Re: [Tex-music] Space between systems
2012/8/19 Don Simons dsim...@roadrunner.com: 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. No, I have never needed it. avoid the extra steps and get M-Tx to directly create a .pmx that reflects the changes in noinst. M-Tx has something I call a control paragraph. It may contain only comments and preprocessor directives. The control paragraphs are at present preamble-only: they must all appear before the first music paragraph. The clean way to do changes in noinst etc would be to allow control paragraphs later too. I have considered allowing this in the past. There seemed to be no PMX way to change the number of instruments except a phony new movement. It would have involved mastering more PMX than I use regularly, which is the sort of knowledge that one loses quickly, and I decided against implementing something I would not understand a few years later. So the present situation is that a user can by cleverly inserting lines starting %%LiM get the required effect, but that user would need to master the required PMX for himself. By the way, I've often cursed the requirement that line numbers and page numbers are compulsory. It forces me to do the complete score, print it out, manually pencil in line numbers, insert the required line breaks, do the score again, adjust those line breaks that now look uncomfortable because the earlier ones affected what follows, etc. Dirk --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] Space between systems
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\barno1\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:
[Tex-music] Space between systems
I just detect that in my attached file line 351 should read: %% L17P5Mn512345bbtttcr-i.0 I forgot P5 sorry for this! Hermann -- --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] Space between systems
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.
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
-Original Message-
From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Rainer
Dunker
Sent: Saturday, August 18, 2012 8:02 AM
To: Werner Icking Music Archive
Subject: Re: [Tex-music] Space between systems
Hello Don!
Am 18.08.2012 schrieb Don Simons:
Rainer, I bow to your mastery of TeX! I doubt if I ever could have
figured
that out. But at least I figured out who could figure it out. Thanks
Thank you! But my decisive advantage here definitely is the intimate
knowledge of musixlyr's functioning; if musixlyr weren't my own
creation, I'd had no chance to find a solution either.
With the whole weekend before me, I'll be trying to find PMX examples
where
other things might be affected by your proposed changes. [...]
Fine---thank you for incorporating the problem solution on the PMX level!
Of course I can't judge whether other problems would arise due to the
discussed changes. But based on my slight impression of the interaction
between \newnoi and \newmovement, I take the liberty to add the
following idea to the proposal:
The only thing that \newnoi does is to schedule \def\nbinstruments{...}
at the next proper processing step (currently using \atnextbar). Since
the new proper place for that action is part of PMX coding anyway,
you could achieve the desired effect more easily by abandoning \newnoi
completely and coding the \nbinstruments assignment directly in
\newmovement instead:
\def\newmovement#1#2#3{\let\holdstop\stoppiece... % 3 args instead of 2
...
\def\contpiece{\def\nbinstruments{#3}% -- assignment inserted here
\startpiece\addspace\afterruleskip\let\contpiece\holdcont}%
}%
In the .tex file generated by pmxab, the new number of instruments would
then have to be given as third argument to \newmovement:
OLD:
\newnoi{2}%
\setstaffs11%
... more such commands ...
\newmovement00%
NEW:
\setstaffs11%
... more such commands ...
\newmovement00{2}%
Possible advantage of this approach over the first idea: \atnextline is
kept uninvolved, reducing the danger of bad side effects.
The task of finding other issues with these changes makes me think of
another true TeXpert, our dear friend Werner, who somehow could always
find
bugs in PMX even if they only showed up when multiple, uncommon events
happened in a specific sequence.
I fully agree. I was most impressed by his inexhaustible enthusiasm by
which he brought and kept us people and our ideas together to make
MusiXTeXing a great activity.
Best regards,
Rainer
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Re: [Tex-music] Space between systems
2012/8/16 Don Simons dsim...@roadrunner.com: Dirk that's great detective work. I understand binary searching, but not how or where to use \endinput. Seems like if you really ended input part way through, the printed page couldn't come out looking the same. \endinput means skip the rest of this file. Only this file. It's extremely useful. 1. Document macros in plain text or Markdown after \endinput instead of cluttering up the TeX source with comment lines. 2. Move stuff to after \endinput instead of just deleting it — you may want to put it back later. 3. Temporarily comment out the rest of the file for debugging. 4. Avoid reading in a macro file twice (see the first non-comment line in mtx.tex). Dirk --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] Space between systems
The following slightly modified version of the simple PMX file I posted 8/14
compiles just fine, but if you uncomment \input mtx, the vertical spacing
gets messed up. I've gone through mtx.tex line-by-line and don't see
anything obvious that would affect vertical spacing. Could one of the
TeXperts please have a look and see if you can figure out what's going on
here?
--Don Simons
===
---
\def\mtxversion{0.60d}
\def\mtxdate{11 October 2008}
%\input mtx
---
5 5 4 4 4 4 0 0
2 5 20 0
t
.\
AI.7
g04 /
g04 /
g04 /
g04 /
g04 /
L2P2Mn212tt
g04 /
g04 /
g04 /
g04 /
g04 /
g04 /
L5Mn512345t
g04 /
g04 /
g04 /
g04 /
g04 /
==
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Re: [Tex-music] Space between systems
2012/8/16 Don Simons dsim...@roadrunner.com: The following slightly modified version of the simple PMX file I posted 8/14 compiles just fine, but if you uncomment \input mtx, the vertical spacing gets messed up. I've gone through mtx.tex line-by-line and don't see anything obvious that would affect vertical spacing. Could one of the TeXperts please have a look and see if you can figure out what's going on here? That's not a good description of me but being a decent numerical analyst I was able to isolate the line concerned by binary search (i.e putting \endinput halfway down, half of that, etc). If you comment out \input musixlyr the phenomenon you describe goes away. If 24 hours from now nobody has found out what goes wrong in musixlyr.tex, I'll apply the same method again. Dirk --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
Re: [Tex-music] Space between systems
Dirk that's great detective work. I understand binary searching, but not how or where to use \endinput. Seems like if you really ended input part way through, the printed page couldn't come out looking the same. Anyhow, I was afraid it might be in musixlyr, because it's long and complicated. Rainer, it would be great if you'd jump in here :-) --Don -Original Message- From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Dirk Laurie Sent: Wednesday, August 15, 2012 10:11 PM To: Werner Icking Music Archive Subject: Re: [Tex-music] Space between systems 2012/8/16 Don Simons dsim...@roadrunner.com: The following slightly modified version of the simple PMX file I posted 8/14 compiles just fine, but if you uncomment \input mtx, the vertical spacing gets messed up. I've gone through mtx.tex line-by-line and don't see anything obvious that would affect vertical spacing. Could one of the TeXperts please have a look and see if you can figure out what's going on here? That's not a good description of me but being a decent numerical analyst I was able to isolate the line concerned by binary search (i.e putting \endinput halfway down, half of that, etc). If you comment out \input musixlyr the phenomenon you describe goes away. If 24 hours from now nobody has found out what goes wrong in musixlyr.tex, I'll apply the same method again. Dirk --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music --- TeX-music@tug.org mailing list If you want to unsubscribe or look at the archives, go to http://tug.org/mailman/listinfo/tex-music
[Tex-music] Space between systems
The text below is a PMX-source generated by M-Tx. It is the beginning part of a
larger score
which consists of several parts with a different number of voices. I solve
this (following
a proposal given by Don sometimes ago) by using an opening bar with the full
number of
voices and begin each part as a new movement. If you run the source below you
will find a
too large space between the second and third system of page 2.
How can I get equal space between the systems?
Hermann Hinsch
---
\def\mtxversion{0.60d}
\def\mtxdate{11 October 2008}
\input mtx
\def\writebarno{\ifnum\barno1\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
---
5 -5 1 1 1 1 1 4 2 0 6 0.0 -1 2 5 16 0.05
\mtxInstrName{}
\mtxInstrName{{f{$^4$}}}
\mtxInstrName{{c{$^4$}}}
\mtxInstrName{{c{$^3$}}}
\mtxInstrName{{c{$^1$}}}
66000
./
\\mtxGroup{1}{5}{2}\
\\mtxSetSize{5}{\mtxNormalSize}\
\\mtxTenorClef{4}\
\\mtxTenorClef{3}\
% Paragraph 3 line 22 bar 1
P
Ab
h280m
It100
\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{12}\
\\let\pausc\PAusc\
rp /
rp /
rp /
rp /
rp /
% Paragraph 4 line 39 bar 2
\\\songbottom{1}\songtop{2}\
L2P2Mn212bbr+ci.05
\\\advance\barno-1\
\\\mtxSetLyrics{41}{Ho-mo qui-dam}\
\\\mtxAssignLyrics{2}{41}\
g03 g2 d2 /
g23d g4 g2 d2 /
% Paragraph 5 line 47 bar 3
\\\mtxSetLyrics{41}{fe-cit ce-nam mag-nam}\
g43 f4 e4f d4 6 c2 7 x146 b2 /
g43 f4 e4f d4 c2 b2 /
% Paragraph 6 line 52 bar 4
\\\mtxSetLyrics{41}{et vo-ca-vit mul-tos}\
b43 f4 g4 d4 e2f d2 /
b43 f4 g4 d4 e2f d2 /
% Paragraph 7 line 57 bar 5
\\\mtxSetLyrics{41}{ez mi-sit ser-vum su-}\
b02 d4 e4 f2 /
r4 b42 b4d ca8 d4 e4 f2 /
% Paragraph 8 line 62 bar 6
\\\mtxSetLyrics{41}{um ho-ra ce-nae}\
d43 e2f f4 c0 /
d43 e2f f4 c2 c2 /
% Paragraph 9 line 67 bar 7
\\\mtxSetLyrics{41}{di-ce-re in-vi-ta-tis ut}\
a22 b4 c4 d2 c4 f4 s /
a42 aa8 aa8 b4 c4 d2 c4 (S \mtxBM\ f4 /
% Paragraph 10 line 72 bar 8
\\\mtxSetLyrics{41}{ve-ni-rent}\
f43 s a4 g2 4 x143 c0- /
\mtxEM\ f43 )S a4 g2 c0- /
% Paragraph 11 line 77 bar 9
\\\mtxSetLyrics{41}{qui-a iam pa-}\
f03 d4 g2 f4 /
r2 f23 d4 g2 f4 /
% Paragraph 12 line 82 bar 10
\\\mtxSetLyrics{41}{ra-ta sunt om-ni-a,}\
b23 a4 # g4 a2 4 x143 d2- s /
b23 a4 g4 a4d aa8 d2- /
% Paragraph 13 line 87 bar 11
\\\mtxSetLyrics{41}{iam pa-ra-ta sunt om-ni-}\
d43 s c4 e2f d4 # c4 6 x185 d2 65 x144 x383 /
d43 b4 e2f d4 c4 d4d da8 /
% Paragraph 14 line 92 bar 12
\\\mtxSetLyrics{41}{a.}\
g92 /
g92 /
% Paragraph 15 line 97 bar 13
L5Mn512345bbtttcr+i.05
\\\songbottom{1}\songtop{5}\
\\\mtxSetLyrics{11}{Et ce-}\
\\\mtxSetLyrics{21}{Et ce-}\
\\\mtxSetLyrics{31}{Et ce-pe-runt}\
\\\mtxSetLyrics{41}{Et ce-}\
\\\mtxAssignLyrics{5}{11}\
\\\mtxAssignLyrics{4}{21}\
\\\mtxAssignLyrics{3}{31}\
g02 g0+ s /
r0 g23d g4 /
g24d g4 b2 b2 /
r0 d25d d4 /
r0 g24d g4 /
% Paragraph 16 line 110 bar 14
\\\mtxSetLyrics{11}{pe-runt om-nes}\
\\\mtxSetLyrics{21}{pe-runt om-nes}\
\\\mtxSetLyrics{31}{om---nes}\
\\\mtxSetLyrics{41}{pe-runt om-nes}\
g23 s f2s 6 g0 # /
g23 f2s g2 g2 /
d25d c4 b2n b2 /
b24 a2 d2 d2 /
g24 a2 g2 g2 /
% Paragraph 17 line 121 bar 15
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re,}\
\\\mtxSetLyrics{21}{si-mul ex-cu-sa-re,}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\
\\\mtxSetLyrics{41}{si-mul ex-cu-sa-re,}\
c23 e4 6 g4 # c0- /
c43 c4 e4 g4 c2- c2 /
c45d ca8 c4 b4n c2 c2 /
e45 e4 e4 d4 e2 e2 /
g44d ga8 g4 g4 g2 g2 /
% Paragraph 18 line 132 bar 16
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re}\
\\\mtxSetLyrics{21}{si-mul ex-cu-sa-re}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\
\\\mtxAssignLyrics{2}{}\
f23 a4 6 c4 f0- /
rp /
f44 f4 a4 c4 f2- f2 /
f45d fa8 f4 e4 f2 f2 /
a44 a4 c4 g4 a2 a2 /
% Coded by M-Tx
--
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Re: [Tex-music] Space between systems
Hermann--
I've come across this issue before and it's VERY difficult to solve. I'll
continue to look at it, but in the meantime let me point out that if you
remove ALL of the excess baggage, the spacing comes out a lot more
reasonable:
=
5 5 4 4 4 4 0 0
2 5 20 0
t
.\
g04 /
g04 /
g04 /
g04 /
g04 /
L2P2Mn212tt
g04 /
g04 /
g04 /
g04 /
g04 /
g04 /
L5Mn512345t
g04 /
g04 /
g04 /
g04 /
g04 /
And starting from this clean slate, you can decrease the interstaff
spacing with AI.9, and increase the space before the last movement break
with L...+10, without mucking anything up.
--Don Simons
-Original Message-
From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Hermann
Hinsch
Sent: Tuesday, August 14, 2012 6:54 AM
To: tex-music@tug.org
Subject: [Tex-music] Space between systems
The text below is a PMX-source generated by M-Tx. It is the beginning part
of a larger
score which consists of several parts with a different number of voices. I
solve this
(following a proposal given by Don sometimes ago) by using an opening bar
with the
full number of voices and begin each part as a new movement. If you run the
source
below you will find a too large space between the second and third system
of page 2.
How can I get equal space between the systems?
Hermann Hinsch
---
\def\mtxversion{0.60d}
\def\mtxdate{11 October 2008}
\input mtx
\def\writebarno{\ifnum\barno1\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
---
5 -5 1 1 1 1 1 4 2 0 6 0.0 -1 2 5 16 0.05 \mtxInstrName{}
\mtxInstrName{{f{$^4$}}} \mtxInstrName{{c{$^4$}}} \mtxInstrName{{c{$^3$}}}
\mtxInstrName{{c{$^1$}}}
66000
./
\\mtxGroup{1}{5}{2}\
\\mtxSetSize{5}{\mtxNormalSize}\
\\mtxTenorClef{4}\
\\mtxTenorClef{3}\
% Paragraph 3 line 22 bar 1
P
Ab
h280m
It100
\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{12}\
\\let\pausc\PAusc\
rp /
rp /
rp /
rp /
rp /
% Paragraph 4 line 39 bar 2
\\\songbottom{1}\songtop{2}\
L2P2Mn212bbr+ci.05
\\\advance\barno-1\
\\\mtxSetLyrics{41}{Ho-mo qui-dam}\
\\\mtxAssignLyrics{2}{41}\
g03 g2 d2 /
g23d g4 g2 d2 /
% Paragraph 5 line 47 bar 3
\\\mtxSetLyrics{41}{fe-cit ce-nam mag-nam}\
g43 f4 e4f d4 6 c2 7 x146 b2 /
g43 f4 e4f d4 c2 b2 /
% Paragraph 6 line 52 bar 4
\\\mtxSetLyrics{41}{et vo-ca-vit mul-tos}\
b43 f4 g4 d4 e2f d2 /
b43 f4 g4 d4 e2f d2 /
% Paragraph 7 line 57 bar 5
\\\mtxSetLyrics{41}{ez mi-sit ser-vum su-}\
b02 d4 e4 f2 /
r4 b42 b4d ca8 d4 e4 f2 /
% Paragraph 8 line 62 bar 6
\\\mtxSetLyrics{41}{um ho-ra ce-nae}\
d43 e2f f4 c0 /
d43 e2f f4 c2 c2 /
% Paragraph 9 line 67 bar 7
\\\mtxSetLyrics{41}{di-ce-re in-vi-ta-tis ut}\
a22 b4 c4 d2 c4 f4 s /
a42 aa8 aa8 b4 c4 d2 c4 (S \mtxBM\ f4 /
% Paragraph 10 line 72 bar 8
\\\mtxSetLyrics{41}{ve-ni-rent}\
f43 s a4 g2 4 x143 c0- /
\mtxEM\ f43 )S a4 g2 c0- /
% Paragraph 11 line 77 bar 9
\\\mtxSetLyrics{41}{qui-a iam pa-}\
f03 d4 g2 f4 /
r2 f23 d4 g2 f4 /
% Paragraph 12 line 82 bar 10
\\\mtxSetLyrics{41}{ra-ta sunt om-ni-a,}\
b23 a4 # g4 a2 4 x143 d2- s /
b23 a4 g4 a4d aa8 d2- /
% Paragraph 13 line 87 bar 11
\\\mtxSetLyrics{41}{iam pa-ra-ta sunt om-ni-}\
d43 s c4 e2f d4 # c4 6 x185 d2 65 x144 x383 /
d43 b4 e2f d4 c4 d4d da8 /
% Paragraph 14 line 92 bar 12
\\\mtxSetLyrics{41}{a.}\
g92 /
g92 /
% Paragraph 15 line 97 bar 13
L5Mn512345bbtttcr+i.05
\\\songbottom{1}\songtop{5}\
\\\mtxSetLyrics{11}{Et ce-}\
\\\mtxSetLyrics{21}{Et ce-}\
\\\mtxSetLyrics{31}{Et ce-pe-runt}\
\\\mtxSetLyrics{41}{Et ce-}\
\\\mtxAssignLyrics{5}{11}\
\\\mtxAssignLyrics{4}{21}\
\\\mtxAssignLyrics{3}{31}\
g02 g0+ s /
r0 g23d g4 /
g24d g4 b2 b2 /
r0 d25d d4 /
r0 g24d g4 /
% Paragraph 16 line 110 bar 14
\\\mtxSetLyrics{11}{pe-runt om-nes}\
\\\mtxSetLyrics{21}{pe-runt om-nes}\
\\\mtxSetLyrics{31}{om---nes}\
\\\mtxSetLyrics{41}{pe-runt om-nes}\
g23 s f2s 6 g0 # /
g23 f2s g2 g2 /
d25d c4 b2n b2 /
b24 a2 d2 d2 /
g24 a2 g2 g2 /
% Paragraph 17 line 121 bar 15
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re,}\ \\\mtxSetLyrics{21}{si-mul
ex-cu-sa-re,}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\ \\\mtxSetLyrics{41}{si-mul
ex-cu-sa-re,}\
c23 e4 6 g4 # c0- /
c43 c4 e4 g4 c2- c2 /
c45d ca8 c4 b4n c2 c2 /
e45 e4 e4 d4 e2 e2 /
g44d ga8 g4 g4 g2 g2 /
% Paragraph 18 line 132 bar 16
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re}\ \\\mtxSetLyrics{21}{si-mul
ex-cu-sa-re}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\ \\\mtxAssignLyrics{2}{}\
f23 a4 6 c4 f0- /
rp /
f44 f4 a4 c4 f2- f2 /
f45d fa8 f4 e4 f2 f2 /
a44 a4 c4 g4 a2 a2 /
% Coded by M-Tx
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Re: [Tex-music] Space between systems
I still have no idea what's causing the unequal space, and I'd be interested
if one of the TeXperts could explain it.
To equalize intersystem spacing in PMX, Ae normally works great, but not if
you change the number of instruments in midstream. I concocted the macro
\spread to use with Ae just in case you need to UNequalize the intersystem
spacing in selected places. Even though you can't use Ae here, by trial and
error, I've found that you can still use \spread to equalize the spaces.
Here's a replacement paragraph that does the trick:
% Paragraph 10 line 72 bar 8
\\\mtxSetLyrics{41}{ve-ni-rent}\
\spread{-55}\ f43 s a4 g2 4 x143 c0- /
\mtxEM\ f43 )S a4 g2 c0- /
--Don Simons
-Original Message-
From: TeX-Music [mailto:tex-music-boun...@tug.org] On Behalf Of Hermann
Hinsch
Sent: Tuesday, August 14, 2012 6:54 AM
To: tex-music@tug.org
Subject: [Tex-music] Space between systems
The text below is a PMX-source generated by M-Tx. It is the beginning part
of a larger
score which consists of several parts with a different number of voices. I
solve this
(following a proposal given by Don sometimes ago) by using an opening bar
with the
full number of voices and begin each part as a new movement. If you run the
source
below you will find a too large space between the second and third system
of page 2.
How can I get equal space between the systems?
Hermann Hinsch
---
\def\mtxversion{0.60d}
\def\mtxdate{11 October 2008}
\input mtx
\def\writebarno{\ifnum\barno1\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
---
5 -5 1 1 1 1 1 4 2 0 6 0.0 -1 2 5 16 0.05 \mtxInstrName{}
\mtxInstrName{{f{$^4$}}} \mtxInstrName{{c{$^4$}}} \mtxInstrName{{c{$^3$}}}
\mtxInstrName{{c{$^1$}}}
66000
./
\\mtxGroup{1}{5}{2}\
\\mtxSetSize{5}{\mtxNormalSize}\
\\mtxTenorClef{4}\
\\mtxTenorClef{3}\
% Paragraph 3 line 22 bar 1
P
Ab
h280m
It100
\\let\interstaffsav\interstaff\def\interstaff#1{}\interstaffsav{12}\
\\let\pausc\PAusc\
rp /
rp /
rp /
rp /
rp /
% Paragraph 4 line 39 bar 2
\\\songbottom{1}\songtop{2}\
L2P2Mn212bbr+ci.05
\\\advance\barno-1\
\\\mtxSetLyrics{41}{Ho-mo qui-dam}\
\\\mtxAssignLyrics{2}{41}\
g03 g2 d2 /
g23d g4 g2 d2 /
% Paragraph 5 line 47 bar 3
\\\mtxSetLyrics{41}{fe-cit ce-nam mag-nam}\
g43 f4 e4f d4 6 c2 7 x146 b2 /
g43 f4 e4f d4 c2 b2 /
% Paragraph 6 line 52 bar 4
\\\mtxSetLyrics{41}{et vo-ca-vit mul-tos}\
b43 f4 g4 d4 e2f d2 /
b43 f4 g4 d4 e2f d2 /
% Paragraph 7 line 57 bar 5
\\\mtxSetLyrics{41}{ez mi-sit ser-vum su-}\
b02 d4 e4 f2 /
r4 b42 b4d ca8 d4 e4 f2 /
% Paragraph 8 line 62 bar 6
\\\mtxSetLyrics{41}{um ho-ra ce-nae}\
d43 e2f f4 c0 /
d43 e2f f4 c2 c2 /
% Paragraph 9 line 67 bar 7
\\\mtxSetLyrics{41}{di-ce-re in-vi-ta-tis ut}\
a22 b4 c4 d2 c4 f4 s /
a42 aa8 aa8 b4 c4 d2 c4 (S \mtxBM\ f4 /
% Paragraph 10 line 72 bar 8
\\\mtxSetLyrics{41}{ve-ni-rent}\
f43 s a4 g2 4 x143 c0- /
\mtxEM\ f43 )S a4 g2 c0- /
% Paragraph 11 line 77 bar 9
\\\mtxSetLyrics{41}{qui-a iam pa-}\
f03 d4 g2 f4 /
r2 f23 d4 g2 f4 /
% Paragraph 12 line 82 bar 10
\\\mtxSetLyrics{41}{ra-ta sunt om-ni-a,}\
b23 a4 # g4 a2 4 x143 d2- s /
b23 a4 g4 a4d aa8 d2- /
% Paragraph 13 line 87 bar 11
\\\mtxSetLyrics{41}{iam pa-ra-ta sunt om-ni-}\
d43 s c4 e2f d4 # c4 6 x185 d2 65 x144 x383 /
d43 b4 e2f d4 c4 d4d da8 /
% Paragraph 14 line 92 bar 12
\\\mtxSetLyrics{41}{a.}\
g92 /
g92 /
% Paragraph 15 line 97 bar 13
L5Mn512345bbtttcr+i.05
\\\songbottom{1}\songtop{5}\
\\\mtxSetLyrics{11}{Et ce-}\
\\\mtxSetLyrics{21}{Et ce-}\
\\\mtxSetLyrics{31}{Et ce-pe-runt}\
\\\mtxSetLyrics{41}{Et ce-}\
\\\mtxAssignLyrics{5}{11}\
\\\mtxAssignLyrics{4}{21}\
\\\mtxAssignLyrics{3}{31}\
g02 g0+ s /
r0 g23d g4 /
g24d g4 b2 b2 /
r0 d25d d4 /
r0 g24d g4 /
% Paragraph 16 line 110 bar 14
\\\mtxSetLyrics{11}{pe-runt om-nes}\
\\\mtxSetLyrics{21}{pe-runt om-nes}\
\\\mtxSetLyrics{31}{om---nes}\
\\\mtxSetLyrics{41}{pe-runt om-nes}\
g23 s f2s 6 g0 # /
g23 f2s g2 g2 /
d25d c4 b2n b2 /
b24 a2 d2 d2 /
g24 a2 g2 g2 /
% Paragraph 17 line 121 bar 15
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re,}\ \\\mtxSetLyrics{21}{si-mul
ex-cu-sa-re,}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\ \\\mtxSetLyrics{41}{si-mul
ex-cu-sa-re,}\
c23 e4 6 g4 # c0- /
c43 c4 e4 g4 c2- c2 /
c45d ca8 c4 b4n c2 c2 /
e45 e4 e4 d4 e2 e2 /
g44d ga8 g4 g4 g2 g2 /
% Paragraph 18 line 132 bar 16
\\\mtxSetLyrics{11}{si-mul ex-cu-sa-re}\ \\\mtxSetLyrics{21}{si-mul
ex-cu-sa-re}\
\\\mtxSetLyrics{31}{si-mul ex-cu-sa-re,}\ \\\mtxAssignLyrics{2}{}\
f23 a4 6 c4 f0- /
rp /
f44 f4 a4 c4 f2- f2 /
f45d fa8 f4 e4 f2 f2 /
a44 a4 c4 g4 a2 a2 /
% Coded by M-Tx
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