Re: [Tex-music] PMX puzzle with small music sizes

2011-07-19 Thread Terrence Enger 
On Mon, 2011-07-18 at 20:30 -0700, Don Simons wrote:
> Can anyone explain why the following file, (snip)

Lacking the knowledge to do anything *really* helpful, I did my
routine "chop chop" exercise on the generated tex source.  I append a
reduced source file that still shows more leading space on the third
system than on the second, and I attach the resulting dvi.

I find it interesting that the issue persists even at normal
musicsize.

HTH,
Terry.


%
%
% ds_0719.tex
%   Changes in this version:  remove \setsize \tinyvalue
% fix \setsign
%

\input musixtex
\input pmx
\input musixmad%\setmaxslurs{24}\setmaxinstruments{24}%
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize740pt
%===\def\nbinstruments{4}
\def\nbinstruments{1}
%===\setstaffs11
%===\setclef16
%===\setname1{Basso}
%===\setstaffs21
%===\setclef20
%===\setname2{Concert}
%===\setstaffs31
\setstaffs11
%===\setclef30
\setclef10
%===\setname3{Clarinet}
\setname1{Clarinet}
%===\setstaffs41
%===\setclef40
%===\setname4{Concert}
\generalsignature{ 0}%
%===\setsign32%
\setsign12%
\generalmeter{\meterfrac{4}{4}}%
\parindent 42pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg0pt\interstaff{12.6}\relax
\readmod{ds_0719}
%===\setsize2\tinyvalue%
%===\setsize3\tinyvalue%
%===%===\setsize1\tinyvalue%
%===\setsize4\tinyvalue%
\startmuflex\startpiece\addspace\afterruleskip%
\bigaccid%
\relativeaccid%
\znotes&&&\zcharnote{16}{\titles{2.7}{}{0}{}{0}{}{0}}\en%
% Bar count 1
%+++ 38 lines removed
% Bar count 9
\xbar\addspace{-\afterruleskip}\generalsignature{-3}%
%===\setsign3{-1}%
\setsign1{-1}%
\advance\barno-1%
\xchangecontext\addspace{-\afterruleskip}\zstoppiece\PMXbarnotrue\contpiece%
%===\pnotes{2.83}\qu{'C}\qu D\ql E\ql F&\qu c\qu d\qu e\qu f&\qu d\qu e\qu f%
\pnotes{2.83}\qu d%
%===\qu g&\qu c\qu d\qu e\qu f\en%
\en%
% Bar count 10
%+++ 38 lines removed
% Bar count 17
\xbar\addspace{-\afterruleskip}\generalsignature{2}%
%===\setsign34%
\setsign14%
\advance\barno-1%
\xchangecontext\addspace{-\afterruleskip}\zstoppiece\PMXbarnotrue\contpiece%
%===\pnotes{2.83}\qu{'D}\ql E\ql F\ql G&\qu d\qu e\qu f\qu g&\qu e\qu f\qu g%
\pnotes{2.83}\qu e%
%===\qu{'a}&\qu d\qu e\qu f\qu g\en%
\en%
% Bar count 18
%+++ 35 lines removed
\Endpiece
\vskip1.4\Interligne\eject\endmuflex
\bye



ds_0719c.dvi
Description: TeX dvi file
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Re: [Tex-music] New beta of PMX (2.614)

2011-07-18 Thread Terrence Enger 
On Sun, 2011-07-17 at 15:10 -0700, Don Simons wrote:
> I've just uploaded a bugfix beta version 2.614 of PMX to
> 
> http://www.icking-music-archive.org/software/pmx/pmx2614.zip

Thank you.  The results look good.

> 
> This fixes a bug discovered by Terry Enger. It was quite a remarkable catch,
> and reminded me of the PMX bugs that Werner was so adept at finding. It
> depended on having all the following conditions: A (1) rest that was (2)
> lowered and (3) dotted, followed by (4) a single note, followed by (5) two
> beamed notes, with (6) all of the above occurring in the same notes group,
> i.e., without any change in horizontal spacing increment \noteskip!

Admittedly it seems a mite strange to put an \hbox in an \hbox just so
that you can lower it, something that you might expect from the
department of extra redundancy department.  Still, is it so very
strange that it gives the tex macros (musixtex.tex?, pmx.tex?,
whatever!) an excuse to supply flags+beam to the 'cello G?  I was
expecting the fix to be somewhere in the tex macro definitions.

Thank you for waiting; I am back .  Experimentation with tex
source code shows that neither \lower nor a nested \hbox is necessary
to show the problem.  Rather, I think that the \hbox is occupying
space that \tbl does not account for when it lays down the start of
the beams.  An \hbox out at the left moves the start of the beam to
the left of where it belongs; an \box after the first beamed note
moves the start of the beam to the right of where it belongs.  More
precisely, I think that those \hbox's move the notes in the other
direction from what I wrote.  The effect is easier to see with an
\hbox of a different width.  The width \Noteskip creates a strong
suggestion that the start of the beam is associated with the stem it
abuts; that is just coincidence.

Well, that is this newbie's guess, for what it is worth.

> I still
> don't understand precisely what was happening, but it was caused by PMX
> putting the rest and dot together in an hbox, when the rest itself was
> already automatically in an hbox. The basic error would be seen in the first
> bar of the following file, which also shows how the revised algorithm tweaks
> dot heights depending on whether the dot would hit a staff line. 

Neat!  Thank you.

> (snip)


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[Tex-music] A note with flags *and* beam

2011-07-12 Thread Terrence Enger 
Greetings,

Can anybody tell me if I am doing something wrong here?  The first
note in the cello part has both flags and a beam.

I shall append the source and attach the resulting .dvi file.  I have
reduced the source to the point where removing any of lots of things
makes the problem of flags+beam go away.  (The source made more sense
before I started cutting it down.  Honest, it did.  In
particular, the cello part has a second voice so that I can insert
dynamic markings and words spaced out within one note.)

I am using musixtex 1.14; and I get the same result from pmx Version
2.521, 16 May 09 and pmx Version 2612 , 22 Jun 11.

Thank you for your help.
Terry.

== source =
% -
% Sixteenth G in cello part gets flags *and* beams
% -
%
% nstaves,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
 3   3  4   40  00   -3 
%
% npages,nsyst,musicsize,fracindent
1  1 200.15
Piano
Cello
Violin
tbt
./

% === m. 136
%   % If I remove the clef change in the l.h., the problem in the
%   % cello part disappears.  If I move the clef change one sixteenth
%   % later, again the problem disappears.  Go figgur!
r2
r8d 
Cb r1 r4 /
r4
%   % FIXME:  The sixteenth note G gets two flags *and* it is beamed.
%   % What gives?
r8d g13 f e d8
r4
% % Without second voice, problem goes away.
  //
rb0
/
rb4
%   % Without notes here, problem goes away.
r1 e14 d1 e
rb2 /



m136g.dvi
Description: TeX dvi file
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Re: [Tex-music] How to retrieve current horizontal position?

2011-07-12 Thread Terrence Enger 
On Thu, 2011-07-07 at 08:39 +0200, Jean-Pierre Coulon wrote:
> On Wed, 6 Jul 2011, Terrence Enger wrote:
> 
> > (snip)
> (snip)
> Sorry for the lng demo file, but please search 'myossia' in it.

Thank you.

I think I shall punt on the question for now, and just hard-code two
particular numbers of \noteskip, one number for the score and one for
the single part.  In a first experiment, the result looks okay; I will
see how well it bears up as the piece grows.
 
> 
> In addition to this I had the impression that working with \NOtes and similars
> requires a *five*-pass system! Without changing the Ossia definition it seems
> the Ossia spacing varies if you repeat the MusiXTeX-musixflx-MusiXTeX 
> procedure without changing the MusiXTeX source.

Yes, that seems to be the case.
> 
> > For the terminally curious, I am trying to typeset the word
> > "ri-tar-dan-do" in the piano part at the end of
> > <http://imslp.org/wiki/Andante_con_moto,_EG_116_%28Grieg,_Edvard%29>[...]
> 
> Sorry, but finding measure 136 in such a score is difficult unless I 
> retypeset 
> it myself! For next time may I suggest the notation [5,3,6] meaning page 5,
> third system, sixth measure when the composer was too lazy to put measure 
> numbers? Of course (5:3:6) or {5;3;6} are acceptable too!

Sorry.  I should have just said "third and second measure before the
end".



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[Tex-music] How to retrieve current horizontal position?

2011-07-06 Thread Terrence Enger 
Greetings,

Things were going too smoothly, so I had to try to get subtle, and
here I am, back bothering the list for help again.  Sigh.

I have seen Rainer Dunker's example of ossia processing at
, and
I tried to follow it for making words expand according to the
looseness of the typeset score.  Hovever, as I debug my code, it looks
to me like \lin@pos advances only once per measure.  Is there a way I
can retrieve the horizontal position of a chord within a measure?

For the terminally curious, I am trying to typeset the word
"ri-tar-dan-do" in the piano part at the end of
,
where Grieg writes the word spread out from the eleventh 16-th note of
measure 136 to the end of measure 136.  Of course, I shall have
eventually to deal with the possibility of a system break within such
a word, but I am willing to leave that subtlety for another day.

Thank you for your attention,
Terry.


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Re: [Tex-music] difficulty with inline TeX within pmx

2011-07-01 Thread Terrence Enger 
Thank you.  That makes sense.


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Re: [Tex-music] difficulty with inline TeX within pmx

2011-06-30 Thread Terrence Enger 
On Thu, 2011-06-30 at 19:58 +0100, Olivier Vogel wrote:
> (snip)
> \\\def\atnextbar{\znotes\loff{\Toctfin1}\en}\

Thank you, that's just the ticket.

Terry.


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[Tex-music] difficulty with inline TeX within pmx

2011-06-30 Thread Terrence Enger 
Greetings,

( Now that I have written this down, it is obvious that I need to code
the \Tocfin1 one note earlier.  Still, my question stands with respect
to inline TeX in general. )

Early in my attempts to use inline TeX within a pmx file, I have found
something which surprises me as funny: pmx copies a (one-backslash)
inline TeX instruction to the output only if it is followed by a note
(or, for all I know, something else) in the same measure.  I append
source code and generated .tex file, and I attach resulting .pdf.

The result is the same from pmx Version 2.502a <29 March 04> and from
Version 2612 , 22 Jun 11.

Is there something I need to know?  If this is a program problem, is
there anything I can do to help?

Thanks,
Terry.

== source ==
% -
%
% Trying to figure out why \Toctfin1 is not going through
% to the output file.
%
% -
%
% nstaves,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
 1   1  4   40  00   -3 
%
% npages,nsyst,musicsize,fracindent
1  1 200.15
Violin
t
./
% === m.
\Ioctfinup1q\ a24
%   Inline tex if last in measure does not go to output.
d- \Toctfin1\ /
% === m.
\Ioctfinup2o\ g24
%   Inline tex if followed by a note goes to output.
c4- \Toctfin2\ c /
==generated tex 
%
%
% m136b.tex
%

\input musixtex
\input pmx
\input musixmad%\setmaxslurs{24}\setmaxinstruments{24}%
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{Violin}
\generalsignature{-3}%
\parindent 79pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{m136b}
\startmuflex\startpiece\addspace\afterruleskip%
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 1
\pnotes{4.00}\Ioctfinup1q\hu{'a}\hu{`d}\en%
% Bar count 2
\xbar
\pnotes{4.00}\Ioctfinup2o\hu g\en%
\pnotes{2.83}\qu c\Toctfin2\qu c\en%
\Endpiece
\vfill\eject\endmuflex
\bye


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Re: [Tex-music] adjusting the starting position of a tie

2011-06-29 Thread Terrence Enger 
On Fri, 2011-06-24 at 23:19 -0700, Don Simons wrote:
> I wrote
> 
> >Someone did work out the ossia and it might be in Cornelius Noack's "tips
> >and tricks". If not and if no one else provides a link, let me know and I'll
> >ferret it out. It wasn't easy to do...lots of inline TeX required.
> 
> It's in the MusiXTeX manual
> http://www.icking-music-archive.org/software/musixtex/musixdoc.pdf
> in section 2.18.3. And the example isn't in PMX. This can no doubt be done
> in PMX with inline TeX but it'll be pretty tricky. Your other thought about
> using an EPS could probably also work, but I've only seen that in LaTeX
> documents, not plain TeX; and besides, to me it's unaesthetic to have your
> source spread out over more than one file. I'd suggest trying to use the
> method exemplified in musixdoc together with inline TeX in PMX. If you get
> stuck, that WOULD be a good problem to post on the list. Who knows, someone
> might even work out a simple example based on this posting (hint, hint,
> Olivier). 
> 

Harrumph!


Ideally, we want the following.

(1) The ossia is defined not only in the same file but physically
close to the primary alternative.  For a short ossia, both
alternatives can be visible in a text editor at the same time.

(2) The ossia is written in pmx rather than musixtex.  Well, mostly,
 at least.

(3) When changes happen in the looseness or a system break happens in
the middle of the ossia, the program does "the right thing".


With respect to the example in the musixtex manual, I had to hack the
source around before I could get a result looking like the manual.
Perhaps I misunderstand something, but the code as given does have the
\hsize of the ossia hard-coded; I additionally tightened the spacing
within the ossia.

I found another example in musixtex at
.
This example handles changes in looseness nicely but it breaks
conspicuously if a system break falls within the ossia.


Warning: hand-waving ahead.  

My temptation is to try to write a script to pull ossias out of a pmx
file, typeset them, and then put the whole thing back together.  But
having seen smart and experienced people call this a difficult
problem, I suspect that I cannot hope to accomplish something useful.


Is the gave worth the candle?  What do you think?

Terry.


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Re: [Tex-music] adjusting the starting position of a tie

2011-06-28 Thread Terrence Enger 
On Sat, 2011-06-25 at 13:26 -0700, Don Simons wrote:
> ?? Unless I'm missing something, I can't see anything unexpected, nor why you 
> would expect both to be the same. In Ex 1 the tie on the e curves down by 
> default and the one on c curves up as you coded. Down-ties start below center 
> and go down from there, and vice versa, and you haven't tweaked any vertical 
> positions. In the second example the curve directions (and default starting 
> heights along with them) are reversed, consistent your tweaks,
> 
> --Don

Silly me, I was confusing which tie is which in the first example.  I
apologize for having bothered the list with this.

Terry.


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Re: [Tex-music] adjusting the starting position of a tie

2011-06-24 Thread Terrence Enger 
On Fri, 2011-06-24 at 08:30 -0700, Don Simons wrote:
> Terry--
> 
> Someone did work out the ossia and it might be in Cornelius Noack's "tips
> and tricks". If not and if no one else provides a link, let me know and I'll
> ferret it out. It wasn't easy to do...lots of inline TeX required.

I do not see it in the TOC of his tutorial under the heading Tips and
Tricks, but the section PMX and LaTeX talks--for a different
purpose--about creating encapsulated postscript from the pmx and then
including the result as a graphic in a LaTeX document.  This is well
beyond my current knowledge, but I imagine that getting the alignment
right will be fiddly (which is okay) and subject to breakage whenever
anything changes (which I think is much less okay).

Which technique do you think would be easier to do in the first place,
and which would be easier to maintain through changes?

> 
> On the slurs and ties in chords, I certainly respect both Grieg's intentions
> and Jean-Pierre's more realistic view. But there's a third way of looking at
> the question, from the standpoint of "accepted typesetting practice,"
> whatever that means. Many folks on this list swear by Gardner Read's "Music
> Notation", and quite coincidentally, I had an interchange with Cornelius
> about this very question within the week, which prompted me to see what Read
> had to say. He says that if individual chord notes are tied, then draw the
> individual ties, and if there are more than two of them, the outer ones
> should curve oppositely. But if any notes of successive chords are slurred,
> then only one slur should be drawn, either above or below the chord. It's
> obvious from your tiff that Grieg didn't follow that advice.

I'll see if my library can find a copy.

Meanwhile, I am finding some of Grieg's eccentricities of notation quite
charming.  At least until he took a pencil to it, the writing is very
clear.


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Re: [Tex-music] adjusting the starting position of a tie

2011-06-24 Thread Terrence Enger 
On Fri, 2011-06-24 at 15:26 +0200, Jean-Pierre Coulon wrote:
> On Fri, 24 Jun 2011, Terrence Enger wrote:
> 
> > For the terminally curious, I attach an image of the part of the
> > manuscript which led me into this situation.
> 
> I cannot answer, but may I express a personal opinion?

Of course.

> 
> You have 2 slurs and 2 ties. For the musician who reads the piece it is 
> rather 
> difficult to rapidly play each one correctly.
> 
> Therefore I think you should notate the ties only. Due to the rather legato 
> character of this piece the average musican 



My spell checker objects, but that's how Deral Johnson
<http://thewholenote.com/index.php?option=com_content&view=article&id=4837:deral-johnson&catid=102:wholenote-blog&Itemid=222>
 used to say it, so I like it.  Especially when he was accusing us of being 
mechanical or inattentive: "Come on, you musicans!"

I remember being in a conversation with him in a corridor.  An
undergraduate--oh-so-young, oh-so-sweet, oh-so-timid--came up and asked
if she could bother him.  His response, in high dudgeon, was "Absolutely
not."  But then, with the utmost graciousness, he added "But I would be
*delighted* were you to interrupt."



> will certainly guess that the 
> "changing" notes must be played legato.

Just for reference, the manuscript in question is
<http://erato.uvt.nl/files/imglnks/usimg/b/b1/IMSLP28202-PMLP61902-Grieg_Andante_con_moto_EG_116.pdf>.

I have been trying quite hard to follow the manuscript closely.  I do
not know of any printed version of this music; google keeps leading me
back to the manuscript image from which I am working.  (There is,
however, a commercial recording.  Now if my latest customer will just
get around to paying that last big invoice ... )

I have divided purposes here (even beyond learning the typesetting).  I
think I would like to try playing the piece.  (I have roped in a
cellist, looking for a violinist, am somewhat worried that our pianist
(yikes, that's me!) may not be up to the job.)  Meanwhile, I hope to
have something worth contributing back to imslp.org.  For this last
purpose, I think faithfulness to the original trumps practicality.

An important upcoming decision is the treatment of Grieg's pencilled-in
revisions.  Especially in the last three measures, they are quite thick
upon the page.  If I can figure out how to do an "ossia" in pmx, then I
can punt the decision to the reader by entering the music both ways.

So, I guess I am saying that I shall see it as an accomplishment if I
can reach the point where practicality is relevant.  It is by no means
clear that I shall persist that far.

Sigh.




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Re: [Tex-music] adjusting the starting position of a tie

2011-06-24 Thread Terrence Enger 
On Fri, 2011-06-24 at 15:13 +0200, Stanislav Kneifl wrote:
> Hi Terry,
> 
> could you show me the TeX source?

Here it is.  Harrumph, that would have been more useful to send with my
question than the manuscript image that I attached.  Sigh.

I have fudged the 8th line to allow for using a newer version of pmx.  I
append both the tex generated from new pmxall and fudged and the tex
generated from pmxab.  They look very similar to me.

Thank you for your help,
Terry.

== generated .tex (pmxall and fudged) ==
%
%
% m040b.tex
%

\input musixtex
\input pmx
\input musixmad%\setmaxslurs{24}\setmaxinstruments{24}%
\input musixps
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{-3}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{m040b}
\startmuflex\startpiece\addspace\afterruleskip%
\bigaccid%
\global\parskip 0pt plus 12\Interligne minus 99\Interligne%
\def\upstrut{\znotes&\zcharnote{\upamt}{~}\en}%
\Nosluradjust\Notieadjust\nohalfties
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 1
\starteq%
\pnotes{2.83}\isu0{'b}{.8}\tieforisd\islurd1{`e}\tieforisu\isu2c{3.2}%
\islurd3b\zq e\rq c\zq b\qu{'b}\tslur0a\tieforts\tslur1{`e}%
\tieforts\tslur2c\tslur3a\zq e\zq c\bigna a\zq a\na{'a}\qu a\en%
% Bar count 2
\alaligne
\pnotes{2.83}\isu0{'b}{.8}\tieforisu\isu1{`e}{.2}\tieforisd\isd2c{3.0}%
\islurd3b\zq e\rq c\zq b\qu{'b}\tslur0a\tieforts\tslur1{`e}%
\tieforts\tslur2c\tslur3a\zq e\zq c\bigna a\zq a\na{'a}\qu a\en%
\Endpiece
\vfill\eject\endmuflex
\bye
== generated .tex (pmxab) ==
%
%
% m040c.tex
%

\input musixtex
\input pmx
\input musixmad
\input musixps
\normalmusicsize%
\nopagenumbers
\tracingstats=2\relax
\hsize=524pt
\vsize740pt
\def\nbinstruments{1}
\setstaffs11
\setclef10
\setname1{ }
\generalsignature{-3}%
\parindent 0pt
\elemskip1pt\afterruleskip1.000pt\beforeruleskip0pt\relax
\stafftopmarg0pt\staffbotmarg5\Interligne\interstaff{10}\relax
\nostartrule
\readmod{m040c}
\startmuflex\startpiece\addspace\afterruleskip%
\bigaccid%
\global\parskip 0pt plus 12\Interligne minus 99\Interligne%
\def\upstrut{\znotes&\zcharnote{\upamt}{~}\en}%
\Nosluradjust\Notieadjust\nohalfties
\znotes\zcharnote{16}{\titles{2.0}{}{0}{}{0}{}{0}}\en%
% Bar count 1
\starteq%
\pnotes{2.83}\isu0{'b}{.8}\tieforisd\islurd1{`e}\tieforisu\isu2c{3.2}%
\islurd3b\zq e\rq c\zq b\qu{'b}\tslur0a\tieforts\tslur1{`e}%
\tieforts\tslur2c\tslur3a\zq e\zq c\bigna a\zq a\na{'a}\qu a\en%
% Bar count 2
\alaligne
\pnotes{2.83}\isu0{'b}{.8}\tieforisu\isu1{`e}{.2}\tieforisd\isd2c{3.0}%
\islurd3b\zq e\rq c\zq b\qu{'b}\tslur0a\tieforts\tslur1{`e}%
\tieforts\tslur2c\tslur3a\zq e\zq c\bigna a\zq a\na{'a}\qu a\en%
\Endpiece
\vfill\eject\endmuflex
\bye


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Re: [Tex-music] segmentation fault in pmxab

2011-06-22 Thread Terrence Enger 
On Wed, 2011-06-22 at 15:30 +0200, Cornelius C. Noack wrote:
> (cut)
> 
> This is even more so, as the solution of the problm is to make use
> of the appropriate PMX method for that: tweaking the position/length
> of D< (and, in fact, all other cases of the D command!) accordingly;
> in your case, the following will do the job; instead of
>D< g83 d+ g- g+ D< g4 r /
> write
>g84 D<+0-5 d+ g- g+ D<+0+1 g4 r /
> 
> ( Adjust the shift parameters to suit your own taste).

Yes.

My error on Monday was a simple accident.  But Grieg obviously put a
lot of care into the manuscript, and I shall try to duplicate the
appearance, even if there is no great difference in meaning between a
hairpin starting at the bar line compared to a hairpin starting at the
first beat of the measure.

> 
> Thanks for your citing the remark on this in my tutorial!
> In light of your 'problem', I guess it would make sense to point
> out the remedy in the Note I wrote on this  -- I will add that in
> my next update (coming soon for another, more serious reason ...) .

Before starting to work in musixtex on this work, I did look at pmx; I
even made some notes about why I was choosing musixtex.  For what it's
worth, here are the thoughts of a newbie to pmx.

(*) The first time I looked at your tutorial, I had a broken printer.
I have since replaced my printer and printed a hard copy of the
tutorial.  Being able to mark pages makes a lot of difference.

(*) The long list of positional numeric parameters at the start of the
input reminded me of primitive programming languages in which I
did some of my early programming.  The memories are not pleasant,
and I noted "this is too terse for me!"  In actual use, those
numbers just sit in the source file and rarely need attention.

The coding of the central part of the score, while terse, is
sufficiently mnemonic that I can remember the codes for the
duration of a working session, and even between sessions.  There
are some codes that I find (so far) less memorable than musixtex,
but I greatly appreciate relief from trying to remember where the
opposite of u-for-up is l-for-lower and where it is d-for-down.

(*) My favourite mistake so far is to type a backslash where a forward
slash is required.  Why, oh why, can I not see what is right in
front of me?  I hereby state my resolution to add a step to my
makefile to check the source for backslashes.  The first time I
have to write inline TeX, more intelligence will be required.  (I
am deliberately not specifying whether I am talking about more
intelligence in the makefile or more intelligence in me. )

(*) A couple of features of the syntax of the language bother me by
limiting my freedom to indent the code.  I would like to be able
to let comments, even the leading "%", recede to the right
according to their (lack of) importance.  I would like to let the
slashes marking change of stave or change of voice hang out at the
left without using up a whole line on the screen.  Of course, as I
use pmx more, the way it is will come to seem more and more right.

Thank you for letting me ramble on.

Terry.


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[Tex-music] segmentation fault in pmxab

2011-06-20 Thread Terrence Enger 
Greetings,

I know from Noack "Typsetting music with PMX -- version 2.6" that 
I am not supposed to put the code for a dynamic mark in front of a 
note.  Still, a segmentation fault seems like an overly severe punishment 
for a coding error.

I append the PMX souce and the console output (lightly massaged with 
respect to overprinting and unprintable characters) from my attempt to 
compile it.

Obviously, the solution for me is to just "stop doing that".  I am 
just trying to be helpful with this report.

Thanks,
Terry.

== m017segfault.pmx ===
% -
%
% Grieg, Andante con moto for piano, violin, and cello, EG 116
%
% -
%
% nstaves,noinst,mtrnuml,mtrdenl,mtrnump,mtrdenp,xmtrnum0,isig,
 4   3  4   40  60   -3 
%
% npages,nsyst,musicsize,fracindent
1  1 200.15
Piano
Cello
Violin
btbt
./
Abep
% use postscript type K slurs, ties, and hairpins
Ap
% m. 017
d43d zgd zbd g8  an b g d+ /
d44d zgd zbd zdd g84 D< an b g d+ D< /
%   "Typesetting music with PMX" version 2.6 tells me
%   that dynamic marks "go *after* the note to which 
%   they refer" (emphasis in the original).  Still
%   a segfault seems like an unwarrentedly severe 
%   "weird error".
D< g83 d+  g-  g+ D< g4   r/
g84 D< d+  g-  g+ D< g4   r/
== console session 
terry@cougar-natty:~/Music/grieg_andante_con_moto/pmx$ pmxab m017segfault.pmx 
 This is PMX, Version 2.521, 16 May 09
 Opening m017segfault.pmx   

 Starting first PMX pass

  Bar 1
 WARNING:
 Last non-blank character is "^@", not "/,%"
 ASCII code:   0

 Done with first pass


 Starting second PMX pass


  Bar 1Segmentation fault
terry@cougar-natty:~/Music/grieg_andante_con_moto/pmx$ ls -l m017s*
-rw-r--r-- 1 terry terry   0 2011-06-20 20:18 m017segfault.pml
-rw-r--r-- 1 terry terry 857 2011-06-20 20:12 m017segfault.pmx
terry@cougar-natty:~/Music/grieg_andante_con_moto/pmx$ uname -a
Linux cougar-natty 2.6.38-8-generic #42-Ubuntu SMP Mon Apr 11 03:31:50 UTC 2011 
i686 athlon i386 GNU/Linux
===

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Re: [Tex-music] musixps and extracting separate parts

2011-06-20 Thread Terrence Enger 
Sorry this crossed in the mail with Jean-Pierr Coulon asking the same
question and Bob Tennent answering it.

On Mon, 2011-06-20 at 10:32 -0400, Terrence Enger wrote:
> Neat; it works!
> 
> But what would you change to print one of the other three parts instead?
> (Yes, I am treating this as a magic incantation of which I understand
> little, and yes, I do feel like the sorcer's apprentice.)


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Re: [Tex-music] musixps and extracting separate parts

2011-06-20 Thread Terrence Enger 
On Mon, 2011-06-20 at 06:46 -0400, Bob Tennent wrote:
> >|On Sun, 19 Jun 2011, Bob Tennent wrote:
>  >|
>  >|> If you already have a musixtex score and don't want to start again using
>  >|> pmx, you can "suppress" instruments as follows: [...]
>  >|
>  >|Could you please provide an example with 3 or 4 instruments and 3 or 4
>  >|measures?
> 
> The original source is in
> 
> http://icking-music-archive.org/scores/bach/bwv988/quod.zip
> 
> Note that the other parts are indeed suppressed, but the note spacing
> has to be corrected in the resulting part score. Also multiple-bar
> rests.

Neat; it works!

But what would you change to print one of the other three parts instead?
(Yes, I am treating this as a magic incantation of which I understand
little, and yes, I do feel like the sorcer's apprentice.)

Thanks,
Terry.


> 
> Bob
> 
> __
> 
> \input musixtex.tex
> \input musixsty.tex
> 
> \def\tr#1{\zcharnote{#1}{\ppff tr}}%
> \def\pince#1{\shake{#1}}%
> \vsize9.75in
> \voffset-0.5in
> \hsize7.0in
> \hoffset-0.25in
> \smallmusicsize
> \bigaccid
> \advance\parindent by 10pt
> \def\writebarno{\llap{\ninebf\the\barno\barnoadd}}%
> \def\raisebarno{4\internote}%
> \def\shiftbarno{1.5\Interligne}%
> \nobarnumbers
> \geometricskipscale
> 
> \def\omit#1{}%
> 
> \def\tql#1#2{\tbl{#1}\qb{#1}{#2}}
> \def\tqu#1#2{\tbu{#1}\qb{#1}{#2}}
> \def\nbbqu#1#2{\nbbu{#1}\qb{#1}{#2}}
> \def\nbbql#1#2{\nbbl{#1}\qb{#1}{#2}}
> 
> \def\nqql#1#2{\roffset{0.25}{\tbbl{#1}\tbbl{#1}\qb{#1}{#2}}}
> \def\nqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbbu{#1}\qb{#1}{#2}}}
> \def\tqql#1#2{\roffset{0.25}{\tbbl{#1}\tbl{#1}\qb{#1}{#2}}}
> \def\tqqu#1#2{\roffset{0.25}{\tbbu{#1}\tbu{#1}\qb{#1}{#2}}}
> \def\tqqql#1#2{\roffset{0.25}{\tbbbl{#1}\tbl{#1}\qb{#1}{#2}}}
> \def\tqqqu#1#2{\roffset{0.25}{\tbbbu{#1}\tbu{#1}\qb{#1}{#2}}}
> 
> \instrumentnumber1
> %\setclef1\bass\setbassclefsymbol1\bassoct
> %\setclef4\treble\settrebleclefsymbol4\trebleoct
> \catcodesmusic
> \generalsignature{+1}
> \generalmeter\meterC
> \setname1{A}
> %\setname2{T}
> %\setname3{A}
> %\setname4{S}
> %\songtop4
> %\songbottom1
> \fulltitle{Quodlibet}
> \subtitle{Variation 30 of the Goldberg Variations for Clavier}
> \title{Quodlibet}
> \author{J. S. Bach (1685-1750)}
> \shortauthor{J. S. Bach}
> \othermention{Arranged for Recorders by R. D. Tennent}
> \maketitle
> \startbarno=0
> \nobarnumbers
> \stafftopmarg=4.0\Interligne%
> \staffbotmarg=4.0\Interligne%
> %\setinterinstrument3{2.5\internote}%
> \startpiece\addspace\afterruleskip%
> \makeatletter
> \def\vnotes#1\elemskip#2\en{\noteskip#1\@l@mskip\@vnotes#4\en}%
> \makeatother
> \systemnumbers%
> \Notes\ds&\cu d&\ds&\ds\en
> \bar%1
> \Notes\hl N&\ibu1g2\qb1{ghi}\tqu1j&&\hpause\en
> \Notes\hl M&\ibl1k{-2}\qb1k&&\en
> \notes&\nbbl1\qb1j\tql1i&&\qp\en
> \Notes&\ibu1h0\qb1h&&\ds\en
> \notes&\nbbu1\qb1g\tqu1h&&\cu d\en
> \def\atnextbar{\znotes&&\centerpause&&\en}%
> \bar%2
> \Notes\hl L&\ibu1i{-2}\qb1i\tqu1h&\ql n&\ibu3g2\qb3{gh}\en
> \Notes&\itied1g\qu g&\ql n&\qb3i\tqu3j\en
> \Notes\ql{.K}&\ttie1\qu g&\ql o&\ibl3k{-2}\qb3k\en
> \notes&&&\nbbl3\qb3j\tql3i\en
> \Notes&\ibu1f0\pince{n}\qb1f&\cl o&\cu h\en
> \notes\cu J&\nbbu1\qb1e\tqu1f&\ds&\ds\en
> \bar%3
> \Notes\hu I&\qu g&\ibl2n{-1}\qb2{no}&\ql k\en
> \Notes&\ds\cl k&\qb2{n}\tql2{=m}&\ql k\en
> \Notes\hu J&\ibu1j{-2}\qb1{ji}&\ibl2j{0}\qb2{lk}&\ql l\en
> \Notes&\qb1h\tqu1g&\qb2j\tql2p&\ql l\en
> \bar%4
> \Notes\hl K&\itied1f\pince{n}\qu f&\ibl2o{-1}\qb2{on}&\ibl3k{-1}\qb3{kl}\en
> \notes&\ttie1\ibbu1e{-2}\qb1f\tbbu1\qb1e&\qb2o&\qb3k\en
> %\vnotes1.5\elemskip&\nbbbu1\qb1e\tbbu1\qb1f&&\en
> \Notes&\itied1d\tqu1d&\tql2m&\tql3j\en
> \Notes\qu G&\ttie1\qu 
> d&\ibl2n{-2}\qb2n\tql2m&\ibu3h{-1}\pince{p}\qb3i\tqu3h\en
> \Notes\ds&\qp&\ibl2n{-5}\qb2n&\qu g\en
> \notes\ibbl0b{-1}\qb0b\tql0a&&\tql2k&\en
> \bar%5
> \endpiece%
> \eject
> \end
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Re: [Tex-music] musixps and extracting separate parts

2011-06-19 Thread Terrence Enger 
On Sun, 2011-06-19 at 08:23 -0700, Don Simons wrote:
> Terry--
> 
> As the developer of PMX, I'm always curious to know why anyone would prefer
> using raw MusiXTeX. I can only speculate that it is either because you are
> unaware of PMX, or because PMX lacks some feature that cannot be handled
> within PMX by inline TeX. Could you enlighten me?
> 
> --Don Simons
> 

Ah, I have no reason so solid as either of those.  It is just that I
have used MusixTeX in the past, and I was feeling lazy about learning
something new.  Meanwhile, I realize that my (little) experience is
*long* past, that the current piece is more complex is than I have
worked on before, and that I am trying to do things with it that I have
not tried before.  

I have ended up spending much time for little progress.  Probably it is
time for me to try PMX.

I must thank Christof Hesse and Bob Tennent for their earlier responses
to my plea.

Thank you,
Terry.


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[Tex-music] musixps and extracting separate parts

2011-06-19 Thread Terrence Enger 
Greetings,

I am using musixtex to set a piano trio written with overlapping 
hairpins which start at different times.  I read that musixps is 
the extension to use.

To print the score for each string instrument, I suppress the other 
instruments by assigning them zero staffs.

The simultaneous use of these features is causing some bad results ...

(*) Each string part shows the slurs and ties written in both string 
parts.  This I can work around by conditioning off the slurs and 
ties in the string part not printed.

(*) The string parts do not show the hairpins.  The piano score does 
show these hairpins, so I conclude that the source code is not 
too far wrong in this respect.

Is it possible to do what I am attempting?  Is there an available 
example where it has been done?

Thank you for your help,
Terry.


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