\input musicnft
\input musicvbm
\input musictex
%  OUTPUT
%
\def\gwidth@hpl{24pt}
 
%\check
\hsize 170mm
\vsize 250mm
\newdimen\pageheight
\newdimen\pagewidth
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\divide\topskip by 2\relax
\def\outputlaserjet{\shipout\hbox to 185mm{\hss\vbox to 270mm{\vss
\vbox to \vsize{\boxmaxdepth=\maxdepth\pagecontents\baselineskip2pc}%
\hbox to \hsize{\hfil \tenpoint -- \number\count0\ --\hfil}\vss}\hss}%
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\parindent 8mm
\output={\outputlaserjet}%
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\newbox\partialpage\newbox\boxzero\newbox\boxone\newbox\boxtwo\newbox\boxthree
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\def\pagetooutput{\pagecontents}%
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 \pagewidth=\hsize
 \begingroup
 \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject
 \output={\doublecolumnout}\hsize=0.49\pagewidth\vsize=2\pageheight
 \pagegoal=\vsize
}
%\check
\def\enddoublecolumns{\output={\balancecolumns}\eject
 \endgroup\pagegoal=\vsize}%
%
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 \coldimen=\pageheight\advance\coldimen by -\ht\partialpage
\setbox\boxzero=\vsplit255 to\coldimen \setbox\boxtwo=\vsplit255 to \coldimen
\def\pagetooutput{\pagesofar}%
\outputlaserjet \unvbox255 \penalty\outputpenalty}%
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 \wd\boxzero=\hsize \wd\boxtwo=\hsize
 \hbox to \pagewidth{\vtop{\unvbox\boxzero}\hfil\vtop{\unvbox\boxtwo}}}
\def\balancecolumns{\setbox\boxzero=\vbox{\unvbox255} \coldimen=\ht\boxzero
\advance\coldimen by \topskip \advance\coldimen by -\baselineskip
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\splittopskip=\topskip {\vbadness=10000
\loop\global\setbox\boxthree=\copy\boxzero
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\setbox\boxtwo=\vbox to \coldimen{\unvbox\boxthree}
\pagesofar}%
%
%\check
%
%
\def\ital#1{{\sl #1\/}}%
\def\no{N$^\circ$~}
\def\mutex{M\raise 2pt\hbox{\kern -1pt u\kern -1pt}\TeX}
\catcode`\&=13
\catcode`\|=13
\def\\{{\tt\char'134}}%
\def\|{{\tt\char'174}}%
\def\#{{\tt\char'043}}%
\def\{{{\char'173}}%
\def\}{{\char'175}}%
\def\@{{\char'100}}%
\def\musictex{Music\TeX}%
%
\centerline{\enorme \musictex}\bigskip
\centerline{\moyen Using \TeX\ to write polyphonic or instrumental music}
\medskip
\centerline{\sl Daniel TAUPIN}
\centerline{\sl Laboratoire de Physique des Solides}
\centerline{\sl (associ\'e au C.N.R.S.)}
\centerline{\sl b\^atiment 510, Centre Universitaire, F-91405 ORSAY Cedex}
\bigskip
\def\section#1{\removelastskip\bigskip\penalty -100\noindent{\moyen #1}\medskip
\penalty 4000\rm}
\def\subsect#1{\removelastskip\medskip\penalty -100\noindent{\bf #1}\medskip
\penalty 4000\rm}
\hyphenpenalty 300
%
\begindoublecolumns
\musictex\ is a set of \TeX\ macros to typeset polyphonic, orchestral
or polyphonic music.
\medskip
Two sizes are available~: 16pt and 20pt (standard) staff heights.
For that purpose, it uses special fonts~: \hskip 2pt{\tt musicn16},
  {\tt slurn16}, {\tt beamn16} and \hskip 2pt{\tt musicn20},
  {\tt slurn20}, {\tt beamn20} respectively. \medskip It is to be emphasized
that \musictex\ is not intended to be a compiler which would translate into
\TeX\ some standard musical notations, nor to decide by itself about
aesthetic problems in music typing. \musictex\ only typesets staves, notes,
chords, beams, slurs and ornaments as requested by the composer. Since it
makes very few typesetting decisions, \musictex\ appears to be a versatile
and rather powerful tool. However, due to the important amount of
informations to be provided to the typesetting process, coding \musictex\
might appear to be awfully complicated, just as the real keyboard or
orchestral music.  It should be interfaced therefore by some pre-compiler
in the case of the composer/typesetter wanting aesthetic decisions to be
automatically made by somebody (or something) else.
 \enddoublecolumns
\section{Music typesetting is two-dimensional}
 \begindoublecolumns Most of the people who just learnt a bit of music at
college probably think that music is a linear sequence of symbols, just as
litterary texts to be \TeX-ed. In fact, with the exception of strictly
monodic instruments like most orchestral wind instruments, one should be
aware that reading music actually is a matricial operation~: the musician
successively reads \ital{columns} of simultaneous notes.  This is the reason
why, in {\bf \musictex} the  fundamental \ital{macro}  is of the form
 %
$$\text{\tt \\notes \dots\ \& \dots\ \& \dots\ \\enotes}$$
 %
 where the character {\tt\&} is used to separate the notes to be typeset on
respective staffs of the various instruments, starting from the bottom.
 \medskip\penalty -600
In the case of an instrument whose score has to be written with
several staffs, these staffs are separated by the
character \|. Thus, a score written for a keyboard instrument and
a monodic instrument (for example piano and violin)
will be coded as follows
$$\text{\tt \\notes \dots\ \| \dots\ \& \dots\ \\enotes}$$
for each column of simultaneous notes.
\enddoublecolumns
%
\section{The spacing of the notes}
\begindoublecolumns
It seems that many books have dealt with this problem.
Although it can lead to interesting algorithms, we think it is
a rather minor one.
 \medskip In fact, each column of notes has not necessarily the same spacing
and, in principle, this spacing should depend on the shortest duration of the
simultaneous notes. But this cannot be established as a rule, for at least
two reasons~:
 \item{1)} spacing does not depend only of the local notes,
but also on the context, at least in the same bar.
\item{2)} in the case of polyphonic music, exceptions can easily be found.
Here is an example~: 


\hbox to \hsize{\hss\vbox{\hsize=0.7\hsize
\computewidths
\def\nbinstruments{1}\relax
\generalmeter{\meterfrac{4}{4}}\relax
\debutmorceau
\normal\elemskip=0.115\hsize
\temps\Notes\rlap{\hu j}\ql h\enotes
\temps\Notes\hl g\enotes
\temps\Notes\hu k\enotes
\temps\Notes\ql f\enotes
\suspmorceau
}\hss}
%\check
\par \noindent where it can be clearly seen that the half notes at beats 2 and 3
must be spaced as if they were quarter notes, since they overlap, which is
obvious only because of the presence of the indication of the meter 4/4.
 \medskip Therefore, we prefered to provide the composer/typesetter with a
set of macros, the spacing of which increases by a factor of $\sqrt 2$
(incidentally, this can be adjusted)~:
\enddoublecolumns
\smallskip\hrule width 0.45\hsize\medskip
\centerline{\tt \\notes \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 1 spatial unit\hss}}
\centerline{\tt \\Notes \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 1.4 spacial unit\hss}}
\centerline{\tt \\NOtes \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 2 spatial units\hss}}
\centerline{\tt \\NOTes \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 2.8 spatial units\hss}}
\centerline{\tt \\NOTEs \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 4 spatial units\hss}}
\centerline{\tt \\NOTES \dots\ \& \dots\ \& \dots\ \\enotes\ \ \%
\hbox to 2.5cm{\rm 5.6 spatial units\hss}}
\begindoublecolumns
%\check
The size of the spatial unit ({\tt\\elemskip}) can be freely adjusted. In addition,
\musictex\ provides a means of adjusting the note spacing according to
an average number of elementary spaces within a line (macro {\tt\\autolines}).
\enddoublecolumns
\section{Music tokens, rather than a readymade generator}
%\check
\begindoublecolumns
The tokens provided by \musictex\  are~:
\item{--} the note symbols \ital{without stem}~;
\item{--} the note symbols \ital{with stems, and hooks for eighth notes and
beyond}~;
\item{--} the indications of beam beginnings and beam ends~;
\item{--} the indications of beginnings and ends of ties and slurs~;
\item{--} the indications of accidentals~;
\item{--} the ornaments~: arpeggios, trills, mordents, pinc\'es, turns, staccatos
and pizzicatos, fermatas~;
\item{--} the bars, the meter and signature changes, etc.
 \medskip Thus, {\tt\\wh g} produces an \ital{A  (445~Hz)} whose duration is
a \ital{whole note}. In the same way, {\tt\\qu~c} produces a \ital{C (250~Hz
approx.)} whose value is a \ital{quarter note with stem up}, {\tt\\cl J}
produces a \ital{C (125~Hz approx.)} whose duration is an \ital{eighth note
with stem down}, etc.
 \medskip To generate quarter, eighth, sixteenth, etc. chords, the macro
{\tt\\zq} can be used~: it produces a quarter note head whose position is
memorized and recalled when another stemmed note (possibly with a hook) is
coded~; then the stem is adjusted to link all simultaneous notes. Thus, the
perfect C-major chord, i.e.

%\check
\centerline{\vbox{\hsize 2cm\def\nbinstruments{1}\relax
\cleftoksi={{0}{0}{0}{0}}\generalmeter{}\relax
\computewidths\debutmorceau
\normal\elemskip=0.125\hsize
\Notes\zq c\zq e\zq g\qu j\enotes
\suspmorceau
}}

%\check
\noindent is coded
 \hbox{\tt\\zq~c\\zq~e\\zq~g\\qu~j}
or, in a more concise way, \hbox{\tt\\zq\{ceg\}\\qu~j} (stem up)~:
in fact, single notes are treated\dots\ like one-note chords.
\medskip
\ital{Beams} are generated using  macros which definise
their beginning (at the current horizontal position), together with
their altitude, their sense (upper of lower), their multiplicity,
their slope and their reference number.
This latter feature -- the reference number -- appears to be necessary,
since one may want to write beams whose horizontal extents overlap~:
therefore, it is necessary to specify which beam the notes hang on
and which beam is terminated at a given position.
%\check
 \medskip Besides, a general macro ({\tt\\zcharnote}) provides a means of
putting any sequence of symbols (in fact, some {\tt\\hbox\{...\}}) at any
pitch of any staff of any instrument. Thus, any symbol defined in a font
(letters, math symbols, etc.) can be used to typeset music.
 \medskip Before entering details, we give below an example of the two first
bars of the  sonata in C-major by Mozart (Mozart, K545)~:
\enddoublecolumns
\smallskip\hrule width 0.45\hsize\medskip
\centerline{\vbox{\hsize 110mm      \relax
\def\nbinstruments{1}\relax
\nbporteesi=2\relax
\generalmeter{\meterfrac{4}{4}}\relax
\computewidths\debutmorceau
\normal
\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\ql l\sk\ql n\enotes
\barre
\Notes\ibu0f0\qh0{dgf}|\qlp i\enotes
\notes\tbu0\qh0g|\ibbl1j3\qb1j\tbl1\qb1k\enotes
\temps\Notes\ibu0f0\qh0{cge}\tbu0\qh0g|\hl j\enotes
\suspmorceau
}}
%\check
\par The \ital{coding} is set as follows~:
\medskip
\def\rmcom{\ \ \ \% \rm}
{\tt\\def\\nbinstruments\{1\}\\relax\rmcom a single instrument
\par\tt\\nbporteesi=2\\relax\ \ \ \ \ \ \ \ \rmcom  with two staffs
\par\tt\\generalmeter\{\\meterfrac\{4\}\{4\}\}\\relax\rmcom meter is 4/4
\par\tt\\debutmorceau\ \ \ \ \rmcom initiates staffs, clefs, indication
of the meter.
\par\tt\\normal \ \ \ \ \ \ \ \ \ \rmcom normal spacing (14pt for {\tt\\Notes})
\par\tt\\temps\\Notes\\ibu0f0\\qh0\{cge\}\\tbu0\\qh0g\|\\hl j\\enotes
\par\tt\rmcom\tt\\ibu0f0 \rm begins an upper beam, aligned on the
\ital{f}, reference number 0, slope 0.
\par\tt\rmcom\tt\\tbu0 \rm terminates this beam before writing
the second \ital{g}
by means of \tt\\qh0g,
\par\rmcom where \tt\\qh..\rm indicates a  note hanging on a beam.
\par\tt\\temps\\Notes\\ibu0f0\\qh0\{cge\}\\tbu0\\qh0g\|\\ql l\\sk\\ql n\\enotes
\par\tt\rmcom\tt\\sk \ \rm sets a space between the two quarters at the right
hand, so that
\par\tt\rmcom the second is aligned with the third eighth of the left hand.
\par\tt\\barre \rmcom bar.
\par\tt\\Notes\\ibu0f0\\qh0\{dgf\}\|\\qlp i\\enotes \rmcom \tt\\qlp\ \rm =
 quarter with a point.
\par\tt\\notes\\tbu0\\qh0g\|\\ibbl1j3\\qb1j\\tbl1\\qb1k\\enotes
\par\tt\rmcom\tt\\ibbl1j3\ \rm begins
 a double beam, aligned on the \ital{C} (coded {\tt j} at this pitch)
whith slope 0.15.
\par\tt\\temps\\Notes\\ibu0f0\\qh0\{cge\}\\tbu0\\qh0g\|\\hl j\\enotes
\par\tt\\suspmorceau \rmcom closing with a simple bar
(for short excerpts).}
\section{Other highlights}
\begindoublecolumns
\musictex\ is intended to handle up to six instruments, each of which may
be typeset on zero to four staffs (zero staff is used to record the text of
vocal parts).\medskip
Signatures are stated either for all instruments, such as~:
{\tt\\signaturegenerale=-2} which sets two flats on each staff, but this
can be partly overrided by {\tt\\signatureii=1} which puts one sharp
on the staffs of instrument number 2 (ii). Of course, signature may change
at any time as well as meters and clefs.
 \medskip
 Besides, two frequently posed questions deserve an answer. The first one
is~: \ital{``can \musictex\ transpose a score~?''}. The answer is only 95~\%
\ital{yes}. If fact, there is an internal register named {\tt\\transpose} the
default value of which is zero, but it may be set to any positive of negative
reasonable value. Then, it offsets all symbols pitched with letter symbols by
that number of pitch steps. However, it will not change the signature, and if
-- for example -- you transpose by 1 pitch a piece written in $C$, it will
not know whether you yant it in $D\flat$, in $D$ or in $D\sharp$. And this
becomes tricky if accidentals occur within the piece, which might have to be
converted into flats, naturals, sharps or double sharps, depending on the
new choosen signature. Moreover, transposing keyboard pieces by a large interval
could lead to change the places of the clef changes, and possibly the whole
clefs. Nevertheless, this can be used to transpose simple pieces, such as the
motet by Praetorius which is quoted in $A$ and in $G$ using the same
main source code (fortunately there is no $F\natural$ in the original code in $A$
which would have become a $E\flat$ in the $G$ version).
 \medskip
 The second question is~: \ital{``can I write an orchestral score and extract
the separate scores for individual instruments~?''} Once more, the answer is 95~\%
\ital{yes}. In fact, you can define your own macros {\tt\\mynotes...\\enotes},
{\tt\\myNotes...\\enotes} with as many arguments as there are in the orchestral
score (hope this is less or equal to 9, but \TeX perts know how to work around)
and change its definition depending on the selected instrument (or insert
a test on the value of some selection register). But the limitation is that
the numbering of instruments may change, so that {\tt\\signatureiii} may
have to become {\tt\\signaturei} if instrument $iii$ is alone. But this is not
a serious problem for average \TeX\ wizard apprentices.
 \enddoublecolumns
\section{How to get it}
\begindoublecolumns
The whole distribution fits into a single 1.2Mbyte or 1.44Mbyte diskette.
It can also be obtained through an \ital{anonymous ftp} at {\tt rsovax.circe.fr}
(130.84.128.100), after selecting the subdirectory {\tt[.musictex]}. All sources
(including fonts) are provided, either separately, or ``zipped''.
\enddoublecolumns
\section{Implementation and restrictions}
\begindoublecolumns
The macroinstruction file \musictex\ contains approximately 2500 lines of
code, that is 80~000 bytes approximately. This requires your score to be
compiled by the most extended versions of \TeX\ (65~000 words of working
memory). It is also wise to set {\tt\\tracingsstats} to 2 in order to have an
information about the memory used in each page. In desperate situations, we
recomment using the ``big\TeX'' processors which, unfortunately, perform
a great deal of disk input/outputs (on PCs) which make them awfully slow.
\medskip
In particular, the number of registers it uses makes it doubtfully
compatible with La\TeX.
\medskip Ties and slurs have been implemented in a way which may
look rather ugly, but we think it is the only way of implementing
\ital{in one pass} ties and slurs which run \ital{across glue}. The principle
is to have tie/slur symbols with a rather long part of horizontal stuff.
Then, at each time a glue occurs and at each time a group of notes is coded
while a slur or tie is pending, an {\tt\\hrule} is issued which overlaps
the preceeding tie/slur symbol so that the final output seems to contain
a continuous line. Unfortunately, this is possible only in the glue expansion
direction, namely in the horizontal direction.
\enddoublecolumns
\section{Examples}
\begindoublecolumns
Three examples are displayed in the following pages, namely a transcription
for organ and song of the beginning of the
 \ital{Aria} of \ital{The Creation} by Joseph Haydn, a \ital{motet} for
Christmas by Praetorius, and a transcription of a concerto for oboe by
Benedetto Marcello.
\enddoublecolumns\vfill\eject
%
\vbox to \vsize{\vss
\hbox to \hsize{\hss
\computewidths
\vbox{%
\input creation
}%
\hss}\vss}
\vfill\eject
%
\vsize=26.5cm
\hsize=18.5cm
\parindent 15mm
\advance\bottommargin by 2\Interligne
%
\def\Transpose{0}%
\def\Signature{3}\relax % trois diezes a la clef
\input praetorx
\signaturegenerale{1}\savesignature\barsinline=0\relax\linesinpage=0\relax
\def\Transpose{-1}\relax
\def\Signature{1}\relax % un dieze a la clef
\input praetorx
\eject
\vsize 270mm
\input marcellx
\eject
\centerline{\moyen The Creation~: source text}\bigskip
%
\parindent 0pt
%\check
\tt
\par\tt\\def\\nbinstruments\{2\}\%
\par\tt\\generalmeter\{\\meterfrac\{4\}\{4\}\}\%
\par\tt\\signaturegenerale\{0\}\%
\par\tt\\hsize 18.5cm
\par\tt\\vsize 270mm
\par\tt\\centerline\{\\enorme Aria No. 24\}
\par\tt\\medskip\\centerline\{\\moyen (La Cr\\'eation)\}
\par\tt\\medskip\\centerline\{\\moyen Joseph HAYDN\}
\par\tt\%
\par\tt\\rightline\{Transcription pour Orgue et T\\'enor, D. Taupin (1990)\}
\par\tt\\medskip
\par\tt\\nbporteesii=2\\relax
\par\tt\\def\\qbl\#1\#2\#3\{\\ibl\{\#1\}\{\#2\}\{\#3\}\\qb\{\#1\}\{\#2\}\}\%
\par\tt\\def\\qbu\#1\#2\#3\{\\ibu\{\#1\}\{\#2\}\{\#3\}\\qh\{\#1\}\{\#2\}\}\%
\par\tt\\etroit \\def\\DS\{\\hbox\{\\ds\}\}\\def\\FS\{\\hbox\{\\kern
 0.3\\noteskip\\soupir\}\\kern -0.3\\noteskip\}
\par\tt\\cleftoksi=\{\{6\}\{0\}\{0\}\{0\}\}
\par\tt\\cleftoksii=\{\{6\}\{0\}\{0\}\{0\}\}
\par\tt\\debutmorceau
\par\tt\\NOTes\\soupir\&\\rlap\{\\rmidtwotext\{\\bf II\}\}\\soupir\|\\qu
 g\\enotes
\par\tt\% mesure 1
\par\tt\\advance\\barno by -1\\relax
\par\tt\\barre\\NOtes\\itenu2J\\wh J\&\\zw
 N\\ibl0c0\\qb0e\|\\itenl0j\\ibu1l0\\qh1j\\enotes
\par\tt\\notes\&\\qbl0c0\|\\nbbu1\\nbbbu1\\tten0\\qh1\{jkj\}\\tbu1\\qh1i\\enotes
\par\tt\\Notes\&\\qb0e\\tbl0\\qb0c\|\\qu j\\enotes
\par\tt\\temps\\Notes\&\\ibl0c0\\qb0\{ece\}\\tbl0\\qb0c\|\\ql l\\sk\\ql
 j\\enotes
\par\tt\% mesure 2
\par\tt\\barre\\Notes\\tten2\\wh J\&\\ql J\\sk\\ql L\|\\ppt g\\rlap\{\\qu
 g\}\\qbl1e0\\relax
\par\tt\ \ \ \ \ \ \ \\zq c\\qb1e\\zq c\\qb1e\\relax
\par\tt\ \ \ \ \ \ \ \\zq c\\tbl1\\rlap\{\\qb1e\}\\ \\ \\ccu h\\enotes
\par\tt\\temps\\Notes\&\\ql N\\sk\\pt L\\ibl0L\{-4\}\\qb0L\|\\ibl1e0\\zq
 c\\rlap\{\\qb1e\}\\cu g\\relax
\par\tt\ \ \ \ \ \ \ \\zq c\\rlap\{\\qb1e\}\\raise\\Interligne\\DS \\rlap\{\\qu
 g\}\\qb1g\\enotes
\par\tt\\notes\&\\sk\\tbbl0\\tbl0\\qb0J\|\\tbl1\\zq c\\qb1e\\enotes
\par\tt\% mesure 3
\par\tt\\barre\\NOtes\\itenl2G\\wh G\&\\zw N\\raise 3.5\\Interligne\\ds
\par\tt\|\\rlap\{\\cl f\}\\itenl0k\\ibu1m0\\qh1k\\enotes
\par\tt\\notes\&\\qbl0b0\|\\nbbu1\\nbbbu1\\tten0\\qh1\{klk\}\\tbu1\\qh1\{\^{
 }j\}\\enotes
\par\tt\\Notes\&\\zq d\\qb0f\\tbl0\\qb0b\|\\qu k\\enotes
\par\tt\\temps\\Notes\&\\ibl0d0\\zq d\\qb0\{fb\}\\zq d\\qb0f\|\\qu m\\sk\\pt
 k\\qbu1k\{-4\}\\enotes
\par\tt\\notes\&\\tbl0\\qb0b\|\\sk\\tbbu1\\tbu1\\qh1i\\enotes
\par\tt\% mesure 4
\par\tt\\barre\\Notes\\tten2\\wh G\&\\ql G\\sk\\ql I\|\\rlap\{\\qupp
 g\}\\ibl1c0\\qb1g\\relax
\par\tt\ \ \ \ \ \ \ \\zq\{bd\}\\qb1f\\zq\{bd\}\\qb1f\\relax
\par\tt\ \ \ \ \ \ \ \\zq\{bd\}\\tbl1\\rlap\{\\qb1f\}\\ \\ \\ccu h\\enotes
\par\tt\\temps\\Notes\&\\ql K\\sk\\pt
 I\\qbl0I\{-4\}\|\\ibl1d0\\rlap\{\\qb1b\}\\cu g\\relax
\par\tt\ \ \ \ \ \ \ \\zq\{bd\}\\rlap\{\\qb1f\}\\raise\\Interligne\\DS
 \\rlap\{\\qu g\}\\qb1g\\enotes
\par\tt\\notes\&\\sk\\tbbl0\\tbl0\\qb0G\|\\tbl1\\zq\{bd\}\\qb1f\\enotes
\par\tt\% mesure 5
\par\tt\\barre\\Notes\\hu J\&\\rlap\{\\hu J\}\\ibl0M0\\qb0J\\zq N\\qb0c\\zq
 N\\qb0c\\tbl0\\zq N\\qb0c\\relax
\par\tt\ \ \ \ \ \ \|\\rlap\{\\hl e\}\\qu j\\sk\\qbu1l\{-4\}\\tbu1\\qh1j\\enotes
\par\tt\\temps\\Notes\\hu K\&\\rlap\{\\hu K\}\\ibl0M0\\qb0K\\zq N\\qb0b\\zq
 N\\qb0b\\tbl0\\zq N\\qb0b\\relax
\par\tt\ \ \ \ \ \ \|\\rlap\{\\hl f\}\\ibu1k0\\qh1\{ikm\}\\tbu1\\qh1k\\enotes
%\check
\par\tt\% mesure 6
\par\tt\\barre\\Notes\\wh L\&\\zw N\\raise
 3.5\\Interligne\\ds\\qbl0c0\\qb0e\\relax
\par\tt\ \ \ \ \ \ \|\\rlap\{\\hl g\}\\ppt j\\qu j\\enotes
\par\tt\\notes\&\\tbl0\\qb0c\|\\sk\\ccu l\\enotes
\par\tt\\temps\\Notes\&\\ibl0c0\\qb0\{ece\}\|\\rlap\{\\hl g\}\\qu n\\sk\\raise
 2\\Interligne\\DS\\enotes
\par\tt\\notes\&\\tbl0\\qb0c\|\\ibbu1m\{-3\}\\qh1m\\tbu1\\qh1l\\enotes
%\check
\par\tt\% mesure 7
\par\tt\\barre\\Notes\\wh M\&\\zw a\\raise
 3.5\\Interligne\\ds\\qbl0d0\\qb0f\\tbl0\\qb0d\\relax
\par\tt\ \ \ \ \ \ \|\\rlap\{\\hlp h\}\\qu k\\sk\\qu m\\enotes
\par\tt\\temps\\Notes\&\\ibl0d0\\qb0f\|\\pt o\\qbu1o\{-3\}\\enotes
\par\tt\\notes\&\\zq d\\qb0f\\sk
\par\tt\\zq d\\qb0f\\sk\\tbl0\\zq d\\qb0f\|\\sk\\tbbu1\\tbu1\\qh1n\\relax
\par\tt\ \ \ \ \ \ \\ibbu1m\{-3\}\\rlap\{\\raise
 -\\Interligne\\qp\}\\qh1\{mlk\}\\tbu1\\qh1j\\enotes
%\check
\par\tt\% mesure 8
\par\tt\\alaligne\\Notes\\hu G\&\\lcharnote c\{\\bf I\}\\relax
\par\tt\\pz b\\ibl0M3\\qb0N\\pz d\\qb0b\\pz f\\qb0d\\pz d\\tqb0b\|\\ql
 i\\rlap\{\\uptext\{\\bf I\}\}\\sk\\ds\\ppz p\\zq\{km\}\\cl p\\enotes
\par\tt\\temps\\Notes\\hu G\&\\ibl0M3\\pz b\\qb0N\\pz e\\qb0c\\pz g\\qb0e\\pz
 e\\tqb0c\\relax
\par\tt\ \ \ \ \ \ \ \ \|\\zq\{jl\}\\ql q\\sk\\ds\\ppz l\\zq\{gj\}\\cl l\\enotes
%\check
\par\tt\% mesure 9
\par\tt\\barre\\Notes\\hu G\&\\pz b\\ibl0M3\\qb0N\|\\zq\{gi\}\\ql k\\enotes
\par\tt\\notes\&\\nbbl0\\qb0b\\tqb0c\\enotes
\par\tt\\zglu\\Notes\&\\pz f\\ibl0d\{-4\}\\qb0d\\pz d\\tqb0b\|\\ds\\ppz
 p\\zq\{km\}\\cl p\\enotes
\par\tt\\temps\\Notes\\hu G\&\\pz b\\ibl0M3\\qb0N\|\\ppz q\\ibl1m3\\zq
 l\\qb1q\\enotes
\par\tt\\notes\&\\nbbl0\\qb0c\\tqb0d\|\\nbbl1\\qb1q\\tqb1p\\enotes
\par\tt\\temps\\notes\&\\pz g\\ibl0e\{-4\}\\qb0e\\sk\\pz
 e\\tqb0c\|\\ibbl1p0\\qb1\{qpq\}\\tqb1s\\enotes
%\check
\par\tt\% mesure 10
\par\tt\\barre\\Notes\\hu G\&\\zq\{Nb\}\\ql d\|\\pz t\\ibl1o\{-3\}\\qb1r\\enotes
\par\tt\\notes\&\|\\nbbl1\\qb1n\\tqb1\{\^{ }m\}\\enotes
\par\tt\\zglu\\notes\&\\soupir\|\\ibbl1m0\\qb1\{nmn\}\\tqb1m\\enotes
\par\tt\\temps\\Notes\\hpause\&\\ibl0I6\\pz J\\qb0G\|\\pz p\\cl n\\enotes
\par\tt\\notes\&\\nbbl0\\qb0N\\tqb0\{\^{ }M\}\|\\ibbu1g\{-3\}\\qh1g\\tqh1\{\^{
 }f\}\\enotes
\par
\tt\\notes\&\\ibbl0N0\\qb0\{NMN\}\\tqb0M\|\\ibbu1g0\\qh1\{gfg\}\\tqh1f\\enotes
%\check
\par\tt\\suspmorceau
\par\tt\\def\\nbinstruments\{4\}\%
\par\tt\\nbporteesiii=0\\relax
\par\tt\% mesure 11
\par\tt\\reprmorceau
\par\tt\\NOtes\\qu G\&\\ql N\|\\st m\\qu g\&\&\\hpause\\enotes
\par\tt\\zglu\\NOtes\\soupir\&\\rlap\{\\rmidtwotext\{\\bf II\}\}\\soupir\|\\zq
 d\\qu\{=f\}\&\&\\enotes
\par\tt\\temps\\NOtes\\hpause\&\\hpause\|\\zq c\\qu e\&\&\\soupir\\enotes
\par\tt\\zglu\\NOtes\&\|\\zq b\\qu d\&Mit\~{ }\&\\ilegu0p\\qu g\\enotes
\par\tt\% mesure 12
\par\tt\\barre\\Notes\&\\qu J\|\\zw N\\zq c\\ibu0e0\\qh0e\\zq c\\qh0e\&W\\\"{
 }urd\~{ }\&\\ql j\\enotes
\par\tt\\Notes\&\\soupir\|\\zq c\\qh0e\\zq c\\tqh0e\&und\~{ }\&\\ql j\\enotes
\par\tt\\temps\\Notes\\pause\&\\hpause\|\\zq c\\ibu0e0\\qh0e\\zq
 c\\qh0e\&Ho-\&\\ql l\\enotes
\par\tt\\Notes\&\\zcharnote C\{\\bf I\}\|\\zq c\\qh0e\\zq c\\tqh0e\&heit\~{
 }\&\\ql j\\enotes
\par\tt\% mesure 13
\par\tt\\barre\\Notes\&\\qu C\|\\zw N\\zq c\\ibu0e0\\qh0e\\zq
 c\\qh0e\&an-\&\\qup g\\enotes
\par\tt\\Notes\&\\qu E\|\\zq c\\qh0e\\zq c\\tqh0e\&\\sk ge-\&\\sk\\cu h\\enotes
\par\tt\\temps\\Notes\\pause\&\\qu G\|\\zq c\\ibu0e0\\qh0e\\zq c\\qh0e\&tan,\~{
 }\&\\tleg0\\qu g\\enotes
\par\tt\\Notes\&\\ibu1E\{-3\}\\qhp1E\|\\zq c\\qh0e\&mit\~{ }\&\\ilegu0p\\qu
 g\\enotes
\par\tt\\notes\&\\sk\\tbbu1\\tqh1C\|\\zq c\\tqh0e\&\&\\enotes
\par\tt\% mesure 14
\par\tt\\barre\\Notes\&\\qu G\|\\zw
 N\\ibu0e0\\zq\{bd\}\\qh0f\\zq\{bd\}\\qh0f\\relax
\par\tt\ \ \ \ \&Sch\\\"{ }on-\&\\ql k\\enotes
\par\tt\\Notes\&\\soupir\|\\zq\{bd\}\\qh0f\\zq\{bd\}\\tqh0f\&heit,\~{ }\&\\ql
 k\\enotes
\par
\tt\\temps\\Notes\\pause\&\\hpause\|\\zq\{bd\}\\qh0f\\zq\{bd\}\\qh0f\&St\\\"{
 }ark\~{ }\&\\ql m\\enotes
\par\tt\\Notes\&\|\\zq\{bd\}\\qh0f\\zq\{bd\}\\tqh0f\&und\~{
 }\&\\ibu2k\{-4\}\\qh2k\\tqh2i\\enotes
\par\tt\\suspmorceau
%\check
\vfill\eject
\bye