\contentsline {chapter}{\numberline {1}What is MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {} ?}{6}
\contentsline {section}{\numberline {1.1}MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m \ principal features}{7}
\contentsline {subsection}{\numberline {1.1.1}Music typesetting is two-dimensional}{7}
\contentsline {subsection}{\numberline {1.1.2}The spacing of the notes}{8}
\contentsline {subsection}{\numberline {1.1.3}Music tokens, rather than a ready-made generator}{9}
\contentsline {subsection}{\numberline {1.1.4}Beams}{9}
\contentsline {subsection}{\numberline {1.1.5}Setting anything on the score}{9}
\contentsline {section}{\numberline {1.2}A simple example}{10}
\contentsline {section}{\numberline {1.3}The three pass system}{10}
\contentsline {subsection}{\numberline {1.3.1}External executable {\tt musixflx}}{13}
\contentsline {subsection}{\numberline {1.3.2}Restrictions and warnings}{14}
\contentsline {subsection}{\numberline {1.3.3}MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m 's laws}{14}
\contentsline {section}{\numberline {1.4}Some highlights}{15}
\contentsline {subsection}{\numberline {1.4.1}Signatures}{15}
\contentsline {subsection}{\numberline {1.4.2}Transposition}{15}
\contentsline {subsection}{\numberline {1.4.3}Selecting special instrument scores}{15}
\contentsline {subsubsection}{\numberline {1.4.3.1}Until version T.108}{15}
\contentsline {subsubsection}{\numberline {1.4.3.2}With version T.109 and further one}{16}
\contentsline {subsection}{\numberline {1.4.4}Variable staff and note sizes}{16}
\contentsline {section}{\numberline {1.5}How to get it}{16}
\contentsline {section}{\numberline {1.6}Enhancements}{17}
\contentsline {subsection}{\numberline {1.6.1}Recent easy enhancements}{17}
\contentsline {subsection}{\numberline {1.6.2}Enhancement limitations}{17}
\contentsline {section}{\numberline {1.7}Acknowledgements}{17}
\contentsline {chapter}{\numberline {2}Practical use}{18}
\contentsline {section}{\numberline {2.1}Heading statements}{18}
\contentsline {section}{\numberline {2.2}Before you begin to write notes}{18}
\contentsline {subsection}{\numberline {2.2.1}Warnings for the non T\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m pert}{18}
\contentsline {subsection}{\numberline {2.2.2}What you have to specify}{19}
\contentsline {subsection}{\numberline {2.2.3}Instrument names}{21}
\contentsline {subsection}{\numberline {2.2.4}Polyphonic songs}{21}
\contentsline {subsubsection}{\numberline {2.2.4.1}Case of only one choir}{21}
\contentsline {subsubsection}{\numberline {2.2.4.2}Case of several choirs or several orchestras}{21}
\contentsline {subsection}{\numberline {2.2.5}Removing square choir braces}{22}
\contentsline {subsection}{\numberline {2.2.6}Specifying all brackets together}{22}
\contentsline {section}{\numberline {2.3}Starting your masterpiece}{22}
\contentsline {subsection}{\numberline {2.3.1}Typing the first system}{22}
\contentsline {subsection}{\numberline {2.3.2}Easy selecting note spacing}{23}
\contentsline {subsection}{\numberline {2.3.3}Moving to next staffs and instruments}{24}
\contentsline {section}{\numberline {2.4}Note pitch specification}{25}
\contentsline {section}{\numberline {2.5}Writing notes}{25}
\contentsline {subsection}{\numberline {2.5.1}Single spacing notes}{26}
\contentsline {subsection}{\numberline {2.5.2}Non-spacing (chord) notes}{27}
\contentsline {subsection}{\numberline {2.5.3}Shifted non-spacing (chord) heads}{27}
\contentsline {subsection}{\numberline {2.5.4}Single non-spacing notes}{27}
\contentsline {subsection}{\numberline {2.5.5}Single (spacing) stemless notes}{28}
\contentsline {subsection}{\numberline {2.5.6}Pointed notes}{28}
\contentsline {section}{\numberline {2.6}Beams}{29}
\contentsline {subsection}{\numberline {2.6.1}Fixed slope beams}{29}
\contentsline {subsubsection}{\numberline {2.6.1.1}Beam initiation}{29}
\contentsline {subsubsection}{\numberline {2.6.1.2}Beam termination}{29}
\contentsline {subsubsection}{\numberline {2.6.1.3}Beams of increasing multiplicity}{30}
\contentsline {subsubsection}{\numberline {2.6.1.4}Beams of decreasing multiplicity}{30}
\contentsline {subsection}{\numberline {2.6.2}Repeated pattern beams}{31}
\contentsline {subsection}{\numberline {2.6.3}Beams across bars}{32}
\contentsline {subsection}{\numberline {2.6.4}Semi-automatic beams}{33}
\contentsline {subsection}{\numberline {2.6.5}Beams with notes across several staffs}{34}
\contentsline {section}{\numberline {2.7}Rests}{35}
\contentsline {subsection}{\numberline {2.7.1}Ordinary rests}{35}
\contentsline {subsection}{\numberline {2.7.2}Lifted rests}{35}
\contentsline {subsection}{\numberline {2.7.3}Bar centered rests}{36}
\contentsline {section}{\numberline {2.8}Phantom notes and spacing commands}{36}
\contentsline {section}{\numberline {2.9}Collective coding: sequences of notes}{38}
\contentsline {section}{\numberline {2.10}Accidentals}{38}
\contentsline {section}{\numberline {2.11}Transposition and octaviation}{39}
\contentsline {subsection}{\numberline {2.11.1}Typical piano octave transposition}{39}
\contentsline {subsubsection}{\numberline {2.11.1.1}Local octave transposition of fixed length}{39}
\contentsline {subsubsection}{\numberline {2.11.1.2}Long or variable range octave transposition}{40}
\contentsline {subsection}{\numberline {2.11.2}Transposition of accidentals}{41}
\contentsline {section}{\numberline {2.12}Slurs and ties}{42}
\contentsline {subsection}{\numberline {2.12.1}General slur coding}{42}
\contentsline {subsubsection}{\numberline {2.12.1.1}Slur initiation}{42}
\contentsline {subsubsection}{\numberline {2.12.1.2}Slur termination}{43}
\contentsline {subsubsection}{\numberline {2.12.1.3}Ties}{43}
\contentsline {subsubsection}{\numberline {2.12.1.4}Short ties}{44}
\contentsline {subsubsection}{\numberline {2.12.1.5}Slur limitations}{44}
\contentsline {subsection}{\numberline {2.12.2}Dotted slurs}{45}
\contentsline {subsection}{\numberline {2.12.3}*Modifying slur properties}{45}
\contentsline {subsubsection}{\numberline {2.12.3.1}*Changing the top/bottom elevation}{45}
\contentsline {subsubsection}{\numberline {2.12.3.2}*Changing the curvature}{46}
\contentsline {subsubsection}{\numberline {2.12.3.3}*Breaking slurs across a line}{48}
\contentsline {subsubsection}{\numberline {2.12.3.4}*Inverting slur termination at horizontal place}{48}
\contentsline {subsubsection}{\numberline {2.12.3.5}*Connecting slurs at a choosen place}{49}
\contentsline {subsubsection}{\numberline {2.12.3.6}*Connecting slurs at a choosen vertical place on a bar rule}{50}
\contentsline {subsection}{\numberline {2.12.4}Simple slurs}{51}
\contentsline {subsection}{\numberline {2.12.5}Restrictions}{51}
\contentsline {section}{\numberline {2.13}Bars}{51}
\contentsline {subsection}{\numberline {2.13.1}Bars and spacing}{51}
\contentsline {subsection}{\numberline {2.13.2}Bar numbering}{52}
\contentsline {subsection}{\numberline {2.13.3}Full and instrument divided bars}{53}
\contentsline {subsection}{\numberline {2.13.4}Instruments with no coherent bar division}{54}
\contentsline {section}{\numberline {2.14}Managing the layout of your score}{55}
\contentsline {subsection}{\numberline {2.14.1}Line and page breaking}{55}
\contentsline {subsection}{\numberline {2.14.2}How to manage individual page layout}{56}
\contentsline {subsection}{\numberline {2.14.3}How to adjust the global line and page layout}{56}
\contentsline {section}{\numberline {2.15}Changing score attributes}{57}
\contentsline {section}{\numberline {2.16}Repeats}{58}
\contentsline {subsection}{\numberline {2.16.1}Specific first and second pass scoring}{59}
\contentsline {subsection}{\numberline {2.16.2}Large scope repeats and orientation marks}{60}
\contentsline {subsection}{\numberline {2.16.3}Repeating the last bar}{61}
\contentsline {section}{\numberline {2.17}Miscellaneous}{61}
\contentsline {subsection}{\numberline {2.17.1}Putting anything anywhere}{61}
\contentsline {subsection}{\numberline {2.17.2}Fonts}{62}
\contentsline {subsubsection}{\numberline {2.17.2.1}Examples}{63}
\contentsline {subsection}{\numberline {2.17.3}Metronomic indications}{63}
\contentsline {subsection}{\numberline {2.17.4}Accents}{63}
\contentsline {subsection}{\numberline {2.17.5}*Indication of {\sl x\/}-tuplets}{64}
\contentsline {subsection}{\numberline {2.17.6}*Usual ornaments}{65}
\contentsline {subsubsection}{\numberline {2.17.6.1}Arpeggios}{65}
\contentsline {subsubsection}{\numberline {2.17.6.2}Trills}{65}
\contentsline {subsubsection}{\numberline {2.17.6.3}Piano pedal commands}{66}
\contentsline {subsubsection}{\numberline {2.17.6.4}Other ornaments}{66}
\contentsline {subsection}{\numberline {2.17.7}Dynamic signs}{67}
\contentsline {subsection}{\numberline {2.17.8}Length of note stems}{68}
\contentsline {subsection}{\numberline {2.17.9}*Brackets and parentheses}{68}
\contentsline {subsection}{\numberline {2.17.10}New line synchronization of coding}{69}
\contentsline {section}{\numberline {2.18}Small and tiny notes}{70}
\contentsline {subsection}{\numberline {2.18.1}Cadenzas and explicit ornaments}{70}
\contentsline {subsection}{\numberline {2.18.2}Grace notes}{71}
\contentsline {subsection}{\numberline {2.18.3}Other note shapes}{72}
\contentsline {section}{\numberline {2.19}Staff size}{72}
\contentsline {subsection}{\numberline {2.19.1}Moving from 20pt to 16pt, 24pt or 29pt staff sizes and conversely}{72}
\contentsline {subsection}{\numberline {2.19.2}Changing staff size for certain instruments}{72}
\contentsline {section}{\numberline {2.20}Layout parameters}{74}
\contentsline {subsection}{\numberline {2.20.1}List of layout parameters}{74}
\contentsline {subsection}{\numberline {2.20.2}Changing layout parameters}{75}
\contentsline {subsection}{\numberline {2.20.3}Changing the staff distance within systems}{76}
\contentsline {subsection}{\numberline {2.20.4}Changing the number of lines in staffs}{76}
\contentsline {subsection}{\numberline {2.20.5}Resetting normal layout parameters}{77}
\contentsline {subsection}{\numberline {2.20.6}Typesetting one-line excerpts rather than large scores}{77}
\contentsline {subsection}{\numberline {2.20.7}*Lyrics}{77}
\contentsline {subsubsection}{\numberline {2.20.7.1}Getting enough vertical space for lyrics}{78}
\contentsline {subsubsection}{\numberline {2.20.7.2}Posting lyrics}{78}
\contentsline {subsubsection}{\numberline {2.20.7.3}Handling lyrics width versus scalable note spacings}{79}
\contentsline {subsubsection}{\numberline {2.20.7.4}A more comprehensive example of lyrics}{80}
\contentsline {section}{\numberline {2.21}Abnormal music coding}{83}
\contentsline {subsection}{\numberline {2.21.1}Gregorian chant: staffs and clefs}{83}
\contentsline {subsection}{\numberline {2.21.2}Music score without clefs or with special clefs}{84}
\contentsline {subsubsection}{\numberline {2.21.2.1}Empty clefs}{84}
\contentsline {subsubsection}{\numberline {2.21.2.2}Octave clefs}{84}
\contentsline {subsubsection}{\numberline {2.21.2.3}Drum clef}{85}
\contentsline {subsection}{\numberline {2.21.3}Usual percussion music}{87}
\contentsline {section}{\numberline {2.22}Orchestral and chamber music}{88}
\contentsline {subsection}{\numberline {2.22.1}Coding rules}{88}
\contentsline {subsection}{\numberline {2.22.2}Selecting, hiding or putting instruments in background}{88}
\contentsline {subsection}{\numberline {2.22.3}Tricks and recommendations}{89}
\contentsline {section}{\numberline {2.23}Writing your own macros: the {\tt \char '134catcode} problems}{89}
\contentsline {section}{\numberline {2.24}\LaTeX \nobreakspace {}and MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m }{90}
\contentsline {subsection}{\numberline {2.24.1}The {\tt musixtex.sty} style}{90}
\contentsline {subsection}{\numberline {2.24.2}Wide music in \LaTeX }{90}
\contentsline {subsection}{\numberline {2.24.3}The {\tt \char '134catcode} problems}{90}
\contentsline {section}{\numberline {2.25}Implementation and restrictions}{90}
\contentsline {section}{\numberline {2.26}From MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {}\nobreakspace {}to MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m : {\tt musixcpt}}{91}
\contentsline {subsection}{\numberline {2.26.1}Compatibility restrictions}{91}
\contentsline {subsection}{\numberline {2.26.2}Additional commands in {\tt musixcpt.tex}}{92}
\contentsline {section}{\numberline {2.27}Extension Library}{92}
\contentsline {subsection}{\numberline {2.27.1}musixadd}{93}
\contentsline {subsection}{\numberline {2.27.2}musixbm}{93}
\contentsline {subsection}{\numberline {2.27.3}musixbbm}{93}
\contentsline {subsection}{\numberline {2.27.4}*musixcho}{93}
\contentsline {subsection}{\numberline {2.27.5}musixdat}{93}
\contentsline {subsection}{\numberline {2.27.6}*musixdia}{94}
\contentsline {subsection}{\numberline {2.27.7}*musixeng}{94}
\contentsline {subsection}{\numberline {2.27.8}musixext}{94}
\contentsline {subsection}{\numberline {2.27.9}musixf{}l{}l}{94}
\contentsline {subsection}{\numberline {2.27.10}*musixgre}{95}
\contentsline {subsubsection}{\numberline {2.27.10.1}The clefs}{95}
\contentsline {subsubsection}{\numberline {2.27.10.2}The basic elementary symbols}{95}
\contentsline {subsubsection}{\numberline {2.27.10.3}The plain complex neumes}{96}
\contentsline {subsubsection}{\numberline {2.27.10.4}The liquescens complex neumes}{99}
\contentsline {subsection}{\numberline {2.27.11}musixgui}{101}
\contentsline {subsection}{\numberline {2.27.12}*musixlit}{102}
\contentsline {subsection}{\numberline {2.27.13}musixmad}{103}
\contentsline {subsection}{\numberline {2.27.14}musixper}{103}
\contentsline {subsection}{\numberline {2.27.15}musixpoi}{104}
\contentsline {subsection}{\numberline {2.27.16}musixstr}{104}
\contentsline {subsection}{\numberline {2.27.17}musixsty}{105}
\contentsline {subsection}{\numberline {2.27.18}musixtri}{106}
\contentsline {section}{\numberline {2.28}Often reported problems and discussion faxilities}{106}
\contentsline {subsection}{\numberline {2.28.1}Newsgroups}{106}
\contentsline {subsection}{\numberline {2.28.2}Mailing list}{106}
\contentsline {subsection}{\numberline {2.28.3}FAQs}{106}
\contentsline {chapter}{\numberline {3}Installation}{107}
\contentsline {section}{\numberline {3.1}*Getting the stuff}{107}
\contentsline {section}{\numberline {3.2}Unpacking the musixtex.zip file}{107}
\contentsline {section}{\numberline {3.3}Installing the T\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m /\LaTeX {} files}{108}
\contentsline {section}{\numberline {3.4}Installing the fonts metrics}{108}
\contentsline {section}{\numberline {3.5}Installing the font sources}{108}
\contentsline {section}{\numberline {3.6}Installing musixflx}{108}
\contentsline {section}{\numberline {3.7}Finishing installation}{108}
\contentsline {section}{\numberline {3.8}Troubles}{108}
\contentsline {section}{\numberline {3.9}Building a format}{109}
\contentsline {subsection}{\numberline {3.9.1}Starting from nil}{109}
\contentsline {subsection}{\numberline {3.9.2}Starting from your usual plain format}{110}
\contentsline {chapter}{\numberline {4}Examples}{111}
\contentsline {section}{\numberline {4.1}Clean MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m \ examples}{111}
\contentsline {section}{\numberline {4.2}Nearly compatible MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {}\ examples}{112}
\contentsline {section}{\numberline {4.3}Compatible MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {}\ examples}{112}
\contentsline {section}{\numberline {4.4}Looking at examples before installing MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m }{112}
\contentsline {chapter}{\numberline {5}Index}{113}
\contentsline {chapter}{\numberline 6{Summary of denotations}}{125}
