% quick translation by Craig Rice, cdr@stolaf.edu; please mail typos, etc.
%format plain
%\input verbatim
%--------------------------------------------------------------------
% macros for verbatim scanning
% im wesentlichen dem file MANHDR TEX von DEK entnommen
\catcode`@=11
\def\tt{\fam\ttfam\tentt}%
\newskip\ttglue  \ttglue=.5em plus .25em minus .15em
\chardef\other=12
\def\ttverbatim{\begingroup
  \catcode`\\=\other
  \catcode`\{=\other
  \catcode`\}=\other
  \catcode`\$=\other
  \catcode`\&=\other
  \catcode`\#=\other
  \catcode`\%=\other
  \catcode`\~=\other
  \catcode`\_=\other
  \catcode`\^=\other
  \catcode`\"=\other
  \parskip \z@
  \obeyspaces \obeylines \tt}

\def\begintt{$$\let\par=\endgraf \ttverbatim
  \catcode`\|=0 \rightskip-5pc \ttfinish}
{\catcode`\|=0 |catcode`|\=\other % | is temporary escape character
  |obeylines % end of line is active
  |gdef|ttfinish#1^^M#2\endtt{|vbox{#2}|endgroup$$}}

\catcode`\|=\active
{\obeylines \gdef|{\ttverbatim \spaceskip\ttglue \let^^M=\  \let|=\endgroup}}
%\def\ttspace{{\tt\hskip\ttglue}}

\def\vrt{\hbox{\tt\char`\|}} % vertical line
\def\dn{\hbox{\tt\char'14}} % downward arrow
\def\up{\hbox{\tt\char'13}} % upward arrow
\def\]{\hbox{\tt\char`\ }} % visible space

\catcode`@=12 % at signs are no longer letters
\def\verbatimon{\catcode`\|=\active}
\def\verbatimoff{\catcode`\|=\other}
\verbatimoff
%---------------------------------------------- end of verbatim.tex
\catcode`\"=12
\def\hex{"} % zum Eingeben von Zahlen in hex
\def\3{\char"19{}}
\catcode`\"=\active %Umlaute
\def"{\accent'177}
\newskip \iindent \iindent=30pt
\font\bigrm=cmbx12
\font\ninerm=cmr9
\font\music=music16
%\footline={}
\headline={\hfill User macros for MTEX TEX}
\parindent=0pt
%
% einige allgemeine Definitionen (nicht alle hier ben"otigt)
\def\tex#1{{\it #1\/}}
\def\disp#1{{\sl #1\/}}
\def\defi#1{{\bf #1}}
\def\parh{\par\hang\hangafter0}
\def\parn{\par\noindent}
\def\ul#1{$\underline{\text{#1}}$}
\def\pt{\,{\rm pt}}%nur f"ur mathmode
\def\<#1>{\leavevmode\hbox{$\langle$#1\/$\rangle$}} % syntactic quantity
\def\bull{\vrule height .9ex width .8ex depth -.1ex } % square bullet
\def\hang{\hangindent\iindent}
\def\textindent#1{\noindent\hskip\iindent\llap{#1\enspace}\ignorespaces}
\def\item{\par\hang\textindent}
\def\itemitem{\par\noindent\hskip\iindent\hangindent2\iindent\textindent}
\frenchspacing
% macros for non-centered displays
\outer\def\begindisplay{\obeylines\startdisplay}
{\obeylines\gdef\startdisplay#1
{\catcode`\^^M=5$$#1\halign\bgroup\hskip\iindent##\hfil&&\qquad##\hfil\cr}}
\outer\def\enddisplay{\crcr\egroup$$}
\def\vo{\tt\verbatimon}
\def\voff{\tt\verbatimoff}
\def\mf{{\rm METAFONT}}
%\let\headings\relax
%
\openup\jot
This is a list of the useful control sequences of MTEX phrases.

\verbatimon
Each piece of music should be built in the following form:
\begindisplay
Headline\cr
|\beginsong|\<Clef>\<Key>\cr
{}$\vdots$\cr
|\endsong|\cr
\enddisplay
Information about title, composer or author of the text may be specified
in any order in the headline.
\begindisplay
|\title{...}|\cr
|\composer{...}|\cr
|\poet{...}|\cr
\enddisplay
The name of the voice can be specified with |\voice{...}| This
will be written above the first line of the staff.

The following designations for Clef may be specified:
\begindisplay
|\vio|                  && Treble Clef\cr
%|\viooct|               && oktavierter Violinschl"ussel (nach unten) \cr
%|\vioOct|               && oktavierter Violinschl"ussel (nach oben)  \cr
|\bass|                 && Bass Clef \cr
%|\bassoct|            && oktavierter Ba\3schl"ussel (nach unten)    \cr
%|\bassOct|            && oktavierter Ba\3schl"ussel (nach oben)     \cr
C-Clef:\cr
|\bariton|              && Baritone Clef                              \cr
|\tenor|                && Tenor Clef                                 \cr
|\alto|                 && Alto Clef                                  \cr
|\mezzosopran|          && Mezzo Soprano Clef                         \cr
|\sopran|               && Soprano Clef                               \cr
\enddisplay
%Test:
%\def\viooct{$\mathop{\hbox{\music\mviolin}}\limits^8_8$}
%\def\bassoct{$\mathop{\hbox{\music\mbass}}\limits^8_8$}
%\viooct
%\bassoct
The following control sequences can be employed for the various key 
designations:
\begindisplay
Major Keys:\cr
|\F|                    && |\C|   \cr
|\B|                    && |\G|   \cr
|\Es|                   && |\D|   \cr
|\As|                   && |\A|   \cr
|\Des|                  && |\E|   \cr
|\Ges|                  && |\H|   \cr
|\Ces|                  && |\Fis| \cr
Minor Keys:\cr
|\mdis|                 && |\ma|  \cr
|\mgis|                 && |\md|  \cr
|\mcis|                 && |\mg|  \cr
|\mfis|                 && |\mc|  \cr
|\mh|                   && |\mf|  \cr
|\me|                   && |\mb|  \cr
                        && |\mes| \cr
\enddisplay
The meter of the piece is given with
\begindisplay
|\meter{|\<Count of the beats per measure>|}/{|\<measure>|}|
\enddisplay
The symbols for a measure instruction
can also be specified with |\meter|, in that
one specifies nothing for the first parameter, for example:
|\meter/{\mC}| for {\music \char\hex53}.

The music fonts can be specified with the following control sequences.
\begindisplay
|\music|                && Music Sign                   \cr
|\beamfont|             && Beam font   \cr
|\slurfontuu|           && Slur font (concave, rising)   \cr
|\slurfontud|           && Slur font (concave, falling)   \cr
|\slurfontdu|           && Slur font (convex, rising)   \cr
|\slurfontdd|           && Slur font (convex, falling)   \cr
also:          \cr
|\eightrm|    && Eight-point Roman Font for supporting text  \cr
\enddisplay
The names for the \tex{character} in the font |\music| are:
\begindisplay
Note heads:\cr
|\quart| (|\hex21|)              &&  filled in note head\cr
|\half| (|\hex22|)               &&  empty note head\cr
|\whole| (|\hex23|)              &&  whole note\cr
Flags:\cr
|\eighthup| (|\hex28|)           &&  Eigth upward       \cr
|\eighthdown| (|\hex2D|)         &&  Eigth downward        \cr
|\sixteenthup| (|\hex29|)        &&  Sixteenth upward  \cr
|\sixteenthdown| (|\hex2E|)      &&  Sixteenth downward   \cr
|\thirtytwoup| (|\hex2A|)        &&  Thirty-second upward \cr
|\thirtytwodown| (|\hex2F|)      &&  Thirty-second downward\cr
|\sixtyfourup| (|\hex2B|)        &&  Sixty-fourth upward   \cr
|\sixtyfourdown| (|\hex30|)      &&  Sixty-fourth downward\cr
|\hundredtwentyeightup| (|\hex2C|)&& Hundred-twenty-eigth upward\cr
|\hundredtwentyeightdown| (|\hex31|)&& Hundred-twenty-eigth downward\cr
Rest: \cr
|\wholerest| (|\hex3C|)          &&  Whole                  \cr
|\halfrest| (|\hex3D|)           &&  Half                  \cr
|\quartrest| (|\hex3E|)          &&  Quarter                \cr
|\eighthrest| (|\hex3F|)         &&  Eighth                 \cr
|\sixteenthrest| (|\hex40|)      &&  Sixteenth            \cr
Measure rests: \cr
|\doublerest| (|\hex3A|)         &&  two measures             \cr
|\ddoublerest| (|\hex3B|)        &&  four measures             \cr
Fermates:    \cr
|\fermateup| (|\hex50|)          &&  Fermate above       \cr
|\fermatedown| (|\hex51|)        &&  Fermate below      \cr
Pitch changes:   \cr
|\mflat| (|\hex32|)              &&  b                      \cr
|\mdoubleflat| (|\hex33|)        &&  double-b               \cr
|\mquartflat| (|\hex37|)         &&  quarter-b           \cr
|\mthreequartflat| (|\hex3A|)    &&  three-quarters-b       \cr
|\msharp| (|\hex34|)             &&  sharp                  \cr
|\mdoublesharp| (|\hex35|)       &&  double-sharp           \cr
|\mnatural| (|\hex36|)           &&  natural		\cr
Clef:    \cr
|\mviolin| (|\hex47|)            &&  Trebel Clef\cr
%|\mviolinoct| (|\hex47|)         &&                         \cr
%|\mviolinOct| (|\hex47|)         &&                         \cr
|\mbass| (|\hex49|)              &&  Bass Clef	\cr
%|\mbassoct| (|\hex49|)           &&                         \cr
%|\mbassOct| (|\hex49|)           &&                         \cr
|\mbariton| (|\hex4D|)           && Baritone Clef        \cr
|\mtenor| (|\hex4C|)             && Tenor Clef         \cr
|\malt| (|\hex4B|)               && Alto Clef           \cr
|\mmezzosopran| (|\hex4E|)       && Mezzosoprano Clef   \cr
|\msopran| (|\hex4E|)            && Soprano Clef        \cr
Measure instructions:     \cr
|\mC| (|\hex53|) \cr
|\allabreve| (|\hex52|)\cr
|\mCreverse| (|\hex54|)\cr
\enddisplay
Alterable parameters are:
\begindisplay
|\textline| && interval between text and lowest line of staff\cr
|\minsl| && minimal stem-length of note      \cr
|\overtext|               && accompanying text above the staff  \cr
|\undertext|              && accompanying text below the staff  \cr
\enddisplay
Glue parameters for notes:
\begindisplay
|\NOTEskip|             && Glue for whole note  \cr
|\noteskip|             && Glue for half Note \cr
|\noteskip|             && Glue for 1/4    note \cr
|\notEskip|             && Glue for 1/8    note \cr
|\noTEskip|             && Glue for 1/16   note \cr
|\nOTEskip|             && Glue for 1/32   note \cr
|\nOteskip|             && Glue for 1/64   note \cr
|\nOtEskip|             && Glue for 1/128  note \cr
|\ruleskip|             && Glue for Rules \cr
|\hunkskip|             && Glue for notes und Rules \cr
\enddisplay
Following are the currently available glue macros:
\begindisplay
|\ruleskip  = \nhw plus \seminhw minus \seminhw|   \cr
\cr
|\def\hsmall{%hader|   \cr
|\Noteskip 3\nhw plus 2\seminhw minus 2\seminhw|   \cr
|\NOTEskip = \Noteskip|   \cr
|\noteskip 2\nhw plus 1.5\seminhw  minus 1.5\seminhw|   \cr
|\notEskip 1\nhw plus \seminhw  minus \seminhw|   \cr
|\noTEskip \z@ plus 0.5\seminhw  minus \z@|   \cr
|\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip|   \cr
|\hunkskip \z@\relax}|   \cr
\cr
|\def\small{%|   \cr
|\Noteskip 3.5\nhw plus 1.8\seminhw minus 1.8\seminhw|   \cr
|\NOTEskip = \Noteskip|   \cr
|\noteskip 2.5\nhw plus 1.4\seminhw  minus 1.4\seminhw|   \cr
|\notEskip 1.5\nhw plus \seminhw  minus \seminhw|   \cr
|\noTEskip \seminhw plus 0.6\seminhw  minus 0.6\seminhw|   \cr
|\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip|   \cr
|\hunkskip \z@ \relax}|   \cr
\cr
|\def\universal{%|   \cr
|\Noteskip 4\nhw plus 1.6\nhw minus 1.6\nhw|   \cr
|\NOTEskip = \Noteskip|   \cr
|\noteskip 3\nhw plus 1.3\nhw  minus 1.3\nhw|   \cr
|\notEskip 2\nhw plus \nhw  minus \nhw|   \cr
|\noTEskip \nhw plus 0.6\nhw  minus 0.6\nhw|   \cr
|\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip|   \cr
|\hunkskip \z@ \relax}|   \cr
\cr
|\def\wide{%|   \cr
|\Noteskip 4\nhw plus 1.42\nhw minus 1.42\nhw|   \cr
|\NOTEskip = \Noteskip|   \cr
|\noteskip 3.5\nhw plus 1.28\nhw  minus 1.28\nhw|   \cr
|\notEskip 2.5\nhw plus \nhw  minus \nhw|   \cr
|\noTEskip 1.5\nhw plus 0.9\nhw  minus 0.9\nhw|   \cr
|\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip|   \cr
|\hunkskip \z@ \relax}|   \cr
\cr
|\def\loose{%|   \cr
|\Noteskip 5\nhw plus 1.5\nhw minus 1.5\nhw|   \cr
|\NOTEskip = \Noteskip|   \cr
|\noteskip 4\nhw plus 1.25\nhw  minus 1.25\nhw|   \cr
|\notEskip 3\nhw plus \nhw  minus \nhw|   \cr
|\noTEskip 2\nhw plus 0.75\nhw  minus 0.75\nhw|   \cr
|\nOTEskip=\noTEskip \nOteskip=\noTEskip \nOtEskip=\noTEskip|   \cr
|\hunkskip \z@\relax}|   \cr
\enddisplay
Baselineskip-Macros:
\begindisplay
|\baselinesa|             && for one-line examples\cr
|\baselinesb|             && for pieces of music\cr
\enddisplay
Default is: |\let\baselines = \baselinesb|

\bigskip
\goodbreak
Macros for the entering of notes:

Next the notes and rests and pitch changes:
\begindisplay
Names of notes:\cr
|\g{|\<internal pitch>|}|     &&   Whole         Note \cr
|\h{|\<internal pitch>|}|     &&  Half          Note \cr
|\v{|\<internal pitch>|}|     &&  Quarter        Note \cr
|\a{|\<internal pitch>|}|     &&   Eighth        Note \cr
|\s{|\<internal pitch>|}|     &&  Sixteenth    Note \cr
|\z{|\<internal pitch>|}|     && Thirty-second Note \cr
|\d{|\<internal pitch>|}|     && Sixty-fourth  Note \cr
|\o{|\<internal pitch>|}|   && Hundred-twenty-eighth Note \cr
Pitch changes:\cr
|\x{|\<internal pitch>|}|     && Sharp \cr
|\xx{|\<internal pitch>|}|     && Double sharp \cr
|\n{|\<internal pitch>|}|     &&  Natural\cr
|\b{|\<internal pitch>|}|     && Flat \cr
|\bb{|\<internal pitch>|}|     && Double Flat \cr
Pitch changes in accidentals:\cr
|\b@{|\<internal pitch>|}|     && Flat \cr
|\x@{|\<internal pitch>|}|     && Sharp \cr
|\n@{|\<internal pitch>|}|     && Natural \cr
\enddisplay
Rests kept as internal pitch |\pitch=5|
for placement of the dots in the third interval:
\begindisplay
|\pg|     && Whole             Rest \cr
|\dpd|    && Two measure Rest \cr
|\dpg|    && Drei measure Rest \cr
|\dpdd|   && Vier measure Rest \cr
|\ph|     && Half             Rest \cr
|\pv|     && Quarter           Rest \cr
|\pa|     && Eigth            Rest \cr
|\ps|     && Sixteenth       Rest \cr
|\pz|     && Thirty-second       Rest \cr
|\pd|     && Sixty-fourth Rest \cr
|\po|     && Hundred-twenty-eighth Rest \cr
Worth of dots: \cr
|\.{|\<Count of the dot>|}|   \cr
Bars:\cr
|\|\vrt              && normal bar\cr
|\=|       && close bar\cr
|\doublebarline|       &&  double bar \cr
|\rightrepeat|       &&  repeat mark - rechts :\vrt\vrt \cr
|\leftrepeat|       &&  repeat mark - links \vrt\vrt: \cr
|\leftrightrepeat|   && double repeat mark :\vrt\vrt: \cr
Macro for orientation marks:\cr
|\boxed{|\<Number or Letter>|}| \cr
Boxes: \cr
|\1|\<first time>|\2|\<repetition>|\*|\cr
Breathing marks:\cr
|\caesura|\cr
Accent marks:\cr
|\noaccent|                  && eliminate accent\cr
|\stac|                      && staccato \cr
|\dec|                       && small $>$ on note-head \cr
|\staccatissimo|             && staccatissimo mark \cr
|\tr|                        && Trill {\it tr} \cr
|\trbrack|                   && Trill in parentheses ({\it tr}) \cr
|\tenuto|                    && Tenuto\cr
|\plus|                      && Trill $+$ \cr
|\cresc{|\<Noten>|}|         && Crescendo mark $<$ above notes\cr
|\decresc{|\<Noten>|}|       && Decrescendo mark $>$ above note\cr
Abbreviations for accents:\cr
|\cantusfirmus|              && {\it c.f.}     \cr
|\crescendo|                 && {\it cresc.}     \cr
|\dacapo|                    && {\it d.c.}     \cr
|\dalsegno|                  && {\it d.s.}     \cr
|\decrescendo|               && {\it decresc.}     \cr
|\diminuendo|                && {\it dim.}     \cr
|\fine|                      && {\it fine}     \cr
|\forte|                     && {\it f}     \cr
|\fortissimo|                && {\it ff}     \cr
|\fortissimoposs|            && {\it fff}     \cr
|\fortepiano|                && {\it fp}     \cr
|\forzato|                   && {\it fz}     \cr
|\mezzoforte|                && {\it mf}     \cr
|\mezzopiano|                && {\it mp}     \cr
|\piano|                     && {\it p}     \cr
|\pianissimo|                && {\it pp}     \cr
|\pianissimoposs|            && {\it ppp}     \cr
|\rallentando|               && {\it rall.}     \cr
|\rinforzando|               && {\it rfz.}     \cr
|\ritardando|                && {\it rit.}     \cr
|\ritenuto|                  && {\it riten.}     \cr
|\sforzato|                  && {\it sfz}     \cr
|\sforz|                     && {\it sf}     \cr
|\staccato|                  && {\it stacc.}     \cr
|\tacet|                     && {\it tacet}     \cr
|\unisono|                   && {\it unis.}     \cr
\enddisplay
\goodbreak
Beam-groups and bows should be specified as follows:

The groups of notes should be given in the form
\begindisplay
|\group{|\<Element list>|}{|\<pitch list>|}|\cr
\enddisplay
The element list must look be composed as follows:\begindisplay
|\\{|\<Note1>|}|$\ldots$|\\{|\<NoteN>|}|
\enddisplay
The pitch list must be composed similarly, only instead of specifying
the note that is the $i$-th element in the note list one should specify
the internal pitch.
\begindisplay
|\ubeam{|\<beam-begin-number>|}{|\<beam-end-number>|}|   && Beams on
upward climbing notes \cr
|\lbeam{|\<beam-begin-number>|}{|\<beam-end-number>|}|   && Beams on
downward falling notes \cr
|\ubeam{|\<bow-begin-number>|}{|\<bow-end-number>|}|   && Bow above the
group of notes \cr
|\lbeam{|\<bow-begin-number>|}{|\<bow-end-number>|}|  && Bow under the 
group of notes \cr
\enddisplay
These macros can be called as often as you like. It must be closed with
the macro |\go|.
The beams will be placed according to their respective |\beamlist|.
These contain information about the accompanying beam of a part of a group
of notes.
The building of |\beamlist| is a little more complicated, but in the
thesis paper described in detail.
Default is
\begindisplay
  |\def\beamlist{\\{\the\n@a-\the\n@e,}}|
\enddisplay
where |\n@a| is the first element of the beam-group, and |\n@e| the
last. One element of a |\beamlist| describes eine row of beams, that
is, the default will be used when only the eigth-beam can be placed.

Also worth mention is the two-voice composition and the accompanying
test.
Notes can be notated above each other with
|\two{|\<Note(n) above>|}{|\<Noten(n) below>|}|
To specify the text, one should use:
\begindisplay
|\^|$\lbrack$\<Positioning mark>$\rbrack$%
|{|\<text>|}{|\<Note>|}|\cr
|\_|$\lbrack$\<Positioning mark>$\rbrack$%
|{|\<text>|}{|\<Note>|}|
\enddisplay
As positioning marks one can use |n| (width of text will not be
considered), |c| (text will be centered over the note), |l| (text
will be left-justified over the note with consideration to the width)
oder |r| (text will be right-justified over the note with consideration to
the width).
In the case of supporting text there is a further positioning mark:
|v|. In this case the text will be positioned variably directly
under the note and not on the writing line.
If no positioning mark is specified, the sign willl be automatically
positioned.

With the application of chords, it must be next decided if the stem of the
note should point upwards or downwards, that is, should appear
to the right or to the left.
The correct application is achieved with:
\begindisplay
|\rchord|\<Noten>|\endchord|\cr
|\lchord|\<Noten>|\endchord|
\enddisplay
The notes should be given in order from top to bottom.
\bigskip
Closing comments:\hfill \break
\hang One notices that no unnecessary empty spaces will be displayed (observe
rules for control sequences!). Therefore every line should be ended with
a comment mark. (\%).
\end
