit-e-
A: f05 e
L: xit e-
T: a24 d0 c2s )~
L: -
B: (~ d43 e f g a0 )~
L: e-
BC: d03 a 4 x123
% Bar 19
S: a94
L: i:
A: f95s
L: i:
T: d95
L: i:
B: d93
L: i:
BC: d93
% Bar 20
%% L7Mn215btr-ci.0
%% \\\songbottom{1}\songtop{2}\
S: g24d a4 b2 c
L: Vil-lam e--
BC: g23d f4 e0f 5 x126
% Bar 21
S: a04 d4 d d c
L: mi et ne-ces-se
BC: d03 # b2d f4+
% Bar 22
S: b44d b8 b4 f g b2 a4
L: ha-be-o e-xi---
BC: g23d d4 e2f f 4 x143
% Bar 23
S: b24 b4 a g f g2
L: re et vi-de-re il-
BC: b22d f4 c+ d c2 4 x143
% Bar 24
S: f04 r2 ( c+
L: lam, ro-
BC: f02 f+
% Bar 25
S: c45 ) g a2 r ( d
L: go-te, ro-
BC: e23 f b- b+
% Bar 26
S: d45 ) a b2 c4 d ( e2f
L: go te ha-be me
BC: f23s 6 g f4 d 6 c2 -
% Bar 27
S: e45 ) d8 d d2 c0
L: ex-cu-sa-tum,
BC: e43f f 6 g2 4 x143 c- c4 d
% Bar 28
S: g44 a b2d a8 a a2
L: ha-be me ex-cu-sa-
BC: e23f b c 7 x146 d 4 x143
% Bar 29
S: m2400 \chu2\ r2b
L: tum
BC: m2400 \chu0\ r2b
% Bar 30
%% \\\setclefsymbol{2}\treblelowoct\
%% L10Mn215btcr-i.0
S: m4206 d25d g4 f2 f
L: Iu-ga bo-um
BC: m4206 g02 d+ -
% Bar 31
S: e45 d e2 d r4 d
L: e-mi quin-que et
BC: a42 # b 6 a2 4 x143 d0
% Bar 32
S: f25 e4f d c b c2
L: e-o pro-ba-re il-
BC: b22 ef f4 g f2 4 x143
% Bar 33
S: b04 r2 ( f+
L: la ro-
BC: b02 d
% Bar 34
S: f45 ) e f2 r ( g
L: go te, ro-
BC: c23 4 x143 f- c+ bn 6
% Bar 35
S: g45 ) fs g2 d4 e f2
L: go te ha-be me
BC: d23 4 x143 g0- d2+ -
% Bar 36
S: e45d d8 d2 \chu5\ r0b
L: ex-cu-sa-tum.
BC: e23 7 x146 g 4 x143 \chu3\ r0b
% Bar 37
%% L12Mn215btcr-i.0
S: r4 g44 b c d2 c
L: U-xo-rum du-xi,
BC: g23d f4 b2- f+
% Bar 38
S: r4 a44 c d e2f d
L: u-xo-rem du-xi
BC: f23d d4 c2 - b
% Bar 39
S: g44d g8 g4 a b2 a4d g8
L: i-de-o non pos-sum ve-
BC: e23df f4 b2- f4 b 7 x186
% Bar 40
S: g24 f r4 c+ e2f
L: ni-re, non pos-
BC: c23 4 x143 f- f+ c -
% Bar 41
S: d45d c8 c2 \chu4\ r0b
L: sum ve-ni-re.
BC: d43 ef 7 x186 f2 4 x143 \chu2\ r0b
% Bar 42
%% \\\resetclefsymbols\
%% L14Mn212bbcr-i.0
S: b43 b b2 g a4 b
L: E-xi ci-to in pla-
BC: b03 g2 a4 b
% Bar 43
S: f23 f4 d g f ef f
L: te-as et vi-cos ci-vi-
BC: f23d d4 g f ef f
% Bar 44
S: b22 b4 b dd d8 d4 a
L: ta-tis et pau-pe-res ac
BC: b02 d2d a4 #
% Bar 45
S: d43d d8 d2 r4 g g d
L: de-bi-les, cae-cos et
BC: d03 g2d d4 #
% Bar 46
S: g23 g r4 c8- c c2
L: clau-dos in-tro-duc
BC: g02 c
% Bar 47
S: d43 e f2 g4 b f2
L: et com-pel-le in-tra-
BC: d43 e f2 g4 b f2 4 x143
% Bar 48
S: b02 r4 b+ b a
L: re ut im-ple-
BC: b02 b2+d a4
% Bar 49
S: g43 f ef d (~ [ c8 d e f ] g4 [ f8 e ]
L: a-tur do-mus me-
BC: g43 f ef d c2 g
% Bar 50
S: d03 )~ \chu0\ rb
L: a.
BC: d03 3 x144 x123 \chu0\ rb
% Bar 51
%% L17Mn512345bbtttcr-i.0
%% \\\songbottom{1}\songtop{5}\
S: rp
L:
A: d25d d4 g2 g
L: Di-co au-tem
T: r0 g24d g4
L: Di-co
B: rp
L:
BC: g93
% Bar 52
S: r0 a24d a4
L: Di-co
A: f05 e
L: vo-bis
T: d25 d c c
L: au-tem vo-bis
B: d23d d4 a2+ a
L: E-go di-co
BC: d03 a+
% Bar 53
S: d25 b a a
L: au-tem vo-bis
A: r0 r4 c45 f2
L: quod ne-
T: r4 b44 d2 c4 a d2
L: quod ne-mo, quod ne-
B: b23 b4 b- f2+ f4 d
L: vo-bis quod ne-mo, quod
BC: b23 b- f+d x126 d4
% Bar 54
S: r4 g44 b2 b4 d c b8 b
L: quod ne-mo vi-ro-rum il-
A: d25 g f f4d f8
L: mo viro-rum il-
T: b44d c8 d2 d r4 d
L: mo vi-ro-rum il-
B: g23 g4d a8 b2 a4 b
L: ne-mo vi-ro-rum il-
BC: g03 b2 a4 6 b
% Bar 55
S: a24 a b4d b8 b4 a
L: lo-rum qui vo-ca-ti
A: f25 f g4 f fd f8
L: lo-rum qui vo-ca-ti
T: c25 c e4f d cd c8
L: lo-rum qui vo-ca-ti
B: f23 f e4f b f+d f8
L: lo-rum qui vo-ca-ti
BC: f03 e4f b f2+
% Bar 56
S: b44 b d2 a4 a c2
L: sunt gu-sta-bit, gu-sta-
A: d25 r4 d f2 e4 [ c8 d ]
L: sunt gu-sta-bit ce---
T: b04 r2 r4 a
L: sunt gu-
B: b02 r
L: sunt
BC: b02 d2 a
% Bar 57
S: g24 b4 b a2 a
L: bit ce-nam me-am
A: [ e85 d e f ] g4 e fs g2 f4
L: -nam me--
T: c25 g d4+ c d2
L: sta-bit ce-nam me-
B: rp
L:
BC: c23 g+ 5 x146 d4 # c 5 d2 4 x143
% Bar 58
S: r4 g44 b2 a r
L: gu-sta-bit
A: g25 r4 d f2 e
L: am gu-sta-bit,
T: g04 r4 a c2
L: am gu-sta-
B: r0 r2 r4 e43
L: gu-
BC: g02 d2+ c
% Bar 59
S: rp
L:
A: r4 d45 f f ed e8 e2
L: gu-sta-bit ce-nam me-
T: b24 d c4s d2 c4
L: bit ce-nam me--
B: g23 d a4+ g a2
L: sta-bit ce-nam me-
BC: g23 d a4+ # g 65 a2 4 x143
% Bar 60
S: r4 a44 d2 bn g4 ( c
L: gu-sta-bit, gu-sta-
A: d25 r d4 g2 e4
L: am, gu-sta-bit,
T: d25 r r4 g- c2
L: am gu-sta-
B: d23 r4 d g2 c4- c
L: am, gu-sta-bit, gu-
BC: d03 g2 # c-
% Bar 61
S: c45 ) a b d2 a4 c b
L: bit, gu-sta-bit ce-nam
A: c45 f2 d4 f2s ( g
L: gu-sta-bit ce-nam
T: a44 a d b r d e2f
L: bit, gu-sta-bit ce-nam
B: f23 b- d c
L: sta-bit ce-nam
BC: f23 b- d # c -
% Bar 62
S: a04 \chu{=4}\ rb
L: me-am.
A: g25 ) fs \chl9\ r0b
L: me-am.
T: d05 \chl6\ rb
L: me-am.
B: d03 \chu0\ rb
L: me-am.
BC: d03 4 x123 \chu0\ rb
-------------------------------
[email protected] mailing list
If you want to unsubscribe or look at the archives, go to
http://tug.org/mailman/listinfo/tex-music
