\contentsline {chapter}{\numberline {1}What is MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {} ?}{5}
\contentsline {section}{\numberline {1.1}MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m \ principal features}{5}
\contentsline {subsection}{\numberline {1.1.1}Music typesetting is two-dimensional}{5}
\contentsline {subsection}{\numberline {1.1.2}The spacing of the notes}{6}
\contentsline {subsection}{\numberline {1.1.3}Music tokens, rather than a ready-made generator}{7}
\contentsline {subsection}{\numberline {1.1.4}Beams}{8}
\contentsline {subsection}{\numberline {1.1.5}Setting anything on the score}{8}
\contentsline {section}{\numberline {1.2}A simple example}{8}
\contentsline {section}{\numberline {1.3}The three pass system}{9}
\contentsline {subsection}{\numberline {1.3.1}External executable {\tt musixflx}}{12}
\contentsline {subsection}{\numberline {1.3.2}Restrictions and warnings}{12}
\contentsline {subsection}{\numberline {1.3.3}MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m 's laws}{13}
\contentsline {section}{\numberline {1.4}Some highlights}{13}
\contentsline {subsection}{\numberline {1.4.1}Signatures}{13}
\contentsline {subsection}{\numberline {1.4.2}Transposition}{13}
\contentsline {subsection}{\numberline {1.4.3}Selecting special instrument scores}{14}
\contentsline {subsection}{\numberline {1.4.4}Variable staff and note sizes}{14}
\contentsline {section}{\numberline {1.5}How to get it}{14}
\contentsline {section}{\numberline {1.6}Enhancements}{15}
\contentsline {subsection}{\numberline {1.6.1}Recent easy enhancements}{15}
\contentsline {subsection}{\numberline {1.6.2}Enhancement limitations}{15}
\contentsline {section}{\numberline {1.7}Acknowledgements}{15}
\contentsline {chapter}{\numberline {2}Practical use}{16}
\contentsline {section}{\numberline {2.1}Heading statements}{16}
\contentsline {section}{\numberline {2.2}Before you begin to write notes}{16}
\contentsline {subsection}{\numberline {2.2.1}Warnings for the non T\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m pert}{16}
\contentsline {subsection}{\numberline {2.2.2}What you have to specify}{17}
\contentsline {subsection}{\numberline {2.2.3}Instrument names}{19}
\contentsline {subsection}{\numberline {2.2.4}Polyphonic songs}{19}
\contentsline {subsubsection}{\numberline {2.2.4.1}Case of only one choir}{19}
\contentsline {subsubsection}{\numberline {2.2.4.2}Case of several choirs or several orchestras}{19}
\contentsline {subsection}{\numberline {2.2.5}Removing square choir braces}{20}
\contentsline {subsection}{\numberline {2.2.6}Specifying all brackets together}{20}
\contentsline {section}{\numberline {2.3}Starting your masterpiece}{20}
\contentsline {subsection}{\numberline {2.3.1}Typing the first system}{20}
\contentsline {subsection}{\numberline {2.3.2}Easy selecting note spacing}{21}
\contentsline {section}{\numberline {2.4}Note pitch specification}{22}
\contentsline {section}{\numberline {2.5}Writing notes}{23}
\contentsline {subsection}{\numberline {2.5.1}Single spacing notes}{23}
\contentsline {subsection}{\numberline {2.5.2}Non-spacing (chord) notes}{24}
\contentsline {subsection}{\numberline {2.5.3}Shifted non-spacing (chord) heads}{24}
\contentsline {subsection}{\numberline {2.5.4}Single non-spacing notes}{24}
\contentsline {subsection}{\numberline {2.5.5}Single (spacing) stemless notes}{25}
\contentsline {subsection}{\numberline {2.5.6}Pointed notes}{25}
\contentsline {section}{\numberline {2.6}Beams}{26}
\contentsline {subsection}{\numberline {2.6.1}Fixed slope beams}{26}
\contentsline {subsubsection}{\numberline {2.6.1.1}Beam initiation}{26}
\contentsline {subsubsection}{\numberline {2.6.1.2}Beam termination}{26}
\contentsline {subsubsection}{\numberline {2.6.1.3}Beams of increasing multiplicity}{27}
\contentsline {subsubsection}{\numberline {2.6.1.4}Beams of decreasing multiplicity}{27}
\contentsline {subsection}{\numberline {2.6.2}Repeated pattern beams}{28}
\contentsline {subsection}{\numberline {2.6.3}Beams across bars}{29}
\contentsline {subsection}{\numberline {2.6.4}Semi-automatic beams}{30}
\contentsline {section}{\numberline {2.7}Rests}{31}
\contentsline {subsection}{\numberline {2.7.1}Ordinary rests}{31}
\contentsline {subsection}{\numberline {2.7.2}Lifted rests}{31}
\contentsline {subsection}{\numberline {2.7.3}Bar centered rests}{32}
\contentsline {section}{\numberline {2.8}Phantom notes and spacing commands}{33}
\contentsline {section}{\numberline {2.9}Collective coding: sequences of notes}{34}
\contentsline {section}{\numberline {2.10}Accidentals}{34}
\contentsline {section}{\numberline {2.11}Transposition and octaviation}{35}
\contentsline {subsection}{\numberline {2.11.1}Typical piano octave transposition}{36}
\contentsline {subsubsection}{\numberline {2.11.1.1}Local octave transposition of fixed length}{36}
\contentsline {subsubsection}{\numberline {2.11.1.2}Long or variable range octave transposition}{36}
\contentsline {subsection}{\numberline {2.11.2}Transposition of accidentals}{37}
\contentsline {section}{\numberline {2.12}Slurs and ties}{38}
\contentsline {subsection}{\numberline {2.12.1}General slur coding}{38}
\contentsline {subsubsection}{\numberline {2.12.1.1}Slur initiation}{38}
\contentsline {subsubsection}{\numberline {2.12.1.2}Slur termination}{39}
\contentsline {subsubsection}{\numberline {2.12.1.3}Ties}{39}
\contentsline {subsubsection}{\numberline {2.12.1.4}Short ties}{40}
\contentsline {subsubsection}{\numberline {2.12.1.5}Slur limitations}{40}
\contentsline {subsection}{\numberline {2.12.2}Dotted slurs}{41}
\contentsline {subsection}{\numberline {2.12.3}*Modifying slur properties}{41}
\contentsline {subsubsection}{\numberline {2.12.3.1}*Changing the rise or fall}{41}
\contentsline {subsubsection}{\numberline {2.12.3.2}*Changing the curvature}{42}
\contentsline {subsubsection}{\numberline {2.12.3.3}*Breaking slurs across a line}{43}
\contentsline {subsubsection}{\numberline {2.12.3.4}*Inverting slur termination}{43}
\contentsline {subsection}{\numberline {2.12.4}Simple slurs}{44}
\contentsline {subsection}{\numberline {2.12.5}Restrictions}{45}
\contentsline {section}{\numberline {2.13}Bars}{45}
\contentsline {subsection}{\numberline {2.13.1}Bars and spacing}{45}
\contentsline {subsection}{\numberline {2.13.2}Bar numbering}{45}
\contentsline {subsection}{\numberline {2.13.3}Full and instrument divided bars}{47}
\contentsline {subsection}{\numberline {2.13.4}Instruments with no coherent bar division}{47}
\contentsline {section}{\numberline {2.14}Managing the layout of your score}{48}
\contentsline {subsection}{\numberline {2.14.1}Line and page breaking}{48}
\contentsline {subsection}{\numberline {2.14.2}How to manage individual page layout}{49}
\contentsline {subsection}{\numberline {2.14.3}How to adjust the global line and page layout}{49}
\contentsline {section}{\numberline {2.15}Changing score attributes}{50}
\contentsline {section}{\numberline {2.16}Repeats}{52}
\contentsline {subsection}{\numberline {2.16.1}Specific first and second pass scoring}{52}
\contentsline {subsection}{\numberline {2.16.2}Large scope repeats and orientation marks}{54}
\contentsline {subsection}{\numberline {2.16.3}Repeating the last bar}{54}
\contentsline {section}{\numberline {2.17}Miscellaneous}{55}
\contentsline {subsection}{\numberline {2.17.1}Putting anything anywhere}{55}
\contentsline {subsection}{\numberline {2.17.2}Fonts}{55}
\contentsline {subsubsection}{\numberline {2.17.2.1}Examples}{56}
\contentsline {subsection}{\numberline {2.17.3}Metronomic indications}{56}
\contentsline {subsection}{\numberline {2.17.4}Accents}{56}
\contentsline {subsection}{\numberline {2.17.5}*Indication of {\sl x\/}-tuplets}{57}
\contentsline {subsection}{\numberline {2.17.6}*Usual ornaments}{58}
\contentsline {subsubsection}{\numberline {2.17.6.1}Arpeggios}{58}
\contentsline {subsubsection}{\numberline {2.17.6.2}Trills}{58}
\contentsline {subsubsection}{\numberline {2.17.6.3}Piano pedal commands}{59}
\contentsline {subsubsection}{\numberline {2.17.6.4}Other ornaments}{60}
\contentsline {subsection}{\numberline {2.17.7}Dynamic signs}{60}
\contentsline {subsection}{\numberline {2.17.8}Length of note stems}{61}
\contentsline {subsection}{\numberline {2.17.9}*Brackets and parentheses}{61}
\contentsline {subsection}{\numberline {2.17.10}New line synchronization of coding}{62}
\contentsline {section}{\numberline {2.18}Small and tiny notes}{63}
\contentsline {subsection}{\numberline {2.18.1}Cadenzas and explicit ornaments}{63}
\contentsline {subsection}{\numberline {2.18.2}Grace notes}{64}
\contentsline {subsection}{\numberline {2.18.3}Other note shapes}{65}
\contentsline {section}{\numberline {2.19}Staff size}{65}
\contentsline {subsection}{\numberline {2.19.1}Moving from 20pt to 16pt, 24pt or 29pt staff sizes and conversely}{65}
\contentsline {subsection}{\numberline {2.19.2}Changing staff size for certain instruments}{65}
\contentsline {section}{\numberline {2.20}Layout parameters}{67}
\contentsline {subsection}{\numberline {2.20.1}List of layout parameters}{67}
\contentsline {subsection}{\numberline {2.20.2}Changing layout parameters}{68}
\contentsline {subsection}{\numberline {2.20.3}Changing the staff distance within systems}{69}
\contentsline {subsection}{\numberline {2.20.4}Changing the number of lines in staffs}{69}
\contentsline {subsection}{\numberline {2.20.5}Resetting normal layout parameters}{69}
\contentsline {subsection}{\numberline {2.20.6}Typesetting one-line excerpts rather than large scores}{70}
\contentsline {subsection}{\numberline {2.20.7}*Lyrics}{70}
\contentsline {subsubsection}{\numberline {2.20.7.1}Getting enough vertical space for lyrics}{71}
\contentsline {subsubsection}{\numberline {2.20.7.2}Posting lyrics}{71}
\contentsline {subsubsection}{\numberline {2.20.7.3}Handling lyrics width versus scalable note spacings}{72}
\contentsline {subsubsection}{\numberline {2.20.7.4}A more comprehensive example of lyrics}{73}
\contentsline {section}{\numberline {2.21}Abnormal music coding}{76}
\contentsline {subsection}{\numberline {2.21.1}Gregorian chant: staffs and clefs}{76}
\contentsline {subsection}{\numberline {2.21.2}Music score without clefs or with special clefs}{77}
\contentsline {subsubsection}{\numberline {2.21.2.1}Empty clefs}{77}
\contentsline {subsubsection}{\numberline {2.21.2.2}Octave clefs}{77}
\contentsline {subsubsection}{\numberline {2.21.2.3}Drum clef}{78}
\contentsline {subsection}{\numberline {2.21.3}Usual percussion music}{80}
\contentsline {section}{\numberline {2.22}Writing your own macros: the {\tt \char '134catcode} problems}{81}
\contentsline {section}{\numberline {2.23}\LaTeX \nobreakspace {}and MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m }{81}
\contentsline {subsection}{\numberline {2.23.1}The {\tt musixtex.sty} style}{81}
\contentsline {subsection}{\numberline {2.23.2}Wide music in \LaTeX }{81}
\contentsline {subsection}{\numberline {2.23.3}The {\tt \char '134catcode} problems}{81}
\contentsline {section}{\numberline {2.24}Implementation and restrictions}{82}
\contentsline {section}{\numberline {2.25}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}}{82}
\contentsline {subsection}{\numberline {2.25.1}Compatibility restrictions}{82}
\contentsline {subsection}{\numberline {2.25.2}Additional commands in {\tt musixcpt.tex}}{83}
\contentsline {section}{\numberline {2.26}Extension Library}{84}
\contentsline {subsection}{\numberline {2.26.1}musixadd}{84}
\contentsline {subsection}{\numberline {2.26.2}musixbm}{84}
\contentsline {subsection}{\numberline {2.26.3}musixbbm}{84}
\contentsline {subsection}{\numberline {2.26.4}*musixcho}{84}
\contentsline {subsection}{\numberline {2.26.5}musixdat}{85}
\contentsline {subsection}{\numberline {2.26.6}*musixdia}{85}
\contentsline {subsection}{\numberline {2.26.7}*musixeng}{85}
\contentsline {subsection}{\numberline {2.26.8}musixext}{86}
\contentsline {subsection}{\numberline {2.26.9}musixf{}l{}l}{86}
\contentsline {subsection}{\numberline {2.26.10}*musixgre}{86}
\contentsline {subsubsection}{\numberline {2.26.10.1}The clefs}{87}
\contentsline {subsubsection}{\numberline {2.26.10.2}The basic elementary symbols}{87}
\contentsline {subsubsection}{\numberline {2.26.10.3}The plain complex neumes}{88}
\contentsline {subsubsection}{\numberline {2.26.10.4}The liquescens complex neumes}{91}
\contentsline {subsection}{\numberline {2.26.11}musixgui}{93}
\contentsline {subsection}{\numberline {2.26.12}*musixlit}{94}
\contentsline {subsection}{\numberline {2.26.13}musixmad}{95}
\contentsline {subsection}{\numberline {2.26.14}musixper}{95}
\contentsline {subsection}{\numberline {2.26.15}musixpoi}{96}
\contentsline {subsection}{\numberline {2.26.16}musixstr}{96}
\contentsline {subsection}{\numberline {2.26.17}musixsty}{96}
\contentsline {subsection}{\numberline {2.26.18}musixtri}{97}
\contentsline {section}{\numberline {2.27}Often reported problems and discussion faxilities}{98}
\contentsline {subsection}{\numberline {2.27.1}Newsgroups}{98}
\contentsline {subsection}{\numberline {2.27.2}Mailing list}{98}
\contentsline {subsection}{\numberline {2.27.3}FAQs}{98}
\contentsline {chapter}{\numberline {3}Installation}{99}
\contentsline {section}{\numberline {3.1}*Getting the stuff}{99}
\contentsline {section}{\numberline {3.2}Installing the fonts}{100}
\contentsline {section}{\numberline {3.3}Building a format}{100}
\contentsline {subsection}{\numberline {3.3.1}Starting from nil}{100}
\contentsline {subsection}{\numberline {3.3.2}Starting from your usual plain format}{102}
\contentsline {chapter}{\numberline {4}Examples}{103}
\contentsline {section}{\numberline {4.1}Clean MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m \ examples}{103}
\contentsline {section}{\numberline {4.2}Nearly compatible MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {}\ examples}{104}
\contentsline {section}{\numberline {4.3}Compatible MusicT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m {}\ examples}{104}
\contentsline {section}{\numberline {4.4}Looking at examples before installing MusiXT\kern -.1667em\lower .5ex\hbox {E}\kern -.125emX\spacefactor \@m }{104}
\contentsline {chapter}{\numberline {5}Index}{105}
\contentsline {chapter}{\numberline 6{Summary of denotations}}{117}