SP 0    <  FOLLOW SPACING OF STAFF 0
IN0  <   BASS
1
BA/K1F/T4 4/ R/F3//D/M5/ C/A2/M5/ B/C3/D/F/M5;
Q//// 2./Q/ Q./E/Q/;
MF 1;
;   <  NO BEAMS
;   <  NO SLURS
IN1;   <  TENOR
1
TR/K1 F/T4 4/ R/A4//G/F/  G/F/E/C/  D/E/F/G/A/B;
Q///E// Q./E/Q// Q./EX5;
MF 1;
2B;   <  2 8THS PER BEAM
3 4/9 12/13 14;   <  SLURS
IN2;   <  ALTO
1
TR/K1F/T4 4/ R/C4//BN3/ C4// BF3//F4/;
Q//// 2./Q/ Q///;
MF 1;
;
;
IN3;   <  SOP.2
1
TR/K1F/T4 4/ R/C4/F// E/F/G/A/ F/E/D/C;
Q//// Q./E/Q// Q./E/Q/;
MF 1;
;
10 11/11 12;   <  11-12 TIES OVER END OF LINE
IN4;   <    SOP.1
1
TR/K1F/T4 4/ R/C5//D/ E/F/ D/C/B4/A;
Q//// 2./Q/ Q./E/Q/;
MF 1;
;
;

T 0 0 -4 .8  < INPUT TEXT  STAFF 0 (BASS)
&The/sil/ver/swan/who,/liv/ing,/had/no
99   < one syllable under each note
T 1 0 -4 .8  < INPUT TEXT  STAFF 1 (TENOR)
&The/sil/ver/swan/who,/liv/ing,/had/no
1 2 3 5 6 7 8 9 13
T 2 0 -4 .8  < INPUT TEXT  STAFF 2 (ALTO)
&The/sil/ver/swan/who,/liv/ing,/had/no
99
T 3 0 -4 .8  < INPUT TEXT  STAFF 3 (SOP 2)
&The/sil/ver/swan/who,/liv/ing,/had/no/note,
1 2 3 4 5 6 7 8 9 10
T 4 0 -4 .8  < INPUT TEXT  STAFF 4 (SOP 1)
&The/sil/ver/swan/who,/liv/ing,/had/no
99   < one syllable under each note
 
 The above data has most of the information needed to input the 1st 3 bars
 of  The Silver Swan by Orlando Gibbons.
 
 The input may use staff numbers 0 to 7.  The 1st line, SP 0, tells the
 program that all input will be spaced relative to data found on staff 0.
 (Hence staff 0 must be entered before the other staves.)

 The number 1 in the next line is to make the input begin in position 1.
 (A standard line has 200 units of length.  At the basic printing size this
 comes out to be 7.5".)

 The next line includes the main input of clefs, key signatures, time sig-
 natures, notes, rests, measure lines, etc.  All items are separated by
 slashes.  The last item in the list must be followed by a semicolon.
 Two or more slashes in a row indicated that the last given item is to
 be repeated.  If an item is to be repeated many times the following
 format may be used.  C4X7/ will repeat C4 (middle C) a total of seven 
 times.  Varied groups of items may be repeated as follows. 
 C4/F/E/G/REP 4 3/ means that the 4 notes, C,F,E,G will print a total 
 of 3 times.

    The possible clefs are:  BA = bass, TR = treble, AL = alto, TE = tenor.
    Key signatures:  K1F = 1 flat, K3F = 3 flats, K2S = 2 sharps, etc.
    Time signatures: T4 4 = 4/4 time, T3 4 = 3/4 time, T6 8 = 6/8 time, etc.

    R = rest.
    Notes = C,D,E,F,G,A,B.  S = sharp, F = flat.  An octave number must be
    given.  The lowest C on the piano keyboard is C1, middle C is C4.  The
    octave numbers change from B to C.  (The B just below middle C is B3.)
    The octave numbers are 'sticky' and so need only appear when a new 
    octave range is entered.  
    M = measure line.  If there is no number after M the bar line will cover
    only one staff.  A number after M indicates that the bar line will 
    extend upwards a total of n staves.  Usually the bar lines for all 
    parts are put in on the lowest staff (staff 0).  Then they need not be
    mentioned in the input for the upper staves.

 The next line includes all rhythmic information.  The five most often used
 values may be referred to by letter names.  Q = 1/4, E = 1/8, S = 1/16, 
 H = half, W = whole.  Or numbers may be used. 4 = 1/4, 2 = 1/2, 32 = 1/32.
 For dotted notes simply put a dot after the number or letter used.
 The same repeat features used with the note input may be used for the
 rhythmic input.  Note at the end of the rhythm input the string 'Q/;'.
 In this case the final semicolon ends the input but also acts as if there
 were 2 slashes in a row. Thus we end up with 2 quarter-note values at the
 end.   The extra spaces are just to show where each new measure begins.
 This is very useful for proof reading.

 The next line, 'MF 1;' shows that the sign 'MF' will appear under note 1.
 There are many musical marks and indications that can be added here.  
 See the general reference manual 'MS.LCS[MUS,DOC]'.

 The next line is for horizontal beams connecting notes.  There are 2 ways
 of putting in beam information.  If all the beams on the line will cover 
 the same rhythmic time unit the abbreviated form may be used.
      2B; = there will be 2 1/8 notes per beams throughout.
      3B; = there will be 3 1/8 notes per beam.
     If there is a 'pick-up' the total  number of rhythmic values given
     for the pick-up must immediately follow the letter B.
      2B3; = 2 1/8 notes per beam with 3 notes and/or rests pick-up.
 
 For irregular situations pairs of numbers are typed, indicating the 1st
 and last note to be included under each beam.  (When counting include
 only notes, no rests!) The  pairs of numbers are separated by slashes.
 A semicolon follows the last pair.
    3 5/6 7/11 14; = notes 3 through 5 are beamed together, 6-7 and 11-14
    likewise.

 The last line of input is for slurs and ties.  Here the pairs of numbers
 show which notes are to be connected by slurs.  To show a tie over the
 end of the line (to the same note on the next line) give a number one
 greater than the total in the line.  To tie into the 1st note of the line
 give -1 as the 1st note number.
   -1 1/1 2/3 7/8 9; = a tie into note number 1, then notes 1 and 2 are
   tied, a slur goes over notes 3,4,5,6,7 and notes 8 and 9 are slurred.
   If 8 were the last note in the line, there would be a tie over the
   end of the line.
 
 For each staff of input something must be given for all 5 lines of input.
 (The 5 lines being: Notes, rhythm, marks, beams, slurs.)  However for any
 of the last 3, a single semicolon can appear if there is to be no input.

 
 
 After the top staff has been entered (IN4 in this case) the words can be
 entered.  The 1st line will have the code letter 'T' (for Text) followed
 by at least 4 numbers.  The first number is the staff number, the 2nd
 a horizontal position (always zero for this kind of input), the 3rd is
 the vertical position number, and the 4th is the size factor.  The
 4th number is based on scale steps, wherein 1 is the position of a
 note 1 ledger line below the staff, the usual position of middle C. 
 -4 will put the words at the position of E below middle C.  The 5th 
 number (size factor) is set to .8 so that the syllables will not get
 too crowded.  Words tend to take up more space than that allocated for
 notes.

 The next line includes all the text to be entered into the music.  The
 sign '&' sets the type font.  (& = Boldoni)  Currently I have only 2
 useful type fonts.  (@ = italics)  Then each individual word or syllable
 is separated by a slash.  In this case do not use a semicolon at the end
 of the line (it would print in the music.)

 The 2nd line following the 'T' line will include a list of note numbers to
 show just where each syllable and word will go.  Again, the numbers used
 here refer to notes only.  Do not count any rests.  If the number 99 is
 given, then all the words will appear under the notes in order, 1,2,3, etc.
 
 
 All these things give only the basic input.  It is usually necessary to add
 several things and shift some things around at a graphics terminal.  But if
 the music is not too complex there is not too much editing that must be
 done.  Also, while it is nice to have output untouched by human hands it is
 sometimes faster to do a certain amount of direct editing with a pen on the
 final hard copy.
 
 In general it is best to enter 2 to 4 bars of music at a time.  That is 2
 to 4 bars of input per edit file.  After a series of these are processed
 by my main program I run the output through a page-layout program which
 arranges the music in the most logical way.  For any given piece you have
 a choice of how many lines per page and what total number of pages are to
 be used.  This way you can have the music be as crowded or widely spaced
 as you wish.
 
 
 This may all seem a bit complex, but the music students here generally can
 learn the system in only a couple of days.  If you would like to try this
 out I would be glad to help a little.  How big of a project is this?  The
 best thing to do would be to transfer to you a copy of the reference manual,
 MS.LCS[MUS,DOC].  (This is NOT a teaching manual.)  Then if you typed some
 input files they could be sent to me on my [1,LCS] area.  I could run them
 through, do some touch-up editing, and send you the hard copy.  By the way,
 the output can be on the XGP or the Varian electrostatic plotter.  The 
 Varian does more precise printing but the XGP uses more pleasant paper. 
 If you are going to re-XEROX the copy I recommend Varian output.
 
			I hope this may be of use to you.

				Leland Smith